working Ur-Leica?

[George Furst]

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The other day we went on a trip and I took a roll of 36 exposure 400asa Kentmere film in the UR Leica camera. We visited and area famous as the capital of the Paekje Kingdom in 638 AD. Not much left except the Stupa that were at the location of the Buddhist temple. Here are a few photos from the trip. You will note that I solved the light leak problem by putting some black tape over the screwed on back plate with the E. Leitz Wetzlar Logo.

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[Pecole]

Oskar Barnack may be proud...and you too! Surprisingly good.

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[mak@teleport.com]

Can someone please teach me how to convert a Leica UR Replica to a shooting camera thanks mak at teleport dot com 

[George Furst]

Can someone please teach me how to convert a Leica UR Replica to a shooting camera thanks mak at teleport dot com

 

I guess I do not understand your question. You imply that it is a simple process to convert the dummy UR Leica to a working model. This is not true. The Mr. Kim here who did the conversion worked off and on this project for three months. He had worked on watches and cameras for over 40 years and told me that it was a challenge for him. There were new gears to be made, measurements, careful manufacturing of new shutter springs. I have a working model with the original lens as described above but I could never tell you how to do it. I did provide a few pictures of the internals of the final conversion. I have looked very carefully inside my working model but much is hidden in the two barrels that are attached to the shutter curtain.

 

I will say that many of the aspects of the later O series camera are part of the original. The difference is that the O series camera had two shutter curtains and the UR Leica had only one. In some ways this makes the UR Leica more complex as this one curtain gearing must do more functions.

 

I realize that some owners of the dummy UR Leica think that it is all is contained in there and it would be a simple process to do the conversion. They look inside the dummy and see a curtain. They also see there is part of a film advancement gear present and the fake lens. They think all one must do is put a real lens in place of the fake one and all is done. This is far from the truth. If it was this simple Leica company would have made the UR camera a working model as they did with the O series camera of 2000. Leica knew that there was a great deal more to do. Much machining, making new gears, designing a lens that would fit into the small barrel of the dummy. Designing a shutter curtain with barrels that could fit inside the small interior of the UR. They did not do this cause it would have greatly increased the price of the final UR and most people would not be willing to spend that kind of money.

 

I too thought it would be a simple process at first but over the months of observing the conversion of the dummy to the UR Replica, I really gained an appreciation of the complexity of the process. Now I have $1200 less in the bank but I also have a camera that I would not trade for $4000. It takes excellent pictures, is as small as many point and shoot cameras, and using it I understand how revolutionary this camera was at the time. I also appreciate better the feeling Barnack must have experienced as he took pictures of the Sunday family going up the stairs. A photo that could never have been taken with most cameras of the time. Then the excitement as he looked at the first pictures taken and was surprised at the sharpness of those photos. I hope this answers your question.

[George Furst]

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I am posting one picture that I recently took at my university, and one at the Daejeon train station. These have been heavily cropped to be under the allowed posting memory allowance. the first is one that would have surprised photographers at the time when Barnack first made the UR Leica camera back in 1913-14 as it is a grab shot. I had just exited my car when along came a gaggle of geese. The UR camera was perfect for this. The second photo was taken while waiting for the train to Seoul, about a two hour ride at the cost of $7. Trains are subsidized by a tax on car fuel so they are very cheap here and an excellent way to go anywhere in the country.

 

These pictures were all taken with the Micro Summar 42mm lens used on the original UR Leica. Now that I have been using the camera for three weeks I know a little of its personality. It is definitely a fair weather camera...it must be daylight and it is best if the sun is out. All pictures were taken with 400 asa Kentmere film and developed by me with full strength D76 developer. Also you must only wind with the lens blocked. In this way it is like the O series Leica as it also has a non capping shutter. Also all the above photos were taken at a fast shutter curtain speed setting and eleven on the diaphragm setting. I only wasted a few frames so I am getting better in remembering to close the shutter. Also I was going to make a case for the camera but the one from my four digit Leica 1a fit perfectly, proving that it is indeed the grandparent of that camera  .    

[ecdysiast]

I don't understand the "fair weather camera" conclusion.  An f/4.5 lens, ISO 400 film, 1/200 shutter speed seems adequate for

more shadow detail in these pictures.  Why did you have the iris set at 11, and what does that number correspond to in current terms? 

[George Furst]

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I don't understand the "fair weather camera" conclusion.  An f/4.5 lens, ISO 400 film, 1/200 shutter speed seems adequate for

more shadow detail in these pictures.  Why did you have the iris set at 11, and what does that number correspond to in current terms?

 

Thank you for your question. It is a good one and it challenges my statement that may turn out to be wrong. I am slowly learning about the performance of this camera one film at a time. This is just as Barnack must have experienced one hundred years ago. You are correct that the lens is a f4.5 Micro Summar. And I agree that shooting with 400 asa film, the exposure should be enough for low light but my experience is that even using the slowest shutter speed (low spring tension on shutter curtain) I have thin negatives as a result. As for the number 11, I made a mistake it should have been the number 10. This is the number on the UR camera lens barrel and I do not know what this number is in relation to f stop. I have been guessing that it is around f11 but that is a guess. I do know that it is the smallest iris opening on the Micro Summar 42mm lens available. I also do not know what the shutter speed is. I estimate that it is around 250 with max spring tension on shutter curtain but do not know the exact shutter speed. Therefor this is an educated guess. Also I do not know the slow shutter speed but estimate it is around 100. These are guesses based on the exposed film.

 

When I say it is a fair weather camera, I mean that my best exposures have been during the day with full light. I also note that all the photos that I have seen taken by Barnack and Ernest Leitz, were taken during the day. I have never seen a low light level picture taken with the original UR camera. The limitation for Barnack was the low asa film available for cine film 100 years ago. The limitation for me is the fixed 8mm wide slit in the shutter curtain. This all means that there are limitations on the kinds of exposure available with the camera. I do know that Barnack claimed that his shutter curtain had a window of 40 mm. This would have compensated somewhat for the slow film asa of the day. This 40 mm window on the curtain would have allowed five times more light on the film if the curtain speed was the same as on my UR Replica. But we do not know if my shutter curtain is traveling at the same speed as that of Barnack's camera. It is really frustrating to have so many unknown variables that I just have to guess at. As a scientist one of the first rules of any experiment is to limit your variables and define your parameters. The only one I know for this camera is that at infinity, the pictures are very sharp. I still have to learn if the focus marks on the UR Leica are correct but my first try at this indicated that they are not on the mark even though I am using the same lens that we are told Barnack camera used.

 

In summary, I am still in the early stages of exploring the range of pictures one can take with this camera. My experience after 5 rolls of 400 asa film is that the negatives are thin in low light and the best pictures are those taken in full daylight. I also must say that most of my pictures were taken with the tightest shutter curtain spring setting and the 10 setting on the iris diaphram. I have yet to explore the low light capability of the camera. That will be my next challenge. I hope this explained my statement regarding the cameras low light capabilities. You may turn to be right in the future as I explore more about this camera. Again thank you for the question because it has made me think that you may be right in the long run and the camera may be more versatile than I now believe it to be.

[ecdysiast]

I have at last consulted a few books in my own library, and extracted a few details relevant to this thread.   According to van Hasbroeck ("Leica: A History Illustrating Every Model and Accessory," 1993)  Barnack's original frame size was 24 X 38mm, derived from the width of the film between sprocket holes and the spacing of eight sprocket holes, 8 X 4.75mm = 38mm.  However, to reduce fuzzy frame divisions due to shutter bounce, and to allow for spacing between frames, Barnack reduced the frame size to 24 X 36mm.  Barnack's original slit size was 25 X 40mm, reduced to 38mm by stiffening bars to keep the shutter fabric taut.  Thus, 38mm is the correct shutter slit size for the Ur.  Although not mentioned anywhere I could see, a slit of this size allows for time exposures, where a smaller size does not permit time exposures.  My own Ur replica has a slit that is wide enough to cover the whole 36mm wide negative.

 

The lens on the original Ur (Ur-Ur) was, according to van Hasbroeck and also Jim Lager ("Leica: An Illustrated History, Vol. 1," 1993, a 50mm f3.5 Kino Tessar, which is the same lens used on the movie camera that Barnack was originally hired by Leitz to build.  Lager states that subsequently a 64mm f4.5 Leitz Mikro-Summar, and finally a 42mm Leitz Milar were fitted.  It is interesting that my Ur replica is fitted with a coated lens with a working iris diaphragm and working helicoidal focusing mount.  It should be easy to remove the frame on the back of the camera body and put a ground glass over the film plane to see whether the lens on the replica produces any image at all and if so, if it really focuses according to the scale.

 

All sources, including van Hosesbroeck and Lager, agree that the UR shutter operated at about 1/20 to 1/40 sec.  1/40 sec. corresponds to the movie camera shutter speed at 16 frames per second, contributing to the belief that the Ur was designed as

a device to be used as an exposure meter for the movie camera.  It is not clear to me that in my Ur replica the take-up spool tension can really be adjust by the knob on the top plate; it doesn't feel like it is connected to anything.  So in the replica as it is, the shutter will work, but may not have adjustable speeds.

 

The subject of film wind/rewind is of interest.  Published photos of the Ur show spool to spool transport.  Van Hoesbroeck states that "[t]he spools are fitted on the spindles of the camera and held be friction."  Further, "the take-up spindle is driven by a spring wire drive belt. . . ."  My Ur replica has spindles but was not supplied with any spools.  There does not appear to be any provision to drive the take-up spindle.  Also, the frame counter is not connected to the winding mechanism.

 

Thus, besides the lens, which is an open question until I take my Ur apart, the difference between an Ur replica that takes pictures and one that is only for display, lies in the film transport and exposure counting.  However, I wonder whether spools, much less a driven take-up spool, are really necessary.  The film is advanced the proper distance by rotation of the sprocket wheels.  Unexposed film might be simply rolled up and tucked into the supply-side compartment (as in Kodak Instamatic film cartridges), while exposed film can roll itself up in the takeup compartment, unless prevented by friction. 

 

Perhaps some readers may be able to assist in answering the questions implicit in this post.  Also, if anyone can find a copy of the patent application for Barnack's camera, submitted on June 12, 1914, that would be very helpful.  This application did not result in a patent because of conflicting prior art, but was published as a D.R.G.M., or "utility patent"--not-quite-a-patent.

[George Furst]

I agree with much of what is written in the above post. I also really appreciate another member doing research on this critical topic. I too would like to see a copy of the original patient application. I also agree that the original lens used was not the f4.5 42mm Micro Summar that I am using in my UR Replica. But I also know that the lens in the camera at Leitz Wetzlar is a 42mm lens as Erwin Puts states in his 2012 publication of the  "Leica Chronicle" that the focal length of the UR Leica in the Leitz museum was recently measured by the engineers of Leitz and it had a 42mm focal length. He goes on to say that the only lens listed in the 1910 catalogue with this focal length is the 42 mm six element Mikro Summar lens. This is the lens that I have in the UR Leica Replica camera now and it is the one of which I have, in a prior post, a photograph of the early 1900s catalogue listing of the Mikro Summar lens. As I said above, the Milar lens had a focal length of 40 mm so the UR Leica lens in the only existing example could not be that one. The question now is when was the 42 mm Milar.  I look forward to more discussion on this topic and thank you again for the information you have provided above.

[George Furst]

I  have finally finished checking the focus of the 42mm f4.5 micro Summar lens. With the Replica one cannot do this task by removing the back with the focal plane curtain in place because the 8 mm slit on the curtain never stops moving across the focal plane. One cannot do timed exposures with the camera because of this. The only way to accomplish this task is to load the camera with film, set up eye level targets, marked with the distance from the tripod and camera, and take pictures changing the focus each time. All these targets have the distance that I carefully measured from the camera's focal plane. Then aim at all the targets and check which ones are in focus. I have finished this, developed the 400 asa film, and scanned the photos and the focus marks on the camera bring into sharp focus the correct target marked with the distance and the others are not in focus. I did this with fast shutter speed and f4.5 in order to have the least depth of focus and camera movement. The correct targets are spot on using the 42mm Micro Summar lens  . This is a great relief as otherwise you could not use the camera for close up pictures.

[George Furst]

Now that I have had two months of taking pictures with this gem called the UR-Leica. I wish to make a few comments. I love its size and it can easily be carried in one's pocket. The lens, a 42 mm Micro Summar is sharp and a good lens for taking pictures in daytime but there are limitations to this camera at the same time. The lens f stop of 4.5 wide open limits light and reminds me of the Summaron f5.6/28mm lens. That it is, it is sharp, small and has a wide depth of field. The pictures remind me of the classic little camera the Rollie 35 that comes with a 40mm fixed lens. The similarity is that the UR camera, like the Rollie 35, one cannot unscrew it and put on a faster lens for low light or to limit depth of field.

 

Another factor is the shutter speeds are limited. There is no way to take long exposures. Now that I confirmed that the focus marks on my converted dummy UR are spot on for the 42mm micro Summar thereby confirming that this is the lens on the one in the Leitz Wetzlar museum. Now I am moving on to the shutter speeds. The original camera Barnack built in 1913-14 had a very simple shutter curtain having a 38mm shutter window on a single curtain passing between two shutter barrels. We are told that the shutter speeds with this opening was 1/40th and 1/60th of a second. These speeds are controlled by tightening or loosening the spring on the take up shutter barrel. This is controlled by the knob on the top of the UR next to the accessory shoe. Screwed all the way counterclockwise the spring is fully tightened. Turned the other way, the spring is loosened and the shutter curtain passes over the film at a slower speed. I have now estimated the shutter speeds of my camera to be 1/200 second with the spring turned fully clockwise and 1/300 second with the spring fully tightened. This is based on the best exposures using 400asa film. This is interesting because if one compares my 8mm window on the curtain with Barnack's 38mm window, mine is a little less than 1/4 Barnack's shutter window. This means a little more than 4 times less exposure of the film. Therefor 1/40sec exposure on the Barnack camera is equilivant to 1/190sec on my camera and the 1/60th exposure on the Barnack camera is equivalent to 1/300sec on my UR Replica.

 

All this means that even with 400asa film, one must have a well lit scene. Of course that other difference from the Rollie 35 is that you must load and unload the camera in darkness. It just means that I must have a changing bag if you wish to expose more than one roll of film on an outing. With all these limitations I continue to enjoy using this camera. The thought that I am experiencing what E.Leitz experienced and what Barnack experienced makes up for any limitations. Also with my background in design, I really admire the ability of Barnack, the mechanic, to design such a revolutionary camera!

[George Furst]

This is my third month of using the UR Leica Replica modified from a 1970s Leitz Wetzlar Dummy number 28 by my talented camera engineer in Seoul.  Here I will share a few of the things that I have learned during this time. I have already put over 30 rolls of film through the camera and I can confirm that the UR Leica Replica takes excellent pictures. To date I have only used black and white film, both Kentmere 400 and now Kodak Tmax 100 film. Also I am bulk loading cassettes and done all the developing with Kodak D76. You may ask why I use a cassette when the camera does not take a cassette. Working with a cassette with loaded film is much easier than working with a bulk roll of many yards of film in the dark. It also ensures that I have the right length. Here are a few of the things that I have learned: 

 

1. Barnack's camera had a fame counter that went up to 50. I tried loading a film with fifty frames and it does work. You can actually load enough film for fifty frames. I did this just to test that it would work. But I routinely go with 36 frames because it is a squeeze to get that longer length of film into the small space on the film loading side of the camera. Also the take up spool is really hard to pull out of the camera when it has that length of film necessary to have 50 frames on it, but I could do it!

 

2. The focus registration on the Dummy does match the 42mm Micro Summar lens that I have in my replica of the UR (I have mentioned this in a prior post). This was a great relief as I did not have to modify the focus register on the front of the lens holder. It is also an indication that the dummy model is set up to work with the 42mm Micro Summar lens.

 

3. One must cut a leader on  the film prior to loading,  just like one must do with the Leica bottom loading screw mount cameras. I learned the hard way and jammed the camera. I learned that it is very difficult to remove the film once it is on the pressure plate! I learned to never do that again! 

 

4. When you pull out the front of the camera with the lens, one must check that it is pulled out all the way. My camera has a tight fit on this lens holder and a few times the picture was not in focus and I am sure that was due to not having the lens pulled out all the way. On the O seried camera and the Leica 1a, there is a lock for the lens that are pulled out prior to taking the picture. I am sure that Barnack did this because he lost a few pictures as I did.

 

5. The camera will focus beyond infinity. It is not that way because of temperature changes like in the longer R lens. It is a quirk of the construction of the UR Leica dummy that I have. I found that I had to put a washer under one of the screws which is perfectly positioned to become a stop at infinity on the focusing knob.

 

6. The two spools that hold the film have two different diameters. The feeding spool had a smaller diameter than the take up spool. One time I loaded the leader on the film in the dark to the wrong spool. I soon realized that I could not fit the spool into the feeding spool location. I had loaded the wrong one, the take up spool. Now I know why Barnack marked each spool with a roman numeral I and II. The feeding spool has the roman numeral one and the receiving spool has the number two. It was a good idea and helps one to avoid this mistake on loading incorrectly. But then in the dark one cannot see these marks. Therefor I always start the tongue of the film from the cassette to the take up spool with the roman numeral two before turning off the lights. This ensures that I do not make this mistake again.

 

7. How do you tell if you have run out of film? There are no knobs that connect to the film. Also on my replica I do not have an operational film counter. This was a step too far at the time and I wanted to get on with taking pictures with my Leitz Wetzlar Dummy now Replica. Maybe the resistance of the film being released from the feed spool would signal the end of the film. I have found this not to be the case! Also listening to the camera may work but when out and about taking pictures this is a little awkward and with all the gears moving, I find it hard to tell if film is moving on the pressure plate. I have found that there are two ways. one is to listen to the film end flipping round on the take op spool. The other, and the best way, is shaking the camera. When the feel spool is empty, it raddles in its compartment and this tells me that the film is all in the receiving side of the camera.

 

8. There are light leaks from the plate that is screwed onto the back of the camera. I now use a four digit !a camera case to block the lower light leaks and electrical tape to block to upper leaks. Not an elegant solution but it works. My camera engineer has said he can fix this but  I haven't wanted to be without the camera for a week as I must go up to Seoul to do that and recent events indicate that is best not to move closer to the DMZ!

 

Discussion on the Lens that was used on the Barnack UR Leica

 

This to me is a very important topic. I was disappointed that Leitz Wetzlar never mentioned anything about the original lens used in the 100 anniversary celebration of the UR in 1914. In fact they mentioned very little about the construction of the camera in any of the related publications. That is my inspiration for trying to fill this gap. The lens used by Barnack is surprisingly sharp, and the lens I am using is too,  but was it the lens used in the original UR? Most discussions about the UR camera skip this topic. This is like a hamburger without the meat!

 

According to the information researched above by 'ecdysiast' the 42mm lens was not Barnack's first choice. I have also gone through all my references and I agree with this prior post that the first lens was probably the 50mm f3.5 Kino Tessar from Zeiss, the same lens he used on the Barnack Cine (movie) Camera of the same period. Since this format is one half the UR Leica format, it would clearly show a fall off in focus on the diagonal corners when used on the Barnack full frame UR.  I have looked for pictures claimed to have been taken with the UR looking for the fall off in the corners, One picture I have found is the aerial photograph Barnack took of a town center (What town is it?) from the Zeppelin. It clearly shows a sharp central area and a blurred image in the diagonal corners. He probably was using the Zeiss 50mm cine lens for this picture. Evidently he also used the 64mm f4.5 Micro Summar, but I find no examples of pictures with the expected slight telephoto effect. Therefor this lens must have been used only for a very short time. The majority of pictures are clearly slightly wide angle indicating that he was soon using the 42mm Micro Summar lens from the same Leitz manufactured group as the 64mm lens. This is the six element gauss design 42mm f4.5 lens, a standard cataloged lens (see table above)  from over 100 years ago.  This is the same lens that was given me as a gift.  Evidently Leitz Wetzlar optical engineers examined the lens on the UR camera, now stored in a vault, and it was measured to have a 42mm focal length. There was only one lens made by Leitz at that time with this focal length and it was the above 42mm f4.5 Micro Summar lens.  I am using this six element lens and I find that it is very sharp and performs very well from close up to infinity. I will soon be posting more pictures to support this claim so stay tuned! 

[George Furst]

Above I promised to show you some photos taken with the UR Leica in a different situation than my prior photographs, Here is an example of the response of the camera and lens to a lower light situation. The camera was set at the lowest speed (I screwed the shutter receiving drum to the weakest spring tension by turning the knob on the top of the camera to the extreme clockwise direction). I think this speed is around 200th of a second with the 8mm slit on the shutter installed in the camera (this was discussed in a prior post). Also the lens iris was set at 10, the most wide open available with the over 100 year old 42mm Micro Summar lens. That means it is set at f4.5.

The film is Kodak 100Tmax that I have developed in D76 1:1 for 24 minutes at 20 degrees C. This means that I have pushed the film from 100asa to 400asa. I realize that this increases the grain size but that was the only B/W film I had available and it was also my chance to expand my film processing experience.

After the film was dried and cut into strips I scanned it on my Epson Perfection 4870 scanner. I did sharpen the pictures and also spot removed the dust spots and a few scratches on the film. These were the only modifications I did to the negatives in the post process stage of image forming.

All photographs were taken hand held. I also did measure the distances carefully and set those distances by using the calibration, in meters, that were on the dummy modified to be a replica UR Leica (this focus check was discussed in another post). I picked 4 photos from the 23 taken in the sitting.

The subject of the pictures is a good friend HyeSan and her 9 month old baby Raon (pronounced Rhyon in English). The name means "Glad" in old Korean language. I have her permission to post these pictures on this site.

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Edited March 14, 2017 by George Furst

[George Furst]

I will try to add the other two pictures. For some reason they were rejected as being too large a file size. Here is one and I will try to post the last picture in another post. Also the film was not flat and this caused an effect where the film was too close in proximity to the scanner glass. This shows up in a few of the pictures as an artifact added during scanning. I still have not learned how to keep the film flat when drying!

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Edited March 14, 2017 by George Furst

[George Furst]

The last picture is here. As for my impression, I was pleased with the pictures taken with the UR Leica Replica and the 42mm Micro Summar lens. The pictures remind me some of the pictures taken with my 28mm Summaron lens (Not the new one). As I said above all were hand held and taken at a distance of around 1  to 2 meters. I like the perspective of the 42mm lens. I also like the added depth of field over a longer lens.

 

Also I am really getting the hang of this camera. I always check that  the distance is correct,  put the cover over the lens when winding to the next frame,  check that the lens is I pulled all the way out, and that the lens cover is slid to the side before pressing the shutter release. This really forces you into a very deliberate process, like the old way of taking pictures. I also have to say I am finding that when I use my Leica O replica, I am much less prone to making mistakes as there are fewer things to check before taking the picture!

 

Today I was out at an old Korean Castle and I ran out of film on the UR Leica (there were 36 exposures loaded). I have decided that there is a reason for the 50 frames on the UR Leica. Since you cannot put a new cassette of film into the camera out in the field (the 35mm film cassette had not been invented yet, I believe), 50 frames allows you those extra pictures when out and about. Maybe this was Barnack's thought when he designed the camera to be able to hold 50 frames. It is realizations like this that I really enjoy, that is getting into Barnack's head and his thoughts when designing the camera back in 1913. I am sure you are getting the impression that this is a design professors dream...understanding these details that would go unknown without using the design for its intended purpose. This is not a camera that is in a vault, it is a camera design that must be used to be fully understood.

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Edited March 14, 2017 by George Furst

[George Furst]

I am on my six month anniversary of using this UR Replica Camera and now I have accumulated over 1000 pictures taken with the camera. I love the size of it and also how easily it fits into my pocket. Even though the camera is metal it is also not too heavy so I am able to take it everywhere. To date I have only taken B/W pictures. The film I have used is bulk load 100Tmax and APX400. Also I develop and scan all the pictures here at home. I have found it very easy to load the camera and load the film using a dark bag and a picnic table when in the field. so here are a few examples of pictures taken over the last few months. The pictures include my 1973 MGB that I drive here in Korea. I happens to be the only one in Korea and gets allot of attention, especially from the younger generation. Another picture is a grab shot of students in down town Daejeon enjoying the worm weather. Another picture is of a group of people waiting outside of the famous SumShimDong bakery here in Daejeon. Another picture was taken in Seoul with the "My Juice" restaurant in MyungDong section of the area near the Seoul Train Station. The last picture was taken a few days ago and shows the rice fields just filled with water in preparation for the planting in the following weeks. These pictures show the versatility of the camera, the first Leica.

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[George Furst]

I will try to add a few more pictures from the above that I could not upload due to size.

[George Furst]

These are more of the pictures taken with the UR Leica Replica that are referred to above.

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[George Furst]

OK, lets try to upload the last picture of the "My Juice" restaurant in MyungDong Seoul.

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[George Furst]

I have enjoyed this UR Leica Replica based upon the UR Leica Dummy that Leitz made in the early 70s as copy of the one Barnack made back in 1913-14. I have decided to make another one and have found another of the original lens that is found on the one example of this camera that exists. This camera is located in the vault at Wetzlar, but it is the camera that took many of the pictures familiar to us. I will include a picture of the lens with the box that it came in. this lens Barnack used and is found on this only example of the revolutionary camera. I will use this lens in the next example of this camera. Now I need to find a cheap screw mount camera that is in bad condition as I need a few gears from the winding mechanism.

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