This lovely folder was made in Freital in Saxony before the Second World War. Still fully functional, and a bit quirky. This copy comes with a Schneider-Kreuznach Xenar f/2.8 lens and speeds up to 1/500 sec.
Near Mechernich. Fuji 200.
Unusual ergonomics as the camera is in a way upside down. But it does fit nicely into your hand, and the movements become second nature very quickly. The mechanics resemble a fine watch.
Double exposure. Bonn. Kodak Pro Image 100.
I started searching for a Welta Weltini after reading Murray Leff’s book on his wartime experiences. Lens of an Infantryman – McFarland (mcfarlandbooks.com) An American GI, he participated in the campaign in Western Europe and documented parts of it on a German camera: the Welta. Officially it was forbidden for soldiers to carry cameras. Why? If a soldier was captured and the camera would fall into enemy hands, it might make identifying units easier and give the enemy clues about troop locations. But Leff cleverly placated his superior officers by taking pictures of them and giving them a print as a present. How did he find a darkroom in a battle zone? He waited for nightfall and poured developer into his helmet.
Leff does not reveal if he used a Weltini or a different model but I like to think he came across a decent copy of the Weltini and made his wartime photos with it. A quality Rangefinder camera, made in Saxony, between 1938 and 1941. You have to get used to the operation as it is a bit counterintuitive. But it sits really well in your hand and is a fun machine.
Along the Rhine river early in the morning. Kodak Pro Image 100.Fritz Gruber Square (founder of Photokina), Cologne. Ultramax 400Surreal advertising figures. Ultramax 400
Agfa is one of the storied companies of film. Most of the time, Agfa produced affordable consumer cameras to promote its extensive line of film. This particular SLR from the early 1980s is relatively rare and was designed by a famous German design company, Schlagheck & Schultes. The body is black, but it sports the trademark orange button. I also like that the Chinon-made camera has an easy-to-operate double exposure slider. The Agfa is very suitable for double or multiple exposure images and can operate with all Pentax lenses.
Schloss Augustusburg in Bruehl. Fuji 200.
I have been using a standard Pentax 50mm lens. The Agfa Selectronic 3 is the best of the three cameras made by Chinon for the German company. It is a rebadged Chinon CE-4. I enjoy the unusual design, especially since I was also able to get my hands on a vintage AGFA strap and appreciate the AGFA effort to offer something special with this camera.
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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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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