Leica 1 -1929 Spring redecoration,paint stripping- but not replacing.

I have had a problem adding fresh photographs so have decided to rewrite this post to introduce a fresh view.  I acquired a Leica I with a number in the 15xxx range that lacked an infinity lock and had a 'solid' pattern focus button.   However it also had  an Elmar with no rangefinder ring and no trace of any number even after removing the baffles. Both flange and lens bear the magic 'o' engraving and a depth of field ring is fitted retained by one grub screw.  I guess that it may have come from either the very first of the standard run of cameras with a defined lens / film measure.  However the serial number on the body is low and the body could have been updated at some point.

As received the camera body was refinished in flat black house paint with brush marks all over.  This paint was removed over several days with Acetone and water mixture and a flat chisel like tool made of a wooden chop stick.  The accessory shoe had to be removed to complete cleaning but in time the original worn enamel was revealed.  Removal of the accessory shoe will loosen the upper internal shutter baffle,  so be warned and avoid this if possible.  All I want now is an authentic viewfinder as the original has gone. The bright line Leica finder I am forced to use is from about 25 years later than the camera.The shutter runs well and I hope

to post some results shortly.

However, since my original post on this camera I have been pleased to hear from Geoffrey Rivett,  a long time Leica enthusiast who has sent me the following photo of his earlier camera S/N  10xxx. Note the infinity stop clearly visible,  often called the' Hockey Stick 'and of course this one has its fine optical finder.

Finally,an admission,I actually prefer a worn brassy finish to amateur restoration but all fall short of a mint original!

'Must See' film for Leica fans-'LIFE'

If,like me, you haven't been near a Cinema for years you might like to start a catch up by viewing the new film from Anton Corbijn ,himself a 'film' user, dealing with a few weeks in the short life of James Dean.
 Dennis Stock of Magnum spent these weeks with Dean in the winter of 1955 partly on the Dean family farm in Indiana during a snow covered winter.  The film covers the build up to the iconic issue of Life magazine containing a classic photo essay marking the premiere of  East of Eden and Stock's Leicas are in almost every scene. He seems to be using an early M3 with a f2.0 Summicron of the collapsable type but also a 111f and an Elmar in places and a bulb flash gun. Well worth a viewing.

After preparing this note I realised I had a copy of  'James Dean Revisited' by Dennis Stock published, in UK, at least by Plexus in 1986, ISBN 0-85965-175-4,  containing the original photographs that have been studied closely to produce the film sets. In particular the Farm scenes,the High School Dance, and those including the tractor have been faithfully reproduced on the screen.

The work produced by Dennis Stock is of a very high quality, probably on fast film stock and in adverse lighting, he only resorts to flash in a night situation, It is interesting that several photographs of Dean in a barbers shop appear in the book, but the script has his Magnum editor reject those, which stimulates the farm visit. In the event,in real life the barbers shop photos are,I think, among the most popular. 

Stock and his son as portrayed in a positive light in the film and reputedly on far better terms than actually applied at the time.A most revealing link is to a discussion with Anton Corbijn at  http://www.bjp-online.com/tag/anton-corbijn/

Back to Crich- the Tram Museum

Back at Crich,an older print which has just come to hand. T-Max 400 in D76 1:1 developer with the Leica 111f and , on this shot , a 20mm MIR wide angle camera.Rather cloudy and difficult to get any tone in the sky.

'End of an Era'- (Another) Book Review!

It gives me great pleasure to review the book 'End of an Era' from Robert Hughes LRPS a fellow member of The Leica Society.In a large publication - 8x12 inches- he has produced a fine record of the last days of Abergavenny Livestock Market prior to its closure on it's traditional site and relocation. Executed,in the main, in the traditional Leica format it is a worthy candidate to break the rule of this Blog by introducing a Digital element as the book was compiled using Leica M Digital and D-Lux cameras.

This is an excellent work in the tradition of Leica Photojournalism and it is acknowledged by Robert in his notes that he was inspired by the late James Ravilious which comes over strongly in the rural settings he has chosen.Delightfully produced by Country Books it is a fine example of the Leica genre.

A fine Christmas gift for any follower of black and white photography and available now at £20, Robert's web address is www.roberthughesphotographer.co.uk

Apologies to Robert , in advance, for the poor quality of reproduction on this site which is due to me entirely and in no way reflects the quality of the book!

Singalong at Dursley Car Boot Sale-with an unusual camera

This is a grab shot at the local Car Boot sale using a Leica Mini 3 point and shoot camera. The lens is a Summar 32mm,one of the cases of reuse of a Classic name. Film was good old FP4 in D76 1;1 as it was fairly good light that day. Removal of the need to focus permits a quicker photograph in the circumstances!One of several 'Donkey Serenaders' who raise funds for Charity.

Colin O'Brien at Leica Mayfair.

Colin O'Brien with his original Leica 111a from the 1930's at Leica HQ in Bruton Place book signing last week.The camera is now undergoing a shutter service. Interesting to note that a photograph appears in various places of a young Colin with a can of '3 in 1' oil alongside the camera which is not fully explained? However the lubricant seems to have had no adverse effect on the superb quality of photographs produced! Technical Note: Lubricants in Leica cameras are diverse and complex-Don't try it!

This was taken with a Leica 111f and a coated Summitar f2.0 lens. Exposure was 1/60 at f4 which was the reading on the Metraphot meter, attached to the 111f. Film was Kodak T-Max 400 and developer D76 1:1 for  12.5 mins at 20 degrees.

This is the first scanned negative that I have posted on this blog, rather than working via a paper print.

22nd August 2016  Sad news indeed,Colin passed away suddenly at the age of 73 on Friday last. For a full appreciation of his life please see the site 'Spitalfields Life' which contains much of his work and a full appreciation by 'The Gentle Author'.

Summer Evening in Mayfair:Leica with Colin O'Brien

A fine Wednesday evening- 29th July 2015- saw 50 fortunate ticket holders, and the staff of Leica filling the lecture theatre at the London Headquarters of Leica in Bruton Place.There was great interest in a lively talk by Colin O'Brien to accompany the launch of his new book published by Spitalfields Life Books. Much more is available at the Spitalfields Life Website, in particular the feature on Colin on July 15th 2015.In black and white, his photography with a 111a Leica is superb and reflects a long gone time in North London (mainly) and the fashions of the 1950's.Centered on Clerkenwell he reflects life in a time of rationing and few luxury goods. As a rather unique afterthought Colin still has the original Leica he acquired as a young man and this was with him at the lecture.Visit Spitalfields Life site to purchase a signed copy.

Many thanks to all at Leica and The Gentle Author for this most interesting evening.

Work in Progress: Union Street,Bath.

Using this time the 111f and an Elmar 50mm with yellow filter the depth of field is a bit more than I would have wanted at 1/200 and f8 on a sunny day with T-Max 400. Yet again developed in D76 1:1- this tag is likely to change shortly as I am moving to XTOL in an attempt to avoid  Metol rash!
I am also experimenting with slower films and of course results will appear here in due course-I hope.

Circle 6 Housekeeping: Mirfield Award 1969

As you will gather from the above photographs,Digital photography is not my thing but that is what this Blog is all about after all! The object above is a Leica lens cap from the Mirfield Awards made in 1969 and engraved to Tom March F.R.P.S. The engraving has obviously been done prior to the addition of a coat of gloss black spray paint so does not really stand out too well. I am wondering if this lens cap, of about 3 inch diameter, came from a projector in which case it would have probably been gray in its original form. However the Leica ruby velvet liner is present.

Tom March was a well known motor cycling and car racing photographer at that time.  His work has been preserved by a commercial agency and used in a number of recent books.Given the Circle 6 connection I had to buy this when it came up in a small ad. in the  Leica Society magazine.And what, do I hear you ask,is a Mirfield Award?  These are still given by what is now The Leica Society for the winner of a points based competition which runs in most of the Circles of print and slide makers. This round of Awards was inherited from the merger of Leica Historical with Postal Portfolios a few years ago.Sadly the one time token of a lens cap is now financially impossible and so todays Mirfield is only a certificate-and some Glory!

I own one original March print of a  racing car but his winning prints, framed,have sold well on Auction Sites.

And who was Mr Mirfield? He was a past Secretary of the Society who set up a contest for Members that ran all year rather than being judged at the Annual Meetings,Most of the Trophys are named for the person who donated them but a 'Mirfield' is still a worthwhile achievement.

Those of you who are fortunate to have a copy of the last Morgan & Morgan Leica Manual of 1973
will find some work by Tom on page 245 from the Leica-Archiv Wetzlar.

Regents Canal,London with Leica 111c converted to 111f spec.

Diagonal composition on the Regents Canal near the Zoo entrance.I used a Leica 111f, in fact the first screw Leica I bought, with a coated late Summitar f2.0 lens . This was a rather dull Saturday afternoon with diffuse cloud cover. Exposure was around 250 /5.6 on T Max in FD-10

Spring in the Park- with the Leicaflex SL

Hyde Park-Rotten Row- on a Spring morning while visiting the Serpentine Gallery.For this I used a Leicaflex SL with a Summicron -R two cam lens.Again Kodak T-Max  in 400 min D-76 1:1

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.




.

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.