Like any street photographer, the fundamental
influence of Henri Cartier-Bresson has remained over the many decades when I
carried a mechanical camera around the world.
While every camera I have used and use is “my
favorite” at that moment, every time I load my 1953 Leica IIIF and use it I am
amazed how easily it becomes part of my hands, my eyes, and in some way my
identity.
Of course that was also the camera Cartier-Bresson
made famous.
So, I took my Leica to town for a few shots.
But first, here is the camera:
What is historically attractive to my Leica is that
it is one of only 2,000 cameras that were assembled in Canada (the serial number attests to that). In that sense,
it is a collector’s dream.
I like experimenting with 1940’s Russian/Ukrainian Leica-clone
lenses. This one has a distinct character in the contrast it gives to B&W
photos. Note that I always build lens shades by salvaging parts of old and
broken lenses…
Ok, so there were artists on the town square and a
lot of people walking around. Wanted to maximize the capacity of the lens, so
chose a few frames specifically for that purpose.
This photo was taken with a lens opening of 5.6 and
a speed of 1/75th second using ASA 100 Croatian Efke 35mm film. My
goal was to capture as much detail as indirect light could allow the 60 year
old lens to capture. Of course I loved the face of the donkey materializing in
front of my eyes!
I also wanted to show how, with a slight and
purposeful off-focus setup, this lens can give a floating feeling in full
sun/direct light. I took this one with the lens closed to 11 and a speed of
1/100 second.
… It is amazing that after more than 30 years of
using this camera I still think of it a watchmaker’s marvel. I have NEVER had
this camera services during these decades and as hundreds of miles of film have
gone through it.
It still sounds like the first day I used it.
July 25, 2018
© Vahé A. Kazandjian, 2018
