The Leica Summicron-R 50mm f/2 II (Safari) + The Fujifilm X-Pro3 (Dura Black)
GEAR + PROCESSING:
Leica SLLeica Macro-Elmarit-R 60mm f/2.8Urth lens adapter - Leica R lens mount to Leica L camera mountHoya Black Mist diffusion filterProcessed in Adobe Lightroom Classic
Featuring …
Fujifilm X-Pro3 (Dura Black)Leica Summicron-R 50mm f/2 II (Safari)Urth lens adapter - Leica R lens mount to Fujifilm X camera mountHyperion camera strap
Featured Cinematic Presets:
“SAFARI”
An Adobe preset + profile pack for any camera.
“WARDEN”
An Adobe preset + profile pack for any camera.
Refined. Elegant. Graceful.
These words are more often used to describe performing artists than camera gear. And yet I think they perfectly describe both the Leica Summicron-R 50mm f/2 II and the Fujifilm X-Pro3.
Furthermore, these marvelous pieces of machinery manage to provide both a sensual user experience and confidence-inspiring rugged build quality. When it comes to the Leica Summicron-R 50mm f/2 II and the Fujifilm X-Pro3, you can indeed have your cake and eat it, too.
I’ve never used a lens that feels better in the hand than the Leica Summicron-R 50mm f/2 II, nor a camera that feels better than the Fujifilm X-Pro3.
The Summicron’s anodized aluminum body feels solid and satisfying to the touch. Its design is practical and timeless.
The Leica Summicron-R 50mm f/2 II comes in two colors: the standard black and a ‘Safari’ variant. This gallery features the Safari variant of the lens, which is covered in a dark olive paint with orange lens coating. For comparison, the standard variant features black anodized aluminum and purple lens coating.
The Safari variant was released alongside a Safari Leica R3 in 1977. Supposedly, Leica created the Safari variants at the behest of the German military, which wanted dark green camera gear. I’m not sure about the validity of this origin, but it did start a history of Safari variants being offered by Leica, which continues to this day.
The olive paint on my copy is flaking in several places, revealing the black anodized aluminum underneath, but the overall lens is still in nice shape. It seems like paint flaking is a rather common occurrence with the old Safari lenses.
The orange coating on the lens seems to be more for aesthetic reasons than to practically affect image colors. A couple quick tests didn’t show any noticeable color differences between the standard and Safari variants. While it’s possible that very subtle differences do exist, it’s certainly nothing to worry about.
As for the Fujifilm X-Pro3, Fuji offers it in three different variants: standard black, Dura Black, and Dura Silver. All three variants are stunning.
The ‘Dura’ X-Pro3 variants feature titanium plates on the top and bottom of the camera. The titanium is gorgeous, although it traps fingerprints like a black hole. A few simple wipes with a cloth will take care of most imperfections on the titanium, but if fingerprints irk you, then the Dura variants probably aren’t for you. I actually love the way that the titanium shows off its blemishes, lending even more character to a camera that practically radiates it already.
The Dura Black Fujifilm X-Pro3 complements the Safari Summicron beautifully. When it comes to my personal taste in camera gear, I don’t think I’ve seen a better looking combination.
Now, you be the judge.
“SAFARI”
An Adobe preset + profile pack for any camera.
“Safari” is a color Adobe Profile that embodies what I think of the Safari Summicron-R 50mm f/2 II. It’s noticeably warm, but subtle in its gradations. It makes photos look like they are from an adventure from yesteryear.
“WARDEN”
An Adobe preset + profile pack for any camera.
“Warden” is a monochrome Adobe Profile that reinforces many of the principles of “Safari”, but with steeper brightness contrast.
Thank you for reading.
GALLERY.
Note: If you’re viewing this on mobile, Mozilla Firefox is the only mobile browser I’ve found that doesn’t heavily compress images and distort colors.
