That sir is a post 1954 - Vitessa N, which would have been a (Type 134) in the Voigtlander catalogue. Versus the glorious 50mm, f/2 Ultron with 10 blade aperture on the more expensive Vitessas, - the less costly 3.5, 50mm Color Skopar allowed Voigtlander to market the camera for $99.00 USD back in 1955. The previous version I'm referring to, the Type 125, was basically is built on the same set of bones that first appeared in 1950. It sold for $150.00 plus Federal Excise Tax. During the years 1950-54, the earlier Type 125 was continual work in progress. It was normal for Voigtlander to release the camera now, then sort out the details over the next few years. With that said, I love this video, because it really shows how fiddly and frustrating the Vitessa is in the hands of modern photographer. Your Type 134 was close to the norm for a German pre-1955, fixed-lens 35mm folder with regards to ergonomics . Film loading was not yet what everyone became accustomed to as the norm post 1960. (In my opinion film loading on a Vitessa is more difficult than a Leica LTM screw mount!) Excuse my rambling, but I'm older than your grandfather's Vitessa. So, I'm going pass on the following before I pass on. Before the 35mm SLR came up to speed around 1960, rangefinder cameras were the best option for 35mm film, if you wished to nail the focus in a normal situation. Fixed-lens 35mm rangefinders of any era did not focus closer than 1 meter - unless you installed an ungainly attachment to the front of the lens, that included a close up single element diopter, plus a pretty massive rectangular lens that sat in rangefinder and viewfinder windows. This ungainly close up attachment for the Vitessa was called a Proximeter - of which there were two versions, depending on how close you wanted to be from the subject. I believe 10 inches was as close as one could get with a Proximeter II installed on a Vitessa and still use the rangefinder patch to achieve perfect focus. For head and shoulder portraits, the Proximeter I was used for subjects 19 to 39 inches away.
Thanks for all the info, I did not do a ton of research on this series of cameras before making the video, so I inevitably missed a few things. I have liked the more modern Voigtlander Color Skopar I have in Nikon S mount (this being made by Cosina under license in Japan) but I was not a big fan of the Bessa-L and 25mm lens from the same modern era. These experiences have made me want to try some of their other gear and to try and fix the camera seen in the video, as I hear it is an easy fix. Strangely I have both versions of the close-up lens adaptors you mentoned, but no viewfinder aid.
The vast majority of these models mount the Voigtlander Ultron 50mm 2.0, which is still an exceptional lens. The shutter is a top of the line Synchro-Compur. His has a good quality Color-Skopar, which is a Tessar copy, being the less costly model. The build quality is extremely high, and the problems he mentions can afflict any camera left in a sock drawer for half a century. If functioning properly, it is very ergonomic and with the plunger film advance, operates very fast. Sorry he was disappointed, but he really doesn't know anything about this camera, or Voigtlander for that matter. Note that Voigtlander was absorbed into Zeiss in the later 1960s because Voigtlander had a prototype SLR which was years ahead of anything Zeiss had to compete with the Japanese, but no money to launch to camera.. After Zeiss failed, Cosina in Japan bought the trade names of the company and lenses. Other than using the old names, the more recent "Voigtlander" has nothing to do with the old company or its products. (If you have one of these cameras, do NOT allow the lens to snap out like he did here; over time you may bend the lens positioning stops. The same rule applies to practically any folder camera right down to the Fuji GF670.)
Gads, you youngsters! This is a lovely camera ... I have one just like it. The slow speed train in the Synchro-Compur shutter on yours is gummed up from sitting and age, any other issues the same. A good service costs about $190 or so, that will restore it to full functionality. The Color-Skopar 50mm f/3.,5 is a superb lens. Once the camera is working correctly, you have to learn how to load it properly. Et cetera. I dunno ... doing a review of a camera that you barely understand how to operate seems a bit ridiculous to me.
If a camera sits up, the shutter may get sticky or frozen at the slow speeds. Go to the slowest one that works, and keep shooting it. There is a good chance it will start working again. You can also try putting a drop of alcohol on the shutter gears.
This is an excellent camera (except maybe the plunger part) but from another era, and as any mechanical product its needs some kind of care and service from time to time.
I send a cheap Nikon S off and had it repaired at a decent price, now I have a good camera that works great at a slightly lower price than just buying a "good one." I have a very rare Alpa 6a off for repair (it has been out for 8 months and is still not ready) upon return I wil have lost a little money if I decide to sell. That is a hit I am willing to take as I will have a very rare camera, in perfect working order, which seems to be rare these days as few can or will service such a rare and obscure camera. BUT when the matanance is twice as expensive as the final product (a fixed lens camera with unremarkable specs)... I don't think it is worth the money and effort.
I think you should do more research on this or any other camera before you pass judgement on its functionality. It takes a few rolls to get rolling before you get to know the camera. That being said, have it CLA’d and I’m sure it will render acceptable images. The 50mm 2.0 Ultron lens is a terrific lens and holds it own with any of your German cameras. You’ve truly trashed an absolute work of art and engineering. Your grandfather knew what he was doing.
The one I have, a Vitessa L with a still functioning selenium meter, won’t fire the shutter at any speed. So I’m not sure about attempting any repairs, as sadly, it just doesn’t seem to be worth the time or potential expense.
Yes, sadly that is often the case. People on the internet act like everything can easily be fixed, which is not always the case. In the case of some of these old cameras the cost of repair would be 3X or 5X the value of the camera and even finding someone to do the work can be difficult, and from my expereince the work is sometime subpar.
That sir is a post 1954 - Vitessa N, which would have been a (Type 134) in the Voigtlander catalogue. Versus the glorious 50mm, f/2 Ultron with 10 blade aperture on the more expensive Vitessas, - the less costly 3.5, 50mm Color Skopar allowed Voigtlander to market the camera for $99.00 USD back in 1955.
The previous version I'm referring to, the Type 125, was basically is built on the same set of bones that first appeared in 1950. It sold for $150.00 plus Federal Excise Tax. During the years 1950-54, the earlier Type 125 was continual work in progress. It was normal for Voigtlander to release the camera now, then sort out the details over the next few years.
With that said, I love this video, because it really shows how fiddly and frustrating the Vitessa is in the hands of modern photographer. Your Type 134 was close to the norm for a German pre-1955, fixed-lens 35mm folder with regards to ergonomics . Film loading was not yet what everyone became accustomed to as the norm post 1960. (In my opinion film loading on a Vitessa is more difficult than a Leica LTM screw mount!)
Excuse my rambling, but I'm older than your grandfather's Vitessa. So, I'm going pass on the following before I pass on.
Before the 35mm SLR came up to speed around 1960, rangefinder cameras were the best option for 35mm film, if you wished to nail the focus in a normal situation. Fixed-lens 35mm rangefinders of any era did not focus closer than 1 meter - unless you installed an ungainly attachment to the front of the lens, that included a close up single element diopter, plus a pretty massive rectangular lens that sat in rangefinder and viewfinder windows.
This ungainly close up attachment for the Vitessa was called a Proximeter - of which there were two versions, depending on how close you wanted to be from the subject. I believe 10 inches was as close as one could get with a Proximeter II installed on a Vitessa and still use the rangefinder patch to achieve perfect focus. For head and shoulder portraits, the Proximeter I was used for subjects 19 to 39 inches away.
Thanks for all the info, I did not do a ton of research on this series of cameras before making the video, so I inevitably missed a few things. I have liked the more modern Voigtlander Color Skopar I have in Nikon S mount (this being made by Cosina under license in Japan) but I was not a big fan of the Bessa-L and 25mm lens from the same modern era. These experiences have made me want to try some of their other gear and to try and fix the camera seen in the video, as I hear it is an easy fix. Strangely I have both versions of the close-up lens adaptors you mentoned, but no viewfinder aid.
The vast majority of these models mount the Voigtlander Ultron 50mm 2.0, which is still an exceptional lens. The shutter is a top of the line Synchro-Compur. His has a good quality Color-Skopar, which is a Tessar copy, being the less costly model. The build quality is extremely high, and the problems he mentions can afflict any camera left in a sock drawer for half a century. If functioning properly, it is very ergonomic and with the plunger film advance, operates very fast. Sorry he was disappointed, but he really doesn't know anything about this camera, or Voigtlander for that matter. Note that Voigtlander was absorbed into Zeiss in the later 1960s because Voigtlander had a prototype SLR which was years ahead of anything Zeiss had to compete with the Japanese, but no money to launch to camera.. After Zeiss failed, Cosina in Japan bought the trade names of the company and lenses. Other than using the old names, the more recent "Voigtlander" has nothing to do with the old company or its products. (If you have one of these cameras, do NOT allow the lens to snap out like he did here; over time you may bend the lens positioning stops. The same rule applies to practically any folder camera right down to the Fuji GF670.)
From the time I was a teenager, I wanted one of these. I couldn't afford one until I was in my sixties.
I think the camera it's own is great camera, just for this age it needs service as it sited too long without using it, you can't blame for the old age
Gads, you youngsters! This is a lovely camera ... I have one just like it. The slow speed train in the Synchro-Compur shutter on yours is gummed up from sitting and age, any other issues the same. A good service costs about $190 or so, that will restore it to full functionality. The Color-Skopar 50mm f/3.,5 is a superb lens. Once the camera is working correctly, you have to learn how to load it properly. Et cetera.
I dunno ... doing a review of a camera that you barely understand how to operate seems a bit ridiculous to me.
If a camera sits up, the shutter may get sticky or frozen at the slow speeds. Go to the slowest one that works, and keep shooting it. There is a good chance it will start working again. You can also try putting a drop of alcohol on the shutter gears.
I might try fixing it one more time, I am just afraid I will destroy by accident.
This is an excellent camera (except maybe the plunger part) but from another era, and as any mechanical product its needs some kind of care and service from time to time.
I send a cheap Nikon S off and had it repaired at a decent price, now I have a good camera that works great at a slightly lower price than just buying a "good one." I have a very rare Alpa 6a off for repair (it has been out for 8 months and is still not ready) upon return I wil have lost a little money if I decide to sell. That is a hit I am willing to take as I will have a very rare camera, in perfect working order, which seems to be rare these days as few can or will service such a rare and obscure camera. BUT when the matanance is twice as expensive as the final product (a fixed lens camera with unremarkable specs)... I don't think it is worth the money and effort.
@@andrewsmithphoto Of course it depends of what one seeks. Good luck with the Alpa and have fun with it.
I think you should do more research on this or any other camera before you pass judgement on its functionality. It takes a few rolls to get rolling before you get to know the camera. That being said, have it CLA’d and I’m sure it will render acceptable images. The 50mm 2.0 Ultron lens is a terrific lens and holds it own with any of your German cameras. You’ve truly trashed an absolute work of art and engineering. Your grandfather knew what he was doing.
The one I have, a Vitessa L with a still functioning selenium meter, won’t fire the shutter at any speed. So I’m not sure about attempting any repairs, as sadly, it just doesn’t seem to be worth the time or potential expense.
Yes, sadly that is often the case. People on the internet act like everything can easily be fixed, which is not always the case. In the case of some of these old cameras the cost of repair would be 3X or 5X the value of the camera and even finding someone to do the work can be difficult, and from my expereince the work is sometime subpar.
Is this Range finder?
Yes