Sometimes, when you receive a vintage camera, it happens to find inside an old negative, forgotten there for who knows how many decades. It happened to me twice in the past, into a folding 6×6 Rheinmetall Weltax and a few days ago, in another folding MF, the Agilux Agifold. In the first case, the roll was totally blocked and I could not avoid exposing it to light to pull it out. I only remember that it had a red bordeaux paper. This time, however, having noticed through the rear window the presence of a film (at N° 10), I rewound with the intention of developing it. It was an old Tri X Pan Professional, which I developed semi-stand on Adonal (Rodinal) 1: 100 for an hour. Results? Totally disappointing but ….
It took too much time, but in the end, my Leica M2 and its beautiful “damaged” Summitar managed to tie the “lawful marriage” …. 😉 All this has been made possible thanks to a special Fotodiox adapter ring ( M39 to Leica M mount) in fact they were a few months that a roll of Ilford Pan F+ was lying unused in M2 and, given the time elapsed, I didn’t remember how many Iso rated the film for the first few frames. The value on the Voigtlander Vc Meter was 25 and so, I continued that way until the end.
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.
Things do not always go your way. But this case was (almost) expected. Too bad, because the Fuji GS 645 Professional is a very good camera, built with a mix of old criteria (folding structure and rangefinder) and more modern ones, especially the good and sharp lens and the meter. A good friend of mine lent me a copy in perfect condition, were it not for the presence of numerous pinholes in the bellows. I tried a repair with the “liquid electrical tape” but unfortunately it was not enough.
About a year ago, I got a nice Minox GT camera and I took some rolls of film straightaway. The second and third have already seen them in these posts. The first one however, remained hidden somewhere, patiently waiting for me to find the time to handle it. In fact, there was the problem of the film tail completely rewound in the cartridge: the first empirical attempts, however, had not brought good results and the “Film Picker” I had purchased had disappeared during the move. Well … a long story.
Walking along the Via Appia Antica, in Rome, it’s like taking a leap into the past. Nearby, the modern city with all its noise and its concrete while before our eyes they lie green fields, luxury villas half-hidden among the ancient trees and above all, to the sides of the old road (often with the original flooring), construction of the Roman era, statues, temples and votive plaques. That alone could be enough to bring the visitor back in time more than twenty centuries but, sometimes, you can do amazing meetings, which return a scenario worthy of those immortalized by landscape painters of the nineteenth century.
After some time, here is the return of a Voigtlander Vito. More precisely, the Vito B, built between 1954 and 1960 in two versions that differ mainly in the size of the viewfinder: the one in my possession is the last, with the biggest viewfinder. A very simple camera, with neither a rangefinder or a lightmeter. However, the lens is the renowned Color Skopar 50mm f/3.5 (or f/2.8), in my case mounted on a Prontor SVS central leaf shutter. What is amazing about this camera is the weight! In a body of small size and rounded lines, holding it you will be surprised by the robustness of the construction. Very beautiful to behold, and pleasant to handle. To test it I wanted to use a film recently introduced on the market: the Foma Retropan 320. The small but fierce house from Czech Republic has decided to propose Retropan as a soft and “retrò” effect coupled with an extended exposure latitude. As first time I rated it to 250 ISO.
Today has been the World Pinhole Day. A day dedicated to the simplest forms of photography: stenopeic (Aka:pinhole) photography. Just a light-proof container, a tiny hole (such as that made by a needle) and the sensitive material (film, paper, liquid photographic emulsion etc.) and we can experience an image that materializes. Despite not having much time and not being able to find the most significant places, I also wanted to pay my humble tribute to this fascinating and ancient technique.
One of the fun things of film photography is the opportunity to experiment, and I take it widely. Some time ago, I saw on the web some images made with Ilford Delta film and as you may have noticed, I’ve started using it recently. The interesting thing about those images was the performance at high ISO obtained with a specific developer, produced by Ilford: the Ilfotec DD-X. After the first experiments with the Adox FX39, this time I wanted to start personally to test these features. So I loaded a beautiful Kodak Retinette IB (Type 045) with a roll of Delta 400 Professional and set the exposure meter to 800 Iso.