Tag Archives: Leica IIIf

Modern Advertising for a Modern Camera

Leica IIIf

Leica advertising has always been stylish. Here’s two in particular that I admire. The first, above, is an early ’50s Modernist advert. Angular orientation with embedded triangles, sans serif typefaces coupled with old school italic script typeface…and the Piccadilly Circus Eros Statute. Eros is one of the primordial gods that emerged from Chaos when the world began, and is the driving force behind the unions of the primordial gods that initiated creation. Subtle. Well done. Someone was familiar with classic Greek mythology who expected his target audience to be so as well.

As for the camera, this “automatic focusing” Leica is an IIIa with a 50mm Summar. Beautiful.

Leica Monochrom
Leica Advertisement

Sixty years later and this ad for the M Monochrom. Monochrome (as in black and white) design can easily appear dull. But it’s perfect here (it is a Monochrom camera after all). This one cleverly uses font-weight to bold certain letters and make them stand out against the monochrome design. The bold camera and letters give a point of focus, while the small text does two things: It draws the reader in and helps align the bolded text. It’s “edgy”. It works.

In between these two are any number of inspired advertising designs. Here are a few more I like, all of them graphically simple while drawing your eye to where it needs to go:

*************

With the exception of the Monochrom ad (a nice throw back to the glory days), the advertising wonks at Leitz who designed these are long gone, replaced by a new, hip generation of 20 something Parsons Design grads who have no conception of the incredibly rich history of Leitz they could draw on. Who’ve been educated, not with the Greek classics, but via Facebook and social media.

So we get the argument from authority sublimated via the cult of personality: famous people achieving their photographic vision with their newest Leica, Lenny Kravitz stalking his prey in the East Village while rocking his rosta hat and a camera designed by Jackson Pollock.

Photo by Lenny Kravitz. Leica gave This Guy a Show at a NYC Gallery. This was the Photo they Used to Advertise It. Seriously.

*************

Erik van Straten. Exceptional.

Meanwhile, there are more than a few Leica users quietly producing stunning work. Look hard enough on the net and you’ll find them – not, mind you in some curated corner where money is looking to be made, or amongst the beautiful people of NYC or some self-appointed expert shill man looking to make a buck off the low-hanging Leicaphile fruit – but everyday people who’ve been using Leicas forever, producing bodies of work that should humble the “Leica Photographers” producing the banal shit above. Leica needs to start recognizing them, because they’re why Leica is famous. Leica should think about returning the favor.

Dragan Novakovac. Just a Guy With a Leica.

Life is Good

20160930-r1099706-editAbove is a picture of what’s currently in front of me, Friday, September 30th at around quarter to 5. The wine is a Dutton-Goldfield Russian River Zinfandel, circa 2006. I uncorked it last night after arriving home from an 85.5 km ride at 28.6 average km/hr (statistics courtesy of Strava) on my Formigli custom made road bicycle, but, feeling slightly gassed, corked it back up with the idea that I’d drink it later (today).

Next to it sits a Leica IIIg with incredibly cool Carl Zeiss Jena 5.cm f1.5. It sits on a book I’m currently reading, and enjoying – Frederic Gros’ A Philosophy of Walking. Next to me, snuggled up against me, is Buddy, a curious looking hound I rescued from the local APCSA a few years ago, who just happened to become my best friend. Lucky me. The IIIg has no reason to be here except that I’m just enjoying its company. While it’s loaded with a 36 exposure roll of HP5 (after of course, snipping the film leader just so to make sure it’s loaded properly), I don’t anticipate I’ll be using in in any capacity. I’m just admiring it. I brought it out here just to look at it while I enjoyed my Zinfandel.

What’s the point of this? Who knows.

“Leica Photography” Is Dead. Leica Killed It.

josef-koudelka-france-1987
PORTFOLIO ITALIA - ITALY PORTFOLIO

Above are two of my favorite photographs from two of the twentieth century’s most skilled and creative photographers. Both are powerfully evocative while being deceptively banal, commonplace. A dog in a park; a couple with their child at the beach. Both were taken with simple Leica 35mm film cameras and epitomize the traditional Leica aesthetic: quick glimpses of lived life taken with a small, discrete camera, what’s come to be known rather tritely as the “Decisive Moment.”

Looking at them I’m reminded that a definition of photographic “quality” is meaningless unless we can define what make photographs evocative.  In the digital age, with an enormous emphasis on detail and precision, most people use resolution as their only standard. Bewitched by technology, digital photographers have fetishized sharpness and detail.

Before digital, a photographer would choose a film format and film that fit the constraints of necessity.  Photographers used Leica rangefinders because they were small, and light and offered a full system of lenses and accessories.  Leitz optics were no better than its competitor Zeiss, and often not as good as the upstart Nikkor optics discovered by photojournalists during the Korean War. The old 50/2 Leitz Summars and Summitars were markedly inferior to the Zeiss Jena 50/1.5 or the 50/2 Nikkor. The 85/2 and 105/2.5 Nikkors were much better than the 90/2 first version Summicron; the Leitz 50/1.5 Summarit, a coated version of the prewar Xenon, was less sharp than the Nikkor 50/1.4 and the Nikkor’s design predecessor the Zeiss 50/1.5. The W-Nikkor 3.5cm 1.8 blew the 35mm Leitz offerings out of the water, and the LTM version remains, 60 years later, one of the best 35mm lenses ever made for a Leica.

But the point is this: back when HCB and Robert Frank carried a Leica rangefinder, nobody much cared if a 35mm negative was grainy or tack sharp. If it was good enough it made the cover of Life or Look Magazine. The average newspaper photo, rarely larger than 4×5, was printed by letterpress using a relatively coarse halftone screen on pulp paper, certainly not a situation requiring a super sharp lens. As for prints, HCB left the developing and printing to others, masters like my friend and mentor Georges Fèvre of PICTO/Paris, who could magically turn a mediocre negative into a stunning print in the darkroom.

50’s era films were grainy, another reason not to shoot a small negative. Enthusiasts used a 6×6 TLR  if they needed 11×14 or larger prints.  For a commercial product shot for a magazine spread the choice might be 6×6, 6×7, or 6×9. Many didn’t shoot less than 4×5.  If you wanted as much detail as possible, then you would shoot sheet film: 4×5, 5×7 or 8×10.

What made the ‘Leica mystique’, the reason why people like Jacques Lartigue, Robert Capa, HCB, Josef Koudelka, Robert Frank and Andre Kertesz used a Leica, was because it was the smallest, lightest, best built and most functional 35mm camera system then available. It wasn’t about the lenses. Many, including Robert Frank, used Zeiss, Nikkor or Canon lenses on their Leicas. It was only in the 1990’s, with the ownership change from the Leitz family to Leica GmbH, that Leica reinvented itself as a premier optical manufacturer. The traditional rangefinder business came along for the ride, but Leica technology became focused on optical design. Today, by all accounts, Leica makes the finest photographic optics in the world, with prices to match.

Which leads me to note the confused and contradictory soap boxes current digital Leicaphiles too often find themselves standing on. Invariably, they drone on about the uncompromising standards of the optics, while simultaneously dumbing down their files post-production to give the look of a vintage Summarit and Tri-X pushed to 1600 iso. Leica themselves seem to have fallen for the confusion as well. They’ve marketed the MM (Monochrom) as an unsurpassed tool to produce the subtle tonal gradations of the best B&W, but then bundle it with Silver Efex Pro software to encourage users to recreate the grainy, contrasty look of 35mm Tri-X. The current Leica – Leica GmbH – seems content to trade on Leica’s heritage while having turned its back on what made Leica famous: simplicity and ease of use. Instead, they now cynically produce and market status.

For the greats who made Leica’s name – HCB, Robert Frank, Josef Koudelka – it had nothing to do with status. It was all about an eye, and a camera discreet enough to service it. They were there, with a camera that allowed them access, and they had the vision to take that shot, at that time, and to subsequently find it in a contact sheet. That was “Leica Photography.” It wasn’t about sharpness or resolution, or aspherical elements, or creamy bokeh or chromatic aberration or back focus or all the other nonsense we feel necessary to value when we fail to acknowledge the poverty of our vision.

W. Eugene Smith and Five Stolen Leicas

“Fate, it not only reigns, it gores. Ah yes, that film that working the nights into long days I did develop, I did complete, and from exhaustion I did collapse. That film (the second half of it, about 500 pictures) all packed and boxed and ready for mailing, was stolen from my car yesterday.”

W. Eugene Smith in a letter to his brother Paul, May 1955.

 

On May 20, 1955, someone broke into LIFE photographer W. Eugene Smith’s car while it was parked in downtown Pittsburgh. The thieves carried off 5 Leica cameras (a mixture of If, IIf and IIIfs), 10 lenses, and a box of exposed films he had shot for his now iconic documentary project about Pittsburgh.

Local newspapers and the Pittsburgh police subsequently circulated requests to the thieves to return the film, as it represented the sum total of a month of shooting by Smith. They were told they could keep the Leicas. Two of Smith’s Leica showed up in a local pawn shop, where Smith bought them back for $40. One of the cameras contained a roll of film that, once developed, showed the thieves taking pictures of each other. The pictures were used to eventually arrest the culprits, and the remainder of Smith’s equipment was found in their possession. Smith would use these 5 Leicas to produce his monumental Pittsburgh documentary project. His stolen film was never found, in spite of a search of the Pittsburgh city dump by sanitation workers using shovels and rakes. One can only imagine what was lost to documentary posterity.

While much celebrated in the 40’s and 50’s, Smith’s reputation declined in the 60’s and 70’s with the arrival of a new generation of photographers like Robert Frank, Garry Winogrand and Josef Koudelka.  Smith died in Tucson, Arizona in 1978, emaciated and alone. He had $18 in the bank. He had gone out into the early morning streets to search for his lost cat. He fell, hit his head and died of a cerebral hemorrhage at the age of 58.

Smith Pittsburgh