Ilford Sprite 35 II Black Silver

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Last but not least, the MPP Micro Technical Camera for 5x4 inch film. The 'Micro' part of the name feels rather tongue-in-cheek, as the camera wasn't small by any means; in fact it is by far the largest camera in my collection. The Micro Technical camera was a professional large format camera strongly based on the Graflex Pacemaker Speed Graphic, with an impressive repertoire of 'adjustments', the term for lens movements better known as tilt-shift. These adjustments allowed playing with perspective and depth of field, as well as positioning, such as taking a photo ('selfie') in the mirror without the camera being in it. In 1899, Kodak developed the continuous wheel process for manufacturing transparent film base, which had previously been coated on long tables. Paper and film are fed through these machines to be coated by the emulsion, a baryta layer and sometimes a resin, wax or oil topcoat. The Ilford Sprite 35-II is a wonderful entry-level film camera from Ilford! It continues the 'Sprite' heritage from the 1960s original model, and will meet the needs of people experimenting with 35mm film and looking for a camera that’s ‘no frills’ simple.

Conventional B&W films can still be scanned but you must disable Digital ICE. You can then do retouching of dust separately in a graphics program. We would also recommend reducing any auto sharpening employed by the scanner software as this may enhance any visible grain. You will want to experiment with which settings work best for you. Can I use ILFORD Washaid with film? A Coronet Midget next to a 35 mm film canister to show its diminutive size. It was of course too small to use this film, it used 16 mm rollfilm instead. I use a selection of Ondu pinhole cameras, lovingly crafted from ash and walnut in Slovenia by Elvis Halilovic. The tactile experience of working with a wooden camera is a joy and the clever engineering and design work put into them makes winding the film and opening the shutter seamlessly easy. With pinhole photography the size of your negative directly affects the detail and (relative) sharpness of the finished images so I prefer to use the larger 120 and 4x5 film formats. Later on Agilux starting making plastic cameras that were far removed from the earlier high-quality camera. One of these was the Agilux Auto Flash Super 44, introduced around 1959. It had a rather funky and unusual design somewhat reminiscent of some of the plastic Kodak Brownie cameras. It would take 4x4cm photos on 127 film and had a curved film plane like the Coronet Viscount, which made it easier to correct for lens aberations. It had a simple fixed-focus meniscus lens and a single speed shutter but did have an adjustable aperture (to be used with the flash). The camera had a selenium lightmeter and it would show the correct exposure in the viewfinder. Other cheapish cameras made by Agilux were the Agiflash, the Colt 44 and the Agimatic Instamtic camera, not to be confused with the original Agimatic above. This was a simple little viewfinder camera which was fairly heavy despite its small size. Its shape was obviously inspired by the screwmount Leicas but the comparison ends there. A later version with larger viewfinder was called the Halina 35X Super.

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The corners are completely unsharp while suffering from vignetting, lens flare, chromatic aberration, and dramatic distortion. The center of the frame is a little better, but that’s about where it ends. If you’re capturing landscapes, this camera isn’t going to capture photos that get featured in National Geographic (though, they could probably make it in Vogue!) There were two slightly different version of the Microcord. The Mark I had a red window at the bottom of the camera needed to load film, whereas the Mark II had automated film loading. In addition the Mark II had a Prontor-SVS shutter and a different hood (see below). The fact that gelatin dry plates could be manufactured in advance in a factory meant that photographers no longer needed to coat the plates themselves or travel with a portable darkroom. This contributed to the democratisation of photography and helped make it a popular pastime for a much wider audience. An Ensign Multex model.0 with collapsible Ensign Multar 50mm f/3.5 lens. Although the lens style is quite similar to that of the Leitz Elmar, it has a much larger 43mm thread, and doesn't fit on any other cameras that I know. Ciba built a new plant in Marly, Switzerland, to coat Cibachrome, renamed Ilfochrome in 1992 after Ciba withdrew use of its name. The old Tellko factory nearby in the centre of Fribourg was used as the finishing department.

The original Agiflex came with a limited range of speeds of 1/25-1/500s, but a slow speeds were introduced with the Agiflex II using a separate slow speed dial. At some point a larger lens mount was introduced to allow faster lenses such as an f/2.8 standard lens. An adapter was available to mount the older lenses, but the new lenses did not fit on the older models. The mid 1950s Agiflex III had a modernised design with a chrome top plate and viewfinder, again based on the Reflex Korelle, which had gone through a similar redesign. Ilford Advocate camera, Series II | Science Museum Group Collection". collection.sciencemuseumgroup.org.uk . Retrieved 17 November 2021. For that reason, this camera is way better as a film camera than it could ever be as a digital point-and-shoot. Film makes the process easy, thought-free, and fun. Throw in a roll of Kodak Ultramax or Lomo Purple and have fun. Development times for film products can be found in our film development chart and in the product specific technical information sheets. What film product is best for scanning? Usually, the frame numbers on our roll film wrappers can be viewed in any camera viewing window, but in some older cameras that have dark red viewer windows, the numbers can be difficult to see.A Ensign Selfix 16-20 with Ross Xpres 75mm f/3.5 lens in Epsilon shutter. This is the second model, characterised by its metal top housing. The viewfinder was a frame finder with a frame projected in the viewfinder, which gave a better defined film frame. Other interesting features were the viewfinder which would pop open automatically when pushing the front door opening button, and the double-exposure prevention. Ensign Multex Another simple little camera from Halina, this one from ca. 1962. It was a 120 rollfilm camera with a fairly unique feature of dual format capability, which would make 16 4x4 or 12 6x6 photos on one film. It therefore featured two viewfinder windows. The different formats were achieved by a mask in front of the film gate, so the format could not easily be changed after loading the film. It had a curved film frame like the Coronet Viscount. It had a fixed shutter speed of 1/50s with 3 aperture settings (f/8, f/11 and f/16). This is not a camera for pixel peepers or people who care more about the quality of images than the memories captured in them.

Previously known as Britannia Works, the company was founded in Ilford, UK during 1879 by Alfred Hugh Harman. Britannia Works initially began making photographic plates and in 1902 it took the name of the town to become Ilford Limited, despite the objections of the local council. In the 1960s the company was owned by Ciba, and the owner merged it with its other film makers, the French Lumière and the Swiss Tellko. Together they were the Ilford Group. In 1983, Ilford headquarters was moved to Mobberley, Cheshire. The Ensign Multex was a for the time very well-specified rangefinder camera for 127 rollfilm (3x4 cm) introduced in 1935. It featured a focal plane shutter with speeds from 1s down to 1/1000s. It had a telescopic lens (like on screw mount Leicas) and a closest focus of nearly 0.5m. It had several clever features including a pressure plate that was released during film winding (a similar feature was found on the Voigtlander Vitessa). The rangefinder window was magnified, so one had to frame the shot with the separate viewfinder. A variety of lenses was available, most commonly an Ensign Multar Anastigmat f/3.5 but also a Ross Express f/2.9 or a Tessar f/2.8.

Millions of these cameras were sold over the following decades. By 1932, the factory in Harrow was producing 2.5 million cameras a year. Holliman, Andrew J. Faces, People and Places: The Cameras of Ilford Ltd., 1899 to 2005. ISBN 0-9545342-1-2 Ilford recommends using ISO 200 and 400 films with the Ilford Sprite 35-II. ISO 200 is great for full sun, while ISO 400 film works for every scenario, including when taking snapshots at sunset and sunrise, or when taking images at night with the flash on.