The Leica Meet Skye – just 8 weeks to go… two spaces left…

Isle of Skye – Leica Meet – Mar 8th – 11th

These routes have been chosen to allow for multiple options to stop/shoot on the way. But as always bear in mind that the schedule is flexible and weather dependent. This is a festival of seeing, shooting, sharing, socialising…. and when you get back and process your images – celebrating!

Mar 8th – Sunday

Mar 9th – Monday

  • 6.00: meet for coffee/biscuits. Sunrise and explore coastline and local landscape.
  • 8/8.30: return for b/fast at lodge
  • 9.30: depart for Elgol on West Coast. The village of Elgol, on the shores of Loch Scavaig, has a wonderful rocky coastline with magnificent views out to the Inner Hebrides & across to the Black Cuillin range. This is a scenic drive including multiple stopping options along the way for mountains, abandoned church, lochs. Circa 1 hour on beach taking classic views.
  • 12.30: lunch at cafe in Elgol.
  • 1.30: possible trip in to see Fairy Pools or similar lesser known location, head North to Fiskavaig bay for sunset over the sea & islands of Bracadale Bay. Again options to stop/shoot
  • 7.00: return to Sconser and dinner at the lodge

Mar 10th – Tuesday

  • 6.00: meet for coffee/biscuits, dawn shots at Sligachan where an early 19th century picturesque stone bridge crosses the river that carries the water down from the Cuillin. This is a classic setting. Water cascading over a stony river bed with the surrounding hills as a backdrop.
  • 8.30: b/fast back at hotel and re-pack
  • 9.30: drive to Neist Point, the most westerly point on the Duirinish Peninsula. With its lighthouse perched on vertical cliffs it forms one of the iconic Skye vistas.
  • 12.30: pub lunch en route
  • 1.30: drive to the Northern part of the island (via Faerie Glen) eventually for sunset over the Outer Hebrides.
  • 7.00: check into Beinn Edra House:
  • Dinner at Lodge tba

Mar 11th – Wednesday

  • 6.30am dawn shots along the Flodigarry/Staffin coastline
  • 8.30: b/fast at hotel and re-pack
  • 9.30: drive to the iconic Old Man of Storr (a rocky outcrop with interesting pinnacles that are the remnants of ancient landslips). It’s eastern face looks across the Sound of Rassay
  • Lunch is on the go and around 11.00 we need to start watching the clock. We need to be on the bridge back to the mainland by 12.30 latest to get back to Inverness airport by 3.00 pm for flights back.

Each person is responsible for getting to Inverness airport, costs of accomodation, food and drink. The hotels will be pre-booked at the following costs: Sconsor Lodge £65 single room p night for two nights. Beinn Edra House, £45 single room for one night. Additionally there is a charge of £300 pp for the driver/guide, 8 seater minibus, collect/return to Inverness airport, available pre-sunrise to post sunset each day.

Any queries or questions please contact me on


Fast and Prime bags and Hamlyns of Colyton Introduction

Article by Jono Slack.

I saw some photos of Fast & Prime bags on the Leica Rumors website earlier this year, then, later on, there were some pictures on facebook. Fascinated I contacted Neal Simons of Fast and Prime. It turns out that he is based in Charmouth, Dorset, which is only a little way out of our well travelled route from Norfolk to Cornwall.

We arranged to drop in on Neal, he kindly took some time off to show us his immaculate workshop in Charmouth, and to take us around Hamlyns Tannery in Colyton, where he gets the leather for his bags and straps. Mr Parr kindly gave permission, and Neal showed us all around the Tannery – the staff were really polite and helpful, and the place is simply wonderful.

Neal Simons started life in Pittsburgh, moved to Miami, where he met his wife Lauren, an illustrator from London – He worked for several fashion houses before starting his own fashion business. Disillusioned with the industry he spent 5 years making the interiors for renovated classic cars before deciding that he wanted to create perfectly made utilitarian goods. Together with Squidgie Trimming, an experienced saddler, he started Fast & Prime. Neal and Lauren have now moved to Charmouth where their little girl goes to school near the beach.


Fast and Prime Bags

We have a huge selection of wonderful bags available for use with our camera gear – from the traditional Canvas and Leather bags made by Billingham and Fogg (loosely based around traditional fisherman’s bags) to the higher tech materials from the likes of Lowepro and the more modern luxury bags from Artist & Artisan and others. These come in all shapes and sizes, from belt bags to rucksacks, and in all types of material, from leather to nylon.

Fast & Prime use only highest quality organic oak bark tanned hide – this is very resilient tough, and also fairly stiff. However, it’s also relatively light. In the bend areas (such as the flap on the Agent case) it will quickly become pliable with continued use.

To get the best understanding of exactly what Fast & Prime provide – have a look at their elegant and excellent website:


The Agent Case

Neal Simons has set out to make the perfect utilitarian bag. There are currently 3 sizes of the Agent case, the 66 (which basically takes one body); the 86 which is a little larger, and the 86J (Jumbo) which will take two Leica M bodies with lenses attached (and room for a small extra lens tucked under each body).

Each bag takes around 70 hours to make. The stitches are individually tied with beeswax coated linen threads (so that they don’t rot, and if one stitch breaks others stay intact). Neal has a very organised schedule for delivery, each bag is made to order and is stamped with the new owner’s initials: When ordering you’ll be given a delivery slot, the word from others is that although they may be several months in the future, the delivery is always reliable.

The image below shows the 86J with two Leica M(240) bodies, one with the 35 ‘lux FLE and the other with the 75 summicron. NB the straps visible in the iphone snap below belong to me, and were not made by Neal.

Tank Leica Half Case

Half cases aren’t really my thing (I like my cameras thin!) , but Neil also makes very sturdy half case called The Tank this is made of the same tanned hide as the Agent cases, (4-6mm thick Equestrian hide).

UHL Holster / Lens Case system

This is a well thought out system of holsters for cameras, and cases for lenses – I wasn’t able to photograph these in detail on my visit, but Neal has clearly described them on his website. (click on the title above to go straight there).

There are three types of Holster – one to go on a waist belt with 2 heavy duty belt loops, and another to go on on the shoulder strap with D rings – the third type is a hybrid with both belt loops and D rings.


Straps Mono Strap and Lanyard – and the Kepler Harness

Fast & Prime make a number of different straps, both for shoulder and for waist to go with the Tank cases, UHL and Agent cases. They also make Mono straps and Lanyards – these are made out of a single piece of leather. The Kepler Harness is an ingenious piece of bondage which keeps your camera firmly available on your chest at all times ready to be lifted to your eye – Perfect for hiking or other activities when you may want quick access to your camera, but wish to keep your arms free.


The Tannery at Hamlyns in Colyton is the last Traditional Oak Bark distillery in the UK. It has been a Tannery since Roman times. The actual tanning procedure has not changed a great deal in centuries, and it’s fascinating to see how the hides are produced.

Contrary to what you might suspect, the tannery doesn’t smell bad, some other tanning techniques (urine amongst them) can create a pretty singular aroma, but not Oak Bark Tanning.

A mixture of Oak Bark and Acorn cases from renewable sources are soaked to provide the tannin liquor in which the tanning will be done.


The Hides arrive having been salted. They are then soaked in lime to loosen the hair, the hair is then scraped off


Whilst still wet, the hides are cut to shape, washed and then put into the first of the tanning handler pits. They are moved from one pit to another once a week over a period of a year. Each pit contains a progressively stronger tanning liquor



After Tanning has finished, and the hides are dried, they are ready to be dyed (if required) before delivery to the customer.


It was a fascinating day, I can’t recommend enough that you visit the websites of Fast & Prime and for J & FJ Baker and Co.

I’d like to thank Neal Simons particularly for giving us the opportunity to visit his workshop and also the tannery.

For those who are interested, the photos were all taken with a Leica M camera, with either an f0.95 50mm Noctilux, or  an f1.4 35mm summilux FLE. Except the snap of two cameras in the 86J bag, taken with an iphone.

NB, This article is not a commercial venture, it was a fascinating day out for me, and it’s nice to have an opportunity to spread the word about an interesting and adventurous project. It isn’t a review either until I’ve actually used a bag I can only tell you what they look and feel like.

If you would like to see more images please click on the link: Gallery of Images from our Visit

Article by Jono Slack.

The new Leica X (type 113) by Jonathan Slack

In 2009 Leica surprised everyone by bringing out an autofocus camera with an 12mp APSc sensor and a fixed 35mm equivalent f2.8 lens. In 2012 they refined the concept in the same body, releasing the X2, this time with a 16mp sensor and better response times, with the option of using an optional external viewfinder (a 1.44m dot unit.)
The X-Vario came in 2013, this had the same sensor as the X2 in a slightly larger body with a 28-70mm (equivalent) lens. Leica designed the lens for optimum optical performance in a small package; the compromise needed to make this possible was to make the lens variable aperture and rather slow (f3.5 – f6.4). The LCD was upgraded to a 920k dot unit, and the X-Vario used the same EVF as the Leica X2 and the Leica M (typ 240).
The X-Vario received a mixed reception as a result of the slow lens, and some questionable publicity material. However, it has come to be much appreciated by lots of photographers as an elegant and no-nonsense travel camera with really fantastic image quality. The recent firmware update has improved the camera further.
This brings me to Leica’s newest X camera – code named Anna-Louisa, but now to be the Leica X (typ 113). It uses the same basic body as the X-Vario but with a fixed 35mm equivalent f1.7 lens.
I’ve been testing the camera since July, including a 2 week trip to Crete (where this article is being written). As a tester for Leica, my allegiance is to Leica, and if I find things wrong with the camera, then my duty is to tell Leica about it rather than the world in general. On the other hand, Leica have never had any influence over what I write, and I wouldn’t dream of saying anything that I don’t consider to be absolutely true.
The Body
The Leica X (typ 113) is a small 16mp APSc camera with a fixed lens: the 23mm f1.7 Summilux Aspherical. The body is just a little smaller than a classic M6. Like the other X cameras it has shutter speed and Aperture dials on the top plate, together with a video button. Setting the Aperture dial to A gives you Shutter priority, setting the Shutter speed dial to A gives you Aperture priority and setting both to A gives you program mode.
The rear of the camera has the same large 920,000 dot LCD as the X-Vario. On the right hand side it has a thumbwheel which also serves as a thumb rest. There is also a three way switch; up for exposure compensation, left for self timer and right for flash settings (this only works when the popup flash is popped up). In the centre is the Info button which changes the display settings. The thumb wheel and the switch are now in black (unlike the chrome of the X-Vario).
On the left hand side of the LCD are the buttons with the same layout as the X-Vario, from the top
Delete / Focus (delete in Play mode, focus options when in AF mode)
WB (White Balance)
The whole setup is elegant and well thought through: both flexible and straightforward.
The only other change from the X-Vario is the hot-shoe. This is the same as the Leica T, with the EVF connector in the inside edge; the Typ 113 uses the same Visoflex EVF as the Leica T with a 2.36 million dot unit (probably the same basic unit as the Sony A7, the Olympus E-M1 and the Fuji X-T1).
The Lens
Finally! A fast lens in a Leica X camera, and this lens is a real cracker – it’s a 23mm f1.7 (35mm equivalent). It’s commendably small, and has internal focusing, so that it doesn’t change length, either when the camera is switched on, or during focusing. It has a proper manual focus ring, with a distance scale, unlike the normal ‘focus by wire’ found on similar, small, fixed focal length cameras. Auto Focus is enabled by turning the focus ring beyond infinity (there is a firm detent).
The lens focuses right down to 20cm, although (like the Leica T) the maximum aperture is reduced to f2.8 at the closest focus distance to ensure the best image quality
Ergonomics and Operation
Although larger than the X1 and X2, many will feel that Anna-Louisa is the perfect size for street and travel photography. The thumb wheel housing acts as a good stability aid (smaller but almost as good as the winder lever on an M6) and the controls are perfectly clear and obvious; there are no programmable buttons, and the only button which changes it’s function is the Delete/Focus button.
Of course, it would be nice to have a built in EVF, but the new Visoflex works well with the camera. Unlike the old EVF on the Leica M and the X-Vario it has an eye level sensor, so there is no need to press a button to change from LCD to EVF.
Anna-Louisa is certainly no sports camera, but it is responsive and there are no obvious delays when shooting.
The shutter is almost silent and shutter lag is minimal. Auto focus is quick (although less reliable at closest focus and infinity – hopefully this can be improved with a firmware update). Manual focus with the proper focus ring is a joy, and although the camera doesn’t have Focus Peaking, it does have the central square zoom in focus assist of the X-Vario.
The new arrangement with the higher resolution EVF and the eye sensor LCD/EVF transfer are real improvements over the X-Vario. Added to this all the good points of the X-Vario in terms of controls and ergonomics have been retained.
To my mind the Leica X (Typ 113) is the X camera come of age. Straightforward and logical operation coupled with a familiar form factor and a wonderful fast lens. It doesn’t offer the bells and whistles of some of the competition, but it does offer manual control of Shutter Speed, Aperture, Focusing, White Balance, ISO and exposure compensation all with labelled controls, it also has the fastest lens in it’s class.

Paris and a Leica, a marriage made in heaven

paris group

The Leica Meet on Aug 27th in Paris was a special event for two reasons. Firstly it was a genuinely international Meet. We had members visiting from Germany, Holland, Italy, Malta, Portugal, Switzerland, UK and of course France. Secondly it celebrated our first year as a group! A year in which three guys who didn’t even know one another when they met to shoot along the South Bank of the Thames in Aug 2013, then went on to set up a Facebook page and website with a membership currently approaching 5,000. Paul Borg Oliver decided to nickname Stephen, Gavin and myself, ‘the three musketeers’ and that was particularly appropriate as we were in Paris.

Fuelled by coffee/croissants courtesy of The Leica Store Paris we set out to explore this wonderful city. With around 36 people it wasn’t practical to walk together so we split into groups and periodically met up. Fortunately we had Laurent Scheinfeld, James Kezman and Cyrille Bailly who lived in Paris and showed members, areas with different characteristics. With the occasional stop for coffee plus lunch the day bubbled along with newly made friendships. It was fascinating to note the variety of seeing and shooting styles from zone focusing/holding the camera anywhere except at eye level, to asking permission, engaging with the subject and becoming part of the process. Conversations ranged far and wide but always came back to Leica and no doubt several items have been added to several wish lists.

The brief was simply to shoot our personal interpretation of the areas we visited. Although we had ample opportunity for urban landscape and architecture, the magic of Paris is in the street. The city seems to have a joyous energy that effects both tourists and locals. With so many opportunities all around, most of us shot in the Street genre. It was here the Leica M series blossomed. They seemed tailor made for this kind of environment. Relatively small and light in weight and bulk, the camera gets out of the way so we can get on with making the image. A marriage made in heaven. As you’ll see from the accompanying gallery we have some very talented photographers in our group and we’re proud of the work created in a just a few short hours.

We’d agreed to meet back at The Leica Store at 18.00. We expected ‘some wine and cheese’. But we were in a for a shock. There were four different wines, six different cheeses, cold meats and hand made chocolates! The generosity and hospitality of Gaelle and Emmanuele from the Leica Store was amazing and truly appreciated. We could not have asked for a better end to the day.

We like to say that our Meets are not workshops. There are no teachers and no students. However the reality is that if you are open minded there is always something to be learned from someone in such a creative group.

As for the three musketeers; we would like to say a huge thank you to all our members who attended and made it so enjoyable. We missed the fourth musketeer, D’artagnan (aka Eileen McCarney Muldoon) who is based in Rhode Island, USA.

However,  she is more than compensating by running a Leica Meet in Boston on Oct 15th. It’s called the Boston T Party to celebrate Leica making some complimentary Model T cameras available for the day. Check it out it’s going to be a creative and enjoyable day. One for all and all for one!

Olaf Willoughby

I Want to See the Tower by Laurent Scheinfeld

Some of the most rewarding aspects of The Leica Meet are the new friendships and the remarkable talent we encounter. One such person is Laurent Scheinfeld, a Paris based photographer with a unique perspective on that iconic travel destination, the Eiffel Tower. Here he describes his fascinating project.

Millions of people dream to see the Eiffel Tower. Trocadero esplanade, which undoubtly is the best view point for admiring the Tower, counts several millions of tourists from all over the world, every year. Surprisingly, the dream becomes reality and the place then offers a strange ballet of people shooting themselves in front of the Eiffel Tower, playing with its image as if it was a goal in life to get their own picture in a posed or grotesque attitude in front of the Tower. I love my native town Paris and I love the Eiffel Tower. Through a social and psychological analysis of the viewers, I try to catch the decisive moment when the people and the Tower are in harmony; the Towers’ ubiquity disappears and leaves the viewers in a state of grace.  Is there anyone on Earth who didn’t one day say, “I want to see the Tower?”

Watch out for my ‘Meet the Leica Meet’ interview with Laurent on The Leica Blog later this year. Olaf.


Cars, Cameras and Confidence by Marc Hartog

If you have never visited the Le Mans Classic, and if you have even the slightest interest in cars or motorsport, add it to your list of things to do before you die – there is simply nothing else like it.

Held every other year in early July, at the same 13.6km circuit as the better-known “24 Heures du Mans” annual endurance race, no other car-related event I have attended comes close to touching all of the senses and creating that sense of palpable excitement that often eludes us as adults – and provides so many amazing photo opportunities, in one place.



In the last 18 months I have discovered the simple enjoyment of shooting with a Leica M, and have also made a more concerted effort to think about what and how I want to shoot. Photography for me is a hobby. My real job is as the CEO of a media company, Apptitude Media, but we do happen to publish the British Journal of Photography so I have daily inspiration in the office. We also publish the world’s first magazine designed for the iPhone, fltr, which champions smartphone photography. My own editorial team has banned me from sneaking my own pictures into the magazines, so I was delighted to be invited to contribute to the Leica Meet blog!

This was to be my third time at the Classic, and remembering that the circuit and accessible areas are vast, we figured bikes would be a good idea, and managed to insert fold-ups in to our relatively limited luggage areas, which were well worth sacrificing other things (like lenses and tripods) for.


Last time in Le Mans I lugged a large Lowepro rucksack with my trusty Nikon DLSR and about 8 prime lenses, a flashgun and tripod…and no room for a bike. All change this time – I carried a small, understated Domke messenger-style bag, containing three important cameras with almost no accessories – and, most importantly, I had a plan.

I packed my recently acquired M240 with 35mm Summilux f/1.4 Aspherical FLE lens, to document the action and the interesting people I knew I would find there from past experience. I set up my camera to be completely manual as I enjoy the challenge of picturing the end result and finding the right settings to suit each situation. I always set the camera to DNG quality for post-processing and find it useful to set the film mode to b&w (no filter) which I find helps test light and contrast, in particular as this event lends itself to black and white images.


Having never had any training or studied the ‘rules’ of composition, I am slowly finding my style and at the moment I am favouring shooting with a black and white slightly grainy feel in mind, wide open most of the time, and cropping to 16:9, all of which was in my mind as I was taking pictures. I only updated the firmware this week and was delighted to see that crop lines have been introduced, so with the EVF or in LV I can set the lines to 16:9 and it takes the guess work out of the equation…one less thing to worry about!


I also had my iPhone to capture fun things to share immediately with friends who were not able to join us, and I bought a Go Pro Hero 3 the week before I left, with the plan of mounting it to the cars for the journey, and catching some super-wide angle action at the event.

As with the main Le Mans race, the Classic is 24 hours of racing, but divided in to six separate period races, ranging from the 1920’s to the 1970’s. It is only open to cars that have the provenance of having actually raced at Le Mans in their period and when they race, they really race – including the classic start where the drivers stand on the opposite side of the track and have to run to their car, jump in and hope it starts.



This is where I did miss having a longer lens, and since getting back I have acquired a 135mm lens and an EVF, which I am looking forward to playing with. Fortunately the detail in the M240 files is superb and Lightroom 5 made light work of cropping in to the subject where ‘feet zooming’ was not possible.



Le Mans on an event weekend is a bit like the most expensive car park in the world, with incredible cars parked all around the circuit, often organized by the owners clubs, so it is easy to lose hours without even looking at the racing.

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This blog contains a small selection of pictures taken over the 48 hours we were in Le Mans, around the circuit and of the racing. Most of my night-time shots were shot wide open at ISO 3200 and I didn’t have to worry too much about lighting…the M240 just sucks in whatever is available. Oh, and I added grain to get the slightly filmic effect I wanted – the low light capabilities of this camera and lens combination are outstanding.



The most challenging photos I attempted were motion shots of the racing at night. It was very dark and even wide open with ISO set to 3200 I needed to shoot at around 1/30. I wanted to create a background blur with the main subject in focus, and I did not manage to achieve this…it is, of course, entirely possible that mild inebriation assisted the failure. But…I actually really like the effect of slight blur on the cars – they were going really, really fast and I think this imperfect picture actually captures the moment better than the way I was attempting to, or at least that is what I have convinced myself.


The paddocks are open access, which means you can photograph the engineers, drivers and these amazing classic machines up close. The pits and pit lane are, obviously, closed for authorized personnel, but more about that later…



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The ‘cars’ and ‘cameras’ referenced in the title of this blog post are obvious. The ‘confidence’ is there because I wanted to talk a little about how important being confident is when it comes to shooting who or what you want to.

From the several Leica Meet events I have attended in the last year, my own confidence has grown ten-fold. I no longer feel conspicuous or strange when wanting to capture a moment or an interesting face. Most importantly – and it could be the copious amount of wine consumed over dinner which helped – we decided to just walk over to the well guarded access gates to the pits, and see what happened. On the way there I remember saying to my partner in crime, Mike, “just look confident”, and we waltzed straight past security, through the gate, in to the pits, and in to the heart of the action.

Forget sitting in the grandstands, this was racing going on right before our eyes and, at night, in the rain, it was like watching theatre unfold before us – I think I caught some of the best shots I ever have, and I felt that childlike excitement whilst I was doing it. Forever-type memories, and all because of having a little bit of confidence.

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Unfortunately my battery gave up the ghost while we were in the pits…a lesson very firmly learned.

All in all a terrific weekend, and a rare opportunity to indulge in my two passions. I am already looking in to booking my trip for Classic Le Mans 2016, maybe we could do a Leica Meet there??!


Full set of images   –

by Marc Hartog


Making it Happen. Photographing the Buskaid Soweto String Ensemble by Olaf and Gavin

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My iPhone pinged and purred. The message was from Chris Marrington of Charlie Bravo Advertising in Johannesburg. It read, ‘Olaf, when are you back in the UK? Got a job that might interest you but it may not be possible to pull it off in time’. As I was chilling in the sun on the very lovely Church St in Burlington, Vermont the option of work didn’t seem too attractive but the idea of a challenge was too intriguing to pass up.

The brief was to arrange a video/stills shoot for the Buskaid Soweto String Ensemble who would perform in a public space in London on July 18th, the to celebrate the anniversary of Nelson Mandela’s birthday. They had just completed a UK concert tour funded by the Client, South African property investment company, Redefine. Buskaid raises money so that impoverished children in the township of Soweto can learn to play classical stringed instruments.

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Ideally the space would be Trafalgar Square as it is close by South Africa House. There were twenty eight musicians and two singers. The four cellists needed chairs and they needed to be on the bus to Heathrow at 10.00. The date of the message was July 2nd. Time to spare 🙂

With the Client in Johannesburg and me in Burlington we needed someone on the ground who could make this happen. And here all credit goes to my good friend, Leica Meet co-founder, DJ and music industry photographer Gavin Mills. A couple of Facebook msg’s and the game was on.

Gavin, over to you…….

……. organising this event was clearly a challenge. But after looking at online videos/info about the ‘Buskaid Soweto String Ensemble’ and finding out the great work they do, I wanted more than ever to help make this happen.

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First job. Get permission. With a professional group and corporate sponsorship, we couldn’t take the risk of turning up and being told to move on. I discovered that Trafalgar square is managed by two separate bodies. The GLA (Great London Authority ) control the Square while Westminster Council look after the terrace and the area around the square. The Terrace seemed right. A classical string orchestra with the National Gallery as a backdrop, a good match.

Getting the licence was a little more difficult than imagined. In July, the events department were inundated with Summer fixtures. I completed all the appropriate forms but the waiting times were too long for our deadline. I must have driven them mad, calling every day, (I was on first name basis with most of the department by now) but there was now only a week to go.

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Meantime I organised the film and sound crew. I called Mark Kemp (link below) who specialises in short promotional films and covers events for companies like Agent Provocateur and Fashion TV as well as some of my own music events. Mark introduced me to sound recordist, Jassim (link below) who had one of the most difficult challenges of all, recording a full string orchestra in an open air space full of traffic and tourist noise, with only minutes to test sound levels. He was up for the challenge.

All we needed now was a licence and we were all set. Disaster struck when, with less than a week to go, the council refused permission.

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After all that work, we weren’t going to give in and I spoke with the decision makers. They explained they already have problems with too many buskers, many of whom are illegal.

I countered that Buskaid is different. It is a good cause, our musicians had performed for royalty at Queen Elizabeth Hall the previous night. All we were asking for was thirty minutes on a Friday morning to celebrate Nelsons Mandela’s Birthday. The council gave us permission. Perfect!

We had our permit and our team. It felt like the Magnificent Seven, except we were six. Mark and Kathy on video, Jassim and Joao on sound. Olaf and I on stills.

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Olaf chose a 24mm Summilux and 90mm APO , whilst I had my Voigtlander 15mm and a choice of 35mm lux/50mm Cron for a standard lens.

Although we both shoot with Leica M series cameras, our different approaches, meant we captured different aspects of the performance. Olaf is a ‘less is more’ kind of photographer, images telling a story in a less obvious way. Using a 90mm he would get close up shots of the band as individuals.

My brief was to capture the Orchestra in our majestic surroundings as an entire scene as well as catching special moments.

It was useful working as a pair with so many musicians and so much action. We couldn’t be in the right place the whole time. Instinctively if Olaf was shooting a particular angle I’d think that was covered and find another shot. It seemed to flow naturally. Perhaps because we already photographed together at Leica Meet events.

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Olaf, back to you…….

……. Our one nightmare was the weather. There is no shelter on the part of Trafalgar Square where we were performing and the stringed instruments couldn’t get wet. So waking on July 18th to pale grey skies and drizzle looked like a bad omen. Our team arrived early and we started setting up. We were supposed to film the musicians getting off the bus for the start to the video, but the call never came. So our first introduction was when a group wearing white Buskaid T shirts and huge smiles ambled across the square to say hi.


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The mood immediately lifted. The spirit of these talented young musicians filled the air and refused to dampened even when rain threatened. We improvised a new opening introduction by the Buskaid organiser and magically, right on cue, the sun broke through at 9.00, the time our permit allowed us to start filming. It is impossible to put into words the positive energy generated by the Soweto String Ensemble.

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Their enthusiasm is infectious, a foot tapping crowd gathered within minutes and there were four TV station interviewers present. Ordinarily, in spite of having a permit, we might have expected trouble from the authorities or stewards but when I explained what we were doing to a police officer, he replied, ‘Its great, take as long as you like mate’.

This was one of those commercial jobs which is both a pleasure and a privilege. It all came together seamlessly. A pro team, a great Client and a very worthwhile cause.

Somehow I couldn’t resist the thought that Nelson Mandela looked down and smiled upon us that day

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Here’s a link to the video we shot in You Tube


You can find out more about Buskaid’s great work here.

Here’s the agency which had the original idea:


With thanks to our team:

Mark on video:

Jassim on sound:



We can make your brief happen, contact us at: and

buskaid 15-L1000076


Using manual focus lenses on the Leica T


For several years I’ve been trying out legacy lenses on a variety of cameras. It’s great to be able to reinstate some of the lovely older lenses. I also have an unhealthy collection of M lenses, and although they mostly get used on my M cameras, it’s good to use them on other cameras as well.

I’ve tried using M lenses on the Sony A7 (quite good) A7r (not so good) Fuji X-T1, Olympus E-M1 and various other cameras. Some cameras produce colour casts with wider angle lenses, especially full frame cameras. None of them include the lens information in the exif – which is not quite a show stopper, but is irritating.  In the end I’d mostly given up on it – too many compromises, and most of the cameras worked better with their native lenses. An interesting experiment, but not that interesting!

When the Leica T came along last Autumn, and the Leica M adapter T and EVF appeared around Christmas time I was expecting to be enthused for a short while, and then rapidly run out of enthusiasm.  Not So Fast!

The first wonder was that the Leica Adapter T saves the exif data relating to the lens if it’s 6 bit coded – this is great – I like to know what I’ve been shooting with, I’m much to lazy to make a note of it, and not nearly clever enough to work it out from the image. Of course, this doesn’t work if you stack adapters – as in the example below, where I used a Leica M to R adapter on the Leica T to M adapter.


Semaphore – Lecia 60mm Macro Elmarit R

Focus Assistance.

Very soon after the introduction of mirrorless cameras with Electronic Viewfinders (EVF), various electronic focus helpers were introduced.

Zoom to Focus (The T has this)

Initially this seems like a great idea – point somewhere, zoom in, check the focus, zoom out take picture. . . Fine on a tripod, not so useful otherwise, as either you will have moved . . or your subject will, or both.

Added to which any idea of the composition of an image you might have has completely gone. With most cameras you can choose where to zoom in – with the T you can only zoom in to the centre spot, making it even more problematic (especially with lenses with a curved focus plane, in which case focus and recompose doesn’t work. either).

The Look

The Look – Leica 50mm Noctilux @ f0.95

Focus Peaking (the T doesnt have this)

The holy grail – at least, I thought it was, and was very adamant that it should be implemented on the M(240) – which it was. It seems like the perfect solution, as it shows you areas which are in focus without having to destroy the composition by zooming in and out.

But now I’m less convinced; it LOOKS good, but there are issues with it as well. Higher contrast areas are more likely to show in focus than low contrast areas. Worse than this, it’s almost imperative to focus wide open and then stop down – hardly the modus operandi for catching the ‘decisive moment’. The final problem is that it’s not always very accurate either.

Of course, I’m not suggesting that focus peaking isn’t sometimes useful, but having been a devout advocate I’m now much more equivocal about it’s use.

So, what’s a guy to do – his new camera has the zoom in, zoom out option (nicely implemented) but no focus peaking!


Explosion – Lecia 50mm Noctilux @ f0.95 on the new Leica Macro Adapter M

The Bride

The Bride – Lecia 50mm Noctilux @ about f2.0

The Solution

Having rather fallen in love with the T, I really did want to use some of my lovely M and R glass on it, I don’t like magnified focus assistance when I’m not using a tripod (and I don’t use a tripod very often).

The only solution seemed to be (shock horror) to focus with the EVF zoomed out. The fact that I really prefer to use the left hand dial on the Leica T for Exposure compensation rather made this the only option.

Focusing is practice (I told myself). So I’ve been practicing. . . and practicing; and it’s paid off. I’ve found that I can manually focus accurately with the Leica T and it’s EVF with all the lenses I’ve tried; sometimes I get it wrong, but not as much as the AF using the 23mm and the zoom. In fact, for static objects when there’s time to focus it works really well.

Although the camera has no focus peaking there is a kind of ‘shimmer’ that you can see with most lenses over the area which is properly in focus. It’s not as apparent as the focus peaking in other cameras,  but it’s usually more accurate.  This discovery has prompted me to turn off focus peaking on my M240 – with good results – usually better than with focus peaking on. Of course, it works over the whole frame; no focus and recompose required.

I recently received the lovely new Leica 90mm macro elmar, together with  the Macro adapter M from Leica. It’s wonderful fun on the Leica T, and I’ve had pretty much complete success focusing using just the EVF, and without even the zoom focusing aid. Which leads me to . . .

The Smile

The Smile – Lecia 50mm Noctilux @ about f4.0


Learning o b a grandfather

Learning to be a grandfather – Lecia 60mm Macro Elmarit R

The Ultimate Test

Having got to this point I thought I should try and work out a real test to see whether my instinct was right, and that focus assistance was only useful on a tripod. More to the point, that it was possible to use the EVF to focus without zooming in, and without focus peaking.

So, it had to be a wedding – the real test of any camera / photographer partnership.

We had been asked to the wedding of one of our eldest son’s very best friends, in fact, Silas was to be the best man. It was a lovely and informal humanist wedding at a country location, and there was a fine photographer employed to record the event. So I could afford to take the chance on complete failure.

Which lens to use? well, if it was to be a proper challenge, then it need to be a difficult one. The 50mm Noctilux was the obvious answer, and as it was a dull day, it was possible to shoot wide open at the maximum aperture of f0.95. So that was what I did; I shot the whole wedding with the Leica T and the Leica 50mm Noctilux M wide open (effectively 75mm at f.0.95) . I took around 600 images during the day, all of them focused using just the EVF, with exposure compensation on the left dial, so no focus assistance at all.

Of course, if I’d been responsible for the wedding photos I wouldn’t have dreamt of doing it like this, but actually the results are fine, interesting and different – obviously there are some out of focus shots, but there are always out of focus shots when you shoot at f0.95. There are also lots of good catches, and the album of the wedding has been very well received.

Perhaps more importantly, the camera was a real joy to shoot with in a wedding environment – nobody was phased by it – the almost silent shutter meant that you could shoot anytime anywhere, and the raised EVF meant that most of your face was visible, which is the best way to engage with your subject.


Gleaming – Lecia 50mm Noctilux @ f0.95


Posing for the camera

Posing for the camera – Lecia 50mm Noctilux @ f0.95.

The Conclusion

The Leica T is a fine camera in it’s own right, and with it’s own dedicated lenses. However the M adapter T is there to be used, and it really does do a fine job; populating the exif information and allowing us to use our favourite M lenses.

There is an instinct that we need these special tools to manually focus on an EVF, but the truth of it is that a bit of practice, and the excellent new EVF on the Leica T, make focusing accurately relatively simple at any aperture. No crutch (or focus assistance) is required, handheld focusing is perfectly straightforward, even in the most difficult circumstances.

Jono Slack.

See the full image gallery here:




Testing Taifun . . . The new Leica T by Jono Slack

The Leica T with the 18-56 Vario-Elmar Asph and EVF (shot with M and 75 ‘cron APO)

The Leica T with the 18-56 Vario-Elmar Asph and EVF (shot with M and 75 ‘cron APO)


The Introduction

Taifun has been the code name for the Leica T. I got a first glimpse of the camera when visiting Solms in May 2013; it’s a pity everyone’s first sight of the camera couldn’t be by having it thrust into their hands, it feels wonderful; completely solid and really beautifully made, but most of all it just seems quite different from anything else. Looking at pictures brings to mind several other cameras, but in the flesh (aluminium) it’s much more reminiscent of picking up a unibody Apple computer for the first time.

I received a prototype camera to test in October 2013, just before heading off to Lanzarote for a week. Since then Taifun has been to Cornwall, the Lake District, Sauze d’Oulx, Monaco, France and Holland and been through several iterations of hardware and firmware.

Please note that this report is not meant to be a review. As a camera tester my loyalties are to Leica, and it’s better to make this clear at the outset. On the other hand I like to think of myself as an honest guy, and there is nothing here which I do not believe to be the case. If I was not happy with the camera I would not be writing this article .

My intention is to provide some entertainment for others (like myself) who like to read about new cameras when they’re released. Worth noting also that this site has absolutely no financial benefit – no adverts, and I’m not being paid by anyone for writing the article. I do have an ulterior motive, but of course you can ignore it (see the end of the article).


The Leica T with the 23mm Summicron Asph and no EVF (shot with M and 75 ‘cron APO)

The Leica T with the 23mm Summicron Asph and no EVF (shot with M and 75 ‘cron APO)


The Camera

The Camera is made from a single block of Aluminium (unibody) with a Toughened glass screen on the back and a plug in EVF. The battery fits into a hole in the base of the body and it’s cover completes the case. the only plastic on the exterior is the SD card cover on the right hand side at the back. It’s really hard to convey the feeling of solidity this body conveys. It’s also worth mentioning that after months of heavy use the camera body itself and the LCD screen show absolutely no scratches, scuffs or signs of wear.

The strap is made of rubber – very flexible and grippy. It fits to the camera with removable posts – the camera comes with a little steel dibber (rather like the one an iPhone uses to change the sim card). The camera has blank posts – I imagine that Leica will also sell a wrist strap, which you can put on either side of the camera leaving the other side with a blank post (and therefore smooth body).

I’ve added some quick snaps of the camera – hopefully this gives you an idea of the real feeling of quality. Industrial chic at it’s very best. Of course, you might not like the design – but it’s hard to criticise the way it has been executed. The Unibody itself is very light and obviously very tough.

Leica have finally done what others should have done years ago, the Leica T has 16Gb of internal memory – it’s not as fast as one might have liked, but it’s there . . . . that ‘No SD Card’ message is a thing of the past!

For the first few months I had the camera, I didn’t have a strap at all, so it was a case of ‘hold it or drop it’. I had imagined that the slippery aluminium would make this difficult, but in fact I never did drop it.


The Battery forms part of the body, with a tough lever, and a neat push required to remove the battery 2

The Battery forms part of the body, with a tough lever, and a neat push required to remove the battery 2

The Unibody itself - Leica T with Leica M75 APO Summicron

The Unibody itself – Leica T with Leica M75 APO Summicron

The Unibody itself - Leica T with Leica M75 APO Summicron from the back

The Unibody itself – Leica T with Leica M75 APO Summicron from the back



Some may be disappointed that the camera doesn’t have a built in EVF; I presume that the decision was made to keep the size to the minimum.

However, as far as I can gather the new Leica built EVF uses the same panel as those in the recent Olympus, Fuji and Sony cameras – it’s very high resolution and has a decent refresh rate. It tilts, and has an excellent dioptre adjustment. It also has an entirely new method for attaching to the camera – with the connections being on the inside edge of the hot shoe, this means that it fits almost flush with the back of the camera, and that it doesn’t drop out easily. It also has an eye sensor, which is reasonably fast and makes using the camera with the EVF feel just like using one of the competitor cameras which have a built in EVF. Personally I think the rather industrial looking design fits in well with the rest of the camera.


Leica T with the 18-56 Vario-Elmar Asph and the EVF

Leica T with the 18-56 Vario-Elmar Asph and the EVF



An added bonus of the EVF is the built in GPS signal. This really seems to work very well – fantastic on a skiing holiday!.

You can see how the images show up on the screenshot of the map.


Screenview of GPS Map

Screenview of GPS Map


The Lenses

There are two Auto Focus lenses launched with the camera:

Leica T 18-56mm f3.5 to f5.6 Vario Elmar Asph (28 – 85mm equivalent)

Leica T 23mm f2 Summicron Asph (35mm equivalent)

There will soon be more.

The lenses are made in Japan, not, I understand, by Panasonic. At any rate they are lovely lenses with metal bodies and buttery smooth operation. The manual focusing is focus by wire, but it’s really nicely damped and certainly feels like a traditional M focusing ring. I’ll talk about the image quality later on, but these lenses are lovely pieces of engineering and a pleasure to use. The lens hoods are metal and plastic.


Vario Elmar 12-56 Asph 65mm f5.2 3200 ISO 1:100th sec

Vario Elmar 12-56 Asph 65mm f5.2 3200 ISO 1:100th sec


The Interface

Well, forget about it looking reminiscent of the NEX-7 (or any other camera). This is different! I understand that the design and implementation is all in house at Leica. They’ve taken into account new tablet and phone interfaces and designed an icon based touch screen model. It takes a while to get used to it, but it does seem to be internally consistent, and it makes more and more sense as you use it.


Knobs, Dials and Buttons

Excluding the shutter release, on/off dial there are only two dials and one button! However there are three touch buttons on the right hand side of the LCD screen which remain the same in shooting mode, and are part of the basic interface.


The shutter release has a collar with On / Off / Flash – push it further than On and the popup flash pops up.

The video button starts video recording – and is also used for firmware updates (hold down the video button and switch on)

The Three touch screen buttons on the right hand side of the screen are as follows (starting from the top):

Mode button – touch it and then choose P / A / S / M / Scn

Camera button – touch it and you are shown your personal choice of options (there are up to nine options per screen) – you can have more than nine, but will need to scroll to find the lower ones. Removing options is as simple as dragging them to a bin. Adding options is as simple as dragging them from the Menu to the Camera icon.

Info button – this changes what you see on the rest of the LCD


The two dials function depending on the Mode chosen:

P mode – the left dial is user configurable (and sticky) the right dial is program shift

A mode – the left dial is user configurable (and sticky) the right dial is Aperture

S mode – the left dial is user configurable (and sticky) the right dial is Shutter Speed

M mode – the left dial is Aperture, the right dial Shutter speed

This varies slightly with M lenses attached via the adapter, more about that later.

Configuring the left hand dial is done simply by tapping it’s icon and choosing from a list.

I won’t go into much more detail about the interface – I’m sure there will be lots more information all over the internet. But it’s nothing like the complex and arcane systems on many other modern cameras – Leica have pared it down to basics. To me, the proof of it’s success is that you can put the camera down for a few weeks and then pick it up and use it again without getting confused.


Leica T 23mm Summicron at f3.5 ISO 200

Leica T 23mm Summicron at f3.5 ISO 200


The Other Lenses

The Leica T has an adapter for using Leica M lenses – there is a 1.5x conversion factor, so that a 50mm M lens will behave like a 75mm lens on the Leica T. There is an optical pass through for the 6 bit coding on Leica M lenses, so that the camera knows which lens is being used. I’m not sure whether Leica has applied lens corrections, what I am sure of is that the camera works really well with all the M lenses I’ve tried (even the tricky 28 summicron). When you attach an M lens the left hand dial defaults to focus magnification, which can be set at 3 times or 6 times. There is no focus peaking, but I’ve found focusing to be really straightforward.

The lack of AA filter really makes the most of your collection of M and R lenses. I had rather despaired of finding any non M camera which would do this. It seems that I needn’t have worried.

I’ve also tried a number of other lenses by stacking adapters. Leica R lenses work really well – I’ve especially enjoyed the 60mm macro elmarit and the 80-200 f4. I’m rather hoping Leica will make an R adapter with a read through for ROM lenses, but I have no knowledge about this. Certainly there is no reason that other companies might not make 3rd party adapters for different lenses.

Just as a little aside, the Leica T mount is noticeably larger than the Sony E mount (my casual measurement has the Sony at 46mm and the Leica T at 50mm). . . . I’ve not even discussed this with Leica, but I really see no reason why they couldn’t make a full frame camera later on with the same mount.


Leica M Noctilux Asph at f0.95

Leica M Noctilux Asph at f0.95


Leica 60mm f2.8 macro elmarit at f2.8 1:800th

Leica 60mm f2.8 macro elmarit at f2.8 1:800th

Leica 60mm f2.8 macro Elmarit at f2.8 1:125th

Leica 60mm f2.8 macro Elmarit at f2.8 1:125th


The Images

The Leica T has a 16mp APS-c sensor. I guess that it’s a Sony manufactured sensor similar to the XVario and various other cameras. At any rate, the results are excellent – sharp, contrasty and very detailed. The camera has no AA filter; together with this, the very wide lens mount and the excellent M adapter makes for a compelling body to shoot with legacy lenses.

Keeping to 16mp is an interesting decision, especially in a climate where the megapixel wars are raging again. However, it’s a relief to have files which load reasonably fast, and which are perfectly capable of being enlarged up to 20” and more.

The resulting files are excellent – Leica have done a grand job with the jpg engine, and you can easily configure how you like your jpgs cooked in the touch screen menu. Of course, it’s the DNG (RAW) files which really matter, and they don’t disappoint. I imagine the camera will be shipping with Lightroom 5, and the T images already work very well – lots of latitude for recovery of highlights and shadows and excellent colour and dynamic range. High ISO doesn’t disappoint, 3200 is excellent and 6400 is normally quite useable.

Great files are nothing without great lenses, and the first two Leica T lenses are excellent. The little 23mm Summicron Asph is sharp from corner to corner, right from f2 onwards. The kit lens is also an excellent performer – I’ve been using kit lenses from Sony, Olympus, Fuji and Panasonic over the last few months and the 18-56 Leica Vario-Elmar Asph f3.5/f5.6 does an excellent job. Of course, it would be nice if it ware a little faster, but on the other hand it’s a useful range (28-85) and it’s remarkably small.


Octopus in Lanzarote with the 23mm Asph Summicron f4.5

Octopus in Lanzarote with the 23mm Asph Summicron f4.5


The Comparison

Clearly it has to be done – I’ve spent the last months checking out all the top-notch mirrorless cameras – they all have their good points, and they all have their bad points. Certainly, if one is going to choose a camera based on a check list and a budget, then you would be unlikely to choose the Leica T.

If you’re interested, I’ve written a tongue in cheek article on the subject Gas and Mirrorless, where I finally came out in favour of the Olympus OMD E-M1 (but of course, I couldn’t mention the Leica T!) , You may find some of the images familiar – for much of the last 7 months I’ve been trekking around with a bag full of cameras! It’s been an interesting mission to make sure that nobody actually noticed the Leica T. I’ve spent considerable time with the Sony A7, (and the A7r) the Fuji X-T1 and the Olympus OMD E-M1, all of which are excellent cameras with excellent specifications. I’ve also spent a lot of time comparing images from the different cameras.

In terms of features, the Leica T is missing the built in EVF of the other cameras – on the other hand it does have GPS built into the plug in EVF. Added to which, with the new connection, and with a reasonably quick eye sensor the plug in EVF works similarly to those in the other cameras and has the obvious advantage of being tiltable (having said this the competitors all have tilting LCD screens which the Leica T is missing).

The Sony, Fuji and Olympus all have a huge number of features, whereas, in comparison the Leica T is much less bewildering; Of course, this is a double edged sword, from my point of view a camera has to be able to take the image, anything else I’d rather be without! Certainly, configuring and shooting with the Leica T is a much more straightforward matter than with either of the three competitors.

The OMD has built in Image Stabilisation, but the 2x crop factor makes it less useful with M and R lenses than the larger sensor of the Leica T. I think I’d say that with it’s pass through adapter and very quiet shutter the Leica T is probably the best of the bunch with respect to M and R Leica lenses. Unlike the competition it doesn’t have Focus Peaking, but it does have very good focus assist, I’ve found it really easy to focus – even with the Noctilux on the OUFRO!

I’m not going to go into a more detailed comparison. However, I will say that the images from the Leica are right up there with the best of the competition. I will also say that the delightful snick of the Leica shutter is in stark contrast to the clattering of the Sony A7r, and is quieter then either the Fuji or the Olympus. As you can see from the picture below, it also makes for a smaller package.


Rogue’s Gallery - Leica M, Sony A7, Leica T, Olympus OMD E-M1, Fujifilm X-T1

Rogue’s Gallery – Leica M, Sony A7, Leica T, Olympus OMD E-M1, Fujifilm X-T1


The Conclusion

Whatever else, the Leica T is an interesting and likeable camera. It takes excellent photos and is definitely a breath of fresh air in the face of the rapidly increasing menu systems of it’s competitors. It’s also rather ironic that whilst getting more complex, the Japanese companies seem to have been looking more retro.

I haven’t gone into the performance of the camera in much detail – mainly because I’ve been working with pre-production firmware which is always slower than the final iterations. However AF seems to be pretty snappy (although there are no phase detect points). Touch focusing on the LCD screen works really well; it would be nice to see Leica implement a touch-shutter (I’ve asked – perhaps they will).

I had always felt that Leica would do well to join the µ43 rather than inventing a new lens mount (especially considering their connection with Panasonic). I’ve changed my mind – the new lenses really are lovely, and the very large lens mount does seem to keep their options open for the future. New lenses are coming later in the year, and in the meantime shooting with Leica M and R lenses is a really viable option. I’ve been using the R 60mm macro Elmarit and the R 80-200 f4 zoom, together with the M135 APO Telyt, and there isn’t much that’s more fun than shooting the Noctilux wide open with an extension tube.

The image quality is excellent and the camera is fun to use, easy to carry and a lovely object. It also opens exciting new opportunities for Leica; I’m sure that new bodies will follow, but in the meantime we have a capable and very different camera to use right now. I certainly want one!


More Shots from the Leica T by Jono Slack.


Scarlett Rose Slack taken with the Leica T and the Leica 135mm Apo Telyt at f3.4

Scarlett Rose Slack taken with the Leica T and the Leica 135mm Apo Telyt at f3.4


The Ulterior Motive

Our Grand-daughter Scarlett Rose Slack was born in Norwich Hospital on 26th April 2013. She should have been born on August 6th, making her more than 15 weeks early. For a while things were very scary and frightening for her parents, and very unpleasant for her (all those tubes and drugs). When she was born she was 1lb 10oz (740gms)

The Staff at NICU looked after her with huge dedication and attention, and her parents were very brave. She was in NICU for 73 days. When she left hospital for home she weighed nearly 4lb.

Scarlett was very angry and very determined. Now, Almost a year later, She is a feisty and charming young lady, deeply in love with her brother Oscar, and giving her parents the run around big time.

To help NICU to provide the best possible service to other lucky babies, and also as a sign of recognition of what they have done for Scarlett; some of Scarlett’s relations and friends are doing a 100km bicycle ride on the day after her first birthday (yes, me too I’m afraid).

If you would like to donate to a fantastic cause, please log on to Scarlett’s Cyclers Virgin Giving website: Click on  Scarlett’s Cyclers below. I have also put together a ‘roll of film’ (36 images) to celebrate Scarlett’s first year  –   Some of them are with Leica T – I hope you enjoy them.

This is also a good opportunity to thank the many many people who have already given so generously (you know who you are even if we don’t)


Scarlett’s first year (images)

Scarlett’s Cyclers (Virgin Giving Page)


Jono Slack

A Selection of Excellence from The Leica Meet (9)

A selection of some of the finest work contributed by our members in the last two weeks .


Stephen Cosh

ImageCarles Decors


Dirk Holvet


Roy DyBuncio


Yonathan Budi


Tommy N Armansyah


Ilovezachy Boy Borj


Luis Borges Alves


Rick Bronks


Axel Wohlbold


Benya Acame


Mike J Pratt


Benny Asrul


Herman e Patger


 Rod Higginson


Iwan Setiabudi


Tristan Blonz


Budi Wibowo


Jack Cheung


Oddy Kasim


Antonio Sánchez-Barriga


Sung S Lee


Teuku Adifitrian


Kresna Priawan


Spyro Zarifopoulos


Eileen McCarney Muldoon


Derlin Zhang



Benny Asrul


Fredrik Lübbe


Antony De


Lluis Ripol


Danny Ardiono


David Lykes Keenan


Nathanael Rony Sidharta


Iwan Setiabudi


Gavin Mills


Rossie Zen


Hun Shiun


 Yongkie Lie


Yonathan Budi


Stephen Cosh


Dian Savitri


Frank-Peter Lohoff


William Jusuf


Alvaro Lucena


David Feltham


Teuku Adifitrian


Henry Wang


 Amy Su


Mike J Pratt


 Carl Merkin