In the latter a part of my old camera collection I’ll present 4 different: Zeiss Ikarex SLR, realistic stereo, Flexaret automatic and Polaroid Image Pro.
Stereo realist 1401
This camera is a present from the deceased Buda Tucker, who lived next to the House of Jan’s parents. He was a fan of photography and camera and had lots in his collection. The realist was designed and developed by Seton Rochwite and presented David White Company. Although they made some different models later, my copy comes from the primary round introduced in 1947.
As expected, the camera has two lenses separated more or less at the identical distance between two eyes of individuals. This placement ensures sufficient overlapping to two images to create a stereo vision, especially at medium distance. They also made attachments to family members and distant shots in framing. The lenses are marked with anastigm, and the aperture range is from f/3.5 to f/22.
He has a viewfinder and specializing in the Rangefinder at the underside of the camera. This placement uses your brow as support. The focus is completed by turning the feces on the correct side of the body while watching through the Rangefinder window. Rangefinder windows are situated outside the sting of the lens, and the view is transmitted through the prisms in the back of the camera to view.
The 35 mm film was formulated by jumping over the exposed. The camera format was also often known as 5-p or 5 perf, because each frame had 5 perforations. According to Wiki Cameras The website, 23.4 x 24 mm frames have been marked for the correct and B for the left and sequencled as 1A-Blank-1B-3A-2B-4A-3B-ETC.
The camera still seems to function from focusing within the Rangefinder after a “correctly sounding” shutter. There aren’t any markings within the camera, apart from the embossed reference to its manufacturer contained in the body. I remember how I saw a few photos that Bud took within the Stereo browser, but I didn’t load or shot any movie. Developing a movie and installing slides for watching might be a challenge today. But the strong camera reflects the sounds and pictures from the past era. Here is a realist stereo.
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Zeiss Ikon Voigtländer Icarex 35 S TM
This 35 mm Zeiss sparrow got here to me with Ergun. I imagine that he belonged to his brother -in -law. This old camera was originally designed by Voigtländer, but released after connecting to Zeiss under a typical name. This model has screwed the lens fastening, and S TM means a distinction from the previous siblings with bayonet mounting.
The Ultron f/1.8 lens closes to f/16, and its focal plane has a maximum speed of 1/1000. Pentaprism isn’t removed, and the CDS light meter requires actual opening of the opening to determine the exposure. Focusing gets some assist in the diagonal of the division zone inside, and the exhibition relies on the concentration of the needle in the joy within the viewfinder. There was an absence of buttons battery, so I do not know if the sunshine meter was still working.
Like many old cameras, this iConta can be quite heavy, with a major metal structure. ICarex cameras were produced in 1966–1972, when Zeiss stopped creating cameras. Meet the olds from around 1966.
Polaroid imagepro (SpectraPro)
This one definitely comes from Ergun! It was considered one of the later Polaroids and had advanced functions akin to the LED display and higher lenses. He was often known as a series of paintings in Europe and within the United States. He has been on the closet for at the very least 20 years. I pulled it out of the shelf like others, vacuumed several collected places and began photographing them.
Although the display showed nothing when photographing, I used to be surprised, seeing how the LED display activates after a while, the movie package was still in it! I wasn’t sure if it was an empty movie package or had a movie. I went downstairs, asked Jan to pose me and pressed the shutter. Whurrr, nothing!
I assumed it was an empty film package and I opened the front (hardly). No, there was the sting of the film, but she couldn’t push. I pulled it out and tried again with the identical results. The battery was adequate to power the LED display, but not strong enough to push the movie through the rolls. The second factor may very well be chemicals embedded in small pods on the sting of the film, they might harden. In any case, that is the explanation why you see the movie package next to the camera on the image!
Polaroid defined the era in photography in some ways. The magic of immediate photography, the unique features of Polaroid images and large cameras, which they created for unique originals, were legendary. Until their SX-70 model, all Polaroid movies had to be drawn manually, time for development, after which demolished. This process can challenge many users, and the SX-70 self-proclaimed film has been welcome. They developed and produced many alternative cameras and movies, after the SX-70, akin to the Image and Spectra series.
Pro models had many advanced functions, akin to manual display control and straightforward multiple exposures. Unfortunately, the film is not any longer created to try! I can only take a look at the old film package with amazement that her battery remained intact with juice! Here is ImagePro.
Mepta Flexaret VI Automatic
After receiving encouraging words for photos that I took with the camera that I borrowed from my uncle, I convinced my parents to buy me a camera. This is the primary camera I’ve ever bought, probably in 1963. It was modeled on Rolleiflex cameras, and TLR cameras were desirable at the moment. I took many movies with me for 4-5 years until I finished College and to the brand new Exacta VX 1000.
Flexaret was made in Czechoslovakia in 1939–1970. My model, Felexaret VI was introduced in 1962 and I probably bought one in 1963. It had an 35 mm adapter, which I probably tried once or two, but I used it mainly as a medium -shaped film camera. It took 6 × 6 cm, and the standard of the photos was excellent. The body is product of aluminum and covered with textured gray vinyl, which provides it a brighter look.
The lenses are Meopta Belar, 80 mm f/3.5, and the optical quality is kind of good. The aperture setting and shutter opening time are blocked in order that the nice value of the exhibition is maintained, even in the event you change one or the opposite. The locking mechanism is kind of easy, a two -term lever at about 4 latches on the perimeters of the breaking wheel.
Focus is completed using a dual -stinging double lever below the lens. I remember it was quite easy to use from each hands. The shutter button is situated on the correct fringe of the camera, and across the corner there’s a movie knob. The viewfinder on the waist level was easy to see, but now I feel it’s difficult. There can be a magnifying glass that may be easily turned so which you can bring it to the attention to see a ground viewfinder. It still works and I actually have the role of a movie. But I do not remember once I loaded it or I do not remember its speed! Meet my first camera, Flexaret VI.
Many square frames from the early Sixties adopted this camera are in a related post.
I promise that after that I’m not uninterested in older cameras! If you may wander, the background color is an indirect way to tilt my hat to film days.
