Jason Schneider
the Camera Collector
The incomparable Tom Abrahamsson: A warmhearted genius
He loved photography, cameras, lenses, and most of all—people
Jason Schneider
Anyone who ever encountered the irrepressible Tom Abrahamsson was sure to experience at least two aspects of his unique and remarkable spirit: his infectious joie de vivre and his abiding passion for all aspects of photography, especially shooting film with M-series Leicas. A consummate mechanical design engineer and self-taught precision machinist, he invented and fabricated a series of elegant, beautifully made trigger advance Rapidwinders that are far simpler in design, and generally held to be more reliable and smoother operating than the corresponding Leitz offerings. Indeed, even the highly esteemed engineers at Leitz conceded as much, and incorporated Tom’s ideas into their later winders. Not surprisingly Abrahamsson’s limited edition, virtually hand-made units have attained the status of cult classics that often fetch fancy prices at auctions and on the used market. A more plentiful and affordable example of Tom’s ingenuity is the Abrahamsson Softie, a soft release that screws into the standard Leica shutter release. It provides a convex surface that allows you to touch the release at the edge for fast shooting and facilitates hooking your index finger over the convex surface so you can use the 2nd joint of the finger to control the pressure on the release—a technique familiar to target shooters. Tom also devised a right-hand grip for M Leicas that’s considered one of the best ones ever.
The irrepressible Tom Abrahamsson with some of his many cameras. He used them all and if any languished for more than a year he sold of traded them!
Remembered affectionately for his engaging personality, humor, wit and charm, Tom Abrahamsson’s wide ranging and profound knowledge base extended well beyond the mechanical realm. He was an expert on film and developing, especially black-and-white processing techniques; he was an ardent proponent of testing lenses by taking pictures of actual subjects rather than lens test charts; and he was a respected authority on cameras and camera design, especially (but not limited to) rangefinder Leicas, Nikons, Canons, and Contaxes. Tom held strong opinions on a variety of subjects, and he certainly wasn’t shy about defending them with vigor. But he was always a true gentleman, never overbearing, and always prepared to concede the point (on the rare occasions) when he was wrong. His knowledge of film cameras—
Especially the internals of Leicas—lenses, and everything related to analog photography was truly encyclopedic. That’s why countless journalists, technical writers, camera makers and marketing people eagerly sought his advice and counsel. Sadly, Tom passed away on Friday, January 6, 2017, at the age of 74 after falling and then becoming ill, a monumental loss for the entire photographic community.
Early Leica M2 with button rewind actuation, 50mm f/2.8 collapsible Elmar. Tom favored lever rewind M2s (see text). Photo courtesy James Lager
Below is snippet from a biography written by Tom himself that may capture some of his wry, understated humor and zest for life
“I was born in Sweden in 1943, so I am getting on in age! Started taking pictures in 1957 (with a beaten up M3 and Tri-X, then rated at ASA 200. Studied and got various degrees, Journalism, chemistry (it was the 60's after all), industrial design. Married a Finn, Tuulikki in 1967. Moved around a bit, 2 years in Helsinki, 2 years in Copenhagen, a couple of long trips (around the world in 1970/71) and in 1974/75 another long trip around US/Mexico/Canada. Settled in Vancouver in 1975 and worked as a photographer/writer until 1982 when we took 18 months off and went to Paris, just for fun…”
Late model Leica M2 in satin chrome finish with matching Abrahamsson Rapidwinder and 50mm f/2 Summicron, a user-collector's prize.
Brief observations on Tom Abrahansson by four of his many admirers:
Tom was an inventor, a traveler, a marvelous storyteller and a kind, humorous and generous soul. He will be remembered for his creations: the Rapidwinder, in all its manifestations, the Softie soft-release buttons, the Rapidgrip, and his compelling photography. A modest man, he never sought celebrity and was largely indifferent to it.
Tom’s Rapidwinder is a streamlined, brilliantly simplified and more efficient version of the old complex, fragile and discontinued Leicavit. The Rapidwinder created enough of a sensation among Leica rangefinder users that Cosina Voigtländer was inspired by the Rapidwinder to make the Triggerwinder for its Bessa rangefinders. Leica came out with an improved Abrahamsson-inspired Leicavit and honored Tom by giving him a specially engraved Leicavit
Tom had two rules about camera equipment. The first and most important was that camera equipment was to be used and not simply displayed; the more weathered from use a camera was, the more beautiful it was. His second rule was that any piece of camera equipment that he did not use for a year would be sold or traded.
Leica M2 with lever rewind actuation, self-timer, coupled MR meter, and 35mm f/2 Summicron. This was Tom Abrahmsson's favorite Leica combo, but he probably would have dispensed with the meter! Photo courtesy of James Lager
Tom was and will always be remembered as kind, considerate, and a dear friend. He was the holder of extraordinary knowledge on all aspects of photography and a dauntless supporter of all research efforts regarding the Leica, including my own. His passing represents a tremendous loss to all lovers of photography, especially the Leica community. James L. Lager, Leica historian
Tom Abrahamsson and the Leica M2: A 50-year-long love affair
Tom Abrahamsson was an ardent and accomplished photographer who owned and shot with dozens of different cameras. However, he had a particular penchant for interchangeable lens rangefinder 35s, especially M-series Leicas, and he probably wouldn’t be offended if you called him a Leica guy. He conceded the limitations of his favorite camera genre, and he knew that the glory days of the interchangeable lens rangefinder 35 had passed, but he loved their mechanical precision, the “pure” picture taking experience they provided, and the “ownership of the image” they conferred on photographers who shoot with them.
Tom’s favorite cameras were the classic all mechanical, non-metered M Leicas of the vintage M era. They were produced from the mid ‘50s through the mid-‘70s—the M3, the original limited edition MP, the M2 and its varants, and the M4 (1966-1975), the latter arguably the last of the breed that was literally bench assembled in the time-honored Leitz tradition. He loved these cameras because of what they could do, but also because he knew them intimately from the inside out, and he also realized that we would not see Leicas built quite like that ever again.
The Leica M2 (1957-1968) was clearly Tom’s preferred camera—he confessed to having 12 examples in his steel camera cabinet at one point and admitted that (at least) 45 M2’s had passed though his hands over the years, most of them turned over to others as gifts or at very reasonable prices. Indeed, the last think Tom wanted was to see his beloved Leica M2 become a cult classic that few users could afford, noting that there were only around 80,000 M2s in the world versus over 200,000 M3s. Here’s are a few (lightly edited) excerpts from Tom’s observations on the M2 variations:
Leica M6 with Abrahamsson Rapidwinder and grip and Abrahamsson Softie screw-on shutter release adapter--all the best in the business.
A Leica M2 Taxonomy by Tom Abrahamsson
There are basically 4 versions of the M2. The early “press button to rewind” version (and there are of course two variations if that!). One requires you to hold the button in while rewinding; with the other one the button stays in rewind mode as you rewind—most of the time! I avoid these as it is too easy to rip film if you are rewinding film and you either release pressure on the button, or it decides to pop out by itself. These bodies are in the 926,000-950,000 range, but you occasionally find early M2s that have been converted to lever rewind actuation. The “run of the mill” M2s run from 950,00 up to 1,164,000 and there were about 80,000 made. These have lever actuated rewind and come with and without self-timers. These are also the numbers in which you can find (rare) factory black painted ones and if you are really lucky, one of the 20 Air Force models in blue gray.
Under pressure from the Nikon SP and its Nikon S-36 motor Leica was forced to make a motorized version of the M2. Initially the motor was made by (Norman) Goldberg in New York and later Leica put their name on it. The M2-M would generally stop halfway through a 36-exposure roll. You can find motorized non M2-M cameras marked M2 but with the omtor connection as Leica would convert existing cameras to accept the motor. The US Army ordered a series of M2s in the mid ‘60s, each with a 3-lens package, and these had an M4-type take-up spool. Leica produced about 2,500 more of these than the Army ordered, and later sold them as M2Rs with a 50mm f/2 Dual Range Summicron. From a functional point of view all M2s work the same. The only difference is that the military version and the M2R cannot take the Leicavit MP. The M2 was initially made as a lower cost version of the M3 as well as a response to the pros’ demands for a camera that could use a 35mm lens without either the goggles or an auxiliary finder on top. By cutting out the auto reset of the frame counter and the very complex finder in the M3, it could be sold for about 20% less.
I have used M2s fir 40+ years and I consider it the apex of camera design. It is the most comfortable of M to use and has no fancy finder or film counter to go “bump in the night.” They tend to last almost indefinitely. The finder is 0.72x magnification, the frame lines appear one at a time, and the parts are common with even the newer Leicas
and can thus be fixed today. A couple of M2s, a 21/35/50/90 combination of lenses and the proverbial grocery bag filled with Tri-X should be enough for anyone to cover most anything photographically.
Homage to the Leica M2 by Tom Abrahamsson
It will probably not come as a surprise that I recommend the M2. Over the decades I have at one time and another owned and used every M model, but somehow, I always come back to the M2. Simple finder, 3 frames and only the one in use shows up! They are easier to fix than M3s (particularly when it comes to finders and early double stroke shutter brakes). $1,500 should get you a decent M2 with a recent service (preferably documented). Start off with one lens and get used to the camera. The loading/unloading is different from an M4, but no better or worse, just different. And either way, with practice you can unload/reload in 25-30 sec. The M4 is good, but why have a 135mm frame sitting in the middle of your 35mm frame if you can avoid it? The slanted rewind crank is also weaker than the knob-and post style rewind on the M2/M3. One lens you might try is the 40mm f/1.4 Nokton—
simple and a damned good lens. Just take one step back for a 35mm view and one step forward for something close to a 50. However—be forewarned—Leicas, and particularly M2s, are highly addictive and you will develop all kinds of rationales for getting “just another one.”
Tom Abrahamson: The guru holds forth on Leica M-models compared
It is difficult to narrow down issues like build quality. It depends on usage and care more than anything. Today we expect our double stroke M3s to work perfectly after 50+ years! My own experience of the various M's is as follows:
M3/ Early double stroke ones. The shutter brake tends to give up and you occasionally find them with either black rangefinder patches or severely faded "half" mirrors. It is still the M with the smoothest advance and the softest release of them all.
Later single stroke M3's are among the best built cameras ever. If it has been serviced regularly and not abused, they tend to work perfectly, even after 1000s of rolls. The weak spot is the finder. They can black out through de-lamination of the prism (usually through impact).
M2/ Because it is a simpler camera, there are less things to go wrong. The finder is robust and though it can dim through oxidization of the mirrors, it can still be fixed. The film-advance on some of the earlier M2's (button actuated rewind) can get rough with heavy use. If the shaft springs are worn, you can get overlap on the negatives when the shaft turns inside the take up spool.
M4/ Leica put everything into this camera! It is very well built but check for bent re-wind cranks and worn take up "tulips". The finder usually holds up well and has the advantage of having many parts in common with the M2 and later M4Ps and M6s. It is usually easier to find a "mintish" M4 than an M2/M3 as these earlier Leica were the only game in town for press photographers in the 50's. In the 60's the SLR came into play and the pros switched, mainly because of the ease of using long lenses.
M5/ I have had several of these, but I never got along with it. Too big and a bit clumsy. Again, the mechanicals are very good, though the bottom rewind can act up and one of mine decided not to retract the meter arm, resulting in an “interesting object” cluttering up the sky on a whole roll! The meter sensor can age badly (like most of us) and lose sensitivity and it does use the #625 style battery and must be fettled to accept current lithium free 1.5v button cells
M4-2/ The earliest of these had a problem with the shutter brake and the shutter speed regulator would go 'kabloonk" occasionally. Part of the problem was miscommunication between Wetzlar and Midland. The good news is that most of the M4-2s available now have been fixed. Leica started to add a lot of shims to the various shafts and locks and with time these springs shims get tired, and you get misaligned locks on the base plate and interior drives. The film rewind was made from alloy and would bend or "buckle" if you hit it.
The M4-P/ This is a generally good camera, and it can expose a lot of film before any problems arice. The problems with the shutter was rectified. The film rewind is still alloy and occasionally you musy replace it (expensive) or simply bend it back and file off the flange at the bottom. I still have my 1981 M4-P and it 10 000s of rolls have gone through it. It was my bench tester for Rapidwinders and was also my primary camera for a lot of trips. The intermediate drive (motor coupling) came apart once and was replaced, and the gear in the advance wore out and was also replaced. A couple of curtains got pin-holed (not the cameras fault).
M6/ The first version of the M6 had problems with the meter "chip" and they frequently died or showed only one of the diodes. Leica replaced most of these under warranty in the mid 80's and after that the M6 is as good as even the earlier M2/M3/M4s. It is a very robust camera; the alignment in the rangefinder can go out if you bang it hard, but this is rare. There have been problems with a 'grommet" that seals the meter information transfer wires, and you could get light leaks. Some of the Titanium M6s had a film counter spring that failed and needed to be replaced.
M6TTL/ Initially these cameras had a problem with battery drain. There are a couple of contacts at the bottom of the battery well that would drain the batteries in a matter of hours. The solution is to push these contacts down, below the surface of the bottom. These are "test" connections for probes. Otherwise, the TTL is a good camera and as most confirmed M-users prefer the old-style shutter speed dial, a good deal too. On a couple I had problems with information transfer from the back door to the diodes (both after having been banged hard against unyielding car doors and door frames!)
MP/ Early MPs had a faulty seal around the eyepiece and dust would seep in to finder. The problem was fixed, and Leica actually supplied new and improved seals to "do-it-yourselfers." There was a bit of a flare problem in the finder with the 0.85 and 0.72 versions that could cause problems. Otherwise I think that the MP is one of the best built Leica M's ever. The top plate is brass as a Leica top should be, the gears are remarkably smooth (film advance on a MP rivals that of a Double Stroke M3} and the fact that you have a choice of finder magnification adds to the attraction.
M7/ I had one for a couple of years and apart from going through batteries at an alarming rate and a tendency to shut down suddenly, it held up well. The electronics worried me though and the magnetic controls of the shutter would be sensitive to a heavy Gauss field (e.g. a large electric motor starting up). I never liked the release on the M7 - very "jagged" feel to it. I loved the 32-second-long exposure count though.
General problems encountered with M4-2/M4-P and some M6s. The top was made from die-cast zinc alloy and if you got a scratch that penetrated the plating the top turned into a galvanic element and started to bubble the black chrome. More common on the M6, but I have seen some M4-2 and M4-Ps with the same problem.
The shutter curtains on old Ms can dry out and get brittle and the adhesive that holds the 'straps" for the curtains to the shutter drum will lose 'power" with age and can come loose. There is also a felt trap in the track of the M's (up to M4-P) that can came loose and jam the shutter curtain. It is again adhesive that goes brittle with age. It is aiways a good idea to CLA any older M on a regular basis anyway (every 5-7 years) and beware of Ms that have been sitting idle for a long time. Lubricants dry out and curtains lose flexibility if they are not used.
What is remarkable is not the problems that occasionally occur with older M's - it is how well they still work after 40 or 50 years! There are few products available today that can claim that. Even battered old M3s and M2s will produce great pictures after decades of use. So, the shutter speeds might be a bit off, but you can learn to compensate; the finder could be brighter, so use hyperfocal settings; the rewind squeals a bit – don’t worry, it will wear itself in! AND there a few products that have compatibility going back 80 years. You can put your nickel Elmar from 1927 on your 2007 MP or even a digital M. That is foresight in design and, yes, a bit of German stubbornness too - but it all benefits us, the end users.
There’s probably no one alive today capable of giving such a compassionate yet unflinchingly accurate assessment of Leica M cameras and do so with such charm, grace, humor, and love.
A heartfelt tribute to Tom posted on RFF by Simon Saw Sunlight
On November 9[SUP]th[/SUP] of 2016 Tom Abrahamsson sat down with me in his living room in Vancouver and handed me this camera. “I suppose you can have this one” He asked for 500Canadian Dollars, but I could tell he didn’t care about the money either way. I simply insisted on buying it—
or any M2, really. He said that it was rather unusual for him to part with an M2. I told him, we’d make a deal then. “Whenever you happen to need another M2, you can buy this one back for the same price.” He just laughed and said: “But that’s never going to happen!”
Tom was like a grandfather to me, and he believed in me more than I ever did or ever will. I left for Berlin that same evening. It was the last day we spent together. Tom died almost exactly two months later. I carry this camera every day, wherever I go, with one to ten spare rolls of film in my pocket.
I wrote about this about a year and a half ago. Today I casually scrolled through a list of Leica serial numbers and stopped and wondered. I checked and double checked, and cross checked with some other lists and databases out there. The camera Tom let me have seems to be from one of two rare batches of 100 M2s made in Canada (1,132,901-1,133,000). I if he knew this or did it on purpose, but I wouldn’t put it past him. Tom gave me an even bigger piece of himself than I knew, a camera that was a European original turned Canadian, just like himself.
Wherever the transcendent spirit of Tom may be now, you may rest assured he’s sporting a well-brassed, well-tuned Leica M2 fitted with an Abrahamsson Rapidwinder and a 35mm f/2 Summicron-M ASPH.
Sic Transit Gloria Mundi
He loved photography, cameras, lenses, and most of all—people
Jason Schneider
Anyone who ever encountered the irrepressible Tom Abrahamsson was sure to experience at least two aspects of his unique and remarkable spirit: his infectious joie de vivre and his abiding passion for all aspects of photography, especially shooting film with M-series Leicas. A consummate mechanical design engineer and self-taught precision machinist, he invented and fabricated a series of elegant, beautifully made trigger advance Rapidwinders that are far simpler in design, and generally held to be more reliable and smoother operating than the corresponding Leitz offerings. Indeed, even the highly esteemed engineers at Leitz conceded as much, and incorporated Tom’s ideas into their later winders. Not surprisingly Abrahamsson’s limited edition, virtually hand-made units have attained the status of cult classics that often fetch fancy prices at auctions and on the used market. A more plentiful and affordable example of Tom’s ingenuity is the Abrahamsson Softie, a soft release that screws into the standard Leica shutter release. It provides a convex surface that allows you to touch the release at the edge for fast shooting and facilitates hooking your index finger over the convex surface so you can use the 2nd joint of the finger to control the pressure on the release—a technique familiar to target shooters. Tom also devised a right-hand grip for M Leicas that’s considered one of the best ones ever.
The irrepressible Tom Abrahamsson with some of his many cameras. He used them all and if any languished for more than a year he sold of traded them!
Remembered affectionately for his engaging personality, humor, wit and charm, Tom Abrahamsson’s wide ranging and profound knowledge base extended well beyond the mechanical realm. He was an expert on film and developing, especially black-and-white processing techniques; he was an ardent proponent of testing lenses by taking pictures of actual subjects rather than lens test charts; and he was a respected authority on cameras and camera design, especially (but not limited to) rangefinder Leicas, Nikons, Canons, and Contaxes. Tom held strong opinions on a variety of subjects, and he certainly wasn’t shy about defending them with vigor. But he was always a true gentleman, never overbearing, and always prepared to concede the point (on the rare occasions) when he was wrong. His knowledge of film cameras—
Especially the internals of Leicas—lenses, and everything related to analog photography was truly encyclopedic. That’s why countless journalists, technical writers, camera makers and marketing people eagerly sought his advice and counsel. Sadly, Tom passed away on Friday, January 6, 2017, at the age of 74 after falling and then becoming ill, a monumental loss for the entire photographic community.
Early Leica M2 with button rewind actuation, 50mm f/2.8 collapsible Elmar. Tom favored lever rewind M2s (see text). Photo courtesy James Lager
Below is snippet from a biography written by Tom himself that may capture some of his wry, understated humor and zest for life
“I was born in Sweden in 1943, so I am getting on in age! Started taking pictures in 1957 (with a beaten up M3 and Tri-X, then rated at ASA 200. Studied and got various degrees, Journalism, chemistry (it was the 60's after all), industrial design. Married a Finn, Tuulikki in 1967. Moved around a bit, 2 years in Helsinki, 2 years in Copenhagen, a couple of long trips (around the world in 1970/71) and in 1974/75 another long trip around US/Mexico/Canada. Settled in Vancouver in 1975 and worked as a photographer/writer until 1982 when we took 18 months off and went to Paris, just for fun…”
Late model Leica M2 in satin chrome finish with matching Abrahamsson Rapidwinder and 50mm f/2 Summicron, a user-collector's prize.
Brief observations on Tom Abrahansson by four of his many admirers:
Tom was an inventor, a traveler, a marvelous storyteller and a kind, humorous and generous soul. He will be remembered for his creations: the Rapidwinder, in all its manifestations, the Softie soft-release buttons, the Rapidgrip, and his compelling photography. A modest man, he never sought celebrity and was largely indifferent to it.
Tom’s Rapidwinder is a streamlined, brilliantly simplified and more efficient version of the old complex, fragile and discontinued Leicavit. The Rapidwinder created enough of a sensation among Leica rangefinder users that Cosina Voigtländer was inspired by the Rapidwinder to make the Triggerwinder for its Bessa rangefinders. Leica came out with an improved Abrahamsson-inspired Leicavit and honored Tom by giving him a specially engraved Leicavit
Tom had two rules about camera equipment. The first and most important was that camera equipment was to be used and not simply displayed; the more weathered from use a camera was, the more beautiful it was. His second rule was that any piece of camera equipment that he did not use for a year would be sold or traded.
Leica M2 with lever rewind actuation, self-timer, coupled MR meter, and 35mm f/2 Summicron. This was Tom Abrahmsson's favorite Leica combo, but he probably would have dispensed with the meter! Photo courtesy of James Lager
Tom was and will always be remembered as kind, considerate, and a dear friend. He was the holder of extraordinary knowledge on all aspects of photography and a dauntless supporter of all research efforts regarding the Leica, including my own. His passing represents a tremendous loss to all lovers of photography, especially the Leica community. James L. Lager, Leica historian
Tom Abrahamsson and the Leica M2: A 50-year-long love affair
Tom Abrahamsson was an ardent and accomplished photographer who owned and shot with dozens of different cameras. However, he had a particular penchant for interchangeable lens rangefinder 35s, especially M-series Leicas, and he probably wouldn’t be offended if you called him a Leica guy. He conceded the limitations of his favorite camera genre, and he knew that the glory days of the interchangeable lens rangefinder 35 had passed, but he loved their mechanical precision, the “pure” picture taking experience they provided, and the “ownership of the image” they conferred on photographers who shoot with them.
Tom’s favorite cameras were the classic all mechanical, non-metered M Leicas of the vintage M era. They were produced from the mid ‘50s through the mid-‘70s—the M3, the original limited edition MP, the M2 and its varants, and the M4 (1966-1975), the latter arguably the last of the breed that was literally bench assembled in the time-honored Leitz tradition. He loved these cameras because of what they could do, but also because he knew them intimately from the inside out, and he also realized that we would not see Leicas built quite like that ever again.
The Leica M2 (1957-1968) was clearly Tom’s preferred camera—he confessed to having 12 examples in his steel camera cabinet at one point and admitted that (at least) 45 M2’s had passed though his hands over the years, most of them turned over to others as gifts or at very reasonable prices. Indeed, the last think Tom wanted was to see his beloved Leica M2 become a cult classic that few users could afford, noting that there were only around 80,000 M2s in the world versus over 200,000 M3s. Here’s are a few (lightly edited) excerpts from Tom’s observations on the M2 variations:
Leica M6 with Abrahamsson Rapidwinder and grip and Abrahamsson Softie screw-on shutter release adapter--all the best in the business.
A Leica M2 Taxonomy by Tom Abrahamsson
There are basically 4 versions of the M2. The early “press button to rewind” version (and there are of course two variations if that!). One requires you to hold the button in while rewinding; with the other one the button stays in rewind mode as you rewind—most of the time! I avoid these as it is too easy to rip film if you are rewinding film and you either release pressure on the button, or it decides to pop out by itself. These bodies are in the 926,000-950,000 range, but you occasionally find early M2s that have been converted to lever rewind actuation. The “run of the mill” M2s run from 950,00 up to 1,164,000 and there were about 80,000 made. These have lever actuated rewind and come with and without self-timers. These are also the numbers in which you can find (rare) factory black painted ones and if you are really lucky, one of the 20 Air Force models in blue gray.
Under pressure from the Nikon SP and its Nikon S-36 motor Leica was forced to make a motorized version of the M2. Initially the motor was made by (Norman) Goldberg in New York and later Leica put their name on it. The M2-M would generally stop halfway through a 36-exposure roll. You can find motorized non M2-M cameras marked M2 but with the omtor connection as Leica would convert existing cameras to accept the motor. The US Army ordered a series of M2s in the mid ‘60s, each with a 3-lens package, and these had an M4-type take-up spool. Leica produced about 2,500 more of these than the Army ordered, and later sold them as M2Rs with a 50mm f/2 Dual Range Summicron. From a functional point of view all M2s work the same. The only difference is that the military version and the M2R cannot take the Leicavit MP. The M2 was initially made as a lower cost version of the M3 as well as a response to the pros’ demands for a camera that could use a 35mm lens without either the goggles or an auxiliary finder on top. By cutting out the auto reset of the frame counter and the very complex finder in the M3, it could be sold for about 20% less.
I have used M2s fir 40+ years and I consider it the apex of camera design. It is the most comfortable of M to use and has no fancy finder or film counter to go “bump in the night.” They tend to last almost indefinitely. The finder is 0.72x magnification, the frame lines appear one at a time, and the parts are common with even the newer Leicas
and can thus be fixed today. A couple of M2s, a 21/35/50/90 combination of lenses and the proverbial grocery bag filled with Tri-X should be enough for anyone to cover most anything photographically.
Homage to the Leica M2 by Tom Abrahamsson
It will probably not come as a surprise that I recommend the M2. Over the decades I have at one time and another owned and used every M model, but somehow, I always come back to the M2. Simple finder, 3 frames and only the one in use shows up! They are easier to fix than M3s (particularly when it comes to finders and early double stroke shutter brakes). $1,500 should get you a decent M2 with a recent service (preferably documented). Start off with one lens and get used to the camera. The loading/unloading is different from an M4, but no better or worse, just different. And either way, with practice you can unload/reload in 25-30 sec. The M4 is good, but why have a 135mm frame sitting in the middle of your 35mm frame if you can avoid it? The slanted rewind crank is also weaker than the knob-and post style rewind on the M2/M3. One lens you might try is the 40mm f/1.4 Nokton—
simple and a damned good lens. Just take one step back for a 35mm view and one step forward for something close to a 50. However—be forewarned—Leicas, and particularly M2s, are highly addictive and you will develop all kinds of rationales for getting “just another one.”
Tom Abrahamson: The guru holds forth on Leica M-models compared
It is difficult to narrow down issues like build quality. It depends on usage and care more than anything. Today we expect our double stroke M3s to work perfectly after 50+ years! My own experience of the various M's is as follows:
M3/ Early double stroke ones. The shutter brake tends to give up and you occasionally find them with either black rangefinder patches or severely faded "half" mirrors. It is still the M with the smoothest advance and the softest release of them all.
Later single stroke M3's are among the best built cameras ever. If it has been serviced regularly and not abused, they tend to work perfectly, even after 1000s of rolls. The weak spot is the finder. They can black out through de-lamination of the prism (usually through impact).
M2/ Because it is a simpler camera, there are less things to go wrong. The finder is robust and though it can dim through oxidization of the mirrors, it can still be fixed. The film-advance on some of the earlier M2's (button actuated rewind) can get rough with heavy use. If the shaft springs are worn, you can get overlap on the negatives when the shaft turns inside the take up spool.
M4/ Leica put everything into this camera! It is very well built but check for bent re-wind cranks and worn take up "tulips". The finder usually holds up well and has the advantage of having many parts in common with the M2 and later M4Ps and M6s. It is usually easier to find a "mintish" M4 than an M2/M3 as these earlier Leica were the only game in town for press photographers in the 50's. In the 60's the SLR came into play and the pros switched, mainly because of the ease of using long lenses.
M5/ I have had several of these, but I never got along with it. Too big and a bit clumsy. Again, the mechanicals are very good, though the bottom rewind can act up and one of mine decided not to retract the meter arm, resulting in an “interesting object” cluttering up the sky on a whole roll! The meter sensor can age badly (like most of us) and lose sensitivity and it does use the #625 style battery and must be fettled to accept current lithium free 1.5v button cells
M4-2/ The earliest of these had a problem with the shutter brake and the shutter speed regulator would go 'kabloonk" occasionally. Part of the problem was miscommunication between Wetzlar and Midland. The good news is that most of the M4-2s available now have been fixed. Leica started to add a lot of shims to the various shafts and locks and with time these springs shims get tired, and you get misaligned locks on the base plate and interior drives. The film rewind was made from alloy and would bend or "buckle" if you hit it.
The M4-P/ This is a generally good camera, and it can expose a lot of film before any problems arice. The problems with the shutter was rectified. The film rewind is still alloy and occasionally you musy replace it (expensive) or simply bend it back and file off the flange at the bottom. I still have my 1981 M4-P and it 10 000s of rolls have gone through it. It was my bench tester for Rapidwinders and was also my primary camera for a lot of trips. The intermediate drive (motor coupling) came apart once and was replaced, and the gear in the advance wore out and was also replaced. A couple of curtains got pin-holed (not the cameras fault).
M6/ The first version of the M6 had problems with the meter "chip" and they frequently died or showed only one of the diodes. Leica replaced most of these under warranty in the mid 80's and after that the M6 is as good as even the earlier M2/M3/M4s. It is a very robust camera; the alignment in the rangefinder can go out if you bang it hard, but this is rare. There have been problems with a 'grommet" that seals the meter information transfer wires, and you could get light leaks. Some of the Titanium M6s had a film counter spring that failed and needed to be replaced.
M6TTL/ Initially these cameras had a problem with battery drain. There are a couple of contacts at the bottom of the battery well that would drain the batteries in a matter of hours. The solution is to push these contacts down, below the surface of the bottom. These are "test" connections for probes. Otherwise, the TTL is a good camera and as most confirmed M-users prefer the old-style shutter speed dial, a good deal too. On a couple I had problems with information transfer from the back door to the diodes (both after having been banged hard against unyielding car doors and door frames!)
MP/ Early MPs had a faulty seal around the eyepiece and dust would seep in to finder. The problem was fixed, and Leica actually supplied new and improved seals to "do-it-yourselfers." There was a bit of a flare problem in the finder with the 0.85 and 0.72 versions that could cause problems. Otherwise I think that the MP is one of the best built Leica M's ever. The top plate is brass as a Leica top should be, the gears are remarkably smooth (film advance on a MP rivals that of a Double Stroke M3} and the fact that you have a choice of finder magnification adds to the attraction.
M7/ I had one for a couple of years and apart from going through batteries at an alarming rate and a tendency to shut down suddenly, it held up well. The electronics worried me though and the magnetic controls of the shutter would be sensitive to a heavy Gauss field (e.g. a large electric motor starting up). I never liked the release on the M7 - very "jagged" feel to it. I loved the 32-second-long exposure count though.
General problems encountered with M4-2/M4-P and some M6s. The top was made from die-cast zinc alloy and if you got a scratch that penetrated the plating the top turned into a galvanic element and started to bubble the black chrome. More common on the M6, but I have seen some M4-2 and M4-Ps with the same problem.
The shutter curtains on old Ms can dry out and get brittle and the adhesive that holds the 'straps" for the curtains to the shutter drum will lose 'power" with age and can come loose. There is also a felt trap in the track of the M's (up to M4-P) that can came loose and jam the shutter curtain. It is again adhesive that goes brittle with age. It is aiways a good idea to CLA any older M on a regular basis anyway (every 5-7 years) and beware of Ms that have been sitting idle for a long time. Lubricants dry out and curtains lose flexibility if they are not used.
What is remarkable is not the problems that occasionally occur with older M's - it is how well they still work after 40 or 50 years! There are few products available today that can claim that. Even battered old M3s and M2s will produce great pictures after decades of use. So, the shutter speeds might be a bit off, but you can learn to compensate; the finder could be brighter, so use hyperfocal settings; the rewind squeals a bit – don’t worry, it will wear itself in! AND there a few products that have compatibility going back 80 years. You can put your nickel Elmar from 1927 on your 2007 MP or even a digital M. That is foresight in design and, yes, a bit of German stubbornness too - but it all benefits us, the end users.
There’s probably no one alive today capable of giving such a compassionate yet unflinchingly accurate assessment of Leica M cameras and do so with such charm, grace, humor, and love.
A heartfelt tribute to Tom posted on RFF by Simon Saw Sunlight
On November 9[SUP]th[/SUP] of 2016 Tom Abrahamsson sat down with me in his living room in Vancouver and handed me this camera. “I suppose you can have this one” He asked for 500Canadian Dollars, but I could tell he didn’t care about the money either way. I simply insisted on buying it—
or any M2, really. He said that it was rather unusual for him to part with an M2. I told him, we’d make a deal then. “Whenever you happen to need another M2, you can buy this one back for the same price.” He just laughed and said: “But that’s never going to happen!”
Tom was like a grandfather to me, and he believed in me more than I ever did or ever will. I left for Berlin that same evening. It was the last day we spent together. Tom died almost exactly two months later. I carry this camera every day, wherever I go, with one to ten spare rolls of film in my pocket.
I wrote about this about a year and a half ago. Today I casually scrolled through a list of Leica serial numbers and stopped and wondered. I checked and double checked, and cross checked with some other lists and databases out there. The camera Tom let me have seems to be from one of two rare batches of 100 M2s made in Canada (1,132,901-1,133,000). I if he knew this or did it on purpose, but I wouldn’t put it past him. Tom gave me an even bigger piece of himself than I knew, a camera that was a European original turned Canadian, just like himself.
Wherever the transcendent spirit of Tom may be now, you may rest assured he’s sporting a well-brassed, well-tuned Leica M2 fitted with an Abrahamsson Rapidwinder and a 35mm f/2 Summicron-M ASPH.
Sic Transit Gloria Mundi
Timmyjoe
Mentor
Wonderful Jason, thank you for this.
Best,
-Tim
Best,
-Tim
steveyork
Well-known
Tom had a lot of hands on, in the field experience, and his enthusiasm for rangefinders was contagious. Took awhile but I eventually came around to favoring the M2 and 35mm focal length. For me, it's all that's needed.
Richard G
Mentor
Wonderful. Thank you. I learnt more about the M2 yet again. And of course about Tom.
I love my button rewind M2 but I don't take my thumb off the button when I rewind. It might have been modified at the last service to not need continuous depression, but I do it still anyway, as Tom, it is clear, would have advised.
I love my button rewind M2 but I don't take my thumb off the button when I rewind. It might have been modified at the last service to not need continuous depression, but I do it still anyway, as Tom, it is clear, would have advised.
Thanks for this post!
Don't forget that Tom also loved Nikon RFs and had many bodies and lenses for them: https://www.rangefinderforum.com/node/96719
Don't forget that Tom also loved Nikon RFs and had many bodies and lenses for them: https://www.rangefinderforum.com/node/96719
raydm6
Yay! Cameras! 🙈🙉🙊┌( ಠ_ಠ)┘ [◉"]
Nice article Jason. Tom influenced me buying an M2 and 35 f/2.8 Summaron-M. He was kind enough to welcome me to the "M2 Universe" 
Love his incremental M2 acquisition justifications:
Love his incremental M2 acquisition justifications:
farlymac
PF McFarland
Tom was a great help to me when I was making a decision on purchasing a Nikon S2 (yes, Tom was also into the S line of rangefinders). And a big influence when I purchased my M4-P. I still peruse his postings here when I'm thinking of expanding either kit, so I don't waste my time chasing after something unnecessary to expanding my photography skills. He was quite the teacher.
PF
PF
Jason Schneider
the Camera Collector
Thanks for your kind words. I am well aware that Tom Abrahamsson also loved and used Nikon RF cameras and made winders for them as well, but I deliberately focused on Leica Ms and especially the M2, which was his favorite M, to keep the length down to a dull roar. One could easily write a 700-page book on Tom and still not get everything in! he was that kind of guy.
das
Well-known
Thanks for the beautiful tribute. Few have contributed more ro 35mm RF photography than Tom A. Also, he was apparently instrumental in getting the Bessa R4 cameras made. And I think the R2S and R2C as well?
Andy Kibber
Well-known
Wonderful reading. Thanks Jason. Cheers to Tom!!
Ko.Fe.
Lenses 35/21 Gears 46/20
I'm following:
https://www.flickr.com/people/rapidwinder/
https://www.flickr.com/people/rapidwinder/
Ed Schwartzreic
Well-known
Tom and I considered each other best. Friends. I still miss him terribly. Thank you Jason. This brought tears to my eyes.
Ed
Ed