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A partire dagli anni '50-'60, con l'avvento dei produttori giapponesi, tutto il mercato della fotografia mondiale era in fermento. I nuovi arrivati stavano definitivamente colmando il divario tecnologico con quelli europei, e quindi tedeschi, offrendo prodotti sempre più competitivi ed a costi decisamente inferiori.
Nel tentativo di svecchiare la propra gamma la Zeiss Ikon di Stoccarda propose nel 1966 un nuovo modello: La Icarex 35.
Essa fu l'ultima reflex 35mm costruita dalla società tedesca e fu originariamente sviluppata dalla Voigtländer ma dopo la fusione tra le due case fu lanciata sul mercato anche come Icarex 35. Dotata di un otturatore sul piano focale a tendina con tempi da 2 secondi a 1/1000 di secondo, montava una baionetta specifica ed aveva il mirino intercambiabile, con la scelta tra uno a pozzetto, un pentaprisma o un pentaprisma con esposimetro TTL marchiato Icarex 35 CS, senza simulatore di diaframma, ma con vetrini intercambiabili.
La Icarex 35 S è fondamentalmente lo stesso corpo macchina ma con pentaprisma fisso e lettura TTL stop-down, bisogna quindi chiudere il diaframma per leggere l’esposizione. Ció lascia intuire che la fotocamera nacque giá vecchia, il che unito all'alto costo di produzione e alla baionetta specifica con una limitata gamma di lenti offerte decretarono il fallimento del progetto, che in un ultimo tentativo di ripresa fu modificato per accogliere obiettivi con passo a vite 42 mm, nasceva cosí nel '69 la TM (Thread Mount) per distinguerla dalle versioni a baionetta, che rimasero in produzione come BM (Bajonett Mount). Anche questo tentativo fu peró vano e
nel 1971, in un ultimo tentativo di ripresa, la Icarex fu sostituita dalla SL706, identica alla 35s TM ma con misurazione a tutta apertura e una calotta leggermente ridisegnata.
La mancanza di compromessi sulla qualità portó la Zeiss Ikon a trovarsi completamente fuori mercato e anche questo modello continuò ad essere venduto in perdita, finché nel 1970 la Carl Zeiss dichiaró di volere cessare l'attivitá di produzione nel 1972 e continuó lo smaltimento delle giacenze di magazzino fino 1975 dopodiché, esaurito quato compito, la Zeiss Ikon scomparve definitivamente dal mercato.
Ad ogni modo alla chiusura del settore fotocamere la Carl Zeiss non rimase inattiva e già nel 1972 iniziarono le trattative con la giapponese Yashica, dopo che quelle in corso con la Asahi Pentax erano fallite. Alla Photokina del 1974 fu quindi presentata una nuova fotocamera reflex elettronica, la Contax RTS, il primo modello di questa proficua collaborazione.
WEEK 29 – Carrollton, GA, Target (II)
Panning to the left, we get a view of the sleek new electronics desk: a far cry not only from the bulky “boats” of old, but also even the more modern “Target Electronics” desks! I guess a bunch of hard edges, reflective white material, and a backlit front shelving space will do that for you… speaking of which, I actually think it’s quite clever how that space has been utilized for an all-in-one battery station, even if it does sacrifice having any true branding to help identify the desk’s purpose.
That arrowed remodel sign informs us that we will encounter the entertainment, sporting goods, toys and games, and auto and home improvement departments as we press forward toward the store’s left-side wall, and indeed we shall, as our stour continues two weeks from now. Stay tuned!
NEXT WEEK – more from the Oakland Kroger post-remodel…
(c) 2021 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
A Minolta Freedom Tele with a Leica badge. This is not a zoom compact, it is a dual lens camera, 35 or 80 mm. The apertures are quite decent, but the camera has no Leica genes, except for the type of lettering. It is almost 25 years old and it feels it. The viewfinder is not great, although putting the traditional leds inside it is a nice touch. The noise from the motor and AF system is a bit creepy and loud.
People say that the lens is quite good, perhaps one of these days I'll try it out.
I had to sell some stuff to raise funds for this baby. I tried my best to resist it but it was kinda like resisting gravity. =P
I got an iPad, and it's literally my life c:
*please credit my tumblr or flickr if you repost this!
racuntzel.tumblr.com
91/365
I'll call it an early christmas present to myself. Trying to rid myself of excess cameras and processes at the moment, and settling into just two, an everyday 35mm shooter (this one), and for when I can afford to lug it around a Bronica ETRS. Going to try and work solely in black and white as well (partly to save on development costs and partly for aesthetic reasons).
Voigtlander Bessa R3M "250 Jahre"
Leica Summicron 50mm f/2 rigid
Voigtlander Heliar 50mm f/2 collapsing "250 Jahre"
Voigtlander Heliar 15mm f/4.5 asperical + finder
Hope to join them in the near future with a Zeiss ZM 35mm f/2 or /2.8...
Can see some of the photos I've taken so far with this camera/these lenses here
My previous rangefinder experience only extended as far as cameras that aren't strictly rangefinders, an Olympus Trip 35 and a Voigtlander Bessa-T but I'm having a lot of fun so far with it and am especially enjoying its 'pocketability'. I just hope the photos I take with it all can meet its potential!
The Pentacon Six is a high quality medium format single lens reflex camera taking 120 and 220 film for 12 or 24 exposures that are nominally 6cm x 6cm (2¼ x 2¼ inches) – actually 56mm x 56mm, as is standard for medium format cameras. A TTL metering prism is available too. The camera and its predecessor, the Praktisix, was manufactured in East Germany (the GDR) between the mid 1950s and 1990.
Love this babe to bits,she's acting like a bad grrl sometimes,
but when she behaves she gives perfect results. ♥
Features
18.1MP 1/2.3″ MOS Sensor
60x, 20-1200mm F2.8-5.9 zoom lens LUMIX DC VARIO
4K (3840 x 2160p) at 30 fps/ 4K photo mode
ISO 80-6400 (Extended), 10 fps Continuous Shooting
3.0″ 1040k-dot TFT Screen LCD Display
0.20″ 1,166k-dot Live View Finder
LUMIX DFD (Depth...
epfilms.tv/panasonic-lumix-fz80-4k-point-shoot-long-zoom-...
This is the FED Micron (half-frame camera) in its full rame version, lol! You might be thinking that there is something wrong, either the Micron was a big camera for half-frame or this 35A is incredibly small. Well, both things, really! The camera is really small, but not record breaking. Probably the factory had a few leftover Micron bodies and recycled them as the FED 35 A. The nice thing is that it sports a rangefinder, has full auto exposure and partial manual exposure, partial because you have full access to the aperture settings, but only 5 speeds + B with the top speed being 1/60. Possibly these speeds were for flash sync purposes. The lens is the faithfull Industar in 38/2,8 guise. Aparently, about 25.000 cameras were made, which in the soviet multi million universe makes the FED 35 A look like a prototype!
Charleston, WV. June 2016.
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A Werra Matic with the 35mm f2.8 lens fitted and the 50mm f2.8 and 100mm f4 lenses along side.
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A while back I bought on eBay a complete Carl Zeiss Jena Werra outfit consisting of a Werra III rangefinder camera together with a complete set of 35mm, 50mm and 100mm lenses, all in a beautiful set of cases. The only problem was that the camera itself didn't work. Rather than send it back I decided to keep it as a complete outfit like this isn't something you see very often, and I thought that buying a replacement camera wouldn't take long or be very expensive.
Well it took me longer than I thought to find a really nice Werra camera to allow me to actually try out these lenses, but I have finally found one!
My original camera was a 'flat-top' Werra from the original series of cameras. I've always thought these original cameras are the purest of the Werras, and the III is most minimal of all without the light meter to sploil the top plate.
This Werra Matic is from the last series of camera. Not only does it have the slightly fussy striped details on the front, it also had an accessory shoe and the various windows for the light meter. But it is still a very attractive camera.
By modern standards these Werras are rather fiddly and fussy cameras to operate, but all Werras have some thoughful and very unusual design touches. The most famous one is the wind-on mechanism: see that wide band around the base of the lens? A quick twist of this band with advance the film and automatically cock the shutter ready for the next shot.
Almost as famous is the combined lens cap and lens hood which cover up all the dials when the camera is put into storage/carry mode.
The Werra Matic is the most advanced of all the Werras. It has a cross coupled light meter with a read out in the viewfinder. And a clever mirror in the viewfinder reflects a view of both the shutter speed and aperture setting into the viewfinder. Like all interchangeable lens Werras the viewfinder also features frame lines for the 50mm and 100mm lenses (with the whole viewfinder serving the 35mm lens).
I particularly like the range finder on these Werras... it is very bright and clear and easy to use.
The Olympus PEN-FT is the most advanced member of the PEN half-format family that flourished in the 1960s. The Pen-F is, all appearances to the contrary, an SLR, but its designers avoided the characteristic hump and bulk of other SLRs by using a Porro prism and fixing it sideways. This required some creative engineering of the shutter design, but the camera's designer, the ingenious Y. Maitani, came up with a brilliant solution there.
All film Pens use 35 mm film but the image only takes up half a frame and is exposed sideways, so if you hold the camera horizontally, the picture will be taken in the portrait mode.
Olympus offered a large line-up of high quality lenses, but in my opinion, the standard 38/f.1.8 Zuiko lens is also far and away the best choice. Almost always, I find that the field of view is exactly what I need. The lens is fast enough too. Come on. Who needs more aperture than f/1.8?
The FT offers off-the-prism (and thus, implicitly, through-the-lens) metering, which makes the viewfinder image a bit darker. Focusing still is a breeze, however, thanks to the microprism focusing screen. The light meter is not coupled - it indicates which f-stop to use, albeit using a proprietary numbering scheme.
The web abounds with detailed descriptions of the panoply of technology used in this camera, so I won't talk about that,
On a personal note - I find this camera a pure joy to use. There are no frills. It does what it's supposed to do, no more. So I'm not distracted and can concentrate on composing your picture, which is what I should be doing instead of fiddling with controls and menus.
You feel, hear and see that it's a brilliant piece of technology. A lot of complex engineering went into making it as simple as it is. Unlike modern computerized DSLRs which appear to be following the tenet that "if it was difficult to engineer it should also be difficult to use."
People react to it. Not like they'd react to a high-end DSLR or medium format behemoth. This camera doesn't elicit envy, it just pleases people with its looks. The reaction of the technician in the camera shop today was typical: A small gasp, followed by "Wow, that's a stunner. Let me hear the sound of her." That's right. He said "her", not "it". And then I fired her and his eyes lit up with joy and he went "Ahhhhhh ....yes!"
See what I mean? Everyone who sees her walks off with a smile on their face.
This is not a silent camera. But her sound is pure music to anyone who loves cameras. Granted, she has drawbacks.
Though she's rather heavy (which is good), the manufacturing quality isn't comparable to, say. a Leica. You see that when she twists and flexes slightly in your hands and you feel it most of all when you advance the film. That has a grindy feel to it.
But still. This baby was made in 1966, and I'd say she's in a very admirable state, given that she'll turn 50 next year.
210 f5.6 Nikon
250 f5.6 Fuji soft focus in #3 copal
150 f4.5 Heliar on camera
190 f4.5 Heliar in adapter for #3 Copal
11" f7.7 Aldis in adapter for copal #3
90 f8 Super Angulon