M4 The Story of One of Lecia's Most Popular Rangefinders
Frank Dabba Smith’s Canadian-made M4 in black chrome. This was one of 2,500 M4s manufactured at Midland, Ontario, at the tail-end of the M4 production. Black chrome M4s command a premium over the more common silver chrome — and the few Canadian-made examples are rarer still. Photo courtesy of Frank Dabba Smith.
Earlier this year I was asked by Amateur Photographer’s assistant editor, Geoff Harris, for background on the Leica M4 in connection with an M4 50th anniversary article he was putting together for a up-market yachting magazine.
Funny he should ask that. While I have a good general knowledge of the Leica story, from Barnack to Q, I’ve always found the M4 saga somewhat difficult to follow. I’m no expert so I decided to do a bit of research to back up my pearls of wisdom.
When it comes to the M4, the history gets complicated. It’s not only the three main models — M4, M4-2 and M4-P — it’s the split manufacture between Wetzlar and Midland, Ontario, not to mention the brief sabbatical while the portly but advanced M5 rose and fell. It’s quite a story.
Adding to confusion is that secondhand prices are all over the place, everything depending on which model is in focus and, above all, on the finish of the body. Canadian M4-x cameras were produced predominately in black chrome, so the few silver chrome relicts command a premium. Conversely, Wetzlar M4s were largely in silver chrome with the result that black is normally more expensive. That’s black chrome. The even rarer black-paint M4 is top of the tree for current value.
PRODUCTION
M4 production topped out at about 58,000 examples compared with the 225,000 run of the earlier M3 — another factor in adding to rarity value. Of the total production of M4s just 6,775 were finished in black chrome and 4,889 in black paint. As always, limited production sets the collectors’ pulses racing.
The M4 is considered by many to be the finest of the unmetered M’s. Some prefer the M3 or, even, the M2, but the M4 combined the best of its predecessors’ virtues, including superb build quality, and added a feature or two. With its engraved top-plate and M3-like craftsmanship, the M4 upped the rangefinder game. Its additional features, which don’t sound too impressive at this remove, were actually a big deal at the launch in Nov. 1966.
The angled rewind lever, instead of the knob on earlier models, was, in its way, as big an improvement as the film advance lever on the first M3. It dramatically speeded up the rewind process. And the quick film loading feature, dispensing for the fist time with a return spool, was a hit. The new advance lever with its floating end-piece received a mixed reception but few could argue with the benefit of the self-setting film counter.
Above all, the M4 in 1966 continued the tradition of the M3. But with framelines for 35, 50, 90 and 135mm lenses it was more practical than the M3 which lacked the 35mm lines, necessitating an external finder.
CLOUDS ON THE HORIZON
But clouds were gathering on the horizon even as the M4 was launched. Rangefinders were losing ground to SLRs and Leica had failed to offer serious competition in that area. The company was also encountering financial problems — its rangefinders, typified by the M4, were hand-made by craftsmen and expensive to produce. The situation was exacerbated by the failure of the radical M5 — the first M with an exposure meter. M4 production was stopped briefly in 1972 but the poor reception of the M5 caused Leica to restart the M4 and, soon, to move production to the E.Leitz Canada plant in Midland, Ontario. Some 2,500 M4s were made in Canada towards the end of the run.
The solution to Leica’s problems came in the form of a new, simpler production process and trimmed features to keep costs down. In particular, instead of the painstaking adjustments and artisanal tinkering that typified earlier cameras, the plan was to introduce a standardized component system. Less adjustment was possible and, if something didn’t quite work or was out of tolerance it was simply swapped. Previously, the craftsman would have performed custom adjustments to individual parts. To this day there is controversy over which approach is preferable; some believe that the M4-2 approach, which was carried on into the later M6, offered a better solution.
PLAIN JANE LEICA
The ensuing 1977 M4-2, often called the “plain Jane Leica”, was the camera that saved Leitz. It compromised in several ways beyond the cheaper production system. It had a stamped top plate in preference to the M4’s engraved plate; the rangefinder optics were cheapened by the removal of a condenser and the selftimer was deleted. It did, however, grow some new features — the ability to attach a motor drive and the addition of a hotshoe.
Early production difficulties led to some questions over reliability but these were tackled and the M4-2 remains a popular buy, even if prices are in general lower than the M4 and the subsequent M4-P. One London-based internet dealer in second-hand cameras, Peter Loy, told me that the M4-2 can sometimes be troublesome. But Patrick Tang at Aperture Photographic, also in London, isn’t so sure. He hasn’t noticed particular problems with the M4-2 and, he says, if he has an M4, M4-2 and M4-P on display it is the M4-2 that will sell first. It makes an great “budget” buy and should perform flawlessly, he said.
The M4-P was the last of the rather complex M4 range. Introduced in 1981, it was identical to the M4-2 but with the addition of 28 and 75mm framelines. It is generally considered to be more reliable than the M4-2 and commands a slightly higher resale value. Interestingly, the last thousand M4-Ps were made back in Wetzlar (serial numbers 1691951-1692950 in case you have one under the bed). True to form, though, some pundits complained that the extended frameline functions made the M4-P more complicated and less user-friendly. In the Leica world, you can only please some of the people some of the time.
The angled rewind lever with crank enabled rapid film rewind. It was a big deal when the M4 was announced in November 1966
Canadian-made M4-2 and M4-P cameras are rarer in silver chrome. Most were made in black chrome. This boxed example of a silver chrome M4-P is currently on sale at Aperture Photographic in London for £790.
When considering buying a used M4/2/P there are lots of factors, including specification, location of manufacture and colour to take into account. As I mentioned earlier, the rarer the colour finish the more the cost.
If asked for a recommendation I would say that the sweet spot is either a pre-1977 M4 in silver chrome or an M4-P in black chrome. You’ll pay more for a black chrome M4 or a silver chrome M4-P so, unless you are a collector and are prepared for the premium — or really must have the rarer model for aesthetic reasons — the more popular colour is the one to go for.
Between these two cameras you might be swayed by the fact that the later M4-P has the comprehensive 28/35/50/75/90/135 viewfinder lines to cope with the majority of M lenses. It is also able to handle a motor drive like the M4-2 but unlike the M4. This, however, is less important these days than it was when the camera was in use for professional purposes. Personally, I find the motor drive pretty pointless. I have one (for use on my MP, not the M4) but soon got fed up. With only 36 shots on hand, it’s more satisfying to use the advance lever. It’s another area where we have been spoiled by the endless capabilities of digital shooting.
REVIVED FORTUNES
In the past couple of years there has been a revival in the fortunes of all Leica film cameras (perhaps with the exception of the M5 and M7, although both these cameras have their dedicated fans). Young people are rediscovering film — as is Kodak by all accounts — and the Leica M3 is the camera that grabs most attention. The M6, also, as the first traditional M to incorporate an exposure meter (the quirky and short-lived M5 led the way, but that’s another story) is high on the wish list. The M4 is somewhere in the middle.
I have acquired samples of all M film camera ranges except the M5 (but I’m not a collector, you understand) and, given the choice, I’d pick my German-made black chrome M4 model as the most handsome and enjoyable to use — the pick of the bunch. I bought it from Aperture Photographic in Rathbone Place, London (see link below). It isn’t for nothing that the M4 is considered to be the finest unmetered M model you can buy.
The black-chrome M4 is also the definite favourite of noted Leica expert Frank Dabba Smith, albeit in his case the rarer Canadian version engraved ‘Midland’. For so many of us, a much loved camera model also depends on our personal histories as Frank relates:
“In 1975, I was in my first year studying at University of California at Berkeley and I was getting more and more involved with photography and became especially interested in photojournalism. “Two friends at Berkeley had black chrome Midland M4s and I was seduced by the functionality and appearance of this camera. Unlike other people, I was especially drawn to the flat black finish and the white infills on the frame selector and self-timer levers. I’ve owned every M variant along the way but the Midland M4 is my quintessential Leica.” Today, Frank still uses his Midland M4 along with an M-A when he works with film.
DEALER VERSUS AUCTION SITE
If you fancy an M4 bear in mind that, because of the smaller production run, secondhand examples are rarer than, say, the more prolific M3. I would always recommend buying from a dealer rather than an auction site. No doubt you can get bargains from eBay or similar, but this is by no means guaranteed. You might end up paying more than you would at a reputable dealer who will always provide a level of after sales service and, in some cases, a limited warranty.
One point worth noting is that most, if not all, Leica rangefinders of whatever age will likely hold their value and could well appreciate in nominal value because of inflation. So, in general, your running costs will be minimal because there is no depreciation to take into account. You could even sell at a profit in a few years’ time when you want to upgrade.
At a dealer near you…. Looking for bargains among all the second hand camera gear. This Leica M display is at Aperture Photographic in Rathbone Place, London
An M4 in black-chrome commands a premium over the more common silver-chrome majority. This example is actually one of the 2,500 models made in Midland, Ontario (as is Frank’s camera at the top of the article). It is currently on sale at Aperture Photographic for £1,590.
A good dealer will give you an honest assessment of the condition of the camera, including whether or not it has been recently serviced. In some cases he might recommend a “CLA” (clean, lubricate, adjust) and that can cost around $200. It’s worth doing if there is any question over shutter speeds, for instance.
They can get out of adjustment, often from lack of use (I have a regular schedule reminder to “exercise” my film cameras once a month), and it’s a point to check when buying. How much to pay? As a UK-based photographer I am familiar only with local prices but I’m quoting the US$ direct conversion figures below. Obviously there will be differences in the USA and in other countries, but I’m offering this as a general rule-of-thumb guide for comparison purposes. I consulted two experienced dealers, Peter Loy and Aperture Photographic. These are ballpark figures and, as usual, exceptional condition and provenance (box, papers, original receipt, famous but careless owner) can command a premium.
Mike’s 1975 M4. Note the engraved top plate and the self-timer lever, matching the frameline lever with white infill. The M4-2 and M4-P models had a die-stamped top plate and no self-timer. The lens is a late-model 50mm f/2.8 Elmar-M collapsible. It makes the M4 pocketable when collapsed as shown here [Note: I do not recommend collapsing it on a digital M]. The Elmar-M was discontinued in 2007 but is a great all-round performer. It is still readily available on the second-hand market and is cheaper than an equivalent Summicron or Elmarit. A lovely lens. If you look carefully at the lefthand strap lug in this photograph you can just see that it is wearing thin. This is a noted issue with the M4 and further wear is prevented by introducing a small piece of plastic ball-pen refill into the lug, thus protecting it from the strap split-ring
M4, silver chrome – $800-$1,200
M4, black chrome – $1,400-$2,400
M4, black paint – $2,600-$3,600
M4-2, black chrome – $600-$850 (slight premium for silver chrome)
M4-P, black chrome – $700-$1,100 (ditto)
RECOMMENDED DEALERS:
I can personally recommend the following dealers both for visits where appropriate and internet browsing.
Red Dot Cameras (showroom)
MW Classic Cameras (internet)
Aperture Photographic (showroom)
Peter Loy (internet)
Leica Store Manchester (showroom)