Graciela Iturbide Retrospective

 The Mexican photographer, Graciela Iturbide, is a long-time favorite of mine.  She is just two years younger than me and is still out there making pictures on film, mostly in black and white.  The International Center of Photography in New York is currently showing a big retrospective of her work.  She has traveled all over the world making her images, but is best known for her depictions of Mexico's indigenous women.

Iturbide has a rare talent for explaining her own work as is evident in the The Guardian review of the current ICP exhibit.

Graciel Iturbida - self portrait - 1979

OSTLICHT KAMERA- & FOTO AUKTION

 Even if you don't happen to have € 50,000 on hand, the online catalog is worth a look for the vast presentation of prints from the old masters.  I might even be tempted to get the hard copy.

Included with the displays of prints are good descriptions, as well as high-res details.

Brooklyn, 1967

 I'm having some trouble getting out to make new pictures with my recently acquired Nikon S. (I blame the weather.)  So, until the weather improves, I thought I would show some more portraits from the first Nikon S made before the Chinatown series.

In spite of their imperfections these shots of two Brooklyn kids earned me a year's membership at the Museum of Modern Art.  That was crucial in my development as a photographer as it gave me a first hand look at actual prints by people like Weston and Adams.

I made quite a few portraits with the Nikon S, some of them while I was attending the commercial photography course in Manhattan.  I got no credit for the pictures because they were made on 35mm rather than the large format equipment used in the classes.  I also spent some time walking around the streets of Brooklyn and grabbing shots which I coulld sell to the local newspapers.

Family Pictures

I received a packet of pictures recently from the wife of my cousin, Jim.  She has been going through his things to decide what to keep and what not.  I think he had likely inherited them from his mother.  I recalled seeing a couple before, but most were new to me.  Many had notes on the back, usually in my mother's hand, which included the date the pictures were made.

There is no date on the back of this picture of my mom and the date of the Time cover is not visible.  I''m pretty sure it was made in the mid-1940s.
 

My half-sister at two in our Eastgate house; she came along fifteen years after me.

Early 1950s.  My stepfather, my mother, my uncle and me eating.  We are in the West Seattle house my mother helped my grand-parents to buy.  The leg and elbow on the right likely belonged to my grandfather as he always sat in that chair to watch tv.  It's a flash shot, probably not from the only family camera I remember from those days which was my grandfather's Kodak folder.  I don't know who made it.  It is a pretty silly picture for several obvious reasons, but it contains a great mystery.  I am wearing glasses!  I don't remember putting on a pair of glasses  before I got some readers at about the age of 60.  No way now to know the real story.

Travelling with the Kiev IIa

 I loaded some Kentmere 400 in the Kiev IIa mounted with the Jupiter-12 35mm lens and rode my trike to Old Town.  As I was preparing to make some shots of the houses on Old Town Road these bikers rode into the frame.

The Plaza Vieja was jammed full of people in town for the first day of the Balloon Fiesta, so I just drove on through to the corner of the Museum.  The current exhibit is an extraordinary opportunity to see works seldom available in Albuquerque, and the message of the show is clearly relevant to our time.

Having got through just a few shots on the roll I took the camera along on our two-day trip to Las Cruces and Mesilla, where we walked around the Plaza on Sunday morning just as the Sunday service was ending at San Albino.

We had coffee in the shop next to the church and I made a few shots around the Plaza as I do on each visit.  I shot rather carelessly as it was a roll of 36.  However, the advance locked just past 20.  

When I developed the film the frames were spaced very narrowly and there was a light leak evident in the margins of a few frames.  Those are issues easily fixed, so I'll get to that before using the Kiev IIa again.

No.1 Daughter

We enjoyed showing my Portland daughter and her spouse some of the things we like about Albuquerque.  One of the hits was breakfast at the Church Street Cafe.

Kentmere 200

 I loaded a roll of Kentmere 200 in the Leica IIIa and went to Old Town close to noon on Friday. The old cars were lined up on the shady side of the street in front of San Felipe de Neri church.  The owners sat in folding chairs along the sidewalk.

Afterward I walked around the Old Town streets to grab a few hip shots before stopping for lunch at the Tiny Grocer just off Old Town Road.

I thought the results from the new Kentmere looked pretty good.  Still, there are so many variables in shooting any film that it is not a good idea to jump to conclusions without shooting several rolls under a variety of conditions.  I have another roll which I'll try to get to soon with the Nikon S.

Contax Cousins

The Soviet-era Kiev rangefinders were close copies of the German Contax cameras.  In fact, since the Russians had carted off the Contax factory to Ukraine as WWII war booty, the early model Kievs actually had many German-made parts.

When I acquired my Kiev IIa about twenty years ago it was not because of its Contax heritage but rather because of its modest price and its resemblance to another Contax copy, a Nikon S which I had foolishly disposed of twenty years earlier.  Having now put aside my reluctance to spend what it takes to own the Nikon, I'm pleased to have the opportunity to compare the two Zeiss-inspired designs.

 While both cameras clearly show their relation to the original Zeiss Contax, the Nikon exhibits an evolution toward post-war design trends including compactness.  The Nikkor 1.4/50mm lens is a stop faster than the Kiev's Jupiter 8, but both are coated Sonnar-type 7-element designs and are interchangeable between the two cameras.  The shutter in the Kiev II goes up to 1250/sec while the Nikon tops out at 1/500.

Top: Kiev IIa        Bottom: Nikon S

Both cameras have fully removable backs.  The Nikon features a fixed take-up spool and a Leica-style horizontal-travel cloth shutter.  The Kiev, like the Contax, has a vertical-travel metal slat shutter.  Both cameras have combined viewfinder-rangefinder windows.  While the front vf/rf widows on the Kiev are larger and wider spaced than those of the Nikon I see little difference in the clarity of the view or rangefinder accuracy.

The Kiev IIa Album

In looking at the pictures the two cameras have produced for me I can really see no great differences in the cameras' handling or in the quality of the images.  At the same time I have to admit that the two cameras have been used by me in very different ways. 

I've owned the Kiev IIa for about 20 years and it has been pointed at quite a large variety of subjects, sometimes with the Jupiter 8, but most often using the 35mm Jupiter 12 lens, a Zeiss Biogon copy, along with a brilliant wide-angle accessory finder.

 

The Nikon S Album

 My first Nikon S was used for only about a year in the late 1960s; I initially made a few portraits with it, but most of the pictures from it were hip shots on the streets of Brooklyn and lower Manhattan.  All those early pictures came from the standard 50mm Nikkor lens.

My goal now will be to give the Nikon S the chance to see a much broader view of the world than it got in the 1960s.

 

 

The Nikon-S in Old Town

 Early on Saturday morning Old Town was full of people who had come to see some singing and dancing as a lead-up to Mexican Independence Day on the 16th.  My Nikon S was loaded with Kodak Tri-X.

I did not get the exceptionally nice tonal qualities which I expect from Tri-X.  The highlights were washed out and the mid-tones were muddy.  The pictures made in shadow were better, so I think the lack of a lens hood was partially responsible for the problem.  However, it seems more likely that the HC-110b processing was somehow the main issue.

Sorting out the Nikon S

 When I first acquired and used a Nikon S in the mid-1960s I really had no idea about the development of Nikon's rangefinder line.

 For instance, I was unaware at that point that the dimensions of the negatives the camera made were slightly different from the standard of the time.

 

The film strip at the top of the above image is from the Nikon S.  Below that is a strip from my Leica IIIa showing the 24 x 36 dimension of the frame which was the standard for European and U.S. 35mm cameras.  The frames from the Nikon S are spaced slightly wider and are just 34mm across. That really makes no practical difference in image acquisition, though it does make cutting the strips into manageable sizes a little easier.

I shot a test roll of Kentmere 400 to verify the functioning of the camera.  I think the resolution and contrast from the 1.4/50mm lens look good.  I'll try to do something more creative in the next round.

I don't see a lot of pictures being posted online from the Nikon S, though the Nikon rangefinders are clearly popular with collectors judging by the sale prices.  The S-model is the most accessible economically, while prices for earlier and later models as well as lenses and accessories approach the stratospheric.  I'll likely settle for just the addition of a generic lens cover.

(Jason Schneider has posted a history of early Nikon lens development on Rangefinder Forum.)

Six Decades

 I bought a Nikon S about sixty years ago and used it briefly to do what I still consider my best street work in New York.  I regretted selling the camera and thought about replacing it ever since.  So, I bought one on ebay from a guy named Igor in Cleveland. 

The camera looked almost like new except for a couple bumps on the leather on the back.  The only functional issue was a very slight vertical misalignment of the rangefinder.  Fixing that requires taking off the front panel to get at the adjustment port.

The little oval hole next to the viewfinder window on the right contains the vertical adjustment mechanism which consists of a set screw to lock the adjustment and a a ridged wheel which is turned to move the image up or down.  The adjustment was accomplished easily.  The front panel went back on with just a little careful wiggling to get it in place over the rangefinder focusing wheel on the left.

As I expected, the Nikkor-S 1.4/50mm lens yielded nicely sharp results from the first roll of film I got through the camera.  

I won't be able to duplicate the kind of work I did with the camera in New York, as pounding the pavement for miles in a day is no longer an option for me.  However, I'm still looking forward to becoming reacquainted with an old friend.

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Making horizontal adjustments to the rangefinder  is easier.  There is a little port in front of the accessory shoe which is accessed by just removing two tiny screws.  Horizontal adjustment is accomplished the same way as with the vertical via a set screw and a small toothed wheel.

From a few years ago...

Alejandro

Now a Phoenix police officer and the father of our latest great-granddaughter.

Hattie and her mom

 

Coffee and a Burrito

 We visited Bike In Coffee which is at an old farm west of downtown Albuquerque.  We drove there, but many people do get there along the bike trail that parallels I-40.  I shot most of a roll of Kentmere 400 in the Zorki 6 with the collapsible Industar 22.

The camera and lens performed fine, but I don't shoot the camera enough to be used to the unconventional location of the rewind button which is right next to the shutter release.  I managed to lose about a quarter of the shots by pressing the wrong button.

Still a nice morning outing and I always find a lot of picture opportunities at the place.

 

Margaret wants to go back on a Thursday when the bluecorn pancakes are featured, so I'll likely have some more pictures of the place soon.