Exa IIa

Exa IIA front view

lens: Meyer Domiplan

focal length:  50mm

apertures: 2.8 to 22 in 1/2 stops

focus range: 0.75m to infinity

lens fitting: Exakta bayonet

shutter: vertical cloth focal plane

speeds: 2, 4, 8, 30, 60, 125, 250

flash: bulb or electronic

film size: 35 mm

Externally, this is very like the Exa Ia and exactly like the Exa 500; it has the usual Exakta trapezoidal shape.  The layout on the front fascia is the same - shutter release on the left at the top, PC connector on the right at the top.  The lens fitting is the standard Exakta double bayonet (an internal bayonet for short focal length lenses and a larger external bayonet for longer focal length lenses).

A PDF manual is available on my Google Drive

There are differences, however.  The IIa has a fixed pentaprism and eye-level viewfinder with a Fresnal focussing screen with a split-image centre.  The shutter is now a vertically running cloth focal plane shutter rather than the strange mirror shutter of the Ia.  Along with the more standard shutter comes a larger range of shutter speeds  - eight speeds with the fastest  now being 1/250 seconds.

The removable back/base is exactly the same as is the shutter lock on the left of the viewfinder.   Another change is that the rewind knob is now a fold-out crank.

Exa IIa, rear view

With a vertical focal plane shutter, it should have been possible to increase the flash synchronisation  speeds but they are rather slow - 1/15 for bulbs or 1/30 for electronic flash.  The fact that bulb flash needs a slowest synch speed suggests that the only synch available is as the first shutter curtain ends its travel, bulb synch relying on the shutter being still fully open when the flash bulb reaches full intensity.

The Exa IIa came with a Meyer Domiplan lens rather than the Carl Zeiss Tessar that was standard with the Exa Ia.  I have yet to see the results from this lens but it has the reputation of delivering good results when stopped down.

This lens, like the Tessar, automatically stops down the aperture when the shutter release is pressed.  Exa lenses manage this by means of a lug on the lens barrel that covers the shutter release on the camera body.  The shutter is activated by pressing this lug which in turn presses the shutter release.

On the Domiplan lens, this lug is hinged and so presses the shutter release through an arc.  Because the release is not pressed straight in it can cause internal damage to the release mechanism.  This is made worse if the lug does not exactly line up with the shutter release so that it presses on one side of the release button.

shutter release lugs - Domiplan on left, Tessar on right

There is a further fault with the Domiplan.  As mentioned above, the release lug is hinged and this hinge dries out with time.  When the lubricant has dried out, the lug will not always return to its rest position after a photograph is taken.  This means that the aperture does not re-open to f2.8, leaving the viewfinder dark.  In use, this is easily remedied by flicking the lug with the shooting finger but it is annoying, nonetheless.  I have applied clock oil to this hinge and it is showing signs of freeing itself up.

4 February 2013:

Having run a test film through this camera, it is difficult to assess the camera's performance.  All the pictures ended up bright green.  This could not have  been down to the camera - it is an SLR and I would have seen the green through the viewfinder.

There are three possible causes for this green - defective development, defective film or defective scanning.  The staff in the lab assure me that mine is the only film to have come out green and so they do not think it was their development.

Defective scanning is a possibility but I would think it to be an automated process and if they have not changed any settings then the scanning process should not produce any colour cast.

The third possibility is a defective film.  The film I used was Agfaphoto Vista + 200 ISO, made under contract in Japan by, I think, Fuji-film.  Reputable makes of film should be reliable but in any factory process it is possible for the occasional item to escape the quality assurance system.

I am thinking that the reason for the green cast in my test film is the middle one - a defective scan - looking at the negatives, there is evidence of all three colours on the perforated rebate of the film (these are the frame numbers in magenta (the negative of green) and test lines in red and green (the negatives of cyan and yellow)) so it looks like at least part of the film has the requisite colour layers in the emulsion and the development has developed these correctly.  When I have time, I will scan the film myself to check the scan quality.

In addition to the green colour there are other problems which are definitely down to the camera.  At the bottom of each picture is a very over-exposed strip - this equates to the top of the film in the camera.  As the shutter travels vertically from bottom to top, this is most likely caused by the second shutter curtain hesitating slightly at the end of its travel.  This might cure itself with use which is quite common with 'stiff' mechanisms in old cameras.  I also need to be aware that I used this camera in sub-zero temperatures.  The lubricant in the shutter will be thicker at these temperatures and the shutter might well work better in warmer weather.

In general, looking at the negatives, the film has been exposed appropriately with good, but not excessive image density.

Some of the negatives are blank but this is down to operator error.  The shutter release is in the 'wrong' place.  Years of practise have taught me to be careful with the placing of my right hand when holding the camera.  With Exas I need to be careful with the placing of my left hand instead.  I also need to learn to use the shutter lock when not actually shooting.

This is my second Exa camera and my third roll of film on Exas.  That is enough to know that I like using Exa cameras with their various idiosyncrasies.  See further down for well exposed pictures from my second roll of film.

Witham by market Square

Lindum Terrace, Lincoln

Steep Hill, Lincoln

 I now have a test film with correct colours.  Nothing to complain about there,

Agfa Silette

Agfa Silette

Agfa used the name 'Silette' for a large range of camera over many years.  Mine is the Silette type 4 from (I think) 1958.

It is a basic 35mm camera which seems to be well made.  It has a Pronto shutter and an Agfa Color-Agnar f2.8 lens.  It has a double viewfinder - the opaque window adds brightness to the frame lines in the clear window.  There is no light meter nor a rangefinder in this model although both were available in other cameras in the Silette range.

As this is a typical basic camera, there is little to say.  The shutter is a Pronto four speed shutter - 1/30, 1/60, 1/125 and 1/250 seconds plus 'B'.  It also has a timer delay which works well (even though the general advice is not to try the self timer on old cameras).  On a fifty-plus year old camera, this shutter seems to be at least adequately accurate.

The lens is an Agfa Color-Agnar lens - not a lens I have come across before.   This is a Crooke's Triplet lens - originally designed in 1893 in England but still in use today.  My camera came with a cassette of film already loaded, so I tried the camera out with that.  The results were decent - especially when I removed the cassette and looked at the inner surface of the lens which was very dirty (but without any trace of fungus).  This lens is clearly coated - there is a blueish/purplish hue to the glass - but the lens is very susceptible to flare.

One fault with this particular specimen is the light seals.  These have obviously failed at some point and have been replaced with black wool.  This is not a technique that works.  I shall shortly replace the wool with black foam.

The viewfinder is clear with bright-lines for framing the picture - including parallax lines for close-ups.  There is a film speed reminder on the rewind knob.  This is not as easy to adjust as it could be - you need to lift the rewind knob (as if rewinding the film) and turn a knurled ring underneath the knob.  A sign of the age of this camera is the range of ASA speeds that are available - 14, 16, 17, 40, 100, 250, 650 - you would be hard pressed to find ASA 16 film now.  Kodachrome slide film was made as ASA 16 in the 1950s - the time of this camera - and Kodacolor print film was ASA 32.  Ilford monochrome film of the time had a speed rating of about ASA 160.

The exposure counter in at the centre of the base showing on the back of the camera.  Alongside this is the serial number - VI 2457 in my case.

The camera is marked as "Made in Germany" (i.e. West Germany).  There is sometimes confusion about Agfa cameras as Agfa sold the rights to the names and designs in North America to Ansco who continued to make "Agfa" cameras for some time separately from Agfa Germany.  This is not an Ansco camera.

Films that are currently available in the UK for cameras

I originally wrote this article in 2012 and updated it in 2013. That is three years ago and it is now very out of date. I have completely researched the availability of photographic film in the UK from scratch and shall now present the results of that research. Although I have tried to be diligent, there may be errors here and if you see any I would appreciate knowing about them.

I am leaving the old article below in blue for interest sake. As well as information about the films, there is some peripheral information about the makers which might be of interest.

The films I list are either available in physical shops in Lincoln or are available over the Interweb in the UK. I make no comment about the situation in other countries. The lists are in two parts - first monochrome films (because I prefer them) and then colour films. I have not bothered to put them in alphabetical order, I'm afraid. You will just have to read through the lists to see if the film you want is available.

As well as the make and type of film, I am noting the sizes it is available in. This will be a selection of 16 mm, 35 mm, 120 and 110.  'bulk' refers to 35 mm film in 17 m or 30 m lengths for loading your own cassettes.

	Monochrome films
Make	film name	size
Rollei	Ortho 25	35
	80S	35		120
	400S	35		120
	Infrared 400	35		120
	RPX 100	35
	RPX 25	35
	RPX 400	35
	Superpan 200	35
Ilford	Delta 100	35	bulk	120
	Delta 400	35		120
	Delta 3200	35		120
	FP4+	35	bulk	120
	HP5+	35	bulk	120
	Pan F+	35	bulk	120
	SFX 200	35		120
	XP2	35		120
Kodak	Tri-X 320	35
	Tri-X 400	35		120
	T-max 100	35		120
	T-max 400	35		120
Fujifilm	Neopan 400CN	35		120
	Neopan Acros	35
Foma	Fomapan 100	35	bulk	120
	Fomapan Creative 200	35	bulk	120
	Fomapan 400	35	bulk	120
	Retropan 320	35
Adox	CMS 20	35		120
	CHS 100 II	35
	Silvermax 100	35
	Scala 160	35
Fotoimpex	CHM 100	35
	CHM 400	35
Kono!	Reanimated 100	35
	Rekorder 100-200	35
Kentmere	100	35
	400S	35
Agfa	APX 100	35	bulk
	APX 400	35	bulk
Rerepan	Rerepan 100	127
Bergger	BRF 400T	35
Cinestillfilm	50	35
	800	35
Spur	DSK 50	35
Lomography	Earl Grey	35		120
	Lady Grey	35		120
	Colour films
Make	film name	size
Agfa	Vista 200	35
	Vista+ 400	35
	Precisia 100	35
Rollei	CR200	35		120
	Crossbird	35		120
Kono!	125t	35
	400T	35
	400CN	35
Fujifilm	C200	35
	Pro 160NS			120
	Pro 400H	35		120
	Provia 100F	35		120
	Superia X-tra 800	35
	Superia 1600	35
	Velvia 50	35		120
	Velvia 100	35		120
	Superia 200	35
	Superia X-tra 400	35
Kodak	Colorplus 200	35
	Ektar 100	35		120
	Gold 200	35
	Gold 400	35
	Portra 160			120
	Portra 400			120
	Portra 800			120
Lomography	100	35		120
	400	35		120
	800	35		120
	X Pro 200	35
	Lobster		110
	Tiger		110
	Peacock		110
	Orca		110
	Redscale XR 50-200	35		120
	Purple XR 100-400	35	16mm	120
	X Pro slide 200			120
	Instant film
Make	film name
Fujifilm	FP100C
	Instax
Impossible	to fit Polaroid 600
	colour and monochrome

ORIGINAL ARTICLE FROM 2013

I am updating this article on 23 December 2013 with the films I can find for sale today.  Those films I mentioned in the original article that I can no longer find for sale are in blue type.  Films in black type are available.

Having purchased all these old film cameras that I am writing about, I want to use them.  In Lincoln where I live, films are much harder to buy than they were a few years ago, and much harder to get developed.  There are two places in Lincoln that will develop C41 films on the premises but for good old fashioned black and white film you either need the patience to send them away to be developed or to develop them yourself.  I develop my own 35 mm films but 120 films are beyond me and I need to send them away. If you would like to develop your own films, it is worth a look here: The Massive Development Chart

Before you can develop the films, indeed, before you can take the pictures with the film, you must first buy the film.  I thought it might be a good idea to research exactly what films are available in which sizes and exactly what you get for your money.

First, here are the makes of films currently on retail sale in the UK.  These are either available in Lincoln's shops or available via the interweb.  For Interweb purchases, I find AG Photographic to be reasonably priced and fast.  These films are variously available in 35mm, 120, 127, 110 and APS.  Those last two are not very common but a few of the films described are offered in those two formats.

1 Agfa

2 Rollei

3 Kodax

4 Ilford

5 Kentmere

6 Fujifilm

7 Adox

8 Efke
9 Foma

Some of these names will be known to everyone (Kodak, surely!) and some will be known to older photographers (Adox) and some will be new to just about everyone.  I was surprised to find that there are nine different film makers selling their products in this country.  Each of these produces a range of films so the total number of films available is still quite large - digital might well be king, but analogue photography is far from being ready to lie down and die.

I shall now give a brief list of the range for each manufacturer followed by more details on each film.

1 Agfa - APX 100, APX 400, Vista colour negative, CTprecisa reversal, APS 200 star 200 and finally Scala 200x B&W reversal.

2 Rollei - RPX 100, 80s, RPX 400, 400s, Retro 100, Inra-red, ATP, colour reversal.

3 Kodak - T-Max, Tri-X, BW400CN, Porta negative, Ektar negative, Ektachrome reversal, Elite Chrome reversal.  With Kodak's current problems, this is likely to change rapidly.

4 Ilford - FP4, HP5, Delta 100, Delta 400, Delta 3200, Pan-F, XP2, SFX 200

5 Kentmere - 100, 400

6 Fujifilm - Neopan 100, 400, 1600, 400CN, Fujicolor Pro negative, Superia negative, Velvia reversal, Astia reversal, Provia reversal, and Polaroid-type instant film.

7 Adox - CHS 25, 50, 100, ART, CMS 20, PAN 400, Orthochrmatic, Pan 25.

8 Efke - IR film

9 Foma - 100 Classic, 200 Creative, 400 Action, Formapan reversal.

Agfa.

There are two companies called Agfa (American readers may think of a third - Ansco Afga, now defunct) making photographic film.  Consumer films are made by Agfaphoto and industrial films are made by Agfa Gevaert.  While Afga Gevaert retains the rights to the name 'Agfa', it has licensed the name to Agfaphoto, but not the use of the Agfa logo.

The Agfaphoto logo is

and the Agfa Gevaert logo is

Products from both Agfa companies are available to the retail market, but only Agfaphoto products carry the name 'Agfa'.  Agfa Gevaert products are only available as re-badged products - several Rollei films are re-badged Agfa Gevaert Aviphot films.

Agfaphoto became bankrupt shortly after buying the right to the Agfa name in 2004.  Agfaphoto products currently on the market are either the remains of the stock produced in 2004 or produced by Lupus Imaging and Media under license.

Lupus are currently selling:  Agfaphoto Vista 200 and 400 ISO colour film, CT precisa slide film, APS 200 star 200 film and APX 100 & APX 400 monochrome films - and also the idiosyncratic Scala 200x black and white reversal (slide) film.

Rollei

Rollei films are not made by Rollei (which is now just a marketing name) but are re-badged products from other firms - Agfa for sure and possibly others.   

Retro 100 is actually Afga APX 100 which is also marketed under that name by Agfaphoto (see above).  It is very cheap in the UK - £1.89 for a 36 exposure film if bought in a pack of ten and gives good results.  It is the film that I use the most.

Retro 400S is made by Agfa Gevaert as Agfa Aviphot PAN400S and is intended for aerial photography for mapping purposes.  It has near IR sensitivity which reduces haze in landscape photography - it also lightens the colour of foliage.  This is made on a synthetic base rather than acetate and so needs to be loaded and unloaded in very subdued light.  This is because the synthetic base act much like fibre optics fibres and will transmit light into the cassette and cause fogging around the sprocket holes.

ATP 1.1  This is an ISO 32 film - very slow indeed.  It produces very fine grain and controllable contrast.  It is sensitive from 379 nm to 820 nm (i.e. well into the infra-red).  It is placed on the market as a replacement for Kodak's Technical Pan.  It has a very thin emulsion - which means it will scan better than standard films will.  It requires the use of a special developer - ATP DC.

Superpan 200  This is re-badged Afga Gevaert Aviphot Pan200 PE1.  It is intended for technical, industrial and aerial photography.  It has near IR sensitivity as does the Retro 400 film and behaves in much the same way apart from having half the speed.

80S  Yet another re-badged Agfa Gevaert product - Aviphot Pan 80.  Slightly IR sensitive ( 340 nm to 775 nm) and is available in 120, 127 and 35 mm sizes.

Rollei also sell a number of colour films under the Crossbird label which are reversal films to be processed with the C41 process.  I assume you could also process these with the normal reversal chemistry.

Kodak 

While this is current as I write, it is likely to change quite quickly as Kodak try to save their business.  

Kodak split their films into a consumer range and a professional range.

The consumer range consists of three films - Ultramax 400 colour negative film, Color Plus colour negative film, Gold 100 or 200 colour negative film, BW400CN black and white chromogenic film.  There is no slide film in the consumer range.  The three colour negative films are run-of-the-mill colour negative films.  The BW400CN film is also sold in Kodak's professional range and more details are available below.

The professional range has four colour films and three black and white films .

Porta films are fine grained, normally saturated negative film in three speeds - ISO 160, 400, and 800.

Kodak claims that it produces natural skin tones and has extremely fine grain.

Ektar  films are also colour negative films and Kodak claims it is the world's finest grain colour negative film.  It has "ultra-vivid colour" which means it produces colours that are over saturated.

Ektachrome  100G or 100VS films are reversal (slide) films.  The "G" variety has normal colour saturation (best for portraits) and the "VS" variety has over saturated colour saturation (aimed at landscapes).

T-MAX 100, 400, 3200 films are black and white films - claimed by Kodak to be the world's sharpest ISO 400 film and the finest grained ISO 100 film.  These are standard monochrome chemistry and hard to get developed locally.

Tri-X film seems to be the only Kodak film to be available in 120 size as well as 35mm.  It is only available as ISO 400 film.

BW400CN is a chromogenic film (chromogenic means 'makes colours') that is developed in colour C41 colour film chemistry but produces a monochrome image. This means that most towns will have at least one shop that can develop it on-site and usually within an hour.

Chromogenic films have no grain in the accepted sense as the image is formed in a dye cloud.

Ilford Photo

Ilford has suffered the same fate as Agfa.  As film usage has dropped off the consumer division division has been sold off with the original company continuing to make professional films.

As Agfa's consumer division became Agfa Photo, Ilford's consumer division is now Ilford Photo.   Ilford Photo now belongs to Harman technology and seems to be in fine fettle.  They produce a range of ten films - one sold as Kentmere - all of which are monochrome films.  Some of these have a venerable heritage (FP4, HP5 have been around a long time) and others are newer.  If you want colour Ilford films, you can't.  Ilford used to produce colour films but no longer do.  (confusingly, both Ilford Photo and Ilford Imaging produce a range of papers called "Galerie".  In the case of Ilford Photo, these are silver halide papers and with Ilford Imaging they are inkjet papers.)

I shall present the films in the order that Ilford Photo do in their brochure.

Pan F plus  is a slow - ISO 50 - film with very fine grain.  Available as 35mm and 120.

FP4 is a standard medium speed - ISO 125 - tolerant film.  It is very hard to go wrong with FP4 and it is probably the classic monochrome film.  Available as 35mm, 120 and sheets.

HP5 is a fast - ISO 400 - film which is much grainier than the last two.  It is also available in 35mm, 120 and sheets.

Delta 100 & 400 The ISO 100 version is slightly slower than FP4 and both are made with modern crystal structures which gives finer grain than traditional cubic crystals do without sacrificing speed.  Also available in 35mm, 120 and sheets.

Delta 3200 uses the same technology as the above two Delta films but is very fast - ISO 3200.  Only available in 35mm and 120.

XP2 is a ISO 400 chromogenic film (analogous to Kodak’s BW400CN film) that needs to be developed in the colour C41 process.  It is available in 35mm and 120 formats.

SFX200 is a "creative" film which has some Infra red sensitivity (cf Rollei Retro 400). It is developed in standard black and white chemistry.

OrthoPlus  This is basically a very old fashioned film as it is not sensitive to red light.  It is intended for specialist applications but could be used for a very retro (pre WWII) look.  It only seems to be available in sheet film format.

Kentmere is available in ISO 100 and ISO 400 forms and is only available as 35MM.

Fujifilm

Fujifilm still have a good range of films available.  They produce colour negative, colour reversal and black and white films.  They split their films into consumer and professional films as seems to be the fashion these days.

Consumer films:
Superia colour negative film is available in speeds of ISO 200, 400, 800 and 1600.   They only produce this film is 35mm.

Professional films:

Fujicolor is a colour negative film available in three forms.

Superia reala is a ISO 100 film available in 35mm and 120.

Superia X-tra is a press film that is only available in 120 but in several speeds.

Pro is mainly aimed at portrait photographers.  The ISO 160 film is available in 35mm, 120, and sheet film formats and the ISO 400 film is available in 35mm and 120 formats.

Fuji also make FP100C instant colour film

Fujichrome is a colour reversal film in two forms.

Velvia has ultra-high saturation, intensely vivid colours, high contrast (in Fujifilm's own words) so is not particularly natural looking.  The designer of this film once claimed he wanted to make a film that reproduced skies like people remembered them when they came back from holiday.  It is available in 35mm, 120 and sheet film formats.

Provia is also claimed to give vivid colours but perhaps not to the same extent as the Velvia films.  Provia films are available in 35mm, 120 and sheet film formats.

Neopan is Fujifilm's monochrome offering.  It comes in three forms.

Neopan Acros is a very fine grain medium speed (ISO 100) film  It is available in 35mm and 120 formats.

Neopan 400 is a faster film (ISO 400) which is again available in two forms.  First, the conventional form which is only available in 35mm and secondly the chromogenic form Neopan 400CN which needs to be developed in the colour C41 chemistry.  This form is available in 35mm and 120 formats.

Neopan 1600 is a very fast film only available in 35mm.

Again, Fuji kasme black and white instant film - FP3000B

Adox

Note: As of late 2012, Adox currently cannot produce some of their films due to their manufacturer in Croatia  ceasing trading.  This affects the CHS films listed below.  I am retaining the listings for  the present in case Adox resume manufacture and I shall keep an eye on the situation - I shall update this post when there is something new to add.

This is a very old firm.  It was originally set up as Fotowerke in Germany making plates from about 1860.  They started making cameras as well from the early part of the twentieth century.  In 1952 they introduced their 35mm very fine grain film.

In 1962 Adox was sold to DuPont in the USA.  DuPont licensed the film technology, but not the Adox name, to Fotokemika in Yugoslavia where the films were (are!) made under the Efke brand name.

In 1999 the Adox brand was bought by Agfa so now Adox is a German company again.  However, Agfa never used the Adox name and in 2003 it was de-registered as a trademark by the German Patent Office.

The Adox name was now taken up by different companies in the USA, Canada and Germany.  None of the current Adox companies are related to the original German Adox company.

The films listed below are are made by ( or for) Adox Fotowerke GmbH, Bad Saarow, Germany.

Details on developing Adox films in various developers can be found at: http://www.digitaltruth.com/devchart.php?Film=Adox+CHS&Developer=&mdc=Search

 The Adox range is divided into a Premium Line and an Art Series.  First the Premium Line.

Premium Line consists of two films with a third film in progress.

CMS 20 is the world's finest grain film with the highest resolving power.  The resolving power of this film is stated as being 800 lines/mm which is better than most (all?) camera lenses can produce.  An example - good Canon lenses (the L series) will give around 350 lines/mm at f4.

CMS 20 needs a dedicated developer - Adotech - to work properly.

Pan 400 is a rework of Agfa's APX 400 with some small improvements.  There will be a Pan 100 film at some point, but not yet.

Art Series  These are the CHS films which are based on 1950s recipes - so very old fashioned.

Adox claims great tonal range and colour separation (its a black and white film!).  These films have a high silver content which gives richer grey scales.  The CHS in the name stands for Cubiccrystal Heterodispers Single-layer - just so you know.

Available film speeds are ASA 25, 50 and 100 (ok, should be ISO, not ASA, but if we are going to be retro . . .)

These films are coated onto a PET base so light piping can be a problem.  This is when the film base acts like an optic fibre and conducts light into the cassette or under the backing paper.  To counter this, always keep Adox cassettes and rolls in the black plastic containers they are supplied in (yes, 120 roll film from Adox is supplied in a black plastic container).

CHS 25 & 50 while this is a panchromatic film, it has a red end cut-off at 620nm so reds will come out darker than with a modern panchromatic film.  it is available as 35mm, 35 mm bulk, 120 and sheets.

CHS 100 II is more panchromatic than the ASA 25 and 50 films with a red end cut-off at around 620 nm.  This is also available as 35mm, 35mm bulk, 120 and sheets (with a wider range of sheet sizes than the ASA 25 and 50 forms).

Ortho 25 is an orthochromatic film and so not really sensitive to red light - red end cut-off is 610 nm.  This will produce a tonal range similar to that which was normal in the 1980s.  In portraits, lips and skin blemishes will be black.  In landscapes, brickwork will be darker.  This is available in 35mm, 120 and sheet.

110  Adox do not currently produce 110 film cartridges but are in the process of introducing it.  Adox say this will be a slow process and the 110 cartridges will be available towards the end of 2012 or later depending of income from other lines.

126 Until recently, Adox did produce 126 film cartridges but do not anymore.

Silvermax 100 has been recently introduced in 35mm only.

Adox  have also started making colour film. Their one offering sounds very strange - CVolour Implosion which 100 ISo and 35mm only and, according to Silverprint who retail it in the UK, "it has extra large grain, beautiful colours with bursting red and washed out blues and greens." In other words, it is a rubbish film!

Foma.

Foma is a Czech firm making four films - 100Classic, 200 Creative, 400 Action and R (reversal film. All are black and white films. 

Lomography.

Lomography are a recent addition to the world of film makers.  They are the only firm to make 110 cartridges.  Their range is currently:

Colour Tiger, Orca Black and white, Peacock - all in 110 cartridges - Earl Grey, Color Neg and Redscale (colour film) - all in 120 fcassettes - and Xpro 200 which is available in 35mm and 120.

Agfa Billy Record

Agfa Billy-Record

Agfa Billy-Record landscape format

This is a fairly standard full frame 120 film camera from the mid 1930s.  I think this camera is a grey import - no "made in Germany", distance scale in metres and the tripod socket is continental rather than UK or USA.

The camera takes eight pictures on 120 film which makes it an expensive camera to use.  There are two finders: a brilliant finder and a two frame Galilean finder.  I can never get on with brilliant finders - too small mostly.  The shutter is a Prontor II from Gauthier and the lens is Agfa's Apotar 10.5 cm focal length and f4.5 maximum aperture.  This lens performs very well - with colour as well as monochrome.  Lenses from the 1930s were usually colour corrected even though colour film was unusual.  This is because the new (for the time) panchromatic films were sensitive to all colours and non-colour corrected lenses would produce a very soft image.

Shutter speeds on the Prontor II are 1, 1/2, 1/5, 1/10, 1/25, 1/50, 1/100 and 1/150 as well as B and T.  1/25 and 1/50 seem very slow by modern standards. but the 6cm by 9cm negatives would be unlikely to be enlarged.  For most people, contact prints would be normal.  The lack of flash synchronisation and the 1/150 maximum shutter speed date this to the first Prontor II design and so dates the camera to between 1934 and 1938.

The lens focusses down to less than one metre to infinity.  On my camera, the lens will not focus to infinity - either because the grease on the focussing thread has solidified (something Agfas are notorious for) or because someone has attempted a repair (also common on old cameras).

As was normal until the mid 1950s, the shutter release lever is on the shutter housing.  As was also normal from 1930ish, Agfa provide a secondary shutter release on the camera body which is connected to the lever on the shutter housing by an articulated link.  This is a seriously weak link and barely works on my camera.  When opening the camera, there is a significant danger of the release link missing the lever on the shutter housing.  Agfa actually stress the importance of this in the manual for the camera.  The long term effect of this link missing its proper location is that the link has bent and frequently dis-articulates itself.

There are the two tripod bushes we would expect on a camera of this format and date.  One is on the base board - centrally placed which makes fitting a tripod easier than on some cameras - and one near the centre of the base.  Both are 3/8 Whitworth which is larger than most tripods use.  My other cameras from this era have a 1/4 Whitworth insert and these may well have been present at some time.

Sample pictures:

Stamp End, Lincoln

Lincoln Cathedral