jdos2
Well-known
The Voigtlander Prominent
Designed by committee.
I arrived at the book store where my dealer likes to work. Inconspicuously we made the deal, him sipping at his mug, me pulling at my shot of espresso like the addict I’ve become…
Papers signed and passed, odd shaped leather containers pushed across the table, and I walk out with my latest fix.
The Voigtlander Prominent was made right smack dab in the middle of the heyday of the rangefinder era- the mid 50’s. It’s styling reflects that, as does the quality of workmanship. It’s a very finely detailed camera, substantial yet small. Very dense. It doesn’t feel cheap.
My dealer didn’t have the famous Nokton lens (50mm f/1.5), so I’m not going to review that until I get it. I’ll include separate reviews of the lenses as I test them, so here will be a simple overview of them, and initial impressions (really where I am at with the camera, anyway).
First impressions are the typical “levers and buttons,” of the typical camera. No glance is needed at the manual except to identify the film wind-on interlock button; all controls are pretty obvious.
The 50mm f/2 (“Ultron”) lens mounts on the front flange of the shutter, in a twist bayonet mount, with the button lock on the bottom. No surprises there.
The shutter is a common Synchro-Compur shutter, 10 speed model (B-1/500, old sequence) on a focusing mount. The self timer is on the same lever as the shutter cocking action, and the user manual instructs the operator to not use the “B” setting or 1/500th in concert with the self timer. There is an additional shutter behind the main shutter that works as a light trap in case the primary shutter doesn’t close all the way or leaks a bit of light. It opens as the shutter plunger is pressed and doesn’t noticeably affect any operation of the camera.
The lenses all mount in front of the shutter on either the front of the shutter itself (as in the 50mm’s) or to the body with the lens focused by the hole in the shutter pressing on a focusing ring on the mounted lenses. It’s “different,” and as I think about it, I wonder how lenses had to be optimized, particularly the shorter ones for being so far ahead of the focal plane. More research I need to perform, I guess. The back of all lenses is literally a little tube that fits into the hole of the shutter.
Focusing is done by moving the shutter closer and farther from the film plane, and the operator does this by turning the celebrated focusing knob on the left side of the camera, surrounding the rewind key. It’s a point that is often made about the camera- it’s an odd arrangement. Focusing adjustments are conferred to the operator through a coincident rangefinder familiar to all rangefinder aficionados; the camera is a left eye preferred, and the rangefinder spot is not razor-edge, nor terribly bright. It is NOT compensated for any parallax, one uses the “Turnit” finder for that (and that’s a WONDERFUL finder)
Winding is done by knob (or a lever in some models; I’ve the 1b, not a lever) on the right hand side which performs the double duty of advancing the film and cocking the shutter, something that can be done by hand if the operator chooses. At 1/500, it’s actually recommended that the operator do so to make winding on easier, and I’d guess, to reduce stress on the lens cocking mechanism—a cam that literally pushes the same cocking lever the way the operator would.
Film is loaded in an unsurprising way, via back door and typical Voigtlander locking mechanism. The rewind key lifts to help in loading the cassette, the take-up reel is slotted along its entire length to allow loading of even uncut films; the wind knob lifts to allow the user to more easily reset the film counter, a conical ring under the wind knob, and one of the more attractively styled pieces of the camera. Set the film to “F”, wind and shoot twice, and the camera is set to go.
I’ve described the operations above in piecemeal, but that’s sort of how the camera works until one gets used to the flow, just like any other. The finder is a bit dim (no dimmer than my G2, similar to my Kiev’s) and the finder baselength is less than I usually prefer, but it does work fine with the lenses I have (the 35, 50 f/2, and 100 f/4.5), focusing them just fine (THAT’S ANOTHER WRITEUP). Compose the 35mm and 100mm through the brilliantly thought out "Turnit" finder. Shutter speed is set on the shutter on the front of the body, and the lenses besides the 50mm that use the body mount make it harder to reach the shutter adjustment. It’s an obvious example of “what next” engineering, as if the problem of shutter speed adjustment had only been partially thought through. The shutter is typical Compur- not too loud, not too quiet. Probably a bit louder as an M3 of the same era, but I’ll have to meter it to be sure. The slow speeds make more noise, as the shutter mechanism is right out front, and the timers make their not-unpleasing noise in the open. 1/500 and the associated booster spring make a louder click than 1/250. Winding is smooth, if not fast.
I wanted to talk a bit about the camera’s notoriety as a horrible tool from the standpoint of ergonomics and utility. The camera is a left eyed dim/short based rangefinder focused with a dial on one hand while the other takes the picture and winds. The picture I’d like to convey is that of a camera that immediately needs two hands with which to work, and that’s how it feels comfortable. My first response to picking up the camera every time is to reach for the lens- as it to focus. That’s wrong on this camera obviously, and reminding myself to move my hand to the left side of the camera is an unnatural action, but not one that isn’t easily un-learned.
I found, though, that I do like the camera. It’s easier to steady with both hands as solidly holding it as necessary to take the pictures. There is no motion on pressing the shutter- none. Even my M3 kicks a bit as the shutter lets go. The manual describes two focus points to use with the 50mm lenses set at f/8 for “general photography,” point-and-shoot type work. I’ll give it a try to see if the camera can be worked with one hand, with the obvious exception for winding.
This isn’t a G2.
The pictures are nice as expected from a 50’s era camera. Sharp stopped down, but not so much wide open. Flare is a bother, but with all lenses no worse than even the “best” of the time (and it could be argued, in the same league as the CZ and CZJ lenses of the same period, rather better than the soft coatings provided by others). I don’t have the hoods but I’m gong to get them, and will use temporary replacements until I do.
I can’t wait to try the Nokton.
Voigtlander either made LOTS of these cameras, or else people are just dumping them. They aren’t the simple point-and shoot of the Vito series. They are a different approach to rangefinder photography in a very expensive and sometimes poorly thought out way, but the quality of the mechanisms is beyond any doubt, making up for what could have been an awful camera. It isn’t that, by the way.
(edits for readability re-writes, along with the standard corrections for an aging, nicotine deprived mind)
Designed by committee.
I arrived at the book store where my dealer likes to work. Inconspicuously we made the deal, him sipping at his mug, me pulling at my shot of espresso like the addict I’ve become…
Papers signed and passed, odd shaped leather containers pushed across the table, and I walk out with my latest fix.
The Voigtlander Prominent was made right smack dab in the middle of the heyday of the rangefinder era- the mid 50’s. It’s styling reflects that, as does the quality of workmanship. It’s a very finely detailed camera, substantial yet small. Very dense. It doesn’t feel cheap.
My dealer didn’t have the famous Nokton lens (50mm f/1.5), so I’m not going to review that until I get it. I’ll include separate reviews of the lenses as I test them, so here will be a simple overview of them, and initial impressions (really where I am at with the camera, anyway).
First impressions are the typical “levers and buttons,” of the typical camera. No glance is needed at the manual except to identify the film wind-on interlock button; all controls are pretty obvious.
The 50mm f/2 (“Ultron”) lens mounts on the front flange of the shutter, in a twist bayonet mount, with the button lock on the bottom. No surprises there.
The shutter is a common Synchro-Compur shutter, 10 speed model (B-1/500, old sequence) on a focusing mount. The self timer is on the same lever as the shutter cocking action, and the user manual instructs the operator to not use the “B” setting or 1/500th in concert with the self timer. There is an additional shutter behind the main shutter that works as a light trap in case the primary shutter doesn’t close all the way or leaks a bit of light. It opens as the shutter plunger is pressed and doesn’t noticeably affect any operation of the camera.
The lenses all mount in front of the shutter on either the front of the shutter itself (as in the 50mm’s) or to the body with the lens focused by the hole in the shutter pressing on a focusing ring on the mounted lenses. It’s “different,” and as I think about it, I wonder how lenses had to be optimized, particularly the shorter ones for being so far ahead of the focal plane. More research I need to perform, I guess. The back of all lenses is literally a little tube that fits into the hole of the shutter.
Focusing is done by moving the shutter closer and farther from the film plane, and the operator does this by turning the celebrated focusing knob on the left side of the camera, surrounding the rewind key. It’s a point that is often made about the camera- it’s an odd arrangement. Focusing adjustments are conferred to the operator through a coincident rangefinder familiar to all rangefinder aficionados; the camera is a left eye preferred, and the rangefinder spot is not razor-edge, nor terribly bright. It is NOT compensated for any parallax, one uses the “Turnit” finder for that (and that’s a WONDERFUL finder)
Winding is done by knob (or a lever in some models; I’ve the 1b, not a lever) on the right hand side which performs the double duty of advancing the film and cocking the shutter, something that can be done by hand if the operator chooses. At 1/500, it’s actually recommended that the operator do so to make winding on easier, and I’d guess, to reduce stress on the lens cocking mechanism—a cam that literally pushes the same cocking lever the way the operator would.
Film is loaded in an unsurprising way, via back door and typical Voigtlander locking mechanism. The rewind key lifts to help in loading the cassette, the take-up reel is slotted along its entire length to allow loading of even uncut films; the wind knob lifts to allow the user to more easily reset the film counter, a conical ring under the wind knob, and one of the more attractively styled pieces of the camera. Set the film to “F”, wind and shoot twice, and the camera is set to go.
I’ve described the operations above in piecemeal, but that’s sort of how the camera works until one gets used to the flow, just like any other. The finder is a bit dim (no dimmer than my G2, similar to my Kiev’s) and the finder baselength is less than I usually prefer, but it does work fine with the lenses I have (the 35, 50 f/2, and 100 f/4.5), focusing them just fine (THAT’S ANOTHER WRITEUP). Compose the 35mm and 100mm through the brilliantly thought out "Turnit" finder. Shutter speed is set on the shutter on the front of the body, and the lenses besides the 50mm that use the body mount make it harder to reach the shutter adjustment. It’s an obvious example of “what next” engineering, as if the problem of shutter speed adjustment had only been partially thought through. The shutter is typical Compur- not too loud, not too quiet. Probably a bit louder as an M3 of the same era, but I’ll have to meter it to be sure. The slow speeds make more noise, as the shutter mechanism is right out front, and the timers make their not-unpleasing noise in the open. 1/500 and the associated booster spring make a louder click than 1/250. Winding is smooth, if not fast.
I wanted to talk a bit about the camera’s notoriety as a horrible tool from the standpoint of ergonomics and utility. The camera is a left eyed dim/short based rangefinder focused with a dial on one hand while the other takes the picture and winds. The picture I’d like to convey is that of a camera that immediately needs two hands with which to work, and that’s how it feels comfortable. My first response to picking up the camera every time is to reach for the lens- as it to focus. That’s wrong on this camera obviously, and reminding myself to move my hand to the left side of the camera is an unnatural action, but not one that isn’t easily un-learned.
I found, though, that I do like the camera. It’s easier to steady with both hands as solidly holding it as necessary to take the pictures. There is no motion on pressing the shutter- none. Even my M3 kicks a bit as the shutter lets go. The manual describes two focus points to use with the 50mm lenses set at f/8 for “general photography,” point-and-shoot type work. I’ll give it a try to see if the camera can be worked with one hand, with the obvious exception for winding.
This isn’t a G2.
The pictures are nice as expected from a 50’s era camera. Sharp stopped down, but not so much wide open. Flare is a bother, but with all lenses no worse than even the “best” of the time (and it could be argued, in the same league as the CZ and CZJ lenses of the same period, rather better than the soft coatings provided by others). I don’t have the hoods but I’m gong to get them, and will use temporary replacements until I do.
I can’t wait to try the Nokton.
Voigtlander either made LOTS of these cameras, or else people are just dumping them. They aren’t the simple point-and shoot of the Vito series. They are a different approach to rangefinder photography in a very expensive and sometimes poorly thought out way, but the quality of the mechanisms is beyond any doubt, making up for what could have been an awful camera. It isn’t that, by the way.
(edits for readability re-writes, along with the standard corrections for an aging, nicotine deprived mind)
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