Why the Leica M2 is the PERFECT film camera: a love letter to mechanical perfection
Shooting film the right way: why I use the Leica M2 every day
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The Leica M2 is the perfect film camera. In a world filled with endless technological advancements, where digital cameras offer astonishing resolutions and features, the Leica M2 remains a testament to the enduring brilliance of mechanical precision.
Built in the 1950s to late 1960s (mine was built in 1965) the M2 was Leica’s answer to a more accessible rangefinder, refining the design language established by its predecessor, the Leica M3, while simplifying some aspects to create a more intuitive, photographer-focused experience.
What makes the Leica M2 so special is its pure mechanical operation. There are no electronics, no automation, no distractions—just a beautifully engineered machine that demands engagement from its user.
Advancing the film, setting the shutter speed, focusing with the rangefinder, and pressing the shutter are all deliberate actions that connect you to the photographic process in an unmatched way. This is not just a camera; it is an extension of the photographer’s vision, a tool that rewards patience and mastery.
For my own workflow in film photography, the Leica M2 fits seamlessly. I rely on consistency, reliability, and an unfiltered shooting experience, and this camera delivers all of that.
Whether I am documenting the essence of 'Old Cornwall' or capturing the subtle interplay of light and shadow in urban settings, the M2 allows me to focus entirely on composition and storytelling.
Its viewfinder, with its uncluttered 0.72x magnification, provides a clear and immersive window into the scene, and the manual controls mean that every frame is intentional.
Beyond its functionality, the Leica M2 embodies a tactile beauty rare in modern cameras. The weight of the brass body, the smoothness of the film advance lever, and the satisfying click of the shutter release all contribute to an experience that is as much about the journey as it is about the final image.
It is built like a tank, instilling confidence in even the harshest conditions. From scorching summer heat to relentless downpours, I have never hesitated to take my M2 out in the field. It shrugs off the elements with an effortless resilience, proving time and time again why these cameras have stood the test of time.
Paired with Fomapan 400, my Leica M2 delivers the classic film look that I love—rich contrast, beautiful grain, and a timeless aesthetic that digital sensors can only attempt to replicate. In my opinion, this combination feels like a natural extension of my photographic voice, allowing me to create images with depth, character, and emotion.
The Leica M2 is more than just a camera to me; it is a philosophy. It is a reminder that photography is not about the latest technology or the highest megapixel count, but about seeing, feeling, and capturing the world with intention.
It is a joy to use, a privilege to own, and a camera that remains unmatched in its purity and purpose despite being over half a century old. I couldn't be happier to use it every day for my film photography.
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For nearly two decades Sebastian's work has been published internationally. Originally specializing in Equestrianism, his visuals have been used by the leading names in the equestrian industry such as The Fédération Equestre Internationale (FEI), The Jockey Club, Horse & Hound, and many more for various advertising campaigns, books, and pre/post-event highlights.
He is a Fellow of the Royal Society of Arts, holds a Foundation Degree in Equitation Science, and holds a Master of Arts in Publishing. He is a member of Nikon NPS and has been a Nikon user since his film days using a Nikon F5. He saw the digital transition with Nikon's D series cameras and is still, to this day, the youngest member to be elected into BEWA, the British Equestrian Writers' Association.
He is familiar with and shows great interest in 35mm, medium, and large-format photography, using products by Leica, Phase One, Hasselblad, Alpa, and Sinar. Sebastian has also used many cinema cameras from Sony, RED, ARRI, and everything in between. He now spends his spare time using his trusted Leica M-E or Leica M2, shooting Street/Documentary photography as he sees it, usually in Black and White.
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