Retina Renaissance

        In 1948 I was thirteen and in junior high school in New York City when the photography bug bit me. I can remember walking to school and peering into the windows of the many pawn shops that lined Third Avenue between 96th and 86th Street at the time. What a wonderland! There you could discover musical instruments, radios, jewelry, toasters, and just about anything you could think of for sale. And especially cameras.
     

Retinette II from My Current Collection

    One day as I pressed my nose against one of the pawn shop windows, I saw what was to be my first camera. Of course, I didn't know anything about cameras, but I did know that the one I was lusting after in the  window was meant for me.
     For the next few months I saved every penny I could earn as a grocery store delivery boy until I finally had enough money to buy my new treasure, a Kodak Retinette II which I now know was manufactured in 1939.
      I read everything I could about photography for the next five years while I practiced my newfound skills with my little Retinette. Zone focus by rotating the lens. Set the aperture and the shutter speed using the Sunny Sixteen rule. Cock the shutter. Peek through the viewfinder and release the shutter. How much more basic could you get?
      In 1953 I entered the Army and found myself serving overseas with the 7th Division in Korea. That's when I lost track of my beloved little Retinette and all the photos I had created with it. At the time, I didn't think much of it, but now I realize it was a disaster.

        Since then, I've owned Leicas, Canons, Voigtlanders, Agfas, Konicas, Nikons, Minoltas, Niccas, Ricohs, Yashicas, and dozens of other cameras. But of all the cameras I've owned, I have to admit that the Retina is the one that's closest to my heart.
        Currently in my collection I have a Retinette Model 020;  Retinette 1a;  Retinette II (shown above); Retina 1 Type 117;  Retina 1 Type 148; Retina 1a;  Retina 1b;  Retina II; Retina IIa; Retina IIc; Retina Auto III; and Retina IIIc. Which of these cameras is my favorite? Of course, I'll always have a warm spot in my heart for the Retinette II. But my hands down, all-time favorite is the Retina IIa.
      
     

      For one thing, the IIa doesn't have the tacky EV system you find on the IIc and IIIc. And it doesn't have the IIIc's exposure meter. Nor does it have the film advance lever on the bottom of the camera.
       But it does have an advance lever mounted on top; an excellent 2.0/50 Xenon lens; a nice, bright viewfinder/rangefinder system; shutter speeds of 1-500 +B; and easily accessed controls.
        As you can see, there's nothing fancy about this Retina. Not for everybody, it's perfect for the minimalist who shoots primarily in black and white and doesn't require the refinements offered by many other cameras.

         If I were to make a second choice, however, it would be the Retina IIc. Although it does have the much maligned EV system and a bottom mounted film advance lever, it seems to be noticeably sturdier than the IIa. On this model, there's a shutter rack system that's more reliable than that of earlier models. And the bellows is no longer exposed. The IIc features, also, a new door latch system. As is true with other Retinas, the shutter is whisper quiet: perfect for street photography.

         The IIc in my collection sports a 2.8/50mm Xenon C lens that can be removed and replaced by either an accessory 80mm or 35mm lens. Being a charter member of the Hopelessly Addicted Retina Collectors Club, I've ordered the 80mm lens and a 30mm/80/mm Multiple Viewfinder just to try out for fun.
     You've probably noticed that I haven't commented on flash synchronization, hot shoes, or the like. That's because I used flash only when I photographed weddings back in the days when the Beatles drove teenage girls crazy and Marilyn Monroe sang Happy Birthday to President John F. Kennedy.

Retina IIc, Kentmere ISO 100 film

       I'm not planning to discuss any of the other Retinas in my collection at this time, but if you would like me to do so, please post a comment and I'll respond.

       On another topic, I used to use lighter fluid (naptha) to free up lazy shutters and to loosen frozen helical mounts. But then I discovered CRC QD ELECTRONIC CLEANER. Designed to clean and protect electronic equipment, this product does a much better job than the lighter fluid does. If you use it, be sure to read the warning on the back of the aerosol can.
        

     

A Gallery of Photos

    Here's a gallery of photos I created using some of the vintage cameras in my collection. I used Arista.Edu 100 film developed in D-76. I printed the images on an RC paper before I scanned them into my computer.

 

      I'll post more photos in future installments of this blog.

The Diminutive Zeiss Ikon Ikonta

      At just about five inches wide, the Zeiss Ikon Ikonta is small enough to fit into the palm of your hand. What's more, at just a wee bit over a pound, it's light enough to carry around all day without breaking your back. And because it's a folder, you can even slip it into your pocket when you're not using it.

     As is true with other Zeiss cameras, the fit and finish on this little jewel are superb, and so are the mechanics. You can barely hear the shutter click when you release it. The focusing mechanism is as smooth as butter, as is the aperture adjusting ring which has no click stops.
     The front cover drops down and clicks into place securely. The film advance and rewind knobs operate smoothly. The back swings open for easy loading, and the shutter release (photo, ten o'clock ) is nicely placed.
      The Ikonta features, also, a self timer, as well as flash synchronization with an old style connector that wouldn't be a problem for me because I never use a flash unit. Another plus is that, unlike many other vintage cameras I've seen, this one has strap lugs.
   

     That said, I have to admit that the Ikonta isn't a camera everyone would fall in love with. The lens, for example, is a 3.5/45mm Novar Anastigmat, which is not exactly the gold standard among lenses. And the camera's top shutter speed is an uninspiring 1/300 second.
     Because the camera has no rangefinder, you must estimate distances when you focus on a scene. Fortunately, however, the 45mm lens offers excellent depth of field. Finally, you must cock the shutter manually either before or after you wind the film forward.

      It takes fairly nimble fingers to operate this camera. Notice how crowded the controls are. But there are advantages. At least the shutter release at the right in the photo (left) is substantial in size, and the focusing ring that encircles the lens is easily accessible and moves smoothly.     


        Interestingly,  the oversized  film advance and rewind knobs are at the bottom of the camera. To rewind the film, you push in the button on the advance knob to disengage the take up spool. Then you must reset the film counter manually. At the left in the photo you can see the tab that you push down to operate the sliding lever that opens the camera's back. Note the simple, uncluttered design.
              
        Seen from above are a very basic film type indicator dial on the left topped by a screw that supports the camera's film take up spool.
         On the right is another unit that seems to be merely decorative. I think the camera's designers added this disc to help achieve a sense of balance.
         Obviously, if speed, convenience, and automatic gizmos  are your middle name, the Zeiss Ikon Ikonta isn't the camera for you. But if, like me, you enjoy the challenge and sense of satisfaction offered by this historic image producer, then you'll probably enjoy using it