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BODY
Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, East Germany
Model: 1959, Version 1.5.2, (A&R: 5, Hummmel: 048), (produced between 1959-60, quantity: 38300)
Special feature of Version 5: Exa on the front plate embossed, (not engraved like in all other versions).
Version, manufacturing year, body and lens info are as to Andrzej Wrotniak
The original Exa is known as Exa 0 also.
All Exa 0 produced between 1951-62
35mm SLR film camera
Engraving on the front plate: Ihagee Dresden
Lens release: via a lever on the left of the lens flange
Focusing: via Fresnel matte screen, ring and scalel on the lens, w/DOF scale
Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/150, speeds: 1/25-1/150 +B
setting: via a lever and scale on the right of the top plate
Shutter release: a knob, on front of the body, w/ a safety locking cap, and cable release socket, it can be pressed with the plunger on the lenses, w/ cable release socket also
Cocking knob: also winds the film, on the right of the top plate
Frame counter: window on the right of the top plate, additive type, manual reset by a thumb ring on front of it
Viewfinder: SLR pentaprism finder , interchangeable with Waist level finder
Finder release: via a knob beneath the Exa logo
Mirror: Stays up after exposure, so viewfinder is dark, cocking the shutter returns the mirror to normal position
Re-wind knob: on the left of the top plate
Re-wind release: by a button just beside the cocking knob
Flash PC socket: two, on the right front side of the camera, F and X
Self-timer: none
Back cover: Hinged, removable, opens by a latch on the left side of the camera
Tripod socket: 378'' w/1/4'' adaptor
Strap lugs
Body: metallic, Weight:557g (wo/ the lens)
serial no. 545089 (inside the camera)
LENS:
Meyer-Optik Görlitz Lydith 30mm f/3,5 (Zebra), 5 elements,
preset type, Mount: Exakta bayonet mount, interchangeable with Exakta Varex lenses,
filter thread: 49mm, serial no. 4082192, (introduced in 1962)
Aperture: f/3.5-f/22, setting: ring and scale on the lens
Focus range: 0.33 - 6m +inf
+Original leather ever ready case
+ Waist level finder, Ihage Dresden, w/original leather case
+Sunlux Tele Converter, (Zebra), with Exacta bayonet mount and lens release, (Made in Japan), w/ original leather case
+ B+W Skylight filter, 49ES KR1,5 1,1x w/leather case
Although Exa is much simpler than the professional Exakta cameras, the workmanship is equally good, finish similar, and the family resemblance obvious. With its lower price, Exa cameras are addressed to the amateur photographers.
Ihagee Kamerawerk Steenbergen & Co, in Dresden, which was the largest independent camera manufacturer in Germany and was founded in 1912 by Johan Steenbergen.
The true Exaktas and Exas are ones made by Ihagee in Dresden.
Ihagee did not produce their own lenses. Instead, they relied on many of the major optical firms of their day to each produce a series of lenses for their cameras, eg. Carl Zeiss (Jena), Meyer-Optik (Görlitz) and Joseph Schneider (Kreuznach). The lenses from these three makers, in terms of the number and variations of lenses produced, are the most plentiful and in most cases the easiest for collectors and users to acquire. Maybe, over 80% of the Exaktas offered for sale are equipped with normal focal length lenses from these three firms.
Notes about Exa/Exakta classification
I use the Exa/Exakta classification of Andrzej Wrotniak. As to me, it is the best.
Some opinions of a serious Exa/Exakta collector, F W Tappe :
Andrzej Wrotniak uses a very sensible classification, listed on his website, which I personally like the best. It is multi dimensional in setup, without being complicated!
Richard Hummel's 1995 book lists an "one dimensional" classification, which is incomplete, but many sources still refer to this.
Aguila and Rouah (A&R) in their 2003 edition of "Exakta cameras 1933 - 1978", come to an improved classification. They built on their previous 1987 edition classification, which was the leading standard among collectors.
Klaus Wichmann, prolific writer of books about Exakta - and Exa cameras, published his classifications earliest.
More info Captain Jack, Maurizio Frizziero, F W Tappe, Exa Original in Camerapedia
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
Helping to lead the economy out of the Bush recession, America’s manufacturing base has grown with 136,000 manufacturing jobs added in 2010, the first increase since 1997.
The ivy league of manufacturing: Reed Manufacturing: pipe,tool and vises, since 1896
I believe they are still in operation...when I googled the co...Erie,Pa.
Manufactured by VEB Kamera-Werke Niedersedlitz, Dresden, East Germany
Model: c.1958, Model FX-A type 6, (FX-A models produced between 1954-58)
as to Alberto Taccheo
35 mm film SLR camera
Engravings on the top plate: KW logo and Germany,
Reliefs on the back cover leatherette: Praktina and 1 in a diamond shape drawing
Diaphgram control mechanism is suitable for the semi-automatic lenses
Lens: Jena Pancolar 50 mm f/2 , 6 elements in 4 groups, automatic diaphragm,
w/ a DOF prewiev lever on the lens, Praktina bayonet breech-lock mount, releases by a milled ring on the lens mount, when installing the red index mark on the DOF scale must be upper most, silver finish, filter thread 49mm, serial no.5471922
Aperture: f/2-f/22, half stop clicks, setting ring and dial on the lens
Focusing: by field lens with split image rangefinder, via a ring on the lens, w/ DOF scale
Focus range: 0.5-15m +inf
Shutter: cloth focal-plane shutter, horizontally travelling, speeds: 1-1/1000 +B,
setting dial: beneath the winding knob
Shutter release: obliquely mounted, on front-right of the camera, w/ cable release socket
Mirror: not instant return
Viewfinder: eye level SLR pentaprism, (interchangeable with finder hood, magnifier viewfinder, metered finder, field lens reflex finder (free from parallax)
Finder release lever: on lower side of the lens mount with A (open) and Z (locked) markings
Newton telescopic direct optical finder: independent of the SLR system, built-in,
small eye-piece on the left-back of the top plate, and a finder window on the front of the top plate.
This feature of the camera provides extremely bright image and permits good eveluation of the picture area in poorly lighted conditions that field lens does not show a sufficiently distinct image. It is also a valuable supplement to the finder hood in sport snapshooting
Cocking knob: also winds the film, on the right of the top plate
Frame counter: coupled with cocking knob, advance type
Re-winding knob: on the left side of the top plate
Re-wind release: a button on the bottom plate
Film sprocket spool silver type, Film take up spool double-slotted
Exposure meter: none
Flash PC socket: two for X and F, (relief marks on the leatherette), synch.1/25, 1/50
Cold-shoe: none
Memory dial: DIN/ASA and film type, beneath the re-winding knob, (DIN 9-27, ASA 5-320)
Self-timer
Back cover: removable, via a latch on the left side of the camera
Tripod socket: old type 3/8'' with 1/4'' adapter screw
Motor drive socket: on the bottom plate
Strap lugs
serial no. 67448 (in the film casette chamber)
+ UV filter, 49mm, special silver finish for the lens, no brand name
the Jena Pancolar came with this camera but,
This lens is Automatic Spring Blende type and it fits and focuses on this camera but its diafragm does not auto-work properly on FX-A model Praktinas, it is made for Praktina IIA which its internal diapfragm control pin moves bacward when the shutter depressed and then moves forward for full aperture viewing, a fully automatic feature.
FX-A models need the Semi-automatic Spring Blende type of lenses that diaphragm closes to the setting automatically when the shutter release is depressed that the internal pin in the body moves forward and must be reloaded manually to full aperture after each exposure with a special lever.
My solution: simply removal the pin on the lens !..
The Praktina was a 35mm system-SLR specialy developed for the international markets and professional use. Praktina has serious historical importance and it is a milestone in the development of the 35mm SLR.
Praktinas are the first cameras of full interchangeability that have interchangeable lenses from 35 to 500mm, viewfinders and many accessories including motor drive.
Praktinas were the first SLR in the camera's world that have the internal diaphragm control.
There are various brand names for the export Praktinas such as Corbina, Hexacon Supreme and Porst reflex.
The lenses made for export, were marked from 1954 with different engravings.
The brand name Carl Zeiss Jena is replaced by C.Z. Jena or Jena or aus Jena.
The lens names Biotar, Biometar, Sonnar, Tessar, Triotar were replaced by the letter B, Bm, S, T, Tr.
Scenes from the Nuts, Bolts & Thingamajigs Manufacturing Camp held July 18-22 through Sandburg's Workforce Development and Community Education.
The Borgward Isabella is a medium sized two door saloon that was manufactured by the Bremen based auto-manufacturer Carl F. W. Borgward GmbH between 1954 and 1962. Initially the car was badged, like its predecessor, as the Hansa 1500, but within the company it was known from the beginning by the code name, Isabella (after Carl Borgward's wife), and cars produced after 1957 bore the ‘Isabella’ name, inscribed eye catchingly within the rhombus at the centre of the front grill: in retrospect the car produced from 1954 is known as the Isabella to differentiate it from the (first) Hansa 1500/1800 which the company produced between 1949 and 1954.
Despite its aspirational positioning in the marketplace, the Isabella had a smaller engine (and was marginally shorter) than its immediate predecessor. Late in 1952 the firm had launched their six cylinder Hansa 2400 model. The larger car never found many buyers; but in 1954 it made commercial sense to keep the two models from competing too directly with one another.
Initial sales volumes were not maintained. Responding to a sales decline of almost a third between 1955 and 1956, Carl Borgward decided to produce a more beautiful Isabella with a shortened roof line. The Borgward Isabella Coupé was developed, and the four hand built prototypes were well received by the press. Borgward gave one of these prototypes to his wife, Elizabeth, who would continue to drive it into the 1980s. Commercial production of the coupé, powered by the more powerful TS version of the engine first seen in the cabriolet, commenced in January 1957. The coupe appears to have achieved it’s marketing objective of further distancing the Isabella’s image from similarly sized competitors from Opel and Ford.
(Wikipedia)
- - -
Die Borgward Isabella ist ein Mittelklassewagen der Carl F. W. Borgward G.m.b.H. in Bremen-Sebaldsbrück, das erfolgreichste Modell der Borgward-Gruppe, das ab 10. Juni 1954 zunächst unter dem Namen „Hansa 1500“ vom Band lief.
Der spätere Name „Isabella“ war nicht das Ergebnis von Marktuntersuchungen, sondern eine spontane Eingebung von Carl F. W. Borgward selbst. Gefragt, was man auf die noch streng geheimen Vorserien-Modelle schreiben solle, wenn sie Probefahrten im öffentlichen Verkehr machen, soll Borgward geantwortet haben: „Das ist mir egal; schreibt meinetwegen Isabella drauf."
Ab 1957 war der ursprüngliche Tarnname im Borgward-Rhombus des Kühlergrills zu lesen.
Die moderne Konzeption und die gefällige Erscheinung des Hansa 1500 (Isabella) wurden bei der Vorstellung 1954 enthusiastisch begrüßt. Der Wagen traf den Publikumsgeschmack und war vom ersten Tag an ein Verkaufserfolg. Der Wagen war nach einer Entwicklungszeit von nur zehn Monaten anfangs mit zahlreichen Kinderkrankheiten behaftet, die jedoch nach und nach abgestellt wurden.
Als 1956 der Absatz der Isabella gegenüber 1955 um fast ein Drittel zurückgegangen war, entschloss sich Carl Borgward, ein „schönes Auto“ mit verkürztem Dach zu bauen. Daraufhin entstand das Borgward Isabella Coupé, von dem zunächst vier Prototypen in die Öffentlichkeit gelangten und das Interesse der Presse weckten. Einen dieser handgefertigten Prototypen schenkte Borgward seiner Frau Elisabeth, die ihn bis in die 1980er Jahre fuhr.
Die Serienproduktion des Coupés (mit dem TS-Motor) begann im Januar 1957. Karl Deutsch in Köln wandelte auch dieses Modell in ein Cabriolet um, das aber den Schriftzug „Coupé“ am Heck behielt. Die Coupé-Cabriolets kosteten zwischen 15.600 und 17.000 DM.
(Wikipedia)
Manufacturing Excellence showcase at the Department for Business, Innovation and Skills
www.gov.uk/government/policies/using-industrial-strategy-...
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Herman and Grace Behr Mansion (1888–89)
Architect: Frank Freeman
Romanesque Revival
82 Pierrepont St. at Hicks St.
Brooklyn Heights, New York
In 1888, Herman Behr (1847–1934) commissioned prominent Brooklyn architect Frank Freeman to build a house for his family at 82 Pierrepont Street in Brooklyn Heights. Freeman is noted for his Richardsonian Romanesque designs, and this house has been called the finest Romanesque Revival house in New York City.
Behr made his fortune manufacturing abrasives (sand and garnet paper). Here he lived with his wife, the former Grace Howell (1856–1907), and their sons, Herman Howell Behr (1880–1952), architect Frederic Howell Behr (1883–1944), the renowned golfer Max Howell Behr (1884–1955) and the equally renowned tennis player Karl Howell Behr (1885–1949). The family summered at Morristown, New Jersey.
Karl was a survivor of the Titanic disaster in 1912. He booked passage on the liner in pursuit of Helen Monypeny Newsom (1892–1965), whose mother had taken her on a Grand Tour of Europe precisely to get away from the attentions of Mr. Behr. They boarded Lifeboat No. 5 at the urging of White Star Line chairman, Bruce Ismay. Behr married Miss Newsom at the Church of the Transfiguration (the Little Church around the Corner) in 1913.
Max was the first editor of Golf Illustrated (1914–18). He later designed golf courses in California, including the Lakeside Golf Club (1925) in Burbank and the Rancho Santa Fe Golf Club (1927) near San Diego.
In 1896 while on an extensive tour of Europe, the Behrs leased the house to the Rev. Dr. Reese F. Alsop (1837–1922), rector of St. Ann's church, in 1896 (Brooklyn Daily Eagle 5 March 1896). Dr. Alsop's wife died in 1897 and he remarried the following year. By 1899, he was residing at 127 Remsen Street.
The Behrs never returned to Pierrepont Street. When in Brooklyn, they are noted as staying either at the St. George or Pierrepont hotels. Otherwise, they are in residence in Morristown. (Brooklyn Daily Eagle 3 March 1898 and 27 January 1899) By July 1899 they were noted as “formerly residents of Pierrepont street”. (Brooklyn Daily Eagle 1 July 1899)
Not altogether forsaking the city, the Behrs maintained a Manhattan residence at 41 W. 74 Street “where the family has lived since its removal from Pierrepont Street”. (Brooklyn Daily Eagle 16 June 1906). Mrs. Behr died en route to her son Frederic’s wedding in Morristown in December 1907. (Brooklyn Daily Eagle 9 December 1907)
By 1909, Herman Behr was living at 777 Madison Avenue. (John William Leonard, History of the City of New York, 1910) Sometime later but before 1919, widower Herman Behr married widow Hedwig Johanna Bever von Goeben (1868–1946) and settled in an apartment at the Studio Building at 131 E. 66th St. in Manhattan.
Why did the Behrs leave their magnificent and much praised mansion after only six years in residence? Did they know they were not returning when they departed for the Grand Tour or make the decision subsequent to their return? While I have been unable to ascertain anything specific, I suspect with an increasing number of boarding houses in the neighborhood, the area was no longer seen as desirable as it was a decade earlier. Mrs. Behr may have preferred raising a family in Morristown at this point. And the family could use a modest townhouse in a prestigious section of the Upper West Side as a Manhattan base.
The mansion was put on the market in 1900 (Brooklyn Daily Eagle 6 June 1900). By then it was a boarding house offering "Large desirable rooms; house and location first class; five minutes walk to bridge, ferries and cars" (Brooklyn Daily Eagle 2 April 1900).
By 1907, the boarding house was purchased by Michael L. McLaughlin (b. 1862), a real estate speculator associated with Cleveland businessman and politician Mark Hanna who had arrived in Brooklyn in 1900. He bought the house after his second marriage to concert violinist Leonora Jackson (1879–1969). By 1915, they had divorced and she remarried.
McLaughlin put the mansion on the market in 1910, probably due to financial difficulties. Some controversy arose as it was rumored that pugilist Jack Johnson was negotiating to buy the property. It was speculated that McLaughlin engineered this rumor of a prospective sale to an African-American in order to boost interest in the sale of the property. (Brooklyn Daily Eagle 5 August 1910)
In 1916 the boarding house was purchased by Max F. Minzie (1870–1938) who positioned it as a "private hotel". It offered "Desirable rooms; bath; telephone; Army, Navy" (Brooklyn Daily Eagle 23 July 1918) and "Two rooms, private bath, family hotel" (Brooklyn Daily Eagle 18 June 1920). There were occasional advertisements for help: "COLORED waiter for dinners only in private hotel" (Brooklyn Daily Eagle 3 June 1920), "NEAT young girl for elevator and switchboard in private hotel" (Brooklyn Daily Eagle 2 September 1920).
The house was remodeled and expanded into an apartment hotel with a six-floor rear addition in 1919. The first instance of the name The Palm I can find dates from 1921 when it is promoted as an "exclusive family hotel" (Brooklyn Daily Eagle 10 May 1921).
An advertisement for the Palm Tea Room announced luncheon 50¢, dinner $1.00 (Brooklyn Daily Eagle 23 November 1924). It was reputed to be the first tea room in Brooklyn. Dressmaker Mary Luella Reed offered "Becoming Dresses for Young Women of All Ages" at the hotel (Brooklyn Daily Eagle 30 October 1926).
Owner Max Minzie died in 1938, the the fortunes of the hotel began a long descent. By the 1940s, the hotel was advertising "3, 4, 5, and 6 rooms, $65 up" with refrigeration, elevator service and a roof deck for tenants (Brooklyn Daily Eagle 18 July 1943).
But by the end of the 1940s, things had noticeably taken on a film noir feel. "Brandishing a long, sharp screwdriver, an attractive woman in a low-cut evening gown took the initiative early today as she and a male companion held up the Palm Hotel" profiting $60 for their efforts (Brooklyn Daily Eagle 25 August 1949). Raymond Chandler couldn't have put it better.
A vice raid in 1953 resulted in the arrest of owner Carl Allen. Police were said to have been watching the hotel for a month following complaints (Brooklyn Eagle 3 January 1953). The hotel advertised "NOW RENTING ON A WEEKLY BASIS, Redecorated Singles and Doubles, MODERATE RATES" (Brooklyn Daily Eagle 18 February 1953), but its reputation was sullied.
The house found religion in 1961 when it became the Franciscan House of Studies (1961) for monks whose studies involved mostly "drying out". In 1977, it was converted to rental units which it remains to this day.
© Matthew X. Kiernan
NYBAI15-7672
Citroën DS (1967–1975). DS is pronounced like Déesse, which means Goddess.
The Citroën DS is an automobile which was manufactured and marketed by the French company Citroën from 1955 to 1975. Styled by Italian sculptor and industrial designer Flaminio Bertoni and the French aeronautical engineer André Lefèbvre, the DS was known for its aerodynamic futuristic body design and innovative technology, including a hydropneumatic self-levelling suspension.
The DS advanced achievable standards in automobile ride quality, handling, and braking. Citroën sold nearly 1.5 million D-series during the model's 20-year production run. The DS came in third in the 1999 Car of the Century competition, recognizing the world's most influential auto designs, and was named the most beautiful car of all time by Classic Sports Car magazine.
Unfortunately, the car in the right had exactly the same color like the subject, so after processing it with Photomatix and Lightroom, I changed the colour of the right car carefully with GIMP.
Weir, Thomas R. [Manufacturing] [map]. 1:1,837,440. In: Thomas R. Weir. Economic Atlas of Manitoba. Winnipeg: Manitoba Dept. of Industry and Commerce, 1960, pate 34.
In 1960 the compilers of the Economic Atlas of Manitoba brought together (for the first time), the information available on the distribution of manufacturing in Manitoba and produced a detailed types of manufacturing map. Many of the plants are ubiquitous, especially those related to food processing. Printing is also widespread. Other industries are concentrated in a few areas, such as paper products at Pine Falls, iron and steel at Selkirk, and the oil refinery at Brandon. The manufacture of clothing is surprisingly widespread because Winnipeg firms have established branch plants in nearby towns where plant and labour costs are lower.
(Warkentin and Ruggles. Historical Atlas of Manitoba. map 291, p. 540)
Note: shows -Types of Manufacturing for all towns of 200 population and more – Winnipeg excepted. Manufacturing types include, lumber and wood products, paper products, clothing, printing, stone and clay, refinery, iron and steel, transport equipment, leather, bakery dairy and meat products, poultry, flour and feed, cannery, cold storage. Circles indicate value of retail trade in millions of dollars (1957) -Employment in Manufacturing for all towns of 1000 population and more – Winnipeg excepted. Products include, food and beverage, petroleum and oil processing, wood, non metallic minerals, electrical and electronic, grain milling, iron and steel, paper, printing and publishing, textiles and apparel and metal smelting