Traditions and Books: Thupten Chöling Monastery, Nepal (Nepal 2017-09)

The Thupten Chöling monastery/nunnery is situated on a hillside in the Solu Khumbu at about 8900 ft. altitude. The setting is magical, with neat houses built up a south-facing hillside for the nuns and Tibetian refugees. According to their web page: "Thupten Choling is a celibate Buddhist monastery located in the high and remote mountains of Nepal. Founded by His Holiness Trulsik Rinpoche in the 1960's after fleeing Tibet, it is an independent and autonomous institution. Consequently, Thupten Choling has been able to remain authentically traditional, and hidden from the outside world." It is not exactly hidden today: a couple hours walk up an excellent trail from the town of Junbesi takes you to the monastery.

Wheat biscuits drying in the sun, Thupten Chöling (digital photograph).

Many of the nun's homes were destroyed in the 2015 earthquake, but we saw many brightly-painted new or repaired buildings.

We were allowed into the central prayer room of the gomba, where students were reciting from sacred texts. From Wikipedia, "A gompa is a meditation room where practitioners meditate and listen to teachings. Design and interior details vary from region to region; however, all follow a general design of a central prayer hall containing a murti or thangka, benches for the monks or nuns to engage in prayer or meditation and attached living accommodation." I was a bit uncomfortable taking photographs, but our guide said it was all right, and I tried to be as quiet as possible. There were other distractions that day: a construction crew was building a tower within the room that would project up through the roof eventually. We saw Tibetan holy books on shelves behind neat glass door. A monk said they were from Lhasa, which would make them especially valuable. Religious texts are now printed in India.

The monks generously fed us tea, dry crackers (the things drying in the sun in the 2nd photograph) and McVities Digestive Biscuits. A Tibetian nun who spoke excellent English said I was could photograph in the kitchen. This was a fascinating room with a wood stove on the floor and cauldrons of rice and dahl. They made rice in industrial quantities. The room resembled the ancient kitchen at the Grand Meteoron monastery in Meteora, Greece, which I photographed years ago. The kitchen was dark with light streaming in from one side through clouds of steam. I had to prop my Leica camera on shelves or posts for long exposures.

The 70-year-old 50mm Summitar lens and TMax black and white film does a nice job with the shiny pans and ladles. Click any of the pictures to enlarge them to 1600 pixels wide.

Two of our companions and a Sherpa guide stayed behind for an overnight and then a morning ascent to a sacred cave. The rest of us hiked back downhill to Junbesi, which is a cheerful Sherpa town in the valley.

This part of the Solu is lower altitude than the "real" mountains further north. The hillsides are heavily forested, interspersed with deep ravines and cultivated fields of wheat, barley, and pasture. The traditional expedition route from Kathmandu to Everest Base Camp comes through Junbesi. Although most trekkers now fly into Lukla further east, many hikers still walk the entire multi-week route.

The black and white photographs are from Kodak TMax 400 film, taken with a Leica IIIC rangefinder camera with 5cm f/2.0 Summitar lens. This was my father's 1949 camera, recently reconditioned. Praus Productions, Rochester, New York, developed the film in Xtol developer.

We will visit more monasteries in the next two articles. Thank you for reading.

Good Things in Small Packages: Leica IIIC Camera

My Leica IIIC with its original 5cm ƒ/2.0 Summitar lens

English language instruction manual

At the Parthenon, Athens, Greece, 1953. Photograph on Kodachrome film with this Leica IIIC.

Background

This is my Leica IIIC rangefinder camera made in Wetzlar, West Germany. It uses the standard 35mm perforated film with frame size of 24 × 36mm. My dad bought this IIIC in 1949 when he worked for the US Navy on Guam. It came with a 5cm ƒ/2.0 Summitar lens. He had owned an American-made Perfex 35mm camera during the war years but had wanted a Leica for a long time. During World War II, a few Leicas were exported to the Allies via Sweden, but they were reserved for special uses (spies or well-placed generals?).

Advertisement from Olden Camera & Lens Co., New York, January 1947. Note Leica IIIB and Summitar cost  $385.00, a major investment in the late-1940s.

Modern Photography advertisement, September 1953. The IIIF was the contemporary model, selling for $368 with the Summitar lens. The superior Summicron lens cost $25 more. (Click to enlarge picture)

After the war, one of the ways a war-ravaged Germany began to rebuild its economy was to export precision optical equipment, such as the famous Leica cameras. Leica's advertising emphasized excellence and sophistication. My dad took the opportunity of low prices at the post exchange on Guam to buy this body and lens. As I recall, he said they cost $150. He used this little Leica for many years, taking family photographs when we lived in Greece and southeast Asia in the 1950s and 1960s. I used it in the 1970s and 1980s and still do.

Operation

On modern standards, this camera is a bit fiddly to use. First the viewfinder has two windows. The way I use it is to first look through the right finder, which shows the complete scene covered by the 50mm lens. If I like the scene, I shift my eye to the left window and focus on the object that is most important. By the way, it is a remarkably accurate focus arrangement considering the short base length. Then I shift back to the right window, do the final framing, and take the picture. Really, it is easier and faster in practice than to describe in text.

With permission from The Online Darkroom.

Instructions for trimming film before loading

Second, the film needs to be trimmed with scissors to have a long tongue before you insert it in the take-up spool. Then you slide both the 35mm cartridge and take-up spool into the body from the bottom. Leica once sold a trimming guide, but you do not need it. Just use your Swiss Army knife to trim about 8 or 10 cm from the tongue, and it will work. Once loaded, turn the rewind knob gently to remove slack. Then, when you advance the film, make sure the rewind knob is turning in the opposite direction to be certain that the film is truly advancing. Again, it is easier to do than to describe. I carry a spare take-up spool with me, but I have never lost one.

As the photographs show, the camera has almost watchmaker precision in the fittings. The chrome on mine is pitted because in the early post-war era, chromium was hard to buy, and many German cameras had poor plating.

Lenses and filters

From Popular Photography, approx. 1950

With permission from The Online Darkroom.

Leica marketed lenses ranging from 21 to 400 mm, all the best quality available at the time. Oddly, my father never bought any more lenses.

My dad's IIIC came with a 5cm ƒ/2.0 Summitar lens (the prestige lens as opposed to the less expensive 5cm ƒ/3.5 Elmar). Mine is the Type 1 version with 10 aperture blades. The Summitar was in production from 1939 to 1953. It was designed by E. Leitz's genius lens designer, Max Berek, in 1937. The war-time production lenses were uncoated, but Leitz applied anti-reflection coating from 1946 on. The construction was a complicated design of 7 elements in 4 groups. It must have taken a heroic effort to compute the ray paths by human computers using mechanical calculators and trigonometry tables. The central sharpness is superb, but the edges fall off, and there is distinct field curvature. This can be used creatively, and regardless, "sharpness" is not normally the factor that makes a photograph successful.

A few years ago, Sherry Krauter in New York cleaned and checked the Summitar lens for me. Mine is pristine and never suffered the scratches in the soft coating that plague so many 1940s lenses (old-time photographers cleaned their lenses with their neckties).

These older Leica bodies have a screw mount for the lenses. The thread is 39mm × 26 turns-per-inch or threads-per-inch (tpi). This was a Whitworth threading standard, which was common in microscope manufacture in the early 20th century. German, English, and Japanese companies made hundreds of different lenses for this 39mm mount. Focal lengths other than 50mm require an auxiliary viewfinder to show the correct frame. Soviet companies made lenses for 39 × 1mm, but this was close enough to usually fit on the Leitz bodies. The Japanese company, Canon, continued to make superb thread-mount lenses up through the 1970s, when they finally discontinued their excellent thread-mount rangefinder S7 cameras. Note that this is a different 39mm than the 39 × 0.75 thread used for large-format Copal 1 and many other shutters. And it is different than the 39F pitch (39 × 0.5) used for 39mm filters that screw into the front of many Leica lenses. Confusing? Yes, of course!

The shutter in my IIIC body had been troublesome for over a decade, but Don Goldberg (known as DAG) in Wisconsin did a fantastic job overhauling it mid-2017. This is the main roller, on which Mr. Goldberg marked the areas that were badly worn. He replaced it with a new-old-stock main roller, the genuine Leica part. For how many other consumer products that are seven decades old can you still get factory replacement parts (possibly some fine watches or Rolls Royce motorcars?)?

The Summitar lens requires filters with a unique 36mm tapered thread. These were known as Type L filters (see Appendix 1 below). When I used filters on my Nepal trip, I had Leitz Series VI filters and a Tiffen 606 retaining ring (see Appendix 2). It is a bit clumsy but manageable, and the series filters will fit other lenses with the appropriate adapter rings. A polarizer is the most clumsy, but Leica made a brilliant fold-out polarizer just for this task (model 13352). I finally bought genuine Summitar yellow, dark yellow, and green filters, which are faster to handle than the series filters and do not block as much of the view through the viewfinder.

As for a hood, the rectangle folding unit known as a SOOPD fits over type L filters and causes minimal blocking of the view through the viewfinders. 

The Summitar lens is a bit quirky. My example (and maybe all of them?) has a lot of field curvature, so the edges of a flat object will be fuzzy. But a typical scene with the subject near the center has smooth out of focus area away from the central subject. 

Areas outside the zone of focus look smooth and innocuous. This out-of-focus appearance is known as bokeh. Thirty years ago, almost no one thought about it, but now, "photographers" are obsessed with the topic (even though most of them just consider anything out of focus to be bokeh). The newer Type 2 and Type 4 50mm ƒ/2.0 Summicron lenses for my Leica M2 body are "better", but I rather like the old Summitar. It feels good to have my dad's camera in operation again. He would be pleased.

Examples

Village Elders, Siran Danda, Gorkha region, Nepal.

School girls, Dhulikhel, east of Kathmandu.

Young ladies of Nepani, Gorkha District, Nepal.

For a trip to Nepal in October of 2017, I decided to use this little IIIC with black and white film and skip the obligatory digital imaging device entirely. It was a great success. Many Nepalis were amazed that I was using a mechanical camera almost 70 years old. It was a tension-breaker to let people look through the viewfinder, but I had to explain that there was no LCD screen for them to see the results. Surprisingly, some of the camera stores in the Thamel area (the main tourist zone) of Kathmandu still stock fresh Ilford and Fuji film in 35mm size. But you probably could not find any 120 or large format film. These examples are on TMax 100 film, developed by Praus Productions in Rochester, New York. I had only used TMax 100 once before and I'm impressed by the fine grain. Nice stuff. To measure exposure, I used a Gossen Luna Pro Digital meter, usually in reflected mode but sometimes in incident mode.

Cooking pots at Thubten Choling Monastery, Solu Khumbu region.

Tools at Serlo Monastery, Solu Khumbu region.

Hanging around in Kathmandu. Note: most mannequins in Nepal are European ladies (but may be made in India??).

Nepal is a fabulous photographic destination. The people are friendly and welcoming. The country is developing and changing quickly. Go soon to see remnants of an earlier era before they are torn up and replaced with the new commercial world. The same warning applies to Cuba: Go before the developers pillage and ruin it, especially if American developers ever move in.

Summary

A few reasons to buy one of these ltm Leicas:

1. As time goes on, the remaining stock of these thread mount Leicas will be more and more beat up and will diminish in total number.

2. They will be repairable in the future.

3. They don't make them like this any more. Definitely not!

4. They will be usable as long as 35mm perforated film is made and sold.

5. You will enjoy occasionally using one as a substitute for a more sophisticated newer 35mm camera or digital unit.

6. These ltm Leicas are compact and great travel cameras, especially with the collapsible Elmar lens.

7. They are technologically elegant.

8. People stop to admire it when you are using a ltm Leica. It can be an ice-breaker.

9. It is definitely not a spray and pray photon capture device: you need to think with one of them and know a bit about what you are doing (i.e., you can't just push a button).

10. They are unlikely to depreciate.

11. Thread-mount lenses can be used on modern digital cameras.

12 The lenses are appreciating in price, especially for clean examples without fungus, scratches, or haze.

These little Leica thread-mount cameras are still available at reasonable acceptable prices. They are fun to use and have a precision feel that most modern cameras do not replicate (other than Leica M film bodies, which, as of 2022, are still in production). Just go buy one and return to the basics of photography. I know your creativity will blossom.

Other articles

For an earlier article about how I have used Leica cameras to record urban decay, click this link. 

Mike Johnston, former editor of Camera & Darkroom magazine and now author of The Online Photographer, wrote an excellent article in 1992 about Leicaphilia. He also wrote about The Leica as a Teacher. "A year with a single Leica and a single lens, looking at light and ignoring color, will teach you as much about actually seeing photographs as three years in any photo school, and as much as ten or fifteen years (or more) of mucking about buying and selling and shopping for gear like the average hobbyist."

35MMC has a useful article titled 7 Reasons You Should Own a Thread Mount Leica. I agree with the author that these cameras slow you down and make you think. You just can't spray and pray and then doodle around with Lightroom for weeks culling files, doing the "workflow," and hoping that you might have "shot" a meaningful photograph. Film does not work that way.

Johnny Martyr wrote a detailed review of the Leica IIIC, titled Tempered Indulgence. Also, check his review of the Summitar lens.

Phoblogger has an interesting interview with the manager of Richard Photo Lab (Los Angeles, California) about how film most definitely is not dead and is reviving among many age and skill groups.

Andrew Yue wrote a nice introduction to the Leica thread-mount cameras titled, "- Leica Screw Mount Cameras - the 1930's through the 1950's -"

Update 2019

I bought a Canon 50mm ƒ/1.4 ltm lens and have had very nice results with it.  Click the link to see examples. I also have a 50mm ƒ/2 Jupiter-8 lens from the Soviet Union.

 

Appendix 1, Summitar Filters

The Leitz Summitar used a unique tapered 36mm filter thread. As far as I know, only Leitz and Walz offered this size. This note from the Leica Users Group (LUG) by Marc James Small describes the Leitz filters:

In any event, here is the best listing I can produce for the Summitar filters.  These were known at Wetzlar as L filters (by comparison, the E39 range were O filters). 

Very Light Yellow       GBOOM   13080

Light Yellow            GBWOO   13085

Medium Yellow   GCOOL

Green #1                GEYOO

Green #2                GCYOO   13095

Graduated Yellow        GHOOF   13105

Graduated Green GILOO

Orange          GDOOK   13100

Light Red/IR            GECOO   13115

Medium Red/IR   GFEOO   13120

Dark Red/IR             GFOOH   13125

Blue                    RQPOO   13097

UVa                     GHIOO   13130

Blank Filter Holder     FOOXC

Haze                    FIHAZ

Skylight                GCSKY   13150

Type F          FKDSUM  13137

Type FP         FPKSUM  13147

Type A          FIDAY           13135

Photoflood              FIFLO           13140

Flash Conversion        GCHEO   13145

Swing-Out Polarizer     FISUM           13395

Rotating Polarizer      POORE   13355

Filters which only have a catalogue code-word and not a catalogue number did not survive into production to 1954, the first year for the universal use of the numbers.  Many of the 

Summitar filters had dropped out of the catalogues by 1960 and all were gone from the Leitz catalogue by 1962.

If you are a Summitar user, buy the genuine filters when you see examples in good condition. 

Appendix 2, Series Filters

The most comprehensive description of series filters and the various adapter rings made for hundreds of lenses is from photographer Robert Allen Kautz in Vermont. 

• Summitar adapter: Tiffen model 606
• Jupiter-8 lens (40.5mm thread): Tiffen 602 

40.5 mm was common on many German lenses in the mid-1950s, and you can find 40.5mm filters that screw into the lens directly. Beware that Tiffen, Ednalite, and Enteco adapter numbers are different (Confusing? Of course!).