Okay, since this place is shutting down—a tremendous shame!—I'm going to go ahead and post an incredibly self-indulgent question, in hopes of getting some good advice from the folks here, many of whom have helped me tremendously over the years.I've hit a once-in-a-lifetime professional milestone and am about to be able to afford a major camera upgrade. My current kit is two bodies, three lenses:After trying many, many different camera systems, I'm 100% certain that I'll be using the M system until my eyes fail me. I'm also quite certain that 28/35/50 will remain my key focal lengths. I may someday add a 21mm and a 90mm, but they'll be occasional-use lenses and I'll buy cheap options. It's really the two bodies and 28, 35, 50 that I'm interested in.What I'm thinking of doing is shifting to this kit:Here's the rub: right now, I am quite happy with the pictures I'm taking with my current kit, which took me years to assemble on a more restricted budget. I feel that it's the best kit I've ever had in my long engagement with the hobby. I also like the fact that I can afford to replace any of it: it's all expensive, but not so expensive as to cause worry.At the same time, I'm obviously attracted to the idea of using "the best of the best," and I happen to be at a rare moment when I can afford to make it happen. This is an open-ended question for those of you who have more experience than I do in the M system:Do you think any of these moves are worth it, or should I just stay with what I have?Briefly, here's my reasoning on all these upgrades:Any and all advice is welcome—including telling me that I'm chasing after inconsequential differences and should just resist GAS and be satisfied with what I've got. I'm grateful for any insights and experiences.Here are some recent images taken with my current kit, shared not for technical purposes but just to give you all something to look at:Driving a tractor: M10 / 35 UltronConstruction zone: M10 / 28 UltronTop of the slide: M10 / 50 SonnarGuitar playing: M10 / CV 75 1.5 (now sold—I'll buy a smaller lens to replace it)Eagle Scout: M10 / 35 UltronFlorida playground: M4-P / 28 UltronTwo-way traffic: M4-P / 50 SonnarGrandmother's funeral: M4-P / 28 UltronFlorida Sunset: M4-P / 28 Ultron (this has become my favorite lens on film)Also, I just want to saythank youto all of you who've posted here and responded to my threads over the years. This forum (along with the Fuji, Film, and Open Talk forums) have been very meaningful to me and I'm sad to see them closing. I'll be over in l-camera-forum if anyone wants to say hi.

What I'd say is: if you've got the cash and you wanna spend it on photo gear, then this…What I'm thinking of doing is shifting to this kit:…is a solid set of gear to spend it on.-Dave-

Makes sense if you have GAS and the funds to feed it. Optically those lenses you have are pretty much on pair with Leica lenses.

Foskito wrote:Makes sense if you have GAS and the funds to feed it. Optically those lenses you have are pretty much on pair with Leica lenses.This is what I’m suspecting might be true?Circumstances are enabling my GAS—but maybe discretion is the better part of valor.

JoshuaR wrote:Foskito wrote:Makes sense if you have GAS and the funds to feed it. Optically those lenses you have are pretty much on pair with Leica lenses.This is what I’m suspecting might be true?Circumstances are enabling my GAS—but maybe discretion is the better part of valor.Nothing wrong with pampering ourselves if the economy allows it. But technically, you are already set with an awesome kit, and you produce awesome images. It is not the violin...

I understand the pleasure of owning beautifully made equipment and your chosen set of Leica lenses should give you that.  In image quality terms, I think you’ll gain little, but in sheer pleasure in use - lots.The M10-R should be a worthwhile upgrade (despite the “24mp is enough for anyone” brigade) as you say in terms of ability to crop.  I also think that, with the perspective of some years, it will prove to be something of a classic - the right balance of tradition and features before ‘progress’ changes the M line into something approaching the X-Pro 3.  If I  could find a good, used version, I’d buy one.So if it’s affordable, I’d say go for it: even though it probably won’t change the quality of your excellent photos, it’ll give you a great deal of enjoyment.

JoshuaR wrote:first: You've made some nice photographs, bravo! And from that we can say that the equipment you currently have works well.I've hit a once-in-a-lifetime professional milestone and am about to be able to afford a major camera upgrade. My current kit is two bodies, three lenses:What I'm thinking of doing is shifting to this kit:Not considering the bodies at first, this is a good focal length range for the M and is similar to what I have been using for many years. I have other focal lengths as well ... 10, 21, 24, 43, 75, 90, 135 mm in M-mount ... acquired over a long period of time ... but i'd have to say that most of what I shoot with today are the 28, 35, and 50 mm. I do use the 75 a bit more than just occasionally.... I had a CV Ultron 28 and found it quite disappointing, like the CV Color-Skopar 28 more on film and on APS-C format digital. But it doesn't perform as well on FF digital, either on the Monochrom or the color bodies. So I recently swapped it out for the Summicron-M 28mm f/2 ASPH, which is a terrific performer. Some have said that the CV Ultron 28 II is as good, I dunno. The Elmarit-M 28 is indeed tiny and reports on it are good (although some say it's a bit contrasty); it's probably fine and on par with what you have.I have an older Summilux 35/1.4 pre-ASPH from 1972. Not directly comparable to either the Ultron II or the modern 'Cron, but definitely one of my all time favorite lenses. It has flaws that make it even better for some things, weirdly enough. I can't imagine that the current Summicron-M 35 will be anything but an excellent performer, and a notch above the CV lens in build and feel.Between the two 50mm lenses, I cannot say. My 50 is a current series Summicron-M 50mm f/2 and it performs beautifully, on APS-C and FF, on color and B&W bodies. The current 'Lux and current Zeiss Sonnar probably differ a little bit on imaging nuance, but eh? I haven't used either, but read various people singing their praises.Regards the bodies, I had had M9, M-P250, and M-D262. The last was my favorite. Then I moved over to using other equipment (Leica CL and other makes for other things) for a bit. A year and some ago, I decided to go in on the M10 Monochrom and it blew me away, so I recently acquired an M10-R to have a color body with the same controls and form factor (that I can swap accessories between the two with no issues at all). I don't know how big a difference you'll find between the M10 and M10-R performance as a result, or whether that difference is worth the cost.Between M4-P and MP, well, although I've had in the past M3, M4, M4-P, M6, and M6TTL bodies, and everyone ballyhoos the older series prior to the M4-2, when I bought another film M in 2012, I bought an M4-2 that had been sitting for a couple of decades, had it serviced, and continue to use it today. The move from a meter-less to a meter-included body is something that only you can say whether it will make a big difference to you. I don't think there's any substantive difference between the M4-P and MP in terms of build, consistency, reliability, and the meter does provide a significant amount of convenience. I personally prefer the M4-2 first series simpler, M4 type viewfinder (just 35/50/90/135 frame lines), and its steel transport gears are able to handle the stresses of a motor winder where the older M4 brass transport gears are smoother in operation. You might want to consider whether the re-introduced M6 is good enough without the MP cachet to get a new camera with a meter in it. It's a bit of a toss up ... but I prefer the meterless body and my M4-2 is good enough.Briefly, here's my reasoning on all these upgrades:Regards your bullets:- To my ear, the differences in sound and noise aren't significant. Perhaps my hearing is too far gone at this point for it to matter. LOL!- In low light, in particular, is when I usually pull out my Sekonic hand-held incident meter with any/all my cameras. It's simply more sensitive and I find incident readings to be more consistent in such light than reflected light metering.- Talked about the 28 above. I love my new (used) Summicron-M 28 ... I like everything about it other than that the hood is somewhat large.- I don't think you can go wrong with a Summicron-M 35 or Summilux-M 50 at all. And if the Zeiss lens has mount issues, yeah sure.Are any of these moves are worth it...? To me, the 28 and 35 lens upgrade probably says yes, the M10 to M10-R I don't know, the M4-P to MP depends on how much the convenience nets you, and the Zeiss to 'Lux 50 is another I don't know, maybe not if the Zeiss lens can be serviced to original condition. But ultimately, you have to try these things out and decide for yourself.Perhaps do it one thing at a time, and buy from dealers with a two week window for returns at your discretion so you can test things before committing to keeping them.Good luck! GNeighborhood Art - Santa Clara 2023 :: Sculpture by Ben Bufano : M10-M/28/blue filter : 160@f/8@1/500

Many, many, many thanks for this detailed and thoughtful reply. It's very helpful and generous.I have a vacation coming up; I'm going to take the M10 and my 28, 35, and 50 lenses and use them all intensively for a week, photographing my family and two other families with small kids that are coming with us..... Maybe that will help me decide whether these upgrades are actually going to be worth it to me.I think your advice to go piece by piece is very good. 35mm is my main focal length, so my first step would be to trade the 35mm Ultron for a Summicron. But probably the wisest course is to review a weeks' worth of Ultron images first, asking myself what I'm trying to achieve.Compiling the images for this post made me feel good about my current kit. And I have to say that I find something comforting about the fact that it's gear I own and can afford to replace. I feel affection for the banged-up lens hood on my Zeiss and the scratched top plate of my M10. I've pried the red dot off and adjusted the RF's vertical alignment myself! Maybe I should heed the call of sentiment and just keep my nicely worn-in gear.....Yesterday I totaled up the costs of these upgrades. I have to say that, despite my little windfall, it gives me sticker shock. It's a lot to spend for what are basically marginal improvements. I could use the cash to fund a trip somewhere, or to jump-start some new hobby (maybe kayaking!), or to pick up something new within a photography: a monochrome M, or a Mamiya 6 (a camera I've always been curious about).On the other hand, the idea of maximizing the M setup forevermore is really appealing. Then—in theory—I'd never have to wonder about gear ever again!

JoshuaR wrote:Okay, since this place is shutting down—a tremendous shame!—I'm going to go ahead and post an incredibly self-indulgent question, in hopes of getting some good advice from the folks here, many of whom have helped me tremendously over the years.I've hit a once-in-a-lifetime professional milestone and am about to be able to afford a major camera upgrade. My current kit is two bodies, three lenses:After trying many, many different camera systems, I'm 100% certain that I'll be using the M system until my eyes fail me. I'm also quite certain that 28/35/50 will remain my key focal lengths. I may someday add a 21mm and a 90mm, but they'll be occasional-use lenses and I'll buy cheap options. It's really the two bodies and 28, 35, 50 that I'm interested in.What I'm thinking of doing is shifting to this kit:Here's the rub: right now, I am quite happy with the pictures I'm taking with my current kit, which took me years to assemble on a more restricted budget. I feel that it's the best kit I've ever had in my long engagement with the hobby. I also like the fact that I can afford to replace any of it: it's all expensive, but not so expensive as to cause worry.At the same time, I'm obviously attracted to the idea of using "the best of the best," and I happen to be at a rare moment when I can afford to make it happen. This is an open-ended question for those of you who have more experience than I do in the M system:Do you think any of these moves are worth it, or should I just stay with what I have?Briefly, here's my reasoning on all these upgrades:Any and all advice is welcome—including telling me that I'm chasing after inconsequential differences and should just resist GAS and be satisfied with what I've got. I'm grateful for any insights and experiences.Here are some recent images taken with my current kit, shared not for technical purposes but just to give you all something to look at:Driving a tractor: M10 / 35 UltronConstruction zone: M10 / 28 UltronTop of the slide: M10 / 50 SonnarGuitar playing: M10 / CV 75 1.5 (now sold—I'll buy a smaller lens to replace it)Eagle Scout: M10 / 35 UltronFlorida playground: M4-P / 28 UltronTwo-way traffic: M4-P / 50 SonnarGrandmother's funeral: M4-P / 28 UltronFlorida Sunset: M4-P / 28 Ultron (this has become my favorite lens on film)Also, I just want to saythank youto all of you who've posted here and responded to my threads over the years. This forum (along with the Fuji, Film, and Open Talk forums) have been very meaningful to me and I'm sad to see them closing. I'll be over in l-camera-forum if anyone wants to say hi.... seriously: you ever considered getting a body just for the look of a certain lens?Elena Shumilova's use of some Canon glass. Just as an example for intimacy via some well selected glass.Selling the 28 to get a Q would not work for you as you cannot use the Q on the film bodies.Now, the fifth option, after you have exhausted the first few: ignore the gas as I think your images would gain anything.Your pics would survive with any gear. I once traded in my Pentax SLR for a Vitessa, a Voigtländer dream of a travel cam. Took slides only and sadly the light meter let me down. Slide exposure wants to be cuddled before some technically ok pics come your way.Having said all this: a tool to capture opportunity. Simplification over stretching to the next tech/optical gadget. I get your "third party" approach here, but isn't it a bit like trying to find a Makita hammer, so it fits the group photo whilst ignoring the Estwing?Since you asked: I think you're on the wrong track. Incremental at best not really compelling,  right.On a slightly different note: as you know, I am just exploring some options, shooting in bland light, not just overcast, but drizzling, WR a must. This weather as uninspiring as it may seem, is just the right poison for the Q2. Competition as we speak is an A7IV.But, not really. 🙃DeedP.S.: I DO understand the fun factor.

for me the upgrade wouldn’t be big enough on either. And probably in your shoes I’d want to add a monochrom. I also fed the m10 is so good that there isn’t that much to gain from the r or the m11.Looks great, haven’t used it.I think the summilux  35is the one lens to get from Leica.I have been lusting for the Nokton f1 lately.