Here it is. Look at it, for this is the camera that definively made Leica… an underdog in the selling charts. Who’s to blame? Junior. Ludwig Leitz, Ernst Leitz’s son, was really full of himself In Junior’s eyes, ‘flex’ cameras were a trend that wouldn’t last: real men shot rangefinders. Now it’s not the fifties anymore, and we know what happened next. The Leicaflex shows the strong bias towards rangefinders in Wetzlar: they tried to design a SLR that was as little a common-lore-reflex as it could be.
In may ways, it reminds me of the first Contax I: a gorgeous camera with innovative features, just the wrong innovative features. But at least Zeiss made the wonderful Contax II immediately, so…
Besides, guys at Wetzlar failed to implement features that were common at the time, like TTL measuring or interchangeable prisms. If you are one of those who still say that this was made to prevent dust from entering the viewfinder, you are a fool with capital F. Had those people known what they were doing, they would have used interchangeable prisms, or at least a prism wouldn’t be fogged by its own natural glue over time.
We haven’t seen any official announcement, which, on the other hand is quite normal for Chinese (AKA from the country without law) enterprises, but we can now surely say that the Shanghai GP3 120 film isn’t being made anymore. For a year and a half prices have been skyrocketing in the evilbay and other gray market sites to insane amounts, and finally, even the most obnoxious offers have ceased. Sold out. Sould out and not made anymore. The auction you see above is from an ebay post. They sold the last three rolls for 111 US dollars. This makes every roll 37 George Washingtons, which is in-fucking-sane. And even more if you take into account that this was notorious for being the cheapest 120 film around, both label and quality wise. And I loved it, GODDAMIT. This is a twilight moment for the Baron. Everything I love goes. Don’t get me to like you: the Cosmos will kill you just to piss me off.
If there were analog cameras that truly were another breed were the Polaroids. The reasons that they were totally different beasts from the far more common 35mm and medium format cameras lies in the much larger area that the polaroid had to expose; you see, for all effects, the Polas were large format cameras only that its negative (because all Polaroid film involved a negative, and the really clever ones didn’t show it to you) was used only once on a single contact print.
The fact that they were dumbified large format cameras amazes me. Dr. Land, the designer of all Polaroid cameras very much followed the path set up by designers of 6×9 folders that were the rage until the popularisation of the 35mm cinefilm format in the early 1930’s by Leica. If you take a look at the first Polas from the 1950’s, the similarities are obvious. The folding served more purposes than just coolness: it was intended for portability. See, the exposure area being larger meant that the focal distance of the lenses involved had to be in proportion; this made for very large cameras, and here’s where the folding shines: it could be collapsed into the body when not in use and it was much lighter than any other alternative. With time, the designs were more and more simplified in order to cut costs and being able to sell the cameras for cheaper. What you see above, the Type 80, was an involution on the concept: it simply got rid of the bellows and changed it for rigid thermoplastic integrated into the film compartment; with setting operable from the both the body and the fixed lensboard.
What you see above is a Contax G1 camera body. Well, more exactly, this is the part in which you can verify that it was made in Japan by Kyocera, which, if you didn’t know, at the time when this camera was released was known in the West for making copying machines. The system was a flop. Not because the cameras and the lenses were bad: they weren’t. In fact, the lenses are on par with Leica, which is to say that they’re as good as a photographic lens can be. They failed because there was no market for such a product. Them guys at Kyocera failed to understand why they would totally fail at selling “Contax” cameras made in Japan.
Russophobia: Russians say you have a bad case of it whenever you criticize anything Russian or from Russia. They do it as much as Americans say you are anti-them whenever you don’t like something done by their government; well, in the case of Americans you won’t hear it as much just because many of them are so happily ignorant of everything that happens abroad. I myself have been accused of Russophobia sometimes because how I talk about Soviet cameras. What should I do? Saying they’re not bad compared to Japanese cameras? You’d call me a liar with good reason. Truth is I’m much of a russophile and I celebrate Russia and Russian culture as much as I celebrate American, and for one time, I’m not joking. That is not to say that I think that Russian or American governments always exert a good influence over the world, oh no.
I’m more exactly a nostalgic sovietmaniac, in the sense that I collect gizmoes from or related to the old Soviet Union. Again, no nostalgia about the USSR politically.
You know, when Oscar Barnack, the all-maker, gave the first Leica to us, he had a very specific idea of what he wanted to achieve: he wanted to give us a camera that was small enough to fit in your pocket and light enough to carry it on a sunday hike. That is, of course, the official story by Leitz, first owner of the Leica brand, and as storytelling goes, it is probably bullshit. More or less. Because you can’t trust someone who’s trying to sell you something. Except for me, the most honorable of merchants. You can trust me head-on because I love you more than I love my business. I like this creation myth though; just in the sense that it is so stereotypically German that it is almost hilarious. I see the eyes of Doktor B wide open in a closeup, the plane slowly travelling out and showing a demented grin: “Eureka! I vill kreate a kamera für zee hikers!”; all this in b&w 1930’s cinema film. Just sublime.
Why do I distrust the hiking camera myth? My two cents: too politically correct in its context to be true. Because, let’s admit it: if you build cameras, or cars, or battleships, your primary goal is selling them and everything else you’re going to add to this is just marketing.Baron I, is an exception to that, of course.
Ah! Another strange beast. Not because its rarity; in fact, it’s quite a common camera, but take a look at it. How on earth did them people at Olympus manage to put a reflex camera into this tiny compact body. Well I guess that the vertical half-frame (18x24mm) helped, but still… No, it’s a joke, I know everything about cameras: the magic trick here is a double porroprism, which in my language sounds quite funny. Porroprism rigs are potentially much smaller than pentaprisms, which allowed them guys at Olympus to build an SLR camera that was smaller than a 35mm rangefinder.
Main drawback: the image will be dim as hell, but hey, it’s so small.
One curious thing about this camera is that I’ve heard that long since now, in the era of the all-analog film making the Olympus PEN FT was highly coveted by still photography pros in the movie sets, as it offered the chance to shoot stills with frame ratio similar to that of cinema cameras. Now, with the digital age being irreversible both in photography and film making, it’s no more than a curiosity… But hey, it’s shiny and chrome, and you and me know that the gods of photography favor those who shoot with style.
Aaaaaaand, yes, I always have one or two in my store cause they’re so cool, so now you know where to buy one.
Yes, this day just ought to come. If you’re one of those bitten by the analog photography bug, I’m sure that you have an idea of what Lomography is. And if you have half a brain, I’m also sure that you know that their marketing is bullshit storytelling for hipsters. Oh, it’s so post-modern. Lomography is a brand that takes a lot of heat for pricing policies, but my beef with them is totally different. The one thing I find obnoxious about them is how they treat their potential customers like we’re retards. There are dozens of lomography products I would buy, but rewarding their communication policy just makes me sick. I mean, sometimes I, children, am a bit condescending on you, my few readers, but I do so because I know you can take a joke and that you will pick me with a grain of salt. Or more than one. I would crap my pants if someone ever took what I write here at face value, and that is the only thing that is for real about my writing.
Let’s leave Zenits apart a little bit now and talk about another immense, glorious, immortal, victory of the USSR in the consumer goods field: the Kiev SLRs. Well, the first generation of them. It is not that the second generation wasn’t an immense, glorious and immortal victory, but I have two hands only, so I can only bash one generation of Soviet victories at a time.
If you think Zenits are not a nadir of design, here above is a Kiev 15. You can call it whatever you want, I call it butt ugly. But I kinda love ugly cameras, you know.