Like all of these pieces, I am interested in the experience of using film cameras. I like to learn about the history they represent, the age in which they were made, the effort to make them competitive. I admire the workmanship that went into these small objects. Here we have a truly small object, the Agfa Optima sensor electronic 1035. Black. Plastic exterior. Compact shape. Design by Agfa’s go-to company Schlagheck Schultes, reminiscent of the iconic philosophy of Dieter Rams and Braun. 4-element Solitar S 40mm f 2.8 lens (multi-coated). 255 grams. Shutter speed 15 seconds to 1/1000 of a second.
Baroque Facade. (Kodak Pro Image 100)
Fantastic clear viewfinder. Classic Agfa Red-orange Sensor shutter button. Prize-winning camera. Something to wear. Reminiscent of a later design philosophy by a Cupertino company.
Steel cover of a pumping station (Kodak Pro Image 100)
Curious rewind system – the film advance lever becomes rewind lever. When I used this the first time, I was apprehensive – could this actually work? Would I not again spoil precious film? But no, everything worked out fine. Have confidence in the mechanics.
Splash of Color (Kodak Ultramax 400)
The exposed film is pushed into a light-safe chamber so that even if you open the back, your images are safe. A smart idea, and one of those that makes you wonder why it took decades for an engineer to think of it.
Storm along the Rhine river (Kodak Ultramax 400)Raised tree branches in winter (Kodak Ultramax 400)
Made in Munich. You had to pay 298 DM at the time. What impresses me is the design philosophy, the ability to re-invent age-old mechanisms, the courage to offer bold solutions, and all of this in a neat small frame. Classic.
Bad Muenstereifel, detail. Kodak 200Bad Muenstereifel before the flood. Kodak 200.Bad Muenstereifel. Kodak 200.
A brief stop in Berlin to survey the landscape and check out the photography stores. I visited fotoimpex, click&surr and, in a neighborhood shop selling laundry machines and other technical gear, managed to snag a perfectly working Kodak Retina IIa from the early 1950s. It was fun bargaining with the owner of the store! Great discovery. Renting a three-speed bike was definitely an experience, but also a wonderful way to get around and slow down.
Various cameras, similar location: Street photography refers to a multitude of subjects, but just one setting: urban life. This mix was taken during the year 2021.
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How different does the world look when you change perspectives? Some buildings lend themselves to slicing through them and mirroring their facade. This way, something new emerges. The process of “serkalography”, from the Russian word serkalo (mirror), confounds our expectations and elicits a sense of mystery.
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Classic camera, classic view: The Cologne cathedral with the Leicaflex SL 2 (Kodak Gold 200)
The camera that nearly broke a company. The Leicaflex SL2 is heavy, solid, clunky. But combined with Leica glass, it’s a marvel of German engineering. The attempt to capture the SLR market might have failed, and Leica might have gone belly-up with this product. Clearly, the Japanese camera companies had gained the edge by this time, producing acceptable quality at a lower price. Leica designers and engineers did not want to compromise and lost the bet. Fortunately for film aficionados nowadays, a Leicaflex SL2 is not out of reach. It still represents a happy marriage between German ingenuity and wonderful sharp lenses.
Kilkenny, Ireland (Kodak Gold 200)
This was my first foray into the Leica universe. Imagine my surprise when I found out that the body was cheaper than the lens! Any Leica-lover will know what I mean. The 50mm Summicron is simply fantastic. Try it out, and you will be amazed at the crisp sharpness. It is as if you were seeing the world in a new light.
Cologne Central Station, detail. 135mm Elmarit-R (Kodak Ektar 100)
This is another solid camera, made to last. The workmanship is supreme, no plastic here. The controls are where they should be. Nothing fancy, nothing elaborate but simply designed to appeal and to convince. Fully manual, all-mechanical. The Leicaflex SL2 is heavier than the Japanese competition. It is a brick. But what a pleasure to attach one of these magical lenses and lug this brick around.
Evening sunflare on the banks of the Rhine river (Kodak Ektar 100)
The shutter sound is loud and comprehensive. It is impossible to accidentally expose a frame. The film advance is long and significant. You can sense that the designers cared for their customer. No simple solutions, but mechanical pleasure. Metal-based satisfaction.
The Dom in Aachen as seen through the Summicron lens. (Kodak Portra 400)
This camera conveys a sense of seriousness. You go out and feel you need to capture the world, fix a moment in time on the emulsion of choice. Funnily I never think of loading expired film in the Leicaflex. It seems like blasphemy, as if the camera would be offended. Leica demands the freshest and best available for your budget. What might be next for this gem?
Slightly too much sun: the moat around Schloss Augustusburg in Bruehl (Kodak Potra 400)
No, the Leicaflex SL2 so far has not been my go-to camera for experimental shots. It is the elegant grande dame of my collection. The one you spoil with extravagant outings and exotic locales. Not for her the nitty-gritty of street-art and multiple exposures. Take it with you for the stately homes and the cathedrals of the world. Use it for portraits of your loved ones. It will repay you with the cleanest, sharpest vistas imaginable.
My home is my Schloss: Leicaflex SL2 in Augustusburg. (Kodak Portra 400)
I also have a 135mmElmarit-R lens for the SL2. Yet another superb piece of glass. Sometime I think what if I sell a bunch of other cameras and invest in Leica glass? Then I calculate and find out that even if I sold all of my cameras, my car, and plenty of other possessions, my ability to afford Leica glass would be slim. Ok. Moving on. Maybe adapters.
Even in a democratic republic, some names bear witness to the imperial age: The Hohenzollern railway bridge in Cologne (Kodak Portra 400)
Anytime I venture out with the Leicaflex SL2, I am proud of the hard work that went into producing an artifact like this. I am conscious of the history that went into the development, the research, the craftsmanship, and even the marketing. Sometime I think of Oskar Barnack, the pioneer of camera design, and the Wetzlar employees today continuing a long tradition. IN retrospect, the Leicaflex SL2 might not have been the epitome of photographic innovation. But it sure feels good in your hands.
Rain and rust will not destroy our love (Kodak Portra 400)Fishing nets on the Heider Bergsee. (Kodak Ektar 100)The 135mm Elmarit-R at work: Detail of the Cologne Cathedral (Kodak Ektar 100)
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