The Moskva 5 is a big Soviet made camera, which follows forms and performance of the most renowned folding Zeiss Super Ikonta. Snap 6×9 cm frames and 6×6 through a special removable mask. For the technical specifications of the camera back to the previous test readers: here and here. This time, taking advantage of a typical winter day, I wanted to use it in its native format, for large negatives (if any) to print.
After more than two years since I started using film again, the inability to print my negs was becoming unbearable. Unfortunately I do not have any usable space in the house and I do not like at all the “flying solutions”. So I was almost resigned to not being able to have my own darkroom for a long time yet. Recently, however, while they were undergoing some work in my garden, I decided to convert an old storage room into something more substantial masonry … and use it as a Darkroom, although devoid of running water (too difficult and expensive to achieve an appropriate plant).
As you may have read in my previous post, here came recently a noble representative of the British pride: the Agilux Agifold III. A 6×6 medium format camera. Unfortunately, its extinction meter is no longer working (or at least, I have not been able to figure out how to use it) and then, I decided not to leave her alone in this test and I accompanied with an equally british Weston Master III.
Last week I published a successful post (both on this blog and on various social forums) about the first test with my Pentacon Six Tl. As written in the post, I had to develop another roll, mainly took the same day of the first one. The problems I got were pretty much the same, but at least a careful observation of the negatives and of the camera were useful to better clarify their causes and what I’ll have to do to solve them.
Being (among other things) a fan of cameras and their respectable lenses, made behind the Iron Curtain , long ago I had the opportunity to enrich my vintage “arsenal” with a beautiful Pentacon Six Tl, fitted with its Carl Zeiss Jena Biometar 80mm f/2.8 standard lens, wlf and metered pentaprism with angled eyepiece (and diopter correction). The camera is truly remarkable aesthetic and mechanical conditions, but a first test roll gave so many problems that I thought of having to make another to correct some of my errors in the loading of the film and in the development of the same. In the meantime, I ordered a new focusing screen with split image on Araxfoto site. Following the instructions on the Pentaconsix site (which I highly recommend for any info about these cameras), a few days ago I loaded a Ilford HP5+ film and started my hunting for satisfactory images. But …. things do not always go as we would like …
During the month of August, typically, people is on vacation or otherwise, busy with the many things to do left behind throughout the year. For this reason also the publication on this blog slows down. But, for (probably) the only one of this month I wanted go “big”, publishing an unusual mix of images taken with pinhole cameras. In addition to the Holga WPC you already know, I used for the first time the “Reality so Subtle” 6×6.
Ferrania is a brand that all Italians of a certain age know, at least also in name only, because until the ’70s the advertising signs and neon signs appeared often in alignment with the photographers “shops” even in the remotest villages. Who then did not use at these times at least one Ferrania film roll? In short, it was kind of our local Kodak. Currently, this brand has returned to the attention of analogue photography enthusiasts with a crowdfunding operation to reactivate the film production lines once famous both in Italy and abroad. Anyway, is not the film that I want to speak about here, but a medium format camera: Ferrania Eura. Built since 1959/early ’60s, the Eura was a kind of Italian Holga, but made in a more refined and reliable way as well, with a decidedly higher level design.