View allAll Photos Tagged leafshutter,
Rolleiflex 2.8 F Type 1 K7F
Taking lens: Carl Zeiss Planar 1:2.8 f=80mm, Coated.
Viewing lens: Heidosmat 1:2.8 f=80mm, coated
Filter Bayonet : Both lenses, size 3
Shutter: Synchro-Compur MXV CR0 leafshutter. Speeds 1 to 1/500 sec. and B.
Flash synchronization : Sync socket on frontpanel. M and X synchronization.
Selftimer
Rollei differential gear for coupling with the lightmeter
Lighmeter system: coupled, Selenium photo element, on the front top, meter in the focus knob
Exposure compensation 0-3 stops, in half stops arround the ASA/DIN selector
Parallax error correction.
Coupled Depth of Field indicator.
Removable finder hood
Double exposure prevention
Conversion table of EV to aperture/shutter speed values on the back plate
Format : 12 exposures of 6 x 6 cm on 120 type rollfilm.
Color Lacquer : Black
Color Leatherette : Black
Dimensions WxDxH: 105 x 99 x 146 mm
Weight: 1140 grams
Production : from 1960 to 1961.
Rolleinar set of lenses:
Leather case and Portuguese manual "Rolleiflex na pratica"
Explored on October, 10, 2015
Some pictures taken with it
I invite you to visit my camera site at Classic Cameras in english.
Convido-os a visitar o minha página Câmaras & Cia.
Final days of autumn before the cold weather. Although we had our warmest New Year’s Day temperature in England since records began. Climate change is not a myth unfortunately. It’s getting colder tonight and will continue for a few days. End of the daily weather report.
"A is for Alpaca."
Lomo LC-A
35mm Lomography ISO 100 Film
No Editing, 100% Raw Film
Featured in the Flickr Blog on 2/9/2011 - A is for Alpaca.
Shadow Pines Alpaca Farm, Exeter, RI
A special thanks to Bob & Vivian Ball for such a great time!
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© Nick Benson, All rights reserved. Use of this image without permission is illegal.
If you like my work and you would like to see more, please feel free to visit my website, nickbensonphoto.com.
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Ilford FP4 Plus 125 (400)
Mamiya C330 Professional F Roll 247-10-positive
Digitized with Negative Lab Pro v2.1.2
IN ENGLISH BELOW THE LINE
Entorn l'any 1900, les càmeres de gran format nord-americanes es centraren sobretot en els fabricans de Rochester, entre els que sobresortiria i dominaria de forma absoluta Eastmann Kodak.
Pero abans, en molts casos abans de esser assimilades per la propia Kodak, existien altres importants fabricants a Rochester. De fet, Rochester és només comparable a Dresden per a Europa, on es concentrava bona part dels fabricants alemans (també aglutinats progresivament per Zeiss Ikon).
Aquesta preciositat és una Rochester Optical Co. Pony Premo No.4. Es tracta d'una camera de gran format, concretament de 5x7 polzades, del tipus "hand & stand", pensada per ser facil de portar al camp, o en bicicleta i tot! N'hi ha molts models similars, entre marques diferents i tot.
Aquesta porta un obturador Bausch & Lomb Victor i objectiu Rochester Symmetrical; sembla fabricada el 1903, just abans que la empresa R.Oc. Co. fos comprada per Eastman Kodak. De fet, Kodak continuà fabricant la Pony Premo No.4 sota el seu nom.
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Around 1900, American large-format cameras focused primarily on Rochester manufacturers, among which Eastmann Kodak would excel and dominate.
But before that, in many cases before being assimilated by Kodak itself, there were other major manufacturers in Rochester. In fact, Rochester is only comparable to Dresden for Europe, where much of the German manufacturers were concentrated (also progressively agglutinated by Zeiss Ikon).
This gem is a Rochester Optical Co. Pony Premo No.4. This is a large format camera, specifically 5x7 inches, of the "hand & stand" type, designed to be easy to take to the field, or by bike! There are many similar models of this kind, even between different manufacturers.
This one carries a Bausch & Lomb Victor shutter and Rochester Symmetrical lens; seems to have been manufactured in 1903, just before the R.Oc. Co. was bought by Eastman Kodak. In fact, Kodak continued to manufacture the Pony Premo No.4 under its name. The change is quite noticeable as Kodak changed the shutter of the Pony Premo, so the Victor shutter here is a clear marker that the camera was made before 1904.
www.historiccamera.com/cgi-bin/librarium2/pm.cgi?action=a...
La Kinax III fou una càmera francesa de postguerra, fabricada entre el 1951 i 1956. Era una càmera de format 620 (una variació del més conegut format 120), i tenia l'interès de poder-se utilitzar amb tres tipus de imatges. Es a dir, podia fer 8 fotografies de 6x9 cm, 12 de 6x6 cm o 16 de 4.5x6 cm. Per a les imatges més petites calia posar una màscara metal·lica al interior de la càmera (que en aquesta s'han perdut). En paral·lel al les masqueres, la Kinax III comptava amb un visor força complexe, per permetre enquadrar la composició en funció del tipus de fotografia que s'estava fent servir.
Aquesta Kinax III funciona i compta amb un objectiu SOM Berthiot Flor f4.5 / 105mm, montat en un obturador IPO.
=====================
The Kinax III was a French 620 format camera, manufactured from 1951 to 1956. It could be used in three kinds of medium format sizes. That is, this camera could take 8 6x9 cm images, or 12 6x6cm images or 16 4,5x6 cm images. Except for the larger size, this changes needed internal metallic masks. It also had a quite complex viewfinder.
This one is in perfect shape, and working, although you coud only use in the 6x9 size, as it has lost the internal masks. The lens is a SOM Berthiot Flor f4.5 / 105mm in a IPO leaf shutter.
IN ENGLISH BELOW THE LINE
Vista en detall del dificil de trobar obturador Ernemann Bob X, montat en una Ernemann Heag XII; tant la càmera com l'obturador date del 1905-1906. Per desgracia aquest rar obturador funciona a estones, només.
L'evolució estètica de les cameresfotogràfiques entre els anys 1900-1910 i els anys 20 del s. XX està clarament marcada per un increment de la sobrietat i el domini del color negre. Però crec que enlloc es veu tant com en les càmeres de la marca alemana Ernemann. Encara que costi de creure, els models Ernemann dels anys 20 son l'extrem més radical de discreció, essent totes elles de negre absolut, gairebé com de dol. I costa de creure perque les primeres càmeres Ernemann son un esclat de color i metalls polimentats, com aquesta.
Es tracta d'una Ernemann HEAG XII, fabricada cap al 1905-1906. El format és el més usual per a càmeres europees de plaques, el 9x12 cm, i no cal dir que la manxa de pell vermella era a inicis de s. XX, "de rigeur".
Encara destaca més el molt poc usual obturador central, model Ernemann Bob X. Només es produí molt poc temps. L'objectiu és un Ernemann Detektiv Aplanat f6.8. Era molt usual que les càmeres Ernemann montessin tant l'obturador com l'objectiu de la mateixa marca (cosa gens normal en altres fabricants).Un detall molt divertit es que el visor superior es plega i desplega amb la càmera. Per desgracia el obturador no funciona del tot bé i la càmera manca el cristall esmeril·lat d'enfoc.
www.camarassinfronteras.com/articulos/obturadores/erneman...
camera-wiki.org/wiki/Ernemann_Heag_XII
=================
A very rare Ernemann Bob X leaf shutter, manufactured only in 1905-1906, and mounted in an Ernemann Heag XII. Sadly the shutter does not work at all times and I've found almost no information about it.
The aesthetic evolution of photographic cameras between the years 1900-1910 and the 1920s in the XX Century is clearly marked by an increase in the sobriety, restraint, and dominance of the black. But I think nowhere is it seen as much as in the cameras of the German brand Ernemann. Although hard to believe, the Ernemann models of the 1920s are the most radical end of discretion, all of them in absolute black, almost like mourning. And it's hard to believe because the first Ernemann cameras are a burst of color and polished metals, like this one.
It is an Ernemann HEAG XII, manufactured around 1905-1906. The format is the most common for European plate cameras, the 9x12 cm, and needless to say the red leather bellows was in the early XX Century, "de rigeur".
Even more noteworthy is the very unusual leaf shutter, a model Ernemann Bob X. It's manufacture was quite short lived, only a couple of years. The lens is a Ernemann Detective Aplanat f6.8. It was very common for Ernemann cameras to mount both the shutter and the lens of the same brand (which is not normal in other manufacturers). An interesting detail is that the top viewfinder folds and unfolds with the camera bed. Unfortunately the shutter does not work quite well and the camera lacks ground glass to focus.
www.camarassinfronteras.com/articulos/obturadores/erneman...
La Kinax III fou una càmera francesa de postguerra, fabricada entre el 1951 i 1956. Era una càmera de format 620 (una variació del més conegut format 120), i tenia l'interès de poder-se utilitzar amb tres tipus de imatges. Es a dir, podia fer 8 fotografies de 6x9 cm, 12 de 6x6 cm o 16 de 4.5x6 cm. Per a les imatges més petites calia posar una màscara metal·lica al interior de la càmera (que en aquesta s'han perdut). En paral·lel al les masqueres, la Kinax III comptava amb un visor força complexe, per permetre enquadrar la composició en funció del tipus de fotografia que s'estava fent servir.
Aquesta Kinax III funciona i compta amb un objectiu SOM Berthiot Flor f4.5 / 105mm, montat en un obturador IPO.
=====================
The Kinax III was a French 620 format camera, manufactured from 1951 to 1956. It could be used in three kinds of medium format sizes. That is, this camera could take 8 6x9 cm images, or 12 6x6cm images or 16 4,5x6 cm images. Except for the larger size, this changes needed internal metallic masks. It also had a quite complex viewfinder.
This one is in perfect shape, and working, although you coud only use in the 6x9 size, as it has lost the internal masks. The lens is a SOM Berthiot Flor f4.5 / 105mm in a IPO leaf shutter.
Fuji Provia 100F (RDP III) 4x5'
Graflex Super Graphic press camera with Nikkor-W f5.6/135mm
Homedev in Tetenal Colortec 3-bath E-6 kit, using Jobo CPP2 rotary processor
- Topcon 35-L @ B 3 seconds
- Topcor 4.4cm f/2 @ f/16
- Eastman 5302 manufactured in 1972 - rated at 1.2 ASA
- Developed in Rondinax 35U with Agfa Rodinal 1:50 for 9 minutes at 20C
La Gundlach Korona View és una càmera nord-americana de gran format, força lleugera i de gran qualitat.
Aquesta càmera en concret és la Korona View de segón model, fabricada entre 1909 i els anys 30; en tot cas aquesta data d'abans del 1926, ja que la companyia canvià de nom. És de format 5x7 polzades i la vaig comprar amb un objectiu Plaubel Anticomar f4.2 / 210mm montat en un gran obturador Compound; junt amb la càmera anaven tres portaplaques dobles amb el nom del antic propietari, Dr. H. B. Wright. Tot plegat sembla indicar que fou venguda als Estats Units als anys 20 o 30.
És molt curiós perquè la vaig comprar amb la idea exprés de fer-la servir per a fer plaques de col·lodió, i un dels tres portaplaques estava precisament adaptat per a col·lodió (i marcat com a tal).
Per cert, només em vaig adonar a posteriori que havia comprat una càmera que porta per nom KORONA just aquest any 2020.
www.piercevaubel.com/cam/gundlach/view.htm
camera-wiki.org/wiki/Korona_View_Camera
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The Gundlach Korona View is a large format American camera, quite light and built in high quality materials.
This particular item is the 2nd. model Korona View, made between 1909 and the 1930s; but this one was made before changing the name of the company in 1926. It is a 5x7 format camera and I bought it with a Plaubel Anticomar f4.2 / 210mm lens mounted on a large Compound shutter; along with the camera were three double plate holders with the name of the former owner, Dr. H. B. Wright. All this seems to indicate that it was sold in the United States in the early 1920's.
It’s very curious because I bought it with the express idea of using it to make collodion wet plates, and one of the three plate holders was precisely adapted for collodion (and marked as such).
By the way, have you noted that I bought a camera named Korona precisely in this 2020? The year of what...?
www.piercevaubel.com/cam/gundlach/view.htm
camera-wiki.org/wiki/Korona_View_Camera
www.historiccamera.com/cgi-bin/librarium2/pm.cgi?action=a...
Sometimes I buy ugly, rotting old folding cameras for a few dollars at garage sales and such. If the lens is still in a "serviceable" state, I separate the glass and shutter from the rest of the box and do some minor disassembly and cleaning. Come next winter, I have some interesting new optics to putter and explore with while the snow piles up outside my window. Ya gotta make your own fun sometimes. NOTE: 5/30/22: It helps if you can find some extension tubes or small bellows to mount vintage lenses. You'll need a mounting plate, too (see the plastic Canon EOS body cap in the lower right I used to mate an old Zeiss lens). Lastly, the best results are with optics over 75-100mm.
IN ENGLISH BELOW THE LINE
Una de les càmeres més arcaiques i boniques que podeu trobar, en bronze, fusta i negre satinat, la Blair Folding Hawk-eye No.2. Fou fabricada per Blair Camera Co. entre 1892 i 1894, i encara funciona avui en dia, quasi 130 anys després (tot i que una mica amb problemes).
Originariament tota la caixa estava coberta amb pell, que algú deuria retirar suposo que en les darreres dècades: altres exemples que he vist d'aquestes càmeres tenien la pell en un pesim estat, caient a troços.
Es tracta d'una càmera de plaques de 5x7 polzades, fabricada als Estats Units. L'obturador és un Bausch & Lomb Iris, un dels primers obturadors mecanics del món. Aquesta part és en si mateixa una petita joia i funciona, tot i que les velocitats son completament arbitraries, avui en dia. De la única manera que m'atreveixo a fer-lo servir es en mode T o B, i fent exposicions de diversos segons.
És interesant com aquesta càmera compta amb un sistema a mitja caixa que permet fer moviments en angle a la part posterior de la càmera, on hi ha el pla focal.
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One of the most archaic and beautiful cameras you can find, in bronze, wood and ebony black, the Blair Folding Hawk-eye No.2. It was manufactured by Blair Camera Co. between 1892 and 1894, and it still works today, almost 130 years later (although with several problems).
Originally the entire box was covered with leather, but someone removed it supposedly in recent decades: other examples I have seen of these cameras had the leather in a sorry state, falling apart.
It is a 5x7-inch dry plate camera, manufactured in the United States. The shutter is a Bausch & Lomb Iris Diaphragm, one of the first mechanical shutters in the world. This part is in itself a small gem and works, although the speeds are completely arbitrary, nowadays. The only way I venture to use it is in T or B mode, and doing exhibitions for several seconds. As the later B&L Volute shutter, this one has the diaphragm and shutter combined in the same mechanism.
The back of the camera lacks some parts, and it's difficult to mantain the plate holders tighty close to the focal plane, so some light leaks are inevitable. I should try to repair that.
www.antiquewoodcameras.com/blairhe1.html
www.antiquephotographica.info/Blair%20Camera%20Company%20...
IN ENGLISH BELOW THE LINE
La Ernemann Heag XVI és una càmera transformable, capaç de fer servir tant rodets de pel·licula ( el gegant i desaparescut format 116 o el 118, m'imagino), com plaques de 9x12 cm. Fou produida a Dresden entre el 1909 i finals de la Gran Guerra (1918?).
És una càmera força gran però elegant, tot i ja haver abandonat els vermells altres detalls d'inicis del s. XX. Tot i la austeritat del negre uniforme, el gran nombre de detalls cromats la fa força espectacular. L'objectiu és un Ernemann Aplanat Symetrical, montat en un obturador pneumatic també Ernemann, model Bob I tardà.
Dos detalls destaquen d'aquesta càmera, encara en estat de funcionament. En primer lloc, el seu sistema de canvi de format. Per passar de plaques a pel·licula, es monta al entorn de la càmera una carcassa secundaria que incorpora el rodet, el seu pla focal i el rodet receptor. Una tapa cobreix el pla focal per tal de no velar el rodet (en aquest cas s'ha perdut, pel que no es pot fer el canvi a mig rodet. Aquesta carcassa "exterior" es treu i posa amb un moviment lateral.
El segon element és especific d'aquesta càmera en particular. A la tapa o "llit" hi ha l'emblema metal·lic del Aeronautique-club de France, mostrant un globus, un dirigible i un avió. Aquest club aeronautic estava i està (encara) basat al aerodrom de Meaux-Esbly. Fou fundat el 1897, i la càmera segurament pertanyia a algun membre o bé al club mateix.
Encara més interessant és que la càmera conservava quan la vaig comprar aquest 2020 un rodet Kodak Verichrome de format 122, exposat però no revelat. Deu datar dels anys 30, segurament, tot i que podria ser de fins els anys 50. En tot cas és molt posterior a la càmera, que ja tenia uns 15 anys com a mínim, i probablement molts més. Veure'm si dona alguna sorpresa.
www.camarassinfronteras.com/articulos/obturadores/erneman...
www.camarassinfronteras.com/articulos/bob_unicum_connecti...
======================
The Ernemann Heag XVI is a transformable format camera, capable of using both roll film (the giant, discontinued 116 or 118 format, I imagine), and 9x12 cm dry plates. It was produced in Dresden between 1909 and the end of the Great War (1918?).
It is a fairly large but elegant camera, even without the earlier red bellows. Despite the austerity of the uniform black, the large number of chrome details makes it quite spectacular. The lens is a Ernemann Aplanat Symetrical, mounted on an Ernemann Bob I shutter.
And yes, the Ernemann Bob I and II shutters look like copies of the Bausch & Lomb Unicum, although there are internal differencies.
This camera, still in working order, has two special details. First, its format change system. To switch from plates to film, a secondary housing is mounted around the camera, that incorporates the roll film, its focal plane and the receiving roll. A dark slide covers the focal plane so as not to veil the film (in this case it has been lost, so the change cannot be made halfway). This "outer" housing is removed with a lateral movement. The camera also has not it's ground glass, so would be difficult to use with plates.
The second element is specific to this particular camera. On the bed is the metal emblem of the "Aeronautique-club de France", showing a balloon, an airship and an airplane. This aeronautical club still exists, with another name, and is based at Meaux-Esbly airfield. It was founded in 1897, and the camera probably belonged to a member or to the club itself.
Even more interesting is that the camera kept, when I bought it this 2020, a 122 format Kodak Verichrome roll film, undeveloped. It must date from the 1930s probably, although it could be from the 1950s. In any case, it is much later than the camera, which was already at least 15 years old, and probably many more. We will see if it gives any surprise images.
www.collection-appareils.fr/x/html/camera-2456.html
www.collection-appareils.fr/x/html/camera-10166-Ernemann_...
camerapedia.fandom.com/wiki/Ernemann_Heag_XVI
acesbly.fr/index.php/l-aero-club/la-plateforme-de-meaux-e...
fr-fr.facebook.com/pg/acdfmeauxesbly/about/?ref=page_inte...
www.camarassinfronteras.com/articulos/obturadores/erneman...
www.camarassinfronteras.com/articulos/bob_unicum_connecti...
IN ENGLISH BELOW THE LINE
Una de les càmeres més arcaiques i boniques que podeu trobar, en bronze, fusta i negre satinat, la Blair Folding Hawk-eye No.2. Fou fabricada per Blair Camera Co. entre 1892 i 1894, i encara funciona avui en dia, quasi 130 anys després (tot i que una mica amb problemes).
Es tracta d'un ferrotip de format 13x18cm, realitzat amb una Konrad G. Seitz fabricada cap al 1895; objectiu Konrad Seitz Universal Aplanat f8; col·lodió Old Workhorse de Franalog.
Les plaques de col·lodió es realitzen al moment, cobrint una placa de vidre o planxa metal·lica negra amb col·lodió i sals de cadmi i/o potassi, sensibilitzat amb nitrat de plata. Aleshores s'ha de fer la fotografia i revelar-la en uns 5 minuts, abans no s'assequi la emulsió. És un dels processos fotogràfics més antics del món, inventat el 1851, i que dominà fins el 1880. Però ara ha resorgit, ja que les imatges, molt treballades, que dona són úniques, màgiques i i irrepetibles.
ca.wikipedia.org/wiki/Col%C2%B7lodi%C3%B3_humit
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One of the most archaic and beautiful cameras you can find, in bronze, wood and ebony black, the Blair Folding Hawk-eye No.2. It was manufactured by Blair Camera Co. between 1892 and 1894, and it still works today, almost 130 years later (although with several problems).
Tintype in 13x18cm format, made with a tailboard camera made by Konrad Seitz in Nuremberg c.1895; Konrad Seitz Universal Aplanat f8 lens; Old Workhorse collodion by Franalog.
The collodion plates are made covering a glass plate or black metal plate with collodion and salts of cadmium and / or potassium, sensitized with silver nitrate. Then you have to take the photo and reveal it in about 5 minutes, before the emulsion dries. It is one of the oldest photographic processes in the World, invented in 1851, and which dominated photography until 1880. But now it has resurfaced, as the images, very elaborate to create, that it gives are unique, razor sharp, magical and unrepeatable.
en.wikipedia.org/wiki/Collodion_process
intrepidcamera.co.uk/blog/rikard-osterlund-guide-to-wet-p...
www.antiquephotographica.info/Blair%20Camera%20Company%20...