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SLRs - the unRF For those of you who must talk about SLRs, if only to confirm they are not RF.

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Old 03-20-2017   #41
xayraa33
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Quote:
Originally Posted by Sarcophilus Harrisii View Post
Two more images of the Alpa Reflex showing the unique rear viewfinder design of the early models.




With the camera back removed it's more obvious how close the rangefinder focus viewfinder (on the rewind side) and the framing viewfinder eyepieces are positioned to the film rails. So much that the camera back actually includes two openings to accomodate them. Of course it works well enough as each eyepiece features its own circular light trap around its circumference, but, seeing a camera back with two holes in it is still a little strange. The Prisma has the same arrangement, and differs mainly in its use of a pentaprism finder instead of a waist level. Reflex owners could (and did, in some cases, according to factory records) return their cameras to the Pignon works at Ballaigues for upgrading to Prisma specification.

You can just see through the rangefinder eyepiece that there are two rectangular, horizontal windows. The rangefinder image of the Reflex and Prisma Alpas is not superimposed into the focus viewfinder as is the case with most other rangefinders. The lower horizontal window provides a small view of the lower part of your scene. Very close to the top of this is the rangefinder window. The upper part of the scene is visible through it, but will move left/right within that window according to the focus distance of the lens (presumably via a pivoting mirror, I don't know the precise details of the installation yet). You can see the front of these windows in some of the photos I added in post 32, incidentally.

Thus, focusing with this system entails lining up the lower portion of an object in your scene with a decent edge on it (a tree, wall, whatever) with the lower window, and then adjusting the lens until the upper part of it aligns in the top window. The adjacent edges of the two windows are set very close together, but they don't quite meet, so Eg focusing on a person's eyes for portraiture is vaguely possible, but rather fiddly. And if you are a spectacle wearer like me, all of that just got a great deal harder to do, as there's minimal eye relief, making it that much harder to see much of both windows within the eyepiece readily, except for a portion of the centre. For subjects beyond ten feet or so of any size RF focusing isn't quite so bad, portraiture head shots, well, not so much use.

The reflex finders of either early hybrid camera are less than stellar. I suspect they'd improve somewhat if stripped and cleaned, but as found they are pretty grim, and I doubt they'd ever be good, let alone great. If I was using a Reflex or Prisma, I'd probably focus with the RF at middle distance (it's still faster, previous issues notwithstanding) but switch to the reflex focus system for setting the lens for close range images, head shots etc. Unless the absence of parallax at close range made the case for framing with the reflex finder overwhelming, as the main non-reflex finder is decently bright, regardless of how I focused the lens I'd be inclined to compose with it most of the time, anyway.

If this all sounds very mediocre, bear in mind the Reflex was in production during or immediately after the cessation of World War II. It is not a 1960s camera or even a 1950s one. I should take a look through the waist level of my pre-war Kine Exakta for a fair comparison, as it's the period the Reflex design harks from and would have been the main SLR competition. Rangefinder competitors, well, that's another matter. I don't do Leicas, but my pre-war Contax rangefinders absolutely cream it as far as ease of focus and finder brightness are concerned. I'd love to be able to strip one of the Alpas down, clean, adjust the optics and then try again, but sadly, that's not going to happen.






Inside the back, the serial number of the matching Alpa body is stamped near the pressure plate. At some point someone has also made some pencil notations on the back including its serial number and what might be 80 quid, 7 shillings and sixpence, perhaps? Maybe its second hand purchase price, it seems a bit cheap to be its list price when new, compared to period advertisements from the USA showing USD prices. The cost of some repairs, maybe? Australia converted to decimal currency in 1966, so if it was a reference to Aussie pounds, the notation was made over fifty years ago...
Cheers,
Brett

Quote:
Originally Posted by jbielikowski View Post
I was lucky to buy Alpa 6b few months ago, and finally it's back from CLA. Done some test shots, and while Switar is very pleasing, using the camera is trully unique (awkward), some kind of je ne sais qoui.

Click here to see a large version

Not a shelf queen and I'm gonna use it properly (with some chromes).

Some test shots on TMax:

Click here to see a large version

Click here to see a large version

Click here to see a large version

The open back looks like a well made early Zorki 4
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Old 03-20-2017   #42
xayraa33
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Quote:
Originally Posted by jbielikowski View Post
I was lucky to buy Alpa 6b few months ago, and finally it's back from CLA. Done some test shots, and while Switar is very pleasing, using the camera is trully unique (awkward), some kind of je ne sais qoui.



Not a shelf queen and I'm gonna use it properly (with some chromes).

Some test shots on TMax:





The bokeh produced by the f1.8 50mm Switar reminds me a lot of the bokeh that I gotten from some of the late made Canon 50mm f1.8 lens in FDn mount.
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A Few Images From the 11si
Old 05-25-2017   #43
Sarcophilus Harrisii
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A Few Images From the 11si

I ran a roll of Agfa Vista 200 through the black 11si that made an appearance in the thread previously. The lenses used were the standard black Kern Macro-Switar 50mm f/1.9, and the Schneider 80-240 Tele-Variogon f/4 zoom fitted to my Alpa 7 in post 28. I'm not much of a fan of zoom lenses in general but this one I rather like. The Alpa catalogue I have on hand says this about the big Schneider: "This lens has optical characteristics which are noticeably superior to those of most zoom lenses." My initial impressions tend to agree with that, and I'm thinking of making an offer on it, actually.

In other news the Prisma has found a new home, and yesterday I collected a carton full of little red Alpa boxes and the most peculiar tripod I have ever seen, an Alpa Macrostat with all manner of clamps and strange accessories, images to come.

Cheers,
Brett


Kern Macro-Switar 50mm f/1.9



Schneider 80-240mm Tele-Variogon f/4 @ 80mm



Kern Macro-Switar 50mm f/1.9
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Old 05-26-2017   #44
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Brett I really like those three colour shots - they have a great vintage look to them!

Every time I think about getting back into film, I think of my Alpas that I had and sold. I particularly miss my black 9d with the Switar lens.
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Old 05-26-2017   #45
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Originally Posted by Vince Lupo View Post
Brett I really like those three colour shots - they have a great vintage look to them!

Every time I think about getting back into film, I think of my Alpas that I had and sold. I particularly miss my black 9d with the Switar lens.
Thanks, Vince, I thought that, though, not having shot this Agfa before, I was unsure of how much of that to attribute to the film, lenses (or both).

Not sure if I should tell you or not, but there is a chrome 9d with Macro-Switar, plus lens hood and front cap, in the stash of items. I haven't seen that one yet but if you really have a fancy for it, and it checks out, I might be able to arrange a competitive price.
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Old 05-27-2017   #46
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I have always found those apochromatic Switars very sharp and brilliant. A pity that even the last ones (that had M42 mounts under the Alpa bayonet - my earlier post above, may be misinterpreted as if the last Switars did not have an Alpa bayonet) stick a little bit too far into the full frame Canon DSLRs when focussed at infinity.

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Old 05-28-2017   #47
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Originally Posted by ph. View Post
I have always found those apochromatic Switars very sharp and brilliant. A pity that even the last ones (that had M42 mounts under the Alpa bayonet - my earlier post above, may be misinterpreted as if the last Switars did not have an Alpa bayonet) stick a little bit too far into the full frame Canon DSLRs when focussed at infinity.

p.
The Alpa lens register is a particularly short one. It's why so many other makers lenses could be adapted to their cameras. Despite prices that have climbed over the last ten years or so, it's still easily possible to procure a working Alpa body for less than the cost of a new Canon DSLR of the same format, so I think the solution is a fairly obvious one, if you wish to use a 50mm Switar with a SLR.
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Brett
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Old 05-30-2017   #48
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Yes, for film it performs splendidly on my ancient mechanical wonders .

Given that the rear element of the Switar sits about as far out from the focus plane as most other 50mms I had hoped that the rare M42 version could be used on my full frame digital, not just on film. It turned out that it can be used at shorter distances, but not at infinity. Rather like some Zeiss Planars and wide angles.

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Old 05-30-2017   #49
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Quote:
Originally Posted by Sarcophilus Harrisii View Post
Thanks, Vince, I thought that, though, not having shot this Agfa before, I was unsure of how much of that to attribute to the film, lenses (or both).

Not sure if I should tell you or not, but there is a chrome 9d with Macro-Switar, plus lens hood and front cap, in the stash of items. I haven't seen that one yet but if you really have a fancy for it, and it checks out, I might be able to arrange a competitive price.
Cheers
Brett
Ha, thanks for the thought! But nope, can't travel down that road again. The Leica M-D (and my Monochrom) has me hook, line and sinker
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Old 05-31-2017   #50
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It is interesting to see the very early Alpas, the family resemblance to the Bolsey RF cameras is fairly strong, even if they were aimed at nearly opposite ends of the market.
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Old 06-04-2017   #51
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Originally Posted by Vince Lupo View Post
Ha, thanks for the thought! But nope, can't travel down that road again. The Leica M-D (and my Monochrom) has me hook, line and sinker
No probs Vince!
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Old 06-04-2017   #52
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It is interesting to see the very early Alpas, the family resemblance to the Bolsey RF cameras is fairly strong, even if they were aimed at nearly opposite ends of the market.
I have to assume the resemblance is a consequence of Bolsky having a hand in both makes at the times they were each designed?
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Brett
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Old 06-04-2017   #53
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I mentioned recently that there is an ALPA Macrostat tripod and its complementary lighting support and transformer/base. These are just a few quick and somewhat nasty phone images. I'll post some better quality ones in due course when I have some better light to shoot in.



This is the most modular tripod I have ever seen. Even the legs are simply 3 x machined alloy tubes (beautifully finished ones, to be sure) that slide into the centre unit that takes the vertical post and are clamped into place. Everything is adjustable for height and rotation and sometimes angle too. The object to be photographed can rest on various support plates, transparent glass, opaque glass etc. The tripod head itself is stylish, cute and did a good enough job of supporting my Alnea 7 for the photos. It's mounted on a Novoflex made rack and pinon that permits lateral adjustment of its location.



There are red boxes in one photo, lots of red boxes. Many of them are empty as they contained the plethora of individual tubes, brackets, clamps and doodads that combine to make the tripod and its lighting array. Some housed other things like adapters, camera brackets, even a complete Alpa body and lens I'll have to ID and match up to its container. There's a blue box I suspect would have contained a Kinoptic 100mm f/2 lens, that should be around. There are still other boxes, big and small, empty or full not in the picture.


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Brett
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Old 06-06-2017   #54
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There was also device , "Inversbag", that could reverse-mount the Macro-Switars (they had a quick-mount filter solution, no filter thread).

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Old 06-06-2017   #55
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There was also device , "Inversbag", that could reverse-mount the Macro-Switars (they had a quick-mount filter solution, no filter thread).

p.
It's entirely possible I may unearth one of those, yet. It sounds like a very worthwhile device for close up imaging, given the quality of the Switar lens.
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Brett
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Old 06-08-2017   #56
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Addendum:

If "unearth " means buying, the reversing ring may need a reduction ring depending on your lens diameter, Type A or type B, The older Switar mount is smaller - like the one in your picture.

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Old 4 Weeks Ago   #57
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Haven't updated this thread for a while but more images will be coming. This morning while visitors from interstate did a tour I spent an hour taking some shots with the second of two black chrome 11si models. Seen here in a quick and dirty iPhone shot wearing an auto aperture version of the famed Kinoptic 100mm f/2 lens. Images were also made with the standard 50mm f/1.9 Macro-Switar, an Angenieux 28mm f/3.5, and a fascinating Schneider 35mm f/4.5 PA-Curtagon shift lens. Film was Acros 100 to really see what the Kinoptic can do. Tripod images were made at every aperture.
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Old 4 Weeks Ago   #58
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First, thank you very much for sharing wonderful info on this very unique family of products.

Alpa products feel uniquely marvelous, functionality over marketability, the ultimate in cool in a geeky way.

Thanks again.

B2 (;->
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Old 4 Weeks Ago   #59
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Looking forward to the results Brett. My recently acquired 11E is looking for some variety beyond the 50/1.8 and I'm leaning towards the 28/3.5. Curious about that and the Kinoptic though I'd never afford one (or even the hood). The 90/2.5 also looks nice.

I'm about to build a 'contabag' (or the manual version technically) from an Alpa/M42 adapter and an old Contax/EOS adapter. The original part seems to be less available than a unicorn...
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Old 4 Weeks Ago   #60
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Quote:
Originally Posted by BillBingham2 View Post
First, thank you very much for sharing wonderful info on this very unique family of products.

Alpa products feel uniquely marvelous, functionality over marketability, the ultimate in cool in a geeky way.

Thanks again.

B2 (;->
Pleasure, Bill. I can't afford to buy all these cameras and lenses myself, but still count myself very fortunate to have the opportunity to handle and use them. It also seemed like a good opportunity to try to share some information about them. I've spent a lot of time researching Alpa Reflexes on the web and comprehensive information about them in English language isn't abundantómore along the lines of basic information in dribs and drabs. It's enjoyable to document some aspects of their design and the user experience. I'm planning to write a detailed review of the 11si in the near future.
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Old 4 Weeks Ago   #61
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Looking forward to the results Brett. My recently acquired 11E is looking for some variety beyond the 50/1.8 and I'm leaning towards the 28/3.5. Curious about that and the Kinoptic though I'd never afford one (or even the hood). The 90/2.5 also looks nice.

I'm about to build a 'contabag' (or the manual version technically) from an Alpa/M42 adapter and an old Contax/EOS adapter. The original part seems to be less available than a unicorn...
I have not made any decent images of the Angenieux 28mm f/3.5 yet, but certainly will—it is such an interesting-looking and beautifully made lens. Very classy in its silver finish. The control wheel for setting the aperture is also such an unusual feature. This one has both lens caps including the immaculate silver front one. I'll make a point of doing a few shots at different distances and apertures—after all, this is likely the only chance I'll ever have to see what they can do, and I'm keen to find out, too!
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Brett
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Old 4 Weeks Ago   #62
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As we have had visitors from interstate this week we planned a trip to one of Tasmania's most-loved national parks, today, Mount Field. I took the 11si along to shoot some black and white landscapes, and managed to knock off the roll of Acros 100 I started on Friday at above the snow line at Lake Dobson, so a roll of Agfa APX100 was loaded into it, because I'm not going to get another chance to shoot with these rare lenses any time soon, and I'm not done with them yet. No film images processed or scanned, yet, but here's another quick shot I grabbed with my phone, showing the ALPA sitting on a tripod wearing the Angenieux in front of Russell Falls. It's such a pretty looking lens: this photo doesn't do it justice at all. This wide angle is so beautifully put together and finished. It's a subjective point, of course, but I think it's the classiest 35mm lens I have ever handled. If it performs half as well as it looks, it's a winner.
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Brett
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Old 4 Weeks Ago   #63
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Really interesting cameras - love the looks of the 6b and the 7.

Getting one of these with a lens would solve the "what camera should I use today" issue - one camera and one lens would be all I could ever afford!
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Old 4 Weeks Ago   #64
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Really interesting cameras - love the looks of the 6b and the 7.

Getting one of these with a lens would solve the "what camera should I use today" issue - one camera and one lens would be all I could ever afford!
Well, strangely, that was part of the appeal of the 7 for me. Occasionally I get those days where I can't decide whether I want to use a rangefinder or an SLR. With the 7, I don't have to, because it's both!
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Old 4 Weeks Ago   #65
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Originally Posted by jbielikowski View Post
I was lucky to buy Alpa 6b few months ago, and finally it's back from CLA. Done some test shots, and while Switar is very pleasing, using the camera is trully unique (awkward), some kind of je ne sais qoui.



Not a shelf queen and I'm gonna use it properly (with some chromes).

Some test shots on TMax:





Sorry for not replying sooner. Thanks for sharing these images made with another ALPA. It's great to know that there is another member using them here!
Cheers,
Brett
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Old 4 Weeks Ago   #66
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Here are a few more images of one of the 11si models. This one has the black crinkle paint finish and is a tidy example in good working condition. The macro version of the Kern 50mm Switar (the later f/1.9 Macro-Switar is seen here) can rotate its focus ring approximately 2 & 2/3 turns from infinity to closest focus. As seen in some of the images it can still rotate a bit further towards the closest setting: it's not quite at minimum distance in these shots.

The depth of field indicator system may well be unique to these lenses? As the f stop is selected, small brass or copper strips progressively appear, or disappear, beneath a series of small holes drilled through the lens barrel to indicate the current aperture. You can see the two gold-coloured indicators for the maximum f/1.9 opening that is selected, clearly visible in the fifth image, as opposed to the adjacent holes for the smaller apertures. From memory, I believe ALPA called this DOF scale "Visifocus".

It's very impressive to adjust the aperture ring and see the dots change colour as the f stop is decreased or increased, but I doubt it's really as usable as a conventional DOF scale. And, whilst I'm not easily frightened by working on fairly complex cameras or lenses, I do confess that, the complexity of the Visifocus scale, together with its exceptionally long travel helical, would make prospect of having to strip down a Macro-Switar fully, rather frightening!

The chrome rotating switch with black arrow visible at the end of the lug on the lens mount that houses the release plunger is an auto/manual aperture control. It's essential to set this if a self timer exposure is being made unless the lens is being shot wide open. Finger pressure on the release plunger is what actuates the stop down system, akin to some Exakta SLRs. But without a finger on the plunger, the timer will not close the aperture automatically at the moment of exposure, hence, it has to be manually locked down via the switch.

The chrome sliding release switch on the body near the body release may be set to lock the release system, in which case, depth of field and or light metering (it's a stop down metering system) can be checked simply by pushing the lens plunger down without fear of inadvertently firing the shutter in the process. It has three positions and can also be set to stop down and meter, before slight additional pressure will then trip the shutter.

If the Macro-Switar is used on an older ALPA body without a body release slider lock, rotating the lens aperture switch, as well as facilitating correct timer exposures, will also enable the depth of field to be checked without firing the shutter, if desired.

Many lenses made in the larger ALPA bayonet used from the 4 onwards have a clip system for fitting filters or lens hoods. Filters click into a groove at the front of the lens using a spring circlip on their rear mating flange as do lens caps. Lens hoods have a stronger clip that has to be depressed by thumb and finger to retract it out of the way before the mount will clear the lens. This makes it impossible for a hood to fall off accidentally as whilst it will rotate freely around the lens, it is positively locked into the groove and will not remove unless the clip is manually depressed. It's so simple and effective one wonders why more manufacturers didn't use it. Perhaps it cost more to make? As a bonus many lens hoods can be reversed onto the lens and clipped securely around the barrel for easier stowage and lens protection. See the final image of the 11si in its original packaging as a case in point.

Like certain Rollei 35 models no external battery hatch mars the appearance of the 11si. On the bottom of the body casting on the rewind side, a small sliding cover complete with sticker advising the original battery specification may be slid across to permit battery installation or replacement. It's visible in the image with the back removed from the body just to the left of the film gate.

Unusually for any camera that's not a Zeiss Ikon or an Exakta, the take up spool can actually be completely removed from the body if desired. It's not permanently installed into the body, as it's retained in place by a simple leaf spring underneath it. This may be gently extended enough to slide the spool out of engagement with its drive lugs in the socket at the top of the wind side housing. But why? Unlike a Contax or Exakta the ALPA design doesn't lend itself easily to cassette to cassette loading. Perhaps it facilitates the use of a bulk film magazine, or permits the leader to be attached to the spool prior to inserting the cassette? Certainly, I had no trouble loading the 11si with spool in its proper place though as a regular Contax shooter, juggling camera back and body whilst inserting leader and cassette comes easily. It is just the way ALPA made them. Personally I'm not inclined to criticise this peculiarity, because I will need to dismantle an ALPA 7 at some stage, and, it is certainly going to make it that much easier to dismantle that part of the camera, than a typical take up spool installation...

Harking back to 1960s design cues, a top deck light meter readout is included underneath the accessory shoe, of all places. The small lever at rear covers or exposes a little window inside which the three illuminated lights for "Under" (Red), "Correct" (Green), or "Over" (Yellow) visible within the main viewfinder are duplicated, in order to permit metering without the camera to one's eye—a potentially very useful feature for tripod photography—particularly for those of us with bad necks like myself, who finds hunching down to peer though a low eye level finder a real chore at the best of times.

All this is made foolproof by Alpa's innovative third meter cell, that is included specifically to detect any light entering via the viewfinder eyepiece, and subtract it from the total light received through the lens by the more conventional pair of cells mounted on the prism. So simple, and so effective. If only the camera also featured open aperture metering, as well! And, should you be wondering, here, if an 11si is a scandalously expensive (no 35mm camera of its time, was more expensive on the UK market than the 11si according to photographic author and former Alpa dealer, Ivor Matanle) and eccentric confection of sensational build quality, highly innovative, and downright archaic design features—you'd be absolutely right.

Near the rewind knob (which, incidentally, extends upwards and outwards on twin struts, to promote rapid rewinding) there is a small plate, typically finished in silver or gold, on which the letters "K.M." are immaculately engraved. These are the initials of the original owner of this Alpa 11si. Pignons would (at a price) make you an Alpa to your precise specifications—even to the extent of supplying non-standard format sizes such as extra-long film gate, or shorter than 36mm length or other variations. As late as the 1970s they were still prepared to (and did) manufacture long obsolete models such as the Alnea 7 first introduced in the early to mid 1950s on special request. Engraving the fortunate buyer's initials onto that small plate attached to the top of their flagship model was no doubt a reflection of the pride they took in making it as much as the owner's pride of having such a rare and exclusive model.

There are many more unusual details that make photography with an ALPA 11si no better or (perhaps) worse than with more prosaic cameras, but, without doubt, different, to almost any other make.
Cheers,
Brett




























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Old 4 Weeks Ago   #67
Elmar Lang
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What an interesting thread!

I also love the Alpa, of which I'm not a collector, although I've had the chance to find some of them, especially of the 11 series.

The book of Lothar Thewes is extremely useful and interesting. There's also a further, fine book, whose english edition is published in Switzerland (originally, japanese), with a fine appendix volume with serial numbers and details.

All the best,

Enzo
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Old 3 Weeks Ago   #68
ph.
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Yes, the Alpa cameras & their bespoke optics are somewhat like a camera-worlds crossbreeding of Bugattis, Morgan and perhaps Panhard, but less expensive to use and store. than classic cars.

The removable spool , as well as the removable back is indeed intented for the large film back. If I get time this weekend I will take a snap of mine.

I could not resist buying it at a camera fair some years ago. No real use for it of course beyond collecting. As a young student however, I used to buy long rolls of Ilford (FP3 ?) , cut them up and load casssettes to save on film costs.

Nowadays even 36 non-digital exposures needs an extra incentive for loading a film camera - although Fuji slides projected large by the Pradovit have yet to be matched by the digital alternative.

p.
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picture?
Old 3 Weeks Ago   #69
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picture?

In principle the large roll back should be visible here now. One will notice that the middle part is designed to replace the standard Alpa backs.

(Not sure how large files can be posted, so at 900px across, I may have shrunk this too much.)

p.
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Old 3 Weeks Ago   #70
Sarcophilus Harrisii
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Quote:
Originally Posted by ph. View Post
In principle the large roll back should be visible here now. One will notice that the middle part is designed to replace the standard Alpa backs.

(Not sure how large files can be posted, so at 900px across, I may have shrunk this too much.)

p.
Thanks for sharing that! I had a recollection of a bulk film back being available, hence I wondered if the spool was removable for that reason. That's as impressive in size as it undoubtedly would have been in price, when new.
Cheers,
Brett
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Old 3 Weeks Ago   #71
Sarcophilus Harrisii
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A group photo of the ALPA 11si I have been shooting with over the last week, together with the full complement of lenses in the collection in ALPA bayonet mount. The ALPA (in black chrome, this time) wears an Angenieux 28mm Retrofocus f/3.5 lens and is resting on a cute little chrome Pyramid Vivo tripod that arrived with an assorted lot of photographica I was gifted recently.

Other Lenses:
Front (Left to Right)
Kern 50mm Macro-Switar f/1.9.
Angenieux 90mm Alfitar f.2.5.
Schneider 35mm 35mm PA-Curtagon f/4 (seen here at maxmum shift).

Rear (Left to Right)
Angenieux 180mm Alitar f/4.5.
Kinoptic 100mm Apochromat f/2.




You can view a larger version of this image with more detail of the lenses here.
Cheers,
Brett
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Old 2 Days Ago   #72
Sarcophilus Harrisii
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Quote:
Originally Posted by Thatspec View Post
Looking forward to the results Brett. My recently acquired 11E is looking for some variety beyond the 50/1.8 and I'm leaning towards the 28/3.5. Curious about that and the Kinoptic though I'd never afford one (or even the hood). The 90/2.5 also looks nice.

I'm about to build a 'contabag' (or the manual version technically) from an Alpa/M42 adapter and an old Contax/EOS adapter. The original part seems to be less available than a unicorn...
Quote:
Originally Posted by Sarcophilus Harrisii View Post
As we have had visitors from interstate this week we planned a trip to one of Tasmania's most-loved national parks, today, Mount Field. I took the 11si along to shoot some black and white landscapes, and managed to knock off the roll of Acros 100 I started on Friday at above the snow line at Lake Dobson, so a roll of Agfa APX100 was loaded into it, because I'm not going to get another chance to shoot with these rare lenses any time soon, and I'm not done with them yet. No film images processed or scanned, yet, but here's another quick shot I grabbed with my phone, showing the ALPA sitting on a tripod wearing the Angenieux in front of Russell Falls. It's such a pretty looking lens: this photo doesn't do it justice at all. This wide angle is so beautifully put together and finished. It's a subjective point, of course, but I think it's the classiest 35mm lens I have ever handled. If it performs half as well as it looks, it's a winner.
Cheers,
Brett
This is what the Angenieux came up with at Russell Falls on 20 August 2017 fitted to the black chrome ALPA 11si. It was fitted to a tripod, and a cable release and mirror lock up were used to get as much sharpness as might be possible at the location. Film is the first roll of Agfa APX 100 I've used from the 100 foot roll I found locally a few months ago. Processed in Paterson tank in Ilford ID-11 1 + 3 dilution for 20 minutes at a temperature of 20C.
Cheers,
Brett

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Old 2 Days Ago   #73
Sarcophilus Harrisii
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On the same roll of APX 100 as the above photo of the waterfall, I used the 28mm Angenieux Retrofocus f/3.5 to shoot this image from underneath Hobart's Tasman Bridge, a structure that has had an interesting and sometimes troublesome history. I tried to hold the camera reasonable vertical to keep the bridge supports from converging too much and cropped to square.
Cheers,
Brett

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