Like all of these pieces, I am interested in the experience of using film cameras. I like to learn about the history they represent, the age in which they were made, the effort to make them competitive. I admire the workmanship that went into these small objects. Here we have a truly small object, the Agfa Optima sensor electronic 1035. Black. Plastic exterior. Compact shape. Design by Agfa’s go-to company Schlagheck Schultes, reminiscent of the iconic philosophy of Dieter Rams and Braun. 4-element Solitar S 40mm f 2.8 lens (multi-coated). 255 grams. Shutter speed 15 seconds to 1/1000 of a second.
Baroque Facade. (Kodak Pro Image 100)
Fantastic clear viewfinder. Classic Agfa Red-orange Sensor shutter button. Prize-winning camera. Something to wear. Reminiscent of a later design philosophy by a Cupertino company.
Steel cover of a pumping station (Kodak Pro Image 100)
Curious rewind system – the film advance lever becomes rewind lever. When I used this the first time, I was apprehensive – could this actually work? Would I not again spoil precious film? But no, everything worked out fine. Have confidence in the mechanics.
Splash of Color (Kodak Ultramax 400)
The exposed film is pushed into a light-safe chamber so that even if you open the back, your images are safe. A smart idea, and one of those that makes you wonder why it took decades for an engineer to think of it.
Storm along the Rhine river (Kodak Ultramax 400)Raised tree branches in winter (Kodak Ultramax 400)
Made in Munich. You had to pay 298 DM at the time. What impresses me is the design philosophy, the ability to re-invent age-old mechanisms, the courage to offer bold solutions, and all of this in a neat small frame. Classic.
Bad Muenstereifel, detail. Kodak 200Bad Muenstereifel before the flood. Kodak 200.Bad Muenstereifel. Kodak 200.
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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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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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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Classic camera, classic view: The Cologne cathedral with the Leicaflex SL 2 (Kodak Gold 200)
The camera that nearly broke a company. The Leicaflex SL2 is heavy, solid, clunky. But combined with Leica glass, it’s a marvel of German engineering. The attempt to capture the SLR market might have failed, and Leica might have gone belly-up with this product. Clearly, the Japanese camera companies had gained the edge by this time, producing acceptable quality at a lower price. Leica designers and engineers did not want to compromise and lost the bet. Fortunately for film aficionados nowadays, a Leicaflex SL2 is not out of reach. It still represents a happy marriage between German ingenuity and wonderful sharp lenses.
Kilkenny, Ireland (Kodak Gold 200)
This was my first foray into the Leica universe. Imagine my surprise when I found out that the body was cheaper than the lens! Any Leica-lover will know what I mean. The 50mm Summicron is simply fantastic. Try it out, and you will be amazed at the crisp sharpness. It is as if you were seeing the world in a new light.
Cologne Central Station, detail. 135mm Elmarit-R (Kodak Ektar 100)
This is another solid camera, made to last. The workmanship is supreme, no plastic here. The controls are where they should be. Nothing fancy, nothing elaborate but simply designed to appeal and to convince. Fully manual, all-mechanical. The Leicaflex SL2 is heavier than the Japanese competition. It is a brick. But what a pleasure to attach one of these magical lenses and lug this brick around.
Evening sunflare on the banks of the Rhine river (Kodak Ektar 100)
The shutter sound is loud and comprehensive. It is impossible to accidentally expose a frame. The film advance is long and significant. You can sense that the designers cared for their customer. No simple solutions, but mechanical pleasure. Metal-based satisfaction.
The Dom in Aachen as seen through the Summicron lens. (Kodak Portra 400)
This camera conveys a sense of seriousness. You go out and feel you need to capture the world, fix a moment in time on the emulsion of choice. Funnily I never think of loading expired film in the Leicaflex. It seems like blasphemy, as if the camera would be offended. Leica demands the freshest and best available for your budget. What might be next for this gem?
Slightly too much sun: the moat around Schloss Augustusburg in Bruehl (Kodak Potra 400)
No, the Leicaflex SL2 so far has not been my go-to camera for experimental shots. It is the elegant grande dame of my collection. The one you spoil with extravagant outings and exotic locales. Not for her the nitty-gritty of street-art and multiple exposures. Take it with you for the stately homes and the cathedrals of the world. Use it for portraits of your loved ones. It will repay you with the cleanest, sharpest vistas imaginable.
My home is my Schloss: Leicaflex SL2 in Augustusburg. (Kodak Portra 400)
I also have a 135mmElmarit-R lens for the SL2. Yet another superb piece of glass. Sometime I think what if I sell a bunch of other cameras and invest in Leica glass? Then I calculate and find out that even if I sold all of my cameras, my car, and plenty of other possessions, my ability to afford Leica glass would be slim. Ok. Moving on. Maybe adapters.
Even in a democratic republic, some names bear witness to the imperial age: The Hohenzollern railway bridge in Cologne (Kodak Portra 400)
Anytime I venture out with the Leicaflex SL2, I am proud of the hard work that went into producing an artifact like this. I am conscious of the history that went into the development, the research, the craftsmanship, and even the marketing. Sometime I think of Oskar Barnack, the pioneer of camera design, and the Wetzlar employees today continuing a long tradition. IN retrospect, the Leicaflex SL2 might not have been the epitome of photographic innovation. But it sure feels good in your hands.
Rain and rust will not destroy our love (Kodak Portra 400)Fishing nets on the Heider Bergsee. (Kodak Ektar 100)The 135mm Elmarit-R at work: Detail of the Cologne Cathedral (Kodak Ektar 100)
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The German magazine GEO started out in the late 1970s, combining environmental, cultural and social reportage essays with exclusive photography. The editors commissioned famous and soon-to-be-famous photographers to cover stories around the globe. Susan Maiselas, for example, shot a story about the Sandinista revolution in Nicaragua. I found a few stacks from the late 1970s and early 1980s in pristine condition when a neighbor emptied their basement. Has the coverage stood the test of time? The essays vary in quality, and the tone of the writing often reminds us today of the stereotypes and misunderstandings of a bygone era. But in many ways, the curiosity about the world runs like a thread through the pages. The customs of an African people was as exotic as the way of life of the Japanese. But the reporters also examined the strange attitude and behavior of German Schuetzenvereine (shooting clubs).
Not surprisingly, some photography companies regularly supported the magazine by purchasing ad space. Canon was a regular, but also Minolta and Pentax. Kodak and Agfa battled it out for their latest emulsions. Leitz only advertised their range of binoculars. Here is a sample of the ads, with plenty of text to underscore the technological advances.
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