Photography for Profit or Fun

Your Own Darkroom: (continued from a previous post)

Continued from this link: http://notesandnods.typepad.com/photography_for_profit_or/2009/10/your-own-darkroom-continued.html

Before i get too far into the requirements for enlarging negatives to make silver halide prints, let me round of a couple of additional ideas to help mechanize your film processing.

If you are going to continue to do small quantities of film and slides, both color and black and white, you can get by using stainless steel takes and reels. This is what I have always preferred. However, in the realm of reasonably affordable options to help you gain a little more facility for controlling temperature, which is desirable for black and white, and essential for color—you would do well to consider a Jobo Film Processor. You can find these for sale on eBay. I paid $200 for one recently, but I have seen them go for a lot less occasionally.

I will place photos of this system here as soon as I get some taken. But in a nutshell, the system consists of a rectangular table-top plastic tub, with a built-in heater. Processing tanks set in the tub, thereby maintaining close control of the temperature. This system will greatly assist you. With it you can do color and black and white negatives, as well as E-6 slides. Please note that not all transparency films can be processed with E-6 chemistry. If you plan to process your own slides/transparencies, you’ll need to buy the correct film.

A Jobo System comes with Instructions. If you are missing those, they can be found and downloaded for free from the Internet. It is from that point a simple, though somewhat tedious project of setting up and following the instructions precisely—until you get it down square. In any event, I recommend that you use a few trial rolls of film for each process the first few times. It is probably best, until you learn the A, B, C’s of this process to buy the chemistry in kit form. Most, if not all, brands of chemical for each respective process, are easily adapted to the Jobo rig. And I must say there are other brands of processors available as well. 

This post turned into something longer than I had at first considered. I will continue the enlarging drill within a future post (soon).

Your own Darkroom (continued)

As I was discussing in a previous post,in today's photography world, you really need to have a way to get your film images into a digital format. Yes, you can stay in the anolog format as was used for over 150 years--but by using film to capture your images, and then converting them to digital images, you really have the best of both worlds. You can then use your computer and numerous image manipulation software programs in order to maximize your control over the fimal image output.

There are essentially two ways to convert your images that you will be concerned with. Either, have your comercial lab scan them and return them to you on CD or other medium, or you can scan them yourself. Generally, a commercial lab is going to have a higher resolution capability for scanning, but you can do an amazingly good job with a proper flat-bed home scanner which can be purchased for a few hundred bucks. You'll want to scan the negatives or transparencies rather than prints in most cases. this will necessitate a scanner that has that capability built in aor as an option.

In order to process your own film or transparencies, you can even get by without a darkroom, altough a dark closet is helpful. You CAN get by merely using a so-called changing bag, or dark-bag. It's just that, a bag with elastic arm holes that close tightly around your wrists when they are inside the dark bag. There is usually a light-tight zipper that can be used to place film processing tanks and reels within the bag--effectively keeping it in the dark while loading the film onto the processing reels.

Black and white is easier to process than black and white, due to closer temperature control tolerances, and additional chemical steps involved for color. But both can be done easily enough, within certain perameters. You will definately need a good photographic thermometer. This is probably a good place to list what is required to process film and trnasparencies only.

1. A dark changing bag.
2. A photographic thermometer.
3. One or more processing tanks. These can be either stanless steel or hard plastic.
4. Reels of the size to fit the different size films you plan to process. These also come in stanless steel or hard plastic, and are matched to your processing tanks.
5. A graduated measuringing container. I prefer glass, as it is easier to keep clean, but plastic will work. I like to have a two gallon size, a quart size, and  pint size measuring containers, for mere convenience.
6. At least Six dark-colored storage containers. The size depends on how often you will be processing film. I like to keep both gallon size, and quart size, and again glass is my preference. Plastic is acceptable and has its advantages too, such as being unbreakable and easier to handle.
7. Running water, both hot and cold is almost essential, and a large sink is very desirable--but I have done without when necessary in the field. Along with the running water, both hot and cold, a rubber hose faucet attachment is also helpful in directing the water flow to rinse processed films, mix chmicals etc.
8. Then you will need chemicals. I recommend that you initially buy the small kits of given quantity sizes of dry chemicals, liquid concentrates or both. These will ensure that you have all the ingredients that you need. Make sure that the kit is compatible to the types of film or transparencies that you will be processing.
9. A Dust Free place to make a short "clothes-line" of wire where you will hang your finished film to dry.
10. I highly recommend that you purchase any current Photographic Darkroom Guide or Reference Book. There are also numerous online sources to help you.

My intent is to merely give you an idea of what is necessary, so that you can determine whether or not you want to go this route or to simply rely on a commerical lab.

If you process your own film or trnasparencies and then scan them for further use, you can skip the most involved darkroom procedures required for printing and enlarging. But for many reasons, both hobbyists and professionals are choosing to have the enlarging and printing capable darkroon too.

I will next wite about what is required to take the next step and enlarge and print your own photographs using the traditional silver halide process. I have spent countless hours in the darkroom streching the limits of the photographic process. I consider myself an expert on the topic. However, there are sufficient sources for me not to be inclined to duplicate these efforts. I will tell you, that in spit eof the digital options for producing hyour images today, I believe that you will find a great deal of satisfaction in having a properly equipped darkroon--if only to do black and shite images, as good black and shite processing is getting much harder to find.

Aside from these esoteric needs, you can certainly get by with just processing your film and then trnasferring them to the digital process by either scanning, having them scanned, and then having them output on your own printer of your choid=ce and quality needs. It is entirely feasible to output a few prints on a common color ink-jet printer, but it is not particularly economical, nor is it very fast.

Many drugstores and discount stores have self-serve photographic printers that are both fast and of reasonably good quality. You simply take your images on disk or other media an d print them on the spot.

To be continued

How to Collect Vintage Film Cameras

 

The title is a little lame but is probably good for the Search Engines. Of course you can figure out HOW to collect cameras--you just start collecting them. But since I have been collecting cameras for a lifetime, maybe I can give you a few ideas about how to logically approach Camera Collecting in the most expedient fashion.

Few people new to photography or cameras, really have any idea of how big an impact this field has had on so many people for so long. Beginning in the mid-1800's, and continuing until the present--with both the greatest technological changes to mechanical film cameras AND popularity as passion and pastime--photography was perhaps grandest between around 1930 until 1980. The sheer volume of film camera designs is staggering.

I once had the uninformed idea to collect all the Twin Lens Reflex Camera models ever made; I quickly modified that aim to collect all the brands ever made. I was still way off the mark. I simply had no clue as to how many brands had emerged; I was only aware of a few of the main brands that had endured over time. For example, one book cites over fifty manufacturers and over 250 models--from Japan alone--and those in a 20 year or less time span.

A more realistic goal, I soon learned, was to pick one brand label and try to collect all the models of that particular brand. A good way to do this is to buy the best examples of the varied models that you can find on eBay, at garage sales, camera auctions, estate sales, etc., until you have them all--all the while trying to upgrade each model as you go. You can sometimes trade one model or sell it in order to create funds to buy a replacement that's in even better shape. The ultimate is to get Mint condition cameras near-mint condition cameras with the operator manuals, original boxes, vintage magazine advertisements that you can find.

You can find all sorts of references on line by simply searching for a genre or brand of cameras. Much bandwidth on the web has been devoted to cameras and photography. There are also a number of reference books. You'll be well-advised to never consider any reference source as the final word, even from the "experts". None of them have all the facts.

For instance, I was reading a camera repair blog recent;ly that declared that vintage cameras "are not worth much, and certainly not monetarily worth the trouble it takes to collect them." This surely is a common case of not seeing the forrest for the trees. This was a reputable camera repairman, who had been fixing cameras for thirty years or so. He has seen a lot of cameras come and go--but he must have been caught up in the recent past, and out of touch with the raging camera collection phenomenon, that has grown up during that time.

We now are seeing vintage cameras selling for tens of thousands of dollars or more. These were likely expensive, or limited edition cameras to begin with, some of them gold-plated commemorative models that have never been used, enclosed in glass, and retaining all of their original documentation. But not all. Some are real surprise sleepers, as it were, which for one reason or another have become highly sought cult classics. The reason for why cameras become so popular is often not obvious, nor easily understood , or predicted in advance. But the more you learn about the history of cameras, the more you DO understand and are able to predict their eventual worth.

Cameras may also have an intrinsic value for just one particular collector, and when he finds it, and buys it with no dickering or no questions asked, you wonder if you left money on the table. The fact is that that one piece may have been the completing piece for this single collector's private collection. The conditions may never repeat themselves.

Other trends are predictable. One this is certain, these old film cameras are not getting any more plentiful as time ages and ultimately destroys them, people trash them, and collectors scarf them up. As a general rule scarcity can be a good indication of ultimate collector value--but not always. Sometime the most scarce cameras are so unknown that it is hard to find collectors who even know about them. Though they may have true worth historically, which will probably one day be recognized, they may never be worth much.

On the other-hand, some camera models and styles seem to gain in value no matter how many were made. this is true of a lot of Leicas, Hasselblads, Rolleis, and other well-known brands of cameras. Other cameras are valued because of their connection with an historic event, movie, book, or famous person. Only by studying the historical significance of these cameras, and the role they played in history, do you have the necessary insight to make an educated guess about how valuable they will one day become--and how soon that day might be.

I have seen impressive collections of cameras that were long since considered obsolete--such as instamatic 126 film cameras. Odds are that young people just starting out, have no idea that such a thing ever even existed, but for those of us with a lifetime behind us, these cameras came and went and made an indelible impression upon us. It would be a fun thing to collect all the "Instamatic-style" cameras ever produced. It might even take a lifetime to assemble such a collection. And when assembled, this would be a huge contribution to history and to other camera collectors.

Within this blog, which started out as a photography how-to blog, I try to provide my own historical insight into the cameras that have been important to me in one way or another during my lifetime. I only wish I had begun this documentation earlier. As it is, I am running out of time. But I am still hoping to finish this project. I do realize that many of my entries need to be revised and edited for spelling and grammar and even changed opinions regarding one piece or another. But meanwhile, I am racing against time to capture the unique take that my own brain has retained during a lifetime as a working photographer with an interest in history.

I will continue the theme of this particular post every now and again. I will,therein, try to provide particulars abut specific models that I feel will one day become valued more than others as collectors.

 

Ricoh TLR Cameras, Mass Produced, Inexpensive, Good.

Ricoh Cameras and Me

So, it should probably read “I” to be grammatically correct, but “Me” sounds better to I—but that should be “me”. Oh, whatever.  Ricoh has been around a very long time. And it still survives—more or less—in its original intent at least. My belief is that Ricoh was started under license of a reprographics patent in Japan in 1934 or 1936—depending upon how hair-splitting you want to be. But it is significant that a gifted Japanese innovator and visionary entered the picture in 1936, Kiyoshi Ichimura. It  is said that he came from a poor family. So, Ichimura’s is one of the great  International success story.

We all like to hear of those who pull themselves up by their own toenails.

I first became cognizant  of Ricoh from the beautifully depicted color camer ads that appeared in vintage photography magazines during the sixties. These were fine SLR’s and as a kid and teenager, I coveted these various camera models. But I don’t recall ever having access to or even actually seeing one firsthand until much later. This is surprising to me because Ricoh introduced the first mass-produced Twin Lens Reflex camera around 1957, when I was quite young. The Ricohflex III was inexpensive and reasonably priced. Although I lacked exposure to this historic camera and its evolving models until I was past my prime as a working photographer—I have since collected quite a few of the dozen and a half models produced under various names.

Ricoh TLR’s were cheaply made, but this does not translate to inferior in many of the ways that it counts most. The focus mechanism is very simple, using geared outer rings around the two lenses. The gears mesh in such fashion that turning one, turns the other, but more importantly, turns internal gears coupled to the rack and pinion, thereby moving the lenses in and out for focus. My belief is that Ricoh borrowed this focus method from the earliest origins of the famous Czech optics company Meopta—who under the pre-merger name, Opema, made some of the earliest European TLR models.

Riken lenses, made by an arm of Ricoh, provide superb optics. In fact the earliest Ricoh TLR’s are reminisent of early Rolleicords except for this focus method. With the exception of a few, later models, Ricoh appeared satisfied to remain at the bottom of the ladder in terms of construction materials and price-point. Remarkably, the surviving cameras that I have round from this era, have all come to me in good to excellent condition. This speaks somewhat to their durability.

I  have used these cameras as a collector interested in how they compared to other TLR’s. One way to compare them is by the way they feel in your hands, ease of operation, and construction quality. By this standard, these mass-produced Ricoh models do not rank as highly as do many of their major vintage counterpart TLR models (of the best-known six or seven brands).

But one might consider the low cost of ownership and apparent durability, coupled with the excellent optics and resulting image quality—and determine that the old Ricoh TLR’s compare quite favorably. I have always taught that any photographer equipped with virtually any viable camera—can produce good photographs.

Early-on, during my formative photography training years as a semi-pro kid needing a means to earn money to fuel photography and other expensive interests—responded to a fellow photographer’s challenge to limit my camera use to a basic manual TLR—a Yashica D camera. From this experience came a great deal of my working knowledge of practical photography. I had already learned the fundamental physics of photography—but this several month period of frequent use in real  photographic events—honed this knowledge to a working second nature—which is better than mechanical or electronic automatics.

For those film hobbyists and collectors—the Ricoh models offer a realistic goal of obtaining examples of all or most of the models made by Ricoh—much as my collection of all Yashica TLR models once began. These models are fairly plentiful still—and will certainly become more scarce and valuable over time—providing a fun incentive to collect. The good part is that the Ricohs don’t cost an arm and a leg to collect.

The inclination of many hobby collectors is to go after an example of each model. Then you are hooked and you may trade up for more perfect examples of each model. Then we often other brand collections. 

I should mention that Ricoh did make several high-end model TLR cameras. One was a virtual copy of the not-very successful Rollei Magic cameras. Another was a “Modernistic”camera design in the 127 4x4 Super-Slide film format. I have previously written about this unique and rare camera. It is a very collectible camera. It is also an excellent functioning camera—although it is a quasi-automatic camera. I include a photograph and a link to my review of this neat little camera below.

 

Argus TLR, and More American Cameras

Argus, another well-known camera company, made several models of dual lens cameras as well; except for two models that I am aware of was a true TLR. These were inexpensive. They accepted both 620 and 120 film. This was a smart and amazingly simple feature, as the jury was still out regarding which film size would ultimately prevail. Kodak had a long standing marketing ploy of designing all there cameras to require proprietary film sizes so that they could corner the market on supplies, repairs, and accessories.  Thus, Argus wisely hedged their bets by designing their cameras to accept both sizes.

 

The Argus TLR model was made of bake-light, an artificial material used for everything from poker chips to housing for electronic components during the era. The focus mechanism was a simple design, which was probably borrowed from the earliest TLR’s such as  Optima, the Chech company that later was merged with other companies to form Meopta—an early optics company that survives even today.

 

This focus method relied on geared rings incorporated into the outer rings of the lens mounts,  meshed together so that turning one would turn the other. A simple rack and pinion moving the lens forward and backward created an inexpensive and reasonably effective design. The downside of this method is that the rings can be hard to turn with just the fingers, and provides no leverage as does a knob or a lever, or a crank.

 

  

 

The Argus model was much like the TLR offering introduced by Voitlander, dubbed the Brilliant, because of its quasi-TLR viewfinder, which did indeed provide a brilliant image. The dimly lit image on conventional TLR’s was one of the major complaints that was addressed in different was over the years-such as using Fresnel ground glasses or  larger viewing lens apertures and more highly polished reflex mirrors.

 

The early Ansco dual lens cameras were also mere quasi-TLR’s., although Ansco later arguably produced the best TLR ever made in the Ansco Automatic Reflex models I and II, The most notable feature of the early Ansco models was the “futuristic” appearance of the camera body, with a linked lens and ground-glass cover. One of these models is a must for any camera collector because of this design which characterized the forward-looking “modern appearance”  that dominated everything from kitchen appliances to tube radio cabinets and even buildings.

 

 

But there were genuine inovations too. Edge to edge image clarity has long been a standard of judging the quality of camera lenses. Much is made of the number of elements in TLR lenses. Four is considered better than three, as a means of helping this edge-to-edge clarity standard. American camera manufacturers used s simple "trick" that rendered superior edge-to-edge clarity, using only a less-expensive three-element lens.  These manufacturers used a larger than usual lens design of 83mm-85mm coverage, thus rendering a slightly larger, or closer-appearing image.

 

This was a simple and legitimate method for solving the clarity problem. This feature was also cleverly marketed as a positive, playing up the fact that the image was more easily enlarged, since the latent image capture onto film was larger to begin with. The Ansco Automatic Reflex camera has a unique crank, and a multiple-exposure control that also doubled as a "jam fixer". Of course, this "feature" would not have been necessary had the transport not jammed. But it did, especially on the earliest production models. This camera also has an active lens sportsfinder. The camera just exudes "quality" construction. 

 

The design, most often attributed to one particular era-designer, but also widely copied, was called “Space-Age”, or “Mod”, during the fifties and early sixties. The design-style is certainly unique enough, although today it is considered to be one of the oddest designs of all time. Most people today consider it very ugly, although at the time it was the rage, and undoubtedly sold many Ansco cameras. But by any standards, the ever-shiney new-metal look of the Ansco Automatic Reflex is positively beautiful--easily the most beautiful Twin Lens Reflex cameras ever made. 

 

 

Incidentally, one other camera, a  true TLR model, to use this type of de 
sign appearance to better advantage, was the Ricoh-Matic 4x4 127 TLR, reviewed elsewhere within this blog. 

 

Kodak had long been a giant of the photographic insustry, especially when it came to supplies. One of the common methods used by virtually all companies during the twentieth century to capture supply business, was to build proprietary devices that could only use special supplies available only from that particular manufacturer. Kodak was trying to impose their proprietary design upon the public by producing TLR cameras that would accomodate only 620 film for their TLR's. Some companies, feeling that Kodak might win this supply war, made their TLR's able to accomodate both sizes. This was easy to accomplish and was also an original American idea.

 

Kodak made 6x6 TLR's that used their own exclusive 620 size film. These were heavy-built cameras that operated simply. The lenses were quality kodak lenses.

 

Another feature of American TLR's that was used to advantage prior to other manufacturers, was that those that accepted flash attachments, were all synchronized to them. This is, in general, is a fairly easy thing to build into leaf-stle shutters, which will most often synch at all shutter speeds. (This is a feature that surpasses other cameras that use focal-plane shutters, which usually synch at a slow speed such as 130th of a second.)

 

 

On this note, I recently noticed a statement by a well-know camera blogger, that said, "these 620 film cameras are now useless, because no one makes this size film anymore". Thile the latter part of this statement is true, the former is NOT. Even in the absence of such 620 spools, spools can be fabricated from an old pen (or any number of other things, and a couple of bottons (or other round objects).

 

Ansco Quasi-TLR

The Anscoflex pictured here is not a true TLR as usually defined. However, it is wonderfully designed, with inter-inking parts that all open together. That look great, but are little more than box cameras in use.

 
  120 film can easily be respooled in the dark, to fit onto old 620 spools, which are easy enough to find.
 

Voightlander BrilliantTh Brilliant was named for its brilliant viewfinder--overcominxg the most common complaint about TLR's. However it, as well as the Ansco model pictured above were not really true TLR's because of their seperate viewing lenses field. Nor was the Voightlander American made (Voightlander is a famous and enduring maker of cameras). But I didn't know where esle to put it.

What is bakelite?  It is the first plsatic-like material invented and used widely beginnintg in 1917. Some of these TLR's bodies are made of bakelight. The Quasi-TLR Ansco model pictured is made of enameled aluminum. As you can see form these pictures, both materials have worn quite well.

 

More Pictures of Reviewed Vintage Cameras

 

Shown here are a variety of overflow pictures from various posts. The first set are of one of five Baby Rolleiflex Twin Lens Reflex Cameras that I have had. All but one have already sold. As the cameras are all in equally excellent condition, I use these in all posts. With the exception of the hard case, the pictures are representative of all of this model that I have for sale. Please refer to individual eBay narratives to note the condition of the hard or soft case included, as well as manuals, lens covers, filters, etc.

 

This is a much earlier model of the 4x4 Rolleiflex. In fact, it is the very first model. I was also the first Rolleiflex to incorporate a crank film trasport system. It has a different feature set and the camera is actually slightly smaller than the newer 4x4's.

 

"Over-Engineered American TLR Cameras , Ansco, Circo, Argus. and . . . "

Several American Camera companies ruled the roost for a good part of the Twentieth Century--up until well after WWII. Ansco was one of them, Graflex another, Wollensak was a great lens company based in New York. Bosley, made a lot of unique still cameras of unique design, and later greatly impacted the movie camera industry (the designer was a Ukrainian). Ciroflex, is another American camera design, which was,m incident ly, purchased by Graflex. Kodak, the granddaddy of them all, was at least partially an American company, although it was a world-wide conglomerate.

Germany, was the home of fine lenses and cameras through the fifties--arguably. Japan had initiated many less expensive designs prior to the war, and with the genius of General Douglas MacArthur's rebuilding plans after the war,Japan became the most prolific country when it came to good-enough, but less-expensive cameras. Some estimates have the numbers of distinctly different TLR's coming out of Japan at over 250. This was litterally a cottage industry. If you've ever had occasion to look at the innards and construction of of Japanese TLR's, providing that you personally have a modicum of mechanical apptitude and eyesight--you can see how they could be made in your garage with relative ease.

You form the camera body out of sheet metal and rely on suppliers for lenses, gears, screws, letherette, etc. I have both combined different brands of non-working cameras to creat a working hi-bred, an d made cameras, just as these Japanese manufacturers did, in my garage. No big deal. The Japanes were given huge financial incentives to make good, exportable products. The USA poured millions of dollars into the Japanese reconstruction. And wa-la, it worked. It also worked in France, West Germany, and many other places.

Herein lies a key to economic development, whether of an individual, a lone company, a nation, or the world. The secret ain't that rocket-fueld. It is merely, "If you want to do well financially, wee tht others can to the same thing, through their own industry".

Yhe Ansco Automatic Reflex is the only TLR that reminds me of a Hasselblad in its construction. Another Model followed this initial release, but then ANSCOmade the decision to drop the camera due to lagging sales. I believe that if this camera had been properly marketed in a way that would convery the greater quality in construction, that it would have changed camera history.

My old Uncle in the rural south was said to have had a pretty good mule. As the advent of petrol-powered alternatives became a reality, Uncle Gil decided that as much as he liked his mule--he needed to give in to financial pracicalities--and he sold his mule to a neighbor--for $43. However, he soon discovered that the new-fangled machinery jsut couldn't do all the things a mule could--so he asked his neighbor to buy back the mule.

The neighbor saw an opportunity to make a few bucks and he said, "You know, I've bought a new harness and I've up-ped the protein value of the grain I've been feeding it. I'll have to have $53, if you get him back." Uncle Gil paid his neighbor without compaint. He was a pretty diplomatic fellow.

But the time did come, when the neighbor had a couple of big stumps that needed removal after a big storm blew big olod oak trees down. He knew he'd have to have the mule. He knew he'd taken advantage of Uncle Gil, so he didn't even ask to borrow the mule. He approached Uncle Gil with an offer he couldn't pass up. He bought Uncle Gil's mule again for $100. It turned out that he had already lined up work for a good fee for other farmers who'd lost trees. So it was all good and everyone was happy.

According to surving family members, this exchange went back and forth for several years between the too, until the ante had reached $185, which really isn't all that surprising, given inflation of that era and such. But another neighbor decided he needed the mule really badly. While my uncle owned it, and knowing what the neighbor had sold it for, the second neighbor offered Uncle Gil 175 bucks. Of course Uncle Gil felt he couldn't pass the deal up. Times were hard, and that was a lot of money then. He liked his old mule but business is business.

It wasn't two months later that the first neighbor, his name survived the tellings, but I never new him, so I don't recall it--decided he needed the mule again, for a new venture he'd fallen into. He apporached Uncle Gil. Gil shrugged shamelessly and said, "Why, sometime back. I thought you'd know by now."

"You did What!" The neighbor was stunned. He seemed to be unable to comprehend what he was hearing. "What did you say?" When he fully understood he complained severely, "Gil, you old fool, that mule was making both you and I a good living." So it goes.

During the era of the apex of TLR camera popularity, during the war, and directly after, America had a shot at regaining ground lost to Germany and Japan primarily. Little was known at the time of the remarkable advances of the Soviet Union. Trade was rare with this block of countries. Sweden, of course, was a lone island when it came to the quality medium format SLR's (Hasselblad). Czech design and manufacture of cameras was a known quantity to the West prior to WWII, but was lost in the shuffle between the West and the East after the war.  

Virtually all countries were deplete of manufacturing materials and capabilities after the war, but the USA had emerged, almost without anyone realizing it, as a world leader in may ways during the post war years. The USA had tried to remain isolationists until at last they were lured into the war on two opposing continents by the Axis powers. Had it not been so, the industrial capabilities of America would probably not fared nearly so well. Hence, through conflict and opposition growth was stimulated.

I am not proud of all of America's past. Every country as had its own less-proud moments. But given the contest of the times, and the huge sacrifice measured both in US dollars and in the loss of American lives, primarily for the sake of keeping other countries our of the iron grasp of at least some of the despot dictators and despot governmental ideologies--I am a proud American. As with many things--this legacy appears to be being squandered by some of the very ideologies that it once fought so hard to oppose.

Communism has proven to be a failed ideology--owing to human greed. Capitalism has proven to be a successful ideology--also owing to human greed. Capitalism is a lessor evil of the two, by far. But today capitalism is not what is being praciced in America. More and more it is at best, democratic capitalism, and at worst, progressives (communism in infancy).

By attempting to be the police force of the world, America has depleted much of its great resources. And no one really gives a rat's ass in thanks for it. Most Americans, far-be-it, Peoples Occupying the Rest of the World--could tell you the significance of D-Day, and the Invasion of Normandy--or the tally of lives, both American and Asian, actually saved by the use of the Atomic bomb. No, Americans are considered the villains by much, if not all, ofhte rest of the world.

But during the days of the reconstruction of Europe, marshalled by the great American Secretary of Agriculture, Era, Taft Benson, and the reconstruction of Japan into a prolific industrial power, many peoples were rightfully beholding for the sacrifices made by American's in their behalf. Yeah, yeah that's just so much propaganda, some will say--but truly mostly, it was not so much BS. Think as you will. You will anyway.

http://rick_oleson.tripod.com/index-77.html

But during this brief post-war window, America manufactured some of the finest twin lens reflex cameras ever made. It makes me sad to see them sell for so little now. If I have called it right on a significantly early prognostication of what cameras later became huge collectors' items--and I have--then hear me when I say--snatch up every American made film camera of the post war era ASAP. If you do not live long enough to become rich for having done so--your kids and grands kids will.

http://rick_oleson.tripod.com/index-76.html

What does it mean to be "over-engineered". It means to be built to surpass the specs. It means that it is better quality than it has to be to "get by".  It means that it cost too much to make for it to compete in the open market without at least properly marketing the product. Is a Leica IIIc 35 mm over-engineered? How 'bout a Rollieflex 2.8 TLR? Go to my post comparing the Leica and the Konica copy, and tell me which one I consider still alive and functioning well today. The Leica wins hands down. this is what is called over-engineering. 

A Rolleiflex is still taking great pictures today while the Yashica, given the same abuse. But did you know this? The Anscoflex Automatic American-made TLR, or even the Ciroflex TLR's are generally all still out-surviving the Rolleiflex and Leica's. Too bad they were simply not marketed well enough to overcome the quality issues of merely being "good enough". 

I will review each of these American models in depth here, although I must confess that I couldn't afford them at the time either.  

Ansco was the pemier supplier of photographic supplies and cameras in the world for quite a number of years. the company no loger exists except in name. But the company had a good 150 year run. A good starting place is the Ciro-Flex TLR and variants. Regardless of the harsh reviews of mostly non-American reviewers, Ciro-flex was and still is an excellent camera. Without exception, they were all more soloidly built than either Jananese or German TLR's. Under various labels, this camera has a respectable run, owing to their simple design, excellent optics, and rugged consturction.

As I recall, there were five different variants bearing the Ciroflex label. I have seen this camera called Cira-flex, but I believe this is due to improper reading of the script type used in the logo--which can appear similar to an "a". The different models designated minor upgrades, all positive, and were designated A through F models. 

Within the writings and reviews of Japanese blogs and web sites, at least one respected viewer declares that, in his opinion, the Graflex 22 is a better camera. He goes on to ask those who prefer the Circoflex to please not complain, as it is only his opinion. There actually may be a few reasons for his opinion. It would, of course, depend largely upon which model of each (and age/condition) this reviewer based his comparisons. The weight is exactly the same. The focus and operation are virtually the same on all models. The lens qualitiy is the same for all models (very good, that is).

[Later: I have thought considerably about my previous opinions regarding the construction of the Ciroflex. I should add the following: The Ciroflex has been highly disparaged in many of the writings. I was off-put by these opinions. Now I think I better understand. The Ciroflex was, contrary to some beliefs, a tremendous commercial success. It was marketed with virtually no major design changes.

There were, however, at least seven different models Ciroflex's. A, B, C, D, E, F, and the Graflex 22-Model 200. Graflex built the Graflex 22-400, which was slightly more updated and robust. But it was still the same essential design. The Ciroflex Model A was came out in the years directly after WWII, when there was a dirge of Europe TLR's and the Japanese TLR's had not yet engulfed the American market. This necessarily explains why some, even the majority of the Ciroflex TLR's, are older and therefrore in worse condition than others. The Graflex 22, in particular, is therefore the very newest of these cameras, so are suusally in better overall shape than the older versions. Also, the camera student must bear in mind, that a Ciroflex Model F, is the exact same camera as is the first Graflex branded model 22-200. Incidentally,the Model F has a four element lens.]

But, if one were to compare a newer, better conditioned Graflex 22 - 400 with an earlier Ciroflex A--then there would be definite differences in wear and general condition. But not that much. Also, those who simply don't know any better, may conclude that the very fine 3-element Wollensack lens is inferior to virtually any 4-element lens. This would be true, but for a neat little trick that all American manufacturers used to improve apparent lens quality without adding the price of the next-up Wollensack 4-element lens.

They merely changed the focal length to increase image-size used from the 3-element lens by about 10%. This created a much clearer edge-to edge, corner-to-corner image. This was marketed as a superior design which would net a larger image on the film plane and negative-which was all true, but was really a clever wayt to save design money.  Reviewers seem to want to say, "Americans cheated". Not so. They were merely more clever in this aspect. However, it would not be enough. The American's rugged design made a heavier camera, and in the end, the offshore competitorsw won on price alone.

At the links included here, you can learn of the various labels that the Ciroflex design was solod under. But below, I compare two fairly comparable models, a mid-life Ciroflex, and a first-edition of the Graflex 22 - 200. The Graflex

As you can see the Grflex 22-200, is by genesis, a newer camera. It appears to have also been much better cared for. As you can see--for the most part--these cameras are virtually the same. I will later post actual images shot by each--which are also the same.

 

Want a decent TLR that will still last a hundred years or so--pick one up cheaply as a Ciroflex.

Argus made two TLR design attempts including several models. One was a less-expensive bakelight model with a good lens. Very basic. The other was a feature for feature attempt to take on the Germans. It did so very well, but was tow expensive to produce in the USA, and soon fell by the way-side-even though it was aq buck cheaper than the copmparable competition. Perception means a lot, and Rolleiflexes were , by this late date, considered the best.

The absolutely best TLR camera ever designed was the high-end Anscoflex Automatic. A link here shows the internal workings. This camera shows American design and manufacturing genius at its best. Considered the Caddy of cameras, it was quickly dubbed "over-engineered", by detractors. How can something be over-engineered? Yes, perhaps Ansco did not do a very tgood job of justifying the fine constructiona and workmanship in a week marketing program--but it was wonderfully engineered by all accounts. It was merely too expensive to buy.

Film Camera Darkroom, Dark-bag, or Commercial Lab

Anyone using film today has to at least be partially motivated by the retro-process. Sure, you can buy a buttload of good vintage film cameras and lenses for less, have a much larger source image for less, and market the Film-Generating aspect somewhat to your advntage, but the simple truth is, that for many applications now--digital will do it all. There can truely be quality differences as well--which some perceive as better.

For whatever reasons you may have chosen to use film, at least in part, you must decide how to get from latent image, to finished prints (or RGB viewed images). A good commercial lab is something that every film photographer should develope a working relationship with. In bigger cities, you proabably still have some good choices. Having a place where yu can easily get to physically and discuss your needs generally and specific jobs in particular. But it isn't an absolute that you have to deal with a local lab. Try a few that advertise, until you find the service that suits you--and use mail order and/or the Internet if necessary. Proximity is not all that big a deal.

Continued Here: http://notesandnods.typepad.com/photography_for_profit_or/2009/10/your-own-darkroom-continued.html

Pentacon, Kiev and other "Commi" Cameras.

This Pentacon Six is by no means flimsy or shabbily constructed. When I first discovered these cameras for myself, I was first impressed by their quality and simplicity. I then learned of the huge number of good lenses available for the Pentacon mount. 

"The Pentacon Six is a high quality medium format single lens reflex camera taking 120 and 220 film for 12 or 24 exposures that are nominally 6cm x 6cm (2¼ x 2¼ inches) – actually 56mm x 56mm, as is standard for medium format cameras." 

http://www.pentaconsix.com/TheCameras.htm

The Pentacon Six

The Pentacon Six is a high quality medium format single lens reflex camera taking 120 and 220 film for 12 or 24 exposures that are nominally 6cm x 6cm (2¼ x 2¼ inches) – actually 56mm x 56mm, as is standard for medium format cameras.  A TTL metering prism (shown on this camera) is available, as well as an enormous range of lenses and other accessories.  The camera and its predecessor, the Praktisix, was manufactured in East Germany (the GDR) between the mid 1950s and 1990.

For guidance on loading the Pentacon Six, click here.

To read about using flash with the Pentacon Six, click here.

____________________________________________________________________________________________

 

Good stuff. All of them. Sheilded from Western exposure the Pentacon and a number of similar cameras were living and breathing and digesting film and making great and historical photographic records. So the algorythms and formulae were a bit different than those we were familiar with--they actually made remarkably fine cameras with exceptional optics and many of them way before similar designs emerged in the West or Far East.

Dresden, Germany, the post war home of all things optical and German hosted numerous excellent camera and optics companies. The best in the world by most accounts. Even as one company trained those who would begin other companies and many from the same gene-pool, most bore remarkable similarities as trade secrets were increasingly comon knowledge.

 

The original company began by Zeiss, itself was splintered into many diverse plants some specializing in this or that componenet of the camera. Czechoslvakia also was producing less-well-known but equally impressive products on their own. Then WWII came. Many of these companies made great advancements during this time to support the war effort.

 

After the war ended and Stalin Chruchill and Roosevelt divied the conquered lands up Dresden fell into the hands of the Soviet Union. The great Zeiss lens plant in Jena was kept in tact for a time and then carted off to Kiev Ukraine lock, stock, and designer.

 

The Soviets always had a way of makingt hings work--cheaper. A case in point is the Pentacon 6 SLR with a full contingent of lenses available due to an early Soviet standardization of lens mounts. Jena lenses are said to lack the quality control that Zeiss formally had. I don't know. All the tests I've seen and all of my personal experience tells me that this may be so much propoganda. The lenses are excellent--and vastly less expensive than Western medium format competitors.

The story has long beentold of how the Soviets borrowed the designs of original focal plane Hasselblads, from the Zeiss plants (since Zeiss made Hasselblad lenses). The Kiev 66 is earily similar to those models. Of course resverse engineering might easily account for this. Some former Soviets tell another story. They say that Hasselblad ripped off their designs. Since the Hasselblad products didn't  arrive until 1948 in the rough--who knows? I don't.

What I do know, is that the Kiev Hasselblad is an excellent product for a fraction of the money. The pentacon is even better, for my taste. The design is really unlike any other vintage medium format camera. It wouldn't be until the late sixties or early seventies before we saw an overgrown 35mm body, supposedly due to the expense of lenses that big. Not only did the Pentacon have the ecellent array of lenses they and the body too, were much more compact than the Pentax 67--which I had one of--just recently sold. The Pentax was indeed a war-horse and quite useable once you got past a few idiosynchrosies, but so was the Pentacon Six and later models. And probably with fewer indiosynchrosies.

We used to call the bunch of them Commi Cameras in disdain. Little did we know. Exacta, Perfekta, Pentacon, Kiev--they all were and are fiable film cameras. I just wish I had had access to the quality for the money forty years ago.

I have had in my collection two such cameras--now on the auction block. The Kiev is new in the box with complimet of lenses and other accessories. What can I say. I like it. Certainly as much as I like the first run of focal plane Hassy's--and I do like mine (they too are for sale).

 

Note the stop-down lever to preview actual depth of field. A number oif different viewfinder screens as well as finders including TTL Prism and non-prism finders are available.

The other is a Pentacon Six, which I could have got for less money but I was so enamoured by the low cost and great quality that I wasn't quibbling about. I like this camera more than the kiev. It feels good. The lenses are relatively cheap--and even a hobby photographer can aford some super-wide angle lenses for this camera. They are all over the Internet now. People are still discovering the Pentacon Six. sometimes I see them or the lenses go for peanuts, but less and less frequently do I se the super-good deals now versus even a couple years ago.

http://www.commiecameras.com/sov/index.htm

http://www.camerapedia.org/wiki/Pentacon_Six

If you are looking for a medium format SLR System that you can afford--you should taker a close look at this family of cameras.

The Following is another Article that I wrote about the Pentacon Cameras. You may find a similar theme, but with more or evolved information, as I wrote this article much later than the first blog post.

Pentacon Six TL—Where the Legacy Began

 

WWII  The Zeiss had plants and sister companies all over Germany. Dresden had long been the cradle of modern lens craftsmen, and the Zeiss and other lesser known companies spawned a host of  camera companies, including Rolleiflex., and of course Zeiss Ikon Contax .

 

After WWII Germany was divided between the Allied and Axis Powers and the famous Berlin Wall went up. Both Dresden and nearby Jena were suddenly shrouded behind the Iron curtain of the USSR as the east part became Occupied German Republic, and important satellite of the USSR.

 

The Soviet industrial complex made full use of the knowledge, designs, and craftsmen found within these cities including the Zeiss plants. Some in the West feel that the Haselblad design of the Model 1600 was compromised through these plants, because Zeiss was a maker of some of their lenses, after Kodak could not keep up with production.

 

It is irrefutable that the Kiev 88, earlier known as, the Salyut, is a virtual copy of the Hasselblad. But some in the East insist that it was their design that was actually copied by Hasselblad. Who knows.

 

What we do know is that the Practica camera Designs pre-date WWII. The camera was probably inspired by the German-made Reflex Korelle. And the same great design was more or less scaled up to produce a similar 6x6 Medium Format camera. The family of cameras that came from this basic design are several. The Praktasix, The Pentacon Six, The Pentacon 60, The Kiev 6, Kiev 6 Tl, Kiev 6 TTL., 60 TTL, and several other variants.

 

In my experience, the best is the Praktasix, followed oh so closely by the Pentacon Six silver model with the Jena lens. Jena lenses are ledgendary in quality. They are only found on the very earliest versions of this family of cameras. Quality control is said to have become eratic once the plant was relocated to Kiev (although these too can be very fine cameras).

 

I have handled and used all of the models  mentioned,. I have nothing negative to say about them—other than they all have their strngths and weaknesses. I only wish I had access to them back when. I have loved my Hasselblads, but circumstances may have been different if I had had one of these early models of the  Pentacon Six Genre of 6x6 cameras.

 

 

 

 

 

Meopta, the Overlooked Warsaw Pact TLR Cameras

"Meopta and other excellent Eastern European camera makers are really just now being discovered by the Western world."

"What about Meopta?" a soft male voice asked from the back of the class.

Many years ago, I developed a now fairly-well-known posing method known as Wright's Wrap-and-Roll (explained within this blog). At the time there was an inexcusable absence of any easy to learn starting-point for beginning photographers. I have since taught this method freely to many--some of whom, have shamelessly called it their own. (I still have attendance rolls to my classes, but all in all who gives a flip.) Ha. 

"Meopta, huh. Are you sure you are saying that right?" The instructor foolishly chided.

A dozen or more years ago, I was asked to be a presenter at a series of photographic classes offered by the City of Germantown, Tennessee where I (BTW very nice place). I never critique or correct or comment when I attend these seminars--unless I am asked to--even though I have to laugh to myself at times. Arrogance and know-it-all is never appreciated. Besides, I may be wrong in my opinions. Photography is sometimes a subjective art.

But I almost came out of my chair, and did make some corrections behind the scenes after the following played out in class. An older gentleman with a dignified and contained demeanor spoke up a couple of times when the varieties and relative quality of vintage Twin Lens Reflex cameras was under discussion. Digital was much less of a factor at the time--as it really had not arrived yet for the average hobby photographer. 

"The old gentleman was thin and fit-looking and had a graying mustache that resembled those seen on in the pictures of the aging Einstein."

The old gentleman was thin and fit-looking and had a graying mustache that resembled those seen on in the pictures of the aging Einstein--except for being better trimmed. He had an Eastern European, English accent as well. The class instructor either didn't hear the man, or didn't have a ready answer, but the man persisted until he was acknowledged.

The instructor was caught flat. There is nothing wrong with not knowing but one should never try to fake it among virtual peers regarding a subject in question. But evidently this is what the instructor did.

"Meopta, huh. Are you sure you are saying that right?" The instructor foolishly chided. I was becoming embarrassed for both parties for the developing situation. I was hoping that the instructor would give it up, but he didn't.

"Sir, you must not have been here day we discussed the fleet of Japanese cameras that flooded the market during the fifties and sixties--there were hundreds--that came and went. They weren't very good."

"For users and collectors as well, these circumstances provide a wonderful opportunity for easy-pickings at dream-about prices. It can't last that long."

The old gentleman was exactly that, a gentleman. He only smiled, but didn't say more. I raised my hand quickly and spoke without being asked to.

"Yes, oh sir, yes, back here. I will discuss Meopta on break if you like."

He smiled more broadly. I asked, "Are your from the Czech Republic? You are fortunate to have one. Fine cameras. Yes." He appeared grateful. I didn't look at the instructor--and he quickly went on to another topic. But I was somewhat surprised, as the fall of the Soviet Union and respective satellites governments had opened these countries up to a whole genre of excellent cameras some twenty years earlier and still, they were not much known.

This condition of relative ignorance concerning a number of European cameras has not changed that much. But it will. There are others, but of them all The Meopta series of TLR's stand out as one of the oldest makers of fine TLR's--sharing a legacy of at least three camera and optics companies as they were merged into one under communist rule and the name of Meopta prior to the Soviet break-up. This Western predilection to scoff at "Commie" products--or at the very least the failure to acknowledge these fine products--coupled with the mass defection of film users to digital cameras--has kept these products out of the mainstream eye.

For users and collectors as well, these circumstances provide a wonderful opportunity for easy-pickings at dream-about prices. It can't last that long. The camera-collector appetite was first and continues to be driven by Japanese collectors--primarily interested in obtaining good examples of the myriad of vintage Japanese cameras--which are still plentiful. Of course, the better-known European cameras are also highly sought after. Meopta and other makers are really just now being discovered by the Western world.

As always, I try to point out those exceptional values when I see them. This is one of them for those who act quickly.

I discovered Meopta before most Americans did just by hap-stance. I have been a marksman as long as I have been a photographer. I grew up as a sportsman. With my family living or traveling in a variety of locations that supported the cause of guns as a necessity of life, it was only natural to grow up around guns and optics. And living through the so-called Space-Age, sciences including physics and astronomy were my cup of tea; I had an interest in telescopes and binoculars and other optical devices.

 

Another urchin and I once set the older boys' hide-out on fire in Kotzebue, Alaska--above the Arctic
Circle. It was accidentally done with a thick magnifying glass out of a projector so something. I was just there. He did it. But I got beat up and thrown in the Bearing Sea, and left for Dad because of it. But that's another story and I can't rightly figure out how to tie it in with cameras. Oh, but I can with guns. Dad went looking for them with a Ruger 44 Magnum revolver. Fortunately, he didn't find them. And Dad had a scope for that pistol--although it wasn't on it at the time.

The scope was not a Meopta, but we did have a Meopta rifle scope at some point. I don't know how we came by it. Russia was just across the strait form us. And contrary to the fun made of Sarah Palin, there is a lot of Russian cross-pollination those parts. Siberia and Alaska have a lot in common.

Then, being the boy scientist, I also knew the name as associated with microscopes. Meopta. Opema, one of the entities that became Meopta, was active in cameras and lenses long before the Iron Curtain sealed chech products off from the rest of the free world. The Flexarette Twin Lens Reflex cameras emerged during the 1930's. They were good cameras with good optics. When Communist rule began after WWII, several camera and lens companies were merged and Meopta was what they sere called.

As with other camera manufacturers, camera quality suffered due to lack of parts and material during and after the war. Cameras were in demand as part of the war effort. This was true with all countries. A lot of documentation was done for propaganda purposes by all warring entities. You don't think much about it, but cameras were very important, and left us with a lot of history of the war.

By the fifties most camera companies were again making good products, Including Meopta. I once owned an "off-brand" enlarger. It was the best enlarger I had ever used. I got it for a little of nothing and sold it for a fortune. It was made by Meopta, which I remembered from my youth.

So somewhere in the past thirty years or so, when I ran across Meopta cameras--all TLR's, I got them. I paid little for them, couldn't  find out much about them form anywhere. I still don't know all that much about them. Most sources don't seem to include them among the very good TLR's. But the ones I have had have been excellent.

 

I will show pictures of the for or five that I still have in my collection along with comparative photographs to compare with other cameras. The cameras do look and feel good, but for whatever reason, about half of the ones I have run across were non-functional in some way. On the other-hand most of the other TLR's that I class as very good manufacture, have been operable. This is not scientific and may prove nothing. Then again it may say something about their quality of construction, design, or lack thereof. Still,I like them.

Note: The above complaint is an old problem. I was wrong about the Meoptas being problematic. I feel stupid because several designs DO require the tension of film loaded in the camera to work properly.  When I finally tested those models (I don't know why some worked without film) they almost all worked with the film loaded. So make note of this to be checked before you chunk one as lousy.

With this bit of knowledge rediscovered, because I think I knew this at one time, I have to declare the Meopta Flexarette and earlier models among the overall best TLR's ever made.

Another day, another view. I have sometimes made the claim that in many ways Meopta Flexaret TLR cameras, in all their variations, rivals Rolleiflex TLRs. There are seventeen different models or more depending upon when you start counting. Meopta is a combination of several optics and camera companies that began in the early thirties. Some of these models have unique features that no other TLR's have. Thee optics areof their own making, but they are second to know, as this company was and still is one of the great optical companies of all time. Soptting scopes and rifle scopes and miroscopes and other optical equipment comes at a premium from Meopta--as they are considered among the best

The Flexaret models have a variety of accessories including filters and masks and adaptors for different size films, such as 127 and 135. The camera bodies are made well and seem to hold up quite well. Some models require film in them to work right, so don't toss one until you check this feature. These cameras are finding their way onto eBay at rediculously low prices. If I had a choice of buying an equally outfited Meopta Flexaret model for model against a Rollei at the same price, I would probably buy a Rollei--simply becuase it is currently worth more. But given time, the Flexaret will become just as vaulable if not more so.

For many years, I have been scarfing up Meopta Cameras and enlargers, and other quality optical equipment made by Meopta at bargain prices. Now I am selling them all as I sell my entire camera collection. But it would be a worthy place to start for a new collector/photographer to get as many Flexarets and other associated models as possible.

Don't just take my word for it. Check it out below.

http://www.meopta.com/index.php?id=311

http://www.camerapedia.org/wiki/Flexaret_VII

http://www.tlr-cameras.com/Czech/slides/5.%20Meopta%20Flexaret%20IIa%20(first%20Meopta).html

In French, with good pictures. http://ebgy.free.fr/photo/flexaret.htm

http://tech.groups.yahoo.com/group/FLEXARET/

http://www.tlr-cameras.com/Czech/

Baby Rollei & Yashica 44 127 Film Cameras - Family and Friends

 

"Big things were not only happening in the photographic world, but on every front."

As mentioned in previous posts, the first adjustable camera that I ever had access to was my dad's Yashica 44 EM (or LM). I was in the fourth grade, nine or ten years old, living in Fairbanks Alaska in the winter of 1963, I think, when I first used my Dad's little Yashica 44 EM in earnest. 1963 was one of several very important years that greatly impacted the world during the era. Big things were not only happening in the photographic world, but on every front.

 

While new transistor radios (among the firsts fruits of the miniaturization research incident to NASA's race to the moon) blared carefree tunes by the Beach boys singing about surfing and muscle cars and girls,The Drifters singing about rooftops, and Roy Orbison wailed about going back to his Blue Bayou--long before other singers claimed it--and a cadre of other goldies were unleashed upon the first of a generation of maturing baby-boomers--it was a popular pastimes to capture memories with handy still cameras. Prices came down and a wide range of camera shapes and brands emerged to a relatively wealthy consuming public in the USA.

"They were armed and nervous and not a bit nice as they stripped the film out of everyones Brownies."

 

Shown above left is a Baby Rolleiflex--gray model; the link shows more indepth pictures. http://notesandnods.typepad.com/photography_for_profit_or/2009/09/more-pictures-of-reviewed-vintage-cameras.html

"The ailing U2 spy-plane was one photo op I allowed to get by. I'm still kicking my own butt, some 45 years later."

U-2 at The Imperial War Museum, Duxford

The large wingspan and resulting glider-like characteristics of the U-2 make it highly sensitive to crosswinds which, together with its tendency to float

Although proper protesters such as Joan Baez ballad-ed about serious causes and overcoming and the war in Southeast Asia quietly heated up, life was good for many Americans. Conservative values were still being observed by the masses, although the roots of free-love and anti-war protests were being sewn and nurtured to erupt a few years later. !963, began as a very good year for Americans. This time period was better documented than any previous era--largely owing to the volume and variety of still and movie cameras flooding into the market.

"This time period was better documented than any previous era--largely owing to the volume and variety of still and movie cameras fooding into the market."

A young President John F. Kennedy Kennedy and his wife and family had captivated the world with their money, youth and good looks. Camelot, they called it. JFK had backed down Russian Premier Nikita Kruschev in the Cuban Missile Crisis. We have actual still photos pertaining to these events. The United States dispatched flying U2 spy-planes utilizing specialized cameras, played a crucial role in this dangerous game, but their existence was staunchly denied until one was shot down over Russia. 

"During its hay-day, the 127 4x4 format gave rise to first the Baby Rollie Twin Lens Reflex camera, which in turn spawned a number of copies." 

While my family living in a small base in the Arctic near Kotzebue, a U2 made an emergency landing at our Federal Aviation Agency landing strip near the Air Base. A security detail from the base just six miles away was dispatched to keep their secrets. The burly young men, who probably saw little action in our geography, looked more like disallusion college kids about the age of my oldest brother who was then a nuclear weaponist in the Navy.

"The Russians named a camera after their Sputnik."

They were armed and nervous and not a bit nice as they stripped the film out of everyones Brownies. They were stationed, as were we, gazzilion miles from anywhere. If only I had had my camera with me that day, I was foolish and clever enough to try something covert, even in the fifth-rade. The ailing U2 was one photo op I allowed to get by.

Russia did their nuclear tests in Siberian. The natural travel of the nuclear fallout was right over Alaska. At times our government required employees and families to wear little pen-looking devices called dosimeters to record the daily radiation doses we received. Very little was really know about nuclear energy and fall-out at the time.We were told not to eat the fresh snow, but we did anyway.

Americans were fully embroiled in the heat of the Cold War. Russia has successfully launched the Sputnik, an orbiting satellite, and the USA followed with the Telstar and soon a challenge that pitted the US against the USSR in a Race for the Moon. The Apollo Missions were gathering steam and we were allowed to watch many of the events unfold on black and white television at school. The Ventures had titled an electric-guitar-heavy instrumental after the Telstar Satellite. It was an exciting time of patriotism and national pride. The Russians named a camera after their Sputnik.

"The 127 film format which had been around since shortly after the turn of the century was gaining new life, driven by these miniature TLR cameras."

Most Americans had not yet wearied of the Viet Nam conflict; few even knew much about the conflict, nor even where the place was. It was accepted as necessary to stem the tide of Communism that threatened our own cherished tenants of freedom and Capitalism. This was the general thought at the time and it was swallowed hook-line-and sinker by most Amercans. And maybe it was even true in the beginning.

President Kennedy had come to be regarded as a hero-figure and was highly respected, even by many who had voted against him. One minor thing I remember was his mandatory physical education program at school which would affect the physical health of us kids for years to come.

". . . the 4x4 negative size was particularly popular for making the so-called Super Slides."

The Space Program defined a generation as the Space Age was upon us. Few people today realize that the side benefits of technology, such as modern computers--were as a result of NASA-driven research into making things smaller. Without it the need would not have been there.  

Really exceptional school teachers are rare. They make a huge impact on children. My fourth-grade teacher, Mrs. Kanopka, where I attended Fox Elementary School in, Alaska, did a lot for my confidence. I was a government brat, and as such perpetually stood out wherever we were required to live. I learned coping behavior that has served me all my life. My confidence was at low-ebb, but Mrs. Kanopka, fourth-grade teacher par excellent' knew how to motivate me. Praise--it Will work every time. Photography played a roll in her scheme.

"The square format had long been lauded for its ability to provide both horizontal and vertical cropping fro popular print sizes after the picture had been taken. It also provided a larger color slide image."

During the late thirties, forties, fifties and half of the sixties the 4x4 negative size was particularly popular for making the so-called Super Slides. As noted above, they provided a much larger image area than 35 mm, and thereby a larger projected slide image; the mount was about the same size as a 35mm slide mount and would fit in the same 35 mm projectors.

During its hay-day, the 127 4x4 format gave rise to first the Baby Rollie Twin Lens Reflex camera, which in turn spawned a number of copies. Yashica led the pack in sheer numbers of these creations and was in fact among the best imitators in terms of quality and survivability. Atg least the Yashica optics were good--and generally better than imagined. I will describe the other imitators later, but this post explains how I came to use a Yashica 44 variant as my first good camera.

"But Rollei was still the king of quality. There always was and still is a tangible difference in the feel of these cameras. Half a century of more later, the differences are even more evident."

The Yashica 44 LM Twin Lens Reflex camera was a popular Japanese-made knock-off of the Rolleiflex Baby Rollei. There were several others, but Yashica had risen to the top of Japanes camera imports. The TLR design was still very much alive, but it was becoming evident that 35 mm cameras was overtake them for most amateur photographers and some professionals.

"The Yashica 44 LM Twin Lens Reflex camera was a popular Japanese-made knock-off of the Rolleiflex Baby Rollei."

The 127 film format which had been around since shortly after the turn of the century was gaining new life, driven by these miniature TLR cameras. The Rollei, Yashica, and other TLR cameras were small enough to compete with 35 mm cameras. And although they made fewer exposures per roll, they did make a significantly larger negative, 4 centimeters each way. The square format had long been lauded for its ability to provide both horizontal and vertical cropping for popular print sizes after the picture had been taken. It also provided a larger color slide image.

These 4x4 cameras were always a niche-market, but they filled a pretty big niche at that. Yashica was the biggest benefactor of the design that Rolleiflex had invented in the Baby Rollei super-slide camera. But Rollei was still the king of quality. There always was and still is a tangible difference in the feel of these cameras. Half a century of more later, the differences are even more evident.

". . . the TLR design, having reached its evolutionary apex at Rollei design engineer's hands, was being embellished by playful or show-off German engineers for the sheer joy of engineering."

One curious design difference that Rollei engineers incorporated into their Baby Rollei design was that the shutter and controls would not work unless the viewfinder hood was flipped up. This feature, different from any of the knock-offs, was apparently to discourage children or casual handlers who had no business using them, from playing with them or accidentally exposing pictures.

But this is a stretch. I rather suspect that the TLR design, having reached its evolutionary apex at Rollei design engineer's hands, was bing embellished by playful or show-off German engineers for the sheer joy of engineering. They were having to stay up nights to figure out any improvements to make on these optical mechanical marvels. Indeed, I at least, consider these Baby Rollie's to be the very best design and construction that Rollei ever achieved. 

Often in the afterlife of vintage cameras, collectors, unaware of these facts will relegate the 4x4 127 film cameras to some inferior level. The exact opposite is in fact the truth. People, put off  by the common misconception that 127 film can no longer be had. Although a little difficult to find, it is available from a number of sources and can even be hand-rolled by the industrious photographer. It is certainly worth the effort, in order to enjoy the use of these gems.

"127 film was first introduced by Kodak in 1912 or thereabouts"

All of these miniature Rolliflex cameras and knock-offs fit twelve images (or more sometimes if you knew how) on a roll of 127 film. 127 film was first introduced by Kodak in 1912 or thereabouts, to accommodate the small size of the Kodak vest pocket cameras It became one of the main-stay film formats for most of the century--only discontinued around 1995.

I don't hesitate to call my first Yashica 44 LM or EM a good camera. It served me well, with good optics and durability, until a friend borrowed it and evidently dropped it. He asked to borrow it, and after much hesitation and instructions to keep it securely around his neck, I relented. When he gave it back nothing worked. The Yashica repair facility said, "irreparable, due to damages associated with impact." I was heart-sick. I unsuccessfully tried to repair it, and put it carefully up for later.

"Only two kinds of people attempt to repair cameras: camera repairmen, and fools."  

Several truisms emerged from my first good camera experience.

1) Don't loan your equipment.

2) Don't try to repair you own camera--unless you have nothing left to lose.

3) TLR 4x4's are fine cameras.

I worked after school on weekends, and during summers for a photographer at the time. I was a darkroom kid and general flunky. I had no doubts that photography would play an important roll in my life. For youngsters, something may be learned by this experience too. I was a fairly negatively-oriented kid by default. But I had been reading various positive self-help books that got me thinking a little bigger. It gave me the idea to ask for a part-time job with this photographer. Had I not asked, nothing would have happened.

As it turned out, this association was to be very important to me, if maybe a unexpected bit of drama for him. I think the book that urged me to act was Napoleon Hill's, Think and Grow Rich. The title is a misnomer, and was his publishers choice rather than his. I recommend this book to anyone. Bill Ward, my photographer boss, taught me a supposed ancient parable. "Only two kinds of people attempt to repair cameras: camera repairmen, and fools."

It's pretty good advice. But if you have nothing to lose with a hopelessly broken camera, and you have a modicum of mechanical ability and a lot of patience, why not try? You'd want to get a good repair manual which today is much easier with the vast resources of the Internet.

"I did try to repair the little Yashica myself, but at the time it was out of my league."  

had no small tools and less mechanical experience, although I think understood what was wrong with it. I put it in plastic and away for another day. I wish I could find it. Instead, I will turn to the half-dozen other similar Yashica 44's that I have acquired over the years. They came in several flavors and configurations, but are all essentially the same in construct.

They all have similar Yashinon lenses. These are excellent optics. I lost many of my genre photos in one of my moves, but I will post a few including one made of my dog, which is used elsewhere in this blog. It was made in 1967 or thereabouts, with that old Yashica 44.

I plan to add sample photographs to this post in the near future. We will see by objective comparison how the Yashica 44 lenses measure up against the  famous Baby Rollie lenses. My collection also includes two prime Baby Rollei's. The Rollei's are clearly constructed and packaged better than the Yashica copies. But we'll just have to see how the optics stack up. We may be surprised.

Now a few caveats if you ever are fortunate enough to own one. First, the 127 film size is readily available from various specialty film manufacturers and dealers. You'll probably have to order it over the Internet. I will include links at the end of this post of several sources, but any Internet search should disclose sources for film. These 127 TLR's and other 127 models have become cult classics with hard-core fans who, world-wide, will probably never allow the format to completely die. It is certainly making a comeback.

". . . the 127 film size is readily available from various specialty film manufacturers and dealers. You'll probably have to order it over the Internet."

For the determined and the ambitious, there are also ways to cut other roll-film sizes down and re-roll it to fit 127 reels. So save your reels. If you ever undertake to do this, first try it with old film in the light. It gets pretty hairy in the dark.

Any 127 camera you acquire will undoubtedly have collector value, but these are worthy of actual use as well. Putting the camera though its paces will keep it from seizing up. So remember, to keep your cameras working, take them out and operate the controls now and then.

If you happen to be so fortunate as to acquire a Baby Rollei model of the 4x4 TLR, remember that you may save some time by knowing in advance that the camera was designed so that it would NOT operate unless the top viewfinder hood is in the UP position. I am guessing that more than one Baby Rollei has ended up in the junk pile, because this idiosychrocy wasn't realized. 

". . . the excellent engineers at Rollei liked to play jokes . . ." 

It seems that the excellent engineers at Rollei liked to play jokes or were inclined to unnecessarily over-engineer their products out of sheer cleverness--as I can think of no real use for such a feature--unless to keep children from unwittingly disturbing the controls or settings--or perhaps to keep the Allied Forces from using the cameras.

If you have never used a Twin Lens Reflex camera you may be surprised, even dismayed when you look down into the so-called waist-level viewfinder. To engage the viewfinder of any such camera you may have to first push the back hood release release button one way or the other, but it should also be pretty obvious how to release it. Once you tug the back edge or corner of the viewfinder upward, it will spring into place. The extra magnifier can be popped up by pushing the front (top when in the down position) of the viewfinder hood inward toward you. This springs into place in such an orientation that you can place your eye to it and see through the finder clearly.

"This is one of the few drawbacks of the TLR designs."

If the subject you want to focus on is not clear, you will need to turn the knob located on the right side of the camera to and fro until the image clears. If you have never manually focused a camera, you will find that over-shooting the clear focus forward and backward in decreasing amounts will soon bring you very close to a clear image. You then only need to make very minute adjustments to clear the image entirely.

Remember, however, that you are viewing through the top lens, and not getting a true picture of the actual depth of field rendered by the setting of the lower taking lens. This is one of the few drawbacks of the TLR designs. But it is not much of a flaw, once you learn to use the zone-focus markings around the top of the lens. More about this later.

For now, you'll notice that everything seems to be backward. This is due to the mirror that directs the view around the right angle from the lens to the viewfinder. This peculiarity has caused even the most-knowledgeable modern camera enthusiasts a degree of consternation. I recently read a camera blogger's post who declared that this was one of the reasons the TLR designs "never caught on." I had to chuckle, as this blog was hung out as an expert source. Contrary to his quick rush to judgment, the TLR design has been one of the most enduring and popular designs ever devised. It began during the 1920's and continues today in several countries.

". . . your brains' neurons rewired themselves so that the image looks correct to you."

The truth is that within a very short period of getting used to the reverse image, you will not notice it as a handicap again. Your brain, being the fine computer that it is, compensates for this viewing problem. You could say that your brains' neurons rewired themselves so that the image looks correct to you. This doesn't take very long at all, although you will think it is a terrible handicap at first. Just persevere and you'll see that what I am saying is indeed true.

As I told my friend, keep the strap around your neck so that the chance of dropping it is minimized. The soft case will help if you do drop it, but it is not foolproof armor. Best to just not drop it. The actual viewing level is not quite as low as waist-level, but you will need to bend forward and place your eye down to the pop-up magnifier to focus. You can then drop the magnifier and compose with your eyes at a farther distance from the viewfinder, however, the image is quite small. I typically keep my eye to the magnifier throughout the process. Again, you just develop a feel for using the TLR finder effectively.

". . . not easily noticed that you are looking to the side--a veritable periscope."

One advantage to the right angle viewing design is that you can hold the camera over your head above a crowd oe other obstacles. You'll invariable see this feature depicted in period movies, but I probably haven't actually used the technique more than a couple of dozen times in my life. It does offer an advantage. I recently watched Fred Astaire as a newspaperman or something, using the overhead technique in one of his old black and white classics.

You can similarly take candid pictures of an unsuspecting child, or pretty woman if you prefer, unnoticed by turning the lens at right angles to your body. You still look down into the camera and are not easily noticed that you are looking to the side--a veritable periscope.

http://notesandnods.typepad.com/photography_for_profit_or/2008/11/yashica-44-continued.html

To All the Girls I've Loved Before, and Other Vintage Cameras

These "girls" were cameras, of course. A photographer develops a working relationship with his prized cameras that can be ones of love (or hate). A camera can make the job more enjoyable. Back in "the day", I tried to stay on the leading edge of equipment and I experienced many of the now-relic film cameras firsthand. I can tell you pretty much what the pros and cons were (are). Most of the cameras that pros used back then had a lot of design thought and so-called human-engineering built into them, which is lost on the casual user or reader today. It is one thing to collect these cameras, and still another to actually use them in daily work.

 

I will start with the first decent quality camera that I had access to. It was handed down to me by my dad; It was a Yashica twin lens reflex (TLR) which was a copy of a similar camera first built by Rollei, the Baby Rollie. The film size was 4 cm x 4 cm or 127, which describes the diagonal from one side to the other. This size film size is all but extinct today but it was the rage at one time. It was larger than the image are from 135 film, but would fit into a slide projector for a larger "Super-Slide" image that would fill up a screen of the day.

Loading Clusty Cloud ...

The 4x4 format, being square, would carry with it the same familiarity of composition for those who used the larger 6x6 (2-1/4 square) image produced by the bigger TLR's. The square image was also capable of being visually "cropped" within the viewfinder and rendered precisely that way when prints were made, whether by a lab or as a hobbyist. Another couple of nice features the TLR offers is a leaf shutter, which will sychronize with an electronic flash at higher, and in this case all shutter speeds. This is very desirable if their is any subject movement when used in lower than perfect light conditions.

Since there is a viewing lens AND a taking lens, there is no point at which the view is blocked while taking the picture, such as with Single Lens Reflex Cameras. This provides the most desirable situation when looking through the finder taking portraits or other pictures that require special timing, such as a child smiling or winking spontaneously. My portraits are known for the natural expressions captured on people's faces. The shutter reaction is instantaneous as well. The problem of delay, is one of my chief complaints with digital cameras. But it is also a problem with all SLR film cameras.

 

Those who first look through a TLR, are predictably confused by the reversed image, meaning that when you move the camera or the subject moves while you are looking through the viewing lens, it is counter intuitive. This takes a few times to get used to. I don't remember how long, but your brain, amazing computer that it is, quickly rewires itself to adapt to this phenomenon. It doesn't take long until it seems natural, and it doesn't affect your ability to use an SLR camera either.

 

 

These features apply to all professional quality TLR's. My little 4x4 was almost an anomoly in physical size and film size. Only the Baby Rollei, after which it was styled is similar. However, aide from those aspects the camera is identical in operation to its bigger brothers.

I kept that camera through high-school, and although I lost a large case of my old photos and negatives taken during that time I do still have several surviving photos. I made many other quality black and white photos, which were sold to the newspaper during that era of my life. I reluctantly loaned my camera to a "friend", telling him to be sure not to drop it. Upon its return it didn't work. I sent it to the nearest Yashica repair facility and it was returned and said it was Unrepairable Damages Due to Impact. Some friend, huh.

My Dad had had several other models of the larger format 6x6 cameras that Rollei made such as the very famous Rolleiflex's, a pro camera line and Rolleicords, made with the serious amateur in mind. The Rolleiflex first appeared in the thirties. I use the 6x6 designation because it is more familiar today, but early on int the USA, we called it the 2-1/4 square format. This was a popular format, which was used extensively by news photographers, for four decades, finally declining during the sixties--as inovation in finer-grain film emulsions made 36 mm cameras more viable and several medium format SLR cameras became available.

 

 

Reporters and news photographers liked the cameras because of their relatively small size, and relatively large square negative it produced. Many a news photographer or journalist, including I,  have developed B&W film, "stopped" it in a solution of ascorbic acid, and then "fixed" it for a short minute to make the film temporarily insensitive to light so that it could be rinsed quickly and place, wet, into the enlarger to project an image onto light-sensitive paper and create prints suitable for making the deadline for the next day issue (or that day) of the newspapers. The larger (than 135) film was much more forgiving under such abuse than the smaller formats could be.

 

The Yashica "copies" of the Rollieflex came in many models, as they evolved and filled different niches. The earlier models used only three element lenses. Before my time there was the Yashica A, B, and C models. There was a Yashica 635 which was probably inspired by the Rolleiflex that had an accessory kit, offering adaptation to 135 mm film. In my estimation, neither was used much.

There was an early Yashica 6x6 which was more like the Rolleiflex, featuring a rapid-wind film crank and a four element Yashinon lens (sometimes designated as Luxamor on early models). This model became the 12 and the 24 models, which were also similar to the Rolleiflex design. The 24 took 220 film, which was the same size as 120 film, except it had 24 exposures instead of 12 exposures.

The Yashica D had a four element lens, but it required manually cocking the lens and had no rapid wind crank for film transport, a smart innovation by Rollei. At the same time several somewhat more costly and highly featured models eventually evolved into the "mat" designation such as the Yashicamat, then the Yashicamat 24 and 124.  

 

Had it not been for my dad's wise indoctrination regarding the benefits of the larger format, I might well have missed these points, instead going for one of the newer, glitzy 35's then being heavily advertised in the photography magazines. I lusted after those cameras as surely as I did any girls.

During this time I also was precocious enough and fortunate enough to get an after school job working for a successful general photographer. My official capacity was as a darkroom technician, and one of my perks was that I got to use the facilities including the studio and darkroom for my own stuff. It also provided enough income, along with my freelance news work to fuel my growing photography habit.

At this time, I had no question about what my career would be. I spent most of my time and all of my money on photography. I owned quite a number of cameras during this time, seldom simultaneously, but I often traded some less-preferred model in order to buy a more preferred model.

I was loaned a used Rolleicord 6x6 TLR by my Latin teacher who wanted to foster my photographic orientation. She let me use it for the shoe school year. Rollei made the "best" TLR cameras of this type during the early to mid-sixties of which I am writing. Germany was known for their superior glass and craftsmanship. The Rollieflex was th flag-ship TLR model from Rollei. It sported a six element lens design, and a rapid-wind crank to quickly drive the film transport. It was tight and made of fine materials in and out. I have one today which appears as new as it did the day it was sold. Rollei went the extra mile and made a variety of attachments for their Rolleiflex, and Rolleicord. The protective cases in which they came were even works of fine craftsmen. They were solid and felt good in your hands. Fingers and hands of an average-size person fell right into place on the controls.

Rollei's viewfinders were bright and easy to focus. They were beautiful cameras. I have another model today, of the Baby Rollie designed 4x4 camera, after which my first Yashica 44 was copied. It is encased in a gray plasticized, molded-to-fit case which is so practical, that had my little Yashica had the same, it would have survived any serious impact. This kind of attention to details is undoubtedly what gave the Rollei the reputation for quality--along with their fine lenes.

Later, during the seventies, I owned a couple of Rolleiflexes. I liked them and knew their potential value, butthen having a young family, their needs outstripped my need for extr cameras. I have several of these fine relics now.

For the day-to-day user, it was usual to take the leather case off of these cameras, so that one could quickly access and open the back in order to change film. This rendered many cases impractical to use all the time. The Baby Rollei case was designed in such a way, that the front and the back came off independently, still leaving a good portion of th body attached and covered. With this design the camera could be accessed internally and the film changed without taking the case off.

I never saw one of these nice cases on a 6x6 Rolleiflex; during this time, plastics were still regarded as inferior. I suppose the plastic case was experimentally relegated to the less-common 4x4 Baby Rollei. No surviving leather case is as pristine as is the plastic case specimen I ave today, after forty or more years.

I simply could not afford a 6x6 Rolleiflex camera new during those days. But I owned several Japanese imitations. Japanese-made gear was just shedding the ,"Made in Japan", stigma with which it had been dubbed for a decade post-war. But Japanese cameras, while not quite the quality of German-made cameras, came much closer than we had realized then. The price point spread was significantly better than the quality actually warranted.

There were several models of these Japanese knock-off copies of Rollies. Yashica made some of the best models and I owned one or more of each at various times. The Yashica D was an inexpensive, less highly featured model TLR after the fashion of the Rolleicord models. LM or EM designated an uncoupled light meter  some models had. There was also the A, B, C, E and  the 124, which enabled the use of 220 film as well as 120, which meant that you could shoot 24 exposures without changing film instead of just 12. The Yashicamat 124 G was a nice camera, and was the last TLR made made by Yashica.  I had one. I have one today, which is still an excellent working camera. This model had a coupled light meter, which I had little use for. There is a slight softening of the image of those shot through even the best Yashica lenses at wide open apartures as opposed to the Rollei's, or that has been my experience.

At the time of this writing (2008) Yashicas can still be had for under a hundred bucks. This is less of a reflection upon the quality of the camera than it is a refection of it's great success, as more Yashica TLR's were produced than any other model. If you desire to experience the retro-feeling of a nice medium format camera while making excellent photographs, you should snag a Yashica. If you are a collector, in it for the long haul, you should snag several, as the price WILL certainly increase exponentially, and the day will come not to distnat when they can barely be found at any price.

I also purchased a Minolta Autocord TLR, which was, in an early model, one of the the first Japanese copies of a Rolleiflex. The camera was much the same as the others, but the focus was uniquely located at the bottom of the taking lens--to be operated with one or both index fingers where they naturally fell while holding the camera. I liked the Minolta, but they were seen far less often than were the Yashicas, and Rollie's, at least by this time in the photography evolution. I'm not sure what happened to my Minolta Autocord. This was a mid-sixties model Minolta Autocord. I felt it was every bit as good as a Rollei. Some experts agree with that notion, and it has become a much sought-after collector camera.

There were numerous cheaper TLR cameras of various makes and models that came and went during the first half of the last century. There were also several more expensive and quality copies of the Rolleiflex. Notable examples that survive as cololoectors are the Ikonoflex which I never used, but which I;ve read good reports and one model that offered interchaneable lenses.  There were other good models that were produced and held behind the iron and bamboo curtains until a couple of decades ago. I was not privy to using these models "back when". But as a general rule, most Eastern-made cameras are pretty good, especially the optics. Most Chinese made products such as the Seagull are at the lower end of the quality ranking.

At one time or another, there most camera manufacturers which were around during hte forties and fifites, produced there version of the Rolleiflex. With the exception of the Mamiya which came about during the sixties, and those I have mentioned, these cameras were mostly also-runs and short-lived.

Once, at the challenge of a friend, teacher, part-time business partner, I spent several months (I don't remember how many) limiting my photography to a mere Yashica D model TLR. The training was good. Everything, was as manual as it could get, and the lenses were not quite as good as some models (I didn't know this at the time--and it made no difference whatsoever).

Although I had understood photography basics since I was in elementary school by then, the practical application of these principles to the extreme while exclusively using the manual camera gave me a great confidence in knowing that it is primarily the photographer, not the camera used, that creates great photographs.

A few years later, with an abrupt change in the economy, I had to reinvent myself and my career. I should never have strayed from my fist love, I confidently bought a Yashica D camera and began a a lucrative home portrait business forthwith.

http://notesandnods.typepad.com/photography_for_profit_or/2008/12/rollei-6x6-twin-lens-reflex-cameras.html

Excellent link for more information about Yashica TLR's http://www.williamsphotographic.com/ocr/mf/yashica.html

(My explanation of cameras I have loused and loved (or hated) will be continued in the next posts.)