Hot off the Press

The subject of this brief Blog is in fact the Blog itself. I decided that at Blog 150 I should have a permanent record of what I have written since 2012. I do have various forms of technology that can recall the content but I wanted to have hard copy, for largely purposes of my own vanity, and to show older friends who remain outside the Digital age, which is where the site claims to be, after all.

I chose a printer called BlookUp in France who offered a smallish size volume of 331 pages in all. I had in mind that a few entries contained future dates and times which are no longer required, also a few instructions for finding illustrations and for navigation. These have, mostly, been deleted but still I value the chance of proof reading the first copy I ordered and shall save (and save up) for a Coffee Table version at some future date. I found that reproduction of my pictures held up well but copies of old magazines became so small as to need a magnifier in this format which was 8" x 6".

Technically, the whole transfer went well with the only proviso is that the printers had to have access to the pages on the Web and then had to download them. I was pleased with the result,  A larger format could well mean a slimmer version was possible with better enlargement of small printed detail. One point, alterations to layout of words made when typing do, on one or two pages, result in a strange gap in a sentence. This is not visible in the editing screen on my PC and I am working on it.

Not at present available on Amazon but listed by the printers on their website, only one exists and I am awaiting the second edition with interest! Wait for it to be remaindered.

Slide Mounting through History!

Following the recent concentration on Projectors, and Leitz in particular, I thought this might be a suitable place for a (short)study of the mounting systems that Leitz have supported over the years.In the Pre-War years Monochrome slides were popular as shown by the number of slide projectors with film strip facilties for which a (Leitz)  ELDIA printer was essential to get the pictures in the right order and to eliminate the mistakes!. This system had the finished film strip passing through the 'slide' projector by use of a winding mechanism-usually in panoramic format. However by about 1936 the World had learnt that there were colour films,Kodachrome in particular, which were very expensive to UK residents and could only be processed in the USA. In return for the effort and cost the 8 ASA product supplied superb results in Natural colour(color)which in many cases have been preserved until today. Moreover the pictures came back in card mounts as individual photographs suitable for projection as single slides without all that cranking of hand winding apparatus. Things just took off from there-largely for the wealthy-and it was not until the early 1950's that amateurs came to expect that their results would look good as colour slides '-just like the cinema'

I would speculate that the peak of interest in slides was from 1953 (The Coronation) until, say, 1980 by which time quality paper prints were available at low cost in the mass market. Today, neither are popular outside of keen amateur circles and Digital storage rules.

Continental film manufacturers brought colour slide film onto the market after the War and the Amateur started home processing. A large market for slide mounts sprang up. Originally most slides had been bound in a time consuming process of insertion between two sheets of thin glass bound with black water adhesive tape. Leitz went with a very high tech system based on the products of Perro-Color in Switzerland and an agreement was struck for these to bear Leitz/Leica name and also that of the makers. This plan was understandable as Leitz did not make film neither did they process film but they had a large market of slide film users with Leica cameras.

The mounts included two precision metal outer covers with a Nylon packing for the internal void. The mount accepted two glass covers and the whole was assembled by hand and inserted in a closing press which locked the whole mount. Glass could be plain or Anti Newton Ring type (them again-Blogs passim) and spare covers were available in case a mount had to be opened. These proved popular with professional users such as museums and Exhibitions. The main advantage being protection of delicate slide surfaces but Kodak persisted with card or 'plastic card' right up to the end. The disadvantage of the Perrocolor was the high cost owing to the complex construction and the country of origin. The picture with this Blog shows the prominence given to the Leitz name which was never disguised on the package. This was always lurking in the small print.

Where do the old Projectors go? and thoughts on obsolescence.

In this day of semi-lockdown, thoughts have turned to the garden and house painting, just the tasks likely to be postponed in normal times. I do not have any fresh negatives crying out for printing and instead have reviewed a number of boxes of acquisitions that have not seen the light of day for years.

First moan is about my 'stock' of 110 projectors. I find I have three Leitz 110 slide projectors,all working, with bulbs, and the tiny magazines that they need for a visible film size of 13mm x 17mm.

I do have a large number of 3x3 slides from the days when I was taking pictures of four small children, now they wave a phone at me and send the result to some social site. These slides of mine are very bright and sharp from a Kodak 110 pocket Instamatic 60 on Kodachrome 64 for the most part, with a few on Agfachrome. This camera had just about the most reliable exposure system that I have found only let down by the weird battery that had three wired button cells in a plastic carrier. The lens had a superb lens of high tech construction said to include a moulded element but all beyond criticism- and claimed to be adopted by the CIA in a black version. The batteries however were hard to find, even in the day, and, I speculate, they resulted from a Kodak wish to make everything as simple as possible for the user even in the top of the range camera.A fine object in say, a hearing aid, but not in a state of the art camera.

As a Darkroom user of larger negatives I had no wish to use tiny colour negative films in the camera and only used slide films. Kodak offered two projectors in UK. The 210 and 610, separated only by a bit of automation, were made in Germany. Possibly made at Frankfurt, they were well designed to dispense with magazines using a small plastic case returned with each processed film. As with several Kodak slide films the location of the ultimate processing station was a secret and some films seemed to come back from distant parts of Europe. Not so Agfa, which always used a lab in Sweden!  The big failing was the lack of any transformer in the projectors which chose to run at mains voltage with a mains QI bulb of 200 watt that was, again, difficult to find. It later transpired that a bulb designed for Photo Modelling lamps, part of a studio flash set up system, was similar. The heat was high and any fan fault could cause melting of moulded parts or at the very least a blown internal fuse, most parts being of plastic of a basic type. All in all, a good try in keeping the slide banner flying but one doomed by the Global move to paper prints and suspect engineering in Europe- which Kodak more than made up for in the USA,  How?...... to Part Two


Part 2......
The UK and US markets were very different in 1972 with our latent tendency for the popular 'snapper' to recall the Box camera and it's paper prints with some affection. In the US a High Quality Pocket Carousel 100 and 200 were put on the market with a rotary slide magazine just under seven inches across holding 120 slides, more than enough to show at one session. There was a tradition of family slide viewing going back to the debut of Kodachrome in the 30's. From a personal point of view this magazine capacity contributed to the 'Christmas at both ends' family show we all know so well. This magazine had a security ring to avoid the dreaded dropping of the slides in a darkened room. Thankfully, the lamp was a DDA 150watt 24volt type that, although rather large, was a step in the right direction. Why the designers missed the fact that almost every projector in the world used a 'peanut' QI bulb of the basic type, available everywhere at low cost, I cannot imagine. These bulbs are universal, even today, and sold a rock bottom prices. However Kodak made a very nice little projector with a minimum of planned obsolescence.

So, we have a niche slide market with two major lines of projector both capable of fine results on the screen.

Enter LEITZ. It was known that Leitz looked at the 110 market and designed a prototype camera which was made for the 1974 Photokina. In the event, only the projector appeared which was probably a wise decision given the status of, and contrast with, of the usual Leitz cameras. As a parallel product a Agfa branded version of the same projector came on the market briefly, all mouldings were internally identical but with slightly different styling and a complex range of 110 cameras. The slides were carried in a very small'compact' magazine and in all cases seen were branded with both Leitz and Agfa names. However this small magazine held only 60 slides, probably enough to drive many of us to sleep, but more than adequate. A choice of lenses was given but I have only seen the Colorplan- the most respected name - in the UK and have never seen an Elmaron. Even a tape adapter plug was listed at the time!

The illuminant was a 12 volt 75 watt QI lamp in an integral reflector. This is, I think, of the same specification as designed for the v35 Enlarger and also used in Walner and Dunco enlargers and Colour heads. It is now obsolete but there is a whole home industry finding or fabricating equivalent bulbs for the enlarger, and in the case of a projector it seems that life can continue with a substitute. My projector has a Russian copy of the correct bulb and runs to my satisfaction. So,taking the long view, if one could have seen into the future in 1972 it might have been best to avoid 110 entirely. In doing so one would have missed some interesting times- and I still have four projectors to play with. The following photographs are a few features of the projectors described. In preparing this Blog I was well aware that another option existed in the Hanimex rotary band projector which was a truly original design with the slides clipped to a fabric belt which rotated at what could be high speed if desired and could give a form of animation rather like the flick-books made under the desk at school!Possible Japanese in design,I can only show a second hand picture, not of a very good standard but the fabric belt stretched from left to right across the machine. The problem came in the adhesive used to secure the stainless clips to the fabric which did not last well. Few will have survived. There was also an attempt to market a machine with rotary magazine of the German type by Kinderman/Leisegang which seems to have sunk without trace,in the UK at least.

To conclude, the design and construction of these short lived 'high tech' solutions seems rather hasty in retrospect and lacks any product development which might have added reliability and long life. The design branded for Leica and Agfa is basically sound but is founded on a lamp that was only on the market for a very short time. Leica users expect a lifetime of use! In any case the film was discontinued after a brief availability and we were left with colour print film only. Leitz as usual were allied with Agfa who could only offer their own slide film which proved rather grainy in this tiny format. Any association with Kodak and its superb film seemed impossible to consider. All a matter of Marketing really, and a field alien to Wetzlar!

Hanimex trail blazing rotary magic,beloved of Art Schools everywhere.



The long lived Leica with quality lens but body of machine largely made of plastic.The lens is worthy of Leitz in it's quality and finish.

 Leica /Agfa slide magazine

Leica internally, against Agfa. Embossed lamp spec.varies with I suspect the realisation that any 75 watt bulb will be fitted! The angle of the reflector can be critical in some uses.The Leica seems to be fitted with a thermal cut-out.Both have a spare glass fuse under the heat shield.

And, the one that never left home but is probably the best engineered but to European eyes the worst styled unless one likes a projector to resemble a Ford Station Wagon of the 1940's.No remote with this model but several variations exist. Mains connection seems to be by very non standard plug which would not 'pass' in the UK but at least it had a transformer. Clever assess hatch for the bulb is revealed by removal of the 'wood'/foil side panels.All in all beats the rest.

That's all folks.

Film Lives- and has a new arrival

For Blog 151 I already have a superb subject. 'PhotoRumors' site is carrying a posting from B & H, the NY retailer, for the latest incarnation of an old favourite, Fuji Neopan Professional Acros II , 100 ASA, withdrawn in 2018. Already launched in Japan last year it has arrived in US a little later than expected.

The promotional details include the fine grain and smooth tonal rendering that have always been a selling point. Fuji also claim that it incorporates 'Precision Iodine Distribution Control' technology to assist in small tank processing.  It is a much revised emulsion following withdraw of the old version which suffered manufacturing difficulty.

It as good to see a fresh introduction from this giant in the same way that Ilford Harman Ortho was recently launched. Another clear sign that Film lives on and is attracting keen users. No doubt it will get over here in due course but will have keen competition even in today's contracted market.

Post Number 150..........8 years gone.

I am reminded by Google that I have now reached Blog Number 150 in this series which has taken Eight years. Taken as an Annual figure the average is rather less impressive and, true, there have been periods when long gaps have preceded frantic catching up.

No photos of mine this time but a brief note that I have become more and more concerned about storage of the Digitally written content on the site in a form rather more tangible than the Computer memory.  I have all the usual back up systems but even these seem rather fragile.

So, I have decided to order a Book of the entire Blog, for myself, and have already requested this in a medium format after doing all the editing of news that has gone out of date such as forthcoming events and pure admin. items. I hope to then be able to edit and correct further on the screen version prior to repeating the exercise in a Coffee Table version-again for myself only- so don't look on Amazon.

It has been a long eight years since a lazy Boxing Day when my son,  Rupert created the Blog for me, but it has proved a great help in setting out my thoughts on Photography among a small group of friends. Thank you Ru.

Some prints that have circulated in Leica Circle 6

This week I am publishing s few of the prints I have circulated as a change from endless equipment reviews. Brief details are added. Regular visitors to these pages will know that the Bag of members prints circulates about six times a year and each of the members awards a mark. The annual winner gets....nothing much at all....beyond the satisfaction of winning and a printed certificate. There was a time when an engraved lens cap was awarded. now a small shield is given  at our Annual Exhibition.

Sadly we have been forced to suspend circulation due to the present Virus with, at present, no news of when it may be safe to resume. However this may remind members of what we got up to in the past!

Some of these earlier prints have already appeared in the Blog in the past.These will receive attention in a 'copy and paste' exercise required to make a printed book copy for my own use. I have already had one made as a form of proof copy and it is painfully clear that some references to past events and timetables should be deleted before I go to the expense of a 'Coffee Table' edition!

Kilcott-Spring 2019. The South Cotswolds

Leica 111G. Summicron. Rollei 25.

Damme, Belgium from Church Tower.

Ilford Delta 100 Leica M2/ Summicron

in Perceptol 1:3

Early Morning in the Plaza, Salamanca, Spain

Ilford Delta 100 in Perceptol 1:3

Leica M2 Summicron.

Strangely similar,these two scenes were taken 900 miles apart and  separated by several years. The upper photo was in Mahon,Menorca, on the steps of the Carmelite Market. The lower photo was taken at The Horse Hospital,Camden lock,London.Both Leica grab shots.

Rayher against the light in Hyde Park, London, taken on the spur of the moment when visiting the Serpentine Gallery. Leica SL (Film)

on t-Max 400  in  D-76 .with 50mm Summicron.

Taken at Gortmore on the Bishop's Road, Gortmore,Downhill,in Northern Ireland.Leica r4s on Rollei RPX 25 in FX-39. The distant horizontal line is Loch Foyle-The estuary of the Foyle.

The restored Clevedon Pier in Somerset, the only Grade 1 listed Pier in England. As with most of the Severn Estuary the tide runs far out to reveal the beach as in my shot. Leica M2 with 35mm lens on T-Max 400

The terrace adjoining The Church of Saint Eulalia at Alior,Menorca.

Leica R4s on Rollei 25 in FX-39 and Summicron 50mm

SANTA SANTA 

A must have for the film user

Today's musings revolve around the last edition of the Morgan and Morgan Leica Manual. This arrived in the early 1970's as the 15th edition of a series dating back to 1935. Most readers will be aware of the early editions, heavily US orientated, and, towards the post-war era, containing a few surgical photographs we could well do without !  Willard D. Morgan, a founder of the series passed away in 1967 but this edition is a worthy tribute to his Leica work.

Despite a marketing effort to regard the book as a continuation of the 14 editions that went before the 15th is a huge book with colour -or color-used and fresh contributions throughout. The previous editions we getting a bit like the Encyclopedia Britannica with really little need to buy more than one edition!

In 1973 we are in the age of the SL reflex and the M5 both of which appear in detail. However, it is in the processing and photojournalist contributions that the book excels. I have long been a fan of Bill Pierce whose work is represented as are many others in the World  of Film based Black and White. The book is often available at Camera Fairs and bookshops at modest prices but I believe it was never reprinted and we shall not see it's like again.

 

Leica in the time of Virus

As I am classed as 'vulnerable'and(confined to barracks until the expiry of 12 weeks from a vague date in the middle of April) not much has happened on the Leica front. I feel I have exhausted the possibilities within walking distance of home despite entering a print of my lounge window in an interesting shadow in the latest Annual Exhibition -yet to be judged as another result of the lock down.

So, competitors have many boxes of prints lying in Oxford and were forced to cancel the 'Annual' scheduled for the end of April. Simply remaining healthy is sufficient reward and this is not intended to be a moaning column.

Taking a strictly positive view there are a few Leica-related activities available down here, if only putting all the Leica books on one shelf! Rather preferable to taking table top pictures of men made from pipe cleaners which featured in the thin magazines of 1939-1945.

On the subject of Leica literature I have put together a few examples of what is available, some of which may be unknown to those coming to Leica film work at a recent point.

For upwards of 85 years the collection of complete sets of the magazines associated with our favourite brand has been a 'must' for club members. This probably started with the Leica News and Technique issued by the company at Mortimer Street in the 1930's
This ceased (suddenly) in 1939 on the outbreak of War. I think I have the full set which is of historical interest but for me does bear the heavy touch of Factory Issue publicity. I believe it could be obtained free in UK by owners of a camera willing to register their camera at the company, which rather depended on how it was acquired or imported! I know of one that was imported,part assembled over several trips abroad and reassembled here.

Often assembled in specially embossed spring covers these do give a slice of history. My picture shows the binder, a separate copy and a contemporary 31/4" slide made for lecture purposes.

When the Second World War was over it took some years to see the emergence of Leica Fotografie from the German publishing house,Umschau Verlag, of Frankfurt.These were first

published in German only and soon acquired an English translation on 'Onion skin' paper that over the years becomes attached to the prints if not kept perfectly dry.Roughly the same size as our pre-war magazine these are probably the best known Leica Magazine which remained in issue until the 1990's before more glossy and larger issues took over. This series is the 'classic' issue which almost all members seem to have in an complete set either bound or loose. I must admit I have both!

The content is a rich source of knowledge for anyone whose interest lies in film and an endless source of Winter reading. Published about six times a year there were some 240 issues in all which make quite a dent in the book shelves but is well worth having. Do check the language first as they exist in English,French and German.

The last Magazine I want to include today is little known in UK but well worth snapping up if one finds any copies.Like the German version this one is called Leica Photography, with US/English spelling. Again issued free to owners I have the earlier issues bound and later ones loose. The format is larger than the European and their sources are World Wide rather than a Central European flavour seen elsewhere. Each edition had a 'Gravure' section for optimum presentation of B/W work.However the very best is the technical data relating to many highly collectable products sold in small numbers that are hardly mentioned in detail in Europe. It may help to know that there were either three or four issues each year.The content includes products by Leitz NY. Happy Hunting.