More From Kiyosumi Garden with the Leica IIIG

While visiting Kiyosumi Garden, this young couple, probably just engaged, came to the park with a professional photographer to get their pictures taken under the lovely cherry tree. Keeping a respectable distance, I shot a couple of exposures of my own.

 

Young Couple in the Park, by Reed A. George

Leica IIIG, Elmar 5cm f3.5 Collapsible Lens with Yellow Filter

Ilford HP5+ Film

 

They didn't seem to mind. I love the traditional dress, which makes the images somewhat timeless.

 

DMC-365.blogspot.com

Off-Stage at the Music Festival

I shot these images at a recent music festival (River and Roots, in Berryville, VA). I find myself interested in photographing more candid settings with the friends I've made in the local music scene. Of course, I still photograph them on-stage, but I really like hanging out, sharing thoughts, and capturing moments off-stage as well.

 

It's interesting to me that through the festivals that I regularly attend, as well as the bands that I've now known for several years, I'm watching people develop, families come into existence and grow. That continuity makes it even more fun.

 

I shot all of these with my wartime Leica IIIC and 5cm f3.5 Elmar, on Tmax 100 film.

 

 

Hope you enjoy the shots.

 

DMC-365.blogspot.com

 

Washington DC - World War II (WWII) Leica at the WWII Memorial

My friends and I went to the WWII memorial on the mall in Washington, DC on Memorial Day. Expecting the normal events held here every year, we were more than a little let down to learn that they'd taken place the day before.

 

I had loaded up two of my wartime Leica IIIC cameras, one with TMax 100 black and white film and matching Elmar 5cm f3.5 lens, the other with TMax 400 and a 1937 Elmar 3.5cm f3.5 lens. These results are from the 5cm Elmar and TMax 100; the other camera is still loaded, as I didn't finish the roll.

 

Military School Students, by Reed A. George

Wartime Leica IIIC, Leica Elmar 5cm f3.5 Lens, Kodak TMax 100

 

True WWII Veteran, by Reed A. George

Wartime Leica IIIC, Leica Elmar 5cm f3.5 Lens, Kodak TMax 100

 

These old Barnack cameras are a lot of fun to shoot. I always enjoy seeing the images they can produce. I also think it was fitting to use two cameras that were most likely sold to Allied soldiers during the occupation of Europe at the end of the war for this event.

 

DMC-365.blogspot.com

 

Quick Test of an Old Leica

A couple of months back, I had the fortune of finding two Leica IIIC cameras, separate but very close together in time, both manufactured at the end of World War II. Coming from separate sellers, the cameras are extremely similar, both having the wartime "stepper" design, and having been manufactured in 1945. In both cases, according to the best source on wartime Leicas anywhere (James Lager, my colleague in the LHSA), they were most likely sold to allied soldiers in Europe at the end of the war.

 

One of the cameras came with a date-matching Elmar 5cm f3.5 collapsible lens (the standard lens of the day). I used that lens for the images below.

 

I've now had both cameras serviced by Youxin Ye, and they're working as-new. I took the second one that I purchased out for a walk and test roll recently. You see the results below.

 

I happened onto a model yachting event in Reston, Virginia. These images are straight from the camera, Walgreens iso 200 color print film, processed by The Darkroom.

 

 

 

 

 

 

In the shot above, you can see what I believe is internal reflection in the lens/camera. I was not using a lens hood.

 

This final shot is my favorite of the bunch.

 

No Pulitzers here, I'm sure. However, I did accomplish my goal, which was to test the camera and lens. I kind of like the rather low contrast result, especially as the light was quite harsh. I'm not sure how much of the low contrast comes from the lens (most, I suspect), versus the film. The cheap Walgreens film tends to have this sort of look on its own. Most of these were shot at f8 or smaller aperture, and relatively high shutter speeds.

 

The images are plenty sharp, and I think the color representation is quite nice.

 

It's amazing to me that such a piece of photographic history, made well before I was born, still works and yields results that are at least as interesting as modern cameras. Certainly the technical performance of modern cameras and lenses is better, but I'm quite happy with the look this camera and lens produce. And that's what matters to me.

 

DMC-365.blogspot.com

 

 

Whole Lotta Leica - January Results - Elmar 5c f3.5 on the Leica M9

Winter Shopping With Mom, NYC, by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 640, f6.7, 1/250 sec

 

Back on January 9, I wrote about a new project I'm taking on this year, to help me explore the interface between equipment and creativity in photography. It's called "Whole Lotta Leica," and in this project I'll match up a different "normal" lens (35-50mm) with my new Leica M9 each month.

 

(Click Here) to read my post introducing the project.

 

January's lens selection was a 1938 Leica Elmar 5cm (50mm) f3.5 LTM lens.

 

I got out for three separate shooting sessions with this lens during the month. The first was right near home, at the Udvar Hazy National Air and Space Museum. On a cold winter day, it's a pretty good place to end up.

Udvar-Hazy Air and Space Museum Building, by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 160, f16, 1/160 sec

 

 

Space Shuttle Discovery, by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 320, f4.8, 1/90 sec

 

You can see from these two shots that the old Elmar has some haze and scratches. Any light source directly in the field of view flares. I did not use a hood, which may have helped considerably. However, it is quite sharp, and focuses accurately on the M9.

 

My next outing was a little street shooting in Washington DC. I went to Chinatown, which is always good for a shot or two.

 

Making the Noodles, by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 320, f5.7, 1/180 sec

 

Here again, you can see the haze at work on those lightbulbs, but otherwise it's a perfectly acceptable image.

 

Now here's where the Elmar shines, in my opinion - gorgeous, warm reds.

 

Chinatown Shop Window, by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 320, f5.7, 1/180 sec

 

The detail in this shot is quite impressive. I think the color rendition is hard to beat, even with modern lenses.

 

While in DC, I went to the National Portrait Gallery. The building is extremely nice, and has a huge open courtyard which separates the portrait gallery from the attached Museum of American Art. The courtyard is a great place to hang out in winter - nice, bright natural light, but with the convenience heating.

View to the Courtyard, by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 1250, f4.8, 1/90 sec

There is a nice water feature, where the water runs over segments of the flooring in the courtyard. Even though it was sub-freezing outside, the kids loved running and playing in the water.

Playing in the Water, by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 1250, f5.7, 1/125 sec

I even gave the Elmar a little workout shooting from the hip, using zone focusing.

Winter Cheer by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 640, f6.7, 1/180 sec

My third and final outing for this month with the Elmar was in New York City.

 

The first shot in this post (above) was again taken with zone focus, walking up behind a mother and daughter out for a winter walk.

 

Hockey Practice Transit, NYC, by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 1250, f3.5, 1/45 sec

 

The image of the hockey player waiting on his train was selected for an upcoming gallery show in Alexandria, Virginia. Focused on exactly my interest, how equipment informs and shapes photography, the show at Gallery Athenaeum will be a lot of fun.

 

(Click Here) to read about Gallery Athenaeum. The show will be from Thursday February 28 to Sunday April 7.

 

I'm very excited to be part of the show.

 

Photo Instructor, Zim, from NYC Photo Safaris, by Reed A. George

Leica M9, Leica Elmar 5cm f3.5 Lens (ca. 1938)

iso 640, f5.7, 1/640 sec

 

While in New York City, I took a field seminar with NYC Photo Safaris, led by our instructor pictured above, Zim.

 

(Click Here) to go to NYC Photo Safari's website.

 

We met in Central Park for a four hour discussion and shooting session. I must say that Zim and I come at photography from completely different angles. A pro for over 20 years, Zim is a real authority, and I am certain that she knows how to get "the shot" better than I. Her advice for our group was to trust P mode on your DSLR, as the camera companies have spent years and millions on making exposure work for us. She also prescribes only zooms. She really did not understand why I'd be carrying two manual cameras, the M9 and my (film, really?) Pentax K1000, with prime lenses. At one point she said "Why do you people do this to yourselves?"

 

I ended up using my pocket camera, the Panasonic Lumix DMC-TS3, for most of the class. It has a wide angle zoom, autofocus, etc. It fit much better with the style that Zim wanted us to explore. I learned a lot from Zim in a short time. It is differing opinions that challenge us, make us better. It was a friendly, constructive tension at all times. I recommend Zim and NYC Photo Safaris - just be sure to take along an automatic camera.

 

The shot of Zim above feels nice to me. I think it exemplifies what the old Elmar can do. You'll notice the light source is well outside the image, avoiding any flare or haze effects.

 

To see more of my pictures taken this month with the Leica M9 and Elmar 5cm f3.5, please visit my set on flickr.

 

(Click Here) to go to the Whole Lotta Leica set on flickr.

 

In terms of usage, I would say that the Elmar is challenging. Here are a few thoughts from my experience:

• First, you have to keep the flare in mind at all times when composing. Sometimes, it adds to the shot. Other times, it can ruin the shot.
• The f-stop adjustment is very fiddly. On my copy, it's also tight, so you'll literally break fingernails trying to change aperture. You'll notice that many of my shots were made at a single f-stop as a result.
• You have to be mindful not to collapse the lens on the M9, as it can hit the sensor. I cut up a 35mm film canister and made a little ring to put around my lens, to make it impossible to collapse. That would be a disaster.
• If you're out for numbers - high quantities of technically competent shots - this is probably not the best lens. If you like it's unique qualities, it's irreplaceable.
• This was a standard lens for Leica cameras for many years. Many great (understatement) images were made with the Elmar 5cm f3.5 lens.

 

I hope you find this useful and interesting. It's going to be a blast re-exploring all of these nice lenses!

 

DMC-365.blogspot.com