The Creation of 35mm Photography: Oskar Barnack’s Vision and the Leica Legacy
By Liquid Light Whisperer
From the earliest days of photography, cameras tended to be hefty, complicated devices. Plates were large and unwieldy, limiting both portability and the opportunities to shoot spontaneously. Oskar Barnack (1879–1936), an ingenious optical engineer at Ernst Leitz Wetzlar in Germany, would change all of that—ultimately giving birth to the 35mm photography revolution. By adapting motion picture film into a still camera and refining its design for everyday use, Barnack set in motion a new era of compact, high-quality photography. This article explores the journey from Barnack’s initial prototypes and experiments, through the iconic Leica I and Leica IIIF, shedding light on the materials, optics, mechanical breakthroughs, and the market conditions that propelled 35mm to global prominence.
Oskar Barnack’s Early Experiments
The Vision
Oskar Barnack famously suffered from asthma, making it difficult for him to lug around the heavy large-format cameras that were standard in the early 1900s. His goal, he said, was to create a camera that was “small and light enough to carry anywhere, yet capable of producing large, high-quality images.” Legend holds he often remarked, “Better a small negative sharp, than a large negative shaky.”
Prototypes
Ur-Leica (1913–1914): Barnack’s first working prototype used standard 35mm cine film, but advanced the film horizontally to create a 24×36mm negative (as opposed to the 18×24mm format of motion picture frames). This was an audacious step at a time when large negatives were considered essential for quality.
Subsequent Modifications: Barnack continued to refine the camera’s shutter mechanism, lens mount, and film transport. He also designed a new spool system to keep the film flat and reduce the risk of scratches.
Barnack’s Personal Kit
Though hard data is scarce, anecdotal evidence suggests Barnack carried his Ur-Leica, a small leather case, and spare rolls of 35mm film on walking excursions around Wetzlar. Photographs attributed to him show local markets, scenic landscapes, and intimate portraits—each capturing a spontaneity that large format cameras could not easily achieve.
Why 35mm Film, and Why 35 Frames?
Cinematic Roots
Barnack initially used 35mm cinema film because it was widely available for the burgeoning motion picture industry. The film was robust, flexible, and, crucially, produced relatively fine grain for the era.
Frame Count & Format
Early test rolls varied in length. Ultimately, Barnack standardized a roll that offered approximately 35 (later commonly 36) exposures of 24×36mm images per canister. This sweet spot balanced portability, film economy, and sufficient frames to shoot without constant reloading. By trimming down each frame to 24×36mm, Barnack ensured more images per roll than large-format film systems could provide, and this efficiency—and the resulting lower cost per exposure—further propelled the 35mm format’s popularity.
From Prototype to Production: The Leica I
Convincing Ernst Leitz
Barnack faced initial skepticism at Ernst Leitz Wetzlar about releasing a “miniature” camera. The world still equated image quality with large plates or large rollfilm frames. However, Leitz eventually saw the potential, especially for reportage and travel photography.
Leica I (Model A, 1925)
Name Origin: “Leica” is a portmanteau of “Leitz” and “Camera.”
Focus & Lens: The early Leica I had a fixed lens (the 50mm f/3.5 Elmar, derived from a 4-element Zeiss Tessar-type design). This lens was carefully matched to the camera’s register distance to guarantee sharpness.
Shutter Innovations: Barnack designed a focal-plane shutter with a dual-curtain system, allowing relatively fast speeds in a compact body.
Public Reception
Though expensive for its size, the Leica I quickly gained a following, especially among photojournalists eager to capture life’s candid moments without the bulk of traditional cameras. It famously excelled in street photography, travel, and reportage.
Advancing the Design: Leica II, III, and the III Series
With the success of the Leica I, Barnack and the Leitz team refined the design:
Leica II (Model D, 1932)
Introduced a coupled rangefinder for more accurate focusing.
Provided separate windows for the rangefinder and viewfinder, a hallmark of “Barnack Leicas.”
Leica III (Model F, 1933) and Iterations
Offered slower shutter speeds (down to 1 second), appealing to more creative photographers.
Continued the practice of using high-grade metals and meticulous hand-fitting of internal parts.
Each camera was tested thoroughly in Wetzlar, with skilled technicians adjusting tolerances for optimal performance.
Notable Materials
Brass Tops and Bottoms: Early Leica bodies featured brass plates for durability and ease of machining.
Chrome Finishes: Chrome plating became a standard finish, protecting the brass and lending a sleek aesthetic.
Lenses and Optical Mastery
The Elmar Line
The original 50mm f/3.5 Elmar was followed by faster lenses like the 50mm f/2 Summar, the 50mm f/2 Summitar, and eventually the coveted 50mm f/2 Summicron. These lenses exemplified Leica’s dedication to optical excellence, featuring hand-polished glass and rigorous bench testing.
Other Focal Lengths
Wide angles like the 35mm Elmar and 28mm Hektor catered to street and landscape photographers.
Telephotos such as the 90mm Elmar offered portrait and moderate tele reach—though focusing longer lenses on a separate rangefinder window posed challenges for some.
Anecdote from Wetzlar
A period Leitz promotional piece quoted an engineer saying, “We polish each lens as if it were destined for our own camera,” reflecting the pride and meticulous care that underscored Leica’s approach.
The Market and Shooting Culture of the 1920s–1930s
Dominance of Large Format
Before the Leica, press cameras like the Graflex or large wooden field cameras were standard. They delivered superb image quality but demanded heavy tripods and slow operation.
Emergence of Photojournalism
Leica’s smaller form factor gave birth to a new style of documentary photography. Photojournalists, unencumbered by bulky gear, could capture fleeting moments in a way previously impossible. Zeiss Ikon and Contax would eventually offer competitive 35mm rangefinders, spurring an ongoing race in optical and mechanical innovation. Kodak also ventured into smaller formats (like 135 cassettes), helping to normalize 35mm film as a global standard.
Leica IIIG: Culmination of the Barnack Era
Leica IIIG (1957–1960)
Introduced at the same time as the new Leica 4 M Mount camera.
The IIIG represents the apex of the “Barnack Leica,” carrying decades of incremental refinements.
Focus Systems
Still employing separate viewfinder (for framing) and rangefinder (for focusing) windows. This design, though somewhat cumbersome by modern standards, remained highly precise and was beloved by many Leica aficionados.
Build Quality
All-metal mechanical construction.
“Adjust and fit” manufacturing: Skilled technicians meticulously aligned the rangefinder, shutter speeds, and film transport to near-perfect tolerances.
By the mid-1950s, Leica would pivot to the revolutionary M mount with the M3. But many purists still revere the III-series as the epitome of “Barnack ingenuity”—lightweight, nearly silent, and unmatched in craftsmanship.
The Importance of 35mm: A Lasting Legacy
Oskar Barnack’s dream of a “small camera for big pictures” reshaped the photographic landscape:
Portability & Spontaneity
35mm cameras enabled photographers to capture life on the move—spontaneous street scenes, war fronts, personal travel diaries, and more.
Widespread Availability
Affordable (relative to large format) and widely distributed film stocks helped 35mm become the world’s dominant photographic format for decades.
Technological Foundation
Even in the digital age, the aspect ratio of 24×36mm has carried over into full-frame digital sensors. Barnack’s pioneering work still influences modern camera design.
Closing Thoughts
The creation of 35mm photography stands as one of the most influential moments in photographic history. Oskar Barnack’s Ur-Leica prototypes were more than just technical curiosities—they were catalysts, igniting a revolution that placed creative freedom in the hands of countless photographers. From the early Leica I to the IIIG, each iteration refined Barnack’s core principle: a compact yet high-fidelity camera that allowed for rapid, spontaneous shooting.
This shift in photographic culture—moving away from the deliberate formality of large format to the immediacy of 35mm rangefinders—was nothing short of transformative. Even a century later, the spirit of Barnack’s innovation lingers on every time we load a roll of 35mm film (or, in the digital world, shoot in a “full-frame” format). His vision for a portable camera proved prescient, ushering in the era of modern photojournalism, street photography, and creative expression across the globe.
“Better a small negative sharp, than a large negative shaky.”
– attributed to Oskar Barnack
Below are some links to view notable images of Barnack’s prototypes and early Leica models. Copy and paste to explore (links are for illustrative purposes only):
Ur-Leica Prototype
Oskar Barnack’s Personal Camera Kit
Leica IIIF Showcase
Early Barnack Photographs
In telling the story of Oskar Barnack and the creation of 35mm photography, we celebrate a pivotal leap in camera design and photo culture—an innovation that still resonates profoundly in the images we make today.