Newsletter

Issue No 107 September 2003

1 The Leica Fellowship

Newsletter No: 107 Contents September 2003

2 – 3 Welcome to Newsletter

4 – 6 – 6 Autumn Meeting

6 – 7 – 8 Postal Portfolio History

9 – 10 Panel v City & guilds

11 For Sale

12 Annual Competition

13 New Members etc.

14 – 15 – 16 The Houston L.F.

17 – 18 – 19 Leica Thambar

20 Notes for your diary & info.

21 Make sure.

22 – 23 News from Leica

25 Useful Info.

26 Next Newsletter

27 A few Photos

© COPYRIGHT: No article or part of an article contained herein maybe reproduced in any form without prior written permission from the Editor of the Leica Fellowship Newsletter or the author.

Opinions expressed herein are not necessarily those of the Leica Fellowship Council or its officers

1 Welcome to the September Newsletter

Over three months have passed since the last newsletter and here we are again bringing you up to date with some of the news and matters of interest.

A beautiful summer has helped everyone to relax, enjoy their holidays and encouraged good photography as seen by the entries submitted for the Aspley Guise competition this last September, all of which were of a very high standard.

During August Barbara and I took the annual village outing to Southend-on- Sea. It’s a popular venue with the villagers - all the fun of the fair and by the seaside, which is important when you don’t see the sea from one year to the next and for £10 per head as well. One of the local chaps from the cricket club organises the 40-seater coach and Barbara and I just have to walk 75 yards to the end of the road for 8 am to pick up the coach. We arrived at Southend at around 9.30 am and then go our own way until we meet up again at 6 pm to go home. What surprised me on arrival at the coach park was the speed at which people just disappeared not to be seen again until 6 pm. Within 2 minutes of parking there was no one to be seen. They ‘d just dispersed without saying a word; gone for breakfast, or into the amusement halls along the front or to sit on the beach (it was a sunny day) or to take their children on the rides in the theme park.

We took a short train ride to Leigh-on-Sea to look at the cockle sheds and the busy industry around the harvesting of cockles, carried out over the years by the same families - the road was called (wait for it) Cockle Row. I was amazed at the quantity of shells being elevated from the factory floor after processing the cockles, into a large trailer and there was a young lad no more than 13 years stripped to the waist on the trailer making sure the shells were cleared under the elevator, to prevent any build up (bridging). Health and Safety at Work Act was certainly not being applied with regards to this youngster. The young lad beckoned me with his finger and over the noise of the machinery, invited me to go round to the front of the factory and ask for Tim, who would let me sample the freshly processed cockles. I declined the invitation as I had my Digilux1 poised for that winning shot, and didn’t wish to confront Tim; also Barbara wished to move on.

We then walked along Cockle Row, sat outside a pub and shellfish stall and enjoyed a plate (approx. 4” dia.) of cockles and a plate of whelks, washed down with a glass of Chardonnay - most enjoyable on a sunny day. It was also 2 interesting watching other day-trippers and locals, enjoying jellied eels, mackerel, salmon and the rest! Another way of life!

We arrived back home 7:30 pm having listened to the tales of the best fish and chips in the south east, who had been down the pier and we listened to the delights of one person who had just won £17 on the fruit machine just before departure, and was then prevented (because of time) of the opportunity of re-investing it on the same fruit machine! All in all we had a good day out, and now look forward to next year; it will be the same time, same place and the same people. I took the M6 and the Digilux1, a good partnership for a day out and little weight to carry around ones neck. So if you have the pleasure of visiting Southend-on-Sea in the future, take a walk down Cockle Row.

Just after the Autumn meeting at Aspley Guise we took our grand-daughter to Aberystwyth she is reading law at The University of Wales and I was fortunate to view on the Saturday an exhibition of b/w prints by Sabastiao Salgado - “The Children of Exodus”. Powerful and compassionate portraits of children - displaced children who rarely express their feelings outwardly yet tell it all with their eyes and their facial expressions. All taken with R and M cameras. The exhibition has now moved back home to Paris but keep your eyes open as it could well return to the UK.

Another exhibition that was showing at the time was by landscape photographer Jeremy Moore and narratives by the late William Condry. All the photographs were of the local area Ceredigion and I must admit I was taken up with the photos and ended up buying his book - “Heart of The Country”, ISBN 1 84323 2030, Gomer Press, Llandysul, Ceredigion, price £14.95.

Many thanks for all your kind comments and support of the newsletter; please keep up the interest and the articles coming in. If you have something to say about your Leica holiday experiences or day out, or in fact your Leicas), or if you know of a photographic exhibition or special event coming up in the future just let me know and the newsletter will do the rest. Please drop me a line.

I am fortunate to meet thirty, maybe forty members at our May and September meets and I am fully aware there are a further 130 or more members who for whatever reason are unable to attend the Fellowship meetings and the newsletter is the way the Fellowship keeps in contact with all members. So it is important that we share our views and experiences through the newsletter and I am positive that everyone will agree with that. All the best for now Keep clicking away—Ed 3 From Newcastle upon Tyne:- Jon Lawler writes an overview of the September meeting at Aspley Guise

AUTUMN MEETING 2003 Moore Place Hotel, Aspley Guise

The autumn meeting saw a pleasant return to the recently extended and very well appointed Moore Place Hotel. Jay Charnock, in her first official outing as President, opened proceedings by offering a warm welcome to all and introducing several new members. Until recently, North Norfolk, Newcastle upon Tyne and Lymington were among the most distant outposts of the Leica Fellowship, but these have now been superseded and a very special welcome was extended to Bill and Mary Caldwell, who travelled from Virginia to join us.

Before dinner, Chris Parkin gave a fascinating presentation, relating the story of how he stumbled upon circus photography and became so captivated that it resulted in a career change, culminating in him directing a performance at this year’s Edinburgh Festival. This photographic journey was illustrated with a selection of excellent prints, created using a variety of techniques including selenium toning, Cibachrome and more recently, digital manipulation. This really was a stunning collection of photographs, conveying both the excitement of the performance and the sheer physical prowess of the performers. Some envious members were left wondering whether they had space at home for one of Chris’s huge prints and, perhaps more importantly, how they might persuade him to part with one!

Karen Bradbury, the hotel manager, gave an illuminating and entertaining introduction to the local area, which was followed by an excellent meal and informal conversation.

Saturday Most people opted to spend the day visiting Woburn Abbey. The approach to the house, travelling through the vast herd of deer is almost worth the admission fee itself and the art collection within the house is truly outstanding, including an impressive collection of Canalettos displayed on the walls of the family dining room!

The Woburn Craft Show, held within the grounds, included amongst many other things, a steam driven sawmill and displays of glassblowing, providing a wealth of photographic opportunity for those who visited. Those who ventured further afield 4 to The Centenary of Flight Air Show at Duxford reported this to be excellent, and in what is now customary fashion for a Fellowship weekend, the weather remained fine, except for a few showers at lunchtime.

With dinner finishing a little later than expected, there was some concern that the Annual Print and Slide Competition might finish late. However, Graham Laughton proved himself to be a good judge, offering considered yet succinct comment and supported by Hugh Elliott’s usual efficiency, the competition was completed in good time. Once the winners had been duly rewarded there was time for a little more Leica chat and fellowship before retiring.

Sunday Brian Bower arranged the itinerary for Sunday and clutching a detailed set of directions we set off car sharing to the Buckinghamshire Railway Centre at Quainton. This is a real gem of a site, tucked away in the countryside (as some navigators may testify!), housing a collection of locomotives, rolling stock and 2 restored Victorian stations. In addition to the myriad of photographic subjects on offer, some members enjoyed a short steam train journey, whilst others were spotted in the cab of one locomotive!

Our return to Aspley Guise was made via Three Locks on the Grand Union Canal and with plenty of activity on the canal and some good light, there was yet more photography to be had. Brian later showed some slides from his various travels which, in addition to their outstanding artistic merit really demonstrate the capabilities of the Leica system. A sales table was set up for members to buy and sell equipment and whilst this was a relatively small affair, some bargains were acquired.

Following dinner, Graham Thorley chaired the Digilux forum, an informative discussion in which members shared their knowledge on the subject of digitial photography, including topics such as basic terminology, how to make the first steps in creating digital prints from slides, and the role of computer software in this process.

Monday After some farewells, nearly 30 members attended a Leica open day at Milton Keynes, whilst those who remained at Aspley Guise had the opportunity to participate in a guided tour of the village.

Leica provided a superb day. Nobby Clark gave a detailed introduction to recent 5 products, describing the development process and attributes of the M7, MP, R9 and digital cameras. Orderly queues formed at the Leica Clinic as members patiently waited to have their cameras checked (that 1/1000th was slightly slow but was kindly adjusted at the time). A short video served to whet the appetite of those considering a visit to Solms and Mervin Berry, of Tempo Photographic, gave an interesting talk describing the slide duplicating services his lab offers, including the ability to “clean up” slides and correct colour balance. There was also more than ample opportunity to handle the current range of Leica equipment.

All in all this was a splendid conclusion to what had been another great meeting. I’m sure everyone who attended Aspley Guise would like to offer a vote of thanks to those who contributed to such a full programme and ensured its smooth running. I wonder whether anyone else spent part of their journey home wondering which bit of new Leica kit they really could not live without? —————————————

Thank you Jon for the weekend overview, this brings members up to date with the weekend events. I’m still thinking about the Leica equipment that was on display at Leica on the Monday. I was more than impressed with the MP, what a perfect piece of equipment – you couldn’t ask for better, so quiet, so MP. The rest is just another experience and well worth dreaming about.

It was nice to see Uli Hintner of Leica GB and his wife Janice at dinner on Saturday evening and I had a short chat with Uli before dinner and hope to make it longer next time. Well Janice I remember Wrexham from my Anglesey days – great. Also a big thanks to Leica Limited, Nobby Clark and his team for looking after us on the Monday Ed.

Notes on Postal Portfolio History by John Ceiriog-Hughes

In a rash moment, at the AGM, during our spring meeting in Buxton, I volunteered to supply our new Editor with some material. This article follows on from the one I wrote for the LF Newsletter No. 104, October 2002 in which I extolled the virtues of postal portfolios and LPP in particular. I am a member of 3 different postal portfolio circles, two are in LPP; a 10 x 8 B&W circle and a small colour print circle and the third is a B&W print circle in the RPS Pictorial Group. I joined LPP 6 over 40 years ago and joined the RPS group in 1985. The history of this type of photographic “club” goes back a lot further than that!

In an article about “Leica Postal Portfolios” which I wrote for “Photo Club News” in December 1995, I mentioned that the “Pen & Camera Club of Methodism” formed in 1904, must be the oldest postal club in existence. This generated several replies on the subject of postal portfolios and showed that this form of photographic activity has been with us for a very long time. During researches I made in the course of writing a history of LPP, I was given copies of pages from the “Miniature Camera Magazine” (how many remember that excellent little magazine?) dating from June 1938 until May 1940. These copies and some correspondence are the source of my information for the following notes.

The oldest postal club I have heard of was called the “The Talbot Album Club” and was formed in 1886. It was still operating in 1937 according to the “Photographic Journal” which published an obituary to Mr. F Langdon-Davies, its first general secretary and the only founder member left at that time. I suspect it is no longer in existence. I have no further information about this society. The oldest postal club with folios in constant circulation, still in existence in 1996 when the general secretary wrote to me, is the “Zoological Photographic Club” which was formed in 1899.

There was a “Photopost Society” which circulated colour slides as early as 1934. In LPP the first colour slide circle was formed in 1938. There is a “Colour Circles” society of at least 6 circles and, I believe, still very active today.

I was interested to read that Circle “D” of the RPS Pictorial Group, was originally the “ARPS Circle”, a circle with this name is mentioned in the Miniature Camera Magazine in May 1940. This could be the same circle that eventually became Circle D. The general secretary in 1940 was V G P Williams who was also secretary of circle 1, secretary of circles 2 was a J S Waring. Both having their ARPS distinctions of course. In those days there was no such thing as an LRPS.

Reading the extracts from the Miniature Camera Magazine, which carried a regular feature in each issue entitled “Among the Postal Portfolios”, I see that in 1938 the 35 mm postal club was in operation and is no doubt the same club that is still circulating work today. A Contax colour circle was proposed in 1938 to be part of the existing Contax postal club. In January 1939 this organisation held its first exhibition and it appears that the colour circle was up and running. At the beginning of 1938 or maybe even at the end of 1937, a Half Plate postal club was formed and 7 in June 1939 it had 4 circles in operation. There were, and still are, no doubt many “in house” postal clubs. I have a note that there was (and still might be) a Civil Service Postal club. Like Neil Souch I knew of the existence of circles in my local camera club when I lived in South Wales for some years. Having been a member of circle 2 in LPP for some 10 years before I went to South Wales I was well aware of this form of photographic activity. While these circles are fulfilling the essential feature of the idea, I do not count them as true “postal” circles since of course they do not post the “boxes” and personal contact is usually made each week during the camera club season.

I have left until last, what is in my opinion the most important postal club. “The Photographic Miniature Postal Portfolios” which was formed in 1931 when its first box went out in September of that year. Note, the word miniature referred to the size of print NOT the camera used! This club is literally the parent of two of today’s most active clubs, LPP formed in 1936 and UPP founded in its present form in 1945. The United Postal Portfolios is I am sure the biggest and best known of postal clubs, with over 30 circles operating in every form of photography, it must be also the world’s largest postal club. In 1945 UPP started with 400 members and is still a large organisation. The story of how the Leica members of PMPP and other members who also wanted to circulate larger prints, left PMPP in 1936 and formed their own postal clubs, LPP and PPP (Photographic Postal Portfolios) is an article on its own. Suffice to say that PMPP and PPP remained very closely associated and but for the 2nd world war would no doubt have become united earlier that 1945.

I close with a final thought; in LPP there is a circle, which exists entirely on the Internet. Members send their pictures (why do so many people now refer to these as “images”) to each other with no posting, no need for a rota, no problems with holidays and at a much reduced cost. Is this the future for “postal portfolios”?

Thank you John C-H for the interesting piece of history on Postal Portfolios. I am a member of LPP on the internet and find it an excellent way of exchanging images and making ones critique’. The reason I don’t refer to pictures in this context is because they are not tangible in my opinion until they have been printed.

8 PANEL v CITY and GUILDS R.P.S. DISTINCTIONS by STEPHEN P McKAY L.R.P.S.

As we all know, the Royal Photographic Society of Great Britain, our distinguished friend, awards distinctions in the form of Licentiate, Associate and Fellowship.

Much has been written over the past three years on the merits of distinctions. Diverse opinions expressed from certain quarters have suggested scrapping the award of Licentiate and Associate, thus only awarding Fellowships and honorary Fellowships. The author of that particular article could not see the reason, let alone the necessity, for the former two honours. That would alter the access to the awards by only allowing the granting of a Fellowship by panel submission.

The reason for this attitude appears to be a small number of people, who have worked hard and rightly attained their award through panel submission, seem to feel under valued when they read of R.P.S members achieving their award by exception. (up to Associate).

For those amongst you who are not familiar with the term, a Licentiate exemption is achieved by undertaking a three year a City and Guilds course during which the student has to achieve a minimum of one distinction and five credits out of six modules. A distinction in the first module ’starting photography‘ is not counted towards an LRPS.

Now, before I hear a panic grab for the brandy as a treatment for shock, the course is not aimed at complete beginners to photography. The first module is a refresher in the principles of this, our most enjoyable pastime.

I began my City and Guilds course in 2000. What followed was a full three- year programme of writing essays, many hours of reading and darkroom work, arranging the shoots of various subjects whether they be organised, or merely prowling the highways and bye-ways looking for ordinary as well as the extraordinary subject to photograph. Then at the end of each year producing a panel of ten mounted monochrome and colour prints. The work is then marked by a tutor and outside verifier before an award is granted. 9 I can hear the panel entrants shouting their protests at me. I realise they also have to spend many hours over a long period of time planning the subject for their submission and putting the plan into operation in order to produce the finished article for the judges’ deliberation. The fact is, Associates also have an exemption qualification by way of a four year degree course so, the grumbles I have read from them are generally of a minor nature and I suspect, from a few who attained their honour prior to the exemption system coming into being.

The sad thing is that, most of the criticism I have read appears to be from a small number of misguided people at the Fellowship end of the line who with great skill and determination satisfied three panels in order to attain their well deserved honour.

It boils down to one simple fact. The Royal Photographic Society exists to promote photography for all to enjoy and therefore, has created a dual process to encourage members to achieve. In my view, they were prudent to arrange things thus because, not everyone has the confidence to coldly put their hard work in front of a panel of strangers and risk rejection. At least the work entailed in City and Guilds and degree allows for people to be guided along the path of success through continuous and final assessment.

Both paths have equal status because they require equally hard effort in order to gain success. Some of you reading this may be wondering why I have not spoken up sooner especially as it is some months since the issue was aired. I have left it until now, as I wanted to speak from a position of knowledge and strength.

I trust the R.P.S. to oversee that no one unfairly gains anything to the detriment of any body else at any level.

Congratulations to Stephen for being awarded his L.R.P.S. Distinction Ed

The Editor invites comments, discussion and debate on articles in the newsletter

10 For Sale

Leica M6 0.72 TTL, Chrome body absolutely indistinguishable from new £995:00

35 mm f2 Summicron Aspheric Chrome lens condition as new £800:00

21 mm f2.8 Elmarit Aspheric Chrome lens condition as new £1150:00 *With latest finder* List price over £2000:00

M polarising Filter kit with ERC and various lens adapter rings. £150:00

All the above items Boxed with original paper work.

ERC for R8/R9 Boxed – brand new – list price £124:00 £70:00

Contact: Don Morley. Telephone 01737 763765 E-mail [email protected]

Don’t forget if you have photographic equipment for sale then advertise it in the Newsletter. Advertising is free.

11 Annual Competition September 2003 Aspley Guise

Moorman – Natural History (20 entries) 1st Coots by Alan Humphries Devon 2nd Boletus Pinicular by Peter Gawkowski Beds 3rd Brimstone on Thistle by Jerry Harwood Northants

M6 Reportage (18 entries) 1st Polo Time by Bert Crawshaw Surrey 2nd One O’Clock Jump by Gaby Shaw London NW4 3rd Insider Refusal by Bert Crawshaw Surrey

The Burder Trophy – Colour Slides – (26 entries) 1st Herb Robert Growing by Patricia Seekings Cambs in Crack of Barn Door 2nd Dawn Rising by Patricia Seekings Cambs Rannoch Moor 3rd Craftsmanship by Jen Stone Staffs

Colour Prints (23 entries) 1st Summer Time by Gordon Hawkins Hants 2nd Cycle Tracks by Nick Harris IOW 3rd Venetian Steps by Patricia Seekings Cambs

B & W Prints (9 entries) 1st Going into Harbour by Nick Harris IOW 2nd Black Beauty by Robert Charnock Middlesex 3rd Into the Light by Stephen McKay Herts

12 The September Meeting at Aspley Guise saw a number of new faces, which was good for the Fellowship. We hope you enjoyed the weekend.

New faces

Robert Banfield Eastbourne, Sussex Peter Moyse Helpston, Peterborough Nick Harris. Isle of Wight Nick Richardson West Bridgforth Notts Bill and Mary Caldwell Virginia, USA

New members (since last meeting)

K P Hughes Langstone, Newport R K Hughes Langstone, Newport D P Horvath Woking, Surrey N M E Burn Lincoln

Unfortunately a number of members who usually attend the weekend meetings were unable to do so for various reasons and regrets were received from:- Jack Loader, Baron Woods, Phil Norgate, Ivor Holmes and David and Betty Dodds Texas USA.

A little background information. As you may or may not know our American friends Bill and David joined the Fellowship earlier this year and both decided to attend the Aspley Guise meeting. David and his wife Betty had to cancel their visit at short notice, but we had the pleasure of Bill and Mary’s company over the weekend. Bill is a big chap, when you see him you will recognise him straight away. A dedicated Leica user with a broad smile and a jolly laugh. I noticed particularly his camera jacket and his camera bag, no doubt full of Leica equipment. Stylish shorts, good walking boots and trusty M cameras were the order of the day and we hope both Bill and Mary enjoyed their 1st Fellowship weekend. I did hear a whisper that they would be attending again some time in the future and no doubt David and Betty Dodd will also attend.

I did ask David some time back to let me have an article for the newsletter and he responded with two items which are reproduced on the following pages. I hope these will be the first of many.

13 The Houston Leica Fellowship by David L. Dodd

Imagine two hundred forty plastic fish and lobsters, gracing an “art car”, all singing “Bohemian Rhapsody” and dancing in sync, parading on the streets of Houston. Visualize Whooping Cranes gliding elegantly just above the surface of a Texas coastal bay. Then place yourself in half a dozen 19th Century German and Czech Churches in Texas immigrant villages like Praha, Serbin, and Dubina. What do these settings have in common? All have been the focus of photographic shoots for the Houston Leica Fellowship.

Texas and Houston are great places for photography. Biennially, the City of Houston hosts FotoFest, an international festival for photography. The Houston Museum of Fine Arts (MFA) is an advocacy for fine photography and almost always has a major exhibit on display in one or more of its galleries. The broader photographic community is supported by the Houston Center for Photography and many individual photography clubs. As you might surmise, there is a highly committed community of Leica users in Houston.

The Houston Leica Fellowship (HLF) can be thought of as a “love child” of the Leica Historical Society of America (LHSA or Society), a national organisation that at its zenith numbered some 2200 members. A couple of Houstonians met at successive LHSA annual meetings and decided that they, along with other Leica friends, should get together at home. One thing led to another and in 1998 the informal Houston Leica Group, the HLF’s predecessor organization, became a reality with a Shoot at the Houston Heritage Museum’s village of historic homes near the city center. A treat for the Shoot was Leica USA’s regional sales representative giving a presentation on Leica and Leica products. Leica USA also made available its travelling suite of lenses and bodies which could be checked out and used by the Shoot participants.

LHSA’s “paternity” was acknowledged by the Society’s Secretary/Treasurer at that time. A gracious and supportive man, a gentleman in the finest British tradition, he helped our fledgling organization with words of encouragement, a start-up mailing to LHSA members in the Houston area, and modest but eye- catching door prizes for the initial HLF meetings.

HLF also enjoyed start-up support from a Houston camera exchange owner, himself a collector of vintage Leicas. The support included printing and mailing,

14 providing parking spaces for Shoot car-pools, and lending office space for short- term storage of exhibition prints.

The Houston Leica Fellowship employs a “libertarian anarchy” governance model. Administratively, the HLF has no written rules or bylaws, no officers, and no membership fees. Activity proposals emerge organically; decisions are taken by consensus.

You don’t even have to shoot Leica to participate … if you are willing to put up with a little needling. Costs are recouped through periodic $5-$10 donations. The “periodic” is also unstructured. We ask for a $5 donation when participants join. When funds run low, we have a cash call. Some members have had to dig a little deeper in their pockets from time to time, but it’s been a small price to pay to keep up the momentum.

To establish HLF as a legal entity and open a bank account, we recently formed a legally defined “association” with the required organizing documents. The name was changed concurrently to the Houston Leica Fellowship as fellowship is an attribute that we wish to nurture.

The principal activities of the Fellowship are a couple of Shoots a year and an occasional showing for our work. The number of Shoot participants typically ranges from ten to twenty-five. True to our LHSA heritage, we always have participants from out-of-state and from other regions of Texas. Our most committed “birders” come from outside Dallas in north Texas. Our best equipped lens collector comes from northern Virginia. Of course, a Shoot requires a special lunch or dinner with entrees ranging from delightful Texas Gulf Coast seafood to Cajun boiled crawfish to Cantonese Dim Sum to, of course, proper Texas BBQ.

Some of the HLF Shoots have been overnighters. We have had a significant exhibit in a suburban Houston gallery facility. Additionally, there are occasional ad hoc Shoots when photographic items of interest, good light, and available time coincide.

The HLF prints a Newsletter before each Shoot.

What are our Leica colleagues like? One is the award winning Director of Photography for the Houston Chronicle. One specialises in “Western Mountains” images that can be obtained only by backpacking into the wilderness. Another travels alone by foot and public transport in China using his M3 and 50 mm lens 15 a la Cartier-Bresson. One member photographs the natural and cultural beauty of China and then publishes his images in his own books for the U.S. market. Another, a long time Leica salesman, now retired, has had the experience of selling a Leica to Martin Luther King as well as the honour of making prints from Oskar Barnack’s “Eisenmarkt” negative. Yet another, as an avocation, does documentary photography that has been both published and exhibited. The list can go on.

What’s ahead? Amongst other things, a photographic expedition to China.

Houston enjoys an extraordinarily accomplished Chinese-American photographic community. Fortunately, a number are committed Leica users, participate in the HLF, and go to China for photography at least once a year. One, the professional photographer-book publisher mentioned earlier, was the personal photographer for former China President Jaing Zemin when President Zemin visited Texas.

When you mix interesting people, an exciting prospect for a Shoot, and Leicas, nice things can happen. After the sharing of diverse experiences, the viewing of innumerable slides, and doing lot of homework, a Photo Expedition to China was scheduled for May, 2003.

Alas, because of SARS, there will be no HLF China Expedition this year. Visas were in hand. Flight arrangements were made. Then, the international SARS crisis intervened forcing a postponement. Although understandably disappointed at the delay, the group of ten HLFers from Texas, Michigan, and the District of Columbia, is seriously committed to making this trip a reality and a new date has been set for April 2004. It appears that more HLFers will participate in the upcoming year.

Our China trip planning takes advantage of the collective experiences of the participants. More importantly, though, it builds on the trip leader’s intimate knowledge of what it takes to acquire outstanding images based on his years of experience photographing professionally throughout this magnificent land. Of the “Ten Greatest Scenic Spots of China” identified by China’s State Tourism Bureau in 1991, the HLF expedition will visit five. Beijing; The Great Wall (beyond the designated tourist location); Xi’An (with a special and unique tour of the Terra-cotta Warriors Exhibition); Guilin and the Lijiang River; Shanghai and the treasured villages of Suzhou and Sitong. All will be photographed with early morning and/or early evening light. As is the tradition of the HLF, special attention will be paid to food and the dining experience. Another treat is a planned 16 meeting with the Chinese Association of Photographers in Beijing.

The Houston Leica Fellowship, as you can see, is an exciting venture, a work in progress, a bunch of fun, and a prolific generator of photographic image

Leica Thambar by Andrew L. Solomon [email protected] Website: www.andrewsolomon.net

The popularity of Romance in Photography was at its height in the late 1930’s. Enthusiasts favoured the atmosphere of the image-the feeling which evokes a feeling of artistry, personality, life, spirit, warmth and emotion as opposed the cold, lifeless, over defined, unsympathetic and snap featured in a crisp ones so much in favour today.

Several attempts were made in lens production to try and achieve this treatment and were characterised by producing brightnesses only slightly greater than that of their surroundings and rendering unsharp imaging. On the other hand, the details that were separated by stronger contrasts were not softened; rather, as distinct with only gentle sharpness. Notable were the Rodenstok Imagon which was unique using sieve-like concentric rings allowing its pictorial softness at all apertures. Although produced for large-format, they did manufacture a shorter length variety which could easily be adapted to the Leica Visoflex II or III. Voigtlander created their Universal-Heliar which utilised a movable middle element to introduce spherical aberration in an antistigmatically-sharp lens.

The approach by Leitz was its manufacture between the years of 1935 and 1939 of the Thambar, Code Name TOODY, carrying in its final years a list price of $117.00. Less than 3,000 units were made and the origin of its name unknown. Furthermore, it seems that no two of them produce the exactly the same results, particularly in colour, where some seem to produce more pastel results than in others.

For the Thambar, the soft effect was the result of spherical aberration which is the inability of a lens to bring to a precise point in the same focal plane both the central and marginal rays the same bundle of light rays. It results in indistinct , diffused image points, or a scattering of the marginal rays, investing the light parts

17 of the image with a perceptible blur of light or halo, the size of which varies with the degree of correction of the aberration. This characteristic can be eliminated or controlled by stopping down, thereby cutting off the marginal rays causing the confusion and allowing it to be used conventionally. The image while sharp is rendered indefinite and fuzzy by the spread of light from the margins over the shadows, flattening the image and reducing the texture making it appear as if seen through a veil or mist.

To enhance the effect further, Leitz produced a screw-in mirrored disk or spot which covered the central and most sharp area of the optic while at the same time slightly altering the effective aperture. As a consequence, there is a second lens opening scale is engraved in red on the lens barrel. There are several variations of the scale.

For the insightful and creative, ths lens could perform wonders! Old ladies could be transformed into beautiful maidens! Wrinkles that are so disturbing in portraits of aging persons seem to disappear! Photographers become wizards without performing a face-lift! In addition, young children became like cherubs having an angle-like glow to rival those in Michangelos Sistine Chapel! Landscapes became fantasies from wonderland. Romance was added to reality to create a result of inspiration and soul. The image virtually breathed. It was alive!

On a functional basis, the front section of the lens unscrews from the focusing mount and although several approaches have been made to use various pieces of hardware and plumbing to mate it to reflex housings and SLs, the more successful have used the M focomount as an integral element. One of the best solutions was developed by LHSA member, James Lager and it was this lens which came into my possession. I then sent it to Marty Forsher of Professional Camera Repair in New York for him to add the three cam elements allowing the unit to work automatically in the aperture-preferred mode on all current R-series models.

I have used this on a shoot in Round Top, Texas where I made the attached images (Number 1 and Number 2) not only for the beauty of the subject, but also as a point of comparison. The first made with a 90 mm Summicron, the second with the Thambar. The differences and distinctions are clearly evident and the choice is in the mind of the beholder. The third shot is of Memorial Park in Houston, Texas and well shows interpretive romance!

Today when found a simply good Thambar fetches prices well above $3,000 with better examples considerably more. They are considered rare collectables and a 18 very worthy addition to a Leica collection.

The Images Andy sent over are reproduced below in b/w. Unfortunately we cannot at present reproduce these in colour due to the cost.

I can however on request e-mail to members the images Andy sent over.——Ed

Memorial - Taken with Thambar

Round Top Café – Sharp

Round Top Café – Using Thambar

19 *For your Diary:*

Spring Meeting 2004 Llandrindod Wells, Friday April 23rd to Monday April 26th 2004

Autumn Meeting 2004 Village of Blunsdon, Swindon. Friday September 3rd to Monday September 6th

More information in the next Newsletter.

News flash

BIPP proposes UK Centre of Excellence.

The British Institute of Professional Photography (BIPP) are proposing a UK centre of excellence to be sited in Luton Beds. The new venture will offer training and exhibition space to BIPP members and non members. The need to train more people in new skills and the growth of digital imaging has helped to bring about this decision. Reported in Amateur Photographer recently 27/9/03.

My Digilux 1 - just to let you know I purchased a filter support tube which screws over the lens mount on my Digilux1 for £19 and an opaque infrared filter, again £19 from SRB Luton. With this arrangement and a sturdy tripod I am able to take some extremely good infrared landscape photographs - trees in particular. I download the images onto the computer and then import them into Photoshop and apply greyscale to obtain the b/w effect. I then print them onto A3 and the results are excellent. My next move is to attach a supplementary lens say diopter 4 to the support tube for close up work - who knows it might work just as well. The camera is used in manual mode for exposure readings, and auto focus is left on. Ed 20 Make sure that lever for envelopes is in position - 0 Cast your minds back to the Buxton weekend and the Saturday afternoon when we discussed printers and print quality and a certain member (who wishes to remain nameless) complained about the black lines which occurred across his prints. To my knowledge there was no help/suggestions being volunteered at the time, I think we were all a little lost and thankful we were not experiencing this so called banding!

Well folks I received an e-mail the other week and I quote:

“Regarding the black lines across the prints - I uninstalled every programme relating to photographs and photography and re-installed etc., and whilst all this was going on I read through the Epson printer manual and found the answer - the printer lever for envelopes had been left on the + sign. I’ve printed out a couple of pictures and when the lever is on + the lines appear and when on 0 they have certainly reduced, if not gone altogether. I cannot even remember printing envelopes!”

I suppose one should read the instruction book and check the equipment accordingly! How many of us make a point of doing this? Ed

A short note from Bert Crawshaw - RPS info. Leica fellowship Members can enjoy a weekend in Bradford. To coincide with the RPS AGM, the RPS Colour Group has arranged a weekend meeting from Friday 31st October to Monday morning 3rd November at the Hilton Hotel, Bradford, on a half board basis of dinner bed and breakfast at £140 per person sharing a double/twin bedroom with en-suite facilities.

Not only will we have the opportunity of viewing the special INSIGHT exhibition of some of the unique prints held in the world renowned RPS Collection, now preserved in the National Museum of Film Photography and Television, but also take full advantage of the other facilities in the museum.

Daytime photographic opportunities are endless, the Yorkshire Dales are an area of outstanding beauty for Digilux 1 users to test the pictorial capabilities of this device. R and M series owners know the attributes of their vintage marques! Lectures have been arranged for the Saturday and Sunday evenings.

21 Please contact Bert Crawshaw for full details. tel/fax 020 8642 6953 e-mail: [email protected]

News from Leica

Leica Camera Group - fiscal year 2002/2003

The Leica Camera Group, Solms, has increased its sales by 3.1% to Euro 144.2 million in fiscal year 2002/2003 (ended March 31, 2003). After-tax results improved by Euro 3 million to net income of Euro 1.5 million. The Company has thus returned to profitability. In the fiscal year ended March 31, 2003, the Hessian camera and optics manufacturer has made further progress in attaining its strategic goals according to plan. Liabilities to banks were reduced by Euro 5.7 million to Euro 22.9 million, a further 19.9% reduction. Current assets were cut by 8.3% to Euro 69.8 million.40% of sales have been generated from products introduced in calendar year 2002. The Company has increased capital expenditure, especially for further new products, by 80.9% to Euro 9.1 million. Cash flow was increased by 17.3% to Euro 13.4 million.

Further information at: http://www.leica-camera.com/unternehmen/ir/presse/index_e.ht http://www.leica-camera.com/

22 Product innovation: LEICA DIGITAL-MODUL-R

The LEICA DIGITAL-MODUL-R is a digital camera back designed to fit regular production LEICA R8 and R9 cameras. LEICA R8 and R9 cameras will thus become the world’s very first hybrid 35 mm cameras that can be used optionally for digital or analogue photography.

The LEICA DIGITAL-MODUL-R Type: interchangeable digital module, fully compatible with LEICA R8 and R9, can be exchanged by the photographer her/himself

Lenses: all Leica R-lenses as well as those earlier Leicaflex SL/SL2 lenses that have been modified by adding the R-cam can be used.

Sensor: 3876 x 2584 Pixels (10 MPixel) CCD-Chip, active sensor area 26.4 x 17.6 mm, focal length extension factor 1.37

Sensitivity: 100 ISO up to at least 800 ISO

Storage media: SD-card

Data-formats: RAW, TIFF, 2 JPEG-compression rates

Display shows: Frame counter, ISO, exposure compensation, battery status, flash ready signal, self timer, compression rate, resolution, moiré on/off, white balance.

Menu: sharpness, colour saturation, contrast, frame number, contrast of colour display, brightness of colour display, duration of auto review, histogram on/off, power save options, card formatting, warning signals, audio histogram on/off, date, time, user-profiles, firmware update, reset.

Interface: IEEE 1394 Firewire

Power supply: proprietary Lithium Ion rechargeable battery pack.

Colour monitor: for image control and menu-controlled settings.

Shutter cocking: by motor integrated in power unit. 23 Size and Weight: Comparable to LEICA R8/R9 with Motor-Drive (W x H x D) 158 x 140 x 89 mm.

There is more information to be had by looking up the Leica website: www.leica-camera.com

One of the most exciting developments to come out of Leica for many years. The Digital-Modul-R is a digital module for the Leica single lens reflex camera, being developed in co-operation with the Danish firm Imacon A/S and the Kodak Image Sensor Solutions (ISS) division. This is a simple idea yet a sophisticated piece of technology which will enable the photographer to change from film to digital by just changing the modular back.

This digital solution will be presented by Leica Camera AG of Solms, Germany at Photokina 2004, in Cologne.

I just wonder if Leica AG will surprise us all by also introducing (in the R9) auto focus at the Fair - that would rattle the camera world!

Any comments out there? Ed

Note:-

Every two weeks at www.leica-camera.com there is a column on the subject Leica R-lenses

In July, 2003 Leica Camera AG has started on its home page a new column on the subject Leica R-lenses. Every two weeks the Dutch photo journalist Erwin Puets will publish a new issue with technical features and background information on the lenses for the Leica SLR system. The first column is now available and contains an introduction to photography with the Leica R lenses. You can download exclusively the current issue in the form of a PDF document. The column is available in English.

Further information on the column ‘Leica R-lenses’ at: http://www.leica-camera.com/produkte/rsystem/objektive/index_e.html 24 Useful information

♦ 12th October, World Conker Championships - Ashton, Nr. Oundle, Northants. Contact Hadman 01832 272735

♦ Leica 2 Day Courses for M cameras takes place at Leica Cameras Milton Keynes. Monday – Tuesday 3/4 March 2004 Monday – Tuesday 5/6 May 2004 Cost of each course is £135 including lunch and refreshments but not overnight accommodation. Contact Brian Bower Tel: 01625 875788.

♦ V&A Museum SW7. Recent Gift of Photo journalism, until 2nd November. Tel: 020 7942 2000.

♦ Rainbow Gallery, Nottingham, until 22nd December. The Print Project - b/w prints by East Midlands Photographers. Tel: 01205 364677.

♦ Hartlepool Art Centre, RPS Members Exhibition 2003 until 2nd November.

♦ RPS Print Exhibition, until 17th October, at the RPS Bath. Tel: 01225 462 841

Events to Photograph

♦ October 11/12 British National Ploughing Championships and Country Festival, Broughton, Nr. Penrith, Cumbria. Tel: 01302 852469.

♦ October 25/26/31 and November 1/2, Fireworks Extravaganza, Alton Towers, Staffs Tel: 0870 4444455.

♦ Members who are interested in taking pictures of the autumn season can learn the location of sites with falling leaves by telephoning: 0845 3673787. Website: www.forestry.gov.uk/autumn

25 Next issue of the Newsletter

♦ Travels with a Leica in Corsica by Jerry Harwood

♦ My 10 best buys by Patricia Seekings

♦ My Leica Fellowship weekend, by Bill Caldwell (an American view point.)

♦ A lady photographer I remember (1972) by Don Morley

♦ The new 90 mm f4 Macro Elmar-M by Brian Bower

♦ Constantine Manos wins Leica Medal of Excellence 2000

♦ Places to visit - places to photograph

♦ Leica News

♦ Spring Meeting

Leica Photographers - Woburn September 2003

26 Young lad clearing cockle shells from under conveyor. Cockle Row 2003

Just checking, September 2003, Muir Smith and Alan Humphries

27