It has been a long and intense year, the one that is about to end. This blog has grown thanks to the many readers around the world. Many things have happened and others will shortly happen. The most important was the Darkroom I built, where finally be able to print the best shots made with film. Soon, I will also print using ancient techniques, such as Platinum/Palladium and Cyanotype, when will be ready the U.V. contact printer that I’m building. Thanks to contact printing, I’ll be able to better use large format cameras too. Already a couple (M.P.P. Mark VIII 4″x 5″ and Reality so Subtle pinhole 4″x 5″) are already waiting to be used. But it will also, print (via internegative) images from digital files. So even intangible electronic images will become real. This post by the end of the year is dedicated to another East Europe’s camera, but this time it is not only manual, but electronics controlled with aperture priority exposure: the Praktica Bc1.
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.
As I wrote last time, my first outdoor experience with the Mamiya RB 67 was tiring but satisfying. In fact, the generous dimensions of the 6×7 cm negative and the quality of the lenses are ideal for landscape photography. Immerse ourselves in nature, in a place almost out of time, it can only do good for the spirit, and if we are able to bring home some good shots …. better yet.
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.
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 ….
This is the fiftieth post of this blog! It is now two years since I started shooting again with film. And to do that, I have from time to time, let fascinate by many “vintage” cameras which, in during the late 70’s/ early ’80,s when I was a young photography enthusiast I would have considered old and obsolete, not up to fulfill my alleged. ..talent. Obviously, the inexperience led me to consider the modern (at the time) Nikon F2, Pentax Lx, Olympus OM1 etc. as the only ones capable of producing high-end images. Of course I was wrong and I understand it … thirty or more years later, during my second analog life. One of the cameras that gave me the most satisfaction was an humble medium format folding made in the ’50s: the Agfa Isolette III.
As I already wrote in the first part of this post, while traveling in Bavaria, apart from a roll shot with the Leica R-E and one with the Canon P (nightshots), I used two Olympus cameras (OM2n and OM10). I have already expressed an opinion about the films I used (Ilford XP2 Super 400 and Kodak Tmax 400).