For years, I’ve religiously shot JPG + RAW. When I wanted black and white photos, I’d always tweak them later in software. But lately, something’s changed.
I love the look of film simulations, but there’s a problem: coming back to edit digital files on a computer just kills the vibe for me. That moment of creation feels interrupted, almost… clinical. I’d capture a scene, then days later stare at a screen adjusting sliders. The magic? Faded.
So I’ve made a decision: If I want black and white, I’m doing it in-camera. Right there, at the moment of capture. No RAW safety net. No “I’ll fix it later.” Just me, the camera, and monochrome vision.
For now, at least – this is my experiment.
No more retreating to Lightroom for B&W conversions. If it’s a black-and-white kind of day, the camera’s film simulation or monochrome profile gets set before I even lift the viewfinder. It’s about trusting my eye in the moment and embracing what the camera gives me.
Is it risky? Maybe. Will I miss some editing flexibility? Probably. But does it feel more honest, more immediate, more… photographic?
In the world of 35mm photography, I’ve searched high and low for lenses that might replace Leica glass. The truth is, nothing truly does. Leica’s control over highlights and its unique way of rendering backgrounds are irreplaceable. Zeiss can’t do it. Nothing else can.
Secondly, the Nikon AF 50mm f/1.8 (non-D version, made in Japan) is the cream of the crop within the Nifty Fifty lineup.
However, I’ve also realized something else: often, any lens can replace Leica. Because photography isn’t just about a lens’s “character,” nor is it solely about scrutinizing highlights and bokeh. Ultimately, it comes down to content and presentation. This hit me after comparing the Leica Summicron 50mm f/2 and the Nikon 50mm f/1.8 (Japan, non-D). The D version is reportedly good too, but there are whispers that the non-D is better due to slight differences in the glass formulation. I snagged an almost mint, boxed non-D version for about 500 RMB years ago and barely used it. Hearing about its reputation recently is what prompted me to pit it against the Leica.
Sometimes, It’s Even More Pleasing Than Leica
At the same f/2 aperture, and sometimes even without zooming in to 100%, the Nikon gives me an impression of being sharper and cleaner than the Leica. It’s crisp, even wide open at f/1.8 (within 5 meters). But if you keep pixel-peeping, you see the Leica still resolves more fine detail. So, if you’re not scrutinizing huge prints, this 500 RMB Nikon lens can actually look more pleasingly sharp than the Leica.
A weakness of older Leica lenses is that they can get soft when shooting distant subjects wide open, and strong highlights can produce a “glowing halo” effect (“圣光” sheng guang). Even the highly-regarded Summicron isn’t the best choice for distant landscapes wide open. The Nikon Nifty Fifty? Well… it actually holds up better than the Leica at distance…
When Are They Most Similar?
I find that in simple, even lighting – flat, uncomplicated light without high contrast – it’s incredibly hard to tell them apart, both in focus and out of focus. They look like dead ringers. Only in subtle color tonality might seasoned veterans spot the Leica’s characteristically stable and nuanced rendering.
Sometimes the Nikon “Blows It”
Yep, sometimes, for no apparent reason (not metering error), it just blows highlights terribly. This happens roughly once every 300 shots or so – not super frequent. If you’re not comparing directly to Leica, you might just trash that shot and move on. But in a direct comparison, the Leica’s consistency shines through.
Low Light Shows the Real Difference
The legend about Leica excelling in low light? It’s absolutely true. Frankly, many people avoid shooting in dim light because the results are often muddy, dark, and unpleasant. But Leica pulls out distinct layers from the shadows. The transitions between highlights and deep shadows are smoother, richer. Photos taken in these conditions aren’t just viewable; they can be captivating.
It’s Not About the Camera Body
Sure, camera bodies make some difference, but in the digital age, the lens’s impact is far greater. The difference between CCD and CMOS sensors is nothing compared to swapping lenses. While the Nikon Nifty Fifty can sometimes stand in for Leica, it can never fully replace it.
Think of it like the NBA during Yao Ming’s era: If the Leica Summicron 50 was Tracy McGrady, then the Nikon Nifty Fifty would be Bonzi Wells – the super-sub off the bench who could light it up.
Can you guess which lens took the left and right shots?
1. The Pentax KM: A Love Letter to the Anti-Cool Kids
Let’s get real: owning a Pentax is like joining a secret society where the password is “I don’t care what you shoot.” My Pentax KM? It’s a brick-shaped time machine to 2008—a CCD-sensor relic that weighs more than my emotional baggage and smells like nostalgia and stale camera bags.
Is it cutting-edge? No. Does it make my Leica-owning friends sneer? Absolutely. Do I adore it? Like a Labrador loves mud.
pentax km
2. Pentaxians: The Unspoken Brotherhood of Weirdos
Pentax users aren’t photographers. We’re custodians of chaos. We’re the folks who:
Still shoot M42 lenses with duct-taped adapters.
Argue that screw-drive AF is “vintage charm,” not “glacial slowness.”
Own cameras in mustard yellow and call it “aesthetic.”
Fact: If you meet a Pentaxian, befriend them. They’ll remember your name in 20 years. Sony shooters? They’ll forget you before you leave the parking lot.
pentax km
3. The “Pentax Slow” Manifesto
While Nikon and Canon raced to mirrorless, Pentax did… nothing. Gloriously. Predictably. On brand.
2005: Everyone ditches M42 mounts. Pentax: “Hold my vintage Takumar.”
2010: In-lens motors are standard. Pentax: *“Screw-drive AF 4eva!”*
2023: Full-frame mirrorless dominates. Pentax: *“APS-C DSLRs are the future… of 2006.”*
Why? Because Pentax moves at the speed of a sedated sloth. And we love it for that.
pentax km
4. The K-01 Incident: When “Ugly” Became a Flex
In 2012, Pentax released the K-01—a butter-yellow brick designed by Marc Newson. Critics called it “the world’s ugliest camera.” Pentaxians called it “perfect.”
Why? Because it wasn’t trying to be pretty. It was a middle finger to sleek minimalism. A clown car in a world of Ferraris. A camera only a Pentaxian could love.
Lesson: If your gear doesn’t make strangers point and laugh, you’re doing it wrong.
5. Buttons That Teach You Photography (No Degree Required)
The KM’s genius? Its controls are a photography textbook in physical form.
Green Button Magic: Set exposure like a wizard.
Trap Focus: For manual lenses, it’s cheat codes for perfection.
Menu Logic: So intuitive, even your cat could use it.
Meanwhile, Sony menus:“Enter password and retinal scan to change ISO.”
6. That CCD Fairy Dust
The KM’s CCD sensor doesn’t take photos. It bottles sunlight and whispers secrets.
Colors: Like Kodak Gold on antidepressants—warm, fuzzy, and slightly rebellious.
High ISO? Grain like “artistic intent,” not “sensor failure.”
Night Shots: With a tripod? Sharp enough to cut glass. Without? Abstract expressionism.
Fun Fact: My KM’s JPEGs from 2011 still glow brighter than my future.
7. The Vivitar Lens That Shamed My Wallet
Paired with a $20 Vivitar 135mm f/2.8 (bought for “Leica-like focus throw”), the KM became a low-light monster. Tack-sharp? Check. Creamy bokeh? Check. Street cred? Off the charts.
Take that, $2000 G-Masters.
8. Why I (Almost) Betrayed Pentax
I sold my KM for a Sony NEX-5C. I regret it daily. The Sony feels like a spreadsheet. The Pentax? Like a warm hug from your weird uncle.
Proof: Pentaxians don’t upgrade. We mourn.
Final Confession: I Miss My Brick
The Pentax KM taught me:
Loyalty > Megapixels.
Character > Spec Sheets.
Community > Clout.
So here’s to the slow, the stubborn, and the gloriously uncool. To the screw-drive AF and the mustard-yellow K-01s. To the CCD glow that outshines modern sensors.
Pentax isn’t a camera brand. It’s a cult. And I’m drinking the Kool-Aid.
pentax km
The Pentax K-m is a compact, entry-level digital SLR released in September 2008, designed for first-time DSLR users transitioning from point-and-shoot cameras.
Sensor: 10.2-megapixel CCD sensor (same as the K200D, similar to Nikon D60 and Sony A200), delivering rich, film-like colors.
ISO range: 100–3200.
Lenses: Ships with the smc Pentax-DA L 18-55mm f/3.5-5.6 AL and/or smc Pentax-DA L 50-200mm f/4-5.6 ED (lightweight kit lenses). Fully compatible with all Pentax K-mount lenses, including manual lenses with adapters.
Autofocus: 5-point SAFOX VIII AF system with cross-type sensors for accuracy, though simpler than the 11-point system in the K200D. Supports trap focus for manual lenses (more below).
Body: Compact (122.5 x 91.5 x 67.5 mm) and lightweight (525g without battery), with a stainless-steel chassis. No weather sealing, unlike the K200D.
Shutter: 1/4000s to 30s, with a bulb mode. Continuous shooting at 3.5 fps (4 RAW or 5 JPEG buffer).
Viewfinder: 0.85x magnification, 96% coverage. No focus-confirmation points, a minor drawback for manual focusing.
Power: Runs on 4 AA batteries (rechargeable NiMH recommended), offering long life but adding weight compared to lithium-ion competitors.
The AIWA JX505 Walkman is my favorite analog audio player, and it’s in great condition. However, I don’t use it when I’m out doing street photography—after all, it’s quite old. I prefer to sit indoors and listen to music quietly, where the warm, sunlit sound quality of cassette tapes becomes the perfect respite from my street photography adventures.
Summer’s greatest delight is a light rain – light yet silky, much like the tactile sensation a Leica lens evokes. I no longer wish to annotate my images with gear talk; I don’t even plan to categorize photos by equipment anymore. I want to streamline my photography, to make it simpler. I might even shoot only JPGs, relying solely on in-camera filter presets. To make photography feel lighter, just like this passing drizzle on an afternoon.
Okay, I’ll admit—post-processing can make photos pop with vibrant colors or punchy contrast that grabs attention. But, you know what? The more I look at heavily edited shots, the more I’m drawn to the simplicity of straight-out-of-camera images. There’s something about those less “in-your-face” JPGs—more natural, less flashy—that just feels so refreshing. The Leica M8’s built-in JPGs? Yeah, the white balance can be a bit off, and the colors might not be textbook perfect, but somehow, I can’t stop loving them. It’s like a little bit of magic.
Let’s be real—sticking to your own path and not bending to please others is no easy feat. Leica’s big-aperture lenses, like the Summarit 50mm f/1.5, were kind of rushed into the ring to keep up with the heavy hitters from Zeiss, Canon, and Nikon. But even under pressure, Leica stayed true to its vibe. That signature micro-contrast? It’s still there, making every shot feel timeless and captivating, whether you’re using it on a film or digital camera. The Summarit 50mm f/1.5 might be one of Leica’s more affordable lenses, but trust me—it’s got that unmistakable Leica flavor, no compromises.
Only a Leica Elmar deserves the name Elmar. It’s the OG of 135mm format, the pioneer of 135mm lenses, and forever the gold standard for 50mm. Take its backlight sharpness—even today, it’s pure artistic magic. No other 50mm can nail that mix of dreamy flare, misty glow, sharpness, and detail all at once. It’s like how your eyes feel in backlit moments. The most legendary 50mm lens? Yup, it’s the Elmar, hands down!
Is an f3.5 aperture big enough? For street photography, I say it’s plenty! I often crank my Leica M8’s ISO to 1250, which gives a cool, film-like grain. Sometimes I shoot at f3.5, sometimes even smaller. On bright daytime streets, f3.5 handles any light just fine.
What’s that? Background blur? Okay, the Leica Elmar 50mm isn’t exactly a bokeh champ at f3.5, but hold up—can you say it lacks depth? That lens has a killer sense of space, something even f2 or f1.2 lenses from other brands can’t always nail for that street vibe. Maybe the Elmar was born for the streets!
