Thursday, November 12, 2015

Series - b&w week october 2015

Last month the usual suspects contributed to yet another black&white week on flickr/facebook. Although this time the b&w week came a little later (one and half years passed since the last one), it felt like everyone was really eager to contribute. I am already longing for the next one! :)

point of view
(Taxona 111/24, Kodak Tri-X 400, ISO 400/27°)

3x:
(Ikonta 522/24, Legacy Pro 100, expired, ISO 100/21°)

*
(Kine-Exakta II, Ilford HP5 Plus 400, expired, ISO 400/27°)

film casino
(Bessa RF, Ilford Pan F 50, expired 1982, ISO 50/18°)

types
(Tenax I, Ilford HP5 Plus 400, expired, ISO 400/27°)

snowy branches
(Icarette 6x6, Kodak T-MAX 400, ISO 400/27°)

sledges
(Contessa 533/24, Rollei Retro 100, expired, ISO 100/21°)

Take a look at all contributions in this flickr group.

Sunday, May 10, 2015

Series - coffe2go

c2g-coffeepirates
(Kodak Recomar 33, Lomography Redscale 100, ISO 100/21°)
kaffeepiraten.at


c2g-mokador
(Rollei 35, Lomography Color 400, ISO 400/27°)
mokador.at


c2g-kaffeevonsascha
(Rolleiflex Automat 631, Kodak Portra 400VC, ISO 400/27°)
kaffeevonsascha.at


c2g-kaffeefabrik
(Vitomatic IIa, Porst Color-X 200, expired, ISO 200/24°)
kaffeefabrik.at


c2g-felzl
(Ideal 250/3, Kodak Ektar 100, ISO 100/21°)
felzl.at


c2g-unnamed
(Inos I, Kodak Portra 160NC, expired, ISO 160/23°)
unnamed


c2g-kaffeemodul
(Rolleicord I, Kodak Portra 160VC, expired, ISO 160/23°)
kaffeemodul.at

Monday, March 23, 2015

Two cameras for a lens - Voigtländer Inos I

Last November I got a Voigtländer Inos I at a fairly low price. I decided to get it mainly because of the lens, an early Voigtländer Heliar f/4.5. I already have such a lens on my Voigtländer Rollfilm 5x8 and I am deeply in love with the very unique pictures that it produces. Unfortunately, the relatively exotic 127 film format that the Rollfilm 5x8 requires is not very convenient: film choice is very limited and the prices are on the high side. For this reason, I thought a 6x9 folder using 120 film (readily available in a decent variety of films at reasonable prices) with a Heliar lens was a good idea.

I was not able to check the camera in person before I got it. I could just look at a single low-quality picture, enough to see that the lens was in fact a Heliar but not much more. As the camera arrived and I opened up the package, the camera turned up to be in quite poor condition: leather was missing from the front and sides, rust had found its way onto many spots, sports and wire frame finder were not there and it felt like it had not been taken care of in the last sixty years. The lens, though, looked pretty clear, which was the whole point of it. I improvised a crude "leather" covering and got the thing running again.

crude camera covering job... #diy #electricaltape #vintagecameras #voigtländer

A photo posted by tonicito (@tonicito75) on


The shutter though, showed quite a strange behaviour: slow speeds were a little too slow, which is common because of hardening lubricants in the mechanism, but time and bulb settings, in which the shutter can be opened and closed manually through the release lever, would not respond at all and 1/250, the shortest speed, sounded and looked to me more like 1/50 or 1/100. This called for a closer inspection, so I carefully opened the shutter and discovered that a number of important pieces were missing: the B-lever, which connects the shutter release to the blade operating ring for T and B operation, was nowhere to be found. This could still be OK, since these are speeds that are rarely used except for long exposures. Unfortunately the booster spring was missing, too. This is one strong coiled spring that gives the shutter the extra tension needed to achieve its highest speed, a tension which is very noticeable when cocking the shutter at 1/250. Without the highest speed, I needed to stop down the iris to compensate, and "large" apertures (we are still talking f/4.5, so were the figures in the 20s-30s) is a favourite spot for me using a Heliar.

I accepted the facts, shot a roll of film with the camera and shutter as they were, fell in love deeply (again!) with the Heliar lens, and let it sleep. In the background I searched for a similar 6x9 folder with a compatible Compur shutter to obtain the missing parts, or to exchange mine, but found nothing. Last month, though, I did find such a 6x9 camera. And, ironically, it was yet another Voigtländer Inos I, in much better condition, and again with a fairly low price tag. This one sported an Anastigmat-Skopar f/4.5 lens which, for all that matters, is an excellent performer. It is no Heliar, though.

... but that #Heliar lens is oh so wonderful! #diy #vintagecameras #voigtländer

A photo posted by tonicito (@tonicito75) on


The shutter on the second Inos has all its parts in place. The camera has even the body piece of the sports finder which, incidentally, proved that it was indeed the relatively rare Inos I for dual format (6x9 and 4.5x6) and not the much more common Rollfilm 6x9. The shutter required a little service because the slow speeds would run much much too slow. The booster spring needed attention, too, because sometimes it fell out of position when tensioning and let 1/250 run like 1/50 or so. A little pressure, lovingly applied with pliers, brought it back to a shape with which such out of position accidents seldom happened. I need to tension 1/250 with buttery fingers, though; I hope I'd manage to notice when the booster spring falls out of position when tensioning the shutter!

Both lenses having the same focal length (105 mm), the easiest way was to replace the lenses and use this nicer camera with its working shutter. I removed the Skopar lens from the "new" Inos and replaced it with the Heliar. The threads might not have been "exactly" compatible, since the front element needed a fair amount of torque to screw, but I checked infinity focus and it looked tack sharp. The first roll of film is in the making, I hope it turns out OK.

It is interesting that both my Inos I cameras are not at all very far away in time from one another. The Inos I (back then it was just called Inos) had a relatively short production run, from 1930 to 1933 (some sources say 1932), and it was quickly superseded by the Inos II. I would say both cameras were built in the same batch: their body serial numbers are just 48000 numbers apart (I guess these body serial numbers applied not only to this model but to all Voigtländer models, but I am not sure). The battered one has a higher body serial number (947270) than the nicer one (899432). Interestingly, though, both lens and shutter were a little newer (higher serial number)in the battered one. The lenses are only 747 numbers apart (760623 for the Skopar, 759876 for the Heliar). Both point to September 1933 as fabrication date. The shutter serial numbers point to 1933, too, and again the nicer Inos has a slightly newer one.

voigtländer inos i

I am happy with this camera: It is hardly possible to get a larger film format (6x9 on 120 film, that is more than six times as much area as provided by a standard 35mm camera) in a package that fits into any coat pocket so nicely as this one. The folded camera is not heavier or bulkier than the average cell phone that we used to carry around by the end of the 90s. Also, being a true Voigtländer, the quality and precision of every single component is exquisite, and its more than 70 years of various adventures are hardly noticeable when the folding bed closes nicely with a reassuring snap or the film advance key rotates as smoothly as it did in the mid thirties. And the Heliar, ah, that magical Heliar now in a much more usable package, is the whole reason why I took care of these two cameras, these almost twins that, after a long journey, reunited again.

Voigtländer Inos I
My Voigtländer Inos I flickr set

Maker Voigtländer
Model Inos I
Type folding bed camera
Lens Voigtländer Heliar 105mm f/4.5 (No. 759876, Sep 1933)
Shutter Compur, rim set, size #0, 1 - 1/250 + B + T
Film type 120 6x9, 4.5x6
Year 1933
Country Germany

Monday, March 16, 2015

Series - storefronts

One of the first things that met my eye after moving to Vienna was the rich and interesting amount of typefaces, signs and lettering of its various shops. In fact, I already posted a weekly series about them. Of course, after that I kept finding and photographing lots of interesting signs. This weekly series is about several storefronts in Vienna.

I decided to post this new series because I wanted to tell you about the wonderful photographic project that two friends of mine (Martin and Philipp) are undertaking: Wiener Geschäfte mit Geschichte, a huge compilation of storefronts, captured on pictures forever. They recently reached their 100th storefront.

Life keeps going at an ever accelerating pace, and for me it is very important to stop, take a breath and look at the sides of the road, because the most interesting things tend to happen there, on the invisible background. For this reason I think such projects like Philipp and Martin's are important.

Hope you enjoy Wiener Geschäfte mit Geschichte and my weekly series! :)

enders
(Exakta Varex IIa, Fujichrome Velvia 50, expired, ISO 50/18°)

mittagstisch
(Contaflex IV, Solution Super VX 200, expired, ISO 200/24°)


laundromat
(Kiev 4, Kodak Elite Chrome Extra Color 100, ISO 100/21°)


westlicht
(Contaflex IV, Solution Super VX 200, expired, ISO 200/24°)

buerobedarf
(Bergheil 6.5x9, Ilford HP4, expired 1980, ISO 400/27°)

gretl
(Rolleicord I, Kodak Portra 160 VC, expired, ISO 160/23°)

glaserei spiegel
(Contaflex IV, Solution Super VX 200, expired, ISO 200/24°)


Tuesday, February 10, 2015

A Year of film Sundays 2014 :)

On Sunday January 12th, 2014, I took the first picture of my first 52-week series: A Year of Film Sundays.

amtshaus
(Voigtländer Bessa 6x9, Ilford FP4 Plus 125, ISO 125/22°)

The idea was simple: take a film picture each and every Sunday for a whole year and (try to) post them each and every Sunday for a whole year. Of course, a couple weeks delay needed to be taken into account for development and scanning.

On Sunday January 4th, 2015, I took the last picture of my series.

ginesta (52/52)
(Super Ikonta BX, Kodak Ektachrome E100VS, ISO 100/21°)

It was a very interesting experience. Some weeks I discovered myself thinking about which camera and film I would use already on Thursday, other weeks I needed to improvise a bit more. I took the opportunity of the Sunday pictures to do a little experimenting. Some of them came out fine, especially with sheet film and home development.

caseta nova (32/52)
(Kodak Recomar 33, Fujichrome Velvia 50, ISO 50/18°)

synchronicity (47/52)
(Zeiss Ikon Contax IIa, Fuji Neopan 1600, EI 3200/36°)

In other fronts it was a complete fiasco, like with Minox subminiature film: 2 out of 2 attempts came out blank! :(

epic fail :( (22/52)

I used 21 cameras, most used on medium format film was my Voigtländer Bessa 6x9 (6 Sundays) and on 35mm film both my Kiev 4 and my Contax IIa (4 Sundays each).

It is difficult to pick up a favorite from the 52 Sundays. But, if I had to, I would say 07/52 (Sunday, February 23rd, 2014) is it.

high angle breakfast (07/52)
(Kiev 4, Porst Color-X 200, ISO 200/24°)

To me, it conveys the feeling of an early breakfast on a winter Sunday before taking out our whole winter equipment and go for a hike in the woods.

Thanks for coming along with me all this year. I hope you enjoyed it at least as much as I did :)