Buzz
Daniel Neal, a passionate collector of classic cameras, has digitized and shared his complete set of vintage Leica Photography magazines, published by the renowned German optics brand. These issues, dating back to 1949, are now accessible to the public online (available here). The archive offers a fascinating glimpse into the mid-century photography scene, a time long before instant photo labs or point-and-shoot cameras, when photographers had to wait days to discover if their shots were blurry or poorly exposed. Here are 15 analog-era insights we uncovered from browsing through Leica Photography issues from the 1940s and '50s:
1. Mastering the art of color portraits:
In the Christmas 1949 edition, G. E. Herbert from New York shared expert advice on capturing color portraits. At the time, color photography was a niche and costly endeavor, primarily reserved for specialists. It wasn’t until the 1970s that it became widely adopted by the general public.
For your initial attempt at color portraits, consider using a child as your subject. Their natural demeanor helps avoid the stiff, unnatural poses often seen with self-conscious adults. Opt for a light blue or gray background, as these shades complement skin tones beautifully. A matte-finished colored blanket or wall paint can also serve as a suitable backdrop. Choose a room where you can block out all daylight and position the subject as close to the background as possible. Dress the child in pastel-colored clothing, ideally pink or beige, for the best results.
2. Capturing images in the Arctic, where cameras freeze solid:
In the spring 1950 edition, Toronto-based photographer Richard Harrington shared his experiences documenting Eskimo culture and the unique challenges he faced:
I always carry two Leica cameras (IIIa and IIIb models). One serves as a backup and remains in my packsack, where it inevitably freezes. The other is kept in a custom-made moose hide bag, tucked under my artiggi (caribou fur parka), nestled against my long underwear to stay warm. At night, whether in an igloo or tent, I place the camera inside my caribou sleeping bag and sleep with it to prevent freezing.
He even slept with his film to protect it:
By morning, the film warms to body temperature, reducing its brittleness. Inside the igloo, I could then safely load it into the camera.
3. Capturing images in the jungle, where cameras are prone to mold:
In the fall 1950 issue, Rae Gilman Engebretson recounts her experience bringing a camera to New Guinea during her Red Cross assignment:
After hearing countless warnings about how jungle conditions affect clothing, cameras, and even people, I devised a maintenance routine for my Leica. I stored it in a waterproof bag and occasionally exposed the 50mm Summar and 90mm Elmar lenses to sunlight, reasoning that if sunlight could kill other fungi, it might work on lens-loving mold as well. This approach seemed effective, as my lenses showed only minimal signs of ‘jungle rot.’ Additionally, the lenses never overheated to the point of damaging the cement holding their elements, though this method should be used cautiously.
4. Crafting an abstract composition:
Louise Haz from Skokie, Illinois, shared her expertise on color combinations in the Christmas 1950 edition:
To infuse energy and dynamism into your photographs, it’s essential to understand which colors work well together. Warm tones like yellow and orange, when placed too close, can appear dull and lifeless. Similarly, cool shades such as blue and purple can flatten an image if not balanced properly. However, pairing complementary colors—like red and green, blue and orange, or yellow and purple—creates striking contrast and adds vibrancy to your work.
5. Tips for aerial photography:
In the Christmas 1951 issue, C. Elvin Butterfield, a public information officer with the Illinois Civil Air Patrol, recommended selecting optimal lighting conditions:
I prefer shooting between 11 A.M. and noon to minimize shadows. When shooting toward the sun, the high-wing monoplane I typically use provides excellent shade for the camera lens, reducing glare and improving image quality.
Even under ideal lighting conditions, capturing a sharp image from a fast-moving aircraft is challenging without a high-speed camera. Butterfield shared his technique for countering motion and engine vibrations:
We fly downwind, with a 30-mile-per-hour wind. The aircraft executes a right chandelle, and as it levels out just above stalling speed, the engine is cut, reducing ground speed to about eight miles per hour against the wind. This allows the plane to hover and settle near the subject. During this brief window, before restarting the engine, the Leica’s ease of use enables capturing three to four shots effortlessly.
6. Discovering the perfect subject:
In the spring 1952 issue, Sophie L. Siegel of Philadelphia highlighted her husband’s admiration for artists in Woodstock, New York, as ideal photography subjects.
Artists, whether working or relaxing, present excellent opportunities for candid photography. They enjoy being photographed, and their intense focus on both work and play creates numerous chances for capturing dynamic and engaging shots.
7. Maintaining sharpness and focus in your photos:
In the spring 1952 issue, Manuel Komroff, a journalist and author, expressed his frustration with blurry images. His solution? Among other tips, such as keeping your lens dust-free, he emphasized the importance of using a sunshade:
Does a sunshade improve sharpness? Absolutely. On bright, sunny days, while most light originates from the sun, not all of it comes directly. Some light reflects off clouds or light-colored surfaces, while sharp, focused rays can bounce off shiny objects like the chrome trim of a nearby car. This scattered light can hit your lens from countless angles, creating a fine haze. While a sunshade won’t eliminate all reflected light, it effectively blocks the most disruptive side reflections.
8. Capturing the action in big game photography:
Dexter Dawes, a photographer who documented high school sports in Englewood, New Jersey, shared his advice in the fall 1952 issue on timing your shots perfectly:
I aim to capture sports photos at the height of action, where the player’s movement is momentarily paused. This often occurs during intense moments, such as a basketball player leaping for a rebound or a soccer player heading or kicking the ball. Timing these shots is challenging. Even when I get the timing right, issues like a referee blocking the view or a slight misalignment of my Leica can ruin the shot. Despite such setbacks, I’ve found that taking certain precautions increases the likelihood of usable photos. By maintaining a consistent position relative to the action, I achieve better results. For variety, I focus on capturing star players, scoring moments, or kick-offs.
9. Staying safe from barracudas during underwater photography:
In the winter 1952 issue, Jerry Greenberg, a Los Angeles-based photographer, urged photographers to explore underwater photography but warned of one key danger:
When I first received my underwater camera case, it had a shiny chrome finish. To avoid attracting barracudas and sharks, which are drawn to bright, reflective objects, I covered the case with adhesive tape. Barracudas, often called the ‘tigers of the sea,’ hunt smaller fish and have been known to attack humans. However, they typically won’t bother you if left undisturbed. Occasionally, a curious blacktip or hammerhead shark might swim by, but they usually move on if not provoked.
10. Capturing the beauty of the desert:
In the spring 1953 issue, Louis G. Kirk, a park ranger at Arizona’s Organ Pipe Cactus National Monument, advised aspiring landscape photographers in the southwest to venture out after rainfall:
The most striking images are often captured right after a storm, when the air is clear and the clouds are exceptionally dramatic. Late afternoon and early morning are ideal times, as the low angle of the sun accentuates the rugged terrain, highlighting its contours and textures.
11. Capturing the essence of fossils:
In the fall 1954 issue, George P. Spelvin from Sleepy Eye, Minnesota, shared his expertise on photographing ancient fossils:
For photographing small fossils, I prefer a near-vertical camera angle, slightly tilted to avoid tripod shadows interfering with the lighting. The same lighting principles used for character portraits apply here. A single spotlight serves as the main light, positioned at a low angle to skim across the specimen, revealing its texture in sharp detail. The light doesn’t bounce off the surface—it skids, much like a stone skipping across water, creating a dramatic effect.
12. Safeguarding your camera in industrial environments:
Cleveland photographer Denny C. Harris shared his experiences in the spring 1955 issue, emphasizing the challenges of using delicate equipment in industrial settings:
While 35mm cameras offer portability, speed, and flexibility, photographing heavy industry requires extra caution. Dirt and chemicals pose significant risks. For example, paint spray can travel hundreds of feet, potentially damaging exposed lenses. When shooting near such hazards, keep your camera covered as much as possible. If paint or debris lands on the lens, clean it immediately before re-covering. While a sealed camera in its case is generally safe, changing lenses or reloading film in these environments demands vigilance. Early in my career, carelessness during reloading led to multiple repairs, a lesson I learned the hard way.
13. Creating powerful, impactful images:
Bruce H. Burnham of Massachusetts, in the spring 1955 issue, championed the idea that simplicity often yields the most striking results in art and photography:
Whether your subject is a bustling harbor, a fleet of sailboats, or even a collection of fish, focus on a single point of interest and create a ‘portrait’ of it. Remove any distracting elements, either during composition or in post-processing.
14. Capturing the perfect bird photograph:
In the summer 1955 issue, Thase Daniel, an avid birdwatcher from Arkansas, emphasized that patience is the cornerstone of exceptional wildlife photography:
There are days when I spend hours waiting for the perfect shot, only to return empty-handed. On such days, persistence is key. Don’t be discouraged—try again. The satisfaction of capturing that flawless image makes every moment of waiting worthwhile.
15. Choosing the right camera for your needs:
In the Christmas 1949 edition, photographer Chris Butler shared his advice:
If I were to offer guidance to aspiring news and magazine photographers, my advice would be concise—‘Invest in a Leica’!
After all, Leica Photography magazine was primarily focused on promoting their cameras.
All images courtesy of iStock.
