Leica M7 Bedienungsanleitung
M-System 2 / 3
Leica M System
The fascination of the moment – analog and digital
LEICA M8 new
LEICA M7
LEICA MP
Leica à la carte
Heine/Lenz/Zizka 09/06/CEGW/B
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1“24x36” Leica M photography portfolio
9Leica M System
21 LEICA M8 new
29 Simon Wheatley uses the LEICA M8
35 LEICA M7
41 LEICA MP
45 Leica à la carte
50 LEICA M7 entry set
51 Leica M lenses
56 Accessories
62 Technical Data LEICA M8
64 Technical Data LEICA M7/MP
67 “24x36” Leica M photography portfolio
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“24 x 36” Leica M photography portfolio
Leica M pictures are unmistakable. They represent a very individual
style of photography – they have the power to strike a chord, fascinate
and surprise. In 1925 the Leitz company defined the 24 x 36mm mini-
ature format with the camera developed by Oskar Barnack. Since then,
reportage photographers have used their discreet and fast Leica M
cameras to shape our view of the world. “24 x 36” is the title of an ex-
hibition of current work by M photographers. This brochure includes
some of the images, representing outstanding examples of how Leica
cameras can be used to develop a conscious vision and design, to
highlight intensive involvement in a theme and to convey personal
messages from the heart of everyday life.
The photo galleries on the Internet show you how photography is de-
veloping right now with the new digital LEICA M8. The www.leica-
camera.com website features a continuously changing selection of
exciting new M8 pictures.
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PHILIPPE BORDAS (France)
From the series “L’Afrique à Poings Nus”,1988 – 2000
The title of the work – “Africa with Bared Fists” – indicates what it is all about – sport at grass roots level. Sport
as a medium of social advancement. For several years, Philippe Bordas observed, interviewed, photographed and
created portraits of young boxers in Kenya and wrestlers in Senegal. The result is not classic reportage, it is a true
epic, combining both color and the traditional stylistic device of black and white, and incorporating letters and
small drawings as well as diary notes. Bordas’s book of the same name and his exhibition in Paris proudly demon-
strate his enthusiasm for the theme. Not to mention being a great example of a new concept in documentary
photography.
Cameras : LEICA M4-P, LEICA M6 / Lenses : LEICA SUMMICRON-M 35mm f/2 ASPH.,
LEICA SUMMICRON-M 50mm f/2
Courtesy of Philippe Bordas
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“24x 36” Leica M photography portfolio 2 / 3
JOHAN WILLNER (lives in Stockholm)
“Priego de Cordoba”, 1996 (from the “Point Blank” series completed in 2003)
What sets young photographers like Johan Willner apart is their familiarity with the history of the medium.
They have definite role models in mind – photographers who show them the way to achieve their own extreme-
ly personal and dedicated photographic art. For Johan Willner, it is Robert Frank. More than his imagery,
what the Swede aims to emulate is his quest to replace the idea of photographs as documents with complex
yet intelligent and subjective visual commentaries. Willner studied at the ICP in New York in 1995/96. His
work appeared in exhibitions in Stockholm, Lund and Orléans and, in 2004, he was undoubtedly one of the
most notable talents in the portfolio reviews in Madrid (Photo España).
Camera : LEICA M4P / Lens : LEICA SUMMICRON-M 35mm f/2 ASPH.
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ALEX WEBB (1952, San Francisco – lives in Brooklyn/New York)
Outskirts of Tijuana,1995
In Alex Webb’s photographs, it is hot. At least it normally is. The titles of his books bear witness to this.
“Hot Light” (1986) was his first. “Under A Grudging Sun” (1989) was his second. His third was called
“From The Sunshine State” (1996). Actually, to be more precise what matters to Webb is not heat but
the specific character of Southern light – its interplay with hard shadows is the “raw material” for his
intensely colored, sometimes downright graphic imagery. A full member of Magnum since 1979, within
the agency Webb stands for a newly discovered interest in color that has emerged since the1970s.
Numerous prizes, including the Leica Medal of Excellence in 2000, have constantly reaffirmed the excel-
lence of his photography, which effortlessly bridges the gap between magazines (“GEO”, “Life”, “Stern”)
and the gallery.
Camera : LEICA M6 / Lenses : LEICA ELMARIT-M 28 mm f/2.8, LEICA SUMMICRON-M 35 mm f/2 ASPH.
Courtesy of Alex Webb/Magnum Photos
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“24x 36” Leica M photography portfolio 4 / 5
RAGNAR AXELSSON (1958, Iceland – lives in Iceland)
From the “Vanishing Lifestyles” series, 1988 – 2003
He actually works as a photographic reporter for “Morgunbladid”, Iceland’s leading daily newspaper. At the
same time, however, Ragnar Axelsson is busy on a long-term documentary project, which saw him gain an
“honorable mention” at the Leica Oskar Barnack Prize in 2001. Axelsson has a great interest in lifestyles that
are on the verge of dying out in Iceland, and he has taken it upon himself to capture them in pictures. Wherever
an assignment for the newspaper takes him in Iceland, Greenland or the Faeroes, he seeks out individuals or
groups that represent a culture threatened with extinction. What sets Axelsson’s work apart is its sensitive and
clear yet, for an unusual subject, very accessible view of a world that is totally removed from the blanket global-
ization and harmonization of modern life.
Cameras : LEICA M4-P, LEICA M6 / Lenses : LEICA ELMARIT-M 28mm f/2.8, LEICA SUMMICRON-M 50mm f/2
Courtesy of Ragnar Axelsson
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ANDREA HOYER (1967 Göttingen – lives in Berlin, Moscow and New York)
From the “Russia, Kazakhstan, Uzbekistan and the Caucasus” series, 1998 – 2002
Andrea Hoyer was probably the biggest surprise in the photography world in 2003. Until she captivated
viewers at that year’s Oscar Barnack Prize, nobody had heard of this artist who – almost silently – had
completed years of work in black and white. Hoyer’s theme was the demise of the former Soviet Union,
but not in the sense of reportage dealing with social trends in the midst of new poverty and the nouveau-
riche mafia. Instead, Hoyer is interested in visualizing an atmosphere that may be familiar from Andrej
Tarkowskij’s films. Her imagery is both clear and complex, graphic and rich in references – including
almost surreal moments that hark back to the work of Cartier-Bresson.
Camera : LEICA M6/Lenses : 24, 28 and 35 mm
Courtesy of Andrea Hoyer
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“24x 36” Leica M photography portfolio 6 / 7
MATIAS COSTA (1973, Buenos Aires – lives in Madrid)
From the “Water Culture” series, 2003
Matias Costa presented his work to an international audience for the first time in 1999 at the highly regarded Photo
España festival, with his reportage shots of street children in Rwanda. It was immediately obvious that he was a
notable talent, who knew how to amalgamate a political message with thoroughly modern imagery. It is no surprise
that since then Costa has scooped several important awards including the coveted prize for photojournalism at the
Vevey festival (Switzerland), which is supported by Leica. His most recent, as yet unpublished, work (in color this
time) deals with Hungary’s bathing culture fed by its 1000-plus hot springs. Photographically, this was a demanding
theme, as Costa often had to shoot pictures secretly and using available light : classic terrain for the Leica M.
Camera : LEICA M6 TTL / Lenses : LEICA ELMARIT-M 24mm f/2.8 ASPH., LEICA SUMMICRON-M 35mm f/2 ASPH.
Courtesy of Matias Costa
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