Channel Title: Analog Insights Channel Description: Hi, we are Jules, Greg and Max. This channel's primary focus is analog photography in the digital age. We are sharing gear and film reviews as well as learnings from our various shoots and insights on developing film. In the process, we also address different kinds of photography (e.g. portrait & fashion editorials, landscape and street photography) on all sorts of formats (e.g. 35mm, medium format, 4x5 inch). We hope you enjoy our little channel and look forward to hear from you. <video> Minolta MD 28mm f/2.8 Review - A Must-Have Lens for Minolta Shooters Description: In this episode, I review the Minolta 28mm f/2.8 MD lens. This is an inexpensive but well-performing wide-angle lens built between 1977 and 1984. I have the very last MD III version here with the 5 elements in 5 groups design and we will discuss the versions a bit more in a minute.  This lens can be had for around 50-100 Euros. The main reason is that it was produced and sold in high quantities. This is not a collector piece but simply a very good performer that doesn’t break the bank. For somebody like me who just wants to have a 28mm in the lens collection, it is a fantastic choice in my opinion.  Long-time viewers of this channel will know that I am quite fond of Minolta lenses but also needed some time to get used to shooting 28mm and similarly wide angle lenses. So it might come as a surprise to see me using it. I have grown quite fond of the 28mm focal length by now as it nicely complements my favorite 50mm focal length without being too wide.  I took this 28mm lens with me on a recent trip to Tokyo, shooting it with my dad’s old Minolta XD-7 and mostly black and white film. On an emotional level, I felt a need to take the XD-7 home to where it was originally produced. I also took the lens out in and around Munich and to the Austrian mountains on the Minolta SRT-100X. Gear used: Minolta XD-7 & Minolta SRT-100X with Minolta MD 28mm f/2.8 (5x5) Films used: Ilford Delta 400 JCH StreetPan 400 All films developed and scanned by my trusted ON FILM LAB: https://onfilmlab.de References: https://minolta.su/minolta-md-28mm-f2-8-5el5gr/ https://minolta.su/minolta-lens-perfect-data/ https://minolta.su/wp-content/uploads/2023/01/MinoltaJournal_scan_p99-scaled.jpg https://minolta.su/comparison-minolta-md-28mm-v2/ https://www.addieleman.nl/minolta/minolta-28mm-lenses.htm https://minolta.eazypix.de/lenses/index.html https://casualphotophile.com/2021/08/04/minolta-md-28mm-f-2-8-lens-review/ If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Thypoch Eureka 50mm f/2 Review Description: AD/ANZEIGE In this episode, I review the new 50mm f/2 Thypoch Eureka lens for the Leica M mount. It pays homage to vintage collapsible lenses and its design is a tribute to the original 1950s Taylor Hobson lens.  The Shenzen-based company Thypoch is the new kid on the block with the name combining the words Thy and Epoch. The company made headlines with their initial line of Simera lenses for the Leica M mount which introduced an innovative focusing scale and were launched at Photopia in Hamburg in 2023. For Thypoch, the Simera lenses cover today’s epoch. In contrast, Thypoch now introduced a new line of lenses called Eureka - like Archimedes famous exclamation. These fall into the last epoch and revive vintage design elements and a modern vintage rendering.  This 50mm is a perfect start to the new Eureka line and even features a small Easter Egg. I took a pre-production demo version of the lens through its paces on my vintage Leica M6 during a recent visit to Malta shooting some Ilford Delta 100 and Kodak Portra 160. I captured a wide range of subjects to give you a good feeling of what this lens is capable of.  Let’s take a closer look at the build quality, handling and the photographs it produces. Gear used: Leica M6 with 50mm f/2 Thypoch Eureka Films used: Ilford Delta 100 Kodak Portra 160 Purchase the lens here: https://www.foto-erhardt.de/ https://thypoch.com/Eureka.html If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Pentax 17 in New York and Tokyo Description: I recently went on a business trip to New York City and had some off time in between workshops and meetings to take some photographs. I chose to only pack two rolls of film and the Pentax 17 for this trip. I also did a vacation trip to Tokyo right afterwards and what did I pack? The Pentax 17 among some other cameras. The Pentax 17 had been released in June 2024. With six months' distance and some fresh images at hand, I think it is a good opportunity to share some additional thoughts to complement my original 38 minute review. If you haven’t seen that, please go back and watch this first. Why another video? Because I still believe that we as a film community are not giving Pentax all the credit it deserves for introducing this completely newly developed camera.  I shot Kodak ProImage 100 and Ilford Delta 400 in New York and really took the Pentax 17 through its paces using it to capture parts of the Veterans Day parade on 5th avenue, the onset of dawn which required the use of flash and the bright early morning sunrise, sometimes shooting directly into the sun. In Tokyo, I mostly shot Kodak Gold 200 rated at ISO 160 and carried it with me throughout the day and evening. I captured lots of street shots and how Tokyo’s architecture meets traditional Shinto shrines for instance.  The variety of images nicely illustrates what this little camera is capable of. The films were developed and scanned by my trusted On Film Lab based in Frankfurt and I can highly recommend you giving them a try. Let’s take a look at some of the images and my findings. Gear used:Pentax 17 Films used: Kodak ProImage 100 Kodak Gold 200 Ilford Delta 100 Ilford Delta 400 Films developed and scanned by: https://www.onfilmlab.de To stay tuned on news and updates around the Pentax Film Project: https://www.instagram.com/pentax.film.photography/ If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Thypoch Simera 28mm f/1.4 ASPH. Review Description: AD/ANZEIGE In today’s episode, I review the 28mm f/1.4 ASPH. Thypoch Simera lens for the Leica M mount. Introduced in 2023 at Photopia Hamburg, this 28mm offers an ambitious optical design and maximum aperture of f/1.4 for a competitive price point of around 760 Euro. The lens also offers an innovative depth-of-field preview feature as well as a switch to choose between a stepless aperture or regular steps which is great for videographers. Last but not least, the lens caters to both traditional film photographers using the lens on a classic Leica M rangefinder with a minimum focusing distance of 0.7 meters as well as to those using it on a digital M or mirrorless camera and wanting to close-focus to 0.4 meters. The lens can be perceived as direct competition to the significantly more expensive 28mm Leica Summilux which costs almost 7.000 Euro. Of course, Voigtländer also offers interesting alternatives with the 28mm f/1.5 Nokton that also features an aspherical element and comes in at around 1.100 Euro. In a similar price range, Voigtländer only offers the Color-Skopar 28mm f/2.8 for around 650 Euro and the 28mm Ultron f/2 for around 850 Euro. Carl Zeiss offers its legendary 28mm f/2.8 Biogon in a similar price range of around 700 Euro but of course here the maximum aperture is very different. I picked the lens up during a recent trip to Hong Kong shooting some Ilford Delta 100 and Kodak Portra 160 on my vintage Leica M6. Let’s take a closer look at the results as well as the build quality, handling and my personal impressions after the first few rolls. Gear used: Leica M6 with Thypoch Simera 28mm f/1.4 ASPH. Films used: Ilford Delta 100 Kodak Portra 160 All about the lens here: https://thypoch.com If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Mamiya Sekor Z 50mm f/4.5 Lens Review Description: In this episode, Jules and I review the Mamiya Sekor Z 50mm f/4.5 W lens for the Mamiya RZ67. The lens is roughly equivalent to a 24mm on a 35mm camera and thus pretty wide. Given the 6x7 image ratio, the wide angle images and medium format depth of field create a very special characteristic look. The lens is well suited for shooting landscape, architecture, unusual close-ups and environmental portraits. The RZ67 is famous for its 110mm f/2.8 lens but there are a lot of alternatives available which all live up to professional expectations. Jules stumbled upon a classified ad for this lens in mediocre condition but for an excellent price. He had used the earlier 50mm on the Mamiya RB67 before and encouraged me to get it. I took the plunge and purchased it for only 150 Euro. The lens came with a prominent dent and you could see that it had been used quite a bit. Yet, the glass elements are in perfect condition and it was possible to put a regular lens cap on it despite the dented filter ring. Please note that there is a more popular ULD FLE version of this lens coming with an ultra-low dispersion lens and floating lens element but this one is significantly more expensive. As an occasional wide-angle shooter on the RZ, I wanted something less expensive but solid. We took the lens out in Haar and a nearby gravel pit with its conveyor belts and other interesting objects which some of you might recognize from past videos. I also took the lens out shooting some environmental portraits and architecture. Let’s take a closer look at the optical design, build quality and the images it produces. Gear used: Mamiya RZ67 Pro II with Mamiya Sekor Z 50mm f/4.5 W Films used: Kodak Gold 200 Kodak Portra 400 Ilford Delta 100 Ilford Delta 400 Ilford HP5 Model: Daniel Graupner for MostWantedModels (https://www.instagram.com/der_graupner/) If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Konica IIIa Review - A true Leica M3 alternative? Description: In today’s episode, I review the Konica IIIa, arguably one of the best fixed lens 35mm rangefinder cameras ever created. It was introduced in 1958 and positioned as a direct competitor to the Leica M3 released four years earlier. In contrast to the interchangeable lenses on the M3, the Konica IIIa was available with either a 50mm f/1.8 or 48mm f/2 fixed Hexanon lens which aimed to perform on par with the 50mm Summicron available back then. Thanks to its bright viewfinder with 1.0x magnification and parallax compensation as well as its excellent build quality and smooth mechanical operation, this camera is considered by many collectors and photographers to be outstanding - even from today’s perspective. I purchased the camera in great condition from a Japanese dealer for a premium of around 270 Euro. My credo is condition over price. So if you are a 50mm shooter and look for a rangefinder camera, the Konica IIIa is worth a very close look as it offers an even larger viewfinder magnification than the M3 and obviously costs significantly less. I took the camera with me on a trip to Berlin shooting some Ilford Delta 100. On the way back, I stopped in Dessau to take some photographs of the Bauhaus Master Houses. I also used it for some black and white street shots in my hometown Munich and some color shots with Kodak Gold 200 at a lake nearby. Find the Oberwerth Colorado strap here: https://oberwerth.com/?sca_ref=869298.iG5wCx9DzW Get 10% off on Oberwerth.com using the code ANALOGINSIGHTS during checkout. References: http://camera-wiki.org/wiki/Konica_(I),_II_and_III Films used: Ilford Delta 100 Kodak Gold 200 Gear used: Konica IIIa Hedeco Lime II Oberwerth Colorado If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> LomoChrome Color '92 Sun-kissed Review Description: In this episode, Jules and I review the new LomoChrome Color ‘92 Sun-Kissed which Lomography recently introduced. I had tested the original LomoChrome Color ‘92 together with my buddy Marc Rebillet in New York prior to its launch in 2023. In contrast to the original version, this sun-kissed edition allegedly comes with less blue tones and an overall warmer feel. According to Lomography, the stronger grain in combination with the soft orange and yellow hues gives the film a nostalgic 1990s look. They also highlight that it is well-suited for portraits as it accurately represents skin tones. Interestingly, Lomography claims to produce the film and its emulsion themselves. I have no possibility to confirm this. The LomoChrome ‘92 sun-kissed is a limited edition film stock allegedly due to the “handcrafted process”. We wanted to test this new film in both its 35mm and 120 format with only one roll each. But which cameras to choose? After careful deliberation, we settled for the Hasselblad SWC for 120 and our long-term favorite Olympus 35RD which we had both reviewed before. We paired the Olympus with a new Oberwerth Mosel strap in classic green. And Jules shot the Hasselblad without a viewfinder knowing what will be in the shot based on experience and focusing only on a level framing and correct exposure. Let’s take a closer look at the film and how it performs. Gear used: Hasselblad SWC Olympus 35 RD Film used: LomoChrome Color '92 Sun-kissed References: https://shop.lomography.com/eu/lomochrome-color-92-sun-kissed-35-mm-iso-400 https://www.lomography.com/magazine/353899-lomochrome-color-92-sun-kissed-35-mm-film-first-impressions-by-tim-cavadini Films developed and scanned with Noritsu HS-1800 by: https://filmspeedlab.com/ Negatives photographed and converted using: https://www.filmomat.eu/smartconvert Oberwerth straps: https://oberwerth.com/collections/kameragurte-handschlaufen?sca_ref=869298.iG5wCx9DzW Get 10% off using the code ANALOGINSIGHTS on Oberwerth.com during checkout. If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Canon Demi EE17 Review - A vintage Pentax 17 alternative? Description: In this episode, I review the Canon Demi EE17, a 35mm half-frame camera introduced in 1966. It comes with a fantastic 30mm f/1.7 lens, a bright viewfinder, beautiful sleek, round design and automatic exposure in a shutter speed priority mode. It originally caught my attention when John Sypal mentioned using it for some of his earlier street shots in Japan. With the introduction of the Pentax 17, the Canon Demi EE17 has become more relevant again. Both cameras share a compact form factor, solid built quality, zone focusing and at least some automatic exposure mode. The Canon is significantly heavier and comes with a stepless focusing ring. So is it a viable vintage alternative to the Pentax 17? To find out, I took the camera with me on a recent trip to Berlin shooting some Ilford FP4 and ran a roll of both Ilford HP5 and Harman Phoenix 200 through it in Munich. Among other things, I took it with me to a women’s soccer match of FC Bayern together with Jules for a change of scene here. Gear used: Canon Demi EE17 Films used: Kodak Ultramax 400 Ilford FP4 Ilford HP5 Harman Phoenix 200 If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Ricoh Super Shot 2.4 Dia Focus Description: In this episode, I review the Ricoh Super Shot 2.4, a special 35mm camera released in November 1966 with an unusual focusing mechanism and film advance which I only discovered accidentally via a photo in the online watch magazine Hodinkee. The featured Omega Speedmaster was nice but what really sparked my curiosity was the lens and camera in the background. I started researching using the little readable fragments such as IKENON and eventually determined that the featured camera must be a Ricoh Super Shot 2.4 with a Rikenon lens.  Digging deeper, I learned that the camera came with an unusual focusing mechanism that is based on the earlier suggestion that people’s heads are roughly the same size and can be used for correct focusing. The viewfinder therefore features a diamond, or mathematically correctly, rhombus shape that changes in size as the lens is focused. The idea is to match the size of the diamond to the subject's head. This naturally only works if you have people in your frame. If there are none, there is a small indication in the upper left corner of the viewfinder that gives at least a rough indication on the current focusing distance. This diamond is also where the Dia Focus name comes from as it stands for Diamond Focus.  The second remarkable feature is the film advance mechanism which works with a spring that is wound by the user and then transports the film after each exposure for up to 12 frames. Afterwards or in between, it needs to be wound again. This allows for relatively quick shooting without winding the film manually after every shot.  Reasons enough to take a closer look at the camera for this channel. I did the usual:  - reading the manual for hints on what needs to be considered such as replacements for the mercury batteries and that it requires film to properly function - reading through forums to get an idea for common problems - closely observing the market and identifying potential good buys that come with a case and are probably in good condition I eventually found a promising camera that cost around 45 Euro including shipping. It came in relatively clean and good condition. The battery compartment still had the original mercury battery in it and needed some cleaning. But a fitting Wein cell made the light meter work again. The camera also received a proper cleaning with Isopropanol and looked almost like new again. The light seals still looked good enough and didn’t appear to need replacing. And since I had read that the camera needs film in it to properly work, I put in a first roll of Japan Camera Hunter’s Street Pan 400 to give it a test run. I also went out with Jules for a quick weekday evening photowalk shooting some Kodak Gold 200. Last but not least, I took a few portraits of a friend to see how the camera would perform for this obvious use case.  Let’s take a closer look at the results, the camera’s features, build quality and my personal impressions. Gear used: Ricoh Super Shot 2.4 Dia Focus Films used: JCH Street Pan 400 Ilford Delta 100 Kodak Gold 200 References: https://www.hodinkee.com/articles/pre-owned-picks-neo-vintage-watches-with-staying-power If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Pentax 17 Review Description: AD/ANZEIGE: In this episode, Jules and I share our first impressions of the Pentax 17, one of the most anticipated cameras in the film community. Ever since Ricoh Imaging announced the Pentax Film Camera Project in December 2022, the film community waited for this pivotal moment. A newly introduced film camera tailored to today’s needs and produced with today’s manufacturing capabilities. The anticipation now culminates in the launch of the Pentax 17, a 35mm half-frame camera with manual film transport, manual zone focusing and automatic exposure. The bright, large viewfinder lets you compose in portrait orientation - which is common for half-frame cameras but is also a deliberate choice as it matches today’s social media formats and how content is often consumed on a phone. So the 17 in Pentax 17 is derived from the 17x24mm dimensions of the final frames. The obvious side effect and benefit is that one regular 36-exposure film roll gives you 72 exposures which helps counter increasing film costs - just like it did in the 1960s when the half-frame format was originally introduced. We had reviewed the Olympus Pen from 1959 and the world’s first half-frame SLR camera, the Olympus Pen F from 1963, here on the channel before. Back to the Pentax 17. When we started this YouTube channel about eight years ago, I would have never thought to see the launch of a brand new film camera. So I was truly excited about this camera and giving it a try. Pentax reached out to us asking whether we would like to give it a try and provide a first review. You can only imagine how excited I got about this opportunity. I took the camera with me on a trip to Mallorca shooting some Kodak Gold 200 and Ilford Delta 100. Jules and I also took it through its paces during a photowalk in Landsberg am Lech and Munich shooting some slide film. Let’s take a closer look at its features, the build quality, the images it produces and our personal impressions and findings. Gear used: Pentax 17 Films used: Kodak Gold 200 Kodak Ultramax 400 Ilford Delta 100 Fuji Velvia 100 Films (except Fuji Velvia) scanned and developed by Film Speed Lab: https://filmspeedlab.com References: https://www.japancamerahunter.com/2021/06/camera-geekery-olympus-pen-w/ https://www.lomography.de/magazine/282903-lomopedia-ricoh-auto-half If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Pentax Pinnacles - Pentax Spotmatic F and ES II Review Description: In this episode, Greg and I take a closer look at the pinnacles of the Pentax screw mount cameras of the 1970s: the Asahi Pentax ES II and the Pentax Spotmatic F. After a long series of successful cameras with innovative features, Asahi introduced the Pentax Spotmatic, the first 35mm SLR with TTL metering in 1964. In addition, the company offered a wide range of excellent lenses that culminated in the multi-coating for an increased light transmission and less flare. When the screw mount Pentax models disappeared in 1975, Asahi was one of the most successful camera manufacturers of the world and for a certain period sold more Pentax cameras than all its competitors combined. Both cameras were introduced in 1973 and there are even ads like this one from the time marketing them side by side. From today’s perspective, these two cameras are interesting since they already offer a wide-range of convenient features and give you access to the fantastic Super Multi Coated Takumar lenses without breaking the bank. While the Spotmatic F is fully mechanical except for the built-in meter, the ES II already features an automatic exposure mode and reliable electronics. We took the cameras out in and around Würzburg shooting some Orwo Wolfen 500NC in the Spotmatic F and ADOX CHS 100 in the ES II. Let’s take a closer look at the results, both cameras’ features and our personal impressions. Gear used:Pentax Spotmatic F and ES II with SMC Takumar 24mm f/3.5 SMC Takumar 28mm f/3.5 SMC Takumar 35mm f/2.0 SMC Takumar 50mm f/1.4 SMC Takumar 50mm f/4.0 SMC Takumar 105mm f/2.5 SMC Takumar 135mm f/2.5 (6 lens version) SMC Takumar 200mm f/4.0 Films used: Orwo Wolfen 500NC ADOX CHS 100 If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Nikon F3 Review Description: In this episode, Jules and I review the Nikon F3, arguably the most legendary professional 35mm single-lens reflex camera ever produced. The Nikon F3 was introduced in March 1980 but so successful that it remained in production until 2001. This also meant that it was built five years longer than its successor F4 and was available to purchase in parallel to the F5 which was released years later. The F3 also saw the most model variations of any Nikon F camera.  I have an ad here from 1980, the year of introduction, in a TIME magazine promoting the camera to professional photographers. Next to all the ads for alcoholic beverages, quartz watches, luxury travel and so on, you suddenly see the Nikon F3. At the time, many F2 shooters saw little reason to upgrade and it seems like Nikon was aware of that enough to add a subtle challenge to the ad copy: “For accomplished photographers the uncompromising Nikon of yesterday is still here. The F3 is also a Nikon to grow with. Once and for all here is a camera that makes sense for anyone because it thinks of everyone. Simply remarkable.” It was indeed quickly embraced by press journalists and became an incredible bestseller. It became a standard among professionals across various industries - from fashion to advertisement to war reporting. The latter is nicely illustrated by a much later ad highlighting all the combat zones the camera saw while being repaired only once. A modified version was used by NASA in space during the Space Shuttle program. Until today, the Nikon F3 is renowned for its reliable construction, vast array of lenses and accessories, and revolutionary design by the famous car designer Giorgetto Giugaro. One version of the camera is the F3 HP (for High-Eyepoint) which we have here. The Nikon F3 is also prominently featured in countless movies and TV shows, for instance in this scene from “The Secret Life of Walter Mitty” featuring Sean Penn using it with a normally incompatible 300mm f/2.8 AF-S G lens.  Jules and I took the camera out shooting some Kodak Portra 160 rated at ISO 100 in Riem. Used the Nikon F3 for the second part of a portrait session with a model from Most Wanted Models shooting mostly black and white film but also some color negative film. And took the camera out to a mountain lake to capture some landscapes, boats and details on Kodak Ektachrome slide film and Ilford Ortho black and white film. Let’s get started.  Gear used: Nikon F3 with Nikon Nikkor 50mm f/1.4 Ai-S Nikon Nikkor 24mm f/2.8 Ai-S Nikon Nikkor 105mm f/2.5 Ai-S Nikon AF Nikkor 20-35mm f/2.8D Nikon AF Nikkor 80-200mm f/2.8D Voigtländer Nokton SL II 58 mm f/1.4 Nikon Motor Drive MD-4 Films used: Kodak Portra 160 Kodak Ektachrome 100 Ilford Ortho Plus Ilford Delta 100 Model: Daniel Graupner for MostWantedModels (https://www.instagram.com/der_graupner/) If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> New Kids on the Block: Polaroid I-2 | Pentax 17 | Rollei 35AF Description: In this episode, Greg and I sit down to briefly discuss all the new releases in the film industry. The Polaroid I-2 saw a recent firmware update and new film stock. The Pentax 17 has been around for a while and you had asked for Greg's view (as a Pentax film camera collector for over 40 years). The Rollei 35AF is all the rage right now and Greg got a chance to spend a few days with it and I also share my first impressions. We hope you enjoy this in-between episode. Please excuse our faux-pas regarding the focus on the main camera. </video> <video> How to Collect Vintage Cameras without Regrets? Description: In today’s episode, I’d like to address a topic that often comes up in the comments and Instagram messages: How to get started collecting vintage cameras without having regrets further down the road? Here are a few pieces of advice that I picked up in the last years of doing this. 00:56 Develop your taste 02:58 Get hands on 06:14 Research thoroughly 09:35 Understand the market 12:35 Buy from trustworthy sellers 12:35 Check for quality & condition 16:03 Learn to repair & know repairmen 17:44 Build a network & ask for a second opinion 19:33 If you buy on eBay, don't overpay If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video> <video> Leica R-E Review Description: In this episode, Greg and I review the Leica R-E, a manual focus single lens reflex camera built between 1990 and 1994. The R-E is a reduced version of the Leica R5, offering exactly the same features except for the program and shutter speed priority modes, so it only comes with a manual and two aperture priority modes: one with center weighted full area metering and one with selective metering.  Back then, this reduced version addressed first-time Leica buyers or professionals looking for a less expensive second body. It was often sold in combination with the fantastic 28-70mm zoom lens.  The camera is interesting from today’s perspective as it offers relatively inexpensive access to the fantastic Leica R lenses, a maximum shutter speed of 1/2000s, two metering modes and convenient aperture priority, and - most importantly - more reliability then its predecessors R4 and R3 when it comes to the electronics. Interestingly, when the R5 hit the market in 1987, manual focus cameras were not state-of-the-art anymore as many manufacturers offered newly developed auto-focus solutions. The refined R-E is thus a rare transition camera that makes it particularly interesting.  We took the camera out on a photo walk around Castell, Rüdenhausen and Wiesentheid shooting Kodak Ultramax 400 and ADOX CHS 100. Let’s dive in there.  Gear used: Leica R-E with 35mm Summicron-R f/2 50mm Summicron-R f/2 90mm Summicron-R f/2 24mm Elmarit-R f/2.8 60mm Elmarit-R f/2.8 135mm Emarit-R f/2.8 28-27mm Vario Elmar-R f/3.5-4.5 80-200mm Vario Elmar-R f/4 Films used: Kodak Ultramax 400 Adox CHS 100 Scan & Development by ON FILM LAB (www.onfilmlab.de) If you enjoy our videos and like to follow us on Instagram, find us here: https://www.instagram.com/analog_insights </video>

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Hi, we are Jules, Greg and Max. This channel's primary focus is analog photography in the digital age. We are sharing gear and film reviews as well as learnings from our various shoots and insights on developing film. In the process, we also address different kinds of photography (e.g. portrait & fashion editorials, landscape and street photography) on all sorts of formats (e.g. 35mm, medium format, 4x5 inch). We hope you enjoy our little channel and look forward to hear from you.

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