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.
As housing prices dip, so do DSLR values – and I say that’s a beautiful thing. True photographers never abandon gear just because it’s affordable. Like beer: you don’t dismiss a great lager simply because it’s reasonably priced.
To me, CCD sensors are that frosty-cold craft beer on tap, and street photography? That’s pure jazz.
So when I stumbled upon these streetball players lighting up a neighborhood court, I knew what to do: my Nikon D200 (CCD glory) paired with a manual-focus Leica Elmarit-R 28mm f/2.8 (≈42mm equiv.).
Shot on Standard JPEG straight out of camera.
The results?
Crisp. Gritty. Soulful.
Like that first sip of a perfectly poured German pilsner.
