Sure, most full-frame cameras boast 14-bit RAW CMOS sensors these days, while the Nikon D200 is “only” a 12-bit CCD. But there’s something special about its out-of-camera JPEGs—especially in the complex, ever-changing light after a rain. Paired with the consistent rendering of a Leica R lens, the look it produces is genuinely distinct.
Back in the day, limited access to information meant many excellent cameras flew under the radar. Nowadays, information is everywhere—yet it’s easier than ever to be swayed by trends. A Ricoh APS-C gets hyped to the skies; a plasticky Fujifilm rangefinder-style camera is talked about as if it outperforms full-frame models (｡ì _ í｡).
That’s why I remind myself never to chase what’s popular.
Take Nikon’s old CCD DSLRs, for example—they have a certain texture that feels strikingly film-like. Even when you push the shadows and noise emerges, there’s a graininess to it that, combined with the subtle rendering of a Leica lens in low light, closely mimics the look of film.
