Wednesday, August 12, 2015

LEICA – THE MOST MAGNIFICENT SHOOTING EQUIPMENT IN THE WORLD



I came across a rather interesting publication called “The Brander.”  It was written shortly before Leica moved to their new headquarters in Wetzlar.  According to their ‘About us’ information, “A steady flow of new stories about brands and their creators, generated by renowned journalists and high-end photography - that is "The Brander". The independent publication of Zurich’s branding agency Branders portrays big, small and exclusive brands from all over the world. Feedback? Yes, please.”  www.thebrander.com

The article caught my eye and I received authorization to republish it here.  The article was written by Franziska Klün with photographs by Henning Bock, translated by Tessa Pfenninger.
Mr. Bock's photographs appear at the end of the article.


Dr. Kaufmann in the lobby of Leica AG in Solms

Once a revolutionary and a Waldorf school teacher, now an entrepreneur and a cowboy: Andreas Kaufmann saved iconic photography brand Leica from going under.Almost ten years ago, Kaufmann, having come into a significant inheritance, jumped in to save the legendary camera manufacturer from bankruptcy after the company failed to make the transition to the digital era. Today, Leica is on expansion course again.

Situated roughly in the middle of the state of Hessen, about an hour away from Frankfurt am Main, lies an unremarkable town called Solms, the seat of the company where the stuff of photographers’ dreams is still being made. One hundred years ago, Leica invented the first small-format 35mm camera, thereby revolutionizing the world of photography. Since the 1980s, the company has been manufacturing its high-tech products in these plain, flat-roofed premises with corrugated facades in Solms. Cameras that Magnum photographer René Burri once described as the most magnificent shooting equipment in the world. Despite delivery periods of up to 12 months for one of these iconic devices "Made in Germany," the waiting list boasts such names as Elizabeth II and Brad Pitt.

To date, however, visitors are still greeted at Leica with the words: "Please don't be alarmed." Conditions inside the building are a lot more primitive than might be expected. The reception area with its over-dimensional silver-colored Leica and shiny showcases lives up to its representative task, but once you pass through, it is like traveling back at least two decades in a time warp. Empty vending machines from a previous era stand about in harshly lit corridors. Through glass sectioning, employees can be seen working in crowded conditions. Wearing white lab coats, they sit bent over lenses and cameras. This is where the famous devices are made, with a single camera potentially costing as much a brand new VW Golf.

Back to the roots

Soon, however, the workforce will be leaving Solm with its cramped conditions and depressing corridors. A new production site is being built in Wetzlar, only ten kilometers away. Next year, one department after the other, a total of 1,500 employees, will be relocated to the large production complex in Wetzlar, back to where it all began. Wetzlar is where, in 1913, Oskar Barnack, the head of development, invented the small-format 35mm camera and helped the company, named Leitz in those days, achieve global fame.

Leading the way back to this hallowed location is 60-year-old Andreas Kaufmann, who is so busy he doesn't even have an office in Solms. He lives in Salzburg, Austria, and is always on the go, which is why arranging a meeting with him here in Solms can easily take up to six months. Kaufmann is Chairman of the Board of Directors at Leica and currently owns 55% of the company. In 2004, when he bought into the company, it was teetering on the edge of bankruptcy. Asked about this period, Kaufmann says: "I reached a point in life where I asked myself: Do I want to remain a teacher forever, or should I start doing something with the legacy I was entrusted with?"

First revolutionize the world, then save Leica

In his previous life, before Kaufmann rescued this important protagonist of photographic history from ruin, he says his main objective in life was to revolutionize the world. In his student days, Kaufmann studied political science, economics and literature, and wore his hair long. He continued dabbling in politics and was present at the founding of the Grüne Partei (The Greens), a green political party founded in the early 1980s in West Germany. He also taught at a Waldorf school for 15 years.
Kaufmann and his two brothers were left a large inheritance by their aunt. While nobody knows the exact figures, the inheritance was large enough for the brothers to form a holding called ACM with the purpose of becoming stakeholders in undercapitalized German companies, prioritizing those that manufactured in Germany. Leica numbered among those companies.

To be sure, Leica’s problems were entirely self-inflicted. Right until the Kaufmann brothers became stakeholders in 2004, the company managers in Hessen believed that the digitalization of the camera industry was a passing phase they could ride out. Despite having some revolutionary ideas in their portfolio that might have saved them, Leica completely failed to make the transition to digitalization until the year 2006. Under Andreas Kaufmann's aegis, and at a time when cell phones featuring integrated cameras were already quite common, Leica introduced its first digital camera. It took three long years before the turnaround could be declared successful: Since 2009 Leica has been operating in the black. At present, their turnover has achieved almost 300 million euros and some 140,000 cameras leave the manufacturing location in Solms annually. A long and winding road: Apparently Kaufmann’s brothers soon found the road too rocky, and in 2005 they sold their shares. Something Kaufmann doesn't comment on. In retrospect, some say the first phase was sheer madness or a kamikaze mission. Kaufmann himself says: "It was an act of faith."

He believed in Leica, because he believed in the people behind Leica. He says: “What the skeptics didn't see at the time was that we were dealing with highly qualified, extremely committed people who would really be able to achieve something if they were given the opportunity to do so." Kaufmann provided another massive cash injection. At one point he owned 96.5% of the company. Wasn't he ever worried he would end up losing everything?

I'm not afraid to live. Our destiny is in God's hands, so you might as well have a little faith and stop worrying.

And he certainly appears to be very laid-back: Wearing a loosely fitting suit and dark glasses, he exudes high spirits. People who know Kaufmann well say he gives himself no airs and that he is an extremely genuine person. Even under pressure, like on this autumn afternoon, after having traveled long and far by car and plane, with lots of delays, nothing is too much trouble for him. Would you mind answering our questions while you're being photographed, is that okay with you, Mr. Kaufmann? – Sure, no problem, he says, and smiles. He replies in lucid, well-turned phrases and follows the photographer's instructions cheerfully. And despite being pressed for time, he asks some questions about the lenses in use. After all, Kaufmann is a passionate amateur photographer.

When asked about the inheritance his aunt left to him and his brothers, he tells us how they were prepared for it from an early age. "We were raised very frugally. That had a strong impact on how we view money." They received 5 euros pocket money that was all. "People who don't maintain an especially costly standard of living take risks more easily. After all, if things go wrong, you're still alive. So really, money is only a means to an end, a facilitating instrument for my interests." Kaufmann also feels that getting up every morning in order to fight another round to keep Leica on the successful path of the past few years is in part for his aunt.

The capital I inherited was never intended to be spent on consumer goods. It was always clear that it should be invested in business, should be handled in a responsible manner.


Can Kaufmann imagine a life today without Leica, without working? "In our family we say: Cowboys die in their boots." To him, Leica is a long-term project that he will never tire of. In any case, lazing at the Côte d'Azur is not his idea of fun; working makes him much happier. "Retirement is not for me." And then it's time for him to leave again, back to Frankfurt where he has a pressing dinner engagement. With a final cheery smile, he gets into his car and drives off.















I have mentioned on several occasions that one reason for the superior quality of Leica equipment is the fact that it is mostly hand made.  The Leica bench made process is totally without any assembly line work.  This allows for the various assembly steps to be accompanied by immediate checks and rechecks, something that is impossible to do with assembly line work.  The pictures in the Branders article clearly show the total absence of any assembly line, that the equipment is totally hand assembled on individual desks in clean rooms throughout the factory.

From my own visits to the factory I can attest that quality and quality control during each step in the manufacture and assembly of Leica cameras and lenses is paramount at Leica.  No part, assembly or sub assembly will ever go to the next step in the production unless they met the rather high quality standards set by Leica.  That, combined with tolerances much tighter than those applied by other camera and lens manufacturers assure the superior quality of anything with the Leica name.

For the original article go to: The Brander


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Next Friday - Cumberland: Island of Conflict and Change by Jeff Kauck






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Tuesday, August 11, 2015

“RICHTER” LEICA III


I think every Leica enthusiast remembers the Leica camera that ‘started it all’. I am one of the fortunate individuals that can truly say that I have used Leicas all my life, well, almost.

I grew up in the photography business of my father in Germany. This naturally exposed me to photography and cameras at an early age. It was always my father's dream for me to take over the business once he retired. That, however, does not mean that I was pushed in that direction, to the contrary, I was always encouraged by my parents to follow my own interests, of which there were many. But my dad also always encouraged me to take pictures of my own. I must have had some noticeable interest, because on my fifth birthday he presented me with my Leica No. 1, a Leica III with 50mm f/2Summar and a Steinheil Culminar 135mm f/4.5. That also included a Braun Viewfinder, adjustable from 35mm to 135mm and aLeitz VACU flash synchronization device.


Leica III with Summar 50mm f/2

Leica III back with Foto Richter Barntrup Nameplate

Leica III with Summar 50mm f/2 and FIKUS Lens Shade

I am convinced that starting out with this camera ultimately made me a better photographer for a variety of reasons. My dad did not give me a light meter, instead he taught me the sunny 16 rule and for flash, there was never any automation until much later in my life. I simply focused and then had to use the old guide number divided by distance formula to determine the aperture setting. Considering that I also had to deal with a collapsible lens, I had ample opportunity to make mistakes, and mistakes I made, many.

After wondering about some very blurry images, even though I knew I had focused my lens quite carefully, and after many explanations from my dad, I eventually remembered to pull out the collapsible lens before I started shooting. I also soon figured out that taping a little guide in back of the flash with the guide number/distance formula eventually lessened flash exposure mistakes, as did a note with the sunny 16 exposures on it.

Steinheil München Culminar 135mm f/4.5

My Laica III with 50mm Summar 50mm f/2,
FICUS Lens Hood, Braun Universal finder and VACU Flash Synch


This isn’t meant to give me a pad on the back. I truly believe that starting out totally manually made photography in the long run a lot easier for me. Even though I have since switched to digital Leica equipment, I still use film occasionally, for no other reason than not to lose my touch. To this day I have no problem getting correct exposures without the help of a meter. As a matter of fact, once I did start using a light meter, it gave me cause to explore what these instruments are capable of beyond just plain camera settings.

Even now, working in my studio or doing architectural and other photography, I still rely very much on my light meters. Even in these days of Photoshop, I still approach my photography as in the film days. That includes careful light readings and all else that I can do to get the shot right. That certainly makes post production a lot less time consuming because generally, I don’t have to correct for mistakes.

Having grown up with rangefinder cameras, which of course included the use of add-on viewfinders, never bothered me. I have owned several of the Leica R models, but inevitably I always gravitate back to the rangefinder Leicas.  The electronic Visoflex for some of the late model digital Leicas essentially is the same thing.

Thus my good old Leica III from so many years ago has effectively been the starting point in a long succession of cameras which, with the exception of the R models I have owned, have been further developments of the Leica III which, in itself, is essentially nothing more than a further development of Oskar Barnack’s Ur-Leica prototype. No other camera anywhere can look upon such a long history and no other camera ever will.


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

All ads present items of interest to Leica owners.
Inventive Camera Bags for All of Your Gear


For more information on KOMARU and for orders go to: www.taos-photographic.com


For more information and pre orders go to: www.lenstab.com

Next Friday - Cumberland: Island of Conflict and Change by Jeff Kauck






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