What a great time to photographically be alive. There is so much happening, so much out there, so much range and diversity and choices for how one consumes, not to mention how one creates. Thankfully, you gluttons keep sending me things, and one of the recent submissions gave me pause. This pause allowed me to think about context, how mine might differ from yours, and how we might learn something from each other.
Leicas and film are all the rage in the YouTube World, but for someone old and decrepit like me, this concept is somewhat bizarre.
Having used Leica cameras from 1990 to 2017, the idea that these cameras have now taken over the mindset of a certain type of modern photographer is fascinating. These Leica-loving photographers produce a type of film I also find fascinating, but perhaps not in the classic sense of what fascinating would typically mean. But what’s the backstory? What happened when these cameras were active in their original timeframe? And what kind of work did they produce? What does having context of this time, and these events, mean for someone exploring photography today? Well, it means everything, or nothing, depending on your view.
Comments 35
I think Don McCullin said that a camera has about as much significance as a toothbrush. Both are tools and free of context. But… the blind photographer, John Dugdale, uses 19th century cameras and cyanotype to capture his images, which are imbued with that Victorian sensibility. So context is everything for him. So it’s a puzzling question that will distract me from work tedium today. The context for my Spotmatic is the 1960s and unfortunately the leading user of that camera at the time – Ringo Starr. I do think the Leica thing is more talismanic in nature… perhaps the notion that the device imparts magical image making capability.
Author
The entire genre is about views. That’s it. The makers know the geeks will tune in.
I have no desire to do the kind of story/documentary work that you find interesting, but I do enjoy the passion you demonstrate toward that genre. But that being said, I did find a context that drew me in when I was exposed to another Leica only shooter, Ralph Gibson, and his Black Trilogy, a little over ten years ago. The atmospherics and poetry of his work has driven everything I have tried to do since with whatever camera I have used.
Thanks for that Chuck. And thanks again Dan for setting the bar that high. The references made are all new to me. Another search in the library and second hand bookstores are planned. What a great foresight spending a day sniffing around bound printed paper.
Author
Yes, he’s another good example. The kind of work I like requires huge commitment, and. most folks now just don’t want to do that. Many don’t even know what it takes. Ralph is an interesting guy. And his choice of camera is actually quite strange, but he makes it work, and work, and work. He’s nice too.
I feel sort of special now because I take a lot of your advice…..
Author
You are special Jerry. I know so.
Evening. Packing to move house and listening to things on YouTube. Tried to avoid too much news today, as it’s been getting intense over the past, well, nine years especially… YouTube recommended this video, so I came here to comment instead of amid the YouTube mayhem. Interesting listening. Then the algorithm recommended something you and your community would no doubt enjoy – and not only for the Lieca M3: “David Suchet [UK TV actor, and brother of UK new reader John Suchet] follows in the footsteps of his grandfather, Fleet Street photographer Jimmy Jarche, in a quest to capture on camera how Britain has changed in the past century” (2012). https://www.youtube.com/watch?v=Y5tEYaVGkcc Another enjoyable listen…and more war photojournalism etc.
Author
Cool. Thanks for visiting and for sharing. This sounds interesting.
OMG – I got the same recommendation
Author
Someone is spying on you…
Philip Blenkinsop – His South East Asia work shot with a Leica blew my mind. Still does. Gritty and dangerous. And he’s originally from Western Australia.
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He’s an old friend although we haven’t spoken in years. Yes, Phil is committed beyond belief. I have one of his books.
Good video! I like to look up the books you mention and put them on hold at the library. Our library system is pretty good, and I love going there, but they don’t have everything. I at least think about buying some of your suggestions. They don’t have The World from my Front Porch, but they do have No Man’s Land. On hold. Just lately I’ve been mulling through Bruce Barnbaum’s books, “The Essence of Photography”, and “The Art of Photography”.
I get that someone might keep a camera or some other object for sentimental reasons. But generally I’m baffled by people that collect things to put them on a shelf, or to display thinking the ownership implies something about them. Cameras in particular, particularly film cameras, are exquisite machines designed and built for a purpose. It’s a shame to not use them for that purpose.
Author
Yes, people do odd things all the time. Humans are still a mystery to me. And photography related humans are even stranger.
I hate that you are back on youtube, I had to sit through 7 ads throughout the video to watch the whole of it. Youtube is hell!!
Hi Julien, I’ve invested in VPN and adblock software to counter all of this sh.t. Sometimes it works, sometimes it doesn’t but if you want to appreciate the highly valued stuff ( which shifter is for me) on the net, YT is indeed sometimes and sadly the only way.
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I’m a VPN guy too, on all devices at all times.
Author
Well, one film every few months isn’t what I would call back. I’m treading water Julien, waiting for the time and skills to do what I want to do…..but it ain’t happening anytime soon.
Sometimes when I’m photographing something, I think to myself, “What would Dan do?.”
Author
Hook kick!
I’m not a Leica user and fanboy at all but I do follow and read about their effort and commitment to position many photographer’s incredible work into the spotlight. E.g. if you read about and look at the documentary work of Herlinde Koelbl, latest addition to the 2024 hall of fame and unknown to me so far, you can only admire their focus on these kind of artists. And I know, it’s all driven by marketing and salesforce goeroes for sure, but they set the bar high i.m.h.o. if I may refer to Uncle Dan’s saying.
https://leica-camera.com/en-US/leica-hall-fame-award
Author
Had no idea this award existed. I’m out of touch!
Hi Dan, my takeaway from this is you saying “Realising I was going to make a certain kind of picture, and then I was going to miss a certain kind of picture, because I was using the Leica”. For some genres of photography, the Leica is close to useless, but for others, it’s perfect. Perfect.
I remember French Photo. I couldn’t (and still can’t) read French but the language of photography is universal; and every month or so a photojournalism essay would be included in the magazine, and that made it all worthwhile. My enthusiasm waned somewhat after seeing one issue depicting photographs of people who had been executed by guillotine. As you say, very few restrictions, very little censorship (and in this particular case, very little point?).
How you keep your hands off a Leica and a roll of pre-release T-Max is beyond me. Go on, give it a try – you’ll be back to your real self in no time at all. Hey, you could make a YouTube video about the experience “One day with a Leica and pre-release T-Max”. Think of all the likes you’ll get!
On a serious note, your developing times (and developer) for using T-Max in various light would be useful.
Author
I would have no info about developing times as I was using a lab by that time. Way too much work and film to process myself. And tight deadlines. “Eight Minutes with the Nikon Zf at the ABQ balloon fiesta.” I’m on it!
The Sunday Times (UK) changed at this point too. In came Murdoch (deep breath and teeth gnashing) and out went editor Harold Evans and the reportage photography of Don McCullin. Advertisers (£$£$£$) didn’t want to see Biafran hunger victims alongside their Mercedes and Chanel. Paris Match was also a brilliant magazine. I have the moon landings issue, full of photographs. I have a copy of Life magazine with a picture of the beautiful Ali McGraw, her crooked tooth prominent on a portrait, but she looks totally unique with that tooth and uniquely beautiful.
Quick question: what if any, in your opinion, contemporary book comes close to Anthony Suau’s book?
Author
Ohh, not sure. I would have to study what is out. I need to make a trip to Photoeye.
I understand and agree with the larger point here. Let me now play devil’s advocate. If you happen to be a hipster with some cash burning a hole in your pocket and you’re considering a Leica, why not see what (—————)’s video of photographing x with a Leica is like? Sure, you may end up spending Saturday in your sleeping clothes in an algorithmic avalanche, but you now know what 30 on-line “stars” think of the Leica you’ve been pining for.
I have a decent photography book collection going, at least half of them make me want to give all of my cameras away. Those same titles also make me want to advance my craft. Catch-22 for sure.
Your recent link to the work of Emily Garthwaite really makes me feel like an inferior human. Good lord and holy Sh-t!! I haven’t been awed by someone’s work like that in quite a while. I think it has to do with the fact there is still some whimsy and fun running through her work combined with the light and the colors, man oh man. All that being said, my happy place while photographing is solitary and not in the urban environment. I live in the city, but I am not a fan of being there.
Anyway, I am still mired just a bit in the gear arena though. There are 1 or 2 Minolta slr bodies that seem to have cult-like reverence for smooth wind mechanisms. There are uncountable options in the world for 50mm lenses. Aside from the quiet nature of the leaf shutter and not having a mirror to throw around, why Leica Mr. Milnor? When you ran your first rolls through did everything just “click?” Did it become the right tool at the right time?
Author
If you don’t know what the Leica is capable of by now, again released in 1984, then I’m not sure where you (or anyone else) has been. It shouldn’t take a hipster shooting shadows to illustrate the point. The M camera has arugably captured more poignant world moments than any other camera. And I’m not trying to be a dick my friend. I value your time and efforts here. I’m just saying “These aren’t new.” Emily is the real deal. And I have no idea what camera she uses. It does not matter.
Danielsan, I laughed out lout when your intro ended with Spackler…The gift that keeps on giving.
Author
It’s a cross between a Kentucky bluegrass and a Jamaican sensimilla.
Capability wasn’t the point of my somewhat silly example. If one has never held or used a Leica M series, a video which shows how to load the film, and its basic usage might come in handy. One could then choose to fall into the pit of model variations and lens cultish-ness. I’m not trying to be a dick either and am not trying to beat a dead horse. You have a much earlier video where you bemoan some of the Leica quirks; fragile rewind knob location, somewhat unreliable mechanics and one or two more quibbles. Add to that the constant refrain that gear doesn’t really matter yet it seems like Leica matters a bit. So, is it the M series bodies or is it the glass? Could you have made some of your own favorite work with a different system? Is the Leica simply your “van” from that era? A thing that helped you accomplish your task and get you the results you needed without much fuss?
From your response above: “The M camera has arugably captured more poignant world moments than any other camera.” Because it’s the only camera that could, or because it was the camera that was there?
There are many people out there used to composing through an slr viewfinder who find rangefinder focusing difficult or weird and vice versa. I’m a bit curious if that transition affected you at all. If we take Anthony Suau as an example (due to the very long project length) isn’t it conceivable that he could have made some of that work with the basic Nikon F? Have I shot past the point? Is it true that the shortest distance between two points is a straight line in the opposite direction? Is what is being discussed more akin to the Leica place in photographic history and the sheer volume of important work made with them?
Author
No, the Leica is somewhat beside the point. The point was about the work. Once you know it’s out there, “three day” films on YouTube based around camera type are just silly, clickbait films to keep prosumer men from going outside.
I went back through some of the shifter archive. You left breadcrumbs for us here and there, but you explain most of what I am poking at in question and answer #44.
The M4p “haunted you.” Fair enough. It’s how I felt about the Mamiya 6 when the woman I was a TA for during a workshop let me run a roll of film through hers. I was smitten. The thing has me walking on eggshells around it though for fear of another breakage.
Also, in the Leica files episode where you talk about Glamis dunes all I could think about was the photographer in Fear and Loathing in Las Vegas
Author
That is EXACTLY what it was like. I loved how he still had his drink in hand at the end of the race. Half filled with sand.