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ISSN 1543-8732
FRONT COVER
2 a letter from the editor by Bill Rosauer
3 letter from the president by David Knoble
36 the m6 variations part 1 of 2 by Jo Geier
40 escaping the shadows: interview with ken narula by Nadine Dinter
47 waiting 25 years for my first leica by Alfred Wehner 47 lunch hour by Jim Lager
As always, every issue of Viewfinder presents a challenge as to what is to be included in the issue, what will be interesting to the membership, all the while keeping a balance between new Leica reviews, Leica photography by the members, Leica history and member’s Leica stories. Many times, the priorities are dictated by new product introductions by Leica. And as we all know, there have been quite a few new product introductions recently. This issue allows us to do some catch-up in regards to content other than Leica product, with only one review of a new M lens by Jono Slack.
Speaking of Jono’s review, it is about the 28/2 Summicron-M Close Focus, a new lens introduced last fall by Leica, using the same optical formula as its predecessor, with improved close-up performance to 0.4 m to take advantage of the M11 and Visoflex, and a built-in lens hood. This is the first chance we’ve had to include this review from Jono. As usual, Jono does an excellent review of this useful new lens to the Leica M lineup.
We also have Part 1 of Jo Geier’s article, The Different M6 Variations. The M6 has always been a very popular camera, not only as a regular production M camera, but also as the basis for numerous special edition cameras as well. Jo is the proprietor of Mint and Rare classic camera store in Vienna, and a partner in Wetzlar Camera Auctions. With the reintroduction of the M6, Jo felt it was time to re-cap the history of the M6. A history that many may not be aware of. We will have part 2 in the next issue of Viewfinder.
"Black & White Checks" by Prabhakaran Sambandam, uses his SL-2 to get some unique intercity images of the landmark Napier Bridge between Ft. St. George and Marina Beach. Prabhakaran takes his Leica SL2-S and the 24-70mm Vario-Elmarit on his daily walks. To celebrate the hosting of the 44th FIDE Chess Olympiad, the city of Chennai repainted the bridge in the eye-catching and unique checkered pattern to emulate the chess board everyone will be focused on in the tournament. It soon became the local hotspot for everyone to come out and admire the painting and take selfies!
"Hawaii: Islands in the Sun," another wonderful photo essay by Albert B. Knapp MD and Ruth Oratz MD. They take an interesting look at the natural beauty of the Islands, and some insight into the religion of the native Hawaiians. As Albert and Ruth put it, “they are awed by the majesty of the Hawaiian landscape, seascape and skyscape. The magic of a mythic place in the Pacific where the presence of the Hawaiian gods and goddesses are deeply felt.” I’m sure you will agree that they have captured well the natural beauty of the islands!
Sage Backstrom’s article, gives us some insight into the creative process Sage uses working with noted Leica photographer Mark de Paula. In this article, she talks about the film “Stab at Heaven”, which tells the story of Ema McKie. Sage is a Leica devotee and Leica user as well. Sage explains her approach to producing a film, which I think you will find quite interesting. Ema shared her story with Sage and Mark on a drive back from a fashion shoot in Palm Springs, and by the end of the drive, Mark commented, “That should be a movie.” Ema’s response was, “The only one to ever make that movie is you.” Sage takes us through the development and writing process, ultimately resulting in the production of Ema’s story into a film. I’m sure you will find this all quite interesting.
“NaCL2: Two Lenses, One Island” is by our president, David Knoble. David takes his SL2-S Reporter and 16-35mm and 100-400mm Leica SL zoom Lenses on his photo expedition of the island of Bonaire in the Leeward Antilles ABC islands (Aruba, Bonaire & Curacao). David takes us along as he explores this island with its incredible landscapes with its salt flats and its wildlife sanctuaries. David explains the challenges of photographing in Bonaire with waves crashing into the cliffs and coral, spraying onlookers on one side of the island from the ocean. Desert-like conditions in other areas, and the huge flamingo population in their nature sanctuary. Of course, there is the huge presence of the production of Solar Salt with its enormous fields of condenser ponds and 50-foot-high pyramids of salt awaiting transportation to its world markets. Quite a challenge for any photographer, but David did quite well with his Leica, giving us some great ideas for technique in such a challenging location.
Nadine Dinter interviews Ken Narula in the article “Escaping the Shadows”. Ken has a real passion for photography and for Leica in particular, and has amassed an impressive collection of Leica equipment, said to be one of the world’s largest. But Ken is not only a collector of Leica gear, but uses them to create his unique photographic vision. In the interview, Ken describes his photographic journey and vision which he brings to his black and white photography. Ken also discusses his choice of the Leica M3 for film and the M11 for digital photography. Ken has also recently published a book, “Iris and Lens”, showing us 50 of his favorite Leica lenses and photographs he has made with them.
In this Viewfinder, we have two articles from President Emeritus Jim Lager. The first one is about how Jim would spend many a lunch hour in the vacant lot next to Leica HQ in Rockleigh, New Jersey. Jim loved to take pictures of butterflies with his Leicaflex SL and Telyt 400/6.8 lens. Quite a challenge in the days of manual focus, non-auto exposure, non-stabilized Leicas we had to contend with back in the 70’s. Yet somehow, Jim got some damn sharp and great images with this setup! We also have Jim’s article about the Leica camera that Gen. George S. Patton used during WWII. This camera now resides at the Patton Museum of Cavalry and Armor at Fort Knox, KY, and is on display in a showcase in the museum.
We also have an article by Alfred Wehner, “Waiting 25 Years for My First Leica”. For those of you who may not know Alfred, he was the first editor of the Vidom from its beginning in 1975 to 1990, the journal of our sister society in Germany. Alfred was responsible for 90 issues of their journal. I think you will find his article very interesting, from the perspective of a young man growing up in the aftermath of the war and waiting 25 years to finally become the proud owner of a Leica. His life in photography and dark room work began as a trainee for Foto Porst in their dark room training course and with his association with the German Youth Activities sponsored by
the US Armed Forces as part of their occupation of Germany after the war. Alfred was exposed to the American point of view and way of life, learning English along the way. His bible for the Leica was a well-used copy of the tenth edition of the Leica Manual by Morgan and Lester, and books by Sinclair Lewis and John Steinbeck that he retrieved from the trash of the US barracks near his house. Alfred was there at the beginning of Historica, and came up with the name of the German society as well as the name of its publication. I think you will find Alfred’s Leica journey quite interesting!
Bis nächste Zeit! - Bill
A LETTER FROM THE PRESIDENT
by DAVID KNOBLE
Dear LSI Members, Our society is on the cusp of a thrilling new chapter as we continue to expand our global reach and enhance the ways we bring value to our members. I am excited to share some of the wonderful developments and opportunities ahead.
First and foremost, we are delighted to announce that our next spring conferences will be held in two captivating locations: the charming city of Charleston, South Carolina, and the historic and culturally rich Vienna, Austria. These destinations promise to offer unique experiences, blending photography with the beauty of their locales. We are sure these conferences will inspire your photographic journey.
We are incredibly fortunate to have so many corporate sponsors! Leica Camera AG and NA continue bringing us incredible photographers who generously share their insights, styles, and latest projects. Leitz Photographica Auction has brought historical items for us to view in person at events. Leica Stores Miami and San Francisco bring us speakers, and personal Camera Talk episodes. Leica Store Miami is now offering an LSI member discount off of your fi rst photo workshop for almost all of their catalog – many of which are global. Oberwerth and Rock & Roll Straps have made LSI-specific editions. KEH and Westborn Camera both provide a plethora of Leica gear.
In addition to all these contributions, we are excited to introduce a new sponsor, Digital Silver Imaging, who offers a remarkable
service: transforming your digital images into stunning silverhalide prints or color prints. Th is is a fantastic way to bring your digital creations into the physical world, preserving them in a timeless and beautiful format. I encourage you to visit our sponsors’ websites and talk with them to return your support!
For those who love to read Viewfinder, we've embraced modern technology to enhance your reading experience. Our latest issues are available as digital fl ipbooks, providing an engaging and interactive way to explore our content. You can now easily access current and, as we build them, past issues. Offering a wealth of knowledge and inspiration at your fi ngertip, simply click and start reading on phones or tablets.
We maintain our commitment to foster creativity. We continue scheduling a series of webinars designed to boost your creative energy and skills. These sessions are crafted to inspire photographers of all skill levels, offering tips, techniques, and insights to elevate your work.
We also encourage you to join the vibrant discussions happening in our WhatsApp group. It's a fantastic space to connect with fellow members, share your work, exchange ideas, and get inspired. Whether you're a seasoned professional or a passionate amateur, there's something for everyone.
As we continue to grow globally, our mission remains clear: to Inspire Leica Photographers. The opportunities ahead are limitless, and we are excited to see where this journey takes us. Together, let's explore, create, and celebrate the art of photography.
Thank you for being a valued member of our community. We look forward to sharing these exciting times with you and witnessing the incredible work you will produce.
In your service,
David Knoble, President
BLACK & WHITE CHECKS
by PRABHAKARAN SAMBANDAM
Having spent so many years chiseling my passion for photography, right from film development to enlarging prints in commercial colour labs, the winner for the best camera brand among the industry folks has always been Leica. No wonder it has been a dream of mine to get my hands on a Leica camera. I cannot put into words the joy and excitement I felt holding a brand new Leica SL2S.
It has been an absolute game changer for me in the sphere of photography, inspite of the limitations I face due to my health conditions which makes it harder to hold the long lenses and the big camera for a long time. I am driven to pursue and hone my skills artistically and have decided to move forward with using one camera and lens. It is worth spending extra money on the gear and would pinpoint my fellow photography enthusiasts to buy the Leica SL2S. I have had this for almost 3 months now and I can assure you I have no regrets and am absolutely satisfied with the buy.
Interestingly enough, it is cheaper if you buy it as a kit with SL2 or SL2-S which comes with a bundle of constant aperture lenses at 2470. The zoom lens is located there and does not change when you increase the focal length. Moreover, the image quality with the 24-70mm Vario-Elmarit-SL is quite excellent. The lens yet again is sharp at all apertures and focal lengths.
I frequently shoot landscapes that include the sea, architecture, streets, portraits and local cultures pertaining to Chennai. It comes in handy that I am an early riser and enjoy morning walks on Marina beach, the second longest in the world. On a Sunday morning, as I went on my walk accompanied by my camera, I was pleasantly surprised to see a major change in my route that caught my attention.
Napier Bridge is an important historical landmark in Chennai and it forms the connecting bridge between Fort St.George and Marina beach. It was built in 1869 by Lord Francis Napier, the Governor of Madras from 1866 to 1872, over the Coovum River. The bridge served as an integral part to connect different businesses around the port set up by the British in the colonial era. The bridge has been upgraded with fancy lights and maintained since then and has stood as a testimony of time with multiple narratives woven and associated with it.
Presently, Chennai, the Chess Capital of India, is hosting the 44th FIDE Chess Olympiad from July 28th. As an ode to this major event, the Napier Bridge has been given a classy yet funky black and white checkered look to celebrate the game of chess. Ever since this spot has become a huge attraction among people and is often crowded to admire the painting and a hot selfie spot for youngsters to simultaneously channel their creativity.
With my curiosity piqued I visited this bridge twice to observe and capture the new and modern aesthetics that resemble a chess board. All these years, the bridge has been known to be a preferred route for joggers, walkers and skaters due to the less traffic in this part. But now it has become a happening space with a lot of buzz and hustle that carries the spirit of the city vibrantly. The bridge is located on the east coast side of the city and I chose noon to take bright shots as well as lengthy shadow stills when the sun was setting. The next time, I went early in the morning as the sun rose to capture the various moods of the same space. I hope these pictures showcase not just the architectural brilliance whilst embodying the historical significance, but also the genius that the camera holds within itself.
THE 28MM SUMMICRON-M 'CLOSE FOCUS'
by JONATHAN SLACK
Ionly had the 28mm Summicron-M "Close Focus" for a few short weeks during the spring of 2023 - quite long enough to put it through its paces, but unusually there were no trips to foreign places.
This is the third version of the Leica 28mm Summicron-M.
The first version (11604) was released in 2000 before the age of digital. The basic optical design of 9 elements in 6 groups was already established, and like the other two versions, it had 10 aperture blades. It also had an immense plastic lens hood, which was rather ugly, and prone to interfere with the rangefinder.
The second version (11672) was released in 2016 together with new versions of the 28mm f/2.8 Elmarit-M and the 35mm f/1.4 Summilux-M. All three lenses sported new (and much improved) metal screw-in lens hoods, and the two 28mm lenses had an improved optical formula, which was designed to improve the edge and corner resolution by flattening the plane of focus.
I wrote about this in 2016, and if you're interested you can read about it at https://www.slack.co.uk/leica-m-resolution.html.
So this brings us to the version III, released on 26th October 2023
THE LEICA SUMMICRON-M 28 F/2 ASPH. (CLOSE FOCUS)
The third version (11618) has the same 9 elements in 6 groups optical formula with 10 aperture blades, but there are a number of worthwhile changes.
First of all, the rear element has been adjusted to work as well with the modern M and SL sensors (notably the M11).
The screw in lens hood has been replaced with a slide out lens hood like that on the 35mm and 50 mm Summiluxes.
Leica have added the close-focusing helical to allow you to focus down to 0.4 metre. With an M camera this will need to be done either using Live View, the Visoflex 2 or the FOTOS App. With the SL cameras, you can use it directly with the EVF.
The maximum magnification of the old lens was 1:21.9, whereas the maximum magnification on the new 28mm is 1:11.3 - hardly a macro lens, but still a definite improvement.
The new lens is 5mm wider than the previous lens and 1mm longer, but it is slightly lighter than the previous version with the screw-in lens cap attached. At any rate, it handles very nicely on an M or SL camera.
PERFORMANCE
In the short term I had the lens, I didn't have the opportunity to do any comparative testing with the previous version, but the optical formula is the same, so one would imagine that the performance of the new lens is just as good. The modification of the rear element suggests that definition should be even better with the modern digital M cameras.
CLOSE FOCUSING
Whilst the new lens hardly qualifies as a macro lens at 1:11 magnification, it does make quite a significant difference. It's great for taking close up motifs and leaving the distance out of focus, and the 28mm Summicron-M Asph. does have excellent bokeh.
CONCLUSION
This lens has three benefits over its predecessor:
• Close focus opportunities
• Newly-designed body with twist-out lens hood
• Improved performance with digital sensors
The optical formula is the same as the 2016 lens (no bad thing). It comes in a black anodised version.
If you already have the 28mm Summicron, then the new lens might not be a compelling upgrade, but Leica have made some real incremental improvements to what was already a great lens. If your principal camera is an M11 or an SL2, then the upgrade may seem quite compelling.
The improvements on the new 28mm Summicron are significant, and very much in concert with the recent re-issues of the 35mm and 50mm Summilux lenses. This lens completes the remake of the 'holy trinity' of high quality practical lenses for the Leica M.
READ MORE
To see more sample images use the QR Code or visit: https://www.slack.co.uk/articles/ the-leica-28-summicron-m-cf.html
HAWAII Islands in the Sun
by ALBERT B. KNAPP MD & RUTH ORATZ MD
Na Pali Coast, Kauai. Leica SL2 & Super-Vario-Elmar-SL 16-35mm shot at 16mm, f/5.6, 1/640 sec, ISO 400.
Far out in the Pacific Ocean, thousands of miles from the nearest neighbor, Hawaii is an archipelago of 137 volcanic islands. Glittering amidst the shimmering sea, they rise up almost 14,000 ft. to the peak of Mauna Kea, higher than Mount Everest if measured from the ocean floor. As the underlying tectonic plates shift, magma in the Hawaii hotspot continues to build and then erupts, gushing forth to form new land. The topographic, geologic and biodiversity of these islands is astonishing. The climate ranges from lush tropical rainforests to balmy beaches to dry deserted lava fields to windswept alpine slopes. We went to Hawaii, the 50th state in our Union, in search of this magnificent and unique American landscape.
Human habitation of Hawaii dates to about 1000 CE, when superb sailors voyaged 1500 miles on the open water from Polynesia. They brought with them a rich culture of language, art, beliefs, spirituality and social structure.
On Kauai and the Big Island of Hawaii, we came to appreciate some of the mythic elements of this special place under the Sun. The Hawaiian gods embody the power of the heavens, the earth, the waters, and the wind.
Maui, the Sun God, is a clever trickster, using his magic fishhook to catch the sun and bring it closer to the Earth. He brings fire down from the sky. In every sunrise Maui is present. Looking out from the crest Mauna Kea, the tallest mountain on the Big Island, dawning sunlight blazes above the cobalt blue island, the summit itself still shrouded in darkness.
Down below at Laupahoehoe near Kona, Namaka the fierce Sea Goddess oversees every crashing wave and gentle ripple in the ocean. She is feared for her power over strong tides and respected for the healing spirit she imbues in the cool waters. Here the surf crashes up against the craggy lava as the morning sun bursts upon the horizon.
The Na Pali Coast is legendary, spanning 17 miles along Kauai’s North Shore, its razor-sharp verdant cliffs tower above the peaceful Pacific. It is believed that the gods and goddesses live high up on these cliffs and that the sisters Pele and Namaka battled one another to claim the magnificent Na Pali Coast as home. Hollywood filmmakers have used this location for high drama in movies including King Kong, Jurassic Park, South Pacific and Raiders of the Lost Ark. A doors-off helicopter flight provides an unforgettable adventure and amazing views.
(top) Sunrise, Mauna Kea Summit (13,796'). Leica SL2 & Super-Vario-Elmar-SL 16-35mm shot at 35 mm, f/4.5, 1/40 sec, ISO 400.
(bottom) Sunrise, Laupahoehoe. Leica SL2 Super-Vario-Elmar-SL 16-35mm shot at 16mm, f/8, 1/10 sec, ISO 200. (opposite page) Na Pali Coast, Kauai. Leica SL2 & Super-Vario-Elmar-SL 16-35mm shot at 28mm, f/5.6, 1/400 sec, ISO 400.
Exploring inland brings us to cool contemplation in the mystery and serenity of a grove of enormous Ficus macrophylla, Morton Bay fig trees. Originally native to Australia, its seeds born on the wings of far-flung birds or carried on ships, this venerable tree now inhabits the Hawaiian Islands. A dense canopy of glossy evergreen leaves shades an intricate latticework of ribbony roots, inviting us to venture in for a more intimate connection. Laka is the Goddess of the Forest. She watches over all plants and flowers and trees; she is docile, gentle and attractive, making things grown and thrive. She also inspires grace and elegance and is therefore spirit of the hula dance. Certainly, Laka is the choreographer of the lush and curvaceous forms in these woods.
At sunrise above the lava fields of Volcanoes National Park on the Big Island, we are met with the force of Pele, Goddess of Fire known for her scorching temper. As a rejuvenating and creative force Pele reshapes the landscape with each volcanic eruption. Molten lava spews forth from the mountain top, flows down across the land, building up and taking away what comes in its path. The smooth undulating ropy curves of this slower moving and hotter temperature lava, creeps its way towards the cool blue sea water.
Pele’s well is a 10 ft deep lava tube on the North Kona Coast of the Big Island. At twilight waves surge forward and overflow the well causing geysers to shoot up, as they recede a churning tempest of white-water swirls across the surface. Fire and water meet in a final farewell to the day.
We are awed by the majesty of the Hawaiian landscape, seascape and skyscape. The magic of a mythic place in Pacific where the presence of the Hawaiian gods and goddesses are deeply felt.
Leica cameras capture our experiences from wide angle to closeup, in color and monochrome. Albert came with his SL2 and three zoom lenses, a 35mm prime and his Thambar. But he learned that Hawaii was created for the 16-35mm f/3.5-4.5 ASPH lens. Ruth, true to her devotion to the 28mm Q2 and Q2 monochrome, embraced the tripod at last on this trip!
(above, left) Morton Bay Figs, Hanuman Monastery, Kapaa, Kauai. Leica Q2 Monochrom with 28mm Summilux shot at f/8, 1/125 sec, ISO 1600. (above, right) Detail, Morton Bay Figs, Hanuman Monastery, Kapaa, Kauai. Leica Q2 with 28mm Summilux shot at f/5.6, 1/125 sec, ISO 1600.
(opposite page, top) Sunrise, Lava Fields, Hawaii Volcanoes National Park. Leica SL2 & Super-Vario-Elmar-SL 16-35mm shot at 16mm, f/9, 1/50 sec, ISO 400.
(opposte page, bottom) Sunset, Pele's Well, Kalaoa. Leica SL2 & Super-Vario-Elmar-SL 16-35mm shot at 16mm, f/8, 0.8 sec, ISO 400.
“ I’M A PRODUCER ”
by SAGE BACKSTROM
Iwas recently at a gallery event in Los Angeles, breaking out of the intensity of finishing my first forthcoming feature film
A Stab at Heaven, and trying to reorient into the present. I floated from one conversation to the next, some with familiar friends and others with strangers. One person asked me the courtesy question, “What do you do?” “I’m a producer.” I replied. He was confused. “What’s a producer?” A bit exhausted by the question I said, “I curate energy. I make things happen.”
My journey as a producer began ten years ago on the first day of principal photography starring in an indie film Mark de Paola was directing. His assistant had a flat tire and didn’t show up. I offered to help and all of a sudden, my artistic palette expanded into all departments: grip and electric, hair and makeup, locations, camera, talent etc. My canvas had become the entire film, and I was at the nucleus of all of it. I loved it.
Images of Sage Backstrom by Mark de Paola.
My previous training had been as a professionally trained singer and actress. I realized immediately that the same rules applied to any artistic medium, to communicate some piece of my soul and my truth, first for myself, and then, hopefully, for others.
As a producer, I shape and refine ideas. I am sometimes the source of an idea. I bring ideas to life. I package ideas and make them more palatable to a broader audience. If one were to replace the word “producer” with the role of any artist in any medium, a producer is a painter, is a musician, is an actor, is a photographer, just in different languages of craft.
“As a producer, I shape and refine ideas. I am sometimes the source of an idea. I bring ideas to life. I package ideas and make them more palatable to a broader audience.”
When I was finally able to move to New York City after growing up in the Midwest, my journey in production began. I wasn’t allured or interested in just getting any job, or fearful of having no money, or having to go back to my home state to reset. To me, money was never and has never been my driving force, creation has. At that time, I kept saying to friends and concerned family that if I had to sing on a street corner for pennies, it didn’t make me afraid, because if it came to that I would still be doing what I loved, and I would still be in the city I loved, with the energy, and the art, and the dirt, where the greats have originated cultural movements and moved mountains. There’s this ideal that is pounded into us that money comes first, and one must get a job to then make time for what you love. But I knew that there was another way, where the two could coexist, and art could feed the abundance. The place for that coexistence was always New York City.
Soon after, Mark de Paola was moving his commercial base back to his home, New York City. I began working as a producer with him, and now, ten years later this year, I’ve never looked back.
I think that it’s imperative as artists to find other artists who challenge us, who see the medium and the world in similar ways, and who are just as obsessed by creation as we are. It is a very rare and difficult thing to find, that simpatico and similarity in creative vision. I feel that when we do, it’s important to follow it no matter the cost. The difficulties we endure as artists to follow our truest paths are a small price we pay for the possibility of the purest expression of our souls. Mark is a creative force who feels everything and is constantly searching for the image and the story. He is never full and needs to create like he needs water and sleep. I strongly believe that what society may call obsession is absolutely innate and necessary, and I too share in this apparent madness.
“I think that it’s imperative as artists to find other artists who challenge us, who see the medium and the world in similar ways, and who are just as obsessed by creation as we are.”
In these last ten years I have collaborated with Mark every day creating moving and still images that have found themselves in galleries, museums, cultural institutions, and private collections. I have collaborated with and found so many incredible artists who have contributed to these visual stories. I have traveled the world through this medium to China, Japan, all over the US, and Europe. I have consulted and curated museum and gallery exhibitions, edited and sequenced photo books, produced still and motion shoots for both art projects and commercial clients, and provided educational programs on photography for a new generation of artists, all as a quote unquote “producer”.
In the very midst of all of this, I produced a motion picture titled A Stab at Heaven, a journey that began five years ago with Mark and Ema McKie.
Ema and I had first met at the Leica Gallery Los Angeles during an event. Ema is one of those people on whom your eyes somehow can’t help but focus, not for the obvious reasons of her striking beauty, but more precisely because she exists in a different air. Her poise and few words hold a different weight amidst her quiet.
Acouple of years later, Mark, Ema, and I were driving back from Palm Springs shooting fashion and Ema was in a particularly chatty mood. She unleashed a story on Mark and me for an hour and a half. We sat in the front seats, completely silent and in shock.
When Ema was eighteen, she was in Europe when her boyfriend John called and asked her to marry him. She said yes. With a very strong intuition, as Ema has, she returned home from Europe early to connect with him. Three days later, he shot himself. This began Ema’s story and journey across the country to join him and fulfill a pact between the two of them. If anything ever happened to the other, they would join each other.
When Ema reached the end of her story, Mark said, “That should be a movie.” Ema replied simply, “The only one to ever make that movie is you.”
It was prophetic. It was true. Somehow, sometimes there are moments in life that play out before us as if we are watching from the outside, and the universe collides to meet us, where in a fleeting
moment, we know that this, this is right, and what we must do.
Ema perfectly describes this exact feeling in the film as, “The quiet thing in your chest that keeps you from speaking, but it’s of such personal importance that you must do something about it.” Yes Ema, that.
From that day we began the journey that is A Stab At Heaven. The development and writing process of the film largely took place during the height of the pandemic. Mark, Ema, and I would meet for daily zoom calls.
The creative for the film immediately stemmed from formative memories in Mark’s childhood, and from James Joyce. When Mark was a young boy in New York City he was completely obsessed by James Joyce and joined the James Joyce Society. Mingling and debating amongst the Upper East Side’s cigar smoking elitist intellectuals, he became fascinated by Joyce’s use of stream of consciousness. Years later, while in college, he came across a court statement by Judge Woolsey in 1930 on the overturning of the ban of Ulysses, which described Joyce’s use of stream of consciousness as, “What he seeks to get is not unlike the result of a double or, if that is possible, a multiple exposure on a cinema film, which would give a clear foreground with a background visible but somewhat blurred and out of focus in varying degrees.”
From the beginning, Mark and Ema knew that this film could not and would not play by traditional narrative or cinematic rules. The script’s narrative quickly became Ema’s stream of consciousness, and the internal journey of what Ema went through at that time in her life. The script became punctuated by the few dialogue scenes that are Ema’s only encounters with others in the external world. When Ema was in that emotional state, and as can be with many when facing immense trauma or grief, the rules of the living do not apply, nor should they for A Stab at Heaven
The production and principal photography phase of the film continued with an alternative approach. Typically, upon completion of a script, the production team will develop, budget, and produce a back-to-back schedule to shoot the film. You then follow that schedule, and then voila! Congratulations, you’ve filmed your movie. A Stab at Heaven was different, it was like a jazz standard.
We scheduled pieces of principal photography in few day sections, and then upon completing each portion, we would assemble a rough cut to reassess what additional pieces were needed from the remaining list of scenes. In this way, Mark wanted the film to inform us of what it needed every step of the way. Some characters were cut, certain scenes were cut, and others would pour out of Ema and Mark in the middle of principal photography and write themselves. To have this kind of creative freedom that allows the work to inform us and continue to create along the way created
Behind The Scenes for A Stab At Heaven. Images by David Kevin Weaver.
this beautiful refresh cycle. Whatever we were fi lming and producing evolved as the most current in tune version of what the fi lm would eventually become.
The post-production process was no different.
A Stab at Heaven is a visual representation of Ema’s subconscious, and editing the fi lm quickly became a subconscious experience. Mark and I would draw all the blinds in the studio and sit in the dark so that day and night would eventually bleed into each other. Daylight became jarring. I muttered passive “Hi, how are you?” conversations with bankers, grocery clerks, or baristas at my local cafe. I had to push myself out of my head with herculean effort to appear normal.
A Stab at Heaven emerged from these isolating moments of quiet when my skin became so thin and vulnerable, and I was able to trust intuition fi rst. When Mark and I allowed decisions of impulse and possibility fi rst, as if half asleep in a dream, we came closer to Ema’s story and what the fi lm told us it needed to be.
When I fi nally watched A Stab at Heaven with all the postproduction elements together, I cried. There was fi nally nothing that stood out to me. It was a relief to know in my gut we had created art that would eventually move others and give them permission to feel a certain affi rmation, and permission to be.
As we depart into A Stab at Heaven’s next chapter, sharing it with the world, and as I approach now ten years working as a producer, I am still defi ning the answer to the question I began with, “What is a producer?” As with any art form, creative production is not a laundry list of monotonous tasks, it is my evolving way of being.
To be at the nexus and heart of creating something, whether a book, exhibition, or now feature fi lm, is where I live. I do the work for me fi rst. As a producer, I curate energy with people, photographs, and fi lm to funnel the most pure expression into any one project. To live and breathe art and culture every day is my choice, and a responsibility I take very seriously.
To be at the nexus and heart of creating something, whether a book, exhibition, or now feature film, is where I live.
It frustrates me to see so many in my generation believe that photography, fi lm, performance, and visual art is a means to an end, a checklist or shortcut to notoriety and fame. I believe that true craft is a lifelong pursuit that requires a combination of talent, time, and obsessive study. I will never be interested in shortcuts because process reveals truths to an artist that make a work of art whole. Now ten years into my journey, I am just getting started.
(opposite page) Poster & promo image for A Stab at Heaven. Image by Mark de Paola.
(this page) Still frames from A Stab at Heaven.
[ NaCl₂ ]
Two Lenses, One Island
by DAVID KNOBLE
Bonaire is known as a diver’s paradise because of the sharp drops close to shore and the coral reefs that surround the island, yet it is the salt on the island that inspired me. As the floor slowly rose over millions of years, the reef grew around the shallow island waters. The combination of volcanic rock and coral reefs provided a sturdy island base. The weather is not what one thinks of on a Caribbean island as it gets three of its four inches of rain in a few months each year. The climate is more like a New Mexico desert and cactus plants thrive amid scrub brambles and a few other low vegetations.
The Spanish took over Bonaire around 1499, and during the early years of Spanish reign, the island inhabitants were removed to
work as slaves elsewhere, decimating the population. In 1526 people slowly returned with cattle and later sheep, goats, pigs, horses and donkeys. Donkeys and goats still roam free around the island today.
The Dutch took possession of Bonaire in 1633. They also worked the land using slave labor, including the start of harvesting solar salt (known as NaCl2). Changing hands over the years, it was not until the Treaty of Paris that Bonaire was returned to Dutch control in 1816. By 1837 salt production was thriving on the island, and as of 2010 the island ceased to be part of the Dutch territory known as the Antilles which were dissolved and became the same as the Dutch mainland with full rights of Dutch mainland citizens.
SOLAR SALT Salt production is different on Bonaire than elsewhere and is termed “Solar Salt” because the production core is the wind and sun evaporation of water leaving high concentrations of salt. Water is taken from the Caribbean which contains about 3.5% salinity (salt) or from a nearby brine lake containing about 5% salinity. The water flows into one of the condenser ponds on the 250 acres used for harvesting salt. As the wind and sun evaporate water, the salinity increases. At somewhere between 25% to 30% salinity the solution is moved to a “crystallizer pond” where it continues evaporating. When the solution passes 37% salinity the crystals of salt start growing, and the simple sodium-chloride (NaCl2) compound fills the bottom of the ponds.
After a 10-to-12-month process, the salt is washed to remove other solids and stacked in pyramids over 50 feet high to wait for transportation. Bonaire salt is sold in Europe, Asia, and the Americas. The difference in Solar Salt and Rock Salt is the size of the crystal. Bonaire salt has much larger crystals, nicknamed “sun gems” because of their size and clarity.
system small and light, but suited to the dry dusty weather. I brought my Leica SL2-S Reporter edition which has a tough coat of paint along with two lenses - the Leica 16-35mm Super-VarioElmar-SL f/3.5-4.5 ASPH and the Leica 100-400mm Vario-ElmarSL f/5.0-6.3 coupled with the Leica Extender L 1.4x converter. With only these two lenses I spent a full day photographing each end of the island - the salt flats and surrounding area on one end and Washington Slagbaai National Park on the other end.
The roughly 15-mile road trip around the southern tip of Bonaire has much more than the picturesque landscapes of the salt flats. The ocean changes around the southernmost tip from the calm Caribbean to the rough, but very blue Atlantic. The wind typically whips through the open and barren land and the forceful Atlantic waves crash through the levels of coral reefs splashing 30 feet and more into the air, sending spray in all directions. During each session I photographed the Atlantic, I had to clean the filters to rid them of ocean spray remnants. I tried two filters for effect on this trip, one I had never used. The classic brass B+W high transmission polarizer was a definite winner in the hot equatorial sunlight, bringing out naturally saturated colors and helping remove the right specular highlights. As a note, the polarizer worked well on both lenses, even some of the ultra-wide settings.
The second filter was a bit different, and I was unsure how it might work, but the size was perfect. I attached the Urth 82mm 3-stop, soft-graduated, neutral density filter to my 16-35. This filter rotates like a polarizing filter, so you can set the graduation at any angle, including across the top or bottom of the frame. Yet, unlike the square filter systems I am so fond of using, the middle of the 82mm circle is where the graduation ends. No moving the horizon point up or down. This filter was a soft graduation, so it faded out. A hard grad is very difficult unless you have a sharp, open horizon, like the ocean. However, I was more than pleasantly surprised, and the 3-stops made for some great blended light on this sunsoaked island. The filter is housed in aluminum, and I wish it were brass, but the glass held up to the sand and salt, as advertised. The filter comes in a round metal container that screws apart, protecting the filter well.
THE last flight to Bonaire from Miami, was a small plane, and to avoid checking any luggage, which I loathe, I kept my camera
Before we hit the rough section of the Atlantic Ocean, we stopped by a more difficult pieces of history for the Dutch. There are slave quarters still standing right up to the edge of the coast. The concrete mini-one room homes are not tall enough to stand in, and I feel like I would almost crawl through the door. These areas housed the slaves that originally worked the salt flats, standing in the water and raking out crystals, carrying them to get ready for shipping. The large pyramid obelisks in this area were markers for the ships to come to shore and receive an inventory of salt. The calm waters on the Caribbean side, coupled with very deep areas close to shore held in place by the coral reefs, made for easy loading and unloading of cargo.
this page:
top left: Leica SL2-S & 16-35mm Super-Vario-Elmar-SL. 1/50 sec, f/13, ISO 100.
center left: 1/400 sec, f/5, ISO 100. Leica SL2-S + 16-35mm Super-Vario-Elmar-SL.
The entire south side of the island is a Flamingo sanctuary, and it also protects other bird life that cohabitates with them. The Minneapolis, Minnesotabased conglomerate, Cargill, owns and operates the salt flats. Cargill is also responsible for the creation and maintenance of the sanctuary reported as the “largest in North America” (Forbes). Large painted blue rocks abound the interior with the English words “No Entry” making clear the dividing line between nature and tourism. Occasional large, printed signs are erected on posts with “No Drones” and pictures with lines crossing out the use of such equipment. This made using of the 100-400 lens boosting from 140 to 580 with the 1.4x extender a perfect place to sample results. I found quickly that the 1.4x extender zoomed in so far that the OIS system could not keep up with my hand-holding abilities, even with my elbows at my side for stability. The photographs came out crisp, so the OIS system did its job, but keeping the subject framed where I wanted in the viewfinder was another issue all together. Using the lens without the 1.4x extender was easier but not perfect at 400mm. My solution was to stand on the back bed of the pickup and rest the built-in tripod shoe on top of the cab. Not only were my arms less stressed, but my eyes could focus on arranging a composition easily, leaving exposure and shutter presses to take my concentration.
The flamingos have always been painterly birds. In reality, the flamingo eats brine shrimp, but not just any brine shrimp. The brine shrimp near these salt flats eat algae and Halo bacteria (existing prior to today’s Bacteria) that is colored pink and gives the salt flats pink colors. The pink color comes from a process that replaces chlorophyll because of the murkiness of the salty brine water that is higher in temperature to allow for evaporation. The brine shrimp eats the pink bacteria and the flamingo eats the brine shrimp which colors the flamingo pink. The ecologica system works as
creatively and uniquely as so many places on earth. This is also why the baby flamingos are grey and white as they have not eaten enough brine shrimp to absorb the pink hues.
Having not been around flamingos very much, I found the birds fascinating, and the 100-400 lens even with an extender provided feather detail and hues that exceeded my expectations. I positioned myself to get the best light for showing off their details, but I would have only been 1/2 as close with the Leica APO-VarioElmarit SL 90-280mm f/2.8-4.0. With a 24mp sensor such as that in the SL2-S, the extended focal length was a must.
The flamingos also live in the National Park. The one-way drive takes about 4 hours with stops along the way and a park pass is needed to gain entrance. We took the long route through the park which kept us on the Northern tip of the island, opposite the salt flats from the previous day. Here, the bumpy dirt roads were reminiscent of New Mexico with short scrub and cactus galore. There was no running outside of the road area to get a photograph because if the briars didn’t tear you up, the cactus spike would. I pulled out more than one cactus spike from my shoes and socks that day.
As we drove through various places in the park, we were rewarded with unique geological history. Besides another chance to photograph flamingos at the beginning and the end of the loop, we saw 190 foot “mesas” that had 1 million-year-old slices of volcanic rock. The beaches were solid pocket-holed coral reefs with sand
and large coral boulders strewn throughout. Many times, I felt as I were in a scene from a movie on the moon or on Mars. Yet, I found out later the boulders were thrown upon the beaches by Tunami storms thousands of years ago. These geological wonders remain because of the desert climate and the protection from large storms.
Cacti grew out of the rock in some places and on the ground in others, but mostly further back from the cliff-like coast. The Yatu grow straight up and the Kadushi branch out; and the “Melon Cactus” is a small bulb-like cactus with a cap on top. It is also known as the “Turk’s Cap Cactus” or the “Pope’s Head Cactus.” They look very similar in nature to the uneducated cacti identifiers like me.
Gecko lizards abound although we saw mostly very small ones that would scamper quickly to the side of the road and dive under rocks as we passed by. At one stop, we found the “Mother” of all these small ones. She slowly approached us, with a defiant look in her eyes. When we turned back towards the car, she began following as if to stakeout her spot and make sure we left. Again, the 100-400 lens allowed for a portrait of this lovely lizard.
I used the 16-35 much more in the National Park. We hit some highlights such as the Boca Chikitu and the Suplado Blow Hole. The high coral cliffs above the Atlantic side of the ocean provided for some great displays of the awesome power of the ocean as it crashed against the rock. As a show of strength, the waves were thrust up high above the top of the cliffs and spray any onlookers.
Leica SL2-S + 100-400mm Vario-Elmar-SL. 1/160 sec, f/6.3, ISO 100.
The blue of the Atlantic and the foamy white spray mixed well with the coral. Here the graduated neutral density fi lter let me lower the light in the bright sky or the light of the bright white splashes of ocean, allowing the camera to catch all the details. The sunlight is so bright, that no matter what the OVF showed in the SL2S, I relied heavily on the histogram and the blown highlights that would show in the viewfi nder while setting an exposure. Th is enabled me to dial in the exposure by overblowing highlights and increasing the shutter speed to pull the histogram back just a little bit. Often, I was worried that the contrast from shadows to bright sun would be too much, but I was pleasantly surprised when viewing them on the Leica Fotos app just after shooting. There is no question the histogram is key to getting good exposures in tricky light.
Speaking of the Leica Fotos app, this trip gave me room for another fi rst-time experiment. I have always loved the S-System and early SL (Typ 601) bodies for building in the GPS system to drop map coordinates in the EXIF so that plotting a later location on google maps was easy to do. Th is is especially helpful on vacation or in previously unvisited areas. So, I tried the Bluetooth connection with my iPhone and the SL2-S to update geographical coordinates as I was shooting. There is an option to keep the connection for GPS coordinates even if the camera is not connected to the app for image viewing. A few items to consider include a.) the phone has to be using a cellular signal and even though some map programs do not require this signal, the LeicaFotos app seems to need it; and b) the Leica Fotos app
needs to remain running, even though it is not connected to the camera. I basically connected to the SL2S and then set the option to turn on the GPS coordinates, allowing it to update even when not connected, and fi nally disconnected from the camera. My phone did not use half of its battery all day and I went through two complete SL batteries, but was shooting constantly and never turned off the camera. The data was saved, and it was great to see where on Bonaire I took the photographs.
As a two-lens duo, these lenses worked incredibly well for landscape work, wide and long. I contemplate adding the Leica APO Summicron SL 50mm f/2 lens as a middle lens if needed, except that the fi lter size is 67mm and not 82mm so more equipment would be needed for fi lters. I am also a long user of Leica R lenses, and the Leica Elmarit R 35-70 f/4 lens is a small but very versatile lens picking up where the 16-35 leaves off and almost getting to 100 with the added bonus of a macro mode. The fi lter size is 60mm, so again, it’s more equipment to carry. In the end, two lenses were perfect and kept the packing light.
Research for this article included a few very valuable sources:
“The Surprising Story of Bonaire’s Salt Pyramids,” by Joseph V. Micallef, April 18, 2019 in Forbes
“Bonaire’s History,” Tanya Dean Island Services accessed May 5, 2023 on http://www.infobonaire.com/about-bonaire/history
Leica SL2-S + 100-400mm Vario-Elmar-SL. 1/400 sec, f/8, ISO 400.
THE DIFFERENT M6 VARIATIONS PART 1
by JO GEIER
Since there are so many different models of one of the most popular Leica cameras, we thought we could shed some light on this and list all variations known to date. May it will help you to choose the M6 you are looking for.
1981
1983
M6 Electronic - Prototype
This prototype preceded the later fully mechanical serial production Leica M6. Incorporated the fully electronic Seiko shutter which had been used in the R4, with TTL-metering and automatic exposure control (as in the later M7).
M6 Prototype
This early prototype had the serial number of an M4-P. Red dot with flat Leitz lettering, brass top cover with recessed windows. The shutter speed dial is a different design, DIN/ASA dial with different lettering, no MADE IN GERMANY embossing on the body covering. We are aware of two M6 prototypes. One with serial number 1621532 from the former Leitz factory museum (inventory number 2308), and one with serial number 1621534.
1984
The WETZLAR M6
First version, starting at serial number 1657251. Without plastic inserts above the strap lugs to protect the body from strap wear. ERNST LEITZ WETZLAR GMBH engraved on top of the top plate. Red dot on front of top plate with "Leitz" script. Product Code: 10404 Black Body 0.72
1984 - The WETZLAR M6
Body now features plastic inserts above the strap lugs to protect the body from strap wear and finally also available in silver chrome.
Product Code 10404 - Black Body 0.72
Product Code 10414 - Chrome Body 0.72
M6 "BIG" Logo
On some cameras the front of the top plate is only engraved with a larger M6 “logo” and without the name Leica. Technically identical to the regular production model.
M6 G
Around 100 cameras in black, chrome and titanium finish made for a Swiss dealer, Leica Photographic Center, Zurich. Leitz logo in gold. The top plate is engraved with the logo and the cross-section diagram of the 50mm Elmar.
M6 LHSA 20th Anniversary
Only 43 cameras were ordered by the LHSA, each with LHSA logo and 1968-1988 engraving.
The SOLMS M6
LEICA GMBH GERMANY engraved on the back and LEICA M6 on front of the top plate. Red dot on front of top plate with “Leica” script.
M6 Platin / Platinum
75 Years of Leica Photography 150 Years of Photography
1250 made, each with a letter of the word LEICA and a serial number from the series 1-250. With Summilux-M 1.4/50mm. Body covering in Karung snake leather. Product Code 10450
M6 Siber Hegner
125 cameras made for the distributor in Japan, silver chromed cameras with a special emblem on top plate.
1986
Variation
1987 - M6 "BIG" Logo
- The SOLMS M6
1990-1993 - The "PANDA" M6
1992-1998 -
1990-1993
The "PANDA" M6
The silver chrome M6 is equipped with black winding lever and shutter release guard, shutter speed dial, rewind lever, rewind crank and knob and frame selector.Product Code same as regular production version.
1992
M6 Colombo or M6 Columbus
Issued by the Italian agent Polyphoto to commemorate the 500th anniversary of the discovery of America. Engraved 1492-1992. Silver chrome with green leather body covering. With chrome Summicron-M 2/50mm. 200 cameras were produced. Supplied with engraved wooden presentation box. Product Codes: 10414 Body, 11825 Lens
1992
M6 Year of the Rooster
Issued by the Schmidt Group, the Far East Leica agents. Engraved top plate with a rooster and Chinese characters. With chrome Summicron-M 2/50mm. 300 pieces made. Some say 267 pieces.
1992
M6 Gold Sultan of Brunei
With matching gold Summilux-M 1.4/50mm in wooden presentation box. Engraved with the elaborate emblem of the Sultanate in red and black. 353 cameras made with serial number HB 001-353. Product Code 10412 for the set
1992 – 1998
M6 Titan / Titanium
The top plate is made from brass instead of the usual zinc casting.
Product Code: 10412 Titanium Body 0.72
1993
M6 LHSA 25th Anniversary
Silver chrome M6, Limited Edition of 151 cameras, comes in a set with chrome Summicron-M 2/35mm, 2/50mm and 2/90mm lenses in a wooden box. Ostrich leather body covering. (no special product code) Product Code: 10414
M6 Royal Fot0
Commissioned by the Austrian Royal Foto company for their 25th anniversary. Engraved with a Diamond and lens cross-section design. Black and chrome finish with red covering. 101 pieces made. A special chrome Summicron-M 2/35mm was available and engraved as well. Other lenses with special engravings may also exist. Product Code: 10404 Black body Product Code: 10414 Chrome body (no special product codes)
M6 Schnittmodell / Cut-Away
Produced in very small numbers with advertising material product code 942005. Available in black and also in chrome which is more rare. 1994
M6 Titan / Titanium Foto Ganz – Zürich
Twenty cameras for the 150th anniversary of Foto Ganz in Zürich, 1844-1994. A titanium finished Summilux-M 1.4/35mm was available as well. Regular Product Codes: 10412 Body, 11860 Lens
M6 Traveller Set
With chrome Summilux-M 1.4/50mm. With calfskin attaché case and camera bag. Said to be 500 pieces produced. 1994
M6 Royal Photographic Society (RPS)
"Panda" body with black 2/50mm Summicron-M commemorating their 100th anniversary, 1894-1994. Only 100 sets made. 1994
1994 - M6 Schnittmodell / Cut-Away
1994 - M6 Schnittmodell / Cut-Away
1994
M6J
Limited Edition of 1640 sets to commemorate the 40th anniversary of the Leica M system (1954-1994, 40 pieces for every year). With chrome Elmar-M 2.8/50mm with matching serial number and brown leather case. First camera with viewfinder magnification of 0.85 with frame lines for 35, 50, 90 and 135mm lenses. Silver chromed brass topplate. Winding lever, rewind lever and frame selector as Leica M3.
M6 Leica HISTORICA
150 cameras made for the 20th anniversary of Leica HISTORICA, with chrome Summicron-M 2/50mm and light blue body covering.
Product Code: 10448 Set
Product Code: 10421 Body
Product Code: 11836 Lens 1995
1995
1995
M6 PolyPhoto Demo Unit
90 cameras for the Italian Leica distributor Polyphoto, with an outline map of Italy and “DEMO UNIT FOR POLYPHOTO” engraved on the top plate.
M6 Dragon
Limited Editon of 300 sets with Summicron-M 2/50mm. Chrome cameras with a golden Dragon engraved on the top plate. Commissioned by the Malaysian dealer, Schmidt Scientific of Kuala Lampur for their Chinese customers. Product Code: 11834 Lens
M6 Danish Royal Wedding
200 sets commemorating the wedding of the Danish Crown Prince with chrome Summicron-M 2/35mm.
Product Code: 10444 Set
Product Code: 10423 Body
Product Code: 11838 Lens
M6 Gold King Bhumiphol of Thailand
700 gold plated sets covered in brown leather, with Summicron-M 2/50mm to celebrate the 50th anniversary of the coronation of King Bhumipol Adulyadej of Thailand. Sold by the Thai Farmer’s Bank to raise money for projects to improve environmental conditions in Thailand
M6 Platin / Platinum Sultan of Brunei
250 cameras in platinum for the Sultan of Brunei with Summilux-M 1.4/50mm with built-in lens hood. Cameras covered in gray snakeskin. All cameras were engraved with the Sultan’s crest. Another batch of platinum-plated cameras must exist as one other camera with an earlier serial number with diamond and Summilux-M 1.4/35mm Asph. is known to exist but engraving for the 50th Birthday of his Majesty.
M6 Partner Aktion Deutschland
Demonstration cameras for the German Leica dealers, also some R7 bodies have been made with this engraving. Said to be 70 pieces made. A different source states 500 cameras have been produced which seems high to me.
M6 Benelux
90 or 94 chrome cameras delivered as demo cameras to dealers in Belgium, the Netherlands and Luxembourg. Engraved “Leica Demo Ausrustung Benelux 96”
M6 "Ein Stück Leica"
996 sets produced to mark the public Leica Camera stock market offering in this year. With Summilux-M 1.4/35mm. Body with cowhide covering with the Leica script all over it. Top engraved with a reproduction of the share certificate. Product Code: 10496 Set
1996
1996
To be continued in the next issue...
1996 - M6 Partner Aktion Deutschland
1996 - M6 "Ein Stück Leica"
Escaping the Shadows
INTERVIEW with KEN NARULA by NADINE DINTER
this spread:
Images from Ken Narula's book "Iris & Lens, Volume 1."
Ken Narula, born in 1976, is a photographer and collector of Leica cameras and lenses based in London and Bangkok. After undergoing life-changing eye surgery, Narula discovered his passion for photography and has since amassed one of the world’s largest collections of Leica equipment. Traveling extensively, the owner of multiple companies has not only sought out new additions to his collection around the globe, but has found a second passion in capturing his favorite moments, street scenes, and encounters using his museum-worthy collection. In anticipation of his upcoming second book, we met with Ken to do a proper recap, explore the origins of his collection, and gain insight into his photographic inspiration and love for the craft.
At what age and stage of your life did your interest in photography first begin? Were there any family members who served as inspiration?
My familiarity with photography began at a very young age, although the fascination with it wasn’t the result of a grand gesture or an exact moment, like being handed a cherished camera; rather, it developed gradually, much like water dripping day by day. A significant source of inspiration was my great-grandfather’s black-and-white portrait, which hung in the corridor I passed by daily. His face became etched in my memory, even though I never met him. Similarly, my grandfather and father have always been keen on taking family photos – a tradition steeped in love and carried forward, though they preferred being in front of the camera, whereas I’ve always been drawn to being behind it.
What is your take on photography in general? Do you adhere to a particular photographic philosophy or style? Are you a member of any photographic associations where experts convene, or do you have a more independent approach to photography?
My photographic journey started deeply personally, characterized by an evolving quest to remember more than just the beautiful landscape or landmarks. I’ve grown to seek emotional resonance in my subjects, often preferring solitude to capture these moments. These personal feelings never felt quite right as part of photographic communities, so I have always resisted being part of any, until relatively recently.
Do certain times of day, weather conditions, or moods inspire new photo sessions or trips for you? Would you describe yourself as a classic street photographer who discovers subjects while exploring the streets of towns, cities, or unfamiliar places?
Like many photographers, I too appreciate the allure of bright, clear days bathed in beautiful light. However, my preference leans towards the melancholic – cloudy, moody, and dull days that seem to deepen my emotional connection to the environment. In essence, I consider myself a classic street photographer, albeit with a distinctive approach: I invariably seek out unknown streets
whenever possible. The allure of the unfamiliar significantly ignites my curiosity, compelling me to explore and intimately connect with the essence of each scene.
You recently traveled to Venice to photograph the Carnival festivities. Had you visited Venice before? Did you plan your photos or allow the scenes to unfold naturally? Is there a particular moment, motif, or anecdote from that trip that resonates strongly?
My journeys to Venice before the Carnival left me feeling that the city’s reality didn’t quite match the imagination. However, the Carnivale, with its iconic masks and vibrant atmosphere, seemed like an unmissable photo opportunity. I consciously decided not to over-plan or immerse myself in too many preexisting images of the event to preserve my perspective and fully embrace the experience firsthand. I had only a few objectives in mind: to capture the essence of Carnivale in a way that wasn’t already saturated in our collective visual library, and to transcend the dazzling array of colors to unveil the true emotions underlying the event.
On the visit’s final afternoon, I deliberately chose to cease photographing the spectacle, captivating though it was, to instead explore the mundane. By literally and metaphorically turning in the opposite direction, I underwent a perspective reset that was eye-opening. It unveiled a different beauty of Venice, which marches on unaffected by the festivity’s clamor, offering a stark yet refreshing contrast to the city’s and Carnivale’s flamboyance.
Looking at your photographs, it’s always about people, whether in your immediate vicinity, within the same space, or in the distance. Would you describe yourself as more of a “silent observer” or a “voyeur”?
If I had to categorize, I would consider myself at the cliff edge of being a silent observer. Which, to me, involves capturing people’s moments in an unobtrusive manner, with a focus on empathy, respect, and a commitment to truthfully conveying a narrative. This role is about observing life as it unfolds, without interference. However, there’s a profound, albeit brief, transition beyond mere observation that occurs when a subject becomes aware they’re being photographed yet remains immersed in their emotion. That moment of eye contact is invaluable – it transcends silent observation and touches on a deeper connection, though it still steers clear of crossing into voyeurism.
Your photographs, rendered entirely in black & white, have a sense of classic old-world Paris, when Brassaï or Henri CartierBresson prowled the streets, capturing their iconic images.
this spread: Images from Ken Narula's series Venice Carnival 2024"
50mm f/1.4 v2 SN 2039917
50mm f/1.4 Asph. SN 4142444
35mm f/1.4 Asph. SN 4096230
35mm f/2 Asph. SN 4323028
The Very First Summicron [922001-922097]
Radioactive 50mm f/2 v1 SN 922024
'Fred Baldwin' Black Paint Summilux
Lenny Kravitz Black Paint Summicron
Flower Hood Hermès Summilux
Hermès Summilux
Above images from Ken Narula's book "Iris & Lens, Volume 2."
Do you ever consciously follow in the footsteps of those legendary photographers?
While honored by the parallels drawn, any similarity has most likely developed more subconsciously, having certainly seen their work hanging on many walls around the world, yet not fully aware of their profound impact on photography until after my own style began to take shape. Having said that, the emotional depth in Brassaï’s photographs and Cartier-Bresson’s unparalleled ability to seize the decisive moment are qualities I certainly strive to embody in my own work today, with the further aim of merging these two characteristics - emotion and moment - into one. Another, perhaps a little more direct inspiration, despite a different style, came from Rodney Smith: a chance encounter with one of his large black-and-white prints at a gallery window profoundly affected me at a young age, altering my perception of how a photograph can make us feel.
Why black & white and never color?
As the saying goes, never say never. Like many, I am drawn to the vibrant allure of colorful scenes and photographs. However, my preference for black-and-white photography is deeply rooted in observing how color – and its absence – affects our perception of a photograph. Often, color assumes the leading role, potentially overshadowing the more subtle, emotional narratives within the frame. It seems we can’t help but “see” the photograph primarily through its colors. In contrast, the absence of color in black-andwhite photography shifts our focus, compelling us to “feel” it instead. For me, although sometimes it’s challenging to look past the colors, the reward is significant. The lack of color reduces distractions, allowing the emotional essence and raw storytelling of a scene to come to the forefront.
As a devoted Leica shooter, you have amassed an extensive collection of analogue and digital cameras over the years. What’s your favorite analogue model, and what digital Leica device are you most fond of at the moment and why?
If I had to choose, for analogue, it would undoubtedly be the original M3. What’s astonishing about this camera, as it approaches its 70th anniversary, is that in my humble but experienced opinion, no other camera - regardless of brand - feels as good in the hand. Despite numerous advancements in manufacturing and design, the M3’s unparalleled handling is either an extraordinary feat of design and engineering or a stroke of unbelievable luck - most likely the former. As for digital, my current go-to is the latest M11 series. Although it hasn’t yet fully leveraged the latest technologies, it has revolutionized my workflow with its seemingly obvious
built-in storage and charging capabilities. While phone cameras have long rendered memory cards and separate chargers obsolete for billions of users, the M11 is the pioneer in extending this convenience to larger sensor cameras. Without a doubt, it’s only a matter of time before all camera manufacturers embrace this innovation.
Your images possess a poetic quality: a solitary figure smoking while gazing off the shore, a woman sitting in a café seemingly lost in thought. Do you see a connection between your attraction to these evocative, introspective motifs and Leica’s enthralling history, long tradition, and classic values?
My approach to photography, much like my preference for Leica equipment, reflects a profound appreciation for the power of simplicity. While I am open to using any camera, I naturally lean towards those with a straightforward design that allows me to focus on the scene rather than the equipment. The discrepancy between the clutter of numerous dials and buttons on some cameras and Leica’s minimalist approach is striking to me, especially given that both can yield equally compelling images. This preference for simplicity is mirrored in my photography style. I often question the need for complex compositions when a simple setup can effectively convey emotion. While techniques like playing with light and shadow or incorporating multiple subjects have their place, overcrowding a photograph with too many elements, similar to the overabundance of controls on a camera, can lead to unnecessary complexity. This drive towards simplicity, focusing on the essence of imagery, may well resonate with Leica’s traditions and the practices of past photographers who emphasized the core message of their work over superfluous complexity.
As a photographer, what do you most cherish about the experience of using a Leica camera? From an expert’s perspective, what feature or quality do you most appreciate in Leica cameras?
Using a camera that bridges the historical with the modern, I’m enveloped in a profound sense of connection to the past, reminiscent of the tools used by the legends of photography. This heritage, where photography was a more laborious and revered craft, provides immense inspiration, anchoring me in that rich tradition. At the same time, the convenience of contemporary advancements enriches this experience. It’s this harmonious blend of honoring the past while embracing the ease and capabilities of the present that I find most valuable. The duality of feeling connected to the historical greats while benefiting from modern precision and ease is what I draw many inspirations from. With photography being so easily accessible today, that sense of connection to drive passion can be invaluable.
Every collector has their own preferences for collecting and storing or displaying their “darlings.” What are yours? Do you display them, keep them readily accessible for use, take them out periodically, or store them safely away?
I consider myself a “curious” collector. My habit is not just to acquire items but to deeply use and understand what makes each piece special. I’m fascinated by how objects designed for a past era can seamlessly fit into the present day, creating a beautiful contrast between their original context and current usability. Th is is what makes an item truly collectible for me. I often have to try to forget how rare or valuable they are to be able to travel with them and use them as if they were regular items, rather than just storing them away. It’s about collecting them while also integrating them into real life, allowing for a continuous exploration of their history and relevance.
Do you keep a watchlist of cameras or lenses that you want to add to your collection?
Indeed, in theory, like any passionate collector, I have a mental watchlist of pieces that I’d love to add to complete a series of collections. However, in practice, my collecting journey often takes a more spontaneous and exploratory path. Rather than strictly following a predefi ned list, I fi nd that pursuing a particular item can lead me on an unexpected historical journey, uncovering fascinating stories and pieces I never knew I was interested in. Th is approach seems to deepen my appreciation when fi nally acquiring the items, and by continuing the learning process and keeping the surprise element alive, it makes the collecting all the more thrilling.
Your two-part book “Iris & Lens,” published by Steidl, has been very well received by audiences and was accompanied by an exhibition at the Leica Store in Munich. Now, a few months down the road, what plans/projects are on the horizon for you?
Despite my private personal life, I felt the timing was right and was fortunate enough to share the knowledge and legacy with this book, Iris & Lens. The amazing reception to the books marked a significant personal milestone, leading me to believe that this would be the satisfactory extent of my public contributions for now. However, engaging with an amazing number of passionate and knowledgeable people during this process has opened my eyes even more. My interest in photography gear, in Leica, and in other historically significant manufacturers remains strong. Yet, what has increasingly captured my attention is the remarkable work of historically significant photographers and their contributions to the art form, particularly the evolution from black-and-white to
color photography. Steidl has been encouraging about pursuing this interest, so there might indeed be an exciting new project on the horizon soon!
Your favorite motto or quote?
Perhaps a quote from the song Miracle by Kob Songsit, which asserts that “Miracle is Not Real,” resonates with me. It serves as a reminder, or a motto of sorts, that while we all hope for magic, it may not show up, and the responsibility to work towards our dreams lies within each of us. Th is principle acts as a grounding force, fostering a balance between diligent effort and the acceptance of what eventually unfolds. And if all else fails, I will add my two cents here – Regret is one hell of a fuel.
Follow Ken Narula on IG at @wetzlar_com, and keep an eye out for his upcoming projects.
The book: Ken Narula “Iris & Lens”. 50 Leica Lenses to collect and photograph. Foreword by Dr. Andreas Kaufmann and Gerhard Steidl, published by Steidl, 120 pages, 100 images, Clothbound in slipcase, 21 x 21 cm, number of items: 2, English, 48,00 EUR, ISBN 978-3-96999-284-5
IN1948 I was 13 years old and owned my first camera - an AGFA BOX. My memories about photography reached back to when I was a little boy of three years. I watched my dad taking his Voigtländer 6x9 camera out of the carrying case, carefully arranging the picture and asking me to stand still until he had released the shutter, and then folding the Voigtländer and sliding it back into the leather carrying case. Sometimes I was allowed to carry the little leather case as a prize for proper posing.
He showed me how the AGFA BOX worked, how to get film into it, how to release the shutter and wind the film for the next picture. I used it and won a price at a photo-contest.
In 1950 at the age of 15 I got my first good camera, much better that daddy’s cumbersome VOIGTLÄNDER. Its bellow opened by simply pressing a button on the top of the camera, out came the lens and the bellows and the camera was ready to shoot. My classmate’s sister worked at the world-renowned camera sales company “Photo Porst” in Nuremberg. She was able to buy two cameras at employee’s discount, an AGFA ISOLETTE for me and a KODAK RETINA for my classmate, plus two of the incredibly rare
tickets for the PHOTO PORST PHOTOGRAPHIC TRAINING COURSE in the headquarters of PHOTO PORST in Nuremberg, only a stone throw from the famous Saint Lorenz Church in the center of the city. The training course was of professional quality and included not only camera technique but also darkroom practice from the development of black-and-white films to enlarging the negatives. I dare say that all I know about photography was started at this training course.
After evening lessons, the class moved to the empty camera showroom. The teacher opened the cabinets and we were allowed to take any and all cameras in hand, test the shutter, look through the viewfinder. I was intrigued by that wonderful LEICA IIIc with its beautiful great eye SUMMITAR f: 2,0. It had everything my ISOLETTE lacked: rangefinder, lens with high aperture, high speed shutter. But my ISOLETTE was bought for 105 DM (at that time $26 US Dollars), whereas the price of the LEICA was about 750 DM ($188 US Dollars). My grandfather worked at that time as manager in a printing company and the cost of that LEICA equaled his monthly salary.
No chance for two poor students who had scarcely enough pocket money to save up for the ISOLETTE and the RETINA. So we watched the teacher closing the cabinets, the LEICA with the beautiful great eye disappeared and left us dreaming.
By 1950 I had been learning English for about two years. I liked the language which was not far from my own but I found the textbook boring. I wanted to use English, and there were US soldiers and their barracks in my hometown of Fuerth (close to Nuremberg). One evening after Mass in the catholic church I noticed a US soldier in uniform leaving the church. I thought this man might just be the right one, so I simply greeted him and invited him to our home. He agreed and we became friends. He bought a Volkswagen and invited me for drives and I showed him the interesting places. He even invited me to the Nuremberg soccer arena to watch American sports, which I never understood. My spoken English improved, but I missed his company when he had finished his assignment and left Germany with his new Volkswagen, returning to Corpus Christi in Texas.
The US barracks were close to my secondary school. One day I walked along their buildings and saw a huge garbage can outside waiting to be transported to the dump. I looked into it and discovered a book with a LEICA pictured on the badly battered cover. I took it out and looked for more, and I found books by John Steinbeck and Sinclair Lewis. I took as much as I could carry and I hoped nobody had seen me, because actually I was stealing dump material. This dump material formed the start of my US English library.
The book with the LEICA on the cover was THE LEICA MANUAL by Morgan and Lester, tenth edition April 1944. It still bears the stamp “Accession 5/25 property of US Government Special Service.” My father replaced the damaged cover and rebound the pages, and there I had it again, the camera I had dreamed of and all the details including film and picture development. I studied The Leica Manual very closely without having a LEICA to try out what the book described.
The US Army played another important role in my photographic development. Not far from my secondary school was another building. The barbed wire around the barracks was open to enter this building but was continued on the rear side of it, so that nobody from outside could enter the barracks. For the soldiers however there was a little gate to be opened with a special key. The building housed an institution which bore the initials “GYA.” Its full name was “German Youth Activities.”
GYA in my hometown Fuerth was run as an open house sponsored by the soldiers assigned to Nuremberg and Fuerth. Quite contrary to German traditions everybody could enter and see what was going on there. Nobody was asked about membership documents like in a German Club. GYA was an open house, everybody was welcome. It was run by German staff. There you could find a fully equipped mechanical workshop in the basement, a fully equipped kitchen on the next story, a classroom for textile handyworks for the girls, and last but not least a fully equipped photographic darkroom with four enlargers and a separate room for rinsing the prints. That was exactly what I looked for after having finished the Photo Porst training. GYA provided films and photo paper as well as developer and fixer solution.
After this discovery I did not return home after lunch, but came late in the afternoon. Immediately after the lessons at school, I went over to my “paradise” and very soon I was responsible for the darkroom. I had to tell everyone that no cigarettes were allowed because of dust on the prints. I told everybody that cleanliness was the basic rule for the darkroom.
GYA was a grassroot project initiated by the victorious soldiers in a defeated land. Gradually the idea was repeated in other towns where the US had barracks. There exists a dissertation by HARALD LEDER Americans and German Youth in Nuremberg, 1945-1956: A Study in Politics and Culture. (https://digitalcommons. lsu.edu/gradschool_disstheses). I have corresponded with the author who still works at the Louisiana State University.
GYA did not try to indoctrinate German Youth. It just provided an open house. In my judgement this was the very best approach to make friends with the youth of a defeated country, to let them participate in the American way of life. I am much indebted to the USA and I owe much of my darkroom skill to the USA. And I am also indebted for the dumped books which founded my English library.
By reading Steinbeck’s The Grapes of Wrath I found out that the USA has had its own problems resulting from the ruthless exploitation of the midwestern grassland and the dominance of capitalism. The victor suddenly appeared as doubtful. And Sinclair Lewis’ Kingsblood Royal gave an insight in the not really solved problems of racism. But none of those problems was to be seen in the GYA. The soldiers were just nice to us and put their local problems aside.
The years of secondary school passed away quickly. I studied national economics in Nuremberg and Frankfurt, found my dear wife, had and still have three children - but I still lacked a LEICA. During my last job I worked in the advertising sector and produced a little give-away magazine called “LICHT und SCHATTEN.” As editor and author I could easily get any camera from the manufacturers, and one of those cameras was the LEICA M5 with the NOCTILUX lens. Although Leitz offered it at quite an interesting discount I returned it, because I had just bought an apartment and my money was reserved to pay it off.
And then it happened that in 1975 during a visit to one of my clients, actually a photo dealer at Mühlacker near the town of Pforzheim, the client reached down below his desk and pulled up two plastic bags fi lled with old Leica cameras and accessories. “You may be interested in these things,” he said. There were three screw mount Leica cameras, a model I and two models IIIc, and this camera looked at me with its great SUMMITAR f:2 eye and said “Take me home, take me home.” Yet I was reluctant to
spend money without having checked my fi nances, but my client said, “We know each other, do not worry about the payment, you pay when it is commodious for you.” He used the quaint German word “kommod” which still carries a scent of old Austria from the emperor’s time.
Soon it was “kommod” for me to pay and to get familiar with the lady of my dreams, albeit now a grandmother. I looked into the LEICA MANUAL and checked every detail. The IIIc Nr. 386 033 worked perfectly and became my favorite companion.
And then I read a little advertisement in the German PHOTO MAGAZIN which invited friends of old LEICAS to a meeting at Burg Staufenberg near Giessen. The initiators were Herr KLAUS GROTHE, a teacher, and Herr GEORG MANN, a camera engineer employed by LEITZ. GEORG MANN brought greetings from ROLF FRICKE of the LEICA HISTORICAL SOCIETY OF AMERICA - LHSA and we agreed to found a German Leica Historical society. I proposed the name LEICA HISTORICA as analogy to the US society and the proposal was agreed. I also proposed the name VIDOM for the magazine of the new association. In my little advertising company, the chief designer created the Logos for VIDOM and LEICA HISTORICA. I became editor of the magazine and produced 90 issues until 1990 when I retired. The magazine changed its face and took advantage of the improved printing technique but has not changed its logo and title since 1975.
(left) Leftovers from the US Army’s trashcan.
(right) Layout from THE LEICA Manual dealing with the same subject as Steinbeck’s novel.
LUNCH HOUR
by JIM LAGER
While at Leitz Rockleigh (19711975) I was always anxious to try out the latest equipment. As soon as I could get my hands on the 400mm f/6.8 Telyt, I mounted it to my Leicaflex SL. Mine was equipped with a plain ground glass screen like in a Visoflex. With Kodachrome II loaded and a Braun EF300 flash, I ventured into the swampy vacant lot next to the Rockleigh headquarters building. The lot was swarming with butterfl ies and the Telyt permitted a close up ratio of 1:6 (area coverage 6x9 inches).
It took awhile to master the Telyt’s slide focus control. The resulting transparencies were very good. It did not occur to me that it was ill advised to use electronics (the Braun) while sloshing through standing water. I survived and at “lunch” regularly visited the butterfl ies. I missed a regular lunch and more than once my supervisor Walter Moffatt would open his office window and beckon me to get back to my desk where there were customer requests to handle. A fond memory from 1972 . No auto exposure, no TTL flash, no auto focus, and no vibration reduction. Today these features are commonplace.
AT THE PATTON MUSEUM OF CAVALRY & ARMOR
by JIM LAGER
Several LHSA members who laboriously combed through the Louisville assemblage in 2014 managed to reach the General Patton Museum in Ft. Knox Kentucky. They wanted to see the General’s Leica. It was photographed through a glass walled showcase. In the book Patton’s Photographs: War As He Saw It from Potomic Books, Inc. Washington D.C. 2006 the Leica III is shown hanging off Patton during World War II.
(top) Leica III with 5cm lens at the Museum. (bottom) Front book cover showing Leica III with 5cm Summar.
