Supplement to VIDOM Magazine No. 112, December 2016 – Leica Historica E.V. Annual Autumn Meeting in Staufenberg
Total Page：16
File Type：pdf, Size：1020Kb
Supplement to VIDOM magazine No. 112, December 2016 – Leica Historica e.V. Annual Autumn Meeting in Staufenberg Although we had expected fewer participants building that were taken shortly before it was – this year there was no trip following the sold to the city of Wetzlar was as fascinating meeting – the number of members who came as Hartmut Slomka’s report about his home- to Staufenberg was pleasantly high. Again, our made pinhole camera, given on Sunday after meeting included several highlights: an Georg Mann’s entertaining traditional interesting Saturday evening presentation beneficial auction. Uli Zander was rewarded about the “Neubau” in the Ernst-Leitz-Straße with the LH challenge cup for his winning 30 by Ralf A. Niggemann in which he showed image in the yearly photo contest. slides of the former Leitz administration HEIKO (p. 4 ff) The “Mann Collection” includes several cartridge which indicates that the drawings and other documents from the development had begun much earlier. former construction department that have Different model numbers use different film been saved by our honorary president Georg formats, ranging from 17x16mm to 33x36mm. Mann and are now worked through by his son Since as big a film area as possible should be Dirk D. Mann. The Leica IV, the “Ur-M3” or a used per frame, the film guide was pre-series M3, many constructions never constructed in a highly complex way. Various published in relevant literature, especially material and systems were used for the from the time of Wilhelm Albert and Willi shutter with mixed success. The functional Stein, will be presented in our VIDOM model on page 42 sports a “Dr.K.”-shutter, a magazine in the new infrequent series “Leica non-coupled film-transport and exposure Secrets”. Pages 5 to 9 show different speeds from 1/32s to 1/4000s (!). The most variations and parts of the “HEIKO” prototype. interesting aspect of the HEIKO is that it was a This first written document that mentions the custom design, acquired by Leitz. HEIKO 13, HEIKO 31 and HEIKOFLEX goes back (On pages 18 to 21 an English description can to 05 November 1943. All models were be found.) equipped with the typical exchangeable Leica Modifications (p. 52 ff) Ever since the introduction of the Leica I in exchangeable lens mount was invented in 1925, Leica cameras have been factory- 1930 and the standardized flange distance converted. It was possible to upgrade early (28.8mm) in 1931, the Leica II was marketed in models with improvements of later ones, with 1932. The dioptre adjustment was not just some exceptions. Depending on the included before the Leica III in 1933. The model, diverse actions were necessary. A shape, though, seen on this camera, indicates rebuilt of a Leica I into a IIIa from 1934 looks at a modification after 1936. All those features different from one in 1954. Looking inside a on the camera indicate a repeated upgrading converted Leica tells a lot about the date of at Leitz: modification. This article is the first of a series • 1929: shutter button and rewind coupling on that topic. • 1930/31: non-standardised Hektor lens Leica II (SN 8669). The here shown example • 1931: standardisation of camera and lens originally left the factory as a Leica I with a • 1932 (at the latest 1933): rebuilt into Leica fixed Elmar lens in 1928. In 1929 the shutter II button as well as the coupling of the rewind • 1936 (but possibly in the 1950s): dioptre lever and the film transport were changed into adjustment the then actual version. After the 1 Leica IIIg 826 002 – Link between Prototype and Series, Part 2 (p. 57 ff) After a reference to that camera already given “Betriebsk.” cameras and those of serial in VIDOM 110, Ottmar Michaely finally got production. The rings around the viewfinder hands on it and decided to write the second windows show – in contrast to serial cameras part of his IIIg article. – a cylindric shape and a coarse knurling. The Pictures of Leica IIIg cameras in early factory manufacturers name on the top plate is not literature, showing serial numbers beginning embossed but engraved and the film speed with 826 (instead of 825), indicate that the reminder dial is different too. Even the chassis production of this model started with the shows some special characteristics, as it number 826 001. The first two examples (826 seems to have been planned in three different 001 and 826 002) were sent to Canada variations (IIIg, IIg and Ig), similar to the presumably to function there as production modular design idea tracing back to Barnack samples. The second camera recently came himself. The viewfinder/ rangefinder-system, back to Wetzlar and can now be presented as though, was constructed as a separate, a “missing link” between the prototype state removable component but without an and the final production version. included cold shoe. We can conclude that the If we compare that special version to later 826 001ff was the pilot series of the IIIg, ones, we spot some peculiarities. Rectangular whereas the 825 001ff already shows frames around windows on the front, technical similarities to the later serial model resembling those of the M3, hint at a possible but was originally reserved for IIg cameras. answer to the question why there is a Which, was executed only in one specimen, difference in the window edges of IIIg with numner 825 001. Noctilux 1:1.2/50 (p. 63 ff) The 1966 Photokina was a very special one. 88 production of the Noctilux 1.2 remained new lenses were shown for the first time, e.g. extremely difficult. Since it was not produced the Zeiss Planar 1:0,7/50, the Hologon 1:8/15 in series but rather manufactured in the or the Noctilux 1:1.2/50. Today every collector original sense, the production numbers stayed seems to yearn for this lens. The price has low. When production started 2450 copies almost tripled over the last ten years. But is were planned with a last batch numbered this hype justified? Is this lens indeed so from 2.556.551 to 2.557.550, but even experts “sensational”, “remarkable” or even an “eye (such as Lars Netopil) doubt if they have ever of a panther”? It is not easy to find reliable seen a 2.557.XXX model. Thiele states that data about that lens. Many wrong descriptions only 1950 copies were built, but even that can be found in the internet. Three authors might be too optimistic. Puts presumes that have dealt with this version of the Noctilux in many lenses were sorted out as “garbage” and detail: Ulf Richter, Hendrik Hösel and Erwin alludes to a high return flow. His estimation Puts, who came to a devastating judgement. ranges from 700 to 1500 lenses. The patent document of the 1:1.2, that was Those small numbers created a special developed by Helmut Marx and Paul Sindel in reputation of the lens, fuelled by glorifications the 1960s, rectifies a wide-spread mistake: published shortly after marketing, such as there are TWO aspheric lens surfaces in this Chris Boere’s or Paul Balmer’s praises. When model. This must have been an enormous in the 1980s photographica auctions became challenge in those days, the tolerance accepts more and more important, the “1.2” had not more than 1/500.000mm. Thus, new already achieved an immense significance for machines had to be developed to grind those collectors. Used market prices were higher lenses. Even with that new technology the than the original ones. As always, rarity 2 increased the prices further until in 2007 a But is that an appropriate approach? Any lens peak was reached by paying €19.200 for one performs well when stopped down to f/5.6. specimen. The distinctiveness of a Noctilux cannot be Of course, prices like those trigger both measured with sharpness charts. It’s rather suspicion as well as black humour. The lens about the “softness”, the “velvety” character was seen as one of those that nobody ever of the transition and the “shimmer” which can takes photos with. It merely became an hardly be described. Indeed, this is an investment. Erwin Puts has evaluated the aesthetic approach and beauty is always in the performance of the lens twice and concluded eyes of the beholder. The capability to that the Noctilux 1:1.2 should be priced lower harmonize sharpness and out-of-focus blur than the pre-aspheric Summilux 50 if it only and to create almost sculptural effects, was about imaging performance. He also however, cannot be argued away. stated that even the Canon FD 1:1.2/55 As the first lens with aspheric elements the performed better than this Noctilux. For his “1.2” had considerable influence on the later scientific evaluation Puts uses MTF-charts that developments – a highly interesting fact for focus on sharpness and contrast mainly. collectors and photographers alike. Consequently, a lens such as the “1.2” will fail. The Elmar that used to be a Tele-Elmar (personal report by Norbert Oertel, p. 70 ff) The Elmar 1:4/135 as the successor of the “Fabrikationsbuch der Leica-Objektive” a legendary Hektor 1:4,5/135 is well known and number range of 100 serials (1.884.001 to can be found in almost any collection. Even 1.884.100) were given to a black “Elmar today it can produce extraordinary images, 1:4/135”, a pilot series of the later Tele-Elmar. although it has practically been superseded by Meanwhile, I have been able to verify the the later Tele-Elmar-M 1:4/135.