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Thursday, February 29, 2024

DANCING BEAR AND HIS MAGIC LENS - THE LEITZ 800mm f/6.3 TELYT


                                                                                                                                                     Photo by Mark Duncan


By Frank Breithaupt
Reprinted by permission
From News Photographer
December 1978


It was early morning, one hour before the vacationing President was scheduled to make his way by raft down the Salmon River.  Around a bend, half-mile downstream were several photographer on a swinging footbridge.

When the President’s raft came into view, Harry Cabluck started making exposures with his hand made 800mm Leitz f/6.3 lens at 1/125th of a second with his tripod mounted camera on a swaying bridge.

Cabluck, a 10 year veteran of the Associated Press, insists that the shot shouldn’t have worked.

Instead, he captured a classic last august – a tight photo of President Carter’s raft floating down the river with the President standing monumentally in the bow like the famous Leutze painting of George Washington crossing the Delaware.

“It’s the first time in my life I’ve ever planned something and executed it just the way I thought it would be,” Cabluck said.  “Hell, even getting married wasn’t planned out that way.”Cabluck has a history of getting pictures no one else does because of his planning and his 800mm prototype: the “agony and the ecstasy” at the 1976 Olympics, the Carter family after the Inauguration walking down Pennsylvania Avenue with the Capitol dome in the background, and key plays in baseball games where his attachment to the lens began.

With AP in Pittsburg, Cabluck borrowed the prototype from Walter Heun, technical director for E. Leitz, Inc., for use in the 1974 All-Star game in Pittsburg.

In Heun’s hands, the lens had been used to photograph the Apollo 8 launch on December 21, 1968, of Borman, Anders and Lovell on a 147 hour lunar flight.

Once in Cabluck’s hands, it was lost to Leitz.  “They figured it would be better to sell it to me than to just let me have it,” Cabluck explained.

With his 800, Cabluck said that getting the picture is not all that difficult.  “It’s not so much me as the lens,” he said.  “A lot of people think that it’s me, but anybody with that lens in their hands is going to make a good picture.”

Well, not quite.

As Hal Buell, AP’s assistant general manager for news photos put it, “Harry knows how to use that lens.  And when to use it.  It’s an excellent piece of glass and the whole thing comes out to nice pictures because Harry’s a very talented buy.”

Putting himself into a situation where he can use his lens is where Cabluck”s real talent comes in.

With a call to The Idaho Statesman, Cabluck checked lighting, distances and angles.  He talked to the White House people.  The weight of the lens – 32 pounds – was a factor.  “I figured, what the heck, I’d carry the 800 out there.  It’s a pain in the neck, but I just live with it.”

The white House said he wouldn’t have to carry his equipment – two Halliburtons, one for the camera, the other for the 800 – more than 50 yards from the helicopter landing area to the footbridge.  “I said great!  I can carry everything 50 yards.”

But then surprise.  The helicopter left and Cabluck had to lug his two cases a mile to the pickup point.  “It seemed like five in that altitude.  And I am just cussing myself all the way – you idiot, I said, the pictures won’t work, they’re soft, the film is all bad, the light was so bad… an 800 from a swinging bridge, the raft is moving right at us, the bridge is moving, my heart is beating and it shouldn’t have worked.  Who would shoot an 800 on a tripod at a moving raft even if the camera was bolted to the earth?”

But after processing it was all worthwhile.  Weeks later he was still doctoring his elbows from carrying his cases that Idaho mile.

 

During his decade years with AP, Cabluck has been sent as far north as the Montreal Olympics, as far east as Yankee Stadium, as far south as San Juan, P.R., and as far west as Beijing, China.

Cabluck has become known as “Dancing Bear and his Magic Lens.”

“There’s just a certain superstition I have about it – I’m not superstitious, ordinarily, except when it comes to that lens.”

Cabluck was a staff photographer at the Fort Worth TX Star-Telegram for 11 years (his brother, Jarrold, is a Fort Worth freelancer).  Harry Cabluck recalled the first shot he sent fro AP over the Star-Telegram transmitter – the aftermath of an unconfirmed tornado in 1958:

“It was just a cop standing on the side of a building.  A crummy picture.  But I got all caught up in the excitement of having my picture transmitted.  I was the guy that made the print, wrote the caption, wrapped it around the drum and watched the thing go.  It was a big thrill.”

Cabluck’s superstition may be a gag with AP staffers.  Nevertheless the say, “This looks like a job for Harry and his magic lens.”

And Harry does the job.

______________________________________________________


The Leitz 800mm f/6.3 Telyt-S  was of a similar optical design as its shorter companions, the 560mm f/6.8 Telyt and the 400mm f/6.8 Telyt with one definite difference.  While the two shorter lenses had only two elements in one group, the 800mm lens was designed to consist of three elements, also in one group.  That offered the additional optical corrections needed for such a long lens.




For easier carrying, the lens had a built-in handgrip,which also contained a gun type sigt for easier initial aiming.


Technical Data:

Lens construction:3 elements in 1 group
Focal length: 800 mm
Diagonal angle of view:3.1°
Aperture: ƒ/6.3...32
Min. Focus:41 ft (12.5 m)
Length: 31.1 in (79 cm)
Weight: 15.12 pound (6860 g)

______________________________________________________________________________________


If my memory serves me right, the 800mm Telyt-S sold for 20 thousand dollars when it was first introduced.  A while later Leica had a promotion for that lens which entailed to buy it at any authorized Leica dealer and Leica would throw in a car, a VW Fox.


For other articles on this blog please click on Blog Archive in the column to the right

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Tuesday, February 27, 2024

THE LEICA 35mm f/2 APO SUMMICRON M-ASPH


Biker Boy
Leica M10-R  ISO 100 1/1000th f2.4  Apo-Summicron-M 1:2/35 ASPH


By Jonathan Slack

Introduction

About 10 or 11 years ago I went to Solms for a visit, I was a little early, and when I arrived the receptionist told me that Jesko was in a meeting and would be a bit late, and would I like to fill up the time playing with this lens. Of course.

The lens was a 50 Summicron, and there had been rumours of a replacement, so I took it at face value. I wandered around outside taking a few shots, and then sat down and put them on my computer. I'm not sure that my jaw actually dropped, but I was certainly gobsmacked, the images had a real clarity with wonderful bokeh, they just pinged out at me.

Fen Morning
Leica M10-R  ISO 100 1/350th f6.8  Apo-Summicron-M 1:2/35 ASPH 

Of course, this was my first sight of the 50 APO Summicron M, and to give myself credit, I immediately realized how special it was, even when expecting something 'standard'.

Before that my only experience of APO lenses was the 75 APO Summicron M, which was already a firm favourite of mine. That lens also combines creamy bokeh with real precise sharpness. Every time I see someone use the word 'sterile' in conjunction with this lovely lens it hurts afresh!

Since that day we have seen a whole range of APO Summicrons for the L mount, and these also have been characterised by this combination of wonderful bokeh and stunning sharpness. Absolutely the opposite of 'sterile' these lenses produce a consistent and lovely look, not harsh at all, just right.

Shingle Street Lagoon
Leica M10-R  ISO 100 1/750th f6.8  Apo-Summicron-M 1:2/35 ASPH

Now we have the fourth Apochromatic M lens (after the 90, 75 and 50 Summicron lenses). The Apo-Summicron-M 1:2/35 Asph. I had the lens for a month from September last year.

Although looking at the first shots wasn't quite such an epiphany as the 50 APO (I was expecting to be blown away) it was still a revelatory experience!

Reading Peacefully
Leica M10-R  ISO 100 1/250th f4.8  Apo-Summicron-M 1:2/35 ASPH

Apochromatic correction

This is the term used to describe the reduction of colour aberrations in lenses, it requires special glass and is necessary if you want to produce the very best MTF figures.

For many years Leitz had their own glass production facility, and it was here that early glass materials to minimise colour aberrations were developed. Walter Mandler used these in the development of the early APO lenses

Estuary of the River Ore
Leica M10-R  ISO 100 1/1000th f5.6  Apo-Summicron-M 1:2/35 ASPH

The 180mm APO-Summicron was the first APO lens developed for the consumer market and was introduced in 1994. The intention was to get the best possible performance wide open, implementing APO technology to achieve this. This lens has become a legend, and now changes hands for £7,000 to £8,000 in good condition.

During the 90s Leica made a number of other APO R lenses including the 180 f2.8 Elmarit-R, the f4 280mm APO-Telyt-R, and the 400mm and 560mm APO-Telyt-R modules.

These APO glass elements are not easy to handle during production and during this period Leica became experienced in implementing the technology,

Haws
Leica M10-R  ISO 160 1/60th f4  Apo-Summicron-M 1:2/35 ASPH

The first APO lens for the M system was the 90mm APO-Summicron-M Asph, released in 1998. Here they combined Apochromatic correction in combination with newly developed aspherical surface polishing processes.

The 75 mm APO-Summicron-M Asph was released in 2005, and in addition to APO and Aspherical technologies, it included a floating element, just like it's brother lens the 50 summilux Asph.

The third APO M lens was the 50 mm APO-Summicron-M, and this is the lens I referred to in my introduction, Thorsten Overgaard in his lens compendium refers to it as 'The World's best 50mm'. I think that was almost certainly true on it's release in 2012,

Since then Leica have mostly been concentrating on the APO-Summicron range for the L Mount, at the time of writing 5 lenses are available: 90, 75, 50, 35 and 28mm the 24 and 21mm lenses are scheduled to appear during the next year or so.

Middle Fen Sunrise
Leica M10-R  ISO 100 1/350th f4.8  Apo-Summicron-M 1:2/35 ASPH

Apo-Summicron-M 1:2/35 Asph

Leica have pulled out all the stops with this lens.

There are 10 elements consisting

3 Aspherical lens elements (with 4 aspherical surfaces)

6 elements using Apochromatic glass

3 elements made of glass with a high refractive index.

In addition they have developed a new focusing mount capable of focusing down to 0.3m. From 0.7m to infinity is rangefinder coupled with a similar throw as other classical 35mm M lenses. From 0.7 to 0.3 metres you will need to use Live view or the EVF for focusing (or an SL camera). 

Noses
Leica M10-R  ISO 100 1/125th f2.4  Apo-Summicron-M 1:2/35 ASPH

Remarkably the MTF figures for this lens are almost as good as those for the much larger SL 35mm APO, which, Peter Karbe feels, is the best 35mm lens available on the market today.

The lens diameter at 53mm is the same as the 50 APO.  Without the screw in lens hood the length is 40.9mm as opposed to the 50 at 47mm, with the lens hood attached it's 49mm. It weighs 305gm as opposed to the 300gm of the APO 50, so, to all intents and purposes it's the same size as 50mm.

MTF Curve Comparison between 35 APO-M and 35 APO-SL
F2 (top row) and f5.6 (bottom row)

Construction Comparison between 35 APO-M and 35 APO-SL

It was This Big
Leica M10-R  ISO 100 1/350th f2  Apo-Summicron-M 1:2/35 ASPH

Handling

Like it's sibling, the 35 is just a perfect match for an M camera, it's small and relatively light and beautifully made and finished. It has a thumb tab, but unlike the 50 it has a screw in lens hood, which is shorter than the one on the 35 summicron Asph, more like the lens hoods on the late lamented summarit lenses, or indeed the Leica Q. 

The close focus is really useful, and if you don't have an EVF with you it's easy enough to focus using the LCD. On an L mount camera it's even simpler. I think perhaps I would have liked to have a slightly more positive step when focusing closer than the coupled rangefinder, but this is really nitpicking (and it might have changed on the production lens).

Is that the new Leica lens?
Leica M10-R  ISO 100 1/350th f4  Apo-Summicron-M 1:2/35 ASPH

Image Quality

Image quality is nothing short of magical; from f2 and also stopped down, it's consistent and without obvious flaws beyond a little vignetting. It's sharp right to the corners, with hardly any fall off, even at f2.

As is the case with other recent APO lenses the transition between the ultra high definition in focus to creamy bokeh out of focus area is gentle and swift.

Most of my test shots were with the M10-R (and all the ones in the gallery), there is no question that the 35 APO resolves well enough for the 40mp sensor (and the 48mp of the SL2).  I would imagine it is future proofed against higher resolution sensors in M and L mount cameras to come.

The Mouth of the River Ore
Leica M10-R  ISO 100 1/750th f8  Apo-Summicron-M 1:2/35 ASPH

Conclusion

Just like the APO-Summicron 50mm the 35mm is an expensive lens, this is because the glass is expensive and hard to make, the production is problematic and the tolerances are very tight. Making such a small lens of such good quality is not simple. Hence the cost. On the other hand, it is a lovely object, like a beautifully made wrist watch, perfect in form and function.

I've been lucky enough to have had several discussions and some email correspondence with Peter Karbe about both the M and SL APO Summicrons. I think that giving up the bragging rights of wide apertures in order to make the very best quality lenses is admirable. It has the added advantage of keeping the size down.

Shingle Street
Leica M10-R  ISO 100 1/750th f5.6  Apo-Summicron-M 1:2/35 ASPH

Leica has applied this philosophy over 15 years to produce 5 SL and 4 M APO Summicrons; lenses which are consistent in performance and 'look', a real asset for the serious photographer.

There is a feeling amongst many photographers that modern lenses don't have a 'soul' like vintage glass; that they all look the same.  I would really dispute that, and I think that these in particular have a lovely look and feel about them, quite unlike any other lenses I have used.

Dead Swan Lake
Leica M10-R  ISO 100 1/180th f5.6  Apo-Summicron-M 1:2/35 ASPH

Developing and manufacturing this 35mm lens also shows Leica's serious intentions for the M system going forwards. Perhaps this isn't a surprise, but it's nice to have it confirmed.

This is a significant lens announcement for Leica, but more than that it's a lovely lens of peerless quality. Something to be used as a standard lens by the discerning photographer for years to come.

Hear Ye
Leica M10-R  ISO 100 1/350th f5.6  Apo-Summicron-M 1:2/35 ASPH

Acknowledgement and Links

First of all to Emma, who continues to cook delicious meals and humour me whilst I'm hunched over my computer at the other end of the kitchen (or left behind on dog walks crouched over a bent stick!).

Special thanks to Peter Karbe who has been incredibly kind with his time and technical input with respect to Apochromatic technology and its history with Leica.

Thank you to Stefan Janssen who has been really helpful, responsive and forthcoming with information (and lenses!). Good Luck with Tiny.

Thanks also to Stefan Daniel and Jesko von Oeynhausen at Leica, always helpful and fun to deal with.

Thank you to Evris at Rock & Roll Straps for supplying the lovely Riviera strap in the image below (and so many more!).

My partner in crime Sean Reid has just published a long and detailed article based on long term field testing and comparison studio tests of the M APO 35/2.0 ASPH. Using an M10-R and M10 Monochrom, he compares the new lens side by side with the current M 35/2.0 ASPH and current M 35/1.4 ASPH. He also tested the resolution of the APO 35 on the Leica SL2. , Sean's reviews are always worth the price of entry, find them at www.reidreviews.com.

More Images Here


North Norfolk Coast
Leica M10-R  ISO 100 1/3000th f4.8  Apo-Summicron-M 1:2/35 ASPH

Chillisford
Leica M10-R  ISO 100 1/250th f4  Apo-Summicron-M 1:2/35 ASPH

Chillisford
Leica M10-R  ISO 100 1/320th f4.8  Apo-Summicron-M 1:2/35 ASPH

Orford Scallops
Leica M10-R  ISO 100 1/60th f4  Apo-Summicron-M 1:2/35 ASPH

Matty
Leica M10-R  ISO 200 1/60th f2  Apo-Summicron-M 1:2/35 ASPH

Jonathan Slack

Photographs


A MASTERPIECE OF OPTICAL ENGINEERING



The Leica APO-Summicron-M 35mm f/2 ASPH offers uncompromising reference-class optical performance along with a new close focus functionality in a compact lightweight build, the 35 APO-Summicron-M represents the absolute top performance available in its focal length.

The 35 APO-Summicron-M houses four aspherical surfaces, a floating element group, six specialized elements with anomalous partial dispersion and three high refractive index, earning its APO designation and boasting a level of performance never before seen in a 35mm M lens. And it does all this in a compact and lightweight package, just over 11 ounces.

The new lens that pushes the limits of what is technologically possible to deliver an uncompromising optical performance.  The APO-Summicron-M 35mm f/2 ASPH quite literally goes one step further, by facilitating true close-up shots. Its minimum focusing distance of just 0.3m surpasses all previous M-lenses. With a beautifully engineered detent at 0.7m on the focus ring, the user can feel when the lens steps into the close-focus range and therefore know when they must switch to Live View on the screen or EVF on an M. Truly a masterpiece of German engineering for next-level authenticity.

The exceptional performance capability is made possible by the elaborate lens design, combined with the high-precision manufacturing processes at the Leica production plant. The ten lens elements are divided into five groups; three elements feature aspherical surfaces (one of them on both sides). Six elements are made of glasses with anomalous partial dispersion, which not only reduce chromatic aberrations to almost zero, but also provide apochromatic correction – a quality that is rarely found in lenses of this focal length, and a first for a 35mm lens in the M-System.

Initial deliveries of the Leica APO-Summicron-M 35mm f/2 ASPH will start within the next week for a price of $8,195. As with any major Leica launch, and especially true for exotic, reference-level lenses like these, supply will be extremely limited for a number of months.

Leica APO-Summicron-M 35mm f/2 ASPH at-a-glance:

  • (1 ft) Minimum Focusing - Closest focusing distance of any M lens ever produced
  • Most compact 35mm M-System lens
  • Unparalleled optical performance
  • 10 lens elements in 5 groups with 4 aspherical surfaces & a floating element design
  • E39 Filter Thread
  • Weight: 320g / 11.3oz
  • Length: Approx. 40.9 / 49.3 mm (without/with lens hood)
  • Diameter: Approx. 53 mm (without lens hood)


For other articles on this blog please click on Blog Archive in the column to the right

To comment or to read comments please scroll past the ads below.

All ads present items of interest to Leica owners.

_______________________________________________________________________

EDDYCAM - the first and only ergonomic elk-skin camera strap     
 www.eddycam.com        

      



Buy vintage Leica cameras from 
America's premier Leica specialist 
www.tamarkin.com

 http://www.tamarkin.com/leicagallery/upcoming-show


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Please make payment via PayPal to GMP Photography

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Please make payment via PayPal to GMP Photography

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