Every year, the cherry blossom in the city of Bonn draws thousands of visitors. One street in particular, Heerstrasse, attracts fans of nature and color. Here is my collection of images from the venerable old town.
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Designers create objects with specific structures for a particular purpose. What if we twist and tweak the design and employ a kind of shape-shifting? A fresh angle brings a new perspective. At first, it is unsettling to see the pattern and not be able to identify the object clearly. Once we let go of the ambition to categorize, we start to appreciate the lines and angles as focal points themselves. The pattern becomes the object. The eyes wander along in different directions than usual, the distortion creates a novel journey.
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Evening is my favorite time of day to experiment with light painting. Fortunately, fairs and markets attract with spectacular lights, making it easy to find a spot to play with neon. Flares and shapes interact in a completely new way as you change the settings.
Here are some examples of recent light painting captures.
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The Contax brand is one of the most famous names in photography. The Cold War split the company in two. In postwar West Germany, Zeiss Ikon (Stuttgart) was responsible for making cameras with this name. In good competitive fashion, state companies in East Germany used the same brand for a while, changing the brand on their export models sold in the Western markets. But then, Japanese camera makers conquered market shares. West German cameras were over-engineered and too expensive.
The Emperor’s Seat: Rock formation and vinyard designation in the Ahrtal (Agfa APX 100)
With the demise of the Zeiss Ikon company in the late 1960s, the lensmaker Carl Zeiss was looking for a partner company and found it in Yashica. In 1972, an agreement was signed. From now on, the legendary Carl Zeiss lenses would be made for a Japanese body (and the lenses soon were also manufactured in East Asia).
Tradition and modernity: Street in Rech in the Ahrtal (Agfa APX 100)
This Contax/Yashica 137 MD is one of the underrated “sleeper” cameras to discover and enjoy. Appearances can deceive but the classic design (some call it “puristic”) is elegant and functional. It echoes the pioneer of the series, the Contax RTS designed by Porsche. This camera handles very well, just like its predecessor, the 139. But the 137, introduced in 1980, has an integrated motor drive which advances the film automatically (rewind is manual, though). In terms of controls, aperture-priority makes the most sense to me, so that’s a benefit here. One big plus is the ability to use Carl Zeiss Oberkochen glass, in my case the CZ Planar 50mm f1.7 T* and the 28mm Distagon.
Another great lens upfront: The Carl Zeiss 28mm Distagon f2.8.Bright but cloudy: The parish church in Kronenburg/Eifel (Fuji 200)
I got into the Contax orbit by virtue of Heidifoto in Munich. When I started exploring vintage cameras, I encountered a range of websites discussing gear and glass. Heidifoto explained how the Contax-Zeiss collaboration combined the best of Japanese and German engineering. I really enjoyed their way of talking about the benefit of using the system, and actively sought out a few Contax bodies with the most inexpensive lenses. My learning curve was steep, but it helps when you see the results of Zeiss craftsmanship. The relationship between cost and performance was unbeatable.
Underneath the Autobahn (Ilford FP4)
On a vacation, my steps somehow led me to Heidifoto headquarters where they offer a spectacular selection of vintage camera gear. Of course, to honor their commitment to analog photography, I had to purchase something, right? Eventually, a clean and beautiful Carl Zeiss 28mm Distagon ended up in my bag.
Time to reflect: Cologne Central Station (Agfa APX 100)
Now, time always has an effect on products from the 1980s. In some cases, the soft leatherette disintegrates, and you can reskin the body with an easily available set in your favorite color. There is a similar issue with Nikons from the era, but it is easier to use alcohol to get the surface cleaned up and reveal the bare plastic. Mechanically, there is little to fault the engineers. Straightforward instructions, AE lock, under- or overexposure buttons. Nothing fancy or complicated. Since I am using many different cameras in a short time, these features seem to suit me best. It can be quite frustrating to set aside a camera to check the manual again for some inexplicable combination of buttons (I am thinking rewind functions of the Nikon F90!)
The bridge over the Ahr at Rech (Agfa APX 100)
SLRs in the 1980s were expensive, the latest electronics made prices jump. Everything from watches to cameras had to have the term “quartz” in them to make a splash. At the same time, competition was fierce, and manufacturers had to offer a good price to succeed. When brand new, you had to shell out 900 DM (approximately 450 Euro) for the Contax 137MD.
Quiet times in the vinyard on the Ahr (Agfa APX 100)
My selection of favorite cameras of course reflects my mode of operation: With analog cameras, I rarely use flash or self-timer. Most of my shots are done in daylight. Where the makers in the 1970s and 1980s racked their brains about making their machines capture every last bit of light, I am less impressed with these kinds of applications. There are some moments where digital is less challenging. In other areas, the challenge might be interesting.
Storage. The Ahr Valley (Agfa APX 100)
The Contax has the familiar LED lights in the viewfinder. Battery-powered, but running on 4 standard AA batteries! Although you would think the batteries make it too heavy, that is really not the case, as the ergonomics are very good and the body weighs in at under a pound. The shutter is electronic and very buttery. The Contax is a technological wonder for the time. About 50,000 copies of this particular model sold.
Well defended: The Castle above Kronenburg/Eifel (Fuji 200)
Today, the Contax 137 MD is pleasant to use for an outing. You can focus on composition, knowing that the machine will capture the subject in all its glory. It delivers great images, has great functionality. It does not get in the way with strange button combinations. And it is not expensive to purchase, even the fabulous lenses are a fraction of what other (more storied) products cost. As in the 1980s, using the C/Y system allows you to try out the Carl Zeiss optics at a very good price. You might start a collection of their lenses for the money you saved on this fantastic body!
Eifel window, Kronenburg Castle (Fuji 200)
Another fun experiment is using a red filter and shooting a roll of Ilford SFX 400. I had the opportunity to visit Bandelier National Park near Los Alamos in New Mexico for a pleasant hike.
Rugged geological formations in New Mexico, capture with the Contax 137 MD and Ilford SFX 400 (adding a red filter).Sparse vegetation among the stones in Bandelier National Park, New Mexico.Using the wide angle 28mm Distagon to capture the light at the end of the tunnelSunset over Nebraska lake (Kearney, NE) Portra 400Vintage color scheme on an old Chevy (Portra 400)Front matter: San Francisco de Asis in Taos, New Mexico (Portra 400)
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Duisburg has been a city in the midst of change for more than a generation. At the heart of its industrial heritage is the former Thyssen plant. Between 1901 and 1985, the ironworks turned out pig iron for the production of steel. Long displaced by cheaper foreign competition, the company closed down the facility. But it is more lively than ever. Three blast furnaces adorn the area which has been listed as a monument since the year 2000. Few other places convey the power and strength of the industrial revolution. Now, the “Landschaftspark Duisburg” is open year-round as a living museum, accessible to everyone.
Various cameras, similar location: Street photography refers to a multitude of subjects, but just one setting: urban life. This mix was taken during the year 2021.
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A recent parking structure opened near the fair grounds. Because of the Covid lockdown, it was empty for months. From the outside, the facade resembles a fish skin. The perfect playground for a bit of imagery outside the box.
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High above the city of Wuppertal lies a tranquil stretch of forest. The name Waldfrieden (Forest peace) reminds visitors of a cemetery, but instead there is plenty of lively art scattered around the pathways. The sculptor Tony Cragg has made this retreat his own, showing off his impressive jelly-like sculptures and inviting friends to display their creations in several large halls, or simply in between the trees. Don’t touch the artwork, the visitor is told. But few can resist exploring the textures and shapes, ranging from fiberglass and bronze to stone and glass. It’s a perfect getaway, and there is a cafe with some vegan dishes for the art connoisseur of today.
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The Wuppertal Suspension Railway or Schwebebahn is up and running again after many months of repairs and Covid/Corona lockdown. It is unique in Germany: an elevated railway passing through a city. The Schwebebahn was built in 1901. Carrying passengers along a stretch of 13 kilometers between Vohwinkel and Oberbarmen, mostly following the course of the river Wupper, the trip takes about 30 minutes one way. Of course, most Germans associate the railway through Wuppertal with “Tuffi” the elephant. In 1950, she was supposed to perform a publicity stunt for the circus on the railway but fell into the river once the train started (she survived). Several directors have used the Schwebebahn as a backdrop in movies and commercials. Millions of passengers take the railway every year, and with very few accidents over the years, it is a very safe mode of public transport.
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