What is a "Stunt Leica?" As explained to me by a good friend and fellow photographer...

First of all, I know most people don't really care about Leica This or Leica That. But most people don't really care about swimming, or snooker, or just exactly how we did our darkroom work in 1976. So I'll just proceed with today's interesting idea...  interesting to me at least...

I had lunch with a well to do business person and photographer. He's owned and used all kinds of cameras; from Canons and Sonys to medium format Fujis --- and many stranger cameras. He's got a collection of nearly 100 different cameras ---that I know of. But lately (mea culpa) he's fallen down the Leica rabbit hole. We meet for lunch about once a month and we always bring along interesting cameras that, old or new, are interesting to both of us, to share. Show and tell.  Today my (anonymous...let's call him "Bob") friend, Bob brought along several interesting new products for me to look at. One was the small and remarkably good Leica D-Lux 8. The finder in that camera is much, much better than I expected it would be. In fact, the finder is the one feature that sticks with me. That and dozens of photographs Bob has done with that camera in cities all over the place. Yes, in addition to collecting interesting cameras Bob shoots well and he shoots a lot. He's not the type to sit at his desk and pontificate if there is any potential at all to be out shooting instead. "Pictures...or it didn't happen!!!"

The D-Lux8 is not just a re-badged anything. Judging by Bob's black and white and color images it performs incredibly well. Great tonality and tons of sharp detail. Another bonus is a menu/user interface that mirrors the interface seen in Leica's Q2 & Q3 cameras, and all the later SL type cameras. Which is to say that it's the best or second best implementation of information display and control on the market today. It's close competitor? The Hasselblad X2D, of course. Just handling the DLux-8 again fanned the flames of my desire for one. Which I am currently resisting...

He also bought the Leica grip for the iPhone. It's charming in person and does make doing photographs on an iPhone surprisingly easier. It was fun to see in person. 

While Bob started his adventure into Leica with the purchase of an original SL he had always planned to get into the M system as well. He's a technologist by profession and in his research he dived deep into the M9. The M9 was the last Leica M camera to use a CCD sensor instead of CMOS sensor and his point of view is that its output is "more interesting" than the current crop of sensors. From an imaging point of view...

One day recently he came across a very nearly mint condition M9 which had had the CCD sensor replaced (some batches of M9s had CCD sensors that suffered from surface corrosion --- which was unsettling. But being Leica they dutifully replaced any affected sensor without argument). Those cameras were made in smaller quantities than the M240s that came afterwards while the variants post M240 are even more numerous. That makes a fully functional, fully vetted M9, with its handsome black paint finish and a new sensor, a bit of a collector's item. But not too expensive in the current used markets. 

He's been shooting the M9 with a 50mm Summicron and a 35mm Voigtlander Ultron and is now captivated and a bit addicted to rangefinder photography. Especially with his M9.

He's planning a trip to a major city which has a bit of a reputation for a recurring street crime problem and he's reticent to take his M9 because it's his favorite current camera and, if stolen, would be very hard to quickly replace. If he could replace it at all. 

Mind you, this has nothing to do with the money he'd need to spend to replace it and everything to do with getting attached to a rare and hard to replace camera. He can afford to replace it easily and surely has it insured as well but if it goes away and he wants to replace it in time for the next adventure he may be out of luck. Worldwide the supply is limited and dwindling daily.

It was at that point in our conversation that he mentioned he was now researching an appropriate "Stunt Leica." I laughed and asked for elaboration. 

In his mind a stunt camera would be one that is easily replaceable with ample samples in the marketplace. A camera with basically the same operating process as the "higher emotional and sentimental value" model and one that will make good use of M series lenses. I think, based on our back and forth, that he'll eventually land on getting an M240 or an M262 or even an M-P as a stunt camera. Although I think the M-P is now bordering on becoming a collectible rarity. This would be the camera he would carry into dicey neighborhoods, challenging environments and any place else where loss or destruction is a real possibility. This is not to say that he is paranoid or wimpy. After all, he's one of my few friends who practiced highly immersed and unguided street photography in Mumbai. And Sixth St. in Austin (kidding, kinda). He just doesn't want to take the chance of losing a camera he feels a special bond to. One that might be hard, or near impossible, to replace. 

That's his definition of a stunt camera. It's the stand-in for the irreplaceable one.  It can't really be a different brand because usability and familiarity is important for real artists. Feel and operation are not interchangeable qualities when one is deeply familiar with a certain line of cameras. Muscle memory is a real thing...  I totally understand his reticence to put his favorite camera in harm's way. 

On the way home I thought about his funny description; a Stunt Camera. And then I thought about my own habits with cameras. I have three SL(x) models that are more current, more expensive, and more potentially useful to me than the two original SL models I started out with on this adventure. I presume that most people, when buying new cameras, would immediately sell off the older models. After all, no one can shoot with five cameras at once... Even if you didn't mind carrying them all. So, why do I keep the older SL cameras? 

Because they are wonderful to use --- but also more "expendable" than the newer, pricier models. They are weather-sealed and sturdy and all the SL cameras take the same batteries but their initial purchase prices (bought used) were half or less than the newer SL(x) cameras. I use the newer cameras for work but if I travel to Mexico City or San Francisco for fun I think perhaps taking a couple of older SLs, that are currently available used for under $1500, is a better idea than dragging around much more expensive models.  Ditto with lenses. A $440 Panasonic 50mm f1.8 is a great image maker and available a fraction of the cost of a $5,000 (USD) Leica 50mm APO Summicron SL. 

I would also consider the older cameras a better choice for going "off road" on something like a hiking trip in Big Bend. If I had to hammer tent pegs or smack a rattlesnake I'd rather do those things with a convenient stunt camera than one of my more valuable work cameras. And I already know I'm a clumsy rock climber; I have mangled, older cameras to prove it. 

When I got back to the studio I thought to myself that it's only a matter of time until I hear from Bob, we meet for lunch, and he pops an decent M240 out of his camera bag for my inspection. Fun times for sure. 

When I look into my equipment cart I realize that I have been assembling "Stunt Doubles" for many of my favorite lenses as well, without conscious thought. If I go out with M cameras there are good lenses to chose from and great lenses in the same focal lengths to choose from. It all depends on how much damage potential there might be in the photographic engagement at hand. I guess it all boils down to the idea of not carrying around anything you aren't comfortable losing. Given actual the situation you are facing. 

A banker's conference in a five star hotel? Any gear is good gear. Very little risk. Canoeing the rapids? Might want the stunt cameras for that....

A nice dilemma to have.