Yes, absolutely. Traveler's today would be well-advised to adhere to those recommendations; consider them an obvious extension of situational awareness.
Insuring your equipment and assiduously avoiding any kinds of altercation are de rigueur for travelers, anywhere, anytime, anyhow, but especially in today's France, with the influx of radical and often violent Islamists, the Beurs, and the subsequent rise of street crime.
In Paris and Lyon, make a point of avoiding the banlieues.
Check with locals as to which of the Arrondissements are the most free of social impact. Avoid the 18th and 19th. Montmarte should still be OK.
No reason to be fearful, but as always, numerous reasons to be aware.
/ cl

As a former wire-service correspondent, I've carried Leica cameras almost exclusively for over 40 years, through Europe, the Middle East, Asia, Africa and the Pacific, and often under the worst of conditions such as warfare or famine where assault and theft were always a consideration. But, really, it isn't the brand that will mark you as an opportunity. For a thief, it's ANY camera attached to ANY unobservant or preoccupied tourist who's available. Often they work in a team of two, one to bump or somehow attract your attention, while the other grabs or slashes your camera's strap.
•You can stick black masking tape over your Leica's red dot and white lettering if that makes you feel better.
•Pack Safe makes steel-cable core camera strap that's slash-safe but it's bulkier than the thin and simple stock Leica strap that easily wraps around your wrist.
What will serve you faithfully under all circumstances and in all locations?
• Simple "Situational Awareness."
•Developing and maintaining a constant level of consciousness is your best defense.
•Stay alert and aware of your surroundings.

/cl

A man's gotta believe in something; I believe I'll have another drink. -- W.C. Fields

Oh, of course. HO gauge. Duh.

Sad to admit that it's been many decades since I even thought about HO gauge model trains and the wonderfully detailed level of sophistication represented in the miniature sets and settings. They occupy a warm place in memories of my childhood. /cl

What wonderful tiny figurines. So many represented activities and jobs. Did you create these?
/cl

Can't speak for all courtrooms, as I've only reported in Orange County and Los Angeles County, California. In these jurisdictions, limiting or allowing cameras in the courtroom are strictly the presiding judge's domain. For years several judges only allowed Leica's, or mirrorless cameras because of the noise issue.

——It was not uncommon for judges in courtrooms a few years ago to restrict loud cameras. As a journalist covering America's longest murder trial, (serial killers, Leonard Lake/Charles Ng, 1993, '94/'95), over the 14-month trial, I shot many rolls of film with a Leica M4-P, which has a very muted shutter. Standing just a few feet away, Leica's are essentially silent.

Jack Ryan, the presiding judge, was emphatic about camera silence which can be very disruptive in a small courtroom. At one point during a witness's testimony he stopped the proceedings and asked a shooter in the back of the courtroom with with a brand-new motor-drive Canon and a lens the size of a TOW missile launcher to "… put a silencer on that clacker."

Looking at the response to your post made me recall Leica historian and chronicler Irwin Puts immortal words:
“Leicas aren't something for everyone, but offer everything for someone.”

For the record, my only cameras are an old, very well-used film Leica M4-P, which I carried as an overseas correspondent, and a Leica Monochrom Typ 246 (note: comes without a Red Dot) ---my only digital camera. Have four lenses, all substantially pre-date the Monochrom. They work swell on the Mono.

Interesting to note that every time the subject of Leica comes up on UH it seems to evoke a disproportionate response. People either love them, or hate them. Some sound as regretful of owning them as they were of their last bad marriage. Others sound as fond and somewhat sentimental as they were of their first and now-lost love.

Then there are those who fell in love with Leica somewhere in their relationship with the fickle mistress, Photography, and hang in there as though it were an enduring marriage, not perfect, maybe lacking something now and then, but worth keeping for the positive qualities and living with the inevitable occasional negative (no pun intended), regardless.

What’s interesting is to look at a list of those less-than-positive responses culled from a series of these previous posts:

"Absurdly expensive,
"Technology deficient status symbol,
"Only Red Dot snobs would own one,
"Unaffordable,
"Lenses are rediculously expensive,
"Repairs take too long,
"M-series Rangefinders out-dated,
"Require extensive learning curve,
"Doesn’t answer today's photographic needs,
"A rich person’s indulgence,
"Canon, Nikon, Sony, Panasonic, Fuji-Film all cost less and have far more features."

Yes, well, the list is long -- being essentially a series of personal judgments, or opinions. And Leica's high cost is the foremost issue. So, in the event one or several of those issues apply, then a Leica is simply not “something” for you.”

There are many other German products, cars for instance, about which much of the above is said. And don’t forget Patek-Philippe or Rolex watches. In the end, it’s just a matter of what you need and want and how important having it it is to you.

On the other hand, as I noted on this site, some months ago, if you appreciate the superb hand-made quality, the timeless aesthetic, the classic elements of design, the distinctive sound of the shutters, well, Leica’s---especially the earlier film M-series which are for lack of a better metaphor, mechanically organic. Even the digital M-series rangefinders, lacking automatic focus, will slow you down to a much more carefully selective function; they make you consider and zen your exposures....

As Mr. Puts so succinctly noted, a Leica is not "something for everyone."

“The Past is a foreign country; they do things differently there.”
/cl

Gotta be very careful about those wide open "appendatures," Rob. You could fall in. (;-}

WH:
To compliment and refine your theme of carrying what the previous century's working press carried, probably as important as your selection of cameras/lenses/film and your choice of the classic little Seconic meter (I have an old one and use it, as well) is your footwear and head cover. Photogs, like light infantry, travel on their feet.

In Africa, despite all the constant gut pounding and ass-bashing in the ubiquitous, neat-looking, and inordinately uncomfortable Land Rovers——you'll spend a lot of each day on your feet. The African bush is merciless.

/cl

Carabiners are good. I use a couple of small stainless snap-shackles. Same principle. Probably wise–––in the kinds of places, like Africa. where you already look very different–––to avoid the Louis Vuitton and smart-looking English leather look a little ratty. Thieves love places where people are in either in transition, airports, railway stations, cultural centers such as museums and galleries or big events, political rallies.

WH:
Perhaps this will help. You have all the perfect elements: keep it light, stripped-down, and simple. Fewer equipment choices means becoming more creative and adaptive.

As a former AP & Reuter's stringer/journalist/war correspondent ( '60s, '70s, '80s and '90s ) who operated in the Middle East, South and Central Asia, Africa, etc.) While not primarily a photographer, but a journalist with a camera, being able to illustrate my stories offered me a budget-conscious edge, i.e.: hire one guy, not two.

Here's the kit I carried: Leica M4-P (rangefinder) w/ f2 Summicrobn-M50, Tele-Elmarit 1:2.8/90, and a 1930s vintage 28 mm Hektor f 6.3.

With the exception of the old 28mm Hector lens, which I replaced recently with a 28mm Elmarit, I still have and use these lenses, today, with a Leica Monochrom 246.

Used in addition over the years were a series of Nikon Fs (2 & 3) with 50mm, 24, and a varied series of longer-range lenses.

When working in the Persian/Arabian Gulf Emirates, (Bahrain, Kuwait, Oman, Dubai, Abu Dhabi, Quaatar) or Israel, Jordan, Saudi Arabia I augmented the Leica with damn-near built-proof/water-proof Nikonos 1 and later a Nikonos 2, both with a single 35mm f2.5 lens and a 90mm. That area's abrasive, wind-born desert dust and Gulf of Arabia's salt-rime would ruin anything else. Correspondents will recall the Riad Intercontinental's lobby containing g a 55-gallon drum filled with ruined Canon and Nikon bodies.

Used in addition over the years were a series of Nikon Fs (2 & 3) with 50mm, 24, and a varied series of longer-range lenses.

My 35mm B&W film-of-choice for assignments was Tri-X, 400 ASA, or Illford 400. Rarely shot color. Developed using Belsonal in hotel room sinks (comfort) or in a helmet with canteen water (field conditions).

Carrying weight of more that 5 or 6 pounds, and large bulky camera bag under even modestly difficult or climatically challenging conditions is not only uncomfortable, but slows you down, reducing chances of getting a salable shot. My favorite bags were/are the small un-padded F-6 Domke, or an old GI-issue M-61 butt-pack.

Everything was quickly reduced to a condition of "un-appealingly-worn, shabby-and not-particularly-attractive-to-thieves," who are a constant factor of which to remain aware.

Nothing shouts "TOURIST" more visually than a new and expensive-looking camera bag or a Tilley hat. Go light, keep it simple, have a terrific time. cl/

Have never sent my images by e-mail before. Is there a rule-of-thumb as to selecting a size—-S,M,L,—? Thanks—

Digitally Dyslexic

Probably, all things considered, a Leica, M-10 with a Leica 50mm APO-Summicron-M 50mm/f2.