Marco Secchi Blog

Photojournalist in Slovenia and Hungary

Archive for the ‘My Gear’ Category

Ona Bag Prince Street

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I believe you can never have an excess of camera bags  and I trust that everybody needs to have an OnaBags. The quality is unparalleled and the look is at the same time advanced and fantastic. While pricey, these sacks will endure forever. 

The trendy and cool outline of the new ONA Prince Street camera bag bounce out at you promptly. Upon closer examination you understand it is not just another pretty bag, it is as well an exceptionally tough, down to earth messenger bag for a reduced DSLR or full mirrorless camera pack. It comes in two styles – waxed canvas with full-grained cowhide trim, or full calfskin. In both styles the fine materials and workmanship of the bag is truly evident. 

The general configuration is genuinely essential with three dividers (more accessible as extras), two substantial extending front pockets and a back laptop or tablet space. Two front calfskin straps shroud the real metal catches that are effortlessly secured or un-affixed with one hand. The straps are movable to take into account extension. 


At $269 for the waxed-canvas model and $389  and in my view the the cost is completely justified by the workmanship and materials notwithstanding the in cool great looks that is going to improve as the bag age.

On the off chance that you are searching for a strong, fundamental travel bag with a great deal of style yet very few superfluous fancy odds and ends, the ONA Prince Street is something to consider for either a little DSLR unit or mirrorless camera framework. 

I use mine easily with the two leicas and 2 extra lenses and works great!


Weight: 2.6 pounds 

Outside measurements: 12.5″L X 10″H X 4.5″D 

Inside measurements: 12″L X 9″H X 4″D


Written by msecchi

August 15, 2015 at 6:00 am

What is in My Bag n1

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The following is my typical full Leica Bag

Ona Bags The Prince Street in Smoke

Leica M 240

Leica M246 Monochrom

Voightlande 21 mm f1.8

Leica 35 mm Summilux f1.4

Leica 50 mm Summilux f1.4

Leica 90mm Summicrom  f2

Half Leather case Angelo Pelle

Straps by Peak Design

Think Tank memory cards wallet

Tile Tracking Device

Written by msecchi

August 3, 2015 at 10:09 am

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Leica M (Typ 240)

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My favorite camera is obviously the Leica, the latest addition to my collection is the M or 240 Type. I shoot most of my portraits, features and reportage using this camera with either the 35 1.4 Summilux or the 50mm 1.5

The Leica M 240 is a digital rangefinder camera with a full-format 24 x 36 mm sensor. As the world’s most compact full-format system camera, the Leica M 240 extends the legendary heritage of the Leica rangefinder M System and unites over 50 years of continuous technical improvements to the system with the best in cutting-edge digital technology.

The Leica M is a digital full-frame 35 mm rangefinder camera. It was introduced by Leica Camera AG in September 2012, and is the successor to the Leica M9 range of cameras. The M uses a 24-megapixel image sensor. The camera is the first M model to feature movie recording, and the first to have Live View—which allows the scene, as seen through the lens, to be composed.The M is compatible with almost all M mount lenses and most R mount lenses (via an adapter). All Leica M cameras are handmade in Portugal and Germany.

The M uses a CMOS 24-megapixel image sensor designed exclusively for Leica by the Belgian company CMOSIS. The sensor contains 6,000 by 4,000 pixels on a 6 x 6 µm² grid, and is made by STMicroelectronics in Grenoble.

The M supports most M-mount lenses, and with an optional R-Adapter, the camera can use almost all Leica R-mount lenses.Live View allows owners of R-lenses to use an optional electronic viewfinder.

The camera uses a MAESTRO image/video processor which is based on the Fujitsu Milbeaut. It has specifically-designed rubber seals (to protect against dust and water spray).

Written by msecchi

July 25, 2015 at 11:45 am

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Peak Design System

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I’d almost given up on finding a good camera strap solution for the way that I work but luckily I found Peak Designs .  The problem for me is that I often don’t want to have a strap on the camera at all, sometime I just like to use a cuff or a clutch and why notalight strap.   Most strap solutions gravitate towards using big bulky padding of some sort and that makes them both expensive and cumbersome to carry around for the small number of times I find myself looking for a new one. .  I’ve got several straps in my gear closet but all of them gather dust.  They are just too big and overly complex with these slider mechanisms that people seem so fixated with.  I guess if you walk around 12 hours a day with a camera on your shoulder then it might seem more useful but for the way I work it’s just not necessary.  Thing is though,  there’s always some point where I wish I had a shoulder strap with me.  Up until this point though I hadn’t seen a solution that gave me what I wanted.

The Micro Anchor system is the key to making the Leash easy to use and versatile.  Each Anchor is rated to hold 100lbs so you can easily carry your camera kit or even a supertelephoto lens.  The Leash and the Cuff both come with 4 Anchors.  Once you slide them into clip on the Leash and give it a tug you’ll hear it click into place.  To detach the Leash you have to push down on the Anchor and slide it back out of the clip.  It’s a secure system that I loved and trusted straight away.


There’s also an anchor point on the adjustment buckle for the Leash.  This means that you can create a loop for tethering your camera to either yourself or a static object like a railing if you are shooting from a building.  If you are carrying a backpack you could also tether the camera to your bag to save it if you ever dropped it.  Speaking as someone who has often found myself peering over the tops of buildings, lookouts, bridges and cliffs, this is an awesome little feature that I’ll be using a lot.

This post has received discount on Media samples. For more information, check out my full disclaimer policy.

Written by msecchi

July 15, 2015 at 6:12 am

Leica M3 and M2

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My Leica M3 Camera

My Leica M3 Camera

The Leica M3 is perhaps the one camera that does not actually require an introduction. Voted by STUFF Magazine and Ebay as the “Top Gadget of All Time”

The epitome of vintage style, the Leica M3?s modern incarnations are still held as pinnacles of camera design and lusted by photographer all over the world.

Just the fact that since the Leica M3?s introduction 1954, the basic design of Leica M cameras has not really changed is a testament to how well conceived the Leica M3 is. In fact, one could argue that Leica built such a great camera that they haven’t really done much else since.

The Leica MP, introduced in 2003, nearly 50 years after the Leica M3, is just an inferior, and far more expensive, modern copy.The Leica M3 is Leica’s greatest achievement and also a stark reminder of it’s glorious past.

The Leica M3 was in production for 13 years. Do you know how many M cameras Leica has released in the last 13 years? Eight! That’s roughly one camera every 18 months. You have the Leica M7, MP, M8, M8.2, M9, M9P, M-E and the Leica M Type 240. Leica have become just like every other camera manufacturer in the digital world, pumping out a new camera every 18 months to two years. That’s not even counting their partnership with Panasonic!

In 1954 the Leica M3 inaugurated a completely new era of 35mm cameras. Though SLRs had started to appear earlier (e.g. the Exakta system from the late 1940s), the multiple-frameline rangefinder by Leica offered

the smoothest, fastest, most robust shooting experience available, coupled with the then-already optically superior Leitz lenses.

These cameras were constructed to the absolute highest standards of quality and maintainability (everything was designed to be adjustable over a long, long lifespan). As such, as long as the rangefinder optics are clean (the balsam glue of the beam splitter have a tendency to fail after about 40 years on some examples of the M3, fading or completely disabling the rangefinder) this is a very ‘safe’ camera to buy on eBay.

My copy (a late-model, single-stroke) truly looks and functions like a new camera, despite it’s age of 52 years. It’s quickest, smoothest, quietest camera I own. Rangefinders are, of course,much more limited than their SLR counterparts, and this could not be considered a “general purpose” camera anymore, but for anybody still practicing the art of developing and printing their own photographs in an analogue manner, the Leica M3 offers arguably the best body to obtain the ultimate image quality possible from the 35mm format.

Being the first “M”, the collectivity (value) of the M3 is sure to increase with time, and finally, as an object considered in its own right (not as a tool) the M3 has timeless beauty and pureness of design.

Regarding lenses, nothing fits a Leica M3 better than a Summicron 50mm f/2 – it’s small, chromed, and likely the highest-performance M-mount lens yet made (according to several tests). With this lens, you can imagine the M3 being a fixed-lens camera, it’s so compact and well-matched. If the light is good, shoot some Ilford Pan F, and be prepared for prints of unmatched quality from the 35mm format.

Written by msecchi

June 17, 2015 at 6:38 am

Mamiya RZ67 Pro II

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English: Mamiya RZ67 Professional camera, lens...

English: Mamiya RZ67 Professional camera, lens…

The Mamiya RZ67 is my medium format single-lens reflex system camera manufactured by Mamiya. There are three successive models: the RZ67 Professional (first model

released in 1982), RZ67 Professional II (released in 1995) and RZ67 Professional IID (released in 2004). RZ67 is a modular camera system, meaning lenses, viewfinders, ground glasses, film winders and film backs are all interchangeable. It is primarily designed for studio use, but can also be used in the field. The RZ67 Sekor lenses have built-in electronic leaf shutters which are cocked and triggered from the body. Focusing is performed with a bellows on the body instead of the lenses.

The camera accepts 6×7, 6×6 and 6×4.5, 120 and 220 film magazines and Polaroid as well as Quadra 72 4×5 sheet film backs. Mamiya RB67 backs are also supported via the G-Adapter. The film speed is set on
each RZ back via a dial. There are two versions of the 6×7 and 6×4.5 backs, the model II versions have a second film counter to always show the film count on the top. The RZ67 operates on one 6V silver oxide 4SR44 battery, or 6V 4LR44 alkaline battery. It can be used in emergency mode fully mechanically with a fixed 1/400 sec shutter speed. Multiple exposures are possible in the M-mode. Mirror flip up is supported. The body has one standard flash hot shoe on its
left side, one plug for a standard remote shutter cable release, and a socket for an electronic shutter trigger. The RZ67 measures 104 mm (W) x 133.5 mm (H) x 211.5 mm (L) with the 110mm f/2.8 lens, and weighs approximately 2.4 kg (5.29 lbs). The flange distance is 105 mm.

The RZ67 name is adopted from the model name of the Mamiya RB67 (where RB stands for Revolving Back), which was first introduced in 1970, thus the RZ67 also takes backs which can be rotated 90 degrees to
provide a horizontal or vertical composition. The orientation is shown in the viewfinder with black guides. The viewfinder also hosts LEDs informing of the state of the camera (flash ready, low battery, dark slide not removed,
shutter not cocked). In addition to manual operation (photographer chooses aperture and shutter speed), the RZ67 is able to operate in AEF mode with an AE viewfinder (AE being an abbreviation for automatic exposure), which transmits exposure information directly to the body. In RBL compatibility mode, the RZ67 is able to use RB67 lenses. The biggest difference between RB67 and RZ67 is, that RB67 is completely mechanical. The RZ67 has also mechanical couplings between the parts, but the shutter is electronic, and parts are able to transmit exposure information with electronic couplings. In addition, the RZ67 has plastic exterior body, which makes it somewhat lighter.

Written by msecchi

May 13, 2015 at 8:36 pm

My Fuji X Series Cameras & Lenses

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little fuji
My fav. at present is The Fujifilm XT1After starting at the top-end with its X-Pro1, Fujifilm has been steadily expanding its X-series mirrorless camera to appeal to a broader audience. With its X-T1, Fujifilm has moved back towards the high-end, offering a fully-loaded mirrorless camera in a weather-resistant, SLR-style body. There’s plenty more where that came from – the X-T1 has one of the largest EVFs we’ve ever seen, numerous manual control dials and, for the first time on an X-series camera, an optional battery grip.

The ‘guts’ of the X-T1 are very much like those found on the recent X-E2. This includes the 16 megapixel X-Trans CMOS II sensor (with on-chip phase detection), EXR Processor II, built-in Wi-Fi, and full HD video recording. The main differences between the X-T1 and X-E2 are the LCD (tilting vs fixed) and EVF (in terms of magnification), the maximum burst rate (8 vs 7 fps, now with focus tracking at full speed), a flash sync port and, of course, the design.

The Fuji X series walk-around cameras that can be adapted for wedding work, editorial work heck, even commercial work.

With these cameras I feel unstoppable. Invincible. I no longer need to carry  heavy bulky DSLR around all day – with these cameras I am able to carry an entire kit in a shoulder bag and never tire. With these cameras I rarely miss a photo because I have always have a camera with me.

With these cameras I am stealthy, quick, unobtrusive, silent, a rocket for recording the extraordinary in the mundane of the everyday. My photography changed!

The Fujifilm X-Series range of digital cameras consists of the company Fujifilm’s high-end digital cameras and is aimed professional and keen enthusiast photographers. It is part of the larger range of Fujifilm’s digital cameras. X-Series itself is not unified by a common sensor size, technology or a lens format. Its main differentiating feature is the emphases on the controls needed by an advanced digital camera user.

I have owned or own at present the following Cameras

  • Fujifilm X100: prime lens digital camera that uses a custom APS-C sized CMOS sensor and Hybrid Viewfinder, and fixed 23mm F2.0 Fujinon lens. Announced at Photokina, September 20, 2010, the X100 launched globally in March 2011. Succeeded by Fujifilm X100S. SOLD
  • Fujifilm X10: advanced compact featuring a 2/3-inch 12-megapixel EXR-CMOS sensor and a high-definition F2.0 wide-angle and F2.8 telephoto Fujinon 4x manual zoom lens (28-112mm). Announced September 1, 2011. Succeeded by Fujifilm X20 SOLD
  • Fujifilm X-Pro1: Mirrorless interchangeable-lens camera that uses the “X-Trans CMOS” sensor and the Fujifilm XF-mount system of lenses. It was announced in January 10, 2012, and launched in March 2012. SOLD
  • Fujifilm X-E1: Mirrorless interchangeable-lens camera which is a slimmed-down version of X-Pro1. The modifications include removal of expensive hybrid finder replaced by an upgraded electronic viewfinder. New EVF uses a 2.36M dot OLED unit, out-speccing the X-Pro1’s 1.44M dot LCD finder. It was announced on September 6, 2012. SOLD
  • Fujifilm X20: is an the replacement of X10 enthusiast compact camera featuring 2/3-inch X-Trans CMOS II sensor, EXR Processor II and a new advanced optical viewfinder. It was announced onn January 7, 2013.
  • Fujifilm X100S: a redesigned version of the X100 with new sensor-based phase detection, same sensor as Fujifilm X-E2. It was announced January 7, 2013. SOLD
  • Fujifilm X-E2: successor to the X-E1, featuring X-Trans CMOS II sensor, larger (3″) screen with higher resolution (1.04 M), Digital Split Image technology, Wi-Fi. Announced on October 18, 2013.
  • 2 Fujifilm XT1 a new camera with a weather-sealed body featuring X-Trans CMOS II sensor and tilting LCD screen. It was announced on January 27, 2014. Also the first X-series camera with an optional battery grip, and the first camera from any manufacturer to fully support UHS-II SD cards.

I have the following Lenses

  • Fujinon XF18mm F2 R18mm focal length (27mm equivalent) F2.0-F16 aperture SOLD
  • Fujinon XF35mm F1.4 R35mm focal length (53mm equivalent) F1.4-F16 aperture
  • Fujinon XF60mm F2.4 R Macro 60mm focal length (91mm equivalent) F2.4-F22 aperture SOLD
  • Fujinon XF18-55mm F2.8-4 R LM OIS 18-55mm focal length (27-83mm equivalent) (F2.8-F4)-F22 aperture
  • Fujinon XF14mm F2.8 R14mm focal length (21mm equivalent) F2.8-F22 apertureSOLD
  • Fujinon XF55-200mm F3.5-4.8 R OIS55-200mm focal length (83-300mm equivalent)
  • Fujinon XF23mm F2.0 R 23mm focal length (35mm equivalent) F2.8-F22 aperture
  • Fujinon XF27mm F2.8 R 23mm focal length (41mm equivalent) F2.8-F22 aperture
  • Fujinon XF 50-140mm f/2.8 R LM OIS WR: A weather-resistant fast telephoto zoom with image stabilization, covering focal lengths equivalent to 75–210mm on full-frame. Officially announced on September 10, 2014.
  • Fujinon XF 18-135mm f/3.5–5.6 R LM OIS WR: A weather-resistant, image-stabilized superzoom, covering focal lengths equivalent to 27–202.5mm on full-frame. Officially announced on June 16, 2014.
  • Fujinon XF 16-55mm f/2.8 R LM WR: An enthusiast-level standard zoom, covering focal lengths equivalent to 24–82.5mm on full-frame, featuring weather-resistant construction. This lens was originally expected to be available in mid-2014, but has been delayed. Officially announced on January 6, 2015 during CES 2015.

Written by msecchi

February 18, 2015 at 8:54 am