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T.L.C. Disposal - White Compact w - Garwood 700 -
This White Compact was one of the trucks I worked on as a young man.
Thanks to Eric V. for finding & passing along this bit of my history from so many yrs. ago.
Circa 1970
Photo Courtesy of: Eric V. / CRT
IN ENGLISH BELOW THE LINE
Les càmeres de cinema Siemens Kino de 16mm foren unes de les més complexes i compactes del món abans de la II Guerra Mundial. Oferien moltes opcions, incloent diverses velocitats o visor telemetric. També eren extraordinariament petites per a ser de format 16mm, però això era perquè feien servir casets intercanviables propis de 15m. (en comptes de les bobines usuals de 30m.) amb l’unic inconvenient de tenir menys pel•licula. Però al ser intercanviables, es podia, teoricament, anar canviant de emulsió (com després faran les càmeres Hasselblad).
El model F-II és el més evolucionat de tots, i va sortir el 1938. Es fabricà de 1938 a 1940, acabant la producció durant la guerra, i reiniciant-se breument a la postguerra, entre 1947 i 1950. Tant el model F com el F-II destacaven sobre els altres per tenir objectius intercanviables (del tipus “C”, compatibles amb la majoria de càmeres de 16mm). En aquesta càmera en concret he obtingut el objectiu standard per a les F, el Jos. Schneider Kreutznach Xenon f1.5 / 25mm. L’altre caracteristica avançada de la F-II era el visor regulable tant per paralatge (movent tot el visor depenent de la proximitat de la escena enfocada a la càmera, ja que no és reflex) com multifocal, poguent-se adaptar a objectius de entre 25 i 100 mm. De fet, per a aquesta càmera es desenvolupà el primer objectiu zoom del cinema amateur (Vario-Glaukar-Anastigmat), que es conectava al visor i movia la focal d’aquest de manera coordinada.
Aquesta càmera en concret, que venia amb diversos cassets Siemens (alguns carregats i altres buits) funciona prou bé. Com a curiositat dir que té diverses modificacions (fetes de manera profesional) al frontal i els laterals, com si es pogués conectar amb altres aparells. Per això penso que potser es va fer servir en algun tipus de laboratori o industria.
A tot això, hi ha encara una altra derivada historica rellevant d’aquest model Siemens Kino F-II, i és que fou un dels dos models de càmeres Siemens que emprà Eva Braun, la “amiga intima” del Führer (i esposa per menys de 24h) per a les filmacions casolanes del entorn de Hitler. Filmacions que varen sobreviure a la guerra i que son una molt interesant vista al dia a dia del dictador sobretot en l’idilic entorn del Berghof del Obersaltzberg. Pel que he pogut investigar per internet, sobretot amb les fotos que es conserven, sembla que Eva Braun va fer servir una Siemens C des del 1934 fins 1938, any en que canvià a una Siemens F-II fins al final. Les dues serien logicament regals de Hitler.
www.vintagecameras.fr/siemens/type-f-ii
www.bitacora.com.uy/auc.aspx?7257,7
www.theguardian.com/world/2013/jan/27/hitler-home-movies-...
www.youtube.com/watch?v=5HZEr9qCBVc
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Siemens Kino 16mm film cameras were some of the most complex and compact in the world before World War II. They offered many options, including various speeds or rangefinder viewer. They were also extraordinarily small for 16mm format, but that was because they used proprietary 15 m. interchangeable cartridges. (instead of the usual 30 m. reels) with the only drawback of having less film. But being interchangeable, it was possible, theoretically, to change the emulsion (as the Hasselblad cameras will later do).
The Model F-II is the most advanced of all, and came out in 1938. It was manufactured from 1938 to 1940, ending production during the war, and restarting briefly in the postwar period, between 1947 and 1950. Both the Model F like the F-II stood out from the others for having interchangeable lenses (of the “C” type, compatible with most 16mm cameras). On this particular camera I got the standard lens for the Fs, the Jos. Schneider Kreutznach Xenon f1.5 / 25mm. The other advanced feature of the F-II was the adjustable viewfinder for both parallax (moving the entire viewfinder depending on the proximity of the scene focused on the camera, since it is not reflex) and multifocal, being able to adapt to objectives of between 25 and 100 mm. In fact, the first amateur cinema zoom lens (Vario-Glaukar-Anastigmat) was developed for this camera, which was connected to the viewfinder and moved its focal point in a coordinated manner.
This particular camera, which came with several Siemens cassettes (some loaded and some empty) works well enough. As a curiosity to say that it has several modifications (made professionally) on the front and the sides, as if it could be connected to other devices. That's why I think that maybe it was used in some kind of laboratory or industry.
In addition to all this, there is still another relevant historical derivative of this Siemens Kino F-II model, and that is that it was one of the two Siemens camera models used by Eva Braun, the "intimate friend" of the Führer (and wife for less of 24h) for the home filming of Hitler's entourage. Footage that survived the war and is a very interesting view of the dictator's day-to-day life, especially in the idyllic surroundings of the Berghof in the Obersaltzberg. From what I've been able to research online, especially with surviving photos, it appears that Eva Braun used a Siemens C from 1934 until 1938, when she switched to a Siemens F-II until the end. Both would logically be gifts from Hitler. There are photos of her with both models:
www.google.com/imgres?q=Eva%20Braun%20movie%20camera&...
www.google.com/url?sa=i&url=https%3A%2F%2Fwww.gettyim...
www.vintagecameras.fr/siemens/type-f-ii
www.theguardian.com/world/2013/jan/27/hitler-home-movies-...
Ala Moana Shopping Center, Honolulu.
Le Bambole Mk. II, "The Compact" Pinhole Camera. Kodak (new) Portra 160. Exposure: f/256 and 5 seconds.
Ground disc signal facilitating reversal from the up line towards the trailing crossover at Brampton Fell on 7 May 2008.
The A100 is a range of American compact vans and trucks manufactured and marketed from 1964 to 1970 by Chrysler Corporation under the Dodge marque in the United States and the Fargo marque in Canada.
The A100 competed with the Ford Econoline and Chevrolet Van and Chevy Corvair Greenbrier, as well as the Volkswagen Type 2. The range included a pickup truck and van, both with a "forward control" design. Placing the driver on top of the front axle with the engine near the front wheels is called a "cab over" vehicle. The nose was flat, with the engine placed between the driver and passenger, who sat above the front axle. The unibody vehicles used a short, 90 in (2,300 mm) wheelbase. An A108 was also available from 1967 to 1970, with a longer 108 in (2,700 mm) wheelbase. The A108 was popular with camper conversion companies.
abandoned near a construction site, whoever left this poor thing here tried (and failed) to protect it with a tarp.
(not the lens...)
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Canon EOS 5D MkII + EF 1.4/50mm
ISO 3200 1/60 f3.2 -2EV
I took this for work the other day.
I think it captures the movement of the machine and the care and skill of the operator... more than I hoped for.
Chuffed with it :)
Agfa Compact, with Agfa Solinar 2.8/39. Introduced in 1980, it has a winder for film advance and the motor also moves the lens out and in, a very advanced feature in those days.
I bought this copy with jammed main switch, the shifter on the right side which also covers the viewer window. "Jammed main switch? Easy to repair!" I thougt. A complete misjudgement. This small camera (it is really compact) is jam-packed with tooth wheels, rods and levers, mostly unsecured, they just fall out if the camera is tilted at the wrong moment. You'll get a sophisticated puzzle.
Perhaps you know that some Agfa Sensors have a peculiarity: the rewinding is done with the advance lever. When you open the back, a part the bottom pops out and you can see the complicated mechanism. The coupling to the film cartridge also swings out, so the camera can be made more compact. Though the Agfa Compact has a winder for rewinding the film, it has that complex mechanism. No wonder, that most Compacts are out of order.
End of the story: I assembled the rest of the camera to take this picture, I have lots of small parts left ...
UPDATE: found a working copy and loaded it immediately with a roll of film. It's really a special model; it's nice, but I have to fight a little bit with the viewfinder and its brilliant frame, and every time the motor driven lens extended I thought, it could be the last time. The exposure meter is very sensitive to back light, only a small source of light in the picture causes underexposure, a button for back light compensation would be really appropriate. On the other hand, the lens itself can handle strong back light very confident.
The results were somewhat disappointing, colors were dull and the contrast low, but I blame the film for it, a Kodak Farbwelt 200 (although "Farbwelt" means "world of colors"). Sharpness is a mixed bag: some pictures taken under cloudy conditions are very sharp, some pictures at bright sunlight are not.
Examples:
For sharpness: you can easily read the "10" on the signs in the background.
For back light
Source: en.wikipedia.org/wiki/Sandugo
The Sandugo was a blood compact, performed in the island of Bohol in the Philippines, between the Spanish explorer Miguel López de Legazpi and Datu Sikatuna the chieftain of Bohol on March 16, 1565, to seal their friendship as part of the tribal tradition. This is considered as the first treaty of friendship between the Spaniards and Filipinos. "Sandugo" is a Visayan word which means "one blood".
The Sandugo is depicted in both the provincial flag and the official seal of the government in Bohol. It also features the image of the blood compact. The top of the seal explains the history behind the Sandugo event that occurred in Bohol, the fleet and the location where the Spaniards anchored and the place where the treaty was conducted which was dated on March 16, 1565
Going thru some old archive photos I came upon a photo of a Max Occupancy sign at one of the exhibition halls at Chicago's McCormick Place. With all the talk of Social Distancing, it is good to remember what we have to look forward to when this is all said and done, and the next Auto Show comes in 2021
Coachwork by Vignale
This purpose built compact Fiat sports car was designed for competition use by Vignale using a light weight body and a powerful Fiat 1100 cc engine. This one-off model was intensely used as a rally car by the "Sportitalia' Team to compete in hill climbs and road rallies in the North of Italy during the fifties and sixties.
Chantilly Arts & Elegance Richard Mille
Château de Chantilly
Chantilly
France - Frankrijk
June 2019