Design
The M5 departed from the traditional silhouette of the Leica rangefinders, that had little changed since the M3 (1954). The height and width of the body were larger (H 84 mm x W 150 mm x D 36 mm), and the body heavier (ca. 100 g more than other M cameras). The folding film rewinding crank hides in the bottom plate. The self-timer arm and the field-of-view preselector (now on the M5 additionally with battery test function) are of the same design as the Leica M4 (1967). The M5 was the last M to feature a mechanical self-timer (duration 5–10 seconds). The M5 incorporates an improved rapid film loading spool design over the M4. The M5 has a rapid transport lever which winds the shutter and advances the film and the frame counter in one single motion, or in a series of shorter motions. A marker for the film plane is engraved on the top of the camera housing. The M5's redesigned horizontal travelling cloth focal plane shutter is reported to be the quietest of the M series. The shutter curtains travel at a relatively low speed which has as a consequence the 1/50 second flash sync speed.
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Black Chrome 2-Lug M5 Griptac Cover
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Black Chrome 2-Lug M5 Rear View with optional Astigmatic Diopter
Read more about this topic: Leica M5
Famous quotes containing the word design:
“With wonderful art he grinds into paint for his picture all his moods and experiences, so that all his forces may be brought to the encounter. Apparently writing without a particular design or responsibility, setting down his soliloquies from time to time, taking advantage of all his humors, when at length the hour comes to declare himself, he puts down in plain English, without quotation marks, what he, Thomas Carlyle, is ready to defend in the face of the world.”
—Henry David Thoreau (1817–1862)
“The reason American cars don’t sell anymore is that they have forgotten how to design the American Dream. What does it matter if you buy a car today or six months from now, because cars are not beautiful. That’s why the American auto industry is in trouble: no design, no desire.”
—Karl Lagerfeld (b. 1938)
“Humility is often only the putting on of a submissiveness by which men hope to bring other people to submit to them; it is a more calculated sort of pride, which debases itself with a design of being exalted; and though this vice transform itself into a thousand several shapes, yet the disguise is never more effectual nor more capable of deceiving the world than when concealed under a form of humility.”
—François, Duc De La Rochefoucauld (1613–1680)