Nikon Zf Review: Why I Switched from Leica CL for Travel Photography

After years of using the Leica CL for travel photography, I finally switched to the Nikon Zf—and I should have done it sooner. The breaking point? Getting caught in English rain on the Pilgrims Way with my non-weather-sealed Leica CL. In this Nikon Zf review, I'll explain why I chose this retro-styled mirrorless camera over the Leica CL for hiking trips and travel photography, covering weather sealing, IBIS, battery life, and real-world performance.

Why I Needed a Weather Sealed Travel Camera

When I got into the Leica cameras I use, I had built a kit around street photography, urban photography, urbex photography, and travel photography. The next thing I started doing was adapting vintage lenses to them. Then I started using TTArtisan glass on the Leica CL and loved it! My Leica SL2 now carries the 50mm APO Summicron L pretty much all the time as well. I love the SL2, but for a backpacking trip, it is probably not the best choice.

That experience changed everything for me. I realized I was babying my camera instead of using it. Every time clouds rolled in, I'd pack it away. Every time I saw a stunning scene but it was drizzling, I'd pass on the shot. That's not why I bought a camera—I bought it to use it, to capture moments, to not miss opportunities because I'm worried about weather. That's when I knew I needed weather sealing as a non-negotiable feature in my next travel camera.

The Leica CL served me well for years, but lack of weather sealing was a deal-breaker for hiking trips in unpredictable weather.

Why the Leica CL Didn't Work for Hiking Trips

The Leica CL, while perfect in size for travel, is not weather sealed… I came to this realization while hiking the Pilgrims Way in England a while back. (I did a small series of videos on this trip if you are interested) and this is when I came to realize that while the Leica CL is really small and lightweight, it is also not my favorite for hiking trip travel. Rain is a real threat in England and I was fortunate that my camera did not get caught in a cloud burst.

So knowing all of this, I started down the path of finding a new travel camera to shoot with…

My Requirements for the Perfect Travel Photography Camera

So knowing all of this, I started down the path of finding a new travel camera to shoot with. I looked at several factors to guide my choice:

1. The first was it had to be weather sealed or it was a no go for me.

2. The next is it had to have IBIS as I love shooting with vintage glass and this allows me to shoot at much slower shutter speeds while handheld.

3. I also wanted a full frame, 24MP sensor if possible as these (in 2024) have much better low light performance due to the larger photo sites on the sensor.

4. It also needed good battery life as these Leica mirrorless cameras just don't have great battery life for me.

These weren't just nice-to-have features. These were requirements based on real frustrations I'd experienced in the field. Weather sealing because of England. IBIS because I shoot vintage glass and hate carrying a tripod on hikes. Full-frame 24MP for those low-light church interiors and evening shots. Battery life because running out of power halfway through a hiking day is unacceptable.

Nikon Zf Features That Changed My Travel Photography

After searching for a year or so with no luck, Nikon drops a bomb on me with the launch of the Nikon Zf retro styled camera. You could have just as easily called it the "Nikon Special Custom Built Camera For Dave" and the name would have been accurate. HaHa!

I immediately fell in love with it…before I even laid eyes on one in person. When I see a new camera that I am interested in, I will search all about it that I can and see if it will fit my needs and do that at a price point that I am comfortable with.

The Nikon Zf mirrorless camera is a camera that checks all those boxes and more. You see I am in love with the retro-style camera design aesthetic like the Fujifilm XT-3 and now the Nikon Zf (as well as to a lesser degree the Nikon Zfc too). I owned the Fujifilm XT-3 for several years and it had two main shortcomings that made me want to move away from it over the years.

The crop sensor had pretty bad low light performance (it was 26 mega pixels so it was doing a lot of work to get it all in there) and the lack of IBIS in a mirrorless camera. Cameras at this time were coming standard with IBIS (In Body Image Stabilization) and I felt this was a huge misstep for Fujifilm on this camera. I, none the less, used it for several years anyway and to great effect too, but the lack of these two features was a nagging thought at the back of my mind the whole time.

Then Nikon came out with the Zfc and I initially was in love with it, but upon closer inspection, it was simply an XT-3 in a Nikon shell. Yeah, it had a few things that were newer and (debatably) better, but it still lacked certain things I wanted. I had resigned myself at this point to wait for a replacement to the Nikon Df or maybe something by Leica that was closer to what I was wanting. Well as fate would have it, Nikon saw the demand for the retro camera design and came out with the Zf—a full frame, IBIS, 24 megapixel, mirrorless camera loaded with all the magic that they could cram into the beautiful Nikon retro shell.

Nikon Zf vs Leica CL: Key Differences for Travel Photography

Let me break down the key differences between these two cameras for anyone facing the same decision I did:

Weather Sealing: The Nikon Zf is fully weather sealed; the Leica CL is not. This was the deal-breaker for me. If you're hiking in unpredictable weather or traveling to places with rain, dust, or humidity, the Nikon Zf gives you peace of mind. The Leica CL requires constant babying in anything but perfect conditions.

IBIS: The Nikon Zf has 5-axis in-body image stabilization; the Leica CL does not. This makes a massive difference when shooting with vintage manual focus lenses or in low light. I can handhold shots at 1/15th second with the Nikon Zf that would be impossible with the Leica CL. For travel photography where you can't always use a tripod, IBIS is a game-changer.

Sensor Size: The Nikon Zf has a full-frame 24MP sensor; the Leica CL has an APS-C crop sensor. The full-frame sensor gives you better low-light performance (larger photosites), shallower depth of field control, and generally more flexibility. The crop sensor on the Leica CL is excellent, but the full-frame advantage is real when you're shooting in challenging light.

Battery Life: The Nikon Zf's battery lasts significantly longer than the Leica CL. With the Leica CL, I'd carry 3-4 batteries and still worry about running out. With the Nikon Zf, two batteries get me through a full day of shooting with power to spare.

Size and Weight: This is where the Leica CL wins. It's noticeably smaller and lighter, which matters on long hikes. The Nikon Zf is not a huge camera, but it's definitely more substantial. For me, the practical advantages of the Nikon Zf outweigh the size disadvantage, but this is a personal choice.

Price: The Leica CL (when it was still in production) was more expensive than the Nikon Zf. Now that it's discontinued, you'd be buying used. The Nikon Zf offers better value for the features you get.

The Nikon Zf's weather-sealed body and IBIS make it ideal for unpredictable travel conditions and hiking with vintage lenses.

Real World Nikon Zf Performance: Travel and Hiking

So to be honest, I was still skeptical that this would be the next camera for me. I have gotten really comfortable using my Leica cameras and the thought of learning a new camera was really not that appealing to me. But the more reviews I watched on YouTube and the more I just looked at the camera in general, the more I liked it.

Since getting the Nikon Zf, I've put it through its paces on several trips, and it's delivered every time. The weather sealing proved itself on a rainy morning shoot where I would have packed the Leica CL away. The IBIS let me shoot handheld in a dimly lit museum with a vintage 50mm f/1.4 lens at 1/15th second and still get sharp images. The battery lasted an entire day of hiking without needing the spare.

The retro physical dials are more than just aesthetic—they're genuinely useful in the field. Being able to glance down and see my shutter speed and ISO without turning on the screen saves battery and makes adjustments faster. On a hike, every second counts when you're trying to catch changing light or a fleeting moment.

The full-frame sensor's low-light performance is noticeably better than the Leica CL's crop sensor. I can comfortably shoot at ISO 3200 or even 6400 when needed, and the files are clean. With the Leica CL, I tried to stay under ISO 1600 whenever possible. That flexibility matters when you're traveling and can't always control the light.

So for now, this is my new travel/street machine. It has wonderful rendition and is a joy to shoot with. I look forward to taking it on outings now and I have the 50mm f1.8 S lens if I want auto focus and to be able to access all the special features that have to do with the auto focus system. So going forward, there will be more about this machine as well as the two Leica camras I use as well. You see, those two machines are also wonderful cameras and I still enjoy using them too, I use them for certain things as I have found. But I still love getting them out and using them.

Nikon Zf vs Leica CL: Which Should You Choose?

Choose the Nikon Zf if:

• You need weather sealing for hiking, travel, or unpredictable conditions

• You shoot with vintage manual focus lenses and want IBIS

• You value battery life and don't want to carry multiple batteries

• You want better low-light performance (full-frame advantage)

• You're comfortable with a slightly larger/heavier camera for the features

Choose the Leica CL if:

• Size and weight are your absolute top priorities

• You primarily shoot in good weather or controlled conditions

• You're already invested in the Leica L-mount ecosystem

• You prefer the Leica color science and rendering

• You can find one used at a good price (it's discontinued)

For me, the practical advantages of the Nikon Zf outweigh the size advantage of the Leica CL. But I still appreciate what the Leica CL offers for lightweight urban photography.

Recommended Gear for Travel Photography

Support this website by using these affiliate links to shop on Amazon:

Leica M11 Digital Rangefinder Camera because the Leica CL is out of production now.

Nikon AF-S FX NIKKOR 105mm f/1.4E ED Lens

Nikon FTZ II Mount Adapter

Voigtlander Nokton 35mm f/1.4 II

Urth M adapter L

Sandisk 128GB Extreme Pro memory cards

Nikon Zf Mirrorless Camera

Nikon 50mm f1.8 S Lens for Z mount

My favorite Pocket Notebook

My favorite Mechanical Pencil

Frequently Asked Questions About the Nikon Zf for Travel Photography

Is the Nikon Zf good for travel photography?

Yes, the Nikon Zf is excellent for travel photography. After switching from the Leica CL, I've found the Nikon Zf addresses all the key requirements for serious travel work: weather sealing protects it in rain and dust, IBIS (In-Body Image Stabilization) allows handheld shooting with vintage lenses and in low light, the full-frame 24MP sensor delivers outstanding image quality even at high ISOs, and the battery life is significantly better than my Leica mirrorless cameras. The retro design with physical dials makes it quick to adjust settings on the fly, which is crucial when you're hiking and need to shoot fast.

How does the Nikon Zf compare to the Leica CL for travel?

The Nikon Zf and Leica CL serve different needs. The Leica CL is smaller and lighter (perfect for ultralight backpacking), but lacks weather sealing and IBIS, which are deal-breakers for hiking trips where rain is a possibility. The Nikon Zf is heavier but offers weather sealing, IBIS, a full-frame sensor with better low-light performance, and much longer battery life. I switched from Leica CL to Nikon Zf specifically because I got caught in English rain on the Pilgrims Way and realized I needed weather protection. If you're doing casual city travel, the Leica CL's compact size is nice. For serious hiking and unpredictable weather, the Nikon Zf is the better choice.

Is the Nikon Zf weather sealed?

Yes, the Nikon Zf is weather sealed. This was one of my primary requirements when searching for a travel camera to replace the Leica CL. The weather sealing on the Nikon Zf protects against rain, dust, and moisture - essential for hiking trips and travel photography where you can't always control the conditions. After hiking the Pilgrims Way in England with my non-weather-sealed Leica CL and worrying about rain the entire time, having weather sealing gives me peace of mind to shoot in any conditions.

Does the Nikon Zf have IBIS?

Yes, the Nikon Zf has 5-axis In-Body Image Stabilization (IBIS). This was another critical requirement for me. IBIS allows me to shoot with vintage manual focus lenses at slower shutter speeds while still getting sharp handheld images. It's also invaluable for travel photography when you're shooting in low-light situations like churches, museums, or evening street scenes where you can't use a tripod. The Leica CL lacks IBIS, which was one of the main reasons I switched to the Nikon Zf.

What is the battery life like on the Nikon Zf?

The Nikon Zf has significantly better battery life than my Leica mirrorless cameras. While Leica mirrorless cameras have notoriously short battery life (I always carried 3-4 batteries), the Nikon Zf's EN-EL15c battery provides enough power for a full day of travel photography on a single charge. This is a huge advantage for hiking trips where you might not have access to power for recharging. I typically carry two batteries for the Nikon Zf and rarely need the second one, whereas with the Leica CL I'd go through multiple batteries in a day.

Can you use vintage lenses on the Nikon Zf?

Absolutely! The Nikon Zf is fantastic for vintage lenses, which is one reason I love it. With the FTZ II adapter, you can use Nikon F-mount lenses, and with various adapters you can mount Leica M, M42, Canon FD, and many other vintage lenses. The combination of focus peaking, IBIS, and the high-resolution EVF makes manual focusing a joy. I regularly shoot with vintage glass on my Nikon Zf when traveling, and the IBIS compensates for the lack of optical stabilization in older lenses. This was impossible with the Leica CL which lacks IBIS.

Is the Nikon Zf worth it over the Leica CL?

It depends on your priorities. The Nikon Zf is worth it if you need weather sealing, IBIS, better low-light performance (full-frame vs crop sensor), and longer battery life. These were all critical requirements for my hiking and travel photography. The Leica CL is worth considering if you prioritize extreme portability, the Leica color science, and compact size above all else. For me, the practical advantages of the Nikon Zf (weather sealing especially) outweighed the Leica CL's size advantage. After nearly losing my Leica CL to rain in England, the choice became clear.

What focal lengths work best for travel photography on the Nikon Zf?

For travel photography on the Nikon Zf, I primarily use the Nikon 50mm f/1.8 S lens because it's lightweight, sharp, and versatile. The full-frame sensor means you get the classic 50mm field of view, which works for everything from street scenes to portraits. I also adapt vintage lenses, particularly 35mm focal lengths, when I want a wider perspective for landscapes or architecture. The beauty of the Nikon Zf's IBIS is that I can handhold even at slower shutter speeds, so I'm not limited by the lack of stabilization in vintage glass. For hiking trips, I keep my kit minimal - usually just the 50mm f/1.8 S and maybe one adapted vintage lens.

So for now, this is my new travel and street machine. It has wonderful rendition and is a joy to shoot with. I look forward to taking it on outings now and I have the 50mm f1.8 S lens if I want auto focus and to be able to access all the special features that have to do with the auto focus system.

Going forward, there will be more about this machine as well as the two Leica cameras I use. You see, those two machines are also wonderful cameras and I still enjoy using them too—I use them for certain things as I have found. The Leica CL still comes with me on city trips where weight matters. The Leica SL2 is my studio and portrait camera. But for travel photography where weather and versatility matter? The Nikon Zf is now my go-to.

Are you considering the Nikon Zf for travel photography? Or have you made a similar switch from one camera system to another? I'd love to hear about your experiences in the comments below!

Want more honest camera reviews and travel photography tips? Subscribe to my photography blog for weekly posts about real-world gear testing, not just spec sheets and studio tests.

Support this website by using these affiliate links to shop on Amazon:

Leica M11 Digital Rangefinder Camera

Nikon AF-S FX NIKKOR 105mm f/1.4E ED Lens

Nikon FTZ II Mount Adapter

Voigtlander Nokton 35mm f/1.4 II

Urth M adapter L

Sandisk 128GB Extreme Pro memory cards

Nikon Zf Mirrorless Camera

Nikon 50mm f1.8 S Lens for Z mount

My favorite Pocket Notebook

My favorite Mechanical Pencil

Micro Nikkor 55mm f/3.5 Review: The Best $50 Vintage Lens for Leica SL2

What if one of the sharpest lenses you could put on your Leica SL2 cost less than $50 and was made in 1976? That's exactly what I discovered when I adapted a vintage Micro Nikkor 55mm f/3.5 to my Leica SL2—and the results genuinely surprised me. This isn't just a macro lens review. It's the story of how a nearly 50-year-old Nikon F-mount lens became one of my favorite walkaround lenses on one of the best modern mirrorless cameras available.

The Micro Nikkor 55mm f/3.5 AI variant on the Leica SL2 via F-to-L adapter — an unlikely but exceptional pairing.

Micro Nikkor 55mm f/3.5: What Makes This Vintage Lens Special

I have found over the years that there are a couple of Nikkor lenses in this family that work really well for the task of general purpose photography and this is one of them. This particular copy is an AI variant made somewhere in the late 1976 to early 1977 time frame, so this lens is almost 50 years old—and just look at the image quality it produces. Lens manufacturers were on their A game at this point and Nikon was a force to be reckoned with in this area. This lens isn't even their best macro lens either, which is something that to this day surprises me a little.

What makes the Micro Nikkor special compared to other vintage 50mm lenses is that it was designed for exacting scientific and reproduction photography. That design intent required flat-field sharpness, minimal distortion, and consistent performance from close focus all the way out to infinity. Most vintage 50mm lenses were optimized for portrait distances and can get a little soft or lose contrast at other distances. The Micro Nikkor doesn't play that game—it's sharp everywhere.

It has an external aperture ring that is detented in whole stops, except the very first one where it goes from f/3.5 to f/4 for some reason. Who knows why Nikon did this, but they did, so it is there if you want to use it.

Adapting Nikon F-Mount Lenses to the Leica SL2

Before we get into performance, a quick word on adapting this lens. The Leica SL2 uses the L-mount, and to run Nikon F-mount glass on it you need an F-to-L adapter. I use the Urth version and it works well for fully manual lenses like this one—there's nothing electronic to pass through, so any mechanically precise adapter will do the job. If you want to get fancy, Novoflex makes precision German-engineered adapters that are the gold standard, but they cost considerably more than the budget options and for a manual vintage lens, the results are essentially identical.

What makes the Leica SL2 particularly great for adapted vintage glass is the combination of focus peaking and magnified live view in the EVF. You can dial in focus with real confidence even at close distances, and the IBIS works completely independently of the lens—the camera has no idea what glass is mounted and compensates for shake regardless. This makes lenses that might have been borderline usable in low light suddenly practical for handheld shooting. More on that in a moment.

The external aperture ring with whole-stop detents — classic 1970s Nikon build quality.

Minimum focus distance is a surprising 9 1/2” from the image plane. So this is right at 4.25 inches in front of the lens when mounted on my Leica SL2 camera. This also gives you a reproduction ratio of 1:2 on the image sensor, that is to say that if you have an object that is 1 inch across in reality, it will be 1/2 inch across the sensor. To get to 1:1 reproduction ratio you need help… The PK-3 extension ring will get you half that distance and to the true 1:1 reproduction ratio at minimum focus distance. All of this is conveniently engraved on the lens barrel for you should you need to look it up in the field… Also notice in these two images that the lens “pumps” air which means it has external focus movement, the lens grows and shrinks when you adjust focus, it is common belief that this is where dust gets into the lens from, when you open the lens fully to minimum focus distance the lens intakes a full charge of air and doesn’t have dust seals to prevent dust from entering the lens mechanism, so you get a little internal dust…

The lens 'pumps' air as it extends to close focus — a common trait of this era of optics.

One last thing to note about this focus mechanism is that the reason I like using these lenses for general purpose photography like travel and such is that as you can see in the above photo, the focus throw from infinity to less than 1 meter is short, so focus is fast with this lens. It also has a range focus scale, but since it is 55mm, the scale is rather small and not easy to use, it will give you rough numbers to work with but that is all.

Enough with all this tech talk, let’s take it for a spin and see what the photos look like on my Leica SL2 mirrorless camera since it has IBIS on the sensor and I can hand hold photos at unheard of shutter speeds with it.

First thing I notice when using this lens is how good it feels in the hand. The location and feel of the controls are literally in the perfect location.

Another thing I noticed was that it is sharp, like incredibly sharp. To this point, it makes sense that it would be this good due to the design intent of the lens but it has a really nice general purpose focus throw too. This lends itself to being a wonderful walk about lens. The following photos were shot on my Leica SL2 using this lens as a walkable lens. I have used another Nikon macro lens before in this same capacity, the 60mm Micro Nikkor once lived on my D810 as a general purpose lens. It works flawlessly in this capacity.

Using the Micro Nikkor 55mm as a Walkaround Lens on Leica SL2

The following photos were shot on my Leica SL2 using this lens as a walkable lens. I have used another Nikon macro lens before in this same capacity—the 60mm Micro Nikkor once lived on my D810 as a general purpose lens and it works flawlessly in that role. The 55mm is similar in character.

For street photography and travel, the 55mm field of view on full frame is about as classic as it gets. You're not cramped like you can be with a 35mm in tight spaces, and you're not zooming in on subjects from far away like you would with 85mm or 105mm. It sits right in the middle of the world as you see it, which makes composition intuitive. The short focus throw means you can adjust focus quickly as subjects move, which is more important for this kind of use than it would be in a controlled macro environment.

Where it struggles a bit is in low light. The f/3.5 maximum aperture isn't going to win any awards for low-light capability compared to fast primes. But combined with the Leica SL2's excellent high-ISO performance and the IBIS, you can push it further than you'd expect—as you'll see in the next section.

Shot handheld at 1/30 second — the Leica SL2's IBIS makes this kind of exposure possible with a vintage manual focus lens.

In the above photo you can see what I love about a camera with stabilization in it. The camera sensor is rock steady so I can capture shutter speeds like in the photo above where I was running something like 1/30 second and some of my water blur shots were 1/4 second!!! Like the one below is a 1/4 second handheld exposure and if you will look, the rocks are crisp and the water has a really nice blur to it. This is at f32 as well so there will be some diffraction in the image from that but all in all, it looks really nice.

Shot handheld at 1/30 second — the Leica SL2's IBIS makes this kind of exposure possible with a vintage manual focus lens.

1/4 second handheld at f/32 — diffraction softens things slightly but the IBIS still produces usable results.

Below is a crop from this image. As you can see, the spider webs are even visible and this is handheld no less! As long as you have some decent light this combination is really nice. When you move to a mirrorless camera body that has IBIS on the sensor, it unlocks so many possibilities with lens / camera combinations. I dont know why hobbyists dont see this sooner but a lot dont.

100% crop showing spider web detail — handheld with IBIS. This lens resolves more than you'd expect for its age and price."

Leica SL2 IBIS + Vintage Glass: A Game-Changing Combination

In the above photo you can see what I love about a camera with stabilization in it. The camera sensor is rock steady so I can capture shutter speeds like in the photo above where I was running something like 1/30 second, and some of my water blur shots were at 1/4 second! The one below is a 1/4 second handheld exposure and if you look, the rocks are crisp and the water has a really nice blur to it. This is at f/32 as well, so there will be some diffraction in the image from that, but all in all it looks really nice.

I don't know why hobbyist photographers don't recognize this sooner, but when you move to a mirrorless camera body that has IBIS on the sensor, it unlocks so many possibilities with vintage lens combinations. You're essentially giving a 50-year-old lens a set of capabilities it was never designed to have. Nikon didn't design this lens to be hand-holdable at 1/4 second—but the Leica SL2 makes it so.

Think about what this means practically. That f/3.5 maximum aperture that looks modest on paper suddenly becomes much more workable. Instead of needing a tripod for anything in shade or indoors, you can hand-hold at much slower shutter speeds and let the IBIS do the work. In a museum, a church, a dimly lit market—anywhere a tripod isn't practical—this combination keeps you shooting. It's the kind of capability that used to require carrying a tripod and a fast prime. Now you can do it with a $50 vintage lens and good technique.

Image Quality: What to Expect from a 50-Year-Old Lens

Below is a crop from one of my sample images. As you can see, the spider webs are even visible and this was handheld. As long as you have some decent light, this combination is really nice.

Let me put some numbers to what you're seeing. The Leica SL2 has a 47 megapixel sensor—a genuinely demanding sensor that will expose any lens weakness. Lesser vintage glass can look acceptable at web resolution but fall apart when you pixel-peep on a sensor this resolute. The Micro Nikkor 55mm f/3.5 doesn't fall apart. Center sharpness is exceptional at every aperture, and corner performance is very good stopped down. The color rendering has that warm, slightly organic character that vintage Nikon glass is known for, which pairs nicely with Leica's color science.

The one area where you see the lens's age is bokeh at close focus distances. When shooting macro-close, out-of-focus areas can look a bit busy—it's not the smooth, creamy blur you'd get from a modern lens optimized for portrait work. But for general photography at normal distances, the rendering is pleasant and natural, never clinical or harsh.

Who Should Buy the Micro Nikkor 55mm f/3.5 for Leica SL2?"

This lens is a fantastic choice for:

The budget-conscious Leica shooter. Leica glass is expensive—there's no way around that. The Micro Nikkor 55mm f/3.5 gives you exceptional optical performance for a fraction of the cost of any L-mount prime. If you're building a kit and want quality glass that doesn't break the bank, vintage adapted lenses like this one are the answer.

Travel photographers who want a dual-purpose lens. One lens that handles landscapes, street photography, and close-up detail shots? That's what this is. Pack light and still have versatility.

Vintage lens enthusiasts. If you enjoy the tactile experience of manual focus and appreciate the history of classic glass, this lens is deeply satisfying to use. It's mechanically solid, beautifully made, and feels like a precision instrument.

Anyone curious about adapted lenses on the SL2. If you haven't explored the world of adapted vintage glass on your Leica SL2, this lens is an inexpensive, low-risk way to discover what IBIS + manual focus vintage glass can do. You might find, as I did, that you love it.

Frequently Asked Questions About the Micro Nikkor 55mm f/3.5

Is the Micro Nikkor 55mm f/3.5 good for general photography (not just macro)?

Yes — and this is the thing most people don't realize about this lens. While it was designed as a macro lens, the Micro Nikkor 55mm f/3.5 is an outstanding general-purpose walkaround lens. The focus throw from infinity to under one meter is short and smooth, making it fast to use in the field. The 55mm focal length gives you a classic "normal" field of view, and the sharpness holds up beautifully at all distances — not just close focus. I've used mine for street photography, travel, landscapes, and waterfall shots, and it handles all of them with ease. The f/3.5 maximum aperture is slower than dedicated portrait lenses, but for anything in decent light, this lens is genuinely excellent.

Can you adapt Nikon F-mount lenses to the Leica SL2?

Yes, and it works very well. The Leica SL2 uses the L-mount, and with an F-to-L mount adapter you can use almost any Nikon F-mount lens on the camera. Since the Micro Nikkor 55mm f/3.5 is a fully manual lens with an external aperture ring, you control the aperture on the lens itself and the camera handles exposure metering in aperture-priority mode. The Leica SL2's focus peaking and magnified live view make manual focusing accurate and enjoyable. There are no electronic connections needed for this vintage lens — it's a fully mechanical pairing that works remarkably well.

Does Leica SL2 IBIS work with adapted vintage lenses?

Yes, and it's one of the best reasons to use vintage glass on the Leica SL2. The 5-axis IBIS works independently of the lens — the camera compensates for camera shake regardless of whether the lens communicates electronically. With the Micro Nikkor 55mm f/3.5, I've successfully hand-held shots at 1/30 second and even 1/4 second, which would be nearly impossible without stabilization. This opens up a whole new world for vintage lens shooters — lenses that were borderline impractical in low light suddenly become viable handheld options. The combination of Leica SL2 IBIS and vintage Nikon glass is genuinely one of my favorite pairings in photography.

What adapter do I need to use Nikon F lenses on the Leica SL2?

You need a Nikon F to Leica L-mount adapter (sometimes listed as "F to L" or "Nikon F to L-mount"). Several brands make these including Urth, K&F Concept, and Novoflex (premium option). For fully manual vintage lenses like the Micro Nikkor 55mm f/3.5, an inexpensive adapter works perfectly well since there are no electronic connections to pass through — you just need a mechanically precise fit. Novoflex is the gold standard for precision, but budget options from Urth or K&F Concept work fine for manual glass.

How sharp is the Micro Nikkor 55mm f/3.5 on a modern mirrorless camera?

Extremely sharp — almost surprisingly so given the lens is nearly 50 years old. The Micro Nikkor 55mm f/3.5 was designed for close-focus scientific and reproduction photography, which required exceptional flat-field sharpness and minimal distortion. Those same qualities make it outstanding on a modern high-resolution sensor like the Leica SL2's 47MP chip. At middle apertures (f/5.6 to f/11) this lens is genuinely difficult to fault. Wide open at f/3.5 it's already very good, and the sharpness only improves as you stop down. The one caveat is that at f/32 you'll see diffraction softening, but that applies to any lens at very small apertures.

What is the PK-3 extension ring for the Micro Nikkor 55mm f/3.5?

The PK-3 extension ring is a Nikon accessory that mounts between the lens and camera body, moving the lens further from the sensor and allowing it to achieve true 1:1 macro magnification. Without the PK-3, the Micro Nikkor 55mm f/3.5 reaches a 1:2 reproduction ratio at minimum focus — meaning a 1-inch subject appears as half an inch on the sensor. With the PK-3 ring, you get 1:1 reproduction, where a 1-inch subject fills 1 inch of sensor. If you need true life-size macro shots, the PK-3 is the answer. Without it, the lens is still excellent for general macro work like flowers, insects, and small objects — just not true 1:1.

Recommended Gear for Adapting Vintage Lenses to Leica SL2

Support this website by shopping through these affiliate links:

Leica M11 Digital Rangefinder Camera

Nikon AF-S FX NIKKOR 105mm f/1.4E ED Lens

Nikon FTZ II Mount Adapter

Voigtlander Nokton 35mm f/1.4 II

Urth M adapter L

Sandisk 128GB Extreme Pro memory cards

Nikon Zf Mirrorless Camera

Nikon 50mm f1.8 S Lens for Z mount

My favorite Pocket Notebook

My favorite Mechanical Pencil

So in conclusion...

The Micro Nikkor 55mm f/3.5 is genuinely one of the best bang-for-buck vintage lenses you can adapt to the Leica SL2. For under $50 on the used market, you get a lens that handles macro work beautifully, doubles as a sharp general-purpose walkaround, and—paired with the SL2's IBIS—lets you hand-hold exposures that should be impossible.

Is it perfect? No. The f/3.5 maximum aperture limits your low-light shooting compared to faster primes, and you won't get smooth, creamy bokeh at close focus distances. But for sharpness, color rendering, close-focus capability, and sheer character? This nearly 50-year-old lens punches well above its weight class on a modern mirrorless body.

Get out there and grab one. You won't regret it.

Have you tried adapting vintage Nikon lenses to your mirrorless camera? Drop your experiences in the comments below—I'd love to hear what combinations you're running.

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Tennessee Fall Color Photography: Finding Colors During Drought

Well, it sure took long enough, but I finally found a place local to me that had some beautiful fall color photo opportunities.

Looking up at the yellow canopy at North Chickamauga Creek WMA, Tennessee. The overcast sky created beautiful soft light filtering through the leaves without harsh shadows. This perspective shows how dense the fall color was in areas where the trees had access to groundwater from the creek. Just a few hundred yards away from the water, everything was brown and crispy from the drought. The lesson? In dry years, forget the open fields and exposed ridges. Find the water and you'll find the colors! Leica SL2 + Nikkor 28mm f/2.8 AiS handheld.

Tennessee Weather - Fall Color Photography

This is not something I normally have when it is as dry as it has been recently. Let me explain…

I am no scientist but I have stayed in a Holiday Inn before, so here goes. From what I have seen, there are three different scenarios that usually unfold around here in the fall.

The first event is like this, we get plenty of rain in the spring, it dries out a little in the mid summer months and then it starts to rain in late September or early October. This is actually the best possible scenario from what I can tell…

The second scenario is the same as the first one except the rain turns into a thunderstorm storm with heavy rain and usually high winds during peak color season, knocking all the leaves off of the trees.

Then there is option three, this one is where there is rain in the spring but then it is dry for the entirety of summer and fall. This is the type of season we are in now. There has not been enough rain to matter in two months…maybe more. It is so little water that the creek next to my house has no surface water in it as of this writing.

Of the three events, the first one is the preferred for fall color photos as there is sufficient water for the trees to transition normally to their dormant winter state and you get this incredible color display in the fall. This year though, we have event three where everything is a huge tinderbox and the leaves are simply drying out and turning brown then falling off of the trees without passing through their color phase at all…except…in the few places where there is still ground water to water the trees.

Understanding Tennessee's Three Fall Color Scenarios

I mentioned the three fall scenarios briefly, but let me break them down in more detail since understanding these patterns will help you plan your fall photography:

Scenario 1: The Perfect Year (RARE)

What happens:

• Spring rains (March-May) give trees plenty of water to grow

• Summer (June-August) dries out a little but not too much

• Rain returns in late September or early October

• Trees get signal to prepare for winter dormancy

• Beautiful color transition over 2-3 weeks

• Leaves stay on trees long enough to photograph

Photography result:

• Incredible color displays everywhere

• Colors last for weeks, not days

• Can shoot anywhere, not just near water

• This is what you see in all the fall color guides!

• We get this maybe 1 out of every 4-5 years

Scenario 2: The Stormy Year (FRUSTRATING)

What happens:

• Same as Scenario 1 through summer

• Rain returns in late September (good!)

• But it comes as thunderstorms with heavy rain and high winds

• Leaves start to change color (exciting!)

• Then a big storm blows through (devastating!)

• All the leaves get knocked off before peak color

Photography result:

• You get maybe 3-5 days of good color before the storm

• Have to act fast when colors appear

• After the storm, just bare trees and leaves on the ground

• Extremely frustrating if you had plans for the weekend!

• This happens maybe 1 out of every 3-4 years

Scenario 3: The Drought Year (CHALLENGING)

What happens:

• Rain in spring (so far so good)

• Then dry for entire summer and fall (uh oh)

• No rain in September or October

• Trees are stressed and trying to survive

• Leaves dry out and turn brown without color phase

• Everything becomes a tinderbox

• Exception: Places with groundwater still have colors!

Photography result:

• Most locations are brown and crispy, no color

• Have to find water sources (creeks, rivers, springs)

• Limited locations but concentrated color where water exists

• Requires more scouting and research

• This is what we had this year (2023)

How to adapt:

• Scenario 1: Shoot anywhere, you can't go wrong!

• Scenario 2: Have a plan ready, shoot as soon as colors appear

• Scenario 3: Follow the water (like I did at North Chickamauga Creek)

The key is recognizing which scenario you're in and adjusting your strategy accordingly. Don't wait for "perfect conditions" that might not come!

A red maple tree standing out in a sea of yellow at North Chickamauga Creek WMA near Soddy Daisy, Tennessee. This was the first scene that greeted me when I started looking for fall colors! After weeks of drought with everything turning brown, finding this color contrast felt like discovering gold. The key during dry years? Follow the water. This gorge has a creek running through it (barely flowing, but still there!), which gave the trees enough water to transition to their fall colors normally. Shot handheld with Leica SL2 + Nikkor 28mm f/2.8 AiS. The overcast light saturated the colors without creating harsh shadows!

Fall Color Photography Secret… Follow the Water

Enter North Chickamauga Creek WMA near Soddy Daisy Tennessee. This is a small WMA (Wildlife Management Area) situated in a gorge next to Mowbray mountain and is a popular spot for the locals to cool off in the summertime in the river. Well, the river is just a brook at this point and is barely moving at all, BUT it is there! If you watch my YouTube video on it you will see what I mean. Even so, there is still enough water to feed the trees so they had a fall color change.

Since I found some colors this year, I now had to figure out what I wanted to use to capture all this color with. I finally settled on my camera being the Leica SL2 as it has a high resolution sensor and several other features that lend itself to being a wonderful landscape photography camera. You see the Leica SL2 is a mirrorless camera so it can be adapted to various vintage lenses really easily and we all know how I love using vintage lenses! So today’s lens of choice for the Leica is the Nikkor 28mm f2.8 AiS. This is one of Nikon’s crowning achievements in lens design as it was as close to optical perfection as they had ever gotten to that point. So naturally I used this lens.

The magic of the Leica SL2 as well is that it has IBIS on the sensor. This basically turns all my vintage lenses into stabilized lenses. I know there are a ton of other cameras that also have these same features but I just like the Leica SL2 for some reason.

Now that the camera setup is settled, next is finding the photo I want. I started out looking for macro level images, vistas and scenes, then I moved in closer to get more detailed image ideas. The first one is shown above of the red maple tree in a sea of yellow. Then I moved to the river bed and found some wonderful colors out in the open.

Looking upstream at North Chickamauga Creek near Soddy Daisy, Tennessee. This is literally what greeted me when I entered the river bottom. Not much water (you can see how low the creek was during this drought!), but the color splash from the trees was incredible! The boulders in the creek bed created great foreground interest, and the overcast sky provided soft, even light that made the colors pop without blown highlights. Shot handheld with Leica SL2 + Nikkor 28mm f/2.8 AiS at f/8. I love the texture and color in this image! So much detail from the rocks to the leaves to the trees. The 28mm wide angle let me include the entire scene from the creek bed up to the canopy. This is why I walked down into the creek rather than shooting from the trail!

This was literally what I was greeted with when I looked upstream from where I entered the river bottom. Not much water, but I got such a color splash from the trees that I didn’t even care. I would have liked for it to not be overcast, but you take what you can get and work with it. I really love this image too, so much texture and color in one image that is is almost overwhelming. I was really starting to embrace the look that the 28mm lens was giving me and then I decided to move upstream to that large boulder you see in the above photo and get a different perspective from that spot.

The valley perspective looking upstream at North Chickamauga Creek WMA, Tennessee. That little smidgen of sky showing the overcast clouds almost makes it otherworldly or something like that! I was blown away with this image when I got it into Lightroom and could see it better. It almost doesn't look real back up in the valley next to the sky. The clouds were epic! Shot handheld from a large boulder I scrambled up to for this perspective. Leica SL2 + Nikkor 28mm f/2.8 AiS, no tripod. The IBIS (in-body image stabilization) let me shoot this at 1/15s handheld and get sharp results. There's something to be said for simplicity - one camera, one lens, no backpack or tripod. Just me and the landscape!

Fall Color Photography and Moody Skies

The little smidgen of sky showing the over cast clouds almost makes it otherworldly or something like that. I was blown away with this image when I got it into Lightroom and was able to see it better. It almost doesn’t look real back up in the valley next to the sky. The clouds were epic! This is also shot hand held with the 28mm lens. What is nice is that it allowed me to be very agile and not have the burden of the back pack and a tripod with me at all. There is something to be said for simplicity…

Frequently Asked Questions About Fall Color Photography in Tennessee

When is peak fall color season in Tennessee?

It depends on where you are in the state! In East Tennessee (mountains), peak fall colors usually hit mid-to-late October. In Middle Tennessee (Chattanooga area and surrounding), you're looking at late October into early November. But here's the thing that most people don't realize: the actual timing depends more on rainfall and temperature than it does on the calendar! If we get a drought like we had this year, the trees just skip the color phase entirely and go straight to brown. If we get too much rain with high winds during peak season, all the leaves get knocked off before you can shoot them. The "perfect" fall color year requires rain in spring, a slightly dry summer, then rain returning in late September or early October. That's when you get the incredible color display that lasts for a couple weeks!

Why do some years have better fall colors than others?

Water! It all comes down to water and how the trees are stressed. I'm no scientist, but I have stayed in a Holiday Inn before, so here goes, lol. Trees need sufficient water to transition normally to their dormant winter state. When they have the right amount of water, they go through that beautiful color change we all love photographing. But when it's too dry (like this year with two months or more of no rain), the leaves just dry out and turn brown without passing through the color phase at all. It's basically a huge tinderbox and the trees are just trying to survive, not put on a show for photographers! That's why you need to find the water sources during dry years. Wherever there's still groundwater feeding the trees (creeks, rivers, springs), those trees will still change color even when everything else is brown.

Where can you find fall colors in Tennessee during a drought?

Follow the water! During dry years like this one, you need to find places where there's still water feeding the trees. Creek beds, river gorges, wildlife management areas near water sources, anywhere with groundwater. For me, North Chickamauga Creek WMA near Soddy Daisy Tennessee saved the day! The creek was barely flowing (just a brook at that point), but there was enough water to keep the trees happy. They had a beautiful fall color change while everything else around the area was brown and crispy. Other good bets: Ocoee River area, any of the gorges in the Cumberland Plateau, state parks with creeks or waterfalls, and anywhere in the Smoky Mountains (they usually have better water retention). Just look for blue on the map and you'll probably find color!

What camera settings work best for fall color photography?

I shot this whole session handheld with the Leica SL2 and Nikkor 28mm f/2.8 AiS lens, so here's what worked for me: aperture priority mode (let the camera pick the shutter speed), probably f/5.6 to f/11 for landscape depth of field, ISO auto (camera adjusted based on light), and I relied heavily on IBIS (in-body image stabilization) since I wasn't using a tripod. For fall colors specifically, you don't want to overexpose or you'll blow out the bright yellows and reds. I tend to expose for the highlights and let the shadows fall where they may, then I can lift them a bit in Lightroom if needed. Shoot RAW so you have flexibility with white balance (overcast days can look weird if you don't adjust). And honestly? Just set it and forget it so you can focus on composition rather than fiddling with settings!

Do you need a tripod for fall color photography?

Not if you have IBIS! I deliberately left the tripod and backpack at the truck because I wanted to be agile and explore without the burden of extra gear. The Leica SL2 has in-body image stabilization which basically turns all my vintage lenses into stabilized lenses. This means I can shoot handheld at slower shutter speeds without camera shake. There's something to be said for simplicity, especially when you're walking a creek bed or scrambling around on boulders like I was doing. That said, if you don't have IBIS or you're shooting in really low light, a tripod will give you sharper images. But for bright overcast days like this? Handheld is totally fine and way more enjoyable!

What's the best lens for fall color photography?

Wide angle! I used the Nikkor 28mm f/2.8 AiS for this session and it was perfect. Wide angle lenses (24mm, 28mm, 35mm) let you include the environment and context around the colors. You can get the creek bed, the trees, the sky, the boulders, everything in one frame. Plus, when you're in a gorge or tight space, a wide lens is the only way to get the whole scene. That said, bring a longer lens too if you want to isolate individual trees or compress distant ridgelines. But if I had to pick just one lens for fall color photography? 28mm is my sweet spot. It's wide enough for landscapes but not so wide that you get too much distortion on the edges.

Is vintage lens photography good for landscape work?

Absolutely! The Nikkor 28mm f/2.8 AiS I used is one of Nikon's crowning achievements in lens design. It was as close to optical perfection as they had ever gotten to that point. Vintage lenses often have character that modern lenses lack (slightly warmer rendering, interesting flare characteristics, smooth bokeh), and they're sharp enough for landscape work when you stop them down to f/5.6 or f/8. The best part? They're cheap! You can get incredible vintage glass for $100-300 that would cost you $1,000+ in a modern equivalent. Just make sure your camera can adapt them (the Leica SL2 is perfect for this with its short flange distance), and you're good to go. Oh, and IBIS makes vintage lenses even better since they don't have built-in stabilization!

What time of day is best for shooting fall colors?

Honestly? Overcast days like I had are actually ideal for fall color photography! Direct sunlight creates harsh shadows and blown highlights on the bright leaves. Overcast light is soft, even, and it lets the colors really saturate without fighting crazy contrast. That said, early morning and late afternoon (golden hour) can be magical if you want warm light on the trees. Avoid midday harsh sun if you can. For this shoot, the overcast clouds were epic and made the colors pop without any harsh shadows. It almost looked otherworldly! So don't skip shooting just because it's cloudy. Embrace it!

How do you compose fall color photos without them looking like every other fall photo?

Great question! I try to find specific elements to anchor the composition rather than just pointing at a bunch of colorful trees. For this session, I looked for: (1) the red maple tree in a sea of yellow (color contrast!), (2) the creek bed with boulders as a leading line through the frame, (3) the valley perspective looking upstream with that little smidgen of sky, and (4) textures and layers (water, rocks, leaves, trees, sky). The key is to have a subject or a story, not just "look, it's colorful!" Find a foreground element, use the colors as supporting cast, and compose with intention. Also, get low! I was walking in the creek bed and scrambling on boulders to get different perspectives. Don't just stand on the trail and shoot at eye level like everyone else!

What are the three fall color scenarios in Tennessee?

From what I've seen, there are three different scenarios that usually unfold around here:

Scenario 1 (BEST): Plenty of rain in spring, dries out a little mid-summer, then rain returns in late September or early October. This gives you incredible color displays that last for weeks! The trees have enough water to transition normally to dormancy and you get the full spectrum of reds, oranges, and yellows.

Scenario 2 (WORST): Same as Scenario 1 except the rain turns into thunderstorms with heavy rain and high winds during peak color season. This knocks all the leaves off the trees before you can photograph them. Super frustrating!

Scenario 3 (CHALLENGING): Rain in spring but then dry for the entirety of summer and fall. This is what we had this year. Everything becomes a huge tinderbox and the leaves simply dry out and turn brown without passing through their color phase at all... except in the few places where there's still groundwater to feed the trees. That's when you have to get creative and find the water!

BONUS QUESTION: What's North Chickamauga Creek WMA like for photography?

North Chickamauga Creek WMA near Soddy Daisy Tennessee is a hidden gem! It's a small Wildlife Management Area situated in a gorge next to Mowbray Mountain. Locals use it to cool off in the river during summertime, but in fall it's perfect for photography! The gorge creates interesting light and the creek provides water for the trees even during drought years. When I shot this, the river was barely moving (just a brook, really), but there was still enough water to feed the trees so they had beautiful fall color change. Easy to access, not too crowded, and if you walk the creek bed you'll find tons of compositions. Just be careful on the rocks, they can be slippery! If you watch my YouTube video about it you'll see what I mean.

So in summary, if you want to find fall colors even when it has been really dry, find the water. Where ever there is water, there will be fall colors. At least that is what I have seen, your mileage may vary.

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A day out with Aaron in Chattanooga

It was time...

We have not gathered to shoot photos in quite some time now so Aaron found there was a beard competition happening in Chattanooga and decided to make his way down for it.

The Setup: What I Shot With

For this day out with Aaron, I kept my setup simple:

Camera: Leica SL2 (full-frame mirrorless) Lens: Leica 50mm APO-Summicron Mode: Aperture priority with -2/3 exposure compensation ISO: Auto (probably ranged between 200-800) Settings: Wide open or close to it (f/2 to f/4 for subject separation)

Aaron was shooting with his new Nikon Z8, and we kept comparing how our cameras metered the scenes differently. The Leica wanted to overexpose about 2/3 stop compared to his Nikon, which meant I had to dial in negative exposure compensation the whole time. This is something you learn when shooting different camera systems together!

The SL2 is heavy (like really heavy compared to smaller mirrorless cameras or rangefinders), but it makes stunning images and the build quality is tank-like. I don't baby it on the streets, which is exactly how a street camera should be used!

Shot with Leica SL2 and 50mm during our Chattanooga day out with Aaron at the beard competition.

When he arrived we spent the evening playing with stuff (his new Z8 in particular) and catching up. But then it was off to bed so we could get up and start our big day of photography.

The next morning comes around and we down some coffee and make a plan to meet up about lunchtime as I had to go to our Church’s Association as a delegate. Seems I made a mistake and assumed I didn’t need to go… lol, I see what that got me. Anyway, I really enjoy Association so it wasn’t like a chore, it meant changing plans a little from the original plans for the day.

So after I finish with business at association, I head over to the Harley Davidson dealership which is where the beard competition is being held. There I find Aaron is short order and it is really crowded. He basically tells me to get my camera out and take a picture with it so I sheepishly do as I am told.

The beard competition at Harley Davidson in Chattanooga. This event was perfect for breaking down personal barriers to photographing strangers! People were there to be seen and photographed, making it easy practice for someone like me who's normally shy with the camera. Shot with Leica SL2 + 50mm.

This fellow was more than happy to pose for me at the beard competition! Events like this are perfect for overcoming shyness in street photography because people expect cameras and are happy to participate. Shot with Leica SL2 and 50mm. The afternoon light gave great contrast for portraits like this!

The atmosphere at the beard competition was incredible! Crowded but friendly, with people everywhere happy to get their photos taken. Aaron was right when he told me to just get my camera out and shoot. Sometimes you need that push from a friend! Leica SL2 + 50mm, aperture priority mode.

The atmosphere at the beard competition was incredible! Crowded but friendly, with people everywhere happy to get their photos taken. Aaron was right when he told me to just get my camera out and shoot. Sometimes you need that push from a friend! Leica SL2 + 50mm, aperture priority mode.

You see I am not very aggressive with my photography especially when it involves people. I will ask at times but most of the time, this is why I don’t shoot aggressive street stuff. So now I am starting to get some photos and it is exactly as he mentioned. People happy to get their photos captured are everywhere. Like this fellow below, he was more than happy to pose for me. I will be honest, this kind of event is the perfect thing to break down your personal barriers to shooting photos of people you don’t know.

The Leica SL2 with the 50mm APO Summicron is the perfect camera for a beard Competition!

Even the girls got in on the fun at the beard competition! Not everyone there had a beard, lol. Shot with Leica SL2 + 50mm at Harley Davidson in Chattanooga. This is why I love event photography as practice for street work!

Why Events Are Perfect for Shy Street Photographers

I mentioned I'm not very aggressive with my photography, especially when it involves people. This is something a lot of photographers struggle with! We want to capture candid moments and interesting people, but we don't want to be intrusive or make anyone uncomfortable.

Events like the beard competition are the perfect training ground because:

People expect cameras. They're there to be seen and photographed, so you're not the weird person with a camera. You're just another photographer at an event.

Subjects are willing. Most people will happily pose if you ask, and many will even seek you out to get their photo taken. This builds your confidence!

Low stakes. If someone says no or looks uncomfortable, there are dozens of other subjects around. You're not losing a once-in-a-lifetime shot.

Practice makes perfect. The more you shoot people at events, the more comfortable you get approaching strangers in regular street situations.

Aaron's advice was simple: "Get your camera out and take a picture with it." Sounds obvious, but when you're standing there feeling shy, you need someone to tell you it's okay to just shoot!

Start with events. Work up to regular street photography. Your shyness will fade as your confidence grows! Back to the story in progress…

Well the beard competition winds down about 3 or so in the afternoon and we decide to rearrange the rest of the day to shoot some street photography in downtown and also to go have supper at a great Italian restaurant later on.

The streets of Chattanooga were busier than usual with it being a holiday weekend but it still wasnt really bad where we went for our walk.

We found this mural with light reflecting from the building across the alley and it was just something we couldn't pass up! This is what afternoon light does in downtown Chattanooga. The light spill creates scenes you don't get at other times of day. Leica SL2 + 50mm on our photowalk route through Main and Broad Streets.

We started on Main Street and then headed down Market Street to about 7th where we turned over to Broad Street and then back towards Main eventually diverting over to Cowart street before arriving at the truck.

So now you have the route, let see what we got. I kept joking about channeling my inner Eggleston as I would take photos of the mundane. Another thing I have learned is my Leica wants to shoot about 2/3 stop over exposed compared to my friends Nikon cameras. I kept -2/3 stop exposure compensation dialed in the whole time. I did this to keep the sky from being blown out as the shadows would be dark due to the bright afternoon sun. I will dig into the setup on my camera more to see if I can find out why it is doing that.

The Tivoli Theater is an iconic landmark in downtown Chattanooga Tennessee and never disappoints for a photograph.

Along the way we saw a lot of cool stuff to photograph, like in the images below where it is different light so the images come out different from my usual time of day. With the light further over to the west we kept getting these awesome light spill shots like the one below of the old Rone Regency Jewelers location. This location will be sorely missed by me when they finally do something with this building. I love the gritty nature of the old signage and it wasn’t long ago that the windows were not boarded up so you could actually see inside the store. Even so, the black painted plywood makes a nice contrast to the lighter color of the upper section of the building bringing balance to the image.

The old Rone Regency Jewelers location with afternoon light spilling across the facade. This location will be sorely missed by me when they finally do something with this building. I love the gritty nature of the old signage! The black painted plywood makes a nice contrast to the lighter color of the upper section, bringing balance to the image. Shot with Leica SL2 + 50mm Summicron on our downtown Chattanooga photowalk with Aaron.

We also found a few people to photograph as well. It was not quite as busy as I had figured it would be for a holiday weekend in the downtown area, but there were a few people out and about and I was able to grab a few photos of them. The Leica SL2 is a great camera for this kind of photography as it makes stunning portraits as well as makes for a wonderful, albeit heavy, street camera.

Why Afternoon Light Changed Everything

I usually shoot at different times of day (mid-morning usually), so this late afternoon session was different for me. With the sun further over to the west, we kept getting these awesome, direct sun light spill shots that I don't normally see.

What made afternoon light special:

Hard shadows: The bright afternoon sun created strong shadows and high contrast. Great for black and white or dramatic color shots.

Light spill: Buildings reflecting light into alleys and onto other buildings. This is what made the Rone Regency Jewelers shot work so well!

Window light: Storefronts and windows become light sources, creating interesting reflections and secondary lighting.

Challenge mode: Protecting highlights meant I had to underexpose a bit (-2/3 stop), which made shadows darker. This forced me to look for scenes that worked with that contrast.

Different light means different photos. Don't just shoot at the same time every day! Mix it up and see what you discover.

All in all we had a great time and then even got to go eat wonderful Italian cuisine later too. What more could you ask for? Well, there is one more thing I could ask for…

Lightroom Classic… I did it, I went over to the dark side and installed Lightroom back on my system again. It has the power to edit like I need finally and I kept running into problems that Exposure couldn’t easily solve for me so it was time to upgrade…or move over laterally to or what ever you call it…So going forward, I will be learning how to use Lightroom to edit my photos…wish me luck.

If you want to see more abotu this day, I made a vlog cideo about the photowalk portion of the day and it can be watched here.

Youtube link to vlog

What I Look For in Street Photography

During the photowalk, Aaron joked about me "channeling my inner Eggleston" as I photographed mundane things. But that's what street photography is about! Here's some of the things that I look for:

Light: Always first. How is the light hitting the subject? Is there interesting shadow play? Is it spilling from one building to another?

Layers: Foreground, midground, background. The best street photos have depth and multiple elements working together.

People: Not always necessary, but human presence adds scale and story. Even just a silhouette or someone walking through the frame.

Color or contrast: Bright colors that pop, or strong black and white contrast. Something that makes the eye stop.

Geometry: Leading lines, patterns, shapes, architecture. The bones of a good composition.

Moments: Candid expressions, interesting gestures, unexpected juxtapositions.

The mundane: Everyday things that become interesting when you isolate them with your camera.

Don't overthink it! Just walk and shoot what catches your eye. You can analyze it later when you're editing. Then you can take inventory of what you shoot the most and see if those images have some meaning or if it is just what you like to shoot…either way, it is good to get out and shoot photos so go have some fun.

Frequently Asked Questions About Street Photography and Chattanooga Photowalks

How do you overcome shyness when photographing strangers?

Honestly, I still struggle with this! I'm not aggressive with my photography, especially when people are involved. I'll ask permission sometimes, but most of the time I just shoot what feels natural without getting in people's faces. What helped at the beard competition was that people were already there to be seen and photographed. They were happy to pose! Events like this are perfect for breaking down those personal barriers to shooting photos of people you don't know. Start with events where people expect cameras, then work your way up to regular street photography. Aaron's advice of "get your camera out and take a picture with it" is the best cure for shyness, even if it feels awkward at first!

What's the best time of day for street photography in downtown Chattanooga?

The afternoon worked great for us! With the sun further over to the west, we kept getting these awesome light spill shots bouncing off buildings. The light was different from my usual shooting times, and it created some really interesting shadows and contrasts. Late afternoon (around 3-5pm) gives you that warm golden light that looks great for both architecture and people. Early morning works too, but afternoons tend to have more people out and about, which is what you want for street photography. Avoid harsh midday sun if you can, unless you're going for high-contrast black and white work!

What's a good street photography route in downtown Chattanooga?

The route Aaron and I took worked really well: Start on Main Street, head down Market Street to about 7th, turn over to Broad Street, then back towards Main, and eventually divert over to Cowart Street. This gives you a good mix of architecture, street scenes, and people. You'll pass old buildings like the Rone Regency Jewelers location (which has great gritty signage), modern storefronts, alleys with interesting light, and public spaces where people gather. The whole loop is maybe 2-3 miles depending on how much you wander, perfect for a couple hours of shooting!

Is the Leica SL2 too heavy for street photography?

Yes and no, lol. The SL2 is definitely heavy compared to smaller mirrorless cameras or rangefinders. But it makes stunning portraits and the image quality is just incredible. I kept it paired with just the 50mm lens to keep things simple. Is it the "ideal" street camera? Probably not if you're walking all day. But does it work? Absolutely! The weight actually helps stabilize handheld shots, and the build quality means I don't baby it. If you've got one, use it for street photography. Don't let the weight stop you. Your shoulders might complain, but the photos will be worth it!

Why was your Leica exposing differently than Aaron's Nikon?

Great question! I noticed my Leica SL2 wants to shoot about 2/3 stop overexposed compared to Aaron's Nikon cameras. I kept -2/3 stop exposure compensation dialed in the whole time to keep the sky from being blown out. The shadows would be dark anyway due to the bright afternoon sun, so I was protecting the highlights. Different camera brands meter scenes differently, and Leica tends to be a bit generous with exposure to preserve shadow detail. This is something you learn when shooting with multiple camera systems. Just dial in the compensation and keep shooting! I need to dig into my camera setup more to see if there's a metering mode that matches my shooting style better.

What camera settings do you use for street photography?

For this photowalk with the Leica SL2, I was shooting mostly in aperture priority mode with the 50mm lens. I kept -2/3 exposure compensation dialed in (as mentioned above). ISO was probably auto, and I let the camera pick the shutter speed. For street photography, I like to shoot wide open or close to it (f/2 to f/4) to get that subject separation, but I'll stop down if I need more depth of field. The key is to keep your settings simple so you're reacting to moments, not fiddling with dials. Set it and forget it, then just focus on composition and timing!

Can you photograph people at public events without permission?

At events like the beard competition where people are specifically there to show off and be seen? Yes! Most people were happy to be photographed and many posed for us. That said, I still try to be respectful. If someone looks uncomfortable or waves me off, I move on. For regular street photography, it's trickier. I generally don't ask permission before shooting (it kills the moment), but if someone objects after I've taken their photo, I delete it. Know your local laws, be respectful, and don't be creepy. Events are the easiest place to start because people expect cameras!

What makes a good subject for street photography?

Honestly? Almost anything! During the photowalk I kept joking about channeling my inner Eggleston as I would take photos of the mundane. Look for interesting light (like that spill on the Rone Regency Jewelers building), patterns, textures, people doing everyday things, architectural details, reflections, shadows... anything that catches your eye. Don't overthink it. I shot everything from bearded bikers to boarded-up buildings to random street corners. The beauty of street photography is finding the interesting in the ordinary. Just walk around and let things reveal themselves to you!

Should I shoot RAW or JPEG for street photography?

I shoot RAW because I like having the flexibility in post-processing. For this shoot, I ended up using Lightroom Classic to edit (I went back to the "dark side" after trying to use Exposure, lol). RAW gives me the power to recover highlights, lift shadows, and adjust colors the way I want them. That said, if you're comfortable with your camera's JPEG processing and you don't want to spend time editing, shoot JPEG! The best format is the one that gets you shooting. Street photography is about being out there capturing moments, not agonizing over file formats!

How do you choose which photos to keep from a street photography session?

I wish I had a good systematic answer for this, lol. Honestly, I just go through them and keep the ones that speak to me. Does the composition work? Is the light interesting? Did I capture a genuine moment or expression? Is there something about the image that makes me want to look at it again? I'm pretty ruthless in culling, especially with street photography where you might shoot hundreds of frames. If it doesn't grab me immediately, it gets deleted. The photos I shared in this post were the ones that stood out when I was editing. Trust your gut, and don't be afraid to delete mediocre shots. Only keep the good stuff!

BONUS QUESTION: What's the best way to learn street photography?

Go out with a friend like Aaron who will tell you to "get your camera out and take a picture with it"! Seriously, having a photography buddy makes a huge difference. You push each other, share ideas, and it's way less awkward than being alone with a camera on the street. Start with events (like the beard competition) where cameras are expected, then work up to regular street shooting. Use a simple setup (one camera, one lens), set your camera to aperture priority or full manual, and just walk. Don't overthink it. The best teacher is just getting out there and shooting. Oh, and watch Aaron's work or other street photographers you admire, but then go do your own thing. Your style will develop over time!

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Thanks for stopping by, now get your camera out and go take a photo or two with it!

Nikon Zf Full Frame Concept Camera Rumor Discussion

Well here we are. Talking about fictitious cameras again… lol.

Of course this is my satire photo I cobbled together for a concept, I kind of like the aesthetic though.

When I heard this rumor I thought about it and dismissed it almost immediately, but then I started thinking about it more and more and came to realize that I would really like a camera like the rumored Nikon Zf mirrorless retro camera. Let’s take a walk down “Wishful Lane” and cobble together the main features I would like to see in such a camera.

David Saylors Nikon Zf Full Frame Rumor Street Photography Camera Livestream

Link to video on youtube

First off we need to establish something, Nikon is no newcomer to the retro camera space, if anything they are a leader in this space in my opinion. You see, they have already tried this several years ago. The Nikon Df was a full frame DSLR retro styled camera that first came out in late 2013. Here is the problem with the Df, it was ahead of its time. The Df came out at the height of the DSLR period in camera history and nobody wanted to go back in time to the cameras that looked like that… yet. To say it simpler, nobody wanted it…

Reference photo scraped from the internet courtesy of B&H Photo.

The Nikon Df was a really cool camera too, sporting a full frame sensor in a stylish retro body. It was simply just too soon. Fast forward to mid 2017 and Fujifilm launches arguably their most important camera to date…the XT3. Sure the XT1 and XT2 had done fairly well, but this camera propelled them into the Street, Reportage, Lifestyle camera space like a rocket. Everybody had an XT3 at one point, shoot I even used one for several years. It is a great camera.

Another image scraped from the internet for reference.

Fuji had been chumming the waters for several years at this point in the street photography niche and a strong marketing campaign combined with a period in time when youtubers were the main game in town for getting the word out and the XT3 took over this game…for a time. The point had been finally made that the photography world was in fact ready for a retro styled camera.

Next in this story came the Zf-c from Nikon, this little power house of a camera was basically a test run, in my opinion, to see if Nikon had enough market segment clout to pull users from Fujifilm, Olympus and Leica over to their court. They even released it with a retro styled 28mm lens to go with it. Pure genious in my opinion as the 28mm f2.8 Ai-s was one of their best lenses ever made. This has to be the most blatant shot across the bow of Fujifilm in the company’s history… Just look at the two cameras in the comparison below.

Sceen capture from Cameradecision.com, a website that will allow you to compare many cameras.

I grabbed this image above from CameraDecision.com as it has the measurements to show how close they actually are in physical size and appearance. Just look at it and then try to tell me with a straight face this wasn’t a test shot at improving Nikon's street photography market share…lol

You know what though, it worked. Zfc sales soared and the cameras flew off the shelves. People loved the tiny little camera but it wasn’t without its shortcomings. These shortcomings will be what is fixed in the Zf if I am right… You see Leica has already figured it out. The dropped the CL from their lineup entirly due to the fact that people that want crop sensor street cameras simply buy the Fujifilm machines. Fujifilm owns this market outright now. It is common knowledge that if you shoot crop sensor street photos it is probably on a Fuji… So Leica simply leaned into their full frame machines and focused on them more, this proved to be the right move for them too. Nikon is also starting to see this in my opinion and the Zf will be the camera that they use to show it.

The things I am lookng for in the Zf that will make me choose it will be:

1. 24Mp full frame, stacked, BSI sensor - Low light is what I am wanting here.

2. IBIS - slow shutter speeds are so much easier with good stabilization.

3. The same battery as the other full frame machines.

4. Dual card slots - not a deal breaker but overflow is nice.

5. High quality EVF - A hi-res EVF is important to me.

6. Released with a set of fast primes like 28mm, 35mm, & 50mm.

7. A tilting screen is a must. A side swinging (flip out) design is not important though.

8. Shutterless design like the Z8 & Z9

9. Weather resistant in the rain.

You will notice that video is not on this list. That is because I don’t think this camera will be used by video enthusiasts and good video specs will not really matter. Sure, give it 4K 30p or some such if you want. That way you can capture the occasional B roll clip of shoot off of a tripod or what have you, but 90 percent of the people that will choose this camera will be choosing it for the stills experience.

I think that if they lean into the stills side of the game on this machine and integrate the external controls from something like an F3, that they will have a solid winner on their hands. I know I would love to have one. I bought the XT3 back in the day because Nikon didn’t have what I wanted. The Zfc was a near miss for me, I almost bought one when my buddy Phil Thach did, but I was able to keep my resolve to hold out for the full frame version…lol.

You see, I already have a crop sensor street camera with my Leica CL, so I just didn’t see the point in another crop sensor machine that didn’t have IBIS. If I buy another APS-c camera it will have IBIS. The tech is there, just look at the Fujiifilm XH2 for instance. The IBIS makes a big difference for me in that I like to shoot with fairly slow shutter speeds to capture motion blur and in low light or even at night. This is why I want the 24MP sensor, the larger photo-sites will make noise control a lot easier for the processor. Also killing shadow noise at the same time. Another point that needs expanding is that I like the EVF in my Leica cameras as I use glasses and with the EVF I can see the camera display7 information as well as the scene exposure and I can focus it to be able to not need to use my glasses. This matters in that if I looked through my glasses, I have to press the lens against the rubber eye cup and this usually has skin oils on it which in turn makes my glasses useless… Hence the reason for being able to focus the viewfinder to my un-aided eye. I simply look directly into the EVF and I can see everything, including image review if needed. I have grown to NEED a good EVF at this point instead of wanting it.

What do you think would make the perfect retro styled camera? Let me know in the comments below!

My loadout for flying with camera gear.

Traveling over the years to locations that require flying commercial has taught me a few things about what to take.

I once carried almost everything I owned when I traveled so I was sure to have whatever I needed for a certain photographic event. Well, with time comes wisdom… I have been adjusting the loadout and searching for the best solution as far as bags go and have finally found the perfect setup…FOR ME. You see, different people have different needs and your loadout will vary depending on your personal needs and wants.

When I traveled early on, I carried a large shoulder bag, very large mind you and a ton of kit in it. I had to fill it up you know! Lol.

Well after a couple of trips like that, I learned that I needed a different bag. So the giant Vanguard bag was retired and replaced with a Thinktank Airport International v2. This was a nice upgrade and allowed me to travel with more confidence in knowing my gear was protected better and it was also a roller bag! No more lugging that massive shoulder bag all over creation!!!

Well, I still use this bag from time to time, but only for roadtrips in my truck. The irony of this statement is not lost on me. I bought a literal aircraft carry own style, camera bag and now I dont even take it when I fly at all.

Thinktank Photo Airport International 2.0

So I learned the hard way something about marketing with this bag. Thinktank Photo will tell you, probably with an asterisk, that this bag will fit in standard overhead spaces. This isn’t so and I learned this the hard way on a trip coming home from Hawaii one year. On the last leg of our long journey, we boarded a small commuter jet and the overhead storage bins were just too small. This is when I got a VERY sick feeling in the pit of my stomach. You see, this meant I had to valet check this bag at this point. If you have never watched baggage handlers loading luggage then you dont know the horror movie I was imagining my expense and fragile camera gear was about to experience. They can be quite rough with check bags, we have had them arrive at baggage claim with wheels missing and such. So I tell the flight attendant my plight and she saves the day by stowing my roller bag of camera gear in what amounts to her broom closet. I almost cried in appreciation. That was the straw the broke the cameras back of roller bags for me.

Pictured here are the Peak Design Everyday Messenger bag and the Thinktank photo street walker backpack.

After the Airport International “incident”, I decided I needed to downsize my kit for multiple reasons. The main one being that I didn’t want to have to valet check my bag because it wouldn’t fit in the overhead bin.

The next reason is the most important though. I was tired of carrying gear I didn’t use or even need.

Taken with the Nikon Z50 handheld and using the kit lens.

So I decided to get something new and smaller. I chose something that had been on the market for just a short time at this point. I chose a Peak Design Everyday Messenger Bag. It is a wonderful way to carry camera gear for the most part with one exception. I cant really carry my big telephoto lens I use for wildlife. I tried it for a couple of years and at the time, I was using a large system consisting of a Nikon D810 with battery grip and the 200-500mm super zoom lens. This combination is very large and would leave me with room for just a couple of smaller lenses. It also came with another problem…pain. Single strap bags are great as long as they are not heavy, which is exactly what mine was at this point in time. So the search continues and I found another Thinktank Photo bag.

The next bag I chose was the Streetwalker v2. This is a smaller bag that is backpack style and is really comfortable. The single shoulder strap on the messenger bag would make my shoulder incredibly sore after just a couple of hours of carry. I tried this for a couple of years and paid the price. The streetwalker solved that problem in short order. It was at this point in my photography journey that I was finding smaller cameras like the Fuji XT3. I took this camera to Israel for a ten day trip and it was on this trip that my eyes were opened to carrying excessive equipment is wasteful. I took three lenses with me and only used one of them. Yes, I used the KIT LENS for the whole trip and it worked gloriously!!! All the while I was carrying around all this other crap and just getting back to the kibbutz tired every day.

Current travel load out, Z50, 500mm PF, 16-50mm Z Kit, and 10-20mm F mount Nikkor/FTZ adapter.

Well, I finally figured out that the smaller pack was the way to go, but it really didn’t have room for the big wildlife rig I liked to use… It also had one other critical shortcoming that I noticed from regular use. The pack opened to the top when unzipped. What this means is you take off the pack and lay the side that normally sits against your back, on the ground facing down to access the gear area. At this point, I was doing a great deal of photowalks and hikes to waterfalls and such and this caused lots of dirt on the back of my shirt… To say this was frustrating is an understatement but I carried on till…

Enter the Thinktank Photo Retrospective 15L. For my needs, this is as close to perfect for a camera bag as I have ever found. It opens from the back, the side against my body which means you lay to outside one the ground, keeping all the leaves, twigs and dirt off of my shirt. It is slightly larger (15 liters in size) so there is room for my wildlife kit. It is REALLY comfortable and it is made of stone washed canvas. So it has a nice look (it doesn’t look like a nylon camera bag) and has a great feel. This is a hallmark of Thinktank Photo from what I have seen. Their backpacks are very comfortable. So now that I have landed on the perfect camera bag after almost a decade of searching, I can now shift focus to the gear I put in it.

Taken with the Nikon Z50 with the FTZ Adapter and the 500mm PF Amount lens.

The gear loadout for my photography usually involves at least two bodies, three general purpose lenses and then my special purpose lenses and all the support gear too. Like a whole cleaning kit complete with blower bulb, dry wipes, wet wipes and solution and sensor swabs… way too many batteries, like I must have thought I was going to take 10,000 photos per day or something. I never needed most of this crap either. I mean almost none of it. What I had was a case of “fill’er up” syndrome. If there was bag space I felt compelled to put something in that space for some reason. This is a terrible way to operate if I must say. You end up tired, sore and resentful of the hobby as you brought all this kit for nothing.

The Nikon Z50 with kit lens makes for a powerful little general photography kit.

So this trip, the bag is scaled WAY back. I mean, there is room in the bag for stuff and nothing is in those pockets. This is a milestone for me, as I am a prepper at heart and want to cover every conceivable contingency under my normal mindset. To be honest, I probably brought at least one lens more than I will need and could have lightened the load some more there, but we will see. So my takeaway from all this is, your hobby is a journey and you will have to figure out your kit for that hobby as you go. For me, it is still an ongoing journey to be honest. Hopefully I can stop spending tons of money on it and just enjoy it. Let’s be realistic though, probably not…Lol.

I like fiddling with my camera, do you?

My current street and general photo setup.

Well, there, I said it. I like to fiddle with my camera. Sure, I miss some photos because I am playing with the camera, but to me, that is part of the experience! Getting the photo is a result, but to me the time spent with the camera is as important as the final image.

You see, I am what is referred to as kinesthetic. This means I enjoy engaging with the gear as much as getting the photo, getting to interact with the camera on a deeper level brings me a form of satisfaction and joy that is hard to explain.

I know this goes against the convention of the camera “should disappear” or be so intuitive that you no longer know it is there. This is a bunch of hogwash in my mind. I spent a lot of money on my camera and by golly I want to get my money’s worth out of it!!!

This is my “discrete” film camera! LOL

I have read several of the books on the technical aspect of photography and they all keep saying to get the camera to where it runs almost in automatic so you can “get it out of the way” and focus on getting the shot instead. This is not what brings me joy in photography for some reason. I am just not wired that way. I like to play with the machine and then command it to produce what I ask of it and have it comply. That is a oversimplification, but the point is that I want to have the interaction with the camera as much as getting the photo. I figure it like this too, you get the shot, great, you do your edits say this takes another hour, maybe two if you really want to dial it in. (most people spend way less time than this on the editing process) and then you export it and share it on some website somewhere and wait for the little number to appear by the heart symbol. Then it is basically forgotten and the hunt is on for the next image. I like to get the image I had in my mind, but I ALSO like the interaction with the camera too, it is just fun to mess with it.

I mean, c’mon! Look at my “street photography” rig for crying out loud! All I hear is get a small, unassuming camera like a X100V or a Leica Q2 or some such, and here I was with a Nikon D810 with battery grip and 50mm f1.4 lens or my current rig…the Leica SL2 with 50mm Summicron L…even my film rig is larger than life!!!. HaHa

Back years ago, this was my main goto rig, Nikon D810 with a 50mm f1.4 Nikkor lens.

I do have a smaller camera that I like to use as well, but it is not to “get the camera out of the way” but rather to have a simple camera to grab and have as a backup to my SL2 rig. I have even kitted it out with a focal length lens to simulate the same field of view as my SL2/50mm rig. I do this so the experience using them is similar and I also know pretty much what I am going to be getting when I use them and that they will produce very similar results. It doesn’t allays work out that way, but that is the intention…lol.

This little Leica CL with the 35mm f1.4 M mount lens from Voigtlander makes a great “grab n go” rig.

Something else I have learned is that I like manual mode the best. I once was an aperture priority kind of guy, but I have evolved into a full blown manual shooter now. I just like the fact that the EVF in my camera will show me what the image will be ahead of pressing the shutter and I am able to just dial in the sky till it is blue or up the shadows till I am happy with them. The light meter in the display gives me a point of reference as to how much over or under exposed the image is and I will know then if the highlights are gone or the shadows will be recoverable. most of the time though, I don’t care about either.

My Leica SL2 top display.

As you will notice in this photo, I have set the camera as follows: Manual mode, there is some negative exposure compensation, f8, 1/125 sec shutter, auto ISO at the time (this varies from manual in a static scenario to auto if the light is going to change around constantly), and the rest is “state of the camera” info like both cards are present and set to overflow, there is room for 1937 frames left on the first card, the blue tooth is on so I can connect my phone to the camera, and the battery meter. This is how I run my camera most of the time when I am shooting street photos. Point is, don’t follow conventional wisdom if it doesn’t suit your ideology or normal operational parameters, simplified…you do you. Stop letting other people tell you how to engage in your own hobby. Be like William Eggleston and go against the grain. You are in charge of your life, live it on your terms.

Now, get your camera out and go play with it…I know, I know, I just broke my own advice by telling you what to do, but maybe some of you need a nudge…lol.

Photographing Sacred Harp singings with a Leica/Nikon hybrid system

First, yes, you read that right. I shoot my Sacred Harp singings with a Nikon lens adapted to the Leica SL2. This is for 4 reasons, well maybe 5 but the fifth is trivial in my book.

1. I really like the images from my Leica SL2 camera plus the interaction with the camera is just plain fun.

2. I did some experimenting and found that I shoot most of the photos at these events at about 105mm give or take a little.

3. In my opinion, the Nikon 105mm f2 DC Nikkor lens is one of the finest portrait lenses available in this focal length.

4. The f2 maximum aperture on the 105mm lens also gives me another stop of light in dimly lit buildings too.

5. Trivial, but I like to use manual focus, it is part of that interaction with the camera that I just plain enjoy.

Let’s expand on these a little and see if there is someting in here that will help you when you shoot certain events or subjects.

The image quality of the Leica SL2 is hard to beat. The features in that camera that I REALLY like are things like the EVF, the IBIS works better than any other I have ever used, the colors are amazing right out of camera, I can confidently handhold this camera, with a vintage 105mm lens mind you, and shoot at 1 second confidently and get sharp photos. That in itself is s a feat of engineering. The Electronic View Finder is the next reason I love this camera. The EVF has such high resolution that it doesn’t seem like a display but more like a window, it just has to be seen to understand. The 47 megapixel sensor also gives me plenty of image to do some creative cropping to adjust compositions at times to correct for things like having to hurry to get the moment captured and knowing that I can cut a significant amount of the image away and it will still look great is always a bonus. I have really come to understand why people like certain devices when they engage in an activity, if it is the right tool for the job AND you enjoy using it, the product of this will be stellar!

In days gone by I have used an array of cameras and lenses to photograph these singings. Some were large rigs like the Nikon D810 with battery grip and the 70-200mm f2.8 telephoto zoom, and some were small, like the Fuji XT3 with a vintage 55mm f1.8 Asahi Optical prime lens. I looked back over several of these singings and started noticing that I was ending up on the 105mm focal length more and more when I would be using zoom lenses. Now of course this is not possible when using a prime lens, but I was still favoring longer focal lengths instead of wide angle lenses. So I decided to do some experimenting and used my 24-90mm Leica zoom and found that I shot most of the images with the lens racked fully out and wanted to have even more zoom… I even ran this giant lens on the Leica CL once and still found I had most photos at the longer end of the range. So I started using the 105mm and it is the right focal length for capturing the actual song leaders as well as the candid photos in the breaks between sessions as well.

Another reason I really like the 105mm f2 is that it is a stellar lens to pair with the SL2. The performance of this lens is really good with minimal artifacts and it has three features not available on many other lenses (well not on many NEWER lenses). The Defocus Control, an aperture ring AND the large aperture (more on this in a minute). The Defocus Control really is a trivial item to be honest. It only changes the out of focus areas of the photo ever so slightly, but it does add for a smoother background when shooting wide open (which I tend to do for two reasons). I normally set the defocus control to “2B” and just leave it there, this adds a little to the image that is hard for people to describe and it keeps me from having to remember to check it if I go outside on a break or at lunch or the sun starts spilling though the window and I end up stopping down for some reason. You see, if the defocus control is set higher than the aperture on the lens, it does strange things to the photo and it is not appealing, so less is more here.

Aperture is a big deal, just ask anyone who shoots photos indoors, the bigger the better. This is not for those blurry backgrounds either, although this is a byproduct, it is more because the rooms are normally very dimly lit and this helps keep the ISO down below 1Trillion…I normally shoot wide open for this reason alone, but if the building has windows and there is a good bit of light in the room , I will stop down to f4, but that is about it. Actually, I don’t think I have ever deliberately stopped down past f4 indoors ever. There just isn’t enough light…

This is going to be controversial but I like manual focus. I don’t know why exactly. but I like it. It is something to do with the interaction with the equipment, I just enjoy tinkering and this is something to tinker with. The fact that the focus isn’t looking for what I want to grab and then grabbing someone else, is a comforting feeling. The 105mm f2 is also manual aperture, so I get to control that manually too, although I rarely change this for reasons mentioned above. This rig is a fairly heavy system too, with the camera being a pro camera and the lens also being of the pro variety these are built very well and will last a lifetime with minimal maintenance.

All photos in this blog were taken at the 2022 United Sacred Harp Convention at Antioch Baptist Church in Ider, Alabama. These events are usually held at churches and the acoustics are usually really good because of this, but the light is dim…

Another thing I try to do is capture the “atmosphere” of the event as well. This means that I am taking photos of everything, not just the song leaders. I will get photos of the kids playing, people talking, the food tables (this is a rule or something that the photog HAS to get the food tables LOL) so it tells a more complete story than just song leading. A particularly special thing to record is the children and the elderly as these statistically are the ones that will change the most in just a few years. So I really try to get these people photographed so people will be able to remember them more easily. Also something I have learned to photograph at ALL events is ANY candid opportunity that involved emotion. The photo of Cass and Isaac above is a great example of this. These types of photos are honestly very hard to capture unless you spend a lot of time just watching and then you can get them fairly easily. They are fleeting moments and sometimes they are also “built” on a scene that you can predict as you watch it develop. You will learn to get these kinds of photos if you just watch the scene around you for a while.

If you have not found a niche genre of photography for you, I implore you to do some exploration and find something that you like a lot and then get your camera out and do some photos to see if it is your niche.

If you want to learn more about Sacred Harp or you want to try to find a singing to go hear it, follow this link to the FaSoLa.org website.

FaSoLa Website