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A theory as to why HCB would only use the collapsible 'cron


jeremy_tok

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It's precisely because the lens is the least sharp among Leica's standard

lenses. Because he scaled-focussed so much, a later, sharper lens would show up

his focussing misjudgements more clearly and would even distract from the

composition.

 

It has nothing to do with any subtle properties of the lens. He must have

complained his whole life, "They don't make 'em as soft as they once did!" He

was said to have collapsibles multi-coated by Leica, so it couldn't be for any

occultish glow. It has to be for the softness which covers up focussing

inaccuracies.

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I guess you have never actually OWNED a perfect condition collapsable Summicron. They blow the Elmars, Xenon, Summarit, Summilux 1 and 2 out of the water from 2.8 down.

 

Of if the lens is foggy, as most are, or damaged/yellowed they can not be compared.

 

Once I picked up a like new model I dumped my current gen Summicron because it just didn't make that much of a difference, and was worth more on the used market.

 

Final note: The Collapsable has a very flat field so it is sharp right into the corners even at f3.5. 50 years later the new Biogon 35 still can't manage that trick, not to mention the Summicron R.

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I'd also heard that he often used a Zeiss Sonnar, but I think I heard it here, so there's no guarantee it's accurate information.<P>

<i>Because he scaled-focussed so much, a later, sharper lens would show up his focussing misjudgements more clearly and would even distract from the composition.</i><P>

From his published photos, I don't see that his focusing was often inaccurate or that his images were generally soft. The idea that a lens with slightly lower resolution will mask focusing errors from zone focusing inaccurately is silly.

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I doubt that HCB had any such complicated rationale. When he bought the lens it was the best of the Leitz stable. The Summarit was just a coated Xenon and weighty bulk that would have required a specific reason to be hung on an otherwise ergonomic body. Since his tastes were simple he probably liked the collapsible feature because of its compactness. And then when later lenses were offered he probably didn't regard the improvements as significant enough to change his MO. Artists of his caliber are often very practical in their choice of tools. If they do the job and are convenient to manipulate the artist will rely on his innate abilities rather than depend on his tools to impart a footprint to his work.
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He just used what was available at that time. Just like people use digicams with zoomlenses today. The fact that this lens was collapsible was just a plus; since now he could use his camera as a "sniper cam" not to be noticed in the crowds. I don't think HCB had a theory on this like what is sugeested in this thread. He was simple, his photos were simple, his gear was simple hence he could concentrate on the subject. Simplicity triggers the senses and creativity. Like a famous photographer once said: "all that is needed for a good photograph is simple observation". This man could probably make a great photograph with a self made pin hole camera.
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>I'd also heard that he often used a Zeiss Sonnar, but I think I heard it here, so there's no

>guarantee it's accurate information.

 

If you dig around on the MAGNUM site you will find pictures of him in China with a IIIc and

Sonnar.<div>00Ht7L-32106884.jpg.21497f008b8d55a4634418ab4aef71df.jpg</div>

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I agree with Al, HCB's work was all about composition and content.

 

From what I have read he never developed or printed his own film, he would just turn the rolls over to an assistant when he returned from a trip. If he were active today I have little doubt he would be using a small quality digital and electronically transfering his work from the field or just turning in memory cards upon his return.

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Reasons why HCB shot with a collapsible Cron:

 

- Compact. He liked to travel light and unobtrusive. It fit nicely in his jacket.

 

- HCB preferred low contrast prints. The combination of the collapsible Cron and 777

developer, along with flat printing gives you exactly that look.

 

- As far as I know the multi-coating story is an urban legend.

 

- HCB treated his shooting as a diary. Once he found this lens, which produced the results

he liked, he stuck with it so there would be a consistency to his work over the decades.

Think of it like this. You see the world with the same set of eyes, through your entire life.

You don't turn 60, get a new set of eyes and suddenly the world looks different. Same for

his photos. The look of his work is one uninterrupted line. HCB's work is very

recognizable, not only for it's composition and subject matter, but it has a certain look or

visual signature, just like the palette of a painter does.

 

 

And on a technical note, the collapsible Summicron was a huge improvement over all pre-

war designs. At f8 it is very, very sharp. HCB shot mostly at f8 with focus set to 5 meters

(15ft)

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FWIW HCB's favourite lens was discussed back in 2001:<p>

 

<<a href="http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=002l93">photo.net/bboard/q-and-a-fetch-msg?msg_id=002l93</a>><p>

 

Seems the consensus was that he mostly used a Zeiss Sonar 50mm f1.5.<p>

 

FWIW, the "assistant/technician" he used was actually more than one. First it was "Pierre Gassmann", then from the mid 1960s onwards "Georges Fèvre".<p>

 

Which raises an interesting point - every time you look at a HCB print, you're really looking at a collaborative work created by The Henri (who pressed the button) and PG/GF (who did everything else).

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>Which raises an interesting point - every time you look at a HCB print, you're really looking at a collaborative work created by The Henri (who pressed the button) and PG/GF (who did everything else).

 

The "everything else" should include Leica (the body) and Zeiss (the glass). :)

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