Hong Kong is a fascinating country with a good mix of the good versus new.
Sunday 29 October 2017
Saturday 28 October 2017
Vintage camera Shops Sam Sui Po
For those who loves vintage camera, can visit Samsuipo Hong Kong
1. Ap liu street : Lawrence is a nice gentleman and you can have a nice chat with him. He has many mid price items and he is willing to share.
1. Ap liu street : Lawrence is a nice gentleman and you can have a nice chat with him. He has many mid price items and he is willing to share.
2. Ap liu street: Walk further down, you will see another store. Here, the store is purely Buy and sell and for Bargain hunters. Not much interaction.
3. Sunrise Photography Photofinishing. I was eager to visit the shop given the various review. The shop has many used camera and lenses and was a place for developing film. However, don't expect the owners to welcome you with open arms. The service quality is so so and only if you are their regulars, they will chat with you. I was rather disappointed with my experience. I have went back to the shop again hoping that perhaps, the first visit was an exception but the service quality is the same.
Friday 27 October 2017
Rolleiflex White face
The "White Face" cameras were a special issue camera.
There are only 5 models in total:
2. The Classic Rolleicord Vb Type 3. "White Face" K3Fb
Production Serial Numbers: 2.666.000-2.677.498.
Camera # Vb 2675054.
Lens: f3.5 Schneider Xenar # 12 112 538.
Shutter: Deckel Synchro-Compur 1-1/500 & B.
Filter Size: Bayonet 1.
This was a special edition camera. A new front lens panel was produced, which was nicknames "White Face." It had the new company name of "Rollei-Werke Franke & Heidecke" below the taking lens with the letters Vb and the camera serial number. Only 11,498 were produced. Camera had a new type of course grained black leather. 12-16-24 capability on 120 film with the use of masks.
This camera does NOT take 220 film.
3. The Classic Rolleiflex 3.5F Type 5
"White Face" K4F/2
Production Serial Numbers: 2.845.000-2.857.149 and
3.555.000-3.559.999.
Camera # 3.5F 2856520.
Lens: f3.5 Schneider Xenotar # 12449750.
Shutter: Deckel ynchro-Compur MXV. 1-1/500 & B.
Filter Size: Bayonet 2.
This camera has the 120/220 option which permits 24 exposures on 120 film. It also has the built-in meter. Camera number is located beneath taking lens. and has the company name, "Rollei-Werke Franke & Heideke"
There are six variations of this camera including lens change: Planar or Xenotar, and the 120/200 option plus name change.
5. The Classic Rolleiflex 2.8F Type 2
"White Face" K7F2 with 12/24
Production Serial Numbers: 2.451.851-2.479.999.
Camera # 2.8f 2,476.704
Lens: Carl Zeiss Planar
Shutter: Synchro-Compur MXV. 1-1/500 & B.
Filter Size: Bayonet 3.
This model was produced with the Planar lens.
Black leather with coarse grain. Built-in exposure meter. Camera available with or without 120/220 option. Camera serial number is located below the taking lens and is preceded by the letters 2.8F . The company name, Rollei-Werke Franke & Heidek is also below the taking lens.
5. The Classic Rolleiflex 2.8F Type 4
"White Face" K7F4
Production Serial Numbers: 2.900.000-2.959.999.
Camera # 2.8f 2952526.
Lens: f2.8 Schneider Xenotar # 12 109506.
Shutter: Deckel Synchro-Compur MXV. 1-1/500 & B.
Filter Size: Bayonet 3.
This model, in the 2,9XXX range, was only available with the Xenotar lens. Black leather with coarse grain. Built-in exposure meter. Camera available with or without 120/220 option. Camea serial number is located below the taking lens and is preceded by the letters 2.8F . The company name, Rollei-Werke Franke & Heidek is also below the taking lens.
This camera was also made in the 2,4XXX range and had the Planar lens witn or without the 12/24 option.
Source: http://johnsrolleionlypage.homestead.com/whitefacecollection.html
There are only 5 models in total:
- The Rolleiflex T,
- The Rolleicord Vb Type 3
- Type 3, Rolleiflex 3.5F Type 5.
- Tele-Rolleiflex.
- The Rolleiflex 2.8F Type 4.
1. The Classic Rolleiflex T Type 4
"White Face" K8T3
Production Serial Numbers: 2.314.000-2.320.298.
Camera # T2317719.
Lens: f3.5 Zeiss Tessar # 11 856693.
Shutter: Deckel Synchro-Compur X 1-1/500 & B.
Filter Size: Bayonet .
Special face plate with Rollei-Werke Franke & Heideke followed by T and serial number underneath takig lens.
Camera had thicker black leather with large grain. From serial number 2.315.800, this camera was available with a Schneider Xenar lens.
2. The Classic Rolleicord Vb Type 3. "White Face" K3Fb
Production Serial Numbers: 2.666.000-2.677.498.
Camera # Vb 2675054.
Lens: f3.5 Schneider Xenar # 12 112 538.
Shutter: Deckel Synchro-Compur 1-1/500 & B.
Filter Size: Bayonet 1.
This was a special edition camera. A new front lens panel was produced, which was nicknames "White Face." It had the new company name of "Rollei-Werke Franke & Heidecke" below the taking lens with the letters Vb and the camera serial number. Only 11,498 were produced. Camera had a new type of course grained black leather. 12-16-24 capability on 120 film with the use of masks.
This camera does NOT take 220 film.
3. The Classic Rolleiflex 3.5F Type 5
"White Face" K4F/2
Production Serial Numbers: 2.845.000-2.857.149 and
3.555.000-3.559.999.
Camera # 3.5F 2856520.
Lens: f3.5 Schneider Xenotar # 12449750.
Shutter: Deckel ynchro-Compur MXV. 1-1/500 & B.
Filter Size: Bayonet 2.
This camera has the 120/220 option which permits 24 exposures on 120 film. It also has the built-in meter. Camera number is located beneath taking lens. and has the company name, "Rollei-Werke Franke & Heideke"
There are six variations of this camera including lens change: Planar or Xenotar, and the 120/200 option plus name change.
5. The Classic Rolleiflex 2.8F Type 2
"White Face" K7F2 with 12/24
Production Serial Numbers: 2.451.851-2.479.999.
Camera # 2.8f 2,476.704
Lens: Carl Zeiss Planar
Shutter: Synchro-Compur MXV. 1-1/500 & B.
Filter Size: Bayonet 3.
This model was produced with the Planar lens.
Black leather with coarse grain. Built-in exposure meter. Camera available with or without 120/220 option. Camera serial number is located below the taking lens and is preceded by the letters 2.8F . The company name, Rollei-Werke Franke & Heidek is also below the taking lens.
5. The Classic Rolleiflex 2.8F Type 4
"White Face" K7F4
Production Serial Numbers: 2.900.000-2.959.999.
Camera # 2.8f 2952526.
Lens: f2.8 Schneider Xenotar # 12 109506.
Shutter: Deckel Synchro-Compur MXV. 1-1/500 & B.
Filter Size: Bayonet 3.
This model, in the 2,9XXX range, was only available with the Xenotar lens. Black leather with coarse grain. Built-in exposure meter. Camera available with or without 120/220 option. Camea serial number is located below the taking lens and is preceded by the letters 2.8F . The company name, Rollei-Werke Franke & Heidek is also below the taking lens.
This camera was also made in the 2,4XXX range and had the Planar lens witn or without the 12/24 option.
Source: http://johnsrolleionlypage.homestead.com/whitefacecollection.html
Rolleiflex serial number
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| Source : http://www.rolleiclub.com/cameras/tlr/info/serial_numbers.shtml |
Vivian Maier Photography
The following are my favourite photos taken by Vivian Maier
Source: http://www.vivianmaier.com/gallery/street-5/#slide-10
Source: http://www.vivianmaier.com/gallery/street-5/#slide-10
http://www.vivianmaier.com/gallery/street-4/#slide-18
http://www.vivianmaier.com/gallery/street-4/#slide-50
Tuesday 24 October 2017
Seagull TLR Versus Rollieflex TLR camera
Comparison between the China made Seagull 4A TLR camera and Made in Germany Rollieflex 2.8f.
From the photo, one see the Rollieflex having a bigger lens and a built in light meter.
Seagull TLR camera 海鷗 4A
This is a new old stock Seagull TLR 4A camera found in Sam Sui Po shop duronv one of the weekend treasure hunting. It costs me about Hk$400.
海鷗4型雙鏡頭反光相機
海鷗 4A
國鳥雙反之海鷗4B
這可能是性價比最高的入坑120雙反了。海鷗4A從六十年代末期到八十年代初期，生產了二十餘年，雖說中間的變化基本不大，但根據一些表面的變化，還是可以將海鷗分為「早、中、晚」三個系列：早期是「白臉」；中期有「白臉」也有「黑臉」；而晚期則是「黑臉」。
海鷗在早期時，使用金屬材料比較多，用料也較實在。「前臉」是白色，調焦紐也是白色金屬的，所以稱這個時期的4A是早期的「白臉」機；中期的以調焦紐的變化來確定的，中期的調焦紐也是金屬的，但上麵包了橡膠套。這個時期的「前臉」有白色的，也有黑色的。但白色的多；後期的4A是黑色的「臉面」，另外就是調焦鈕是塑料的，上麵包了橡膠套。
在中國生產的相機中，海鷗4A是最值得擁有的相機之一，其成像質量在使用該機的廣大 「色」友中口碑甚佳。有關該機的性能、成像質量等在一些相關的網站中，都有不少評價。
海鷗4A採用75mm鏡頭，等效135焦距約41mm，取景鏡頭最大光圈F2.8，成像鏡頭最大光圈F3.5，三片三組「柯克式」攝影鏡頭。
取景框採用毛玻璃取景器，取景器內為倒像，手動調焦，對焦距離從1米到無窮遠。
當然由於低廉的製造成本，海鷗在很多地方仍然有缺陷，比如鏡頭因為不是多層鍍膜膜頭，在逆光或者雜光刺進鏡頭時畫面的影響很大；又如如果使用了大光圈（F5.6以上），畫面整體質量下降而且邊緣和中心差距很大。所以海鷗4系其實還只是一台小光圈相機，逆光表現並不好的相機，而且鏡頭的素質決定了成像的質量並不會太好。
Source:
https://read01.com/nMNJ.html
Monday 23 October 2017
西德“禄来弗来”双反相机介绍
西德“禄来弗来”双反相机介绍
禄来系列双镜头反光相机,在四五十年代乃至七十年代初,曾风靡世界一时.在五六十年代，曾经是专业的象征.当时能背着“禄来”双反在街上走的人,不是专业摄影记者,就是公安人员,对 价格昂贵的“禄来”平民百姓,爱好者只能“望机兴叹”.
禄来厂生产的多种双反相机,其中禄来康特[即Rollekonter],
禄来可得[Rolleicord]是作为 普及简易型供应市场,但也具备了相当水准的机械及光学素质.而禄来弗来克斯[Rolleiflex]的市 场定位是高级专业型，追求的是“百年有形”一直按照高级专业水准而设计制造。几经改进后的 “禄来弗来”双反，生产在五十年代中叶，六.七十年代。其中：E
，F
，T
， 等机种型号，在 机械结构，生产工艺，制造技术，产品配套及性能上均达到较高水平，在国际市场上曾经畅销一 时.
一般说，“禄来弗来”双反其特色在于两个镜头，上镜头取景，下镜头摄影，摇把卷片，微传感滚筒式自动停片，与上弦连动并可多次曝光，也可防止重拍。采用结构，性能及用材方面均非常优良的同步康盘快门并有M，X，V
装置，采用强度较好的铝合金模铸机身，外围部件多为铝合金或黄铜，卷片机构等传动齿轮和有运动摩擦，藕合等部件零件，多采用优质黄铜或合金钢材，快门主力簧则采用优质钴基不锈钢，所以只要使用保管得当，“禄来”有较长的使用寿命。
关于“禄来”配套的摄影镜头，一般说，2.8D，E，F
各型相机使用多为蔡司，普兰那，五片四组变高斯结构，F2.8/80mm使用优质光学玻璃材料，其优秀的成象素质被摄影界推崇备至,有口皆碑，后期生产的2.8F，采用了七片五组结构[变高斯型普兰那]被誉为蔡司的顶级极品头.2.8双反中也有部分装有F2.8/80mm五片四组变高斯结构的施耐得，仙侬塔头，其本质同样优秀,只不过实拍感觉反差稍嫌柔和。
3.5双反，A，B，O，T
等型多使用著名的蔡司,天塞F3.5/75mm四片三组头,该头具有结构简单，成熟,素质优良的特点，成象质量备受摄影人员赞赏,与普兰那相比，除了最高分辨率稍次和大光圈时边缘像质有所下降和不便于作到2.8口径外,并无明显差异,用F3.5/75mm天塞头拍出的高倍放大照片.极具德国风采,韵味独特，E，F,等型所用的F3.5/75mm五片四组变高斯结构普兰那头或施耐得,仙侬塔头,也具有同F2.8/80mm蔡司,普兰那头,施耐得,仙侬塔头一样优异卓著的光学质量.
“禄来可得”普及双反装用的镜头,多为四片三组F3.5/75mm的施耐得,仙娜镜头,该头与天塞头相比,除了反差较柔以外,并无太大差异,早期的“禄来可得”二型,有装用蔡司,吹奥塔F3.5/75mm三片三组头,与天塞比,边缘像质稍差,但优于海鸥双反头,仍可作高倍放大.
以上材料,配合了本人一些心得,仅供参考。
影友 关秀峰2000年3月24日 晚草
再谈禄来双反相机.
禄来双反相机从20年代起生产至今,
经历了大约10几种机型, 但是其基本的样式没有太大的改变. 它的生产阶段大体分为两个阶段, 即大战前的前期和终战后的到80年代末期. 在前期阶段,
机型的变化比较大, 但推出的机种不太多. 在后期阶段, 推出的机型比较多, 但是在机构方面的变化不是那么大, 这种特征尤其是表现在50年代.
在进入战后阶段, 来卡M系列,
日本的135相机的多种规格相机的面世, 特别是哈苏相机带来的冲击, 那种给人以绅士风度的禄来相机一时失去了往日的宠爱. 这因为此,
也刺激了禄来双反相机的机型变更和改进, 可以说, 50年代是禄来的黄金时代,
它给我们提供了双反相机的精品.
在禄来的最初政策来看它不生产自己的镜头, 而由菜斯和斯奈德两大镜头巨人提供配套镜头, 自己则专心发展相机机身功能和机械机构的完善. 在它每每推出新型相机时, 往往都同时配有这两家镜头的机身提供给用户. 总的说来, 禄来机身所配的几乎是标准镜头, 焦距不外乎75mm和80mm两种,
最大光圈为f2.8和f3.5两种. 配合的菜斯镜头结构为Tessar和Planar, 斯奈德镜头为Xenar和Xenotar. 相对比较而言,Tessar和Xenar的结构较为简单.
正是禄来相机的这种采用不同镜头的做法也是它倍受大家喜爱的原因之一. 很多的禄来用户深深地陶醉于不同镜头风格之中. 这也是禄来高明的做法. 比如著名的Tessar的结构风格硬朗, 立体感较强, 但是相对于Planar而言色彩较为清淡. 而Planar的表现较为细腻而柔和, 影调的再现和空气感的传递之美妙可以说是一代镜头的典范. 斯奈德的Xenar结构也较为简洁, 价廉物美. 而它的Xenotar结构镜片数较多, 是斯奈德较高档的镜头, 比如为禄来6008相机配置的标准镜头80mm/2.0就是采用了这种结构.
禄来的66双反相机主要分为Rolleiflex和Rolleicord两个系列.
分别刻印在相机前面版的顶部. 前者是反映禄来相机真正水平的高档系列,
而后者为Rollei相机的廉价版本,在现在的二手市场价格非常低廉. 以下列举了战后到现在的各阶段生产的Rolleiflex系列的主要机型.
Rolleiflex系列:
2.8A, 配合菜斯耶拿, Tessar 80/2.8, 1949年.
2.8B, 配合菜斯耶拿, 比奥美塔镜头80/2.8 1952年.
2.8C, 配合Zeiss Planar 80/2.8
配合Schneider Xenotar 80/2.8, 1953年.
Automat MXV, 配合Zeiss Jena,Tessar 75/3.5;
及配合Zeiss Opeton, Tessar 75/3.5;
及配合Schneider, Xenar 75/3.5. 1951年.
2.8D, 配合Zeiss, Planar 80/2.8;
及配合Schneider,Xenar 80/2.8. 1955年.
3.5E, 配合Zeiss, Planar 75/3.5;
及配合Schneider,Xenar 75/3.5. 1956年.
2.8E, 配合Zeiss, Planar 80/2.8;
及配合Schneider,Xenotar 80/2.8. 1956年.
2.8E2, 配合Zeiss, Planar 80/2.8;
及配合Schneider,Xenotar 80/2.8. 1959年.
3.5F, 配合Zeiss, Planar 75/3.5;
及配合Schneider,Xenotar 75/3.5. 1956年.
T型, 配合Zeiss, Tessar 75/3.5;
及配合Schneider, Xenar 75/3.5. 1958年.
3.5E2, 配合Zeiss, Planar 75/3.5;
及配合Schneider,Xenotar 75/3.5. 1959年.
Rollei玛基克, 配合Schneider,
Xenar 75/2.8. 1960年.
2.8F, 配合Zeiss, Planar 80/2.8;
及配合Schneider,Xenotar 80/2.8. 1960年.
从以上的列举可以明显地看出, 50年代禄来推出了很多机型上市,
也是禄来公司的黄金时代. 其中,
2.8F型是集禄来相机精华之大成的一代精品! 它是在经历了多次改进,
试行, 顾客评价之后的完美产物. 这一种型号从1960年一直到生产1981年,
持续了21年,可以看出Rollei公司对它的性能和完善度是多么的自豪!
它一直是众多禄来爱好者所追求的对象, 在二手市场上一般不容易见到它的身影. 尤其是配合Planar80/2.8的2.8F型更受人们的欢迎, 一台品相好的它可以很容易售到USD2500.
另外, 禄来除了采用标准镜头配合其机身以外,
还有两款分别配合广角镜头和望远镜头的机身推出, 它们都是仅仅采用菜斯的Distagon55/4和Sonnar
135/4, 而没有依照惯例推出采用斯奈德镜头的型号, 它们是:
Wide Angle Rolleiflex, 配合Zeiss, Distagon55/4.
1961年.
Tele Rolleiflex, 配合Zeiss, Sonnar 135/4. 1959年.
可以说这两款都是禄来相机的"异类".
虽然说2.8F型为禄来公司赢得了荣光, 可是面对其他各类相机的兴起,
它并没有改善禄来公司的经济状况. Rollei公司终于在2.8F型停产后的1984年宣布倒闭关门!
经过从新组合新生的新Rollei公司重整旗鼓,
于1987年向市场推出Rolleiflex 2.8G,配合Planar 80/2.8(Rollei HFT). 但是为了迎合时代的需要, 同时也为了降低生产成本, 新Rollei也避免不了随波逐流,
它在新型相机上增加了一些过去没有的功能,比如闪光调光功能等等, 在相机用料上也尽力使用低成本部件和材料,
特别大的变化在于终止一贯做法, 没有再同时平行推出采用菜斯和斯奈德镜头的机身, 甚至于采用了Rollei自己的镜头.
我们毫不怀疑Rollei已经具有一定的制造镜头的能力,
但是,在如此具有传统魅力的禄来, 菜斯, 斯奈德金三角的观念面前, 实在是令以往的禄来迷无法接受! 并且, 如今的Rolleiflex 2.8G在做工精美程度已经不如从前的前提下,
它的售价却被设置的很高, 实际上,
如今的Rolleiflex
2.8G已经魅力大打折扣.
罗来双反是双反相机里的极品, 带Zeiss镜头2.8F则是极品中的极品.
它的机身在档次上有差异, 但是不是很大, 更多人是在意配合它的不同镜头的不同表现.而且不同时代的镜头更有一些特殊的风格. 这些都是针对于真正的罗来相机爱好者的而言的. 那些真正的罗来的狂热着是不太在意那个好, 那个不好.
每一种机身都由它们的生命. 但是, 也正因为各自镜头的不同表现,他们往往都拥有不止一台的罗来相机, 在他们看来, 仅仅拥有1台机身还是不足以充分领会罗来的乐趣.
但是, 话又说回来, 对于他们,
没有领会Zeiss镜头2.8F的妙处是不可以原谅的, 那毕竟是罗来的精美的机身和精致影调再现的菜斯镜头的叠加. 对于他们而言,
可以少拥有1, 2台其他罗来机身, 但是不能没有Zeiss镜头2.8F.
所以,
它的价格高涨而且流通很少. 比如说,好的品像的它可以容易地标上25万日币以上的价格, 可是一般的一些罗来相机,
7万日币可以买到.
玩罗来相机最好是在经历过追求高解像度镜头之后为佳. 因为配合罗来的镜头都是一些影调再现非常细腻, 非常人性化的表现.没有那些该死的高解像度镜头做陪称, 大多数的人们不会"深刻"地感受到罗来的妙处.不会对罗来带来的那种"异类"的美所感动
Source: http://www.oldcake.com/forum/viewtopic.php?f=6&t=15476&start=60
http://venivision.blog.163.com/blog/static/1739904122010421112316224/
http://venivision.blog.163.com/blog/static/1739904122010421112316224/
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