Same Scene - Four Cameras, Four Films

On my (now not too) recent trip westward to Oregon, I made it a point that I would ensure that I would aim to have one scene that I would shoot with every color film camera at my disposal at the time.  As it was, I wound up holding off using my last shot on two of these cameras to ensure that I could perform such an experiment.

Finally, on the afternoon of June 20, at a stop called Corbett's View, overlooking the Columbia River Gorge, I took the opportunity to snap away to get results that I could compare.  The samples, already featured in several of the Film Folio features, are shown below

Zeiss Ikonta A 521, Agfa Rollei Crossbird 200 Film

Agfa Billy Record I, Expired Kodak Ektachrome 200 scanned with Color Restoration. 

Welta/Rodenstock Citonette, Provia 100F.

Balda Lisette, Velvia 50.

Overall, light leaks aside, there is a lot of differences in how this same scene was rendered on four different cameras and films.  I thought I'd have a clear "winner" in the batch, but I can't say that I do.  Nor can I say that one of these completely fails in its rendering.  It is a very interesting example of how the same scene can be given a remarkably differing appearance based largely on the film.  

And as we head into colder weather, I'm certainly glad to have these vestiges of a trip west in warmer temperatures! 

Film Fun Folio #6: Rodenstock Citonette and Provia 100F

Periodically, I'll be posting scans of some complete rolls of film on here, showing both the good and the bad, and giving some basic information as well a little write up of the shoot as well as the reasons why I selected each camera and film.  Enjoy the trip! 

Feature #6:
Camera: ca. 1936 Rodenstock Citonette 645 120 folding camera
Film: Fuji Provia 100
Locale: Oregon

I don't usually feel I have a good idea of a camera's worthiness until I have shot a roll of color slide film through its chambers.  After all, reversal film (as it is also called) leaves little margin for exposure error in the way that Color Negative and even Black and White films do. Every film camera that I've shot has seen at least one roll of slide film come its way while in my possession. Except the Rodenstock/Welta.  Since acquiring this camera from a sale on Analog Photography Users Group, I had started it off with a roll of Ektar 100, followed by Ilford and Fomapan offerings in Black and White.  With a westward trip on the horizon and a desire to get as many images as possible, it was the perfect time to finally give this camera a chance to show what it could really do when given a film that allows little room for error.  

1 - Portland, OR - f/8 1/50 - My first color transparency shot with this mid-1930's folder looks pretty flippin' awesome! The Twin Coach parcel truck interestingly dates from the same era as the camera! 

Fun with Film: Fomapan 200

The dilemma: "Free Shipping for all orders $49 or more!"

One problem... I had filled my "cart" with the 120 film items I wanted and it came to $45 and change. I could either pay the few bucks for shipping, or add another roll to the cart to bring the total beyond the threshold.  That much was something of a no-brainer.

But what to add?  I was already feeling a bit frugal so I didn't want to add another roll of $7 or $8 slide film to the mix, and I wasn't all that enthusiastic about color negative film.  The obvious choice was a roll of affordable black and white film, and while I had experience with some of these fine choices, there was something in me that wanted to try something new.

That something turned out to be Fomapan 200.

I already had some black and white stocks in speeds such as 25, 50, 125, and 400, so upon seeing this 200 speed film available for $4.39 a roll, it seemed the ideal choice, not just to get me the benefit of free shipping, but also to widen my inventory.  I had no clue when, how, or really IF I would even shoot this roll, but at least it was there.

It was only after ordering that I did a little searching on Fomapan 200 and discovered that it had an affectionate following.  Not only did a number of people regard it as the best film of the Foma lineup, but there were a number of remarks that it had a very traditional "vintage" film look to it.  That worked right into my wheel house.

Ultimately, the single roll of film made the trip west with me as a backup, and found its way into use in mid March.  I elected to run it through my ca. 1935 Welta/Rodenstock "mystery" camera, where it got to be my main film camera tag along on a day to take some snapshot type images in Chicago.  The camera performed great, and I handily filled the roll with images taken mostly under sunny skies.   Off the film went to Kansas for developing.

On the film's return, my first impressions were pretty immediate and impressive.  In looking at the negatives alone, they LOOKED to me like negatives that had been developed in the mid-20th Century.  Quite nice.  On scanning I was just as pleased to see a pleasing grain pattern and tonality in the images, apparently the result of an emulsion that mixes conventional and tabular grain structures.

But enough on talking, have a look and see the samples of the snapshots below.  I can say that I will definitely be loading up some Fomapan 200 in the not too distant future!

It is very fitting that my first photos taken on a film known for giving a classic look is of a very classic subject.  Chicago Union Station serves as the backdrop for these images that really gives off a 1940's aura to them, with the grain patterns and tonality. 

Film Rewind - A second take on some Film Cameras

If a look through the chronology of my posts is to be believed, I'm a "camera whore."  I get a camera, shoot a roll or two through it, and then stow it away as my fascination turns to the next novel project or acquisition in my repertoire.  

I am very proud to say that is not the case.

The story and interest in the machines does not end with the publishing of the article.  In fact, the article often sets about to be the springboard for even more new and novel fun with the camera once I have gotten a taste of its strengths and limitations.  As such, I thought it would be a nice idea to publish this follow up as a sort of "where are they now" feature. Enjoy! 

Seagull 4A-103

It's the very camera that got me interested in film photography once again, and after a little bit of trial and error, I got it working once again.  Since discovering the portability and fun of the folding cameras, I've used the Seagull less, but it is still a wonderful camera to use, though often maligned by "serious" photographers. Ironically, it is the medium format camera I've had the longest, and yet it is the newest in my collection, as every other 120 camera I own was somewhere in the world on the day I was born.  Below is a Provia 100F image taken with the Seagull.  I had to secure the camera on the rear of my car, causing the light bleed in the lower corner. 

Imitation Perle: Whispers of the Welta

It is often said that imitation is the sincerest form of flattery.  This definitely rings true for consumer products. It was often with much amusement that I would see "COBY" headphones done in a style and typeface that looked just like those from "SONY." There are many more examples to be sure, but I don't need to belabor the point.  

But what about products that look just like another established brand, but lack any markings whatsoever, leaving you to wonder if they are made by the brand itself? Is that flattering, or just downright odd?

And herein lies the mystery of my latest acquisition. It minces no words when it comes to who made the lens and shutter, but is totally "hush hush" on the actual manufacture of the camera itself.  Still, it is close enough in form to a Welta Perle to make me think it might be a product of this German manufacturer.  Thus, I can't resist the play on words in calling this new acquisition my "Imitation Perle." It turns out that this may be a Welta made camera marketed as either the Rodenstock Citonette, or alternately a Schaja 100, but I'm not entirely sure.  In any event, I'll stick to my moniker for now.

I stumbled across this camera upon perusing classified listings at the Analog Photography Users Group.  The seller listed the camera as an "Antique 120 Folder With Rodenstock Trinar 75mm 4.5 Lens," quite possibly also seemingly baffled by the lack of a maker to the camera itself. Initially listed for $37, the price for this working camera had just been dropped to $22 including shipping.  It seemed like a good buy with no big risk, and I'd been contemplating getting a second 645 folder to supplement my Ikonta A 521, so I wasted no time in making contact with the seller to make the purchase.

The camera arrived quickly and safely, and looked to be in good working condition.  It showed some signs of use, but considering it was over 70 years old, it was to be expected.  A gentle cleaning and some checks of the shutter confirmed that it was at least ready for a test roll. The shutter sounded like it fired pretty accurately, but instead of color transparency film, I elected to test this camera using a roll of Kodak Ektar 100 color print film to allow some degree of exposure latitude if the shutter speeds were off.  

The "Imitation Perle" on the left bears a lot of striking resemblances to the real article, seen at right, and has a nearly identical form factor despite a few interesting differences.