Nicht immer nur Kaviar ... (English Version)

[romanus53]

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The 3003 is a modern and different design, the Kowa although build in Japan is more German as Heinz Kilfitt helped designing that camera, without seperate magazines or backs to change.

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The Leica Q3 is available for pre-order at B&H Photo Video and Adorama

[jaques]

Later Kowa made another version with removable film backs. Great cameras- lovely to use- but notoriously fragile mechanisms.

[jaques]

Topcon HORSEMAN Press 120 camera

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[wlaidlaw]

A Horseman 6 x 17 camera outfit was the cause of a friend's divorce and I lost my local darkroom facility. He had told his wife that they could not afford a new kitchen and she then found the bills for the Horseman, Seitz digital panorama scanning back, lenses and large format De Vere enlarger. She got the house; he got the camera 😀

Wilson

[wizard]

vor 1 Stunde schrieb wlaidlaw:

He had told his wife that they could not afford a new kitchen and she then found the bills for the Horseman, Seitz digital panorama scanning back, lenses and large format De Vere enlarger. She got the house; he got the camera

That guy obviously did not know the saying "Happy wife, happy life" 🙂.

[thomas_schertel]

Linhof Super Technika IV 6x9 with accessories

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yours sincerely
Thomas

[jankap]

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Thomas, is there something that you do not possess?

[wizard]

vor 59 Minuten schrieb jankap:

Thomas, is there something that you do not possess?

Resistance against GAS, obviously 🙂. But who am I to complain ...

[Pintpot]

My old Bessa (I think it's a Bessa 1)

 

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[thomas_schertel]

vor 22 Stunden schrieb jankap:

Thomas, is there something that you do not possess?

Yes, very much:

e.G: Mountain Elmar, summarex, a handy 13x18 camera ...; time for the darkroom etc

yours sincerely
Thomas

[Pintpot]

A Kershaw 630

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[Matlock]

Something a little different. Nearly 70 years separate the camera and the lens but they seem to work well together. Contax I version 7 and Voigtlander 21mm SC Skopar.

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Edited May 20, 2023 by Matlock

[wlaidlaw]

32 minutes ago, Matlock said:

Something a little different. Nearly 70 years separate the camera and the lens but they seem to work well together. Contax I version 7 and Voigtlander 21mm SC Skopar.

I use one of the 21/4 Voigtlander lenses on my Leica Ig as a point and shoot camera. I would not have bought this lens after a couple of bad previous experiences with CV lenses but it arrived on the Ig, which I bought at an auction in France. The lens was an unexpectedly bonus and when I gave it a try it worked well. I thought the lens on the camera in the auction brochure was just for illustration purposes as it was not mentioned in the text. I was the only bidder and got lens and body for the reserve price of €150 + 20% commission. I already had a Voigtlander 21mm VF for use with my 21/4 Super Angulon M. 

Wilson

[Pyrogallol]

On 5/20/2023 at 8:30 AM, Matlock said:

Something a little different. Nearly 70 years separate the camera and the lens but they seem to work well together. Contax I version 7 and Voigtlander 21mm SC Skopar.

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I have the same lens for my Nikon S and S2, didn’t add the ribbed focussing ring as I didn’t like it.

Edited May 21, 2023 by Pyrogallol

[willeica]

I am doing cataloguing and identification on the collection (c 300 items) of the former Photographic Society of Ireland (PSI) Collection (founded in 1854 as the Dublin Photographic Society) at the our National Photographic Archive. I will post some treasures as I go along. This is a sliding box camera from the 1850s-60s with a Grubb Ax Lens SN 3878, made here in Dublin in the 1870s. I own the similar Grubb Ax lens with SN 3631 which takes superb images. The example in the archive comes with 3 washer stops. The one feature I really like here is the 'integrated' ground glass screen which  is well protected instead of hanging off the back which became the norm later on. The full back is 5x5 but the screen is ruled for 3x4 and CDV. 

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A true early beauty with parts that range from possibly 150 to 170 years old. I am not sure who made the camera body, but some have mentioned the English firm J.J. Shew http://www.earlyphotography.co.uk/site/entry_C145.html

I will continue this as a series. The next one I will show is an early Kodak roll film camera from c1890. 

William 

 

 

 

[willeica]

Another one from the PSI Collection. An Ordinary Kodak No C from c 1890. Sold by Robinsons at 65 Grafton Street Dublin in the 1890s. I like to think that John Bolton Robinson, born in Dublin in 1846 and a son of James Robinson of 65 Grafton Street, may have seen one of these when creating the famous Luzo camera which was one of the first non Kodak roll film cameras

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In this case the string for cocking the shutter has been replaced. The shutter is released using the small brass button on the side of the camera. The main controls are accessed by opening the front door. Other details are here http://www.piercevaubel.com/cam/nonview/ordinarykodak.htm

Details of Robinson's Luzo camera are here. He went bankrupt in London in the late 1890s and returned to Dublin to join the Grafton Street business where, I believe, he made some cameras in the period up to about 1910. A friend of mine has one of those cameras. 

http://www.earlyphotography.co.uk/site/entry_C270.html

The camera shown above is the earliest and largest Kodak which I have ever handled.

William 

 

 

[wlaidlaw]

William, does this camera and/or the Luzo use paper or celluloid roll film? It has always puzzled me how positive prints were made from paper negatives, given the absence of transparency of the paper substrate, to shine light through for a contact print. In period, one must have had to be very careful about leaving a camera pointing into the sun, given the extreme flammability of celluloid film, made from in effect the same compound as gun cotton. 

Wilson

[willeica]

4 hours ago, wlaidlaw said:

William, does this camera and/or the Luzo use paper or celluloid roll film? It has always puzzled me how positive prints were made from paper negatives, given the absence of transparency of the paper substrate, to shine light through for a contact print. In period, one must have had to be very careful about leaving a camera pointing into the sun, given the extreme flammability of celluloid film, made from in effect the same compound as gun cotton. 

Wilson

Wilson,  much of this is covered in the large book by Todd Gustavson, former head of the Eastman Museum. I will look at the book and revert. In the 1880s and 1890s a lot of changes were occurring, many of them driven by Kodak/Eastman. With paper negatives there was a lot of touch printing, but I will get you a full answer in a Kodak context. 

William 

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Hallo,

Look here: Interesting Leica gear

[willeica]

5 hours ago, wlaidlaw said:

William, does this camera and/or the Luzo use paper or celluloid roll film? It has always puzzled me how positive prints were made from paper negatives, given the absence of transparency of the paper substrate, to shine light through for a contact print. In period, one must have had to be very careful about leaving a camera pointing into the sun, given the extreme flammability of celluloid film, made from in effect the same compound as gun cotton. 

Wilson

 Per Gustavson, the Luzo used Kodak film, but the owner did not get the same processing deal as they would have got with a Kodak camera. Both of these cameras, the one shown above and the Luzo, were introduced at around the time of the changeover from paper to celluloid rollfilm. Prior to the introduction of celluloid, contact printing was the most common method used. I have found quite a few printing frames in the PSI collection so far and I expect to find more. As the years went by there were various attempts to make paper negatives more transparent. The introduction of celluloid made cinema possible. Here are a few useful links for you.

https://blog.scienceandmediamuseum.org.uk/celluloid-and-photography-part-3-the-beginnings-of-cinema/

https://resources.culturalheritage.org/pmgtopics/1995-volume-six/06_01_Daffner.html

William 

[wlaidlaw]

William, 

Thank you for the suggestion about the Todd Gustavson book. My daughter's in laws gave me that book for a Christmas present and it is sitting at my French house, as yet unread. When I finally get down there, hopefully in early July, I will make a point of reading it.  I see that beeswax was the most common product used to making the paper negative more transparent in order to get a positive contact print. I have read a number of papers today on the subject and it seems as if the process was well known to have limitations, so Frederick Scott's wet collodion on glass process must have come as a great boon in 1851, for the huge leap in resolution it permitted. I was involved some years ago in sponsoring the wonderful book by Kenneth Beken of historic prints of legendary yachts through the 19th and 20th century by the Beken company, at Cowes in the Isle of Wight. The level of detail from their older wet process glass slides is remarkable. 

Wilson