My CL in „in your bag“

For some time i am a keen follower of the category “in your bag” of the also in many other aspects inspiring website Japan Camera Hunter  and with every new post i marvel at with how much equipment we as photographers are willing to burden ourselves while walking on the face of this planet.  From a compact lightweight Olympus XA to a wooden 4×5 inch “travel camera”.  My most prevalent thoughts while reading are „Kudos for carrying the better half of a camera shop over the shoulder“, „That’s  a camera i’d like to have“ or „I should send them a picture of my own bag some day“.

Returning from a weekend trip to tuscany a couple of months ago, i did it: As soon as i returned to my flat i unpacked the contents of my small Lowe Pro Streamline 100 and arranged them on the wooden floor of our kitchen. I snapped a pic with my iphone, added a few explaining sentences and sent the content of my bag on a virtual journey to Japan. For quite some time i didn’t hear anything from JCH (don’t worry, they say in their blog that there is a huge backlog of submission) but one day my Leica CL appeared on their website behind a IIIc/f und followed by a M6 of the same make.  I still follow the category  „in your bag“ on a daily basis and now and again i register another thought like “I should send them a picture of my own bag someday …”

Time will tell when another of my many camera bags starts its journey to far-off Japan …

Gallery: A stroll through the Olympic Park, Munich with a Braun Super Paxette

A stroll through the Olympic Park on one of those magnificently sunny days in October 2018. My companions were Maya, the dog, and a Braun Super Paxette II with a Tessar 2.8/50mm lens. I used a Fomapan 200 black and white film which i developed in Rodinal 1:50 for 10 minutes.

Drachenmenschen und Hund Drachenmenschen 2 Schatten-Selbstportrait Baum Turm Hunde Sample Text Sample Text

School Teacher’s Leica – Braun Super Paxette II BL

Braun Super Paxette II BL

It all began at Ebay. I was looking for new lenses for my Leica IIIf and entered „lens, 39mm thread mount“. Among the results was a lens i had never heard of before, a Röschlein-Kreuznach Telenar 3.5/90mm. Amazing how many companies built lenses for the Leica, i thought, but then i read on. The Telenar was not a lens for the Leica but for a camera that was unknown to me until then: A Braun Paxette. The seller stated clearly that this lens was not compatible with the Leica. You could put it on a Leica, but it could not be focused because the flange focal distance of the two cameras was significantly different.

A line up of strange lenses

A compact camera in its ever ready case: Braun Super Paxette II BL
A compact camera in its ever ready case: Braun Super Paxette II BL

My curiosity was aroused, as i already owned a camera built by the Carl Braun Camera Works in Nürnberg, a little Colorette i hsf grabbed for two Euros at the bargain bin of a large photo dealer in Munich. Together with a half exposed roll of film that had been forgotten in the camera for decades. A camera with interchangeable lenses from the same manufacturer sounded quite interesting. A few weeks ago i ran across a Super Paxette II BL. I paid 10 Euros for the camera together with a Carl Zeiss Tessar 1:2.8/50mm, which is a lens not so often founed on a Paxette as Carl Braun preferred lenses from lesser known manufacturers in the south of Germany like Enna and Steinheil in Munich oder Staeble in Altenstadt near Schongau.

Coole "Spiegelbrille"
Mirrored glasses – cool, man!

When i took the camera out of its shipping box and removed the ever ready case (i really love these brown leather things) i noticed immediately that i was holding a precision machine made to the highest quality standards. It’s compact, it’s heavy and it’s nice to look at, featuring a matt chrome finish, pristine and nicely structured black vulcanite and – how cool is that? – a bluish shimmering glass pane in front of the viewfinder and the window for the frames that reminded me of the reflective sunglasses popular with the Hippies in the late Sixties. Fits the name of the camera that has pax in it, the latin word for peace.

 

Peace, brother!

In its hayday the Paxette was nicknamed „the teacher’s Leica“, but that monicker can not derive from its physical appearance which is definitely not commonplace or ordinary (but i don’t want to say that teachers are commonplace or ordinary). The Paxette boasts characteristic features not found on any other camera. And it offered for a significantly lower price similar attributes as the contemporary Leica M 3: Interchangeable lenses with corresponding framelines and a rangefinder that is coupled with all lenses.

Die Paxette (rechts) und ihr Vorbild, die Leica M3
The Super Paxette II BL (right) and its “role model” the Leica M 3. The exposure meter of the Leica is an accessory built by Metrawatt.

Featurewise the Paxette – at least my Super Paxette II BL – is technolgically ahead of the Leica as it has a built-in, albeit uncoupled exposure meter – a detail no Leica had until the M5 was released in the 1970ies. The meter in my Paxette – a selenium cell device built by Bewi – is still working, by the way. The fact that the little round window of the rangefinder is enclosed in the exposure meter’s honeycomb pane is one of the nice little details of the Super Paxette II.

No, this camera is not an enchanted school teacher who has had an encounter with a wicked fairy. Actually when i compare the Super Paxette with my Leica M 3 it is the Leica that looks conventional to me. And it is quite a big bigger than the compact Paxette.

A different kind of rangefinder camera

Maybe we are so used to see the Leica as the prototype of a rangefinder camera that we see other cameras built at the same time as rather peculiar contraptions. This starts with the leaf shutter of the Paxette that features times from one second to 1/500 second and is a bit slower than the Leica’s focal plane shutter that sports a fastest time of 1/1000 second. Leaf shutters and interchangeable lenses are not the ideal couple unless you put a leaf shutter in every single lens and this solution has its own disadvantages starting with the weight and the price of the lens. If you use one leaf shutter for a variety of lenses you have to refrain from extreme wide angle lenses, a 28 mm is the widest i’ve ever encountered with this kind of camera.

At least the exchangeable lenses of the Paxette are real lenses, not just front elements like the ones i have for my Kodak Retina III and which are rather cumbersome to use. To exchange a lens of the Paxette is easy: Just screw it off and screw another one on. At present i do not own one of these refreshingly compact supplementary optics that Braun bought at a variety of manufacturers, so i cannot say anything about their handling and image quality.

The handling: unusual

Zwei Schnellspannhebel - der linke dient zum Zurückspulen des Films
Two rapid advance levers – the one on the left is for rewinding the film

When you are taking pictures with the Super Paxette II you have to be aware of a couple of things. In order to take the next picture, you have to move the rapid advance lever on the right side of the camera twice: the first swing moves the film, the second tenisons the shutter. In this respect the Paxette is quite similar to the first models of the Leica M3 which also had a double-action lever.  What the Leica does not have is a second rapid advance lever on the left side of the camera that is used to rewind the film. For me this is the only really cumbersome detail with the Paxette. The continuous movement of the left thumb is a rather unusual one even to the experienced photographer and much less inutitive and slower than turning a knob or a crank – both of which would not find a place on the Paxette because of the placement of the dial for the exposure meter.  An additional operational bewilderment is the fact that you have to press a button on top of the camera continuously while rewinding. In case you let the button go the operation stops abruptly. To make things even worse: This button does not only look like a shutter release button, it is also placed exactly where this button normally should be: on the right side of the camera directly above the rapid advance lever.

Mechanical individualism

The actual shutter release button sits at the front of the camera, a rather hefty knurled knob on the right side of the shutter. You press it with your middle finger while your thumb operates the advance lever. Once you get used to it this worksharing is all right, and if you want to use a cable release that naturally cannot be screwed into a knurled knob, you’ll find the threads for it between two of the rather spacy looking “butresses” of the shutter assembly that kind of look like the stabilisation films of a russian space rocket.

But these are not all of the camera’s peculiarities. Others are a frame counter enclosed in the cold shoe you cannot read when a flash is attached, and the unusual construction of the Paxette’s back. It is not a hinged door we know from more modern film cameras, it can be removed completely together with a good part of the camera’s front after opening a big knurled screw surrounding the tripod socket at the bottom of the Super Paxette. Once this is accomplished, loading the camera is a peace of cake.

Who copied whom?

Sie könnten Schwestern sein: Super Paxette BL (1958, links) und Leica CL (1973)
They could be sisters: Super Paxette BL (1958, left) und Leica CL (1973, right)

And here is another Leica similiarity, but not with the M3 that was introduced in the 1950ies around the same time the Paxette was produced, but with the Leica CL that was built to Leitz’ specifications by Minolta in Japan from 1973 to 1976. So instead of calling the Paxette a school teachers Leica it would only be fair to call the Leica CL a university teachers Paxette.

Wer hat da bei wem abgeschaut? Braun Super Paxette II (links) und Leica CL mit abgenommener Rückwand
Who copied whom? Braun Super Paxette II BL (left) and Leica CL (right) with detatsched backs

Taking pictures with the Paxette: A  pleasant experience

But how does the Paxette stand its ground in every day photography? All in all remarkably well, i would say. It took me some time to get used to its unusual user interface, but after i hade trained my muscular memory to cock the shutter twice and release it with my middle finger at the front of the Paxette i was able to shoot the camera quite fast. The viewfinder is quite big and bright with framelines for the most common lenses, and the rangefinder with its bright patch is precise enough to get the focus of the 50 mm Tessar pinpoint sharp at f 2.8. I doubt that this is the case with the telephoto lenses of 90 or even 135 mm focal length Braun offered from different manufacturers. The base length of the range finder is simply too small. With my Leica CL that has a comparable range finder it is not really easy to focus the Tele Elmarit 2.8/90mm fully open. Once i have a 135mm for the Paxette i will give it a try and write a blog post about it. But talking about the viewfinder – the finder of the Super Paxette has a little detail i have not seen on any other camera: After taking a picture the left vertical line of the 50mm frame disappears until the film is transported and the shutter cocked again. Another nice detail of the special apparatus.

Zu nah beieinander: Die Drehringe zum Einstellen von Entfernung und Blende
Too close together – the two knurled rings for focussing and changing the aperture

One little quirk in the handling of the Super Paxette i did not like. It is more a quirk of the tessar lens, but i have read in the internet that it exists with other lenses as well: The ring to focus the lens is situated very close to another ring that opens or closes the aperture. When i was taking pictures with the Super Paxette i sometimes unintentionally changed the aperture when i wanted to focus the lens. This would not be so critical if the aperture ring had click stops so you could reposition the aperture without taking the camera from your eye and dial in the correct number again. Maybe i will get used to that gradually, at least the two rings are differently knurled.

All things considered the Super Paxette II BL is a camera that is capable of producing high quality pictures and a lot of fun to use. It is well built, sturdy and very compact – not only compared with the Leica M3 – even my CL – the compact camera of my choice when i need interchangeable lenses – is a couple of millimeters longer and higher than its role model from Nürnberg. Its elegant, more rounded shape in comparison with the more angular shaped CL make it an elegant looking camera. A part of this elegance is based on the fact that the Paxette has no lugs for a shoulder strap. So in order to carry it over your shoulder you have to have one of these brown leather ever-ready cases that were so popular in the 1950ies and -60ies. Some photographers hate these things and call them never-ready cases, i am extremely fond of them as they are good in protecting the camera and have that distinctively old fashioned look i cherish with the equipment of days gone bye. The ever-ready case of the Paxette is custom built for the camera with brown leather and chrome metal linings and the name “Paxette” is embossed into its front part. The leather is not as robust as that of my Kodak Retinas, but the front part is easily detachable so you are ready to shoot without having to open it.

Here are a couple of pictures from the first film i shot with my “school teacher”. I think they speak for themselves – and for the quality of the Super Paxette II BL.

Frau mit Hund, Braun Super Paxette II BL mit Zeiss Tessar 1:2.8/50mm
Lady with dog, Braun Super Paxette II BL,  Zeiss Tessar 1:2.8/50mm
Emily, Braun Super Paxette II BL mit Zeiss Tessar 1:2.8/50mm
Emily, Braun Super Paxette II BL,  Zeiss Tessar 1:2.8/50mm
Rote Radlerin, Braun Super Paxette II BL mit Zeiss Tessar 1:2.8/50mm
Red Rider, Braun Super Paxette II BL,  Zeiss Tessar 1:2.8/50mm
Frau mit Hund, Braun Super Paxette II BL mit Zeiss Tessar 1:2.8/50mm
# FIGHT, Braun Super Paxette II BL,  Zeiss Tessar 1:2.8/50mm
Ich zerstöre, Braun Super Paxette II BL mit Zeiss Tessar 1:2.8/50mm
I destroy …, Braun Super Paxette II BL,  Zeiss Tessar 1:2.8/50mm

 

 

 

 

 

A lost film found in a Braun Colorette

 

A couple of pictures from a film i found inside a Braun Colorette i purchased for two Euro at a photo dealer here in Munich. The camera still takes photographs but its selenium cell light meter does not work any more.  Looks like the film i found was used to document two family holidays – a trip to the south, maybe to Italy or Spain and a moutain hike somewhere in the alps. The last three pictures i shot myself when i tested the camera on my way home from the purchase. Two holiday trips an a stroll through the city some decades later – not many films stay long enough in a camera to collect this variety of pictures.

Braun Colorette
Braun Colorette

The Braun Colorette was a german bread and butter camera produced from 1956 to 1959 by the Carl Braun camera factory in Nürnberg. The lens is a Steinheil Cassar, a rather simple triplet.

Gallery: Street Photography with a Retina IIIc

The Retina IIIc is by far not the best camera for street photography you can imagine, but that does not mean it is totally unsuitable for it. Once you know how to deal with the uncoupled light meter with its exposure value system you can become pretty fast in adjusting to changing light situations, the bright lines framefinder is okay,  and the coupled rangefinder is as easy to use the one in a Leica M model. All this work pretty well together as long as you stick to the 50mm normal lens, a lovely and tack sharp Schneider-Kreuznach Retina Xenon with the rather fast full aperture of f 2.

Everything changes though if you decide to use one of the 35 or 80 mm supplementary optics you can attach to the camera instead of the front element of the 50 mm lens. In order to use those you do not only have to use a special viewfinder you can attach to the cold shoe on top of the camera, you also need to transfer the measured distance to one of two alternative scales on the bottom of the shutter-lens assembly.

The pictures in this gallery are from a roll of FP4 i shot in September 2017 in Munich.

Gallery: Central Cemetery in Sofia, Bulgaria

The pictures in this gallery were taken during an assignment in Bulgaria in September 2018. I used my Leica CL (analog) loaded with Adox Silvermax 100 b&w film which i carried along with my Leica M9 as a machine to capture private pictures. The film was developed in Silvermax developer diluted 1:29 for 11 minutes. For these pictures i used exclusively the Summicron C 2/40 mm, one of my favorite Leica lenses.

The Central Cemetery in Sofia is huge. It contains graves of well known bulgarian politicians like Todor Shivkov, a jewish cemetery, a necropole for deceased bulgarian pilots and war graves of various nations.

Travelog – a few thoughts on my travel photography

Writing my journal, Italy, August 1989
Writing my journal, Italy, August 1989

I’ve been travelling for decades. And i’ve been taking photographs for decades. These two things go naturally together, of course. Of course? Not necessarily. Amongst my many long or short journeys there are a few i did not take a camera with me. My reasoning then was that when i earned my  living as a professional photographer all year long i needed at least some weeks a year without holding a camera in front of my face. I wrote a travellog instead and so i have rather extensive written records of motorcycle journeys all over Europe without a single photograph to accompany them.   Now i sometimes regret not having taken pictures on these journeys. Why didn’t i at least take an old folding camera with me and hit the shutter release button once a day? No use in lamenting my omissions of old, and the records of those journeys have their very own unique carrier. When i read these lines, scribbled into scuffled notebooks in front of my tent or on deck of a ferry boat,  i feel like sitting in a cinema and watching a silent movie that has no pictures, just subtitles. Or like something somebody tells you about his journeys without showing you the corresponding pictures on his smart phone.

Even on my very first motorcycle journey in 1972 – i rode a DKW 250/2 from 1953, my friend an Adler M 250 built the same year – i had no camera with me. Instead we had a record player with batteries with us and a collection of our favorite LPs we listened to while sitting near a camp fire in a dry river bed somewhere in Catalonia. The fact that i have a couple of highly cherished photos from this trip is owed to the fact that another friend joined us with a Minolta SLR we used in turn to snap a couple of black and white pictures.

From a journey without a camera - DKW RT 250/2 (right) and Adler M 250 in Alfarras, Catalonia, 1972
From a journey without a camera – DKW RT 250/2 (right) and Adler M 250 in Alfarras, Catalonia, 1972

Of course i also undertook journeys that i have pictures of. Many pictures, actually, as my motorcycles became more reliable and my means of attaching luggage carrying systems to them more refined. When i was travelling with a sidecar, i even took a professional Nikon or Leica with me, together with a couple of lenses and a lot of film. In those days i sometimes believed it a photographic overkill to shoot on a private journey like i would on a photojournalistic assignment. Nowadays i am happy that i have eight magazines or so of color slides i then thought nobody would look at anyway.

Today i look at that from a different point of view. After i took up digital photography i shot literary thousands of pictures in the four or five weeks i was travelling. Compared with that number my old color slides seem ridiculously few. I scanned them all lately and am quite happy i took them. Could actually have been a few more …

A journey with a lot of equipment - Heavily loaded MZ ETZ 250 crossing the alps, 1989
A journey with a lot of equipment – Heavily loaded MZ ETZ 250 crossing the alps, 1989

I guess that in a few decades or so the myriads of digital travel pictures will be as valuable to me as the negatives and slides of old. But this means that they have to survive this span of time. A negative or a slide are physical entities that live in boxes or sleeves and if you do not throw them away they have a good chance to survive you and to be accessible to anyone in a hundred years or so. I recently scanned an old Agfacolor film my father took in 1967 and after fifty years the pictures are still there while the first digital photographs i took at the end of the last century are quite a challenge to find and recover from the various hard disks or photo CDs. Hard discs loose their magnetism, CDs are not readable any more after ten or so years (i can tell that from my own experience). I even have JPGs that have deteriorated from having been copied from one medium to the other and show strange color streaks.

My mother 1967 in Paris. Agfacolor negative film, scanned 50 years later
My mother 1967 in Paris. Agfacolor negative film, scanned 50 years later

A couple of weeks ago i came back from yet another journey. My first one since my return to analog photography, and with me were my lovely wife and four analog cameras: Retina III C (big C) for color negatives, complete with a 35mm and an 80mm supplementary lens, a stereo attachment and close-up lenses, a Retina IIIc (little c) as a backup (i never used it), a Rolleiflex with a Tessar lens for black and whites and a Polaroid SX 70 which i used for my project “Travelling SX 70”. My digital Panasonic GX 8 i had to take with me because of a video job on the way did not take a single photograph in the four weeks of this journey to central Italy.

But, i must admit, i had my iphone 6s with me as a photographic notebook so i could provide my analog photos with the proper place and date. When coming home i could not believe that i took over 2000 pictures with this little thing. Pictures i most probably will not look at again after cataloging my analog crop. But that is different story i maybe will tell in another post.