Metal, metal, metal. Voigtländer lenses and cameras are legendary. The Bessa was one of the most popular folder cameras in the 20th century. In the 1960s, the Braunschweig-based company attempted to hold its own against the competition from the Far East. The Bessamatic represents the effort to offer a high-end, sophisticated, expertly machined camera to an audience of amateur photographers with deep pockets. It is heavy, weighing in at more than 900g. It is impressive. Solid. Complex. Full of ideas. Levers, gears and pulleys. A fine mechanic’s dream.
Flowering Fields in Floisdorf/Eifel. SuperDynarex135mm (Kodak 200)
Manual focus, manual exposure. A leaf shutter. My de luxe model from 1962 has a little window with a mirror which lets you see the aperture. Some call it a “Judas window”, others prefer the “nose”.
The Voigtländer Bessamatic eventually offered 9 interchangeable lenses from 35mm to 350mm. The marketing department used the slogan “…because the lens is so good!” The Color-Skopar 50mm is a great lens as well.
Bergneustadt, local history museum (Kodak Pro Image 100)Frederick Engels’ Factory: Engelskirchen (Kodak Pro Image 100)Walk in Frederick’s footsteps: Engelskirchen walk (Kodak Pro Image 100)
The Bessamatic tried to out-compete the Kodak Retina Reflex series and the Contaflex from Zeiss Ikon. It was priced at around 500 DM and pretty much out of reach for the average family in the 1960s. The camera cost about the same as an average person’s monthly salary! Depending on the accessories (the Zoomar lens was and is expensive, since it was the world’s first Zoom lens), the cost could approach the price of a brand new VW Beetle car! (around 3,700 DM at the time).
View over the valley: Near Floisdorf/Mechernich 135mm (Kodak 200)
What I always find remarkable is that the mechanics have held up so well, even if there is a point to saying a little prayer every time you put the Voigtländer into your bag. Not many mechanics can repair a camera like that…I was fortunate to find someone to do a complete CLA after the film transport failed and now it’s as good as new.
Modern and vintage: old roof and solar panels. Super Dynarex 135mm (Kodak 200)
The Bessamatic is like a vintage car you take out on sunny Sundays for a drive in the beautiful countryside. Then, you notice all the niceties you didn’t see at first. Designers came up with an ingenious little “foot” to stabilize the camera when you place it on a flat surface.
Slate rules the Bergische Land: Bergneustadt 135mm (Kodak Pro Image 100)
Many cameras from this era have a satisfying shutter sound. The Voigtländer Bessamatic de luxe is no exception. About 45,000 copies were made.
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 postwar-classic little gem. From the glory days of West German camera production. Great ergonomics, shutter sound and smooth film advance. A sharp lens. Inexpensive. The Contina IIa hits all the buttons. It’s remarkable how quickly after the devastation of the war the fractured Zeiss company was able to regroup and offer quality products to the world. This camera was produced in Stuttgart, West Germany, during the period of the postwar Wirtschaftswunder, the economic miracle. At this time, manufacturing was still semi-artisanal and involved many expert eyes and hands.
One caveat: The Contina series is confusing since the company used the name for different types and models, so you need to carefully inspect your copy and locate it in the Contina family tree. Maybe the designers and marketers liked the Italian flavor of the name too much…
Icicles have formed overnight (Kodak Ultramax 400)
Designed by Hubert Nerwin, the Contina started out as a folder but soon (1954) became rigid. It is not spectacular – a fixed lens and a leaf shutter. But like many well designed objects you grow accustomed to using it very quickly. A bit of a throwback to the days of craftsmanship and long assembly lines of quality control employees, the Zeiss Ikon Contina reminds us of the good times of the 1950s. While out of reach of the normal wage earner, it was something you aspired to, if you got a promotion, if you could afford the next little luxury. In a way, the camera embodies the promise of upward mobility. The Contina fits perfectly in your hand and has elegant controls. And a very bright viewfinder. But the proof is in the photos. Even the cheapest lens, the Novonar, is very good.
Evening mood (Kodak Gold 200)A small bog in the Eifel. (Fuji 200)
The light meter on my copy still works ok. It is fun to work with the LV scale and check it against my lightmeter app. At the time of production, the camera cost 215 DM which amounts to about 500 Euro today, quite a sum. Families would have to save for months to afford it. That makes the pretty shiny object into a status symbol as well.
Rapeseed field in the Eifel near Euskirchen (Fuji 200)
Even after 50 years, you can sense the precision and care that went into the manufacturing process. The pride of everybody involved. The meticulous quality control. The care that went into storing it into the case and keeping it in a cool dark space in your home. The leather case protected it from the wear and tear. No earthquake or flood could harm the precious family heirloom. The Contina was made for weddings and birthday parties, for anniversaries and New Year’s Eve. Maybe someone captured the 1954 World Cup triumph of the German Nationalmannschaft with a Contina.
The Wahner Heide (heath) on the outskirts of Cologne (Kodak Gold 200)
It’s practical, handsome, versatile. You cannot go wrong with the Contina as a sweet little beauty to carry on a walk through town. It works like the finely tuned mechanical object it is. A satisfying shutter sound, and the film advance ratchets smoothly.
Kronenburg, the little gem, where inhabitants decorate the city (Fuji 200)Wasserschloss Bedburg-Paffendorf (Kodak Gold 200)A boardwalk leads visitors over the bog in Dahlem, Eifel (Fuji 200)
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The Cologne Cathedral is usually adorned by scaffolding, indicating ongoing preservation work (Kodak Gold 200)
This is the first instalment of a series on extraordinary cameras. The Canon AE-1 is not only a classic milestone in the history of film cameras, it also occupies a special place since it was the first modern SLR in our home. Beforehand, photography was rather challenging – you had to calculate distance and focus. Family photos were time-consuming, and the subjects quickly got tired of posing awkwardly, unless you had a landscape or flowers in front of you. In those days, finishing a 36-frame film took months. It was expensive to develop the prints. On the other hand, you would sit down and share the photos, trying to remember together where this frame was shot. Purchasing the Canon AE-1 was a game-changer. It was faster, it offered a system of interchangeable lenses, and it turned photography from a documentary practice to fun. Mind you, it was not cheap: the cost was between 600 and 700 DM, which amounts to approximately 800-900 Euro in today’s age.
This demonstrator in front of the cathedral reminds us that “weniger” – “less” is more (Kodak Gold 200)
We took pictures when family gathered for birthdays and holidays, or when we traveled on vacation once a year. Subsequently, the stack of negatives and prints of a family archive neatly fits into a couple of shoeboxes and a few albums. By comparison, shooting digitally means amassing tens of thousands of images, storing them on hard drives and computers, and possibly forgetting them.
Nighttime under a railway bridge (Kodak Ektar 100). Photo meetup event.
Picking up the Canon AE-1 is a joy. The ergonomics are brilliant, the weight is perfect with 750g, the shutter noise and the film advance are smooth and crisp after all these years. Great Japanese engineering. It is not complicated to handle, since it was designed for the enthusiast. As in the 1980s, the camera fulfills the mission: to improve the photographic quality of your images, to allow people to learn the craft, and to make lasting memories.
Open pit mining in Garzweiler (Kodak Gold200, 28mm)
The Canon AE-1 can be the workhorse for analog images, or it can be the Sunday treat. In my kit, the standard 50mm and a 28mm get the most traction. I am not a big fan of the old zoom lenses, so I try to stick to the primes. It is ideal for your photo walk around town, picking up some details or the occasional wider angle, here at use in the local industrial mining area.
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You cannot go wrong if you stash the Canon AE-1 in the bag for a stroll around. The camera does what the best sports referees attempt to do: It stays out of the way, allowing you to focus on the composition. There is a reason Canon sold millions of copies. It put a sophisticated electronic device into the hands of the consumer.
