Some Leica M6 and LHSA Love

A few days ago, I admitted (to myself and the world) that at some level, I've become a camera collector. I only have a few cameras that I choose not to use, because any damage to them would be catastrophic to their value. In each of those cases (until now), I've purchased the camera with the intent of using it, and changed my mind once it got to me. Now, I've officially purchased a camera that I do not plan to use, one that is truly a rare collector's item.

 

Here it is (photo courtesy of David at Camera West):

 

LHSA 20th Anniversary Leica M6

 

 

First, how rare is this? Well, it's really a stock Leica M6 Classic from 1988. What makes it special is the LHSA 20th Anniversary engraving, which was offered to LHSA (International Leica Society) members at the time. A total of 43 cameras seem to have been produced with this engraving, number 20-01 to 20-43. Mine is number 20-38. I had read that all of them were silver, which makes a black one even more attractive. In my opinion, a nearly thirty year old camera that's one of a total of 43 (who knows how many black ones, but far less?) can be considered rare.

 

(Click Here) to check out and join the LHSA. This is the organization for Leica fans. Offering a great quarterly magazine ("Viewfinder"), a lively Google+ online community, specific discounts with some photographic-related vendors, and national meetings, LHSA's membership includes many of the world's experts on Leica cameras, both historical and current.

 

Interestingly, this camera was not all that expensive, even in mint condition. Less than the year 2000 black paint LHSA M6, for example, which was produced in the hundreds of units. But, the 20th Anniversary doesn't have that lovely black paint. I've never seen one, and have only ever seen one for sale, a silver one, at much higher price.

 

Now, I do like to use the M6 camera. I have another, less valuable, M6 that I use a lot. I can't say it's my favorite Leica (that's a spot not really held by a single camera, anyway), but it's a convenient one. The built-in meter is really helpful. That said, the M6 finder has some problems for me, not infreqently going "white out" on me, which makes focusing impossible. I understand that changing the location and alignment of the camera to my eye fixes it, but it's still a bit of a pain. That said, the M6 is a great companion to the digital M9.

 

A local photographic authority, Frank Van Riper, wrote a nice piece for the Washington Post about the M6.

 

(Click Here) to read Mr. Van Riper's story on Leica and the M6.

 

My new 20th Anniversary M6 should arrive today or tomorrow. I'm really looking forward to seeing it. But, I remain largely focused on cameras that I can and will use.

 

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Oh, No! I'm Becoming a Collector as Well as a User!

 

I have always had a problem with Gear Acquisition Syndrome (GAS), only made worse by my association with Leica cameras.

 

I used to say that I only bought cameras that I could use. What that meant in the past was that they had to be functional, and I had to be able to get film for them, etc. Or at least be able to convert them to film that's still available. I didn't buy cameras for collection purposes.

 

Well, I've broken that now. I have the beautiful black paint M6 LHSA special edition camera shown in the image above. I could use it, but it's in completely mint condition, and a scratch or mark of any kind would significantly reduce its value. So, I haven't used it yet. I could think of it as an investment, but to tell the truth, I didn't get it at a great price. Not bad, but not investment price, for sure.

 

I have some other Leicas that are not necessarily collectible, but are interesting for one reason or another. Probably the best examples are my wartime Leica IIIC cameras. These are all user cameras (up to three of them now), and I'm not afraid to get them out for regular shooting. These cameras are not expensive, each of mine coming at less than $200. I figure they can't be a bad investment at that price.

 

Now, I'm being tempted by a true rarity - another M6 LHSA camera, but this time the 20th anniversary model from 1988. There were only 43 of these made, period. I know where to get one, for a very good price this time. I'm going to sleep on it, but think I may have to go for it. It's not every day you'll see one of these available for sale, especially at such a reasonable price.

 

My enjoyment of being a member of the LHSA (International Leica Society) drives much of my interest in these special edition cameras. If you're interested in the LHSA, come check out the website and join:

 

LHSA.org

 

The LHSA offers lots of benefits, including a great quarterly magazine ("Viewfinder"), local and national events, and even a 15% discount on camera service at Leica Camera USA. I just took advantage of the discount, which saved me more than the cost of membership for the whole year!

 

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Quick Test of my New Wartime Leica IIIC

 

Wartime Leica IIIC

 

A few years ago, I purchased a beautiful Leica IIIC wartime model (ca. 1942) from a friend of a friend. At the same time, I got an uncoated LTM Summitar 5cm f2 lens (1939). Both the camera and lens turned out to be favorites of mine. The wartime IIICs are characterized by a little step up on the top plate, where the rewind lever sits. Therefore, these cameras are sometimes referred to as "steppers." I always have my eyes open for these models, both because the wartime IIICs are usually in better shape than postwar cameras, due to issues with chrome plating after the war, and because they really are little pieces of history. They don't come up for sale all that often.

 

Recently, I saw the camera above on one of the forums, another wartime IIIC from 1945-46, with a matching Elmar 5cm f3.5 collapsible lens from 1945. I paid a little more than I should have for it (not really bad though, as these cameras go for very little money these days). I had to have it serviced by Youxin Ye to get the slow speeds working, but that's really an investment rather than a cost. Youxin also recovered the camera and cleaned up the Elmar very nicely. It's now all fixed up and working well.

 

In order to just do a quick test of this new camera and lens, I popped in a cheap roll of Walgreens 200 speed color print film and gave it a shot. You'll see that this film is quite grainy for 200 speed, but otherwise I guess it's okay. All of these were shot with the Elmar that came with the camera.

 

 

 

 

 

 

I tried to use a variety of shutter speeds to make sure the shutter's operating properly. I don't see any problems here at all.

 

So, I've now got a second wartime Leica and matching Elmar 5cm f3.5 lens. Checking with the expert on these cameras, Jim Lager, who I met through my membership in the LHSA (International Leica Society), I learned that this camera was most likely sold to an Allied soldier at the end of World War II. The serial number indicates that it was made late in the wartime camera production era.

 

Surprisingly, I've now found an even higher serial number IIIC on the same forum, and purchased it. The seller tells me that this one fires well at all speeds, so hopefully it won't need the same level of service as the one pictured here. Again, this younger stepper IIIC was probably sold to a US or Allied soldier at the very end of the war. I'll share pics when it arrives.

 

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Alfred Eisenstaedt's Camera On Sale!

Eisenstaedt's Leica IIIA

Image Source: http://www.auction2000.se/auk/w.MegaPic?inC=WLPA&inA=20130118_1303&inO=74&inSO=2

 

According to the Austrian Westlicht Auction catalog, Alfred Eisenstaedt's Leica IIIa, yes the one used to shoot the iconic image of a sailor returning from World War II kissing a woman in the street in Times Square, will go up for sale this month.

 

Equipped with a 50mm Summitar f2 collapsible lens, this beauty is expected to bring in the neighborhood of US$30,000. I can admit, I'd love to have that camera purely for its historical value.

 

(Click Here) to read about the sale on theverge.com

 

Don't know Eisenstaedt's work? If you have any interest in street photography or photographic history at all, you must get to know his work.

 

My introduction was through the book The Eye of Eisenstaedt, which is still available used on Amazon. Please use my link below to get yourself a copy and support this blog at the same time!

 

It's amazing what Eisenstaedt was able to do with a relatively simple camera outfit. I'm sure he didn't spend much time camera shopping. That makes we want to get out and shoot an old Barnack Leica!

 

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Skeletons From The Closet - A Few More Shots From Japan With March's Camera - Zeiss Ikonta 521/16

I want to share a few more pictures and experiences from shooting my Zeiss Ikonta 521/16 medium format folder in Japan. There is always a certain amount of risk of failure in shooting cameras thirty or more years old. In this case, it's more nearly sixty years old. The Tessar lens on my Ikonta is in great shape, and really performs well. In general, the rest of the camera is in nice shape as well, but using it wasn't completely without issues.

I noticed on my second roll that the film wasn't being tightly spooled onto the take-up spool. When I removed it from the camera, I could see the edge of the film where it extended past the spool - not good. I did have several frames ruined by light getting in through this edge exposure. The shot below is a fairly mild example of that, with the streak of light at the bottom, right of center.

Light Leakage From Loosely Wound Film, by Reed A. George

Zeiss Ikonta 521/16

 

Kyu-Yasuda Garden, Ryogoku, Tokyo, Japan, by Reed A. George

Zeiss Ikonta 521/16

 

The shot above, of the Kyu-Yasuda Garden in Ryogoku, has the same problem. That's why it's cropped to a rectangle here. You can see a hint of the light leak at the bottom right. While I like it with this crop, the composition was better in square format, with larger walking stones closer in the foreground.

 

Sakura Reflection, by Reed A. George

Zeiss Ikonta 521/16

 

I don't know what causes the film to be loosely wound onto the take-up spool, but it did happen on about half of my rolls. There are two spring steel tabs that apply pressure to the source and take-up spool, but that's about all I can see inside this simple camera that may affect tightness on the spool.

 

Luckily, it didn't affect all of my images, just those that were on the outside (later shots in the roll). But, until I figure out how to fix it, it requires unloading the camera in complete darkness, and re-rolling the film tightly onto the spool by hand in the dark. Not exactly convenient.

 

It was a blast shooting the old Ikonta in March. I'm still very impressed by the optical quality of the Tessar.

 

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