Black Borders on the Focomat v35

The end of a Mini - Series of bits of leitz enlargers! This is the renowned 17012, also listed as 17011 without, I think,full AN glass. This gives an image area of 25x37mm which will give a black border with most lenses except those early wide angles that already give that image size.  A really nice holder that can be easily used with the diffusion light in the v35 without over concern about dust on the glass.  Correction of my view of the part number is welcome and can be left as a comment below. This also came with a spare top plate but that is AN as well. ( Eagle eyed  readers will notice the lack of leaf springs which were removed to re-align.)

Rare (?) Carrier for the Focomat v35

Yes,its a rare appearance of Leica part 17424 which is the 13x17mm carrier for negatives of more or less that size.I say more or less as there were  popular 16mm German cameras at 12x17mm but the 110 film format was nominally 13x17 and this is ,I think, its main intended use.The lower view above reveals more of the attention to detail in the engineering of this precision component. Film holding cups can be attached but in my experience are hardly necessary- who keeps film in a full length roll when developed?

Unusual early Focomat Helix

Vintage Leica users have become accustomed to the small spring loaded pegs which put a 'click' into the focusing helix and provide a 'home' point for various film holders and easel set ups.In the course of rebuilding two early models I found that one parts donor was of what I take to be a very early type. Auto focus would have to be set by reaching best sharpness with the helix and then locking the threads with the knurled screw on the left of the pictures.The only drawback I can see is the lack of the ability to run several 'clicks' for different focus set ups but with one lens/carrier/paper easel there is no problem. The fittings make this part interchangeable with the later part. For the very observant, yes, the 'tooth gap' in the rim is missing thus making retro fitting of click pegs impossible.

Lens choices on the Focomat v35 enlarger

When this,the last of the line of Leica enlargers appeared on the market in the 1970's it had either a 40mm Focotar lens or a 50mm Rodenstock Ysaron 50/3.5 lens. I have been unable to find a good reason for the alternative lens but it may have been a question of supply problems with the Focotar.

Actually, any other 39mm thread lens will fit but for autofocus you have to have one of the two named lenses with its factory fitted cam. Over the years I have picked up several 40mm lenses which may be used with only small manual adjustments to focus. Of all these the Apo-Componon may lead by a very short head at present and they are illustrated below. These enlargers have fallen way down in price and may turn up without the makers lens so all is not lost so long as one does not mind checking the focus manually-but you are going to double check with a magnifier anyway-belt and braces.For me,the most tactile is the Nikon lens and the least pleasant to handle is the Leica which has a strange feeling plastic outer coat.However, the Leica lens is probably equal top in performance judged simply from the prints it has produced . Well worth remembering is that all these short lenses are intended for diffusion lighting and not condensers.

The Focomat and unusual film carriers

Some of the interesting film carriers for the Focomat aculmulated over the years. All are in 'as new' condition and I have included the film cutter, although Mamiya, to perhaps suggest a use for the 4x4 carrier. The two sizes with glass plates can , I think, have the glass replaced if necessary. The third is a Robot size carrier of some complexity,rather over engineered even for our favourite German camera maker. A similar OTT approach is seen in some of the v35 holders, of which more later.

Another Focomat rolls off the production line

Here at the Secret Mountain Laboratory we have managed to assemble another Focomat from the parts bin, Yes, the top dome will fit. The Garden Chair is a Leica 'rarity 28'- perhaps. Again the column was corroded and while re-plating was possible a quote for a vintage bumper on an Austin 7 was enough to suggest another v35 may have been cheaper, so black spray it was.  Longest job was getting a flattish base board but all efforts to restore the wood finish have failed due to the sensitive depth of the slots which cannot be sanded.

This one has the single glass negative holders in 3x4 and nominal 4x4 sizes.I shall try to make a 4x4 negative on the Rolleicord and  post later. Memo to self-Try a very slightly longer lens for 4x4 printing and see if it is better than the Varob. There is one mystery about the 4x4 carrier. This was new and arrived from an Ebay purchase in an old Ilford Bromide box for Quarter plate bromide paper. This box was  labelled ' Prof. Sewall Wright' who was a noted U.S. zoologist but how the box/carrier ended up here is unknown.

Printing with the 1935 Focomat Enlarger - Coate Water Swindon

Taken on Tri-X with a Leica 111 and an uncoated Summar 50mm f2.0 lens from the mid 1930's.The original print was made last week on a 1935 Focomat enlarger using a Leica Varob lens. This is the early Nickel plated version of the basic Leitz enlarging lens of f=5cm and 1:3.5. One of two I have, this lens has been professionally cleaned, but is otherwise original. It has a 1935 serial number in the usual pre-war Leitz position on the front retaining ring, adjacent to the glass.

For those interested in the technical side I shall illustrate the lens and enlarger below.The enlargers seem to keep going for ever but can be prone to holes in the bellows- at 80 years old. However the range of movement is small and unless you are making a wide range of print sizes down to very small indeed there is little movement at all, and any small light leak may not be obvious.I have gone to some lengths to fit the original small size opal bulb. The column should be Nickel plated but has been cleaned up and then sprayed in satin black to avoid reflections.The only part that is not original is the base board which is Leitz, but a temporary fix from an early Valoy, as the original had delaminated to the extent that it was bowed upwards. It was no use trying to use the traditional masking frame locks.I have a modern Leica masking frame but these of course do not have the locking mechanism while giving the correct height for the more usual column stop height.The base of the condenser on these tend to acquire the ghost marking of an 35mm frame which I can only think is the remains of long gone film base but I have found that this can be removed with alcohol or even soapy water and will then be returned to factory freshness.

I do have an illustration of the enlarger production line in the factory by Paul Wolff but think this is still protected under Copyright. The type was made for some years until at least the end of the war when the later opening negative stage arrived via New York.




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A rare Colour post on this Blog: Mahon Fiesta,Menorca.Leica 1f and MIR

A rare colour posting, on the grounds that it was taken with a Leica 1f camera and a 'Russian' MIR f6 lens of 20mm. If only this lens had a better viewfinder then I might have avoided the horse just touching the edge of the frame! The film was Fuji 160 and exposure 1/500  at f11 in bright sun.Of course this is not eligible for the Leica Society Circle 6 as we are monochrome only but it has circulated in Circle 39 for vintage screw Leica users which I also belong to.

St. James's London- Duke of York Steps,Waterloo Place.

Another back-lit morning photograph shot in Central London in weak winter sunlight.This was with a Leica 111f and a Summitar f2 coated lens on T-Max 400. I can't decide if I should crop the pigeon that has crept into the frame at lower right!

Early Coffee in Belfast with Leica M2

Another Belfast photo,Early Morning at a Street Cafe in the City Center. I have recently reviewed the photographs on this Blog and think I prefer those, few, with long shadows from early and late light.This was taken with a Leica M2  and a 35mm Summitar lens on Kodak T-Max 400 film.
The developer was D75  diluted 1:1 as usual. The advantage of the M2 is the fine viewfinder with a 35mm lens.

The Shell House,Salamanca Leica M2

A simple record of a scene repeated in several early Leica Handbooks from the 1960's when the area became popular with tourists from Northern Europe.Lighting is difficult and the shadows of the shells appear in most photographs! Leica M2  with Type 1 Summicron f2 lens kindly tweaked and reconditioned by Malcolm Taylor. Film was ,strange to say, Ilford Delta  100 in Perceptol 1;3 which is a stunning combination IF one has the light as ASA falls to 50 or so in my experience.

On the Crich Tramway.

A volunteer driver on the trams at the Crich Tramway in The Peak District.We were present with the Cotswold Group of PCCGB. Well worth a visit, this Museum is of quite staggering size and solidity! This driver took us for a long run on a tram which is included in the admission.Camera was a Leica 111f with a f2.8 Elmar,(last type from the Classic era).Film was T-Max 400 in D76 1:1

The old Central St Martins Building,London.

I had thought that this negative was mislaid until I was asked for a copy and eventually found it after a long search.It was taken in the old building of Central St. Martins in Southampton Row.It is my son sat on the stairs many years ago,about 1998,on a very dull winter day with difficult contrasts. The camera was a Leica 11 with a f2 Summitar and the film was Tri-X in D76.

Vintage camera at Vintage building

A spot of publicity for a deserving cause. Woodchester Mansion near Nailsworth ,Gloucestershire,is an unfinished Mansion House in the state it was abandoned in 1873. This Grade 1 listed Building is preserved as if the builders had left yesterday and will never be completed.An extraordinary architectural exhibit set in an secluded Cotswold valley and well worth a visit- or even join the Friends of the Mansion as we have done. Leica photograph with a 111f body and a f3.5
Summaron at about f8. The film was T-Max 400 in D76 1:1.

Golden Days at the Half Moon Putney.

A Personal memory here of Harry Hill at the Half Moon in Putney, about  the year 2000 at a Musical Soiree with the Caterers and Gary.Taken on an early Leica 11 and a Summitar f2 lens. Film was Tri-X in D76 and this shot was from the standing audience.Great Days.I remember that there had to be no advance publicity for 'contractual reasons' and we once made a 90 mile journey to find the session was 'off'.

A Blast from the Past in Leica Circles.

I came across this leaflet from the past  which I suspect dates back to the early post war period. The Circles run under what is now the Leica Society and previously Leica Postal Portfolios have seen many changes and have developed with the moves to Digital work and the decline of slides. However, we keep going and fuller details can be found on the main Society website. Just in passing the address at the foot of this leaflet is long out of date.Much can be found of the early Leica Circle history from the pages of Miniature Camera Magazine up to and during WW2.

Clevedon-to the beach.

Taken on a day at the Seaside, Clevedon on the Severn Estuary. A view of a slipway to the beach with a Leitz Summaron f3.5 35mm lens from the 1950's which is always a lens to give surprisingly good results. Film was Tmax 400 in D76 as usual.

Morning refreshments in Cardiff/ Leica 111f

Cardiff street scene in St Mary Street against the morning light. Leica 111f with Summitar 35mm lens on T-Max 400 in D76 full strength. My Leica 1f has been playing up and the shutter needs a service which will be arranged shortly. In the meantime I have acquired another 111, this time a 111c from 1949 which I hope will be represented here shortly.

Vintage SLR at Ballintoy, Northern Ireland.-Leicaflex SL

 A Harbour scene near the Giants Causeway, on the North coast of Ulster,during this summer.The camera in use was a Leicaflex SL with a f2.0 Summicron lens.  The  film was Kodak T-Max 100   processed in D76 1:1 as usual.                                                                                                                    

Leica 1f at the Mahon Fiesta

One of the Giant figures at the Mahon Fiesta, they are, in theory, supposed to represent the traditional 'Social Classes'  (not my translation) such as Farmer and wife, Priest etc. but I am told now include Homer Simpson.

This was taken with a Leica 1f body and a 35mm Summitar lens on Kodak T-Max 400 in Fotospeed FD-10

This is the edible Leica presented to me at a special birthday I have just celebrated. A Big thank you to all the family, and above all Wendy and Stephanie who went to a lot of trouble to arrange this. The party was held on a wooden Norwegian railway coach at the Swindon and Cricklade Railway after a tour of the Railway where I am a member.(The little hands belong to a grandson!)

A Leica and Film on the Brecon Mountain Railway

Taking on fresh water at the Brecon Mountain Railway in September 2012.A distinct US feel to this line is line due to the Baldwin loco. Taken with a Leica M2 and 50mm Summicron with Leitz yellow filter. Processing was in D76 1:1 on on Kodak T-Max 400.

Overhaul of Cotswold Roof Tiles at Sherston this Winter, on a bright day at the end of last year.
For this photograph I used a lens which has not appeared previously on this Blog. It is a Leitz Telyt 200mm f4.5 lens which dates back to 1958 . I have the tube for direct use on a rangefinder camera but here it was used on a Leitz Visoflex 11 on a Leica 1f . The exposure was 1/500 at f8 on T-Max 400 in D76 1:1.  

Mirror Lens with the second Leicaflex

A Photograph taken in the last few weeks.I used a Leicaflex SL,the second reflex Leica made between 1968-1974.
The lens was a Tamron Mirror 350mm and film was again T-Max 400 in D-76 1:1