Lmst

#leicaiiic #vintagecameras #filmphotography #ilfordhp5 #analogphotography #blackandwhite #filmisnotdead

#leicaiiic #vintagecameras #ilfordhp5 #filmphotography #filmisnotdead #anlogphotography

Erosion on the North Shore, Minn. August 2025 #BelieveInFIlm #LeicaIIIc #KodakDoubleXX

Black and white photo of a tree that's suffered some erosion such that its roots are splayed out for all to see.

Windows, Green Bay, October, 2024
#FensterFreitag #BelieveInFIlm #LeicaIIIc

This is a black and white photograph of three windows. There are horizontal lines. The windows are blocked with vertical curtains, and there are reflections that are amorphous and difficult.

City Hall, Wisconsin, 2024

#FensterFreitag #BelieveInFIlm #KodakGold200 #LeicaIIIc #Elmar50mm3

Upper row of windows in a dull, rectangular building. Color photo. Antenna.

Building, Green Bay, WI, 2024

I probably should have saved this one for #Fensterfreitag. So far, the summer of '24 has been difficult for photography. I took a new job in early June and just haven't had a lot of time. Most of the photos I've taken have been on the two block walk between the parking ramp where I park and my office, this is one of those.

#BelieveInFilm #IShootFilm #KodakDoubleXX #LeicaIIIc #Canon35mmLTM

Reflection of windows and trees in windows, all inset in a cream brick exterior. Black and white photo.

East River Bank, Green Bay, WI, 2023.

#SilentSunday because I was crossing a bridge and had a vision of what my city will look like after everyone's gone.

#BelieveInFilm #Wisconsin #GreenBay #Kentmere400 #LeicaIIIc #Elmar50mmf35

Black and white photo. There's an abandoned structure along a river, behind... industrial buildings from the 1930s. A billboard advertises favorable interest rates. A clump of trees reflected in the water. The photo is grainy.

Roots, Door Bluff Headlands, June 2023

#BelieveInFilm #LeicaIIIc #Elmar50mmf35 #kentmere400 #DoorCounty #Wisconsin #WisconsinPhotographer

Circle of Quaking Aspens... We have a little land at the very Northern tip of #DoorCounty, Wisconsin. There's nothing on it but trees and the overgrown, prairie-esque remnants of a cherry orchard—alas no cherries. We were up there two weeks ago working on a project and I noticed this circle of Quaking Aspens. There are relationships between these trees I don't understand.

#BelieveInFilm #Kentmere400 #LeicaIIIc #Elmar50mm3.5 #IShootFilm

Grainy, high contrast black and white photo of a circle of aspen trees.

Lens Hoods for the Leica Summitar

I touched on this topic a little bit in a previous blog about hoods for various LTM lenses entitled Throwing Shade, but I wanted to drill down on lens hood options for the Leitz 50mm f2 Summitar. As previously stated, I think that earlier Leitz lenses require a hood in many circumstances to perform their best. And there are a number of possible hoods for the Summitar that photographers may be interested in trying. The correct original hood is fairly unpopular due to its size, thus I often see photographers looking for an appropriate alternative. It's a little complicated a task though, because Summitars have an odd outer diameter of 41.5mm and their inner threads are 36mm and recessed within the front ring. This unusual design can make finding a well-fitting hood, or any accessory, a somewhat tricky.

The Leica Summitar is the predecessor of the fabled Leica 50mm f2 Summicron and later copies of the Summitar even share the lens barrel with the early Summicron. Consequently, most Summitars and the Version I 50 Summicron can accept the lens hoods that I'm about to discuss. I'm going to keep Summitar as my point of focus since it's what I use but if you're an early Summicron shooter, by all means, you're welcome to huddle in with us too!

And before we get into hoods, we need to talk about the two main versions of Summitars out there, because yes, which version you have will dictate which hoods you can run.

One might divide Summitar lens types into more categories, for the intens and purposes of this discussion, I'm going to simplify them into just two versions.

Summitar Version I (1939)

Summitars from the first decade of this models production run featured sought-after ten blade aperture diaphragms. The front element was uncoated until 1946. Summitars made in the small window between 1946 and 1949 are often regarded as the most desirable due to having both the ten blades and the UV coating. One problem, however, if you can call it that, is that these first generation Summitars do not have the provision for mounting clip-on hoods that Leica would develop and use for many following decades. Summitar Version II got this update.

If you want to use more common, clip-on Leica hoods, there's a simple way to do this. Screw an original Summitar filter onto your Summitar Version I. The tiny gap between the front ring of the lens and filter should create enough of a groove for the Leica clip-on hoods that we're about to examine, to fit onto Version I Summitars.

Being unfamiliar with this recommendation first-hand and wanting to provide accurate accounts here, I decided to try it with my Summitar Version II. I bought an original Type L green filter (GCYOO) in black paint, mounted it to my Summitar Version 2 and then tried both my ITDOO and SOOPD (hoods discussed below). It worked out great. The ITDOO clicked into place with a little play. The SOOPD fit pretty tightly though. Perhaps moreso than when fitted the standard way. I am unaware of any differences between screwing any Type L filter into a Summitar Version I, though admittedly, for every rule with early Leica, there do seem to be exceptions. Please do let me know in the comments if you know more!

Summitar Version II (1949)

Summitar received some revisions in 1949, the main one being what everyone talks about; the recycling of leftover Summar aperture assemblies. But the change that's important with regards to this discussion is the added groove around the front ring of the lens barrel which allows clip-on lens hoods to be fitted. In true Leica style, this tiny feature appears to be merely cosmetic as it perfectly fits the styling of the Summitar. But it adds considerable functionality to the lens, which can now accept both clamp-on and clip-on accessories. Which, as I'm about to get onto, opens up quite a number of options for future-built lens hoods.

SOOPD Version I (1939 - for 50/2 Summitar Version I)

The earliest hood made for Summitar was called SOOPD. SOOPD works with both Summitar versions because it employees a thumb-screw-adjusted circular clamp to attach to the outer circumference of the lens. SOOPD Version I was finished in either black paint or satin silver chrome. The rear section of black SOOPDS is finished in distinctive crinkle coat black. There were E. Leitz Wetzlar Germany and E. Leitz New York copies. Both feature the E. Leitz logo on the top-facing blade of this four blade barndoor assembly, along with the name "Summitar." The placement of this logo is an easy way to spot the difference between Version I and II SOOPDs in online listings. These hoods were sold in the old style, red boxes with gold text.

The old barndoor hoods opened and closed by means of a precise and elegant little spring mechanism. While this folding mechanism is intuitively useful for stowing the hood, what I find quite genius about it is that the closed position of SOOPD serves as a lens cap for Summitar. I like using SOOPD on faster-paced shoots where I wouldn't typically bother with lens caps. SOOPD can easily be closed very quickly to protect the vulnerable front element and cloth shutter, then opened again just as quickly, to get back to shooting.

SOOPD Version II (1949 - for 50/2 Summitar Version II)

The next version of SOOPD, features a faster push-button, clip-on mounting mechanism. As noted, SOOPD Version II is to be used with 1949/50 Summitars with the accessory groove around the front of the lens. Most of these Summitars, if not all, are the 6 aperture blade type.

On both sides of SOOPD Version II are rectangular, spring-loaded buttons. Press these in and, similar to most newer LTM and early M Leica hoods, little tabs are retracted from inside the circumference of the hood's collar. This allows the shooter to slip the shade over the front of the Summitar and release the buttons, deploying the tabs, such that they clip into the groove on the front of the lens barrel.

The push button arrangement makes for quick and easy installation and removal. However, of the two versions, I prefer the earlier, rarer clamp-on because the Version II SOOPD can rotate around the lens if jostled, throwing off it's proper positioning with the view and rangefinder windows.

The engraving on the top-facing blade of the barndoor of SOOPD Version I was relocated to the right-facing blade of the barndoor of SOOPD Version II. The location of the engraving is a GREAT way to tell SOOPD Versions I and II apart from one another in online listings. To my knowledge, there is not a New York copy of SOOPD Version II, only Wetzlar, Germany. And Version II was also sold in a variation of the textured red box with gold text.

SOOFM (1954 - for 50/2 Summitar Version II & 50/2 Summicron Version I)

In 1953, the Summicron was released and the Summitar was discontinued after a 14 year run. Accordingly, SOOPD was renamed SOOFM and repackaged.

The only difference between SOOPD Version II and SOOFM is the addition of "u. Summicron" on the right-facing barndoor blade text.

The box for SOOFM remained the plain red style for some time before upgrading to the mid-century modern style; beige with a stylized graphic of the hood on it.

SOOFM survived until 1960 when the 50mm Summicron shed the old 1930's style collapsible barrel and went rigid.

ITOOY (1956 - for 50/2.8 and 50/3.5 Elmar)

I've heard some fringe recommendations to run ITOOY with Summitar. Personally, though I haven't tried it because I expect that this hood is is too narrow. It was designed for use with the Elmar 50/2.8 and 3.5. While it would be very low profile in appearance on a Summitar, I have a feeling that it would vignette when used at full aperture. I'm noting it here simply because this hood will mechanically fit on the Summitar and might be an option for someone who doesn't use this lens at full aperture much and wants as small a hood for it as possible.

ITDOO (1956 - for 35/3.5 Summaron & 50/2 Summicron)

Before the presentation box for SOOFM was changed but after the Summitar had been discontinued, Leica released a more compact hood for the Summicron and 35mm Summaron, called ITDOO in 1956.

Like the SOOPD Version II and SOOFM, ITDOO was installed onto the lens via two little push-buttons that took advantage of the recessed ring on the front of these lenses. Unlike the push-button SOOPD and SOOFM, ITDOO is a circular shade, thus it doesn't matter if it is jostled while installed as it does not need to sit any particular way on the lens so as not to affect the viewfinder.

ITDOO originally sold with a plastic rear cap that was not available for SOOPD/SOOFM. And this is an important point of distinction in use between these hoods, in my opinion.

The idea with ITDOO was that the photographer could reverse mount it to the lens, then use the supplied rear cap to cap the hood and lens. I don't think most people even realise that ITDOO can be reverse-mounted and thus, you often see the hood for sale sans original cap. I prefer circular lens hoods whose front can be capped rather than needing to make a big effort to protect the lens. However, by reverse-mounting an ITDOO actually takes up less space in ones camera bag than a barndoor hood, providing that hte lens isn't collapsed. Because, when reverse mounted, ITDOO prevents Summitar from fully collapsing. So it's really just about personal preference at this point.

Capping inconveniences aside, ITDOO is more compact in use and just more conventional in appearance, and therefore has become more popular and more expensive than most copies of the SOOPD, which I feel, is one of the few undervalued Leica accessories available.

I am unaware of any cosmetic variation of the ITDOO. The conical part of the hood is black paint aluminum engraved with "Summaron 3.5cm Summicron 5cm" and the narrow chrome mounting ring is engraved with "Ernst Leitz GmbH Wetzlar" and "Germany" on the opposing face. ITDOO was packaged in the old textured red box with gold lettering and later, the beige box with graphics. Apparently it's not difficult to remove the black paint conical section of ITDOO from its silver chrome mounting band. So sometimes you'll see that someone has fitted another

SNHOO (1957 - for Summitar)

SNHOO isn't a hood but rather a special adaptor ring made specifically for the Summitar. You see, Summitar's filter thread is recessed and therefore requires Summitar-specific filters and accessories. The alternative is to screw in a SNHOO which is a step-up ring with a female 39mm thread. 39mm is a much more common accessory size and will then give the photographer access to any 39mm threaded hood.

Some nameless Chinese company makes cheap, modern aluminum SNHOO copies which are widely sold on eBay along with circular vented hoods that resemble the 1960's Summicron style hood. For lack of a simple list like I've compiled here, I stupidly purchased these poor quality, Chinese knock-off kits from a seller called heavystar and ran it on my Summitar until I found that the fake SNHOO got stuck and had to be twisted and cut out of the threads with wire cutters. The seller wouldn't return my messages, offering no help. So if you are going to run some other 39mm threaded hood on your Summitar, please, go to the trouble of tracking down a Leica-made SNHOO. Check the site or write to Tamarkin for help. Don't attach garbage to your Leica, it's not worth it.

IROOA/12571 (1959 - for 35/2, 35/2.8, 35/3.5 and 50/2, 50/2.8, 50/3.5)

Riding off the coattails of ITDOO, Leica came up with IROOA in 1959. Same basic shape/concept as ITDOO but the chrome band on IROOA is wider and sports two rows of tabs instead of just one row. This allows one to lengthen or shorten the hood and to fit a few other lenses. Additionally, when the IROOA is reverse-mounted to the lens for storage, that second set of tabs can clip onto the lens securely. Whereas when ITDOO is reverse-mounted to the lens, there is only a section of velvet lining in the hood that pressure fits it in place.

There were two versions of the IROOA but they differ only in their engravings and were always sold in the graphic laden boxes

Interestingly, I've noticed that there are some quite nice modern aftermarket IROOA copies for sale on eBay. They are made by a Japanese company called UM, look close to original and some even come in 1950's Leica style boxes. There are also IROOA copies made by a Chinese company called Light Lens Lab. They sell for considerably more than the UM copy, and even it seems, more than some original Leica copies. But Light Lens Lab makes their IROOA's in three colors; all black, all chrome or all gold. And of course, not to be outdone in obscurity, Japan Camera Hunter has shown off a rare distressed black and gold IROOA copy.

IROOA is a useful hood because it fits 50mm f2, 2.8 and 3.5 as well as 35 f2, 2.8 and 3.5 lenses.

12585 (1963 - for 35/2, 35/2.8, 35/3.5 and 50/2, 50/2.8, 50/3.5)

This is probably the hippest looking lens hood that anyone can own. The Leica 12585, when paired with a 50 or 35 Cron and a black and brassed M4 practically defined smart and stylish in the 1960's. Zeiss copied it. Voigtlander copied it. You even see some crazies using a hood this shape on their SLR's. The Leica 12585 is a work of art. Form and function fall in love. This circular hood contains the original ITDOO DNA in terms of its mounting and shape but features a reverse conical nose with three cutaways. It eliminates flaring and reduces viewfinder blockage, but is compact. The unusual shape also makes for a good grip when carrying a Leica by its lens. The 12585 simply redefined what a simple lens hood could look like. I run this hood design on my Voigtlander 40mm Nokton and used to run it on my Summitar. I found the 12585 a little large and modern looking for the 1930's style Summitar. But hey, maybe you have one for your newer lenses and don't feel like buying another hood. It will work fine with the Summitar.

CONCLUSION

From my research, that about wraps up all the hoods that I'd recommend to run on your Leica Summitar. Please don't hesitate to give me a shout if there's anything that I missed!

So, what Summitar hood am I using, you might ask. Well, I am tied between my push-button SOOPD and ITDOO. For sheer pragmatics, the SOOPD gets my vote. But so as not to cause my subjects to stare at my camera in bewilderment, which, yes, sometimes they do and it's distracting, the ITDOO serves nicely. If I were to make a single recommendation, I'd probably recommend the clamp-on SOOPD. Leica really did everything right with the first version of the Summitar hood. If I'd picked it up first, I probably wouldn't have sought out the ITDOO. But on a cosmetic level, the ITDOO seems to look the best on a Summitar in my opinion. While I wouldn't normally go out of my way to buy a camera accessory for mere cosmetics, I do find that the SOOPD draws more attention than I'd like, to the point of it being distracting. Old cameras inspire some amount of conversation with subjects but the SOOPD has a habit of really getting people engaged to the point that I've wound up talking about it with them more than actually shooting. Your mileage may vary though!

Much of the information I've noted here came straight from page 106 of the Leica Accessories Guide, exhaustive eBay window-shopping and talking to Leica experts like rock photographer Jason Nicholson.

All photos were taken with my Olympus OM-1n and 55mm 3.5 Zuiko on Kodak TMAX P3200 rated at 1600 and processed for 3200 in Kodak HC110b. Pictured is my 1947 Leica IIIc and 1954 Summitar with a SOOPD Version 2 hood, ITDOO and GCYOO green filter in black paint (I figured a black paint copy would look more distinct in photos for this blog!).

Thanks for reading and happy shooting!

_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _

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An Odd Length; Voigtländer 75mm 2.5 Heliar

Most prime lens SLR kits are a 28-50-85 or 135. Most rangefinder kits are a 28 or 35-50-90. 75mm is an odd focal length. I don't think it's even available for SLR's and most rangefinder shooters fall on the side of either 50 or 90 - the distinction between normal and portrait focal lengths. 75. What is it? Is it a short portrait lens or a long normal lens? Is it for capturing details, documenting events or posed portraits?

Lately it seems that most shooters who are daring or confused enough to hazard this question are using a Cosina Voigtländer 75mm 1.8 Heliar. Reviews generally concede that this popular lens is quite fine. A buddy of mine, photographer John Nelson lent me his for a few weeks and I honestly didn't take a single frame behind it. Optically, I'm sure it's great but the Heliar 1.8 is just too long, particularly with a hood. I didn't find that it balanced well on any of my cameras.

Admittedly, I am biased because I cut my rangefinder teeth on the older Voigtländer Heliar 2.5. Yes, obviously the 75 Heliar M is a good deal faster than it's LTM predecessor but what I really enjoyed about the 2.5 was it's size and handling, which seemed totally ignored in the speed-centric upgrade. Big apertures are wonderful, but they aren't everything!

A candid that I'd have never gotten with a wider or larger lens - Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak TMAX P3200

You see, the CV 75/2.5 is about the size of most 50/2's, even with it's smart-looking circular hood screwed on. The lens balances very nicely on my Leica M6 TTL and also my Voigtländer Bessa R2, keeping the weight of the camera planted in the palms. The 75/2.5 even seems right at home on my Leica IIIc. A proper brightline finder is rare and costly but how cool to have a telephoto on a Barnack that is not front-heavy or blocks the finder?

So while the 75 is very short for a telephoto, I like that it gives you some reach while maintaining compactness and discreetness that not even a Pinocchio 90/4 Elmar or Elmarit can offer. This is great for preserving a casual approach while still getting in tight on a subject. Additionally, the 75/2.5 was one of the few lenses that that I also felt comfortable with shooting handheld below the reciprocal. I'd often use it a 1/60th or even 1/30th and was satisfied with the results.

This photo was featured in PhotoKlassik in a discussion about CV 75's. I believe I was at 1/60th. - Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Fuji Pro 400H

The 75/2.5 is one of those special lenses that really delivers the sharpness of in focus areas and the smoothness of out of focus areas in healthy amounts. The multi-coating and relatively complex 6 element/5 group design prevents veiling flare and highlight blooming too.

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak TMAX 100

This balance and precision makes it wonderful for detail shots as well as portraits. And with regards to portraits, it's stealthy enough to be as adept at candids as its performance is for posed work.

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak Ektar 100

But to answer the initial question, I may still be scratching my head as to what subject matter, exactly, the 75mm length is best suited for. As I look through my images with the 75/2.5, subject is rather all over the place!

Voigtlander Bessa R2 | Voigtländer 75mm 2.8 MC Color-Heliar | CVS 200

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak Portra 160

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | CVS 200

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Fuji Superia 200

Sadly, I'm currently without this wonderful little lens. My copy seemed prone to the aperture assembly falling apart for no good reason. Twice, while minding its own business in my camera bag, I reached for it and happened to see that aperture blades had scattered around its insides. Once, I sent it back to Stephen Gandy for repair and then the second time, I decided to put more effort into my expensive, tough-as-nails 90mm f2 Summicron Pre-ASPH instead of labor over this cheap troublesome Cosina product. I sold my copy of the 75/2.5 as it was and wiped my hands of it for several years.

However, as I look through my photos taken with the Voigtländer 75 and remember how much I liked that lens, I have found myself scanning the interwebs for a replacement. As noted, I find the Voigtländer 75/1.8 Heliar too large. It's actually about the same physical length at my 90 Cron and that seems ridiculous. The 75/1.5 Nokton looks even more bloated and heavy. Bessa rangefinders probably don't have enough EBL to even focus these lenses and they're both M mount, so I could only use them on my M6, not my R2 or LTM's. The Leitz 75's are beautiful but crazy expensive. And while I like this odd length, I'm not sure I like it THAT much! There are some weird new 75 M lenses by Kipon, 7Artisans, and Meyer Optic. I don't know, I am just not taken with rendering I've seen with any of these. And honestly, I do like buying LTM lenses when possible because it's fun to use them on my knob-wind Leica's.

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak TMAX 100

This image of an abandoned house was picked up by 120 Clicks. - Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Ilford XP2

So where does all this leave me? Well, I think that if I found one at a low enough price to gamble my negative perception of its durability again, I'd still choose a Voigtländer 75/2.5 Heliar. I see from eBay listings that it's very common for these lenses to show some hazing, presumably from lubricant evaporation. I have yet to see any discussions of the aperture blades falling out like mine did though, so maybe I had a lemon. Haze is something that's easy enough to address with cleaning and re-lubricating, so maybe I should add the cost of a CLA to the purchase. But do I really need an unreliable lens with an odd length in my kit? Would it serve merely as a distraction from the 50 and 90? Or could it be that perfect hybrid of length, size and performance that would make it a daily carry, general purpose lens?

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak Tri-X - This was the last photo that I took with the Heliar 75/2.5 and was perhaps a great end to a meandering path.

Currently, with the pandemic largely shutting down my paid photography work, I have no good reason to buy another 75, or any photo gear at all really. But when I look at this last photo that I took of my daughter with the 75 Heliar, and remember how much I used to use this lens, I can't help but consider picking one up again!

Oh and by the way, I usually used my 75/2.5 with an LTM adapter on my M6 TTL. If you want to use this lens on a screw mount body, you'll need a brightline finder.

How about you? Do you use a 75mm lens? Which one? Would you consider using one if you don't currently?

Thanks for reading and happy shooting!

_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _

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