View allAll Photos Tagged AutoKnips
A vintage AutoKnips IV selftimer. It's a cool piece of photo history that still works. Made in Germany. I'm unsure of the year. Probably circa 1970. It even works on my Fujifilm X-T30. #AutoKnips #B&W #ShutterRelease #nostalgia
For this weeks theme on Macro Mondays "Contraption" a picture of an old mecanical autotimer, supposed to trigger a camera with the corresponding cable. It still works fine. The actual size is about 1 by 2 inches. HMM
einst eine fortschritliche neue Errungenschaft/Apparat in der Fotografie
once upon a time a very progressive contraption in the photography
Tag 030/365 Monday, Januar 30: contraption
Please don't use my images on websites, blogs or other media without my written permission, please ask © 2017 Karins-Linse.de All rights reserved
2017-D90-001466-DSC_2810-2400b
Macro Mondays: "Cotton"
The coarse black cotton threads are attached behind this nifty little device ( - 6cm diagonally from corner to corner). In the background is the fine cotton weave of one of my favourite pocket-handkerchiefs.
The "Haka Autoknips" is an accessory self-timer for delayed triggering of a camera's shutter via a cable-release. According to the instruction leaflet, it is to be tied on to the camera, e.g. to the struts supporting the lens and bellows ( - such of those of the Voigtländer Bessa shown in the first comment below), to avoid kinking the cable. The cable-release is activated by the piston just visible through the hole to the right of the red knob. Fast shutter speeds are set on the camera. If the camera is set to "B", then extended shutter speeds from 1/2 second to 10 seconds can be set on the "Autoknips".
(My apologies for the misleading original text to this photo - it pays to read instructions!)
HMM!
For this week's theme on Macro mondays a picture of Autoknips, a mechanical self-timer, and the corresponding evolution in my Nikon D5000, HMM.
IN ENGLISH BELOW THE LINE
Aquesta és una cà mera força similar a totes les molt nombroses cà meres alemanes de inicis del s. XX en format placa seca de 9x12 cm. Es tracta d'un model relativament senzill fabricat per Voigtländer entre 1925 i 1934. Aquest model compta amb un obturador Gauthier IBSOR, del que encara no en tenia cap exemplar. Es força similar al omnipresent dial-set Compur. L'objectiu és un Voigtländer Anastigmat Skopar f4,5 / 135mm. Pel número de serie crec que l'objectiu i l'obturador daten de 1928-29, i la cà mera del mateix any 1929. Està en bon estat i sembla funcionar correctament.
Però no la vaig comprar en principi per a fer servir, sino per col·leccionisme, ja que fa joc cinematografic amb una altra cà mera que ja tinc, la Agfa Billy-Clack 74. En efecte, ambdues cà meres surten a la obra mestra del cinema belic "Vine i mira" (Idi i smodri), de Elem Klimov (1985).
La Voigtlander apareix molt clarament en mans d'un partisà fotograf que la fa servir per fer una inmensa foto de grup de tots els partisans als boscos de Bielorussia, mentre lluiten contra els invasors nazis. Serveix aixà de contrapunt a una fotografia posterior del protagonista capturat per les SS en una situació molt més terrible. Aquella segona fotografia la fan amb la Agfa.
Com la escena on surt aquesta Voigltänder es veu molt clarament els detalls de la cà mera, no fou extremadament dificil veure quin era exactament el model. I fins i tot trobar-ne una en venda a ebay amb exactament el mateix obturador i objectiu. L'unic que no he pogut replicar es el temporitzador extern que fa servir el fotograf, ja que sembla els tipus Autoknips, però es com més simple i rectangular.
historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_d...
www.jordanmposs.com/blog/2020/8/21/come-and-see
www.youtube.com/watch?v=CmxqaGIS_qw
Aquest es el partisà amb la Voigtlander:
ww2-movie-characters.fandom.com/wiki/Partisan_(Come_and_See)?file=Partisan_%28Viktor_Manaev%29.png
=================================
This camera is quite similar to the many German 9x12 cm dry-plate cameras from the early 20th century. It is a relatively simple model manufactured by Voigtländer between 1925 and 1934. This model features a Gauthier IBSOR shutter—a type I did not yet have in my collection. It is quite similar to the ubiquitous dial-set Compur shutter. The lens is a Voigtländer Anastigmat Skopar f/4.5 135mm. Based on the serial number, I believe the lens and shutter date from 1928–29, and the camera itself from 1929. It is in good condition and appears to be in working order.
However, I didn't buy it primarily to use, but rather for my collection, as it shares a cinematic connection with another camera I already own: the Agfa Billy-Clack 74. In fact, both cameras appear in Elem Klimov’s 1985 war movie masterpiece, *Come and See* (*Idi i smotri*).
The Voigtländer appears quite clearly in the hands of a partisan photographer who uses it to take a massive group photo of all the partisans in the forests of Belarus while they fight against the Nazi invaders. It serves as a counterpoint to a later photograph of the protagonist—captured by the SS in a far more harrowing situation—which is taken with the Agfa.
Since the details of the camera are clearly visible in the scene where the Voigtländer appears, identifying the exact model wasn't too difficult. I was even able to find one for sale on eBay with the exact same shutter and lens configuration. The only thing I haven't been able to replicate is the external timer the photographer uses; it looks like an Autoknips type, but it is simpler and rectangular.
historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_d...
www.jordanmposs.com/blog/2020/8/21/come-and-see
www.youtube.com/watch?v=CmxqaGIS_qw
Here's the partisan with it's camera:
ww2-movie-characters.fandom.com/wiki/Partisan_(Come_and_See)?file=Partisan_%28Viktor_Manaev%29.png
My father loved Exakta cameras. This is an early Kine Exakta, circa 1938, with a square waist-level finder attached. This is a type 1.2.2 on the Wrotniak versioning system. (www.wrotniak.net/photo/exakta/exakta-serial.html)
It's sporting an Enna Ultra-Lithagon 28mm f3.5 that I found a few years ago at a flea market. Nearby are some other various items in my collection, including a Haka Autoknips mechanical self-timer and a defunct Leicameter.
self
in bed
nude
on Polaroid
with Large Format
and with cat
//
Raptar 90mm
Camera on a stand (no selfie stick)
Autoknips
Summer
Yellow filter and longer dev for better contrasts
Patience
{Commitment and Dedication}
___
Roidweek 2015.2 # day 4
Linhof Technika III / Polaroid type 54
IN ENGLISH BELOW THE LINE
Aquest duet de cà meres alemanes no semblen tenir molt en comú, mes enllà del seu paÃs d'origen i d'un ambit temporal del perÃode d'entreguerres, en concret entre 1929 i 1939. A la esquerra, una Voigländer VAG de plaques de 9x12 cm, fabricada el 1929; a la dreta, una Agfa Billy-Clack 74 de format mitjà .
Però estan vinculades cinematogrà ficament, ja que apareixen ambdues en una mateixa pel·licula per a donar forma a dues escenes contraposades però enmirallades de la història. Obviament son dues escenes on el protagonista és fotografiat amb aquestes dues cà meres. En efecte, les dues surten a la obra mestra del cinema belic "Vine i mira" (Idi i smodri), de Elem Klimov (1985).
Aquesta pel·licula fou pensada per conmemorar el 40e aniversari de la II Guerra Mundial o "Gran Guerra Patriotica" com en diuen a Russia (per dissimular que en els anys 1939-1941 foren al·liats dels nazis). Però el director, Elem Klimov, ell mateix supervivent de la guerra (fou un nen a Stalingrad) fa una pelicula on quasi no hi ha cap combat i es centra en la brutalitat salvatge exercida sobre la població civil. La historia passa a Belarus cap al 1943, durant les bestials campanyes "antipartisanes" nazis, que bà sicament consistiren en arrasar a sang i foc centenars de pobles, amb tots els seus habitants a dins.
La Voigtlander apareix molt clarament en mans d'un partisà fotograf que la fa servir per fer una inmensa foto de grup de tots els partisans als boscos de Bielorussia, mentre lluiten contra els invasors nazis. Serveix aixà de contrapunt a una fotografia posterior del protagonista capturat per les SS en una situació molt més terrible. Aquella segona fotografia la fan amb la Agfa.
Com la escena on surt aquesta Voigltänder es veu molt clarament els detalls de la cà mera, no fou extremadament dificil veure quin era exactament el model. I fins i tot trobar-ne una en venda a ebay amb exactament el mateix obturador i objectiu. L'unic que no he pogut replicar es el temporitzador extern que fa servir el fotograf, ja que sembla els tipus Autoknips, però es com més simple i rectangular.
La Agfa, en mans d'un motorista de les SS, es encara més facil d'identificar per la seva estètica art decó, tot i que era (i és, n'hi ha a desenes a ebay) una cà mera barata i senzilla.
historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_d...
www.jordanmposs.com/blog/2020/8/21/come-and-see
www.youtube.com/watch?v=CmxqaGIS_qw
Aquest es el partisà amb la Voigtlander:
ww2-movie-characters.fandom.com/wiki/Partisan_(Come_and_See)?file=Partisan_%28Viktor_Manaev%29.png
=================================
This pair of German cameras does not seem to have much in common, aside from their country of origin and the timeframe of the interwar period—specifically between 1929 and 1939. On the left is a Voigtländer VAG (using 9x12 cm plates), manufactured in 1929; on the right, a medium-format Agfa Billy-Clack 74.
However, they are linked cinematically, as both appear in the same film, shaping two contrasting yet mirroring scenes in the story. Naturally, these are scenes in which the protagonist is photographed using these two cameras. Indeed, both appear in the war movie masterpiece *Come and See* (*Idi i smotri*) by Elem Klimov (1985).
The film was conceived to commemorate the 40th anniversary of World War II—or the "Great Patriotic War," as it is known in Russia (a term used to obscure the fact that, from 1939 to 1941, they were allies of the Nazis). Yet the director, Elem Klimov—himself a war survivor who was a child in Stalingrad—created a film containing almost no combat scenes, focusing instead on the savage brutality inflicted upon the civilian population. The story takes place in Belarus around 1943, during the Nazis' bestial "anti-partisan" campaigns, which essentially consisted of razing hundreds of villages—with their inhabitants inside—by fire and the sword.
The Voigtländer appears quite clearly in the hands of a partisan photographer, who uses it to take a massive group photo of all the partisans in the Belarusian forests as they fight against the Nazi invaders. It thus serves as a counterpoint to a later photograph of the protagonist, captured by the SS in a far more harrowing situation. That second photograph is taken with the Agfa.
Since the details of the camera are clearly visible in the scene featuring this Voigtländer, identifying the exact model was not particularly difficult—I even managed to find one for sale on eBay with the exact same shutter and lens. The only thing I haven't been able to replicate is the external self-timer used by the photographer; it resembles an Autoknips unit but appears simpler and more rectangular.
The Agfa, held by an SS motorcyclist, is even easier to identify thanks to its Art Deco aesthetic, even though it was—and remains (dozens are available on eBay)—a cheap, simple camera.
historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_d...
My father loved Exakta cameras. This is an early Kine Exakta, circa 1938, with a square waist-level finder attached. This is a type 1.2.2 on the Wrotniak versioning system. (www.wrotniak.net/photo/exakta/exakta-serial.html)
It's sporting a shiny aluminum Enna Ultra-Lithagon 28mm f3.5 that I found a few years ago at a flea market. I didn't know at the time that this lens, released in 1953, was only the second 28mm lens ever made: casualphotophile.com/2020/12/18/enna-werk-ultra-lithagon-...
Nearby are some other various items in my collection, including a Haka Autoknips mechanical self-timer and a defunct Leicameter. In the background are an Argus C3 and a Brownie Hawkeye. Almost lost in the bokeh are a Nikon Coolpix 900 and a Rollei A26 with the attached C26 flash, both uniquely designed compacts of their eras.
Die Solinette ist der KB Falter von 1952 aus dem Hause AGFA. So eine Kamera hat mein Vater früher benutzt. Er war immer sehr stolz das er sich damals schon für Kleinbild entschieden hat. Zumindest bei Agfa war das damals noch eine seltene Ausnahme. Kodak Deutschland hat nach dem Krieg überhaupt keine Rollfilm(120Film) Kameras mehr hergestellt. Mit allem was ich dabei zeige hat er früher so fotografiert. Sixomat, Autoknips und Watameter waren immer in der Tasche. Auch Grüngelb Filter und Drahtauslöser sind Dinge von denen ich immer wusste. Auf Diafilm mit späterer Projektion war bei ihm auch üblich. Das einzige was wirklich von seiner Ausrüstung stammt ist das AGFA Natarix, dabei handelt es sich um den Aufsatz zur Parallaxenkorrektur bei Nahaufnahmen für Sucher und Blitz.
Google translation
The Solinette is the KB folding camera from 1952 made by AGFA. My father used a camera like that. He was always very proud that he had already decided to do 35mm. At least at Agfa, that was still a rare exception at the time. Kodak Germany stopped making roll film (120 film) cameras after the war. He used to take photos like this with everything I show. Sixomat( exposure meter), Autoknips(self timer), clamp tripod and Watameter(rangefinder) were always in the bag. Also green-yellow filters and cable releases are things I always knew about. On slide film with later projection was also common with him. The only thing that really comes from his kit is the AGFA Natarix, which is the close-up parallax correction attachment for the viewfinder and flash.
A Journey back in time - photo equipment of the last millenium:
Voigländer Bessamatic CS with self-timer "Autoknips" and an older retro flash of the company "Agfa" - all made in Germany
***
[CF_2024-12-25_145539(R)_R1A2363_EditCPP4(Ausschnitt3x2_4800x3200_H0.33_K1_S2.5_L1.5_Sch5F1S1)_300dpi.jpg]
Asahi Optical Co. Asahi Pentax SP 1000
Mir 1v
exp. Konica Minolta Centuria 200
autoknips
flash light works ed.
Soooooo I officially hate shooting 365's without daylight. I wanted to take some more polaroids but it was already starting to get dark. So I hurried and tried to quickly shoot some pictures but the camera wasn't agreeing with my cable release and my cable release wasn't agreeing with my autoknips so I had to scream for help and by that time it was pretty much total darkness so this was pretty underexposed. It's not quite what I had in mind but it'll have to do because I also took some digitals in crappy light and I hate those even more. Like, with a vengeance. Also, my boobs are obviously trying to take over the world and shall not be stopped. Be ready.
1 spare batteries
2 rocket blower
3 leitz VIOOH viewfinder
4 homemade 24/28mm viewfinder
5 homemade leather strap
6 Industar/fed 50mm f/2.8mm USSR lens
7 jupiter 50mm f/2 USSR lens + leica lens cap
8 steinheil münchen culminar 85mm f/2.8 lens
9 Iphone
10 Belair X 6-12 58mm lens cap
11 Wallet
12 Baby fisheye 110 lens cap
13 autoknips selftimer
14 leica M6 (black dot + MP film advance lever) + canon 50mm f/1.4 + Leica strap
15 Voigtlander 35mm f/2.5 skopar lens
16 industar/fed 53mm f/2.8 USSR lens
17 lomo belair X 6-12 + 58mm f/8 lens & viewfinder + rangefinder
18 belair X 6-12 90mm viewfinder
19 belair 90mm f/8 lens
20 reddotcameras.co.uk business card
21 micro precision 5 x 4 film holder
22 fidelity elite 5 x 4 film holder
23 bronica ETRS + 50mm f/2.8 + AE-II metered finder + 220 back + speed grip-E + Lens hood
24 bronica ETRS 120 film
25 canon canonet QL 25
26 super marexar 28mm f/2.8 lens + nikon f --> leica M adapter
27 olympus OM 24mm f/2.8 zuiko lens + olympus OM --> leica M adapter
28 lomo baby fisheye 110 camera
29 cable release
30 lomo diana mini camera + "custom paint" & leica dot
31 Yashica electro 35 GT camera
32 konica S III camera
33 bronica ETRS 150mm f/4 lens
34 lomo LC-W camera
35 Olympus PEN-D half frame camera
36 rollei 35-T camera
37 chaika-II half frame camera
38 konica C35 automatic camera
39 polaroid lightmixer 630 camera
40 polaroid 103 automatic land camera
41 mui.sui.2 "homemade" 4x5 pinhole camera + homemade 120 film 6x9 back
42 olympus mju-1 camera
43 olympus om 1 + zuiko 50mm 1.8 lens + OM winder 1
44 soligor auto tele olympus OM converter 2x
45 lomo 6x12 pinhole camera
46 lomo 360° spinner camera
47 kodak ultramax 400 35mm film
48 kodak gold 200 35mm film
49 kodak gold max 400 35mm film
50 kodak technical pan 2415 25 b&w 35mm film
51 kodak (old) tmax 100 b&w 35mm film
52 kodak tmax 400 b&w 35mm film
53 SHD lucky 100 b&w 35mm film
54 rollei infrared 400S b&w 35mm film
55 lomo tiger 200 110 film
56 kodak ektar 100 120 film
57 kodak portra 160 120 film
58 kodak portra 160 120 film
Google Translation
The Voigtländer Vito III was built between 1951 and 1956. She has installed a legendary lens, the Ultron 2.0 50mm. They were available with two clasps, Compur-Rapid and Synchro-Compur, price 340DM and 390DM, production figures approx. 15,000.
Here I show them with the accessories typical of the time.
German
Die Voigtländer Vito III wurde zwischen 1951 u. 1956 gebaut. Sie hat ein legendäres Objektiv verbaut, das Ultron 2.0 50mm. Es gab sie mit zwei Verschlüssen, Compur-Rapid u.Synchro-Compur Preis 340DM u. 390DM Produktionszahlen ca. 15 000.
Hier zeige ich sie mit dem zu der Zeit typischen Zubehör.
Der Selbstauslöser wurde von der Firma Heinrich Klapprott aus Hamburg erfunden.Verschiedene Modelle in
der Zeit von 1919-1980.
Vor allem in mechanischen Kameras (Spiegelreflexkameras und auch Sucherkameras) wird der Auslöseversatz mechanisch realisiert. Das geschieht durch Spannen einer Uhrwerks-Vorrichtung, die mit Hilfe von Federkraft und Zahnrädern mit Verzögerung die Auslösemechanik der Kamera betätigt. Ein mechanischer Selbstauslöser ist meist so angebracht, dass durch eine eindeutige Stellung des Hebels (o. ä.) das Ende des Zeitversatzes zu erkennen ist. Bei mechanischen Selbstauslösern ist es meist möglich, die Auslösezeit in Grenzen zu beeinflussen, d. h. zu verkürzen.
Autoknips V-3
-and self-timing was invented by Heinrich Klapprott from Hamburg.
the period from 1919-1980.
The trigger offset is mechanically implemented, especially in mechanical cameras (SLR cameras and also searcher cameras). This happens by tensioning a clockwork device, which operates the trigger mechanics of the camera with a delay with the help of spring force and gear wheels. A mechanical self -timer is usually appropriate in such a way that the end of the time offset can be seen through a clear position of the lever (or the like). In mechanical self -disadvantages, it is usually possible to influence the trigger time within limits, i.e. h. to shorten.
In the forest and filling the wood supply for next winter.Here in the counryside where i live is the most common heating method firewood in a central heating system.Normal annual consumption is 30-35 cubic meters of wood,maybe one or two weeks job but then becomes the heating and hot water free.
Kiev 88cm CZJ Biometar 120mm f2.8 Tmax 400 D76 1:1 9.30 min Canoscan 9000f
Autoknips selftimer
One of the cutest box-cameras I have seen, so I couldn't resist :)
The camera:
Lens: Altissar Periskop 1:8 (two convex lens elements)
Shutter: Rotarity shutter (1/25, B)
Film: 120, 12 frames 6x6
shot @ f/11. tripod + autoknips.
Camera: Ferrania Elioflex (1950)
Lens: Offincine Galileo "Monog" f=85cm (1:8)
Film: Ilford Pan F (EI=100)
Dev: Rodinal 1+25 , 12min.
After a bit of use lately I found it needed a few mods. The release arm got broken twice in the last week. I have crafted a replacement in aluminium with small tab at the bottom end to allow use of a cable release. Then added a bracket for a cable release. And finally a cold shoe bracket, mostly used for flash, but also a VC-II light meter.
Also pictured is a Nikon SB22 flash, and an old Expo (a.k.a. Haka Autoknips) self timer.
Shot with the Fuji X-10
01/07/09
So finally here it is! Thanks to everyone who looked at my clues over the last few days, I hope you enjoyed them ;)
My new toy is a Kiev 88CM medium format film camera, the design of which dates back to the 1950's. At around that time the Arsenal Factory in Kiev was at a bit of a loose end, so they decided to amuse themselves by producing an almost identical copy of the Hassleblad 1600. The Hassleblad was one of the top cemeras of the day, although not without it's problems. The Salyut (as it was then called) inherited most of them and added shocking quality control just to shake things up a bit. The camera they currently produce has gone through a number of variants before arriving at the design you see here. As best I can tell this camera was made in the last few years, it's a cloth shutter camera with the new type film backs. The big benfit for me was that it has a Pentacon Six lens mount, which means that (budget permitting) I can fit some very nice top quality German glass... !
I managed to scoop this complete setup from a semi professional photographer who has just made the jump to medium format digital and didn't feel the need to keep this his backup..backup set of kit! Buying a complete setup makes life a lot easier as I don’t need to buy any accessories, other than a missing lens and body cap and a neck strap I have everything I really need to have a good dabble ;)
I ran 1 roll of film through the camera the day after I got it, and I’ve nearly finished the second. Most of the first roll were test shots to check that all the shutter speeds work, so they are not much use, but towards the end of the roll I shot the 3 preceding shots on my photostream. They are uploaded warts and all (dust, scratches, etc.), the horse pic is not in focus... well it is, but for the grass in front of my feet!, and I also underestimated just how shallow the depth of field was in the undergrowth shot!
Nearly all the kit is in excellent condition and hardly used, the camera, back’s and the 80mm lens look like new, the 250mm lens is in fair condition and the 45 is a little scruffy and the foucs is a little gritty but the glass is perfect, finally one of the extension rings had a dent on it . The only poor bit of kit is the Zeiss Sonnar lens, which at some point in the past has had fungus on the outside of the front element. This unfortunately appears to have removed the coating in a couple of places. I knew that before I made the purchase and the total price reflected the fact that this lens is effectively a very nice paperweight, although it could be resurrected at some point by having the front element ground a re-coated for about £150. I’m not sure how much of a problem that the damage is going to cause, as front element lens damage generally degrades the image quality surprisingly little. So much so that chips and scratches in the front element of most lenses can be filled with black ink and the damage doesn’t show up in the photos. I will probably run a roll of film on just this lens to see how it performs as it has an amazing reputation for quality.
So finally the clues, they solutions are as follows (for those of you who didn't get them)
Clue 1, didn't really say much other than announce the challenge. Tenuously the shot is cropped square as are all the shots, why?, this camera produces a square (6X6) negative.
Clue 2, the Autoknip is film camera self timer for old designs of camera, so now you know it’s a film camera, and an old design.
Clue 3, this is the big clue, notice the film wrapper in amongst the rubbish with the paper 120 film holder band next to it, now you know it's a medium format film camera, and if you sussed out the fact that all the shots were square you know it's 6X6.
Clue 4, chicken "Kiev"?, so it's a "Kiev film camera", Google that and this link is the top one. That narrows it down to two cameras the 60 and the 88... although Pauls guess of "Hassleblad" just needed to go one step further to "Hasslebladski" ;)
Clue 5, err 88? at which point a Patrick pointed out the full model, and Paul demonstrated his knowledge of the Cyrillic alphabet!
Lightroom: crop, auto levels, saturation +17, tweak clarity and vibrance, sharpen, brush tool to tone down a couple of highlights in the lenses, save to JPG
...and with all that “drivel“ out of my system, I bid you all a good night ;)
I find that I get about halfway through a film and become impatient for results; I then go out and splurge the second half on "just anything" ramdom shots, which ...as it usually turns out... might have remained untaken without loss to the totality of human happiness. Not only that, but I always seem to return to the house with one frame left in the camera and no very obvious subject on which to use it. A "selfie" is often the result, in this case taken with the aid of an Autoknips self-timer. So here I am, seen from the back of our garage. I can get the car in and out of it, just about, with six inches to spare on either side. You can't do it in one; there is always some backwards and forwards and straightening-out involved and I have to watch the mirrors. It's only a small car too. I would have liked to keep it in the garage during snow and frost, to avoid all those warmings-up, scrapings and squirtings of de-icer, but a pet-besotted neighbouring family owns horses, kept in the field off left; during the winter their van has worn the lane into two deep ruts into which the wheels of the car precipitately drop as I manoeuvre in and out. In icy conditions this could result in lateral sliding which might jam the car against the doorway of the garage. So one of the gains I envisaged when I bought the house has gone and I simply park at the front door, as on any other day. The road is not wide and everyone parks half on the pavement, which is technically illegal, of course. Our local Council has a camera car with a big sign on the back saying something like "Parking Enforcement Officer"; it goes around photographing illegally parked cars. Everyone's an "officer" these days and there is so much enforcing to be done. I spotted the car going around our streets last week. All monies paid to central or local government are taxation, of course. They don't give a monkey's whether you've parked on the pavement, driven at 35mph, or overstayed by five minutes in the Pay & Display: they just want a "legal" justification for confiscating some of your money.
IN ENGLISH BELOW THE LINE
Aquest duet de cà meres alemanes no semblen tenir molt en comú, mes enllà del seu paÃs d'origen i d'un ambit temporal del perÃode d'entreguerres, en concret entre 1929 i 1939. A la esquerra, una Voigländer VAG de plaques de 9x12 cm, fabricada el 1929; a la dreta, una Agfa Billy-Clack 74 de format mitjà .
Però estan vinculades cinematogrà ficament, ja que apareixen ambdues en una mateixa pel·licula per a donar forma a dues escenes contraposades però enmirallades de la història. Obviament son dues escenes on el protagonista és fotografiat amb aquestes dues cà meres. En efecte, les dues surten a la obra mestra del cinema belic "Vine i mira" (Idi i smodri), de Elem Klimov (1985).
Aquesta pel·licula fou pensada per conmemorar el 40e aniversari de la II Guerra Mundial o "Gran Guerra Patriotica" com en diuen a Russia (per dissimular que en els anys 1939-1941 foren al·liats dels nazis). Però el director, Elem Klimov, ell mateix supervivent de la guerra (fou un nen a Stalingrad) fa una pelicula on quasi no hi ha cap combat i es centra en la brutalitat salvatge exercida sobre la població civil. La historia passa a Belarus cap al 1943, durant les bestials campanyes "antipartisanes" nazis, que bà sicament consistiren en arrasar a sang i foc centenars de pobles, amb tots els seus habitants a dins.
La Voigtlander apareix molt clarament en mans d'un partisà fotograf que la fa servir per fer una inmensa foto de grup de tots els partisans als boscos de Bielorussia, mentre lluiten contra els invasors nazis. Serveix aixà de contrapunt a una fotografia posterior del protagonista capturat per les SS en una situació molt més terrible. Aquella segona fotografia la fan amb la Agfa.
Com la escena on surt aquesta Voigltänder es veu molt clarament els detalls de la cà mera, no fou extremadament dificil veure quin era exactament el model. I fins i tot trobar-ne una en venda a ebay amb exactament el mateix obturador i objectiu. L'unic que no he pogut replicar es el temporitzador extern que fa servir el fotograf, ja que sembla els tipus Autoknips, però es com més simple i rectangular.
La Agfa, en mans d'un motorista de les SS, es encara més facil d'identificar per la seva estètica art decó, tot i que era (i és, n'hi ha a desenes a ebay) una cà mera barata i senzilla.
historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_d...
www.jordanmposs.com/blog/2020/8/21/come-and-see
www.youtube.com/watch?v=CmxqaGIS_qw
Aquest es el partisà amb la Voigtlander:
ww2-movie-characters.fandom.com/wiki/Partisan_(Come_and_See)?file=Partisan_%28Viktor_Manaev%29.png
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This pair of German cameras does not seem to have much in common, aside from their country of origin and the timeframe of the interwar period—specifically between 1929 and 1939. On the left is a Voigtländer VAG (using 9x12 cm plates), manufactured in 1929; on the right, a medium-format Agfa Billy-Clack 74.
However, they are linked cinematically, as both appear in the same film, shaping two contrasting yet mirroring scenes in the story. Naturally, these are scenes in which the protagonist is photographed using these two cameras. Indeed, both appear in the war movie masterpiece *Come and See* (*Idi i smotri*) by Elem Klimov (1985).
The film was conceived to commemorate the 40th anniversary of World War II—or the "Great Patriotic War," as it is known in Russia (a term used to obscure the fact that, from 1939 to 1941, they were allies of the Nazis). Yet the director, Elem Klimov—himself a war survivor who was a child in Stalingrad—created a film containing almost no combat scenes, focusing instead on the savage brutality inflicted upon the civilian population. The story takes place in Belarus around 1943, during the Nazis' bestial "anti-partisan" campaigns, which essentially consisted of razing hundreds of villages—with their inhabitants inside—by fire and the sword.
The Voigtländer appears quite clearly in the hands of a partisan photographer, who uses it to take a massive group photo of all the partisans in the Belarusian forests as they fight against the Nazi invaders. It thus serves as a counterpoint to a later photograph of the protagonist, captured by the SS in a far more harrowing situation. That second photograph is taken with the Agfa.
Since the details of the camera are clearly visible in the scene featuring this Voigtländer, identifying the exact model was not particularly difficult—I even managed to find one for sale on eBay with the exact same shutter and lens. The only thing I haven't been able to replicate is the external self-timer used by the photographer; it resembles an Autoknips unit but appears simpler and more rectangular.
The Agfa, held by an SS motorcyclist, is even easier to identify thanks to its Art Deco aesthetic, even though it was—and remains (dozens are available on eBay)—a cheap, simple camera.
historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_d...
A year ago there were two small shops in Norwich catering entirely to film users. The proprietors were obvious enthusiasts and one often entered to find them holding court to visiting time-wasters who'd stopped by for a chat. Their windows were crammed with secondhand film cameras and lenses; all the usual stuff ...Zorkis, FEDs, Nikon Fs Yashica MATs, Voigtländer Bessas and Zeiss Ikons. Six months ago, finding myself in the area, I stopped by for a spot of window shopping at one of these establishments. I'd once put a repair job their way, for which they'd charged £40. Peering through the dust-filmed window I saw bare shelves and a couple of dead bluebottles, belly-up, like the business itself. A fortnight ago the experience was repeated at the other shop. I'd patronised it only a month before and augmented its receipts to the tune of £15 by purchasing an "Autoknips" self-timer. Well, I'd done what I could to keep the light alight, but who am I to complain? When I want film I buy it online. All the cameras I use have come from eBay. How can these places possibly hope to survive?
This left a third business, in Cambridge. It looked altogether more robust, with premises in an alley just off the city's busy Market Hill. There was a half decent range of film for sale and the window display was about 50/50 film/digital. For my taste there were rather too many of those late film cameras that too closely resembled the early digitals that followed ...auto-zoom, auto-focus, ergonomic "grips" and little LED displays set into the top plate. Not long after I took this photo, in about April last year, the place shut down and moved to a more prestigious, tourist-frequented site opposite Kings College. Film, though still present, has been de-emphasised; one gets the impression it is a now a sideline, continued as a sentimental archaism. Time will tell. I remain convinced that film will endure, but its days on the high street are probably numbered.
Some vintage pieces out of my photographic heritage
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self-shot with an AutoKnips self timer
1 second exposure.
Pentacon Six
Fuji Reala 100
follow me on tumblr.
PSP-creation based on the pic of an Autoknips container.
(pre WW2)
Alberne Worte
PSP-Kreation des Fotos eines Autoknips-Behälters. (Vorkriegsware)
See the full set of Hasselblad pictures from Vietnam and Cambodia here: www.flickr.com/gp/fotoploki/1232C3
Bar Alchemia is one of our favourite spots in the town. Instead of selfie-stick we use Autoknips IV.
"Confusion"
Enchaîné à des rêves brisés, mon cerveau malade détruisant progressivement mon âme, je mollis sous une avalanche d'émotions contradictoires.
engouement - dédain
contentement - désolation
optimisme - morosité
espoir - doute
exaltation - humiliation
félicité - fatalité
liberté - oppression
cohérence - désordre
discernement - démence
sérénité - effroi
équilibre - aliénation
harmonie - antagonisme
L'heure du verdict approche et l'angoisse liée, incommensurable, ronge mes entrailles meurtries.
la vie - l'amour - la joie
la rage - la haine - la mort...
...qui m'obsède.
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Digital overlay of two exposures on instant film. Selfportrait made with a autoknips timer.
Polaroid 600SE
Mamiya Sekor 127mm f4.7
Fujifilm FP-3000B
Epson V500
Photoshop CS
These things are a fascinating study. Since youth, I've had a strictly non-expert interest in natural things and have always kept my eyes open for insects, birds, plants and other natural phenomena. I'd read of the Common Stinkhorn (Phallus impudicus) but, in almost a lifetime of observation, had found it anything but common. I'd never seen one until this year. But, since seeing my first a few weeks ago (see "Funny pong", a few places back in this photostream), I've come across half a dozen. Has this been a "glut" year, or have I somehow become "attuned" to seeing them since encountering my first? Something similar happened in the case of the Hummingbird Hawk Moth in the summer of 2015.
Light levels were so poor down on the forest floor on a dismal autumn afternoon, that I couldn't get a reading from my light meter. I positioned the camera on my homemade bean bag (a Bristol Omnibus Co. chute safe bag filled with chick peas) and compensated as best I could for twin-lens-reflex parallax error. I was going to use B and, for maximum possible depth-of-field, and intended to give it about three seconds. I was on Kodak Ektar ...100ASA. I reached for my cable release. There was none. I must have left it on the ground somewhere during a previous toadstooling expedition a few days before. So I finally took this with a one-second exposure, enlarging the aperture to f8, using my Autoknips clockwork self-timer ...seldom used but invaluable when necessary. I've bought a new cable release.
Must get better at taking portraits. Need some subjects other than myself as well :s Suppose this isn't too bad considering I composed using my tripod as a stand in. Testing out my new Autoknips self timer.
Trying out some outdoor strobist.
Self-portrait made with the Autoknips.
www.flickr.com/photos/djohxc/11520089165/
Background :
Yongnuo YN560III with Lastolite Honeycomb Grid
Key light :
Yongnuo YN560III with Lastolite Ezybox Speedlite
Graflex Century Graphic
Fujinon W 135mm f5.6
ProS 6x7 120 Roll film back
Ilford HP5+ @ 250
Developed in Caffenol-C-L semi-stand
Epson V500
Photoshop CS