Inst-amour! The Kodak Instamatic 700-800 Series

In most cases, I'm a terrible "Collector."

Though I may pick up vintage film cameras to a large degree, there have been few if any genres at which I've collected the entire set.  I don't need to have every Univex AF folding model.  Nor am I pressed to have the all black variant of the Pentax ME Super as well as the "SE" edition with diagonal split prism to round out my arsenal of that model.  And I'm never about to try to collect every lens offered for even the most meager SLR camera models.

But yet, I took an odd departure from my historical tendencies to snap up an example of each in one of the most endearing camera series that I've happened across this year...

In formation is the entirety of the 700/800 numbered series of Kodak Instamatic cameras. At the top of the stack are the 700 and 800, with the 704 and 804 in the middle, and the 714 and 814 making the foundation for this heavy stack of American cameras.

The Kodak Instamatic 700 and 800 series stood at the top spot of the American-made Kodak 126 cameras, and embody a remarkable sense of quirk and flair packaged in a durable housing with a surprisingly usable feature set.

Zeh, not Meh - The Zeca Zeh Goldi Camera

For the classic camera collector, picking a handful of favorites can not only be a huge challenge, but it can also be something that largely defies strict logical thought.  

Consider one of my recent acquisitions that has quickly catapulted itself into "Top 10" camera status among my varied collection.  This is a camera that lacks any focusing aids whatsoever, has a top shutter speed of a "whopping" 1/125 of a second, and uses a film format that is especially difficult to find.  

So why would I be so enamored with a camera with such a limited feature set and usability? Because what I have is a camera compact enough to fit in a shirt pocket featuring a sharp, fast f/2.9 lens capable of focusing down to a mere 18", and giving an image size nearly 40% larger than the frame of 35mm film, all in an extremely well made housing indicative of a quality standard that has been abandoned for decades.  This little favorite of mine is the Zeh Goldi.

The diminutive and delightful little Zeh Goldi.

Though marked as "Zeca," the brand of this little known camera is actually known as "Zeh." This German camera maker released the Goldi in 1930, primarily as a half frame shooter of 127 film, though some less common full frame examples are also known to exist.  Zeh also made versions of this camera body for Rodenstock, which sold it as the Ysella.  Thus, while many various lenses can be found on Goldi cameras, it seems that Rodenstock Trinars are among the more common variants.  My particular version has a "Zecanar" branded lens, which may be of Rodenstock make, though it has a particular "hidden" talent that the Trinar variant lacks.  More on that later. 

Kwentisentially Kompact - Agfa's Karomat 36

For as long as I have successfully been able to use it, I have loved my Kodak Bantam Special 4.5. Its incredibly compact design and intuitive manual controls make it one of the easiest fully manual cameras I have yet to use. Add in that it is a family heirloom and this basic little camera that few employ today in their photo taking regimen sits uniquely as a favorite of mine.  
And while I do like the quirky and unique attributes of the 828 film format, even I can admit that I'm not always eager to cut down 120 film to respool to fit into my small cadre of 828 film cameras. Yet, with no Kodak-made 35mm equivalent to this trim Bantam model, I elected to look about to see if there was an affordable Bantam-like imposter made by anyone. So when this camera showed up on my radar for about $20, I knew I had found a contender for my 35mm Bantam. 

The look of the Agfa Karomat 36 is in some ways simple and elaborate at the same time. 
The Agfa Karomat's structural resemblance to the Bantam is certainly not just coincidence, as both cameras have their origins rooted in compact design practices of the era. With the Bantam, this came in the form of the 828 film, among the smallest of roll film sizes at the time of its introduction in 1938.  With the Karomat, the lineage reaches back to the use of Agfa "Rapid" cartridges, a spool free cassette using 35mm stock that was the basis for some of Agfa's earlier attempts at 35mm.  Coincidentally, Ansco, with which Agfa would collaborate, also used a similar cassette for their Memo box camera.  

The 127 Auto Ultimate? Ihagee's Auto Ultrix Westentaschen 2850

Some things take work to get right, be they relationships, recipes, or simply routines.  And while instant gratification can be a wonderful thing, there comes a certain sense of satisfaction in working carefully to improve upon something imperfect to gradually improve upon it. 

But getting to that point is not always easy.  It often takes a lot of trial and error, and some careful attention to detail to get things right, or at least close enough.  

Which brings me to my latest feature...

Despite looking rather imposing in this photo, the Auto Ultrix dimensions of roughly 5"x 3" x 1.5"

It had all of the hallmarks of a perfect shooter for me.  Compact and classic in style, yet capably equipped with a Zeiss Tessar lens, this Ihagee Auto Ultrix Westentaschen 2850 (hereafter to be referred to as the "Auto Ultrix" for the sake of brevity) seemed to be my "full frame" 127 format folder that I'd hoped the Agfa Billy Zero would be.  Found through a Craigslist ad, I paid a decent amount more than my typical threshold, but figured that this treat would be worth the investment, as the price was fair.

No Spartan Here! The Spartus Roxmar

The great thing about having a hobby shooting film in classic film cameras, and making the world aware of it is that eventually, someone will come along and help you feed your sickness! 

Not long after posting my article on the rather cumbersome Samsung Maxima 105, Mike Novak, a fellow member of the Facebook Vintage Camera Collectors Group, offered to send me a handful of cameras to borrow to which I could give a try.  Though he sent along a refinement of the Samsung Point and Shoot series, he also sent along a particularly charming camera that piqued my interest the most: The Spartus Roxmar! 

Point and Shoot Pity Party Part 4: The Olympus ∞ Stylus Zoom

This is Part 4 of a recurring series on basic point and shoot consumer cameras, the details of which can be found here.

To most bargain hunters, the term "As Is" can often be a deterrent, but to the savvy film camera bargain hunter, is is not often a deal killer, due in large part to the excess challenges for the average seller to find a battery and film, and to process it to test its functionality.  As such, I really didn't blink when I saw these words on the price tag affixed to the Olympus ∞ Stylus Zoom as I browsed through the downtown hospital thrift shop.  While its specs didn't wow me over, the price of this camera and the inclusion of the original box and manuals made it a pretty easy buy after a morning of jury duty.  It seemed a good candidate for this pity party! 

Front View (closed)

Front View (open)

Top View

Through the small viewfinder.  Note the centering focus marks and the close framing line near right top. 

Name: Olympus ∞ Stylus Zoom

Format: 35mm

Type: Autofocus Point and Shoot 

Year: 1993

Features: Weatherproof, Self Timer and Remote, Red Eye Reduction, Slow-sync Flash Mode.

Lens: 35-70mm, f/4.5-6.9 (6 elements in 5 groups).
Battery: 1 CR-123 cell.
Manual: http://www.derrybryson.com/manuals/Olympus/35%20MM%20CAMERAS/Stylus%20Zoom%20instruction%20manual.pdf

Univexed Again! The AF-5, a Jewel of a Camera!

It was a depression era story of the likes of David and Goliath in which a small upstart business with no previous experience in an industry emerges upon the scene to create a surprising splash, selling thousands upon thousands of units and puts forth impressive competition to the industry giant.

And nearly as soon as it ascended, one big logistical decision would lead to its rapid decline.

It is the story of Universal camera, documented in print as well as online.  Had its momentum not been upended by global conflict that cut off its supply line, it is anyone's guess as to how history would have played out for this once popular brand.

The "Univex" AF line was in many ways the bread and butter of the company, debuting in 1935 and bringing low acquisition cost and extreme portability to the masses.  Initially costing under a dollar, successive models that added improvements resulted in modest price increases over the following years, but these value priced cameras were merely a gateway to sell film and developing on Universal's "00" size film, the real cash cow of the operation.  Thousands of these cameras were made and sold, and within a few short years, Eastman Kodak had some serious competition to their value market from Universal folks, whose AF line had sold over a million cameras by the late 1930's.

Add in escalating conflict in Europe and this competition came to an abrupt halt.  Gevaert in Belgium, supplier of the film for the Univex lost their trade lines to the west as World War II began taking shape, resulting in a sharp dip in sales of both cameras and film.  By the time the connection was restored, the damage had been done and the "00" format faded away from view by the early 1950's.

As a result, perhaps more than any other single camera model aside from the 116 format Kodak Vest Pocket 1A, the Univex AF may hold the distinction as the most common camera model seen today for which film in its format can not be reasonably acquired.

Today, the five models of the AF line are coveted by many camera collectors who enjoy their art deco styling and miniature footprint.  But it seems that these sleek little cameras are too often relegated to being display items partially as a result of the film availability issue.  Go ahead and try to "Google" for images taken with a Univex AF camera model.  I have the feeling you'll come away empty-handed.  I know I had no luck at all.  There is no Flicker group for shooters of Univex AF cameras, and no Lomography feature page.

Big camera, small footprint in what the gilded box states as being a "jewel of a camera." Univex AF cameras were all simple and cost effective folding cameras that emphasized portability.  Folded down, a Univex AF model camera carries a very modest footprint, as can be seen when compared to other relational items in scale. 

The Minister is My Friend: The Yashica M II

Friendships are always a mixed bag.  Some are marked by a certain sense of overreaching influence, where a person tries to give you guidance, whether solicited or not, and then that person all but expects you to follow their guidance to the letter.  Then there are those aloof friendships that lack any real involvement or guidance whatsoever, in which either party just does as they please without any mere mention of what might be best.

The best friendships however, in my humble beliefs, are the happy medium of the extremes listed above; those in which you are given some gentle guidance that is clearly spelled out, but are still given the latitude to make your own decision, knowing you are ultimately responsible for the outcome of your decisions.

Cameras can often run this same sort of gamut of influence.  There are those that are overbearing and force you to set exposure settings as they choose, or even to focus upon what they see as the focal point, with little to no latitude to change this up as you see fit. Conversely, other models offer you little or no assistance in your photographic mission, having no assistance in focusing, composition, or exposure settings. 

And then there are those which also strike that perfect balance between helpful and obnoxious, handily giving you all the information you need to make a great photo, and allowing you to choose what bits of these vitals you elect to implement in composing and shooting your photo, and letting you relish or revile the outcome, while patiently ready to give you that guidance again whenever you call upon it.  And to me, there are few which do this as successfully as the Yashica M-II rangefinder camera.

Three extremely similar cameras in build and specification, though only one truly carries the "Minister" moniker. 

Boxy Beasts of 127: the Bell and Howell Electric Eye and Revere Eye Matic 127

Resistance was futile.  

I kept telling myself I had no need to go into the format of 127.  I continually insisted that there was no benefit or interest in my part into making a mad foray into yet another largely forgotten format.

Resistance was futile.  

I discovered one really neat camera (article forthcoming!) that made the perfect gateway into this rather obscure format, so I snapped it up, dipping my feet into the 127 pool in the process.

And then with the format being formally introduced to me, I dove in.  I should have known just how futile resistance really was.

Often known originally as "Vest Pocket" format, the 127 roll film format provided snapshooters of the early part of the 20th Century with a truly compact option for photography when compared with the substantial cameras in 116 and 122 format also available at the time. The format was in many ways the most interesting of any, particularly given that it had a unique tendency to fade in interest, only to rise again as camera makers were able to create new ways to capitalize on its film size or convenience to reinvigorate interest in the format yet again.

As my own interest in the 127 format began to grow, and having finally made the leap into this sort of "mini-120" format, I happened upon a pair of square format 127 cameras that hit the market in 1958, both making use of selenium cell "Electric Eye" technology to be able to provide a rudimentary automatic exposure on its images, making them easier for the casual snapshooter to use.  The emergence of the fad of"Super Slides" around this same era helped to give both of these cameras an initial boost in the market when they were introduced.

And while many 127 cameras made through history were created with designs that emphasized portability and compactness, neither of these tend to follow that mantra. Instead, adjectives such as obnoxious, obtrusive, or even ungainly may come to mind when seeing the form factor of these cameras that make use of the miniature roll film format.

Meet the Bell and Howell Electric Eye 127 and the Revere Eye Matic EE-127!

Diminutive, Dapper, and Delightful - The Kodak Retina Type 141

Some of the best stories start out wherein one or multiple parties had been partaking of some mind-numbing intoxicants. And some of these same stories carry with them a degree of regret afterwards. 

I've had a few such occurrences of this, none of which need repeating here, aside from my very last one.  In this case, the intoxicant was a second glass of egg nog (Ok, so I'm a light weight!) during the week after Christmas, and the result of this imbibing was a new addition to my collection.  When the buzz had worn off, I wondered if I had made a mistake that I would regret, but it was one of those things of which only time would tell.

For a few weeks, I had been contemplating picking up a Kodak Signet 35 rangefinder camera, as I had read some good things about it.  However, given my recent experiences of the only borderline pocket-ability of the Kodak Retinette, I was a little leery about adding another camera that was wasn't fully portable to my collection.  As I looked through listings, I ultimately put in "Kodak 35" as my search term, and a page or two down, I was smitten by what looked at first glance to be a great deal: A "Kodak Regina (sic) Camera" that looked tiny and sparkling.  It was $30 to buy, and I suddenly wanted it.  Within 15 minutes, I was now a Retina owner.

I'd certainly heard of the Kodak Retina line of cameras from looking at various film camera collecting forums, and yet I had never considered one seriously.  Part of this was due to the fact that most of the Retinas I had seen showcased were later examples of rigid body cameras that didn't look to be the compact wonder that this little guy was, while nearly all Retinas of any vintage that I had seen listed for sale started at $50 and up, or so I thought. Yet, here was a clean example of a folding Retina complete with an Ektar lens for $30.  I couldn't resist.  I figured I had better snap this up before someone else did.

I can't say there was a full borne feeling of "morning after regrets" to follow these actions, but I was a bit nervous in wondering if I was getting anything resembling a working camera, as this just seemed a little too good to be true. As I awaited for its arrival, I did a bit of research to try to determine just what I had bought.

A review of a number of "Retina resources" would reveal that my new Retina was a type 141 dating from between 1937 and 1939, made in the early days of this camera's production. Despite the Kodak name, which previously elicited connotations of basic American made box and folding cameras, the Retina was of German make, produced beginning in 1934 when Kodak purchased the Nagel Camerawerks in 1931.  It was certainly a different breed of Kodak. 

The Retina's history would last for decades, though nearly each successive model would get larger and larger, first to incorporate a rangefinder, and later to abandon the folding design, while also adding in a light meter. Fortunately, since mine is of an early vintage, it remains stellarly svelte.

My worries of a bad decision began to evaporate, most notably when the camera actually arrived.  There before me was a glistening mechanical jewel, completely functional and ready for film.  My only lingering worry was that there was some haze in the 75 year old lens that I worried might impact contrast.  As such, I elected to load the Retina with a strong contrast film, Rollei Retro 80S to try to impart some additional snap to the images. 

Film Fun Folio #21 - Agfa Billy Record and Rollei Retro 80S

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 #21:

Camera: ca. 1951 Agfa Billy Record I with Agnar 75mm/f 6.3 lens.

Film: Agfa Rollei Retro 80S 

Locale: Frederick County, Maryland.

Since the day I first used it, the basic Agfa Billy has been all but asking to be taken seriously in spite of its very limited shutter speeds, and its slow and basic lens.  It's a well working and easy camera to use, but in retrospect, it has often been overlooked as a serious image maker for other cameras in my repertoire.  As a result, it has seen decent usage, but its most recent "assignments" have been more for novelty photography, such as with long expired film or as a test bed for cross processing of slide film.  

In these experiments, I had been pleasantly surprised by the quality of the images put forth by the less than revered Agnar lens.  Thus, I elected to approach this roll of my much liked Retro 80S film with a more serious tone.  All shots were exposed at an EI of about 50 and all are taken within an aperture stop of one stop from wide open.  And this marks one of the few times when I actually load one of these old cameras with film that has a common brand with it, as Rollei film carries the same Agfa diamonds as this camera.  

Though sent off with 7 rolls of color 120 slide film of colorful fall scenes for developing, I was extremely eager to see the results from this roll taken on black and white.  My findings are below.

1 - Catoctin Furnace, MD - f/8, 1/50 - I struggled for a good perspective from which to shoot this old iron furnace.  Foliage just didn't seem to fall in the most photogenic places.  The result above is OK, but doesn't quite hit the mark. 

Film Fun Folio #16 - Super Ikonta 531 and Rollei Retro 80S

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 #16:

Camera: ca. 1946 Zeiss Super Ikonta 531 with 105mm/f3.5 Tessar Lens.

Film: Rollei Retro 80S

Locale: Central Maryland.

It's a camera that took a little while to impress me, before finally showing its capabilities when I took it as a late addition to a March trip to Portland.  Despite this, the Super Ikonta had been sitting idly for months, as I lacked the time to shoot film in a way that rotated through my collection.  Finally, after being smitten by Rollei Retro 80S, I deemed that I'd run my next roll of this film through the 531 and hope I could manage to adhere to it's particularities in carefully cocking the shutter so as to avoid accidentally exposing the frame prior to releasing the shutter.   

1 - Baltimore, MD - f/11, 1/100 - A shot taken on a mild September day shows great sharpness, and some very pleasing tones.  The Super Ikonta is gradually looking a bit more super as I feed more rolls through it. 

The Varied Commute

A few months ago, I made a pretty significant change in my life, moving from my environs in Columbia MD out to Frederick, further to the west.  There are any number of reasons for this, but in doing so, I certainly weighed out the pros and cons.  One of the biggest cons was an increase in my commuting time to work in Washington DC.  However, I fancy myself one who likes exploring, and have always tried to "make lemonade from lemons."  In the process of settling in, I would try a number of different commuting options that involved various combinations of driving, bus riding, commuter trains and the DC Metro.  And each of these new views also brought with it a chance for some new photographic fun that I did not have on my previous commute.  Have a look at some shots taken on the Exakta, of my new and often varied commute.

Believe it or not, this image on Fomapan 200 was actually taken from the MTA commuter bus #515, and depicts a retention pond in the middle of the exit from Interstate 270 to Urbana.  

Film Fun Folio #10: Seagull 4A-103 and Rollei Retro 80S

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 #10:

Camera: ca. 1993 Seagull 4A-103 6x6 120 twin lens reflex camera

Film: Rollei Retro 80S

Locale: Central Maryland

You never know where you might get a tip about photography.  It can come in the most unexpected of places.  Somewhere above the badlands of South Dakota, a lady sitting next to me on a Portland bound Alaska Airlines flight took notice as I began to fill out the header information on the "Exposure Note Sheets" attached to some of my folding cameras, and began to tell me of an analog photography store in the far northeastern section of Portland called "Blue Moon Camera and Machine."  Intrigued, I checked out their website and found that they actually had a film in stock that I'd been curious to try, but had always seen as being out of stock at online outlets, or only available in a 5-pack: Rollei Retro 80S.  The film is a bit of a pricey one compared to other B/W film stocks, including even Rollei RPX25, but the curiosity to have a chance to try this film won out, and I made my way past this fascinating store during my stay in the Portland area to pick up a roll.  It was not until I got back east that I actually elected to use this film, opting to try it on the very camera that got me hooked back into film photography, the Seagull 4A-103. Not only did I think that the film would work well with the Seagull's tendency for softness at the frame edges, but I was admittedly missing the TLR shooting experience.

1 - f/5.6 1/300 - Okay, I now know not to trust the Seagull with the position of the START band on this type of film, as this exposure didn't even make it onto the film itself, but the backing paper in advance of the film. I don't even recall of what I took a photo. 

2 - Washington, DC - f/5.6 1/300 - When I saw even just the negative for this first shot, I was amazed at the lack of grain and sharpness.  I'm just as impressed after scanning.  This Rollei film is off to a great start!