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Nicht immer nur Kaviar ... (English Version)


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vor 15 Minuten schrieb pippy:

Sorry for missing this earlier!

I'm familiar with the Topcon RE Super - I used to lust after them as a kid! - but am unfamiliar with the lens, Romanus. Could you give us some more info? I'd be very grateful!

Philip.

AS the Topcon shared the Exakta-mount I showed a Late

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Version of the Kilfitt Makro-Kilar 40 mm. Came in f3.5 and later f2.8, goes to ratio 1:2 or 1:1, first the oder chrome finish oft Kilfitt, later the black Zoomar-finish, as Zoomar bought the Kilfitt factory 1968.

 

Edited by romanus53
Typo error From tablet, sorry
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2 minutes ago, romanus53 said:

AS the Topcon shared the Exakta-mount I showed a Late

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Version of the Kilfitt Makro-Kilar 40 mm. Came in f3.5 and later f2.8, goes to ratio 1:2 vor 1:1, first the oder chrome finish oft Kilfitt, later the black Zoomar-finish, as Zoomar bought the Kilfitt factory 1968.

 

WOW! What a superb set of cameras / lenses! Congrats!

The Zoomar! That brings up a memory which has been dormant for some 40+ years! A very long time ago I knew a gentleman who had a very old example but my recollection is hazy...I will have to dig into my memory - or Google - a bit further.

Incidentally this same gentleman also had an original Thambar which he was more than happy to let me have gratis but, ignorant as I was at the time in the ways of classic Leica lenses, I thanked him for his generous offer but declined....in retrospect a bit of a mistake!

Philip.

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vor 6 Minuten schrieb pippy:

WOW! What a superb set of cameras / lenses! Congrats!

The Zoomar! That brings up a memory which has been dormant for some 40+ years! A very long time ago I knew a gentleman who had a very old example but my recollection is hazy...I will have to dig into my memory - or Google - a bit further.

Incidentally this same gentleman also had an original Thambar which he was more than happy to let me have gratis but, ignorant as I was at the time in the ways of classic Leica lenses, I thanked him for his generous offer but declined....in retrospect a bit of a mistake!

Philip.

Actually I use the Makro-Kilar-D a lot, example pics are in view through old Glas. No comment in the Thambar 😉

Edited by romanus53
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i recently found a couple of Kilfitt lenses- with an m42 adaptor. Amazing lenses:

 

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2 hours ago, romanus53 said:

...No comment in the Thambar 😉...

:lol:

I have no experience so cannot possibly comment.

I must say I have seen some beautiful photographs shot with the Thambar posted here in the lens forum so I will keep an open mind!

As far as the Zoomar is concerned; it didn't take long to pinpoint the specific type of lens the gentleman of my acquaintance owned. I didn't realise that it was made to fit an Exakta (hence, partly, my confusion) but, as I thought, for a Voigtlander. It was (relatively speaking) a huge lump of metal and glass but it was clearly revolutionary in both it's genesis and its legacy.

As Rod Stewart, memorably, sang in 'Ohh La La!"....

"I wish that I knew what I know when I was younger!"

This is the relevant Cameraquest entry:

https://www.cameraquest.com/ekzoom.htm

Philip.

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The name-giving Zoomar, designed by Frank Back and buildt in the Factory of Heinz Kilfitt, is one of the first useble zoom-lenses. Other specialities from Kilfitt were long focal length and long helicoids for close-up. It's always a special experience using these, also in combination. In these covid-days I well remember that lazy summer days:

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You wouldn't use that outside your own garden 😉

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The 36-82 Zoomar for the Voigtländer Bessamatic was the first commercial available varifocus lens for 35 mm cameras.

You see that it is large. The lens hood and filters are fixed via a clamping ring.

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The round plate is a "depth of field computer", where you may tune f stop and distance, then the range of depth of field is indicated, even for the Focar lenses.

The image quality is good. Only in the position 82 mm there is a very visible distortion.

yours sincerely
Thomas

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21 minutes ago, thomas_schertel said:

The 36-82 Zoomar for the Voigtländer Bessamatic was the first commercial available varifocus lens for 35 mm cameras...

Aha!

Thank you for posting that photograph, Thomas, as that is exactly the lens I was trying to remember above (post #85) and I'm glad to see that it was available in Voigtlander-mount after all.

Philip.

 

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........believe it or not, I’ve yet to shoot a single frame with this 216 mm Cooke lens.  Just.....Intimidating!  Like driving around a chrome plated 59 Chevy!   Anyway, The Bell and Howell Foton, with 216 Cooke and 4”-8” Finder.    Most Expensive Camera you could buy in 1948.  Camera $700. Tele 388 Finder 270  case 70.   (Plos 10% federal postwar tax)= $1578 in 1948 Dollars.    What you got was a Fantastically Engineered and Fully Tested precision spring motor camera capable of 6 frames per second,  17 frames to the wind,  all frames exactly exposed the same.  The lenses are Cooke, the finest Cine lenses are Cooke.  They marked the lenses by “T” stops rather than f stops.  So, your 8” tele at T 8 was going to expose your film Exactly the same as your standard 2” Cooke “normal” lens at T 8.   This is critical to a cinema photographer  and Bell and Howell knew a thing or two about that.•••••.  The Real Bonus today is that nearly every one known still works perfectly!   Ha Ha Zeiss 

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Some Kilfitt-offerings from the 60's to get close

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Left Exakta Varex IIb with Kilar 3.5/150 and the Multi-Kilar 2-4x means 600 mm and 6 ft distance; Contarex with Tele-Kilar 5.6/300 and Macro-Adapter Tulco; Zeiss-Ikon SL 706 with Kilar 3.8/135 and Macro-Adapter Tupra; Leicaflex with Macro-Zoomar 4/50-125 and Converter 2x you end up with 270 mm and lifesize.

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I have taken this picture for somewhere else and in the German thread I have shown this camera a time ago.

Goltz & Breutmann (Dresden), Mentor Altelier Reflex, abut 1950 jears.

The camera takes 9x12 cm² plates or sheet films in special holders.

The lenses are exchangeable, but the shortest to be used is 180 mm long.
The Mentor has focal plane shutter from 2 sec until 1/1000 th of a second.

The front can be tilted and swung, the back is to rotate, the viewfinder adapts automatically.

 

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(Taken with Leica M240 and Elmar 3,5/50)

Yours sincerely
Thomas

Edited by thomas_schertel
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One of My Dads Cameras,  I’ve not used it yet, so can’t comment on anything except it’s pretty, simple and feels nice.  Kodak’s association with German makers gave us a lot of Cameras!

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vor 2 Stunden schrieb Ambro51:

One of My Dads Cameras,  I’ve not used it yet, so can’t comment on anything except it’s pretty, simple and feels nice.  Kodak’s association with German makers gave us a lot of Cameras!

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Maybe you will be surprised how good a triplet can perform

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  • 3 weeks later...

When you come from a small country anything photographic made in your country is a rare and wonderful thing. I have already posted my Irish made Grubb lens collection. I have a Leica II Model D engraved with the name of a Dublin dealer and what is probably an imported wooden camera with a nameplate carrying the name of a Limerick dealer, but what about a camera actually made in Ireland? William Oswald Stanley was a photographer based in Lincoln Place in Dublin and he made the camera shown below around 1900. I have not seen another one like it. 

The camera needs a lens board, ground glass screen, dark slides (I may have some that fit, it is half plate) and a couple of brass struts. Although the camera is somewhat 'worn', it is sturdily made and the bellows are intact. 

The first photo below shows some 'candidate' lenses, from the left, Morley (British), Busch and Leitz 12cm f4.5 Summar (German) and Grubb (Irish and the most appropriate). A roller blind (TP) would be necessary for modern film material.

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The unusual leg and slot mechanism at the front allows a bit of vertical movement.

To find a rare camera made in my native city about a kilometre away from where I was born almost 50 years later is something any collector would wish for. 

Tomorrow to keep everyone happy on both sides of the Irish Border, I will post a picture of some cameras made in Northern Ireland in the 1960s.

William

 

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Well, after reading all this fascinating "non-Leitz" literature, I decided to have a look to the "non-Leica" part of my past Fontenelle collection, where I discovered - to my surprise, I must confess - no less than 37 files with starting (Agfa) and fimishing (Zeiss Contax) names well known, but many strange names in between.

I decided to start offering images of miniature cameras relatively well known, who seducted me by the perfection of their "watchmaker-like" design and construction.

First is the Compass, offering in less than 25 square centimeters. an incredible number of possibilities. And an acceptable quality of images.

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The second is the Tessina Automatic 35, a little larger but still much smaller than a Leica, more easy to use and with definitely better results.

 

  

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And why not to go farther with "small" cameras? And first is my "Golden Steky", very simple if compared to the Compass or Tessina. And I will not comment on results, since...I never fired it.

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Next, I choosed the Chinon Bellami, with its Chinon f2.8-35mm lens. This, I used, and with reasonable (yet not Leitz-like) results. I especially appreciated its reduced size, integrated protection of lens allowing pocket transport and rapidity of use, and general simplicity. The armament opened the "doors", put the lens in position, and that was all.

 

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I have shown this Brillant in the German forum some years ago.

 

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For english speaking people it might be of interest, because the engravings are in their language.

 


Scotsmen may remark the dealer's label.

 

Far better results can be obtained with brillants equipped with the Skopaar or Heliar (i would be glad to have one)

 

Yours sincerely
Thomas

 

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I am not shure whether a digital camera of 2003 fits in this thread:

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Yours sincerely
Thomas

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Stereo equipment for the Exakta:

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yours sincerely
Thomas

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