contessa nettel film camera manual

contessa nettel film camera manual

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contessa nettel film camera manualMy story can be found here: How it started.Not that I'm specialising on a certainIn other words, he camera categories are becoming rather limiting soBelow some of it. The documents have been scanned and resized to be printed. I have lots of original material, from user manuals, books to catalogues, just ask A complete list of all documentation available on this website, refer to the list of all cameras and documentation on this site.I will report you to ebay if I discover such a violation taking place. This may result in your account being cancelled. I also reserve the right to file claim for civil penalties. It may not display this or other websites correctly. You should upgrade or use an alternative browser. I am trying to figure out how is this camera focused to infinity. Is it when the front standard reaches the end of the chrome tracks. If you notice on the picture there is a nifty thumb device(white circle on picture 3) that assists in focusing the camera, but only when infinity has been reached. Also, this camera's back is not removable, and I am trying to clean the interior somehow as it very dusty, and some of it has attached to the rear element. The 120 film is loaded through removing the top panel like a drawer so I am puzzled on how to ge inside. The format of this camera is 6x9, the shutter is Derval with speeds from 25- 100 and B and T options. The lens is a Meyer Gorlitz Doppel Anastigmat F6.3. Thank you for your help as always. Interestingly, mine is also missing the front support leg just like yours. One of the guys in our local Cam Coll Club once brought one in for the show-and-tell, and - yup - his was missing the leg too. Clearly this was a weak point on what was otherwise a nice compact design, which carried on under the Zeiss-Ikon name after the 1926 merger. You're right about access to the lens being bloody difficult, thanks to the Leica-like sealed back.http://www.salvatigioielli.it/public/dp1116a-manual.xml

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However, does yours have that circular inspection porthole thing in the middle of the back door. Maybe entry could be made after removing it, with the bellows folded up which should get the rear lens optics close enough to remove. There's a little hinged arm accessable via an elbow under the lens apertures, that slots into the appropriate slits against those markings. I don't have any IB for it, but I suspect that could be a real minefield of misinformation because of the many variations of lens, shutter and film format that were available, if you were lucky enough to track one down. I suppose it's possible that there was just one IB for all the combinations, but it's more likely that there different ones for the cooking models like ours compared to the higher-spec'd exotics with Tessars, rise-and-fall, etc, etc.The port hole in the back does come off. I gave it a nice twist, and voila it came of. The lens as I suspected is fully covered with dust, yech!! I am still unclear about setting it to infinity, but at this point I will just used a piece of ground glass on that port hole and check where the image is sharp at infinity. Thank you for your help. I will post a picture of the back tonight with the port hole open.But isn't there a stop somewhere along the rails?Glad it's done the trick, anyhow. I'm just thinking about the wider issue of why Contessa-Nettel (and then Zeiss-Ikon) bothered to use a sideways loading system on the Cocarette, though. It's understandable when used on really compact cameras like the early Leica, Wirgin Edinex and Vest Pocket Kodak where every millimetre was precious. However, when it comes to larger format stuff like the Cocarette, was that precious mm saved all that important. It can't have been because of manufacturing savings either, because that loading cage looks quite a complex item as is the sidecover. Then there's the additional cost of the porthole. !!http://ck-buhgalter.ru/userfiles/dp122-manual.xml Mind you, just to play my own Devil's Advocate, if Zeiss-Ikon carried on with Contessa-Nettel's original design and churned out the 64 variants mentioned in McK's, then clearly the damn things must have sold in large numbers - so who am I to nitpick the design 80 years on. Still, Ralf, you clearly intend to use your Cocarette or you wouldn't be so interested in cleaning the dusty lens.With my other 'standard' folders from the 20's, I always have to tape up the seams before using them, and I'm never quite sure if the catch will hold. Brian PriceWhy don't they name cameras like that anymore?I had to get the flash light out and dig back in the closet to find my Cocarette that my grand father gave me about 40 years ago. It is more like Peter's from his discription. It is still in the original box with the classic Cocarette name on the top. The box also contains the cable release and the original instruction manual. The manual indicates that focusing is done by moving the front standard until the focusing lever locks in the appropriate notch corrisponding to 6' 10' 15' or infinity.I've got to ask you, though - does yours have that elusive leg still in situ, or has it long gone west like Ralf's and mine. I was looking in my 1924 BJPA Alamanac the other day and found a 6-page advert by the UK Contessa-Nettel importers, Hunters' Ltd of Doughty Street London WC1, which included references to a Cocarette Model O, 1 and De Luxe. The El Cheapo version had an f11 Rapid-Rectinilear lens and cost GBP 2-10-0d for the smaller and GBP 2-15-0d for the larger format. So we weren't quite at the Bargain Basement end, mate. BTW, how did you get along loading yours up when you tried it out a few years back. Was it more straightforward than it seems, when looking at the setup on mine?Mine is gone as well and I do believe that my grandfater mentioned that it had been missing for a long time. I would imagine that the true rarity would be a camera with the leg still in place. I don't remember having any problems loading the camera. Like you said, pretty straight forward. I grew up using cameras that used roll film with the paper backing. The view finder was the only challenge that I can remember. I have enrolled in a photography class at the local community college. If I am lucky enough to get a few good images. I will post for your approval.This is amazing - it seems like some kind of disease, eh. The leg design must have been really crappy because although mine is missing the leg, the rest of the camera is almost mint. I doubt that there's been more than a couple of films put through it since 1924 or whenever. You'll notice that the big selling point was that the unusual loading method supposedly kept the reel film very flat, something that former users of glass plate cameras would have been wary about with these comparatively new-fangled reel cams. Looking forward to seeing your pics with the Cocarette, when you get around to it. I'll try one more time, with it converted to greyscale. God, I hate you, Bill Gates! You have handed me the challenge now. As soon as I can get a fairly good print from the dark room, it is on this string. It may be harder to get it posted than getting the split filtration just right. Any way, it will be fun to get the old camera out to use again.Well just to follow up, I cleaned the cocarette and took it out with my daughter to the park. After I processed the negatives, I found out the darn thing was leaking light badly, right where the bellows attach to the body.Notice the light leak on the upper left. I took mine out last week and put a role through it to see if I could remember all the trials and tribs. Took a while to remember how to use the view finder. Advancing the film brought back memories. I did manage some fair negitives. There was an interesting effect with the negitive that I had not noticed before. I will scan the neg or better yet make a contact print and scan to file so I can post.http://jms-servisni.com/images/contax-645-manual-focus.pdf I'll try and get this done this week. PaulI am new to posting prints. Would you share the steps needed to place the image on this string. What format, What file size works well for this? Thanks.PaulIf you have photoshop, fist scan the image, then go to Image menu, then image size. Save image as jpg, quality 8, and voila, you are ready to upload.Interesting forum. I have a Nicorette same as shown here but it has a wire frame that swings out from the right hand side - not sure what it is for. It also has the elusive 'leg' in good working order. The camera seems light proof and in good working order. Will try it out eventually and post resultsIs there a button I should be pushing to release the bottom film thing.? HELP!I'm trying to remove the lens in order to clean off some cloudy marks. Turning the whole lens housing counterclockwise does loosen it but it doesn't want to budge any further. Or can I just remove the front lens. Is anyone able to help please. Many thanks Ben. It was one of the first new products of the German camera maker Contessa-Nettel after the merger that led to the foundation of that company in 1919. The Cocarette camera series was continued after Contessa-Nettel itself was merged into the Zeiss Ikon group. Focusing was by a lever on the folding bed shifting the lens assembly forward or backward. Advanced versions were made which allowed vertical lens movements. The cameras all had a brilliant viewfinder, some incorporating spirit levels; some models also feature a wire frame sportsfinder. The original Contessa-Nettel design tried to simplify film loading with an insert that slides into the camera. This loading mechanism also meant a circular door in the back of the camera was provided to allow access to the lens for cleaning or removal. The descriptions are entirely based on a particular camera that I have before me. Contessa Nettel was formed in 1919 by the amalgamation of Contessa and Nettel camera companies who were two of the many small camera manufacturers in Germany at this time.It was made after Contessa Nettel formed in 1919 (before then it would have been a Nettel Piccolette) but before Zeiss Ikon formed in 1926. In the absence of serial number information this is the best I can do (there is a serial number but I can find no data relating numbers to years). However, looking at other Contessa Nettel cameras of known date, it would seem that the serial number of my camera (294406) is nearer to 1919 than to 1926. This reveals a weakness in this camera as the lens board is made from a piece of aluminium sheet which is prone to bending while pulling the lens forward. On the other hand, this camera is over 90 years old so it cannot be a profound defect. This would be more useful with the higher specification models with a self-timer which would allow the photographer to be included in the picture. Searching on the Interweb has shown many images of Piccolettes that are the same so not a fault. This diaphragm has seven blades giving an almost circular aperture. Above the lens is the shutter speed dial. At this age, speed selectors are always dials above the shutter housing. These are known as dial-set shutters. AGC stands for Alfred Gauthier Calmbach.This is a brilliant finder which I always find very hard to use. The eyepiece measures 10 mm square and needs to be around 200 mm or so from your eye. This gives a rather small and faint image to look at. This finder (the bulk of which is behind the lens board) collapses when the camera closes.Attached just behind the lens board on the right (or left when using the camera) is the second viewfinder. This consists of a wire frame that pulls out. The eyepiece for this second viewfinder slides out of a housing on the back of the camera.This is not as accessible as it could be and compromises a steady grip on the camera. Further around the shutter housing on the right is a socket threaded for a standard cable release. These are made of leatherette and appear to be in very good condition. I can tell they are leatherette and not leather by looking at the inside which is clearly fabric. This has three functions. The first is that it contains a red window to allow the user to see the frame numbers printed on the back of the film. The second function is that it contains a slide. Sliding this out produces the eyepiece for the second viewfinder mentioned above and also exposes the red window mentioned earlier. When the camera is not in use and this slide is slid in, it covers the red window to prevent light entering and fogging the film. The third function of the disc is that it can be removed. This leaves a 30 mm hole in the back of the camera. This gives access to the lens for cleaning and repair and, if need be, for collimating the lens. The catch for this is a round disc marked A and Z. A (Auf) is open and Z (Zu) is closed.The take-up spool fits under the winding key and the new film fits at the opposite side, fitting into a leather pad rather than a metal fitting. Between the two spool holders is the film gate. This measures 65 by 40 mm and will give eight negatives on a roll of 127 film. On either side of the film gate is a chrome plated roller. On the frame beside the film gate the last three digits of the serial number are repeated. The outside finish of the camera is black paint with a semi-mat crinkle finish. The camera was supplied with a leatherette case embossed with the name Piccolette. I have this case with my camera and it is in remarkably good condition. It is “Anton Podworsky O.Y. A.B”. This retailer was based in Helsinki, Finland. “O.Y.” is the Finnish (strictly, Suomi) equivalent of the British “Ltd or USA’s “Inc”. It is literally “Osakeyhtio”. The “A.B.” is “Akiebolag” which is the Swedish for O.Y. (Ltd and Inc). The use of the Swedish A.B. does not imply any Swedish connection but is merely because Swedish is the second official language in Finland after Suomi.I am retired with about 45 years photography experience. Competitively the photo quality was not so bad. Thanks a lot for sharing such incredible blog post with us. Cheers! Notify me of new posts via email. Learn how your comment data is processed. One of my main resources. There is no charge, but a small donation is polite. Site belongs to Daniel Jimenez Chocron. Still We have hope. Tidbits from my life. The descriptions are entirely based on a particular camera that I have before me. Lincolnshire Artists Blog The Lincolnshire Artists Society forum and Information site To find out more, including how to control cookies, see here. The descriptions are entirely based on a particular camera that I have before me. Both model name and model number were usually embossed in the leatherette and it is quite possible that age has removed the embossing.Using information about other Contessa Nettel cameras on the Interweb, I can peg this camera’s serial number (436466) down to late 1925 or early 1926. This is pre-Zeiss Ikon but they used up existing supplies of body castings and such. The body is made from cast aluminium with some steel parts. The body measures 195 by 105 mm and by 40 mm when closed. When open, the lens extends to 160 mm. It weighs 826 g. To open the camera for use you need to press a small brass button on one of the sides. With my camera, it does not click into place as it opens but I suspect that it did when new. The lens then needs to be pulled forward by pulling on the chrome stud in front of the lens. The lens will stop when it reaches the infinity focus position. The lens is connected to the camera body by leatherette bellows which are in poor condition on my camera. It has a focal length of 14 mm.It looks a bit like a Derval but that would be marked with the Gauthier logo rather than with EW. I suspect that the EW is for Ernemann-Werke. There is provision for a threaded cable release. There are variations on how this was done before the advent of helical focusing. On more expensive cameras, there was a lever on the lens board which moved radially. This allowed for easier, smoother action and the possibility to set the focus between marked positions. This camera has no lever and only a few preset distances are available: 2, 3, 5, 10 and infinity. I suspect that the distances are meters rather than feet. When opening the camera it defaults to infinity focus. As the negative was never going to be enlarged, critical focus was not an issue. This is one of the reasons for me thinking that this is a Cocarette as this was a favoured method for Contessa Nettel. Rather than the back of the camera opening on a hinge, with this camera one side pulls off the camera bringing the film cassette with it.I cannot comment on how this system works compared to the more usual opening back system as the film size (116) required for this camera is no longer available. Because of this cassette system, there is (and cannot be) no pressure plate to keep the film flat in front of the film gate. The main body of the cassette is pressed steel sheet painted black. The bulk of the pressed steel forms the film gate. Just inside the steel part of the film gate is a brass sheet insert which forms the actual opening against which the film sits. This opening measures 65 by 105 mm. To make fitting the empty spool easier the end of the spool holder hinges out of the way. There is a chrome spring to keep the film taut on the spool.It then needs to slide between the pressed steel frame and the brass sheet insert. This keeps the film flat in the absence of a pressure plate. There are deliberate gaps in the cassette and holes in the camera body which will allow air flow when the camera is opened for use and the bellows extended. These are to prevent a partial vacuum forming which might pull the film into a bow. To allow for this, there is a removable disc on the back of the camera. The red window for the frame numbers is by this removable disc.I am retired with about 45 years photography experience. I’ve recently bought this camera’s little sister, the Cocarette 210 and the identity was on the carrying strap as you suggest. There is no brass plate in mine and I think you’ll find that is a modification to allow a different film size, probably with adapters fitted to the spools. I found a similarly adapted Ensign with home made wood and steel spool adapters from long before the 3-D printer was invented. I’d imagine someone was pleased with their ingenuity in keeping the these cameras camera going but disappointed to find scratches on the emulsion from the edge of the plate. Thanks again for the report. Notify me of new posts via email. Learn how your comment data is processed. One of my main resources. There is no charge, but a small donation is polite. Site belongs to Daniel Jimenez Chocron. Still We have hope. Tidbits from my life. The descriptions are entirely based on a particular camera that I have before me. Lincolnshire Artists Blog The Lincolnshire Artists Society forum and Information site To find out more, including how to control cookies, see here. The Cocarette was originally a Contessa Nettel design which was carried on by Zeiss Ikon after the 1926 amalgamation when Contessa Nettel was one of the companies brought together under the Zeiss Ikon name. Zeiss Ikon carried on with the Cocarette till about 1930 but it was eventually pushed out by the Ikonta.There is, however, a round, removable cover by turning it on the back plate to facilitate cleaning the lens USA, Centennial Photo Service, 2004. ISBN 0-931838-40-1 (hardcover). ISBN 0-931838-41-X (softcover). p.1038, 213. Something went wrong. Sell on eBay Sell Vintage Photography User Agreement, Privacy, Cookies and AdChoice Norton Secured - powered by Verisign. Stopped by a. See more I just picked up a Mamiya Six (Model III), made in the 40s. Does any. Nice vintage feel to thisI've learned how to develop my. He also gave me another camera that isn't quite as old which says it is a Kodak 66 model 2 camera. I was just wondering if anyone else has shot with either of these cameras. I have a 120 film here but it seems to have expired in 1980. I have never used expired film before and wondered if anyone could tell me if its worth having a go with it. I know you can get some quite cool effects from using expired film but wondered if it would still work with such an old film. So if you've got any tips on basic things like removing film or tips on settings and the like that'd be real useful! Thanks:)I do know about your Kodak 66 Model II though, I have two of them. They were built at the Harrow factory of Kodak London Ltd, around 1958, and were the last folding camera model built by Kodak anywhere. They are simple folding cameras, so there is nothing more than you can read anywhere about the basic use of a film camera to say about them. You then set the distance, by rotating the front element, and finally, cock the shutter by moving the small lever at the top in a rightward direction until it latches. You can now compose the picture in the viewfinder, and press the red button downwards to fire the shutter. That's it, in a nutshell. You have to then wind the film on to the next frame, looking in the red window until the next number lines up, you cannot take another picture until you have done this, there is an interlock to prevent accidental double exposures These cameras have a very good Kodak Anaston lens, and a reliable, quiet, Velio shutter. They are one of the lightest 6x6 folders ever made, but surprisingly, they are probably the most rigidly braced of any commonly available folders. Each panelist evaluated the chairs on the above criteria using a modified version of this ergonomic seating evaluation form (PDF) from Cornell University, ranking the chairs on all the criteria on a scale from 0 (unacceptable) to 10 (excellent). We also gathered long-term testing notes for the chairs that staffers have been using in our offices for months. All testers ran the office chairs through the same basic testing gauntlet, assessing comfort, body support, adjustability, and durability. This meant sitting in the chairs while typing at computers, playing video games, writing emails, sitting through meetings, and just leaning back to think. We sat in them properly and improperly, we aggressively twisted knobs, and we wheeled them recklessly around the office for over two weeks. Our pick: Steelcase Gesture Photo: Kyle Fitzgerald Our pick Steelcase Gesture The best office chair This is one of the most adjustable chairs available—anyone can make the Gesture comfortable, regardless of their height or size—and it's built to last. With plenty of adjustability for a wide range of body types, the Steelcase Gesture is the best and most comfortable office chair for most people. After sitting in various other office chairs for this test, going back to the Gesture was, as one panelist put it, “like going to the spa.” The Gesture scored the highest across all of our criteria among our panelists, plus it’s made of high-quality materials that should outlast its generous 12-year warranty. The design is attractive enough, and it’s available in dozens of colors to suit any space or preference. Playing a major part in the Gesture’s comfort is the foam seat cushion. Our testers said that compared with similar chairs, the Gesture hit the right balance between firmness and comfort, and it was far better than budget chairs, which were almost-like-sitting-on-a-wooden-chair firm. And Wirecutter staffers who own the Gesture confirmed that the cushion, back padding, and armrests are as comfortable after five years of heavy use as they were on day one. The Gesture is comfortable across multiple tasks—this is a chair built for more than just typing at your computer, unlike more basic chairs that are designed to hold you in one upright position. Our testers included writers, editors, and photographers of different body types. Everyone was able to adjust the Gesture so that it was comfortable for their body and their work, regardless of whether they were awkwardly hunched over a desk taking handwritten notes, breaking ergonomic rules by perching on the edge of the seat, or casually leaning back during a meeting. The lumbar and back support of the Gesture is on a par with that of other chairs in this price range—it’s excellent—but where it stands out is in how comfortable it is to recline in and vary your position. The backs on most other chairs tilt when you recline, but the Gesture’s back is designed to flex as well, since your spine has a different shape when you’re reclining compared with when you’re sitting up straight. You might not realize it, but reclining in your chair is beneficial. When you lean back in the Gesture (top), the back of the chair moves and bends with you. Doing so in the Aeron (bottom) feels more like sitting in a rocking chair. Videos: Kyle Fitzgerald The Gesture has an impressive range of adjustability that’s easy to maneuver and get just right for your task and body type. Using knobs on the right side, you can move the seat depth forward and back, change the tilt tension, adjust how far back the chair can lean, and move the seat height up and down. Plus, the Gesture is the only chair we tested with ball-and-socket-style armrests that you can rotate and move into nearly any position: You just hold down a tab under the armrest to unlock the arm and then rotate the whole arm freely to make it comfortable for whatever you’re doing. Most good chairs have armrests that can move up and down, shift backward and forward, and angle in or out; budget chairs rarely give you even that much adjustment, usually allowing for up and down movement at best. The arms on the Gesture move in and out with ease. You can also slide them up and down, as well as forward and backward. Videos: Kyle Fitzgerald A chair’s arm support is important, according to Pynt: “Any posture where you are leaning forward from the vertical without arm support will require the back muscles to work overtime to maintain an erect posture, leading to muscle stress and resultant pain.” We found the Gesture’s arm support useful for reclining to read, for playing games, and for leaning over a tablet to draw for long hours. All of the Gesture’s control knobs are on the right side and easy to access. Photo: Kyle Fitzgerald You can customize the Gesture so it’s comfortable to sit in no matter what you’re doing. Photo: Kyle Fitzgerald All of the Gesture’s control knobs are on the right side and easy to access. Photo: Kyle Fitzgerald 1 of 2 Testers commented that the chair has a minimalist yet sturdy appearance, great for a professional setting or when you want your home office to feel more professional. This is a chair that will last, too. Steelcase’s 12-year warranty (PDF) covers everything that typically goes wrong with chairs, including the pneumatic cylinders that enable the height adjustment, and the Gesture has proven sturdy in our testing over years of heavy use. You lose the warranty by buying used, but the savings may be worth the trade-off. Flaws but not dealbreakers If you run hot, work in an office without air conditioning, or live in a warm part of the world, the Gesture may not be the best chair for you. The foam and fabric don’t breathe well, and you may find yourself with a sweaty back on hot days. If this is an issue for you, our other picks all have mesh backs that are much more breathable and also less likely to collect lint because the material isn’t cloth. What sets the Gesture apart is that it excels for people who want to recline with little effort, switch tasks throughout the day, or easily make adjustments to fine-tune the fit. Weighing over 70 pounds, the chair is bulky, an annoyance if you want to move it around your home office. But that also makes it super sturdy. Also great: Herman Miller Aeron Photo: Kyle Fitzgerald Runner-up Herman Miller Aeron Iconic, comfortable, and more breathable The well-known Aeron isn’t as great at a wide variety of tasks because its armrests have limited adjustability, but it’s more breathable than foam chairs and just as comfortable and supportive for typing at a desk. Some of our testers likened using it to sitting in a hammock, as the springy material almost suspends you as you sit. The mesh seat and back make the Aeron a better option in warm climates or for anyone who runs hot. Its armrests aren’t as adjustable as the Gesture’s, and the recline isn’t as effortless. But for standard all-day keyboard-and-mouse usage, we found both the back and seat of the Aeron to be just as comfortable as on the Gesture. The Aeron comes with a solid 12-year warranty, and because of the chair’s popularity, you can often find older or lightly used Aerons at a substantial discount. Rather than a single chair size that individuals can adjust for fit, the Aeron comes in different sizes (PDF). Much as with differences in clothing or shoe sizes, failing to get the right size could be a big factor in how well the chair fits you.