I agree with a lot of Doris' message, but you need to also factor in that
at around the time that some of these photographers were working, Leicas
were the nice small convenient camera to produce images with justa s some
painters use acylics just because they're easier, more convenient and in
that sense more pleasing to work with.
Stuart Phillips
Assistant Director, Professional Training Programs
Division of Continuing Education
University of Massachusetts Boston
Tel: (617) 287 7289
Fax: (617) 287 7297
email: stuart.phillips@xxxxxxx
-----Original Message-----
From: *- DORIS FANG -* [SMTP:sfsttj@xxxxxxxxxxxxxxxxxxx]
Sent: Sunday, August 01, 1999 3:43 PM
To: olympus@xxxxxxxxxxxxxxx
Subject: Re: [OM] Mandler 50mm f/2 Summicron-M tested
On Sat, 31 Jul 1999 PCACala@xxxxxxx wrote:
> Since I was a teenager I asked myself: Is it even worth it to get
whatever
> edge the lenses for the Leica have or are hyped as having? The answer
has
> always been no, esp. from a LOGICAL cost/performance viewpoint. I've
have
> always thought I could do the same quality work with an Zuiko - granted
that
> I'm not needing a 35mm f/1.4 lens (or other non duplicated lens) to get
the
> shot.
I hate hardware wars, but...erewith my 2 cent's worth...
If photography was about fiduciary logic, then the above would be right
on. Granted, it's only hardware, and it may not aid and abet your vision,
but...
The way I see it is, if the Leicas managed to work out for Henri
Cartier-Bresson, Lazlo Moholy-Nagy, Brassai, Garry Winogrand, Lee
Friedlander, Robert Frank, Ralph Gibson, Bruce Davidson, Martine Franck,
Robert Capa, Lewis Baltz, Mary Ellen Mark, Larry Clark, Elliott Erwitt,
Ernst Haas, Marc Riboud, David Seymour, Alfred Eisentaedt, Burk Uzzle,
William Eggleston, William Albert Allard, David Allan Harvey, and a
bazillion other top, world-class photographers (not to mention the
resulting work), even by Vulcan logic, Leicas might actually be "worth a
try."
*= Doris Fang =*
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