A few from the most recent roll from of the Leica MP. It’s HP5 Plus, processed in HC-110 (dilution B) for 5 minutes. Scanned on the PrimeFilm XAs.
This roll is concerning because many of the frames have horizontal scratches, which could indicate a problem with the film pressure plate. There’s also boatloads of hair and dust. My process needs refining.

Leica M lenses are tiny little jewels with unmatched build and image quality.

Leica SL lenses are giant monsters with unmatched build and even better image quality. And auto-focus.

I prefer the small ones.

I’ve got nothing.

Two rolls shot at the MSU tailgate. One with the MP and HP5 and one with the Olympus OM-1n with expired XP2. Lots of missed focus. Lots of too-far-away. Lots of dust. It’s dampening my enthusiasm for film, but here are a few anyway.

Golden looking out back of party bus. (Leica MP. Summicron-M 35mm ASPH)

The little Leica IIIf is adorable, tiny, and capable. Built in 1946, it’s showing its age a bit. Also, it’s kind of a pain to use, so I only drag it out occasionally. I notice there’s also a light leak.

This time I used a long-expired roll of Ilford XP2 Super.

I exercised the M6 by running a roll of Portra 400 through it, as it’s been dormant since I bought the MP.

This was self-processed in Cinestill C-41 chemistry using the JOBO. Scanned on the V750 and processed in Lightroom with the Negative Lab Pro plugin.

So I currently have four beautiful Leica M cameras in perfect working order. They are (from left to right in the photo)…

The Leica M3 is The One, when it comes to the Leica M line. I love it so. The higher-magnification viewfinder makes it easier to focus longer lenses, so I sometimes mount the Elmarit 90mm and it’s a fine combination. A few here are using the 90mm. The others are using the Summicron-M 50mm (v4). P

The roll of HP5 Plus was processed in HC-110 (Dilution B) and scanned with SilverFast on the V750.

It’s like a real-world Instagram filter and I don’t care for it. If it were in better condition, I might like the overall softer look for portraits.

Jonathan Slack:

But this is not just about Chromatic aberration, as Peter Karbe explained to me, the lack of aberrations results in much more contrast at the point of focus than in an ordinary lens, and that this contrast falls off very quickly in front and behind the point of focus. This means that an f/2 lens can appear to have the same depth of field as an f/1.4 lens (or even less in the case of the 75 f/1.4 compared to the 75 f/2 M lens).