Early Leitz Enlargers
From the earliest days of the Leica, enlargers were an integral part of the system because contact prints from the 24 x 36mm format were viewed as an intermediate step, and not as the end product. Indeed, some of the earliest promotional literature for the Leica I (Model A) highlighted the camera’s ability to capture images of sufficient sharpness and detail to enable large diameter enlargements of superlative quality to be made from “miniature” format negatives.
There are 4 models of the E. Leitz Wetzlar “Box Type Enlarging Apparatus,” one of which is pictured in the July 1928 edition of “Directions for using the Leitz ‘Leica’ Camera.” All but one of these used the same tall, vertical, crinkle-finished, two-section metal housing with a lamp socket and non-detachable power cord emerging from the top. These were diffusion enlargers with opal bulbs, and they all were capable of exposing sheets of photographic print paper in small print sizes. The Flein, built into a vertical box of unspecified construction (probably wood) incorporated a fixed focus 65mm lens and made 3-1/2 x 2-1/2-inch enlargements. The Fleos provided the same print size as the Flein but evidently used a metal housing “with 75-watt opal bulb in detachable metal casing” i.e., the top section. The Filar “Plain daylight enlarger” resembled the Fleos , and had a 65mm lens like the Flein, but it made larger postcard-sized 5-1/2 x 3-1/2-inch prints. The similarly configured Filix also made postcard-sized prints but used a 100-watt bulb. All these units performed admirably according to contemporary users, were beautifully made, and quite durable, but they lacked the flexibility of an adjustable enlarger.
This brings us to the unnamed “Variable Enlarging Apparatus for ‘Leica’ films” shown on page 16 of the aforementioned manual. It was “intended exclusively for use with artificial light” and suitable “for making enlargements ranging from 3-1/2 x 2-1/2 to 9-1/2 x 7-1/4 inches” from full frame negatives, and up to 7-1/8 x 5 inches from 24 x 18mm cine frames. As the charming vintage description notes, “The apparatus consists of a base plate with upright, along which slides a movable arm carrying a globular metal casing with a 60-watt opal lamp, a film carrier and an objective. The metal casing is well ventilated. The opal lamp furnishes a diffuse light, such as is best adapted for enlarging. The connection to the electric light circuit is established with the aid of a plug contact.” Or, to paraphrase in contemporary prose, it’s a single column enlarger with a spherical lamphouse that uses a frosted 60-watt incandescent bulb that’s powered by a standard A.C. cord.
Early Leitz enlarger showing easel raised at an angle to correct for linear distortion, Courtesy James Lager
Page from early Leica catalog detailing enlarger range Courtesy James Lager
E. Leitz Wetzlar Box Type Enlarging Apparatus with metal 2-piece housing, courtesy James Lager
For the record, what may well be the first adjustable Leitz enlarger, code named Files, (pronounced fee-less?) also included a simple press switch for turning it on and off, and a hinged glass carrier to ensure film flatness. It also came with a 50mm f/3.5 Leitz enlarging lens and a movable printing board (easel) with a hinged glass plate (cover) but no border mask (format frame or adjustable arms). When fitted with a 50mm f/3,5 Leitz enlarging lens that included an iris diaphragm calibrated “with factorial numbers for the time of exposure” it was listed as the Filoy—even minor changes merited a different code name, to the delight and consternation of Leica aficionados. Oh yes, there was also an accessory for the Files and Filoy, a pair of hinged glass plates measuring 1 x 4-3/4 inches for holding strips of negatives. Its classic code name: Glazo.
Profuse thanks to James Lager, an acclaimed expert on all things Leica, for providing much of the background information and all of the images used in this article.