A Winter Series with Moskva 5

003_moskva_hp5_003

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.

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The Russian Contax: Kiev 4 & Jupiter 12

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There is a camera that I love very much, but I haven’t been too lucky with. It’s the Soviet version of the legendary Zeiss Contax II, which in the 30’s and 40’s disputed the primacy to the eternal rival Leica in the 35m range. Immediately after the war, as partial compensation for damages, all equipment and materials present in the Zeiss factories were moved (along with a good number of technicians and specialized workers) behind the Iron Curtain, in Kiev, at the plant of Zavod Arsenal. Here, in the years immediately following the war, they were therefore produced the Kiev II (almost exactly the Contax); later underwent some changes in later models III and IV. Unlike Zorki and the Fed, that “copied” the Leica models from afar … these Kiev, in fact, can not be considered copies but, delocalized productions …

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Someting Different: Helios 44M 4 Digital Bokeh Test

Helios 44_Fuji_008

For one time, I make a transgression in this blog devoted entirely to analog. But it is not so strange, because the passion for vintage photographic gears leads, inevitably, to accumulate lenses, thanks to appropriate adapter, can also be used on digital cameras, taking advantage of some positive features . One of these is the Bokeh, which is the practical result of the reduced depth of field (D.O.F.)  using wide apertures.

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My Tri-x is back…. and Jupiter 12 works well!

Canon P_J12_000

The previous time I used the Kodak Tri-x in 35mm format I was quite unhappy with the results. But, as the most attentive readers of this blog already know, I have promised to do a new test soon, changing some key parameters. The results were as expected, and I “discovered” again the performance which are used to, notwithstanding the obvious differences between the 120 and the 35mm format in terms of grain.

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Zenit 11 & Rollei Rpx 25 in Ars-Imago Fd First Test

Zenit 11_001

Another Soviet camera: the Zenit 11, another film: the Rollei Rpx 25. As usual, I do too many things together but, the pleasure of trying new things, and the need not to overstretch the times, forces me to concentrate several elements in a single test. Let’s start from the camera: mine is really in very good condition … it looks almost mint and I got it for few bucks. She comes with the standard lens (later joined by a Pentacon 29mm f/2.8) Helios 44M 4 58mm f 2 and an uncoupled selenium light meter , apparently still working well.

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TEST ADOX CMS 20 DEVELOPED IN ARS IMAGO FD (PART TWO)

Yellow Filter Used

Yellow Filter Used

Okay, I will confess: I did it again! I went again against the rules and developed once more the Adox CMS 20 film with a conventional developer (Ars Imago-Fd) instead of the dedicated one. The reasons which lead to this are widely mentioned in this post, which describes the results of my first test with this combination. As reported in the conclusions, I had promised myself to make a new test exposing for a lower speed than the nominal 20 Iso, in order to have more open shadows and to evaluate the yield of the intermediate grey tones and highlights using these new parameters. Thanks to the cooperation of Ars-Imago, I had the chance to try some other film rolls.

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