The Yashica YK

       Quite a few of the two dozen or so fixed lens RF cameras in my collection arrived with extremely stiff focusing mechanisms. That's why I was happy when the Yashica YK I bought at an auction site for $15 was free of that defect. Of course, for just fifteen bucks I didn't expect the camera to be anything worth crowing about. But I was wrong. As a matter of fact, in terms of build quality and ergonomics, the Yashica YK easily stands up to its upscale and more expensive cousin the Yashica 35(see this blog, 2/15/19).
        Both cameras, for example, are fitted out with 2.8/45mm Yashinon lenses. Both have lever film advances; swing out back doors for easy film loading; and robust bodies that look and feel like they can survive rough handling.
        There are differences, of course. While the more expensive 35 offers a full range of shutter speeds, the YK offers only 25-300 +B. What's more, because the viewfinder and rangefinder windows on the 35 are set farther apart than those on the YK, the rangefinder on the 35 is the more accurate of the two.  Finally, the 35 offers a Copal MXV shutter with self-timer, while the YK features only a Copal shutter. Because the remaining differences between the two cameras are what I call "bells and whistles" designed more or less for convenience, I won't discuss them here. 
                                                

Yashica YK

        Given the differences between the two cameras and your needs and style as a photographer (as well as your budget), which of the two cameras would you select? As far as I'm concerned, either camera would serve me well, but I would probably choose the YK.  Here's why.
        The limited range of shutter speeds and lack of self timer on the YK wouldn't be a problem for me. During all the years I was active in street photography (and there are many of them), I'm pretty sure I didn't use shutter speeds slower than 1/30 or faster than 1/250 more than a few dozen times. And I was usually working at f8-f16. I don't remember ever shooting wide open. Finally, as far as focusing is concerned, I would set the distance at ten or twelve feet and rely on depth of field. Most of the time I hit the mark or was pretty close to it. I usually used Kodak Plus X (ASA 125) film or Ilford (ASA 100) in daylight. Ninety-nine percent of my photos were in black and white.
         Well there you have it: the confession of an octogenarian whose been left so far behind the digital revolution that he's not able to tell a pixel from a potato. And happily so. But that doesn't make me a Luddite. I have to admit that I was among the first to own a Leica M-9 when that camera appeared a few years ago. Using it was fun for a while. But I sold it when I began to miss the magical appearance of images in a tray of Kodak D-76 developer.

COMING SOON:The Neoca 35-k
                                               

      

Incredible Images from World War II

        I was in junior high school in New York City in 1949 when I got my first camera, a Kodak box camera. A few months later, I bought a Kodak Retina. That camera marked the beginning of my love affair with rangefinder cameras.  In the years that followed I owned and used five different Leicas, two or three Voigtlanders, a few Canons, a Mamiya C330, a Crown Graphic, a Rollei 35, a Polaroid, and many others, the names of which I can't remember.
       I used those cameras over a period of more than sixty-five years in many different locations and conditions. But none of my experiences came close to those experienced by a young Australian soldier who became a prisoner of the Japanese during World War II.
        In 1940 when he was still underage, George Aspinall joined the Australian Army and was posted to Singapore in 1941. As a going away present his uncle gave him a Kodak 2 folding Brownie. The camera had a 6.2 lens and captured eight 3 1/2 X 2 1/2 exposures on 620 film.

George Aspinall , circa 1980s

        On February 15, 1942 when he was just nineteen, Japanese forces accepted the surrender of British and Australian forces in Malaya, and Aspinall became a prisoner of war at the age of nineteen.  
        Determined to record the abysmal conditions in which he and his fellow prisoners were forced to live, and even though he would have been executed if the Japanese had caught him, the young soldier managed to hide his camera from his captors and capture and process what has been called "the most comprehensive photographic record obtained by an Australian prisoner of war of the Japanese." At the end of the war, many of these images were used as evidence at the War Crimes trials that followed.
        Aspinall's story is truly amazing, especially when you consider that he captured his images using Xray film he cut to size for his camera and then even managed to process the negatives in what can only be called impossible conditions. And that's putting it mildly. Remember that he was using a Kodak 2. How much more basic can you get? A pinhole camera, maybe.
        I hadn't known about Aspinall until I stumbled onto a book titled Changi Photographer: George Aspinall's Record of Captivity by Tim Bowden. Published in Australia, the book isn't readily available here in the States, but you can find it on the Internet if you're interested in seeing a series of extraordinary photographs that were taken under extraordinarily difficult conditions.

        Closer to home, Michaelantonio (Tony) Vaccaro was drafted into the U.S. Army early during World War Two when he was just twenty-one. Assigned to the 83rd Division, he served as a combat

Tony Vaccaro, circa 1940s

infantryman in Europe for nine months. But that's not all. At the same time he was in action as an infantryman, Vaccaro captured approximately 8,000 images of the war. And to make the young soldier's story even more interesting and incredible, the camera he used was an Argus C3.
      If you've served as an infantryman in a combat zone, you can appreciate the significance of Vaccaro's achievement, especially when you realize that very often he had to develop his negatives in an infantryman's steel helmet!
       Affectionately called "The Brick," the Argus C3 has also been called "The Model T of Cameras." Although it had just five shutter speeds and a 3.5/50 lens, it was sturdy and dependable. You can still find working units for sale for just a few dollars.
        After the war Tony Vaccaro enjoyed a long career as a commercial photographer and teacher. Interestingly, he kept his war photos out of the public eye until the 1990s when they were first shown in Europe. Later, he was the recipient of many awards. You can discover more information about this extraordinary infantryman/photographer on the Internet.
     
        After I read about Tony Vaccaro and his incredible achievements, I regretted having sold the Argus C3 Matchmatic I once had in my collection. It would have been interesting to have seen what kind of results I could have achieved with it.

COMING SOON: The Yashica YK


         
      

Vebur Classic 35

       When I saw the words "GERMANY USSR OCCUPIED" on a Vebur Classic 35 listed at an auction site, I could visualize the citizens of that war-torn nation laboring under the yoke of Soviet oppression. Now's my chance, I thought, to own another small piece of history. So I parted with $40 and waited for the camera to arrive. While waiting, I tried find information about the Vebur. But my Google searches yielded very little until I discovered that the Vebur Classic 35 is really an Altix IV re-branded for sale in the USA.

      When the camera arrived, I was delighted to find that it was in mint condition. But my joy was short lived when I found that the film advance knob was malfunctioning. No matter how many times I turned the knob, it wouldn't stop!
      Then I remembered that some of these vintage cameras must have film in them to engage the sprockets on their film advance gears before they'll function properly.
       I opened the back of the camera and  activated the film transport gear (blue dot, below) until it stopped, and discovered that all was well.

      Having done that, I was able to cock the shutter using a small lever set above the lens and test it at all of its speeds, 1-250 + B.
      At just about 4-1/2 inches, the Vebur Classic 35 (or Altix IV) is a rather small fixed lens camera that you can fit into the palm of your hand. It has a tiny viewfinder window. Amazingly, however, I was able to see the entire field of view even though I wear eyeglasses.
      The focusing mechanism operates smoothly from 2.8 feet-infinity. There are no click stops on the f stop selector (2.8-16). The tripod mount is centered on the bottom of the camera.
       One thing that puzzles me is that there's a triangle with the number "1" centered in it embossed in the camera's covering (yellow dot, left). The numbers 37/36/4002 appear just below the triangle. If you know the meaning of the triangle and numbers, I'd love to hear from you.

      Although the Vebur Classic 35 can't match other more finely crafted cameras of the fifties for elegance and finish, it still has many features that recommend it to photographers who have mastered the basics of photography and who prefer a basic tool rather than one loaded with bells and whistles.

     Sturdy, reliable, and practical, the Classic 35 is capable of producing decent images, either in black and white or in color. But I sure do wish its designers had included strap lugs on the camera.

COMING SOON: Incredible Images from World War II

The Kiev 4A

     The dealer in Russia who sold me this Kiev 4A kindly sent along an instruction manual. Too bad the manual is written in Russian (Cyrillic?), but it does make a nice addition to my collection.
      One of the nice things about Soviet cameras is that their serial numbers always begin with the first two numbers of the year during which they were produced. Both the body and the Jupiter 2/53mm lens on the unit shown here were manufactured in 1978.
       Another nice feature is that the viewfinder window and the rangefinder window on the Kiev 4A are set farther apart than they are on most other 35mm cameras. This makes for more accurate rangefinder readings.

       To focus the camera, you depress a small lever  at the top of the camera (yellow dot, below). This unlocks the focusing mechanism and allows you to turn a small wheel (blue dot) to focus the lens.
       Reviewers have discussed this procedure ad infinitum while pointing out that you must not let your finger block the rangefinder window (black dot) that sits below and to the right of the wheel. If you do, you'll disable the rangefinder.
    I found, however, that you can solve this problem simply by ignoring the small wheel and using the lens barrel (violet dot) to focus the lens just as you would on other cameras.
     Not visible in the photo, the shutter speed indicator scale (gray dot) is located just below the film advance knob. To adjust the shutter speed, you lift and turn the film advance knob (light blue) until a small black dot matches the speed you've selected. Shutter speeds are 2-1000+B. In my opinion, this system doesn't operate as smoothly as it should.   

        Many reviewers and critics have faulted the Russians (Soviets) for having produced shoddy and/or sub standard cameras. I suppose those criticisms are valid to a great extent, especially as far the units produced during the early years after World War II are concerned. But I don't think that's true for the more recently produced Russian cameras, especially those manufactured after the 1960s.  After all, the Soviets were the first to launch Sputnik I, an artificial earth satellite, as early as 1957.

       Although it can't match its German and Japanese counterparts in terms of elegance and craftsmanship, this camera is nevertheless a practical, serviceable, dependable, and less costly alternative to the well known Contax, which it mimics. Although it would never make my list of favorite cameras, the Kiev 4A does have a devoted following among users and collectors of Russian cameras.

COMING SOON: Vebur Classic 35

           

       
       
    

Yashica 35

     Not to be confused with the Yashica Electro 35, the Yashica 35 was the first fixed lens camera Yashica produced. Unlike the Electro 35, the Yashica 35 is a  fully manual unit with a 2.8/45 Yashinon lens that seems to be scarce and rather hard to find. I was lucky to find the one shown here at an Internet auction site for just $60. Luckily, it was fully operable.
     I really like this camera. The controls are readily accessible, and the lens is set well into the barrel for protection against glare. The back swings open for easy film loading. The shutter is whisper quiet. There's even a self timer lever peeking out from the bottom of the lens barrel.  And to add a bit of nostalgia to the mix, the Yashica looks to me a bit like the Leica M3 I used back in the days before Custer's Last Stand at the Little Bighorn

       Another good feature is that the viewfinder/rangefinder window (which is larger than that of many others) is integrated. What's more, just below the rewind knob with its fold up lever you can see a thin dial that is used to indicate the ASA rating (10-400) of the film in use. After you turn the dial, the number you select appears in the small window to the left of the knob.

      Instead of a rewind button or lever the Yashica 35 has a small dial (red dot) set into the base plate of the camera. After a few tries, I found that you must reset the dial to "A" after you've rewound the film. If you don't, the film advance won't function correctly.
      Adjacent to the blue dot in the photo you can see a tiny screw. If you remove this screw, you can lift the lens out of the barrel to access the leaf shutter. The yellow dot marks the shutter speed selector dial (1-500+B). The green dot indicates the non click-stopped f stop selector; and the white dot at the left in the photo denotes the knob on the focusing ring. The depth of field scale sits atop the lens barrel and is not shown in the photo.

     If you can find a Yashica 35 in working order and for a decent price, and if it's the kind of camera you enjoy working with, I recommend that you snap it up. The Collectiblend website currently values this camera at $60-$160 depending on condition.

COMING SOON: Kiev 4A

Diax IIb

     The Diax IIb is another early post World War II camera that makes you wonder how craftsmen in Japan and Germany managed to create excellent cameras within a relatively short time after their countries had been devastated by the war. Consider, for example, the problems they must have had related to materials, skilled  manpower, and even  factories in which to work after many of their cities had been bombed to rubble.

      Manufactured by Walter Voss in Ulm, Germany during the 1950s, the IIb was a 35mm interchangeable leaf shutter lens camera that had two viewfinder windows, one for a 50mm lens and a second for an 85 or 90mm lens. The camera I

have sports a 2.8/50 Xenar lens that is the easiest leaf shutter lens to dismount and mount I've ever handled. To accomplish this, you simply align the lens with an internal pin and turn the knurled knob (green dot) either counter clockwise or clockwise.
      The red dot marks the aperture adjusting ring; blue delineates the focusing ring; yellow indicates the shutter speed adjusting ring (1-500+B). Notice that, unlike on most cameras, the tripod mount is more or less centered on the bottom of the camera.  

     As shown in the photo (left), at just 4-3/4" wide the Diax IIb is somewhat smaller than other cameras of its time, but it's well engineered and solidly built. 
       But that's not all. As seen when viewed from above, this camera can boast of several nice features.   
     Notice the small knurled wheel that's located at the end of the film advance lever. Its purpose is to make using the lever more comfortable. The film counter peeks out from the front of the lever. And because it's oversize and easy to turn in its fixed position, there's no need to pull the rewind lever up to rewind the film.  Unlike many other cameras of its time, the Diax IIb also has a removable back that makes film loading easy.

COMING SOON: Yashica 35

      

Canon IVSB and IVSB2

        Because Canon manufactured a great many Leica copies that resemble each other during the 1950s, it's difficult to tell the difference, for example, between the Canon Models II, III, and IV. But help is on the way at http://ricardojfb.wixsite.com/fotofix.  That's where I was able to verify the model designations of several of the Canon vintage cameras in my collection.
       Consider, for example, the two cameras shown here. Not only do they resemble each other, they also resemble the Canon IIA, IIB, IIC, IID, IIIA, and others. Are you confused? Well, join the crowd. But rather than cause you more agita, I'll just go ahead and reveal the identity of these two Canons.
        The camera on top in the photo is the Canon IVSB2, 16,800 of which were manufactured from 1954-1956. It was the last of the Canon knob winds. At this writing, the Collectiblend website values the IVSB2 at $120-$320 for the body only.
         The camera on the bottom is the IVSB2s predecessor, the IVSB. Canon manufactured 34,975 units from 1952-1953. The IVSB was the first Canon model with X flash synch. At the Collectiblend website it's valued at $100-$280 for the body only,
        But if I hadn't revealed their identities, how would you be able to tell the difference? To answer that question, we need to take out our magnifying glass and study the two units closely.

       The Canon IVSB2 is at the top in this photo. Notice the progression of speeds (60, 125, 250, 500, 1000, B) shown on that camera's shutter speed dial  and compare those speeds to the shutter speeds of (40, 60, 100, 200, 500, 1000, B) shown on the IVSB.
        Note, also, that the shutter speed selector dial on the IVSB2 is marked 30-1 while the same dial on the IVSB is marked 25-1. 
       What's more, if you were to examine the slow shutter speed selector dials on the front of each camera, you would discover more differences.
        Another difference is that on the IVSB2, the shutter speed selector remains set at your selected speed after you depress the shutter release. On the IVSB, by contrast, it does not.

        Now look closely at the film counter dials located below the two cameras' film advance knobs. On the IVSB2 you see a scalloped ring with a red marking on it between the knob and the counter. This ring is missing on the IVSB.

        If I had to choose between the two cameras, which one would I select? Truth to tell, either the IVSB or the IVSB2 would work well for me. They're both beautifully crafted and mechanically sound. But if push came to shove, I'd have to select the IVSB2 simply because the viewfinder offers a slightly brighter and wider field of view. If you wear eyeglasses, as I do, you'd probably make the same decision.

COMING SOON: The Diax IIb

Olympus Ace

       Introduced in 1958, the Ace is the only interchangeable lens 35mm camera Olympus produced. There were two models: the one shown here and a second version that featured a built in selenium light meter. If you're a minimalist who doesn't use cameras that are decked out in all kinds of whistles and bells, then this one's for you. Completely devoid of gizmos and gimmicks, the Olympus Ace is a model of simplicity and ease of operation.

     The Olympus Ace comes equipped with a  2.8/45mm Zuiko lens. According to the owner's manual, two other Zuiko lenses are available: a 2.8/35mm and a 5.6/80mm. I think another lens was added later, but I'm not sure. These are dedicated bayonet lenses that can be mounted only on the Olympus Ace.
      The "Golden Bright" parallax corrected viewfinder window is large enough to accommodate eyeglass wearers without a problem.  Because the 35, 45, and 80mm frame lines appear in the viewfinder, there's no need for accessory finders. Note the large light gathering window between the rangefinder and viewfinder windows.

      To remove a lens, grasp the two knobs (blue dots), depress the lever (green dot), and twist the unit counterclockwise. Reverse the order to replace the lens or to set another one in place.
       Interestingly, just about the only concession Olympus made to anything beyond the inclusion of basic controls on the Ace is the self timer atop the lens barrel. (small red dot).

      The controls for the camera's aperture, shutter speed, and focusing mechanism are conveniently placed on the barrel of the lens. The green dot marks the click stopped aperture adjusting ring. If I had one complaint, it would be that it's difficult to see the little black dot on the lens barrel that delineates the f stop openings. White denotes the knurled focusing ring. Yellow indicates the depth of field scale, and fuscia marks the shutter speed control.
       The X that appears in the little window indicates electronic flash. A small lever (blue dot) switches to the "M" setting for flash.
     

          Viewed from above, the Olympus Ace sets the standard for simplicity and ease of handling. All you can see are the rewind knob, the accessory shoe, the shutter release, the film advance lever, and the film counter window.
  

      Viewed from below, the Ace reveals only the rewind button and the tripod socket, which is nicely placed in the center of the base plate. Unlike those in many other RF cameras, the rewind button on this camera doesn't have to be held down while you rewind the film. That's a nice touch.
       
         Because of its excellent viewfinder; its logical placement of controls; its ability to mount several supplementary lenses; its whisper quiet shutter; and its swing open back cover, the Olympus Ace is an excellent choice for the street photographer. There is, however, one major problem. Because Olympus produced relatively few of these cameras, they're somewhat scarce and difficult to find. At this writing I saw just four units for sale at a leading auction site. But the good news is that the prices for them aren't very high. The Collectiblend website values this camera at $60-$160 depending on condition.

COMING SOON: The Canon IVSB and IVSB2

     

       
       

    

Three Interchangeable Lens Leaf Shutter Cameras

     Although most 35mm cameras that have leaf shutters also have fixed lenses that can't be removed, there are exceptions. Among these are the Braun Super Paxette; the Argus C44; the Diax !a and IIa; the Werra III; the Kodak Retina, and others I'm not aware of. In my collection I have three similar cameras: the Minolta Super A; the Leidolf Lordomat; and the Olympus Ace.

Minolta Super A with 2/50 Super Rokkor

     Introduced in 1957, the Minolta Super A is a rather bulky camera that featured seven interchangeable lenses ranging from 35mm to 100mm. The large bright viewfinder shows the fields of view for the 35mm and 50mm lenses, but you'd need accessory viewfinders for the 85mm and 100mm lenses.
     On the back of the unit there's a metal chart that shows the depth of field for the 35mm, 85mm, and 100mm lenses. The depth of field for the 50mm lens is engraved on the front of the camera.
    The camera's shutter speed control is a small black wheel that pokes up through its top plate. Quite unusual. For more information about the Minolta Super A see this blog, 12/15/18.

Leidolf Lordomat with 2.8/50 Lordon

      The Leidolf Lordomat is one of the most elegant cameras in my collection. Introduced in 1953, it featured 35, 50, 90, and 135mm lenses. The bright viewfinder shows the field of view for the 50mm lens, but you'd need an accessory finder for the other three lenses.

       On this camera the distance between the viewfinder window and the rangefinder window is greater than it is on  most other 35mm cameras. For more information about the Lordomat see this blog 12/2/18.

Olympus Ace with 2.8/45 Zuiko

      Said to be rare and hard to find in decent shape, the Olympus Ace was introduced in 1958. It features just three supplementary lenses: the 2.8/35; the 2.8/45; and the 5.6/80.      

     Because all three frame lines are visible in its combined viewfinder/rangefinder window, no accessory finders are necessary. 

     Like the Minolta Super A, the Olympus Ace is blessed with a swing open back for easy film loading. Viewed from the front, it bears some resemblance to the Leica M3.

    For more information on the Olympus Ace see this blog 02/06/19.