A Rodenstock Imagon has tickled my fancy since the time i was taking pictures with large format cameras, but it was until now one of these optical legends crossed my way: It was an auction on Ebay for a 200mm Imagon in a Rolleiflex SL66 mount. As i am the proud owner of an old SL66 i bought the lens together with its set of three diaphragms and a ND filter. The day it arrived i took it for a test to the old northern cemetery in Munich, one of my favorite photographic haunts. This is the first roll of 120 film, a Fomapan 100 developed in Rodinal and scanned with a CanoScan 9000F. I took all the pictures without a diaphragm, so the soft focus effect is most pronounced. One of the pictures turned out to be not exposed, obviously the camera had a transport problem.
Actually, it was the celebration of a 50th birthday, half an hour by car from the town of Pisa in a tuscan winery. But for me the weekend was also a chance to take some pictures with my Leica CL in the hills of a Tuscany far from her touristic highlights where spring was already under way. With Leica CL i mean the old, analog camera that bore this name in the 1970s, not its present day digital descendant.
The CL was the wayward child of a german father (Leitz) and a japanese mother (Minolta). It was designed in Germany and manufactured in Japan, where it was distributed under the name “Leitz Minolta CL”.
The stereo adapter is one of the more rare accessories for the Retina. It goes into the inward bayonet of the camera where normally the lenshood for the normal and wide angle lens has its place. The adapter uses pentaprisms (instead of mirrors) which makes it rather heavy. The bayonet holds it firmly in place, though.
Because the adapter exposes two different pictures on one 35mm negative you can only make stereograms in portrait orientation – a format that is not really suited for 3D-photos as seeing with two eyes is per se a more horizontal affair.
The negatives were scanned with a Nikon Coolscan 4000 and were processed in the app StereoLabLite on a Mac.
To be viewed with red/cyan glasses.
In the days when i maintained my own black-and-white photo lab it sometimes happened that after a long night i forgot the odd print in one of the trays full of chemicals. Continue reading “Gallery: A chemical time machine”
Actually, i‘ve always had a weak spot for Kodak Retina Cameras. This goes back to a Retina I my uncle gave me a long time ago. The little camera had an uncoated 3.5/50 Schneider-Kreuznach Xenar lens and a body painted with black enamel that wore the scratches and blemishes of many years of heavy use. The fact that it lacked a rangefinder and the viewfinder was very small made focussing and framing some sort of guess work.
But the little camera had character and i knew that my uncle, an avid mountaineer, had used it to document his ambitious hikes in the bavarian alps in the late 1930ies. Because of its light weight and small pack size it became my trusty companion on many motorcycle trips throughout Europe. It never let me down.
This is a trip with two time machines – my Adler M200, a german motorbike built in 1953 and my Super Ikonta which is another 16 years older built in 1937.
It is a day in late summer 2017, the sun is still high in the blue sky dotted with white clouds, and i am looking for the little roads that lead out of the city of Munich to places like Oberschleißheim and Badersfeld through the bog to Haimhausen at the Amper river and further on to Amperpettenbach, Sulzrain and Lotzbach to my final destination Mariabrunn with its beautiful little church.