Wednesday, January 4, 2017

THE LEITZ (LEICA) GLASS RESEARCH LABORATORY





 
Photo: Marlies Amling

People often wonder if Leica makes their own glass for the manufacture of their lenses.  They used to, as a matter of fact, they operated their own glass research lab where they developed many of the exotic types of glasses that are used in their lenses today.  However, for a relatively small company, that proved to be unsustainable, and they closed the lab as well as their glass manufacturing operation.

The Leitz Glass Laboratory, which operated until 1989, was the driving force of Dr. Gustav Weissenberg, of the Mineralogical Institute of Marburg, Germany.  The Institute grew crystals, and Weissenberg’s idea was for it to create optical glasses as well as to meet the demands by optical designers for high refraction glasses to correct aberrations.  He wanted to replace the highly radioactive thorium oxide in existing glasses with an oxide free of thorium.  So, in 1949, the Leitz brothers established a glass laboratory within their company to pursue Weissenberg’s research.

After lengthy experimentation the glass laboratory discovered that lanthanum oxide offered the best chances for success.  They found that glasses could be created with a refractive index of n 1.7.  However, such glasses could not be made in large quantities because their strong propensity for crystallization made it difficult to prevent crystal grooves, or striae.  Other substances, such as zirconium oxide, yttrium oxide, and tantalum oxide, had to be incorporated to produce more stable high-refraction glasses in large numbers.  Leitz then granted the German company Schott (Schott is part of Zeiss, headquartered in Mainz, Germany) a license to produce the new LaK 9 glass exclusively for Leitz.

Meanwhile, the Leitz optical designers wanted to design lenses that were even faster than f/2, and the dreamed of doubling the speed to f/1.4.  This required glasses with refractive indices close to n 1.8, and for this they had to find the right technology.  Evaporation at the surface of the molten glass while the high temperature in the crucible is being lowered can easily cause striae, which can only be prevented by stirring to produce constant blending of the molten mass.  In order to accomplish this, technicians had to incorporate interference factors, so that one oxide would prevent another from crystallizing.  Laborious experiments led to three new types of Leitz optical glass, with refractive indices of ne 1.80 and ne 1.82 and a dispersion value of ny 45.  These new types of glass made the design of the 50mm f/1.4 Summilux lens possible

 
Platinum crucible

 
Stirring rod

    
Pouring of molten glass

But for glass types with indices of refraction higher than ne 1.8, it was difficult to obtain enough chemicals with sufficient purity at a reasonable cost.  At the time, one kilogram (2.2 lbs.) of 99.99 percent tantalum oxide cost the equivalent of nearly $2000.00 at that time.

In 1966, Leitz introduced the 50mm f/1.2 Noctilux, which incorporated aspherical surfaces.  Then years later, it was producing the 50mm f/1.0 Noctilux , which did not involve aspherical surfaces.  This was made possible by still another new type of optical glass: one with a higher zirconium oxide content.

The company was seeking a lens with a maximum aperture of f/1.2, for which optical glass with a particularly high index of refraction was necessary.  Ultimately, it wanted to double the maximum aperture of the 50mm f/1.4 Summilux lens to f/1.0.  The higher zirconium oxide content permitted production of the 900403 glass with a refractive index of ne 1.9005 and a dispersion value of ny 40.

 
Comparison of optical glasses
The large circled dots indicate glasses used in Leica lenses, the small circled dots indicate Leica glasses not currently in use.  The plain dots indicate glasses from other manufacturers

These developments were not without difficulties, however.  The new lenses utilized glass with a very high melting point of nearly 1600 C (2912 F).  That came close to the melting point of the platinum crucibles.  Also, the shape of the stirring tools in relation to the viscosity of the molten glass was important for the homogenization of the glass.  So, the temperature of the melt in the crucible had to be lowered considerably before it was poured out.  Workers then had to cool the slabs at a carefully controlled rate over 10 to 12 days and nights in order to prevent molecular tension.  Furthermore, the glass was still quite susceptible to crystallization.

Another area of investigation at Leitz was correction of chromatic aberrations in apochromatic lenses with long focal lengths.  Fluorite, grown in single crystals, possesses such anomalous partial dispersion for correction of the fourth color in optical glass.  Leitz competitors like to use these calcium fluorite crystals for lens elements in telephoto lenses, but Leitz did not regard them as suitable for photographic lenses because they have very poor shape retention.  Also, because of their low index of refraction of only ne 1.43, the fluorite crystals require strong curvatures, which are disadvantageous.  Leitz preferred to search for a true glass with an amorphous structure.

 

The company discovered that the fluorites remained stable in metaphosphate suspensions.  By incorporating several fluorites, it was able to optimize the proportions so as to avoid creation of striae during the cooling process.  Eventually it succeeded in developing a true glass with anomalous partial dispersion and a refraction index greater than ne 1.544.  With that, Leitz became the first lens maker to manufacture such lenses.  The 800mm f/6.3 Telyt-S was such a lens [see blog article “Dancing Bear and his Magic Lens”].  It attracted a great deal of attention at the 1972 Olympic Games in Munich.

 

A few years later, with the addition of titanium oxide, Leitz was able to produce glass with an anomalous partial dispersion value of ny 66.6 and a refraction index of 1.544.  This glass was used in the 180mm f/3.4 APO-Telyt, which ranks to this day as one of the best lenses ever made.  Since then, the company has made a large number of lenses with apochromatic correction, and it is creating new ones regularly.

Overall, the Leitz Glass Laboratory developed 35 new glasses from 50,000 experimental melts.  For a time, these glasses were used exclusively in Leica lenses.  Without the laboratory, in fact, most of the modern lenses of the period 1949 to 1989 would not have been possible.  Because of its work, the company produced up to 10 metric tons of glass a year, partially because of close communication between glass researchers and lens designers.  Other large glass manufacturers were often behind Leitz/Leica because optical glass is of only minor importance to them.  Phototropic glasses, construction glasses, television tubes, baby bottles and the like are their real moneymakers.  When these companies do undertake to develop optical glasses, it is only for those for which they anticipate a large demand.  It was the exotic wishes of the Leitz Company that permitted it to develop the glasses it did during the 40 years it held sway in this area.

Once it was possible with new technology to derive maximum performance from optical glasses, however, Leica closed the Leitz Glass Laboratory.  The growing number of glass manufacturers and new methods of processing glass and manufacturing lens elements also made this desirable from a financial standpoint.  However, some of the rare glasses developed by Leitz are still not available to any other lens manufacturer.  Instead Leitz has these glasses made exclusively for them by other companies like Schott, for instance.  Still, the company looks back with pride to the breakthroughs of the researchers and designers at the laboratory.


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Monday, January 2, 2017

IS PHOTOGRAPHY WITH FILM A THING OF THE PAST?




A while ago a reader questioned that Leica continues to manufacture film cameras.  The opinion was that in this world of digital photography, it would be too costly to continue to make film cameras, especially ones with the level of quality like Leica.

Of course, the writer is wrong.  Leica does indeed continue to make film cameras, both the Leica M7, Leica MA and the Leica MP.  It is easy to think that high end film cameras are a thing of the past.  Both Nikon and Canon websites do no longer list any film cameras.  Does that mean that film is a thing of the past?

Definitely not.  Film continues to have an avid following.  That is the very reason why the Leica film cameras are still being made.  Unlike with many other makes of cameras, especially Leica enjoys a faithful film shooter following.

That made me think of my own film cameras of which several are sitting on my shelves, waiting to be used.  I have to admit, I haven’t shot a roll of film for a long time and just about when I am ready to keep it that way, I come across an article by Ricky Opaterny that makes me think about film again.

He too hadn’t been shooting film for several years.

... So last week when I had the chance to shoot a couple rolls of film with a Leica M7, I wasn’t expecting much, having not shot any film since 2004.

 
Leica M7
Photo by Ricky Opaterny

That caught my interest.  I have never shot with the M7.  My M6 was the last film Leica that I shot film with before changing to digital.  Ricky continues...

A few years ago in the New Yorker, Anthony Lane described the sound of a Leica shutter as a seductive kiss. I had never handled a film Leica M series camera before last week, and I have to say that Lane’s ostensibly cheesy observation is dead-on. After I loaded my first roll of Kodak Portra 400VC in the camera and advanced it a couple frames, I thought there was something wrong with the shutter. “Why isn’t it making more noise?” I asked myself. Seduction begins with a little mystery, I suppose.

 
This man sat next to me to watch the Spain vs. Germany game at the soccer store on Haight
Photo by Ricky Oparterny

That mystery eludes me.  Probably because I have owned a Leica since my dad gave me one for my 5th birthday.  After all those years, I have learned what the Leica can do for me.  Shooting with that camera is no longer a mystery but it has proven to be a thoroughly professional tool.

Handling the camera was great. It just feels absolutely right when you’re holding it. And I had mounted on it my favorite lens of all time, Leica’s 50mm f/2.0 Summicron.

One of the great things about the Leica M cameras is that you can shoot them at very low shutter speeds—even with the 50mm lens, I can reliably get shots as slow as 1/10 second. It’s like having a faster lens or better high ISO performance or just, generally, an extra stop! This comes in quite useful indoors where light is usually low. With the exception of the first shot, I don’t think any of these were taken at speeds above 1/50 of a second. Normally, on an SLR with a 50mm lens mounted, that would be the minimum shutter speed that someone could expect to use—here, it was my maximum shutter speed.

I have to agree.  I have never shied away from using a Leica at relatively slow speeds.  I suppose this is one of the reasons why I think that the current quest for ever higher ISO capabilities of digital cameras is a wasted effort to some degree.  But to each his own.

Ricky makes special mention of the Leica viewfinder.  He considers it easily the brightest viewfinder of any camera.  He is right.  Another advantage of the Leica bright line viewfinder is that it always shows more than the area covered on film.  This allows seeing and observing the scene past the edges of the image area.  It allows the photographer to become more aware of his surroundings, something that no SLR camera ever offered.

 
I even liked the images that showed more of the film grain
Photo by Ricky Opaterny

Because I was shooting film—expensive film that would need to be developed at additional cost—I was patient waiting for shots I was anticipating. I tried to avoid wasting a single frame. I spent more time thinking about what I was doing rather than blindly snapping away.

That comment definitely made me think.  I used to take the same, more deliberate approach, and I must admit that since shooting digital, that has all but disappeared.  The gratification of instant frame review does allow for more of a machine gun approach without any cost penalty.  The only time I still work substantially more deliberate is when doing studio shoots, especially with product photography.  There it eliminates a lot of trial and error shots to get things right.

Shooting, with a Leica, as many others have noted, makes you slow down. It makes you more careful about composition and exposure. And shooting with film compounds those effects. In general, I’ve spent the past few months trying to regain two abilities I feel I’ve lost in the Internet age—that to be patient—to delay gratification—and that to concentrate on something for an extended period of time.

Digital photography conditions us to expect instant gratification, providing us with instant previews of our images. In some cases, this is useful and helps us get the shot we wanted. However, more often it’s simply a distraction from doing the thing we should be focused on—taking photographs. Is there any other activity in which people so immediately evaluate their performance with such scrutiny as photographers checking the LCD image previews on their cameras?

 
The bruschetta was very good
Photo by Ricky Opaterny

It isn’t just the process that blew me away; the results were awesome. I waited with anticipation for the local lab to develop and print my film. What would it look like? What surprises lay in store? I can say that I felt my patience was rewarded. Even though their content is boring, the prints I got back from the lab had a contrast and vividness that makes them look not only unlike digital images, but cinematic in a way that I absolutely love—rich, textured, almost tactile. Unfortunately, getting to that result means paying a lab for developing and printing, which is why I don’t think I can shoot exclusively on film.

I wholeheartedly agree and it makes me think all the more to get some film, load one of my film cameras and shoot.  Of course that brings up the question of what film to use.  My main interest is black and white.  Therefore I don’t think I will bother with color film.  My favorite black and white film used to be the Agfapan APX 25.  Unfortunately that is no longer available.  Then I switched to Efke KB 25 which was later available as the ADOX CHS 25.  Unfortunately, to my knowledge nobody offers an ISO 25 film at the moment.  Of course there are times when ISO 25 just isn’t enough.  For those times I occasionally used Agfapan APX 100 or later the Efke KB 100 or the ADOX CHS 100.  But my favorite higher speed film is without question the Ilford XP-2 Super.  It has the advantage of an ISO range from 100 to 800 without the need of any exposure or development compensation.  However, at the lower speeds it does display noticeably finer grain.  This allows the user to switch between higher and lower ISO indices on the same roll of film and thus assure the finest possible grain under varying lighting conditions.  XP-2 super is a chromogenic film meaning that it must be developed in C-41 color chemicals, like all standard color films.

 
Watermusic
Photo by Heinz Richter
Leica M6, 50mm f/2 Summicron
Agfapan APX 100

Melanie
Photo by Heinz Richter
Laica M6, 50mm f/2 Summicron
Agfapan APX 25

 
Lou Bellami
Penumbra Theater, St. Paul, MN
Leica M6, 135mm f/2.8 Elmarit
Ilford XP-2 Super at ISO 800
Stage lighting

 
Don Stolz
Old Log Theater, Excelsior, MN
Leica M6, 50mm f/2 Summicron
Ilford XP-2 Super at ISO 800

I guess I have convinced myself to shoot some film.  Now I just have to decide which film and which camera to use.  Maybe I will be back here at a later date for a report.


For the complete article by Ricky Opaterny go to: Rediscovering film with the Leica M7


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