Leica M-A (Typ 127): The Ultimate Expression of a Rangefinder Camera

Meterless, incredibly well-made, and in black chrome surprisingly understated, the M-A is a camera that many might pass on the street as a normal, unremarkable camera. And yet, beneath its unassuming exterior, it remains one of the finest rangefinder cameras ever made.

Encased in Brass top and bottom plates, the camera comes in at 578g without a lens, essentially the same as an M3. The weight is pleasant, it’s reassuringly solid without being heavy enough to cause you neck strain on a day out.

The footprint is the same as a traditional M body, but everything feels a little bit tighter, machined to smaller tolerances. Thanks to modern lubricants and greases you’d struggle to tell the difference between its own steel gears and the brass gears of earlier M cameras. There is a difference, ever so slight, but certainly not a bad one.

The finish is an interesting one. It has an industrious black chrome finish similar to the M4-2, which is created by plating/electroplating the exterior components to provide a much more robust finish than black paint Leicas such as the MP. As a result, neither finish on the M-A (silver or black chrome) will wear through and gradually present a brass patina. Instead the hard-wearing black finish will fade over time to a smokey chrome.

In terms of branding there is not much to note at all, which says to me how confident Leica are in their design - they own this shape and they know that is why so many love it. They don't need to throw logos and the model number all over it, it is instantly recognisable as a Leica.

There’s an engraving on the back of the top plate and hot shoe, both of which are not infilled with enamel paint. This is welcome and allows the M-A's charming Bauhaus design to take centre stage without diluting the design with logos.

The rangefinder is brighter than ever, thanks to new coatings and filters which make focusing much easier than previous models which were susceptible to flaring/ghosting, such as the M4-2, M4-P, M5, M6 Classic, M6 TTL and early M7. On the M2, M3 and M4, flaring was not an issue, however the patches on the newer M-A and MP just seem to be that bit more distinctive due to new condenser lenses.

The framelines are another major positive, with six sets in total: 28/90, 35/135 and 50/75. Unfortunately, the M-A was never offered from the factory in either 0.58x or 0.85x magnification. Examples with these magnifications were available through Leica’s à la carte programme, so they tend to command a premium over the standard 0.72x.

On the plus side, both the M-A and MP accept accessory viewfinders via their hot shoes, and the viewfinder eyepieces of both cameras feature a screw thread that allows magnifiers to be fitted for use with longer lenses.

You may find yourself looking for the features section at this point, and I may disappoint you when I say there really isn’t one.

This is a stripped-back, raw tool that forces you to focus on the very essentials of the craft. There are no fancy features, no self-timer, nothing above and beyond the exact pieces you need. You have your shutter-speed dial, film rewind mechanism, rewind lever, frameline selector and a handsome film-speed indicator on the rear, machined from a rather nice piece of metal.

Production

The M-A entered Leica’s film camera lineup in early 2014, around a decade after the introduction of the reissued Leica MP.

Coincidentally, the M-A was introduced exactly 60 years after the original M3, as part of Leica’s 100th-anniversary celebrations.

It is fascinating to see that a company renowned for its groundbreaking designs of the 1950s was capable of reissuing a kind of ‘greatest hits’ edition 60 years down the line, using the same medium.

Who is it for?

This is a camera that develops your understanding of light because there is no choice but to. It makes you deliberate over each shot, upholds your standards, and feels pretty damn good in the process.

The M-A is for someone who appreciates Swiss watch-like engineering, where every dial and lever moves in a satisfyingly tactile way.

Meterless cameras can be somewhat daunting if you’ve never tried them before. But negative film tends to be very forgiving, with a wide exposure latitude, and, as I discovered, it becomes incredibly liberating once you get your first few rolls back and realise they aren’t completely blown out.

I’m sure Leica appreciates that it won’t be for everyone, and that’s fine. For the few that it does appeal to, the M-A is an outstanding piece of kit.