In order to understand the Leica IIIf within the context of 1950s camera technology, we looked at some reports published in Leica Fotografie at the time. “Long Awaited – Finally Here” is the headline of the first article on the IIIf, featured in the November/December issue of 1950. It is well known, the author explains, that flash synchronisation is much more difficult to achieve in cameras with a focal plane shutter, compared to box cameras (in which the function was introduced a little earlier). Such fundamental changes to the camera, he continues, must be implemented in the most meticulous manner – a task in which Leitz certainly succeeded. The tiny flash socket on the rear of the camera is cited as the most noticeable difference to its predecessor. The article goes on to describe the new synchroniser dial: using a provided chart, the photographer selects the appropriate value in accordance with the desired shutter speed and the attached flash unit. The latter plays an important role – in fact, Leica Chronicle author Erwin Puts goes as far as recommending that, when setting the synchroniser dial, the characteristics of the flash unit warrant greater consideration than the intended shutter speed.

As for the Leica IIIf’s performance: in 1951, Leica Fotografie wrote that “the trigger contact is generated mechanically via the so-called fast speed dial, which rotates with the curtain drum.” The introduction of built-in flash synchronisation in the Leica IIIf significantly expanded the creative scope for amateur and professional photographers alike. All of a sudden, correctly exposed flash photographs could be reliably achieved in a variety of situations – be it at night, in available-light conditions, or in interior spaces: thanks to this new technology, it was possible to brighten shadow areas and even-out excessive contrasts to produce consistently high-quality results.