Mikeinlagardette's photos with the keyword: TLR

The previous two photos were taken with folders, but this was with a TLR, my ancient and battered Mamiya C2, which I still have. Although heavy and rather unwieldly, these are one of the best tlr's ever made, and the only one with interchangeable lenses, which are world class ! Guiting Power is a village in the Cotswold Hills, north of Cheltenham, and the church is a little way out of the town. Originally 12thC, it was extensively renovated and much altered during the 19thC, but the restorers kept this rather grand Norman doorway. Mamiya C2, f2.8/80mm Sekors. Shanghai GP3 @ 200, developed in Thorntons Two Bath, 4 + 4 mins @21C

My reply to Robert Warren yesterday, about the Kodak Reflex and Mamiyaflex, prompted me to post this picture of them together, - about the only thing in common is that they are both TLR's ! The Mamiyaflex has interchangeable lenses and rack focussing, and can get to within a few of inches of the subject, whereas the KR2 can only focus down to about 3 feet - 1 metre, much like a Rollie or Yashica TLR. It's much smaller than the Mamiya, and is more intuitive to use, and far lighter, a mere 980g compared to the Mamiya's hefty 1.55kg with the 80mm lenses, and as time passes, it matters! That said, I used various C Series Mamiyas over a long time, they are almost indestructable, about the only film camera to survive, long term, on converted trawlers in the North Atlantic, where we both spent many happy(?) years! That's all behind me now, and I can spend my days pottering about with interesting old beasts like the Kodak Reflex II ;-) Taken with a Canon Ixus 960is @ 80 ISO equivalent.

Here's a pic of the old lady! Made from die-cast aluminium with plated brass fittings, this really was near the all time top of Kodak's medium format product range, perhaps only the Medalist, and the German made Regent, exceeded it. As well as the fresnel screen, it has automatic film spacing which works without fault, and the 80mm lenses are hard coated Anastons - not Tessar variants, but a Dialyt design of four equally spaced elements about a central diaphragm, and unusually, both the taking and viewing lenses are of identical construction. The shutter is a Flash Kodamatic with M & X options, 1/2 to 1/300th plus B&T, and the apertures are from f3.5 to f22, and are click-stopped. It is shown with a Kodak Series VI filter adapter, and a home made lens hood which does not mask the viewing lens. Just a shade lighter than a non-metered Rollieflex, it was designed to allow only the wretched 620 film size to be used, and no conversion to 120 is possible without drastic alteration, but I've recently made a simple set up to machine the diameters and end faces of 120 films in the lathe, making them externally the same as 620, and avoiding the need to re-wind the films on to 620 spools, so I might use it more now. Taken with a Canon Ixus 960is @ 80 iso equivalent.

Another outing for the old Kodak Reflex, this time with Foma 100 developed in Caffenol. We have had a fair bit of rain recently, and because the bedrock is quite near the surface and of impermeable granite, low lying fields quickly become water logged. 1948 Kodak Reflex II, f3.5/80mm Anaston lens, x2 yellow filter. Foma 100 in Caffenol 20-20-6-500. 10min @21C. Scanned @1200dpi on Epson V500

That's enough railways - for now! Notre Dame de la Reconnaissance, seen from the market place. Most of my local pictures tend to be of older buildings, but this church is relatively modern, built between 1905 and 1908. It replaced an older church, which was apparently beyond reasonable repair. Taken with a 1948 Kodak Reflex II, a beautifully made American camera, the first production TLR to have a fresnel screen viewfinder, and razor sharp lenses of an unusual design - the fact that is 620 means it doesn't get used as often as a 120 camera might, but it's a pleasure to use. 1948 Kodak Reflex II, f3.5/80mm Anaston lens, x2 yellow filter. Foma 100 in divided D23, 5+5mins @21C. Scanned @1200dpi on Epson V500