Pinhole camera

Ker se že nekaj časa zabavam z analogno fotografijo večinoma s fotoaparati srednjega formata (6X4,5) (6X6) in (6X7) sem prišel do ideje, da naredim svoj Pinhole fotoaparat.

Na koncu sem se odločil za film kaseto srednjega formata (7X6). Kaseta je sicer Horseman-ova namenjena aparatom večjega formata (10X15cm).  Samo ohišje je sestavljeno iz tikovega lesa ter na žalost polakirano. Na žalost zato, ker se načeloma tikov les maže s tikovim oljem ali čebeljim voskom, samo lakiranje pa ni ravno najbolje uspelo. Verjetno sem bil malo neučakan.

Na samo ohišje sem namestil “mini livelo” ter nosilec za flash. V tem primeru bo nosilec nosil svetlomer. Na spodnjem delu ohišja pa sem namestil nastavek za stativ.

Odprtina je 0,3mm                                                                                                                             Goriščna razdalja je 46mm                                                                                                                     Zaslonka je f153

 

 

Sedaj je treba aparat samo še testirat.

 

Rezultate objavim čimprej….

 

 

 

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Pastir

Pastir v dolini Mirne

Pastir

Vračal sem se iz Vrsarja, kjer sem imel nekaj opravkov. Da nebi bilo vse tako enostavno, sem si omislil “bližnico”. Najprej sem se tako odpeljal v Sv. Lovreč ga malo poslikal in nadaljeval do Motovuna. Tudi Motovun poslikam, po dolgem in počez.

Ko sem se vračal proti avtu naletim na, sicer zaprto, trgovinico z vsemi mogočimi stvarmi s tartufi. Ogledujem si hlevce ovčjega in kravjega sira s tartufi, ko me iz zgornjega nadstropja praša gospa če kaj rabim. “Zanima me cena teh sirov s tartufi”, ji pravim, ko zaslišim moški glas, pravtako iz zornjega nadstropja, ki pravi:”…pa ne preko okno….pojdi dol”. In tako pride gospa v trgovino in sledi prava mala degustacija sirov, olja, tartufate,…..

Seveda ne morem, da nebi nekaj kupil in tako odnesem s sabo dva hlebca sira, olje in tartufato z belim tartufom.

Iz Motovuna se spustim v dolino Mirne se peljem do Ponteportona in nadaljujem ob Mirni proti Novemgradu.  Ob reki zagledam pastirja. Dolg plašč, palica, sivi lasje, okoli njega pa nekaj sto ovac. “To moram fotografirat”, si rečem. Po dobrem kilometru najdem mesto kjer se lahko parkiram,…prečkam cesto in nadaljujem peš, nazaj proti pastirju.  Tako prehodim tisti kilometer, med potjo pa razmišljam kako bi ga prašal, če ga lahko fotografiram.

Na srečo me pastir prehiti in vpraša koliko je ura. Debata hitro steče…..Hitro izvem, da ima približno 600 ovac. Zanimivo je to, da jih praktično pozna vse. “Ta je šarplaninka, ta je avtohtona iz Istre, ta je mešanka, to je ugriznila kača in je dobila štiri injekcije, da je preživela,…..ta je bila polomljena…..in tako naprej.

Tudi psa je imel….. “ta je pametnejši od mene”, je rekel in se nasmejal. Pes pa je razumel do potankosti katere ovce mora kam gnati…..

Ko ga vprašam če ga lahko fotografiram, brez problemov pristane in tudi izpolni vse moje želje: postavi se tam, obrni se sem, naj te ovce obkolijo,…..

Pastir v dolini Mirne

Pastir

Ko končam s fotografiranjem me vpraša če bom kaj razvijal in če mu lahko prinesem kako fotografijo, da jo pošlje hčerki.  Obljubim mu, da jih ob priliki dobi in počasi se razideva.

Po dveh tednih ga srečam. Seveda se me je takoj spomnil, ko sem mu pa iz prtljažnika potegnil obljubljene slike je bil presrečen.

Ni mi žal, da sem prehodil vso pot nazaj do pastirja, ker se je izkazal kot zelo zanimiva oseba.

Posted in Fotografija | 2 Comments

KARL MAY

Na blogu imam še vrsto nedokončanih objav in to že od februarja…..ampak dajmo Karlu Mayu prednost….

Kot otrok, no saj po obnašanju sem še vedno po letih pa ne več toliko, sem dobesedno požiral knjige Karla Maya. Spomnim se, kako smo v osnovni šoli tekmovali kdo bo naštel čimveč imen indianskih plemen. Popoldan, po šoli smo vsi bili Vinetuji, kavbojci, indijanci…..

Sedaj je drugače…..če vprašaš osnovnošolca (vključno z našo Laro) kdo je bil Vinetu ali pa Old Shatterhand……bodo (vsaj večina) samo debelo pogledali. Vinetu bi lahko bil kakšna začimba pri istrskih jedeh he he….

In od šolskih let do sedaj je bil edini Karl May s katerim sem bil v stiku moj prijatelj Dragan. O tem napišem kaj več,…hmmm,….ko se mi bo dalo.

 

Zakaj sem načel to temo?

Občasno pogledam spletno stran podarimo.si kjer velikokrat najdem zanimive stvari, a sem vedno prepozen in jih tako podarijo drugim. Tu govorim ponavadi o “starinah” kot so fotoaparati, knjge,…pa še kaj bi se našlo.

In tako, nedavno od tega, opazim oglas PODARIM ZBIRKO KARLA MAYA. Desno oko začne trzat, postane mi vroče medtem, ko iščem kontakt na oglasu. Sranje! Oglas je potekel, zbirka pa seveda oddana. Moram priznati, da sem bil kar malo, ma ne malo, zelo razočaran.

Seveda sem potem začel detaljno pregledovat vse možne oglasnike in tudi našel nekaj oglasov kjer so ponujali posamezne knjige Karla Maja. Pa sem na bolhi kupil štiri knjige iz leta 1954 (založba Maribor). Ohranjene niso ravno najbolj, ampak ni važno. Za 12€ s poštnino me ne bo pobralo.

Na podarimo.si pa oddam oglas v stliu: Zbiram knjige Karla Maya…….

Kmalu dobim ponudbo za 28 knjig, Mladinska Knjiga iz let 68-72. Trde platnice. Knjige pa odlično ogranjene. Cena 5€/kos. Ko sem bral ceno knjig so se mi v mislih že vrtele številke 3X5…..15 se pravi niti 150€ za 28knjig.

Moj odgovor: Zmenjeno! Prodano!

Po nekaj dneh so bile že doma in sedaj krasijo eno od polic…..

Karl May – 1968-72 Zbirka 28 knjig

Zbirko sestavljako sledeči naslovi:

 

Žuti 1971

Derviš 1972

Benito Juarez 1968

Gospod in kovač 1972

Gozdni strah 1969

Inkova oporoka 1968

Iz Bagdada v Istambul 1971

Karavana sužnjev 1968

Lovec Jastrebji Kljub 1968

Lovci na sužnje 1971

Mahdi 1971

Med jastrebi 1968

Na tujih stezah 1972

Old Surehand 1

Old Surehand 2

Petrolejski kralj 1968

Piramida boga sonca 1968

Po deželi Škipetarjev 1971

Po puščavi 1970

Po divjem Kurdistanu 1970

Pri Babilonskih razvalinah 1970

Satan in Iškarijot 1972

Soboljar in Kozak 1970

Stezosledec 1968

Tujec iz Indije 1969

V gorah Balkana 1971

 V kraljestvu srebrnega leva 1970

V Sudanu 1971

Manjkajo pa mi še sledeče, tako da če jih kdo ima in mu hodijo viška ga rade volje rešim teh muk.

Kapitan Kajman

Kruger-bej

Mešanec

Na Rio de La Plati

Otok draguljev

Smrt cesarja Maksimilijana

V Meki

Vinetou

V dolini smrti

V Kordiljerah

Zaklad v srebrnem jezeru

Posted in Razna šara | 4 Comments

Moja “vintage” zbirka fotoaparatov

Že nekaj časa zbiram fotoaparate. Tiste, malenkost starejše oz. kot jim pravijo “vintage” fotoaparati. Sicer moja zbirka ni velika in tudi fotoaparati niso eni tistih “in oh in sploh” katerih cene so astronomsko visoke. (to še pride 🙂 )

Pa vendar, nima vsak tega in mislim, da tudi ni veliko ljudi, kateri bi se s tem ukvarjali. Trentno je moj najstarejši aparat star blizu 100let, v povprečji so bili narejeni nekje med leti 50-70. Kakorkoli že jih je pa lepo videt na polici 😉

Kako sem prišel do njih?

Večinoma sem jih kupil preko spleta. (Ebay, ipd). Ostale pa sem dobil od prijateljev in znancev, katerim je to predstavljalo le kramo. No, ne vem zakaj mi jih je Tomo nekaj odstopil, saj jih tudi on zbira. Vsekakor pa upam, da ima še kdo to “kramo” in ne ve kam z njo. Ločevanje odpadkov namreč ne predvideva “starih fotoaparatov”.

Spodaj so opisi mojih fotoaparatv. Zaenkrat so Angleškem jeziku, ko bo čas pa jih še prevedem. Vir: http://camerapedia.wikia.com

ZENIT E

ZENIT E

 

The Zenit E was a Russian-built SLR camera body for M42 screw lenses, made from 1965-1968[1]. The Zenit range was quite popular since it was priced moderately and it was offered under several other trademarks or brands (Kalimar, Revueflex, Prinzflex, Photokina, Spiraflex, Cosmorex).

The camera offered fixed 1/30, 1/60, 1/125, 1/250 and 1/500 shutter speeds. It also had manual control for long duration exposures. Focusing was done either by the optimal image sharpness in the viewfinder or simply setting the distance in the distance scale. The distance scale was drawn against the calculator scale, showing the acceptable tolerance, depending on aperture. The minimal focusing distance was about 0.65m with the Industar 50 (50mm f3.5) objective (and 0.46m with the Helios-44 58mm f2[2]) but a set of rings was manufactured for this camera, allowing to do the close distance macro pictures.

The Zenit E requires the user to manually stop down the diaphragm before exposure; the lens has an extra ring for this purpose. The Zenit EMwas an upgraded version, with an automatic diaphragm.

It had a selenium meter. The meter’s photo cell was placed above the lens mount behind a protecting window, and its instrument was placed beside a two-slice analog exposure calculator. A ring in the meter was coupled to that calculator on which the film speed had to be preselected, and when the meter’s needle matched the ring the calculator showed the correct shutter-speed/aperture combinations. This device was not connected to the actual speed/aperture controls.

The Zenit B was similar to the E, but without the meter.

 Here the data of the Version “Prinzflex 500E”

 

 

 ZORKI 4

ZORKI 4

 

Zorki-4 is a 35 mm rangefinder camera, manufactured by Krasnogorsky Mekhanichesky Zavod (KMZ) , (Красногорский механический завод = Mechanical Factory of Krasnogorsk), near Moscow, former USSR and produced between 1956-73, quantity 1715677. ЗОРКИЙ = Zorkiy, means Sharp Sight. Zorki-4 was possibly the most popular of all Zorki cameras. The Zorki-4 was also the first of the Zorki cameras to be exported in large numbers to the west.

When the Zorki-4 rangefinder was introduced in 1956, its contemporaries included the Zorki S, Zorki 2S, FED 2b, Leica M3 (introduced two years before), Leica IIIg, Nikon S2, Canon VT, Canon L1. The Zorki 4’s production run outlasted all of them. When it morphed into the Zorki-4K by 1973, its contemporaries included the FED 4b, Leica M4 and M5, Nikon F2, and Canon F-1 and Canon Canonet QL 17 GIII.

The Zorki-4 is basically a Zorki-3S with a self-timer. It retained all of the features and strong points of the 3S. The early bodies have vulcanite body covering, engraved shutter speeds – 1s, 1/5, 1/10, 1/25, 1/50, 1/100, 1/250, 1/500, 1/1000 +B – and strap lugs. Later bodies (post ~1965) have fabric covering and the more modern base 2 logarithmic shutter speed progression: 1s, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000 and the figures are silk-screened. By the mid-sixties, the strap lugs had disappeared.

There are at least 32 types/versions of the Zoki-4 [1] [2] [3] [4] or as to Aidas Pikiotas there are 4 versions and 13 types[5]

Specifications

  • Lens: Zorki-4 was supplied with either a Jupiter-8 (ЮРИТЕП) 50mm f/2, or Industar-50 (ИНДУСТАР) 50mm f/3.5 lens; several other lenses were available. The lens is interchangeable, M39 screw mount
  • Focusing: Matching yellow rangefinder images in the finder, ring and scale on the lens, w/DOF scale
  • Shutter: Horizontal travelling focal plane, rubberized silk double cloth curtain, speeds: 1-1/1000 +B, setting dial on the top plate, lift and turn
  • Viewfinder: Coupled viewfinder/rangefinder, large and bright; Diopter adjustment lever: beneath the re-wind knob
  • Take-up spool: special, not captive, there is a small pin for attaching the film perforates on it
  • Engravings on the back of the top plate: KMZ logo and the serial number
  • Body: Metallic, cast aluminum; Weight: 687g
  • Serial no. first two digits correspond to the production year
  • As with other Soviet-era rangefinders, the shutter speed selector rotates when the shutter is released, and should not be changed until after the shutter has been cocked. If you change the shutter speed without cocking the shutter first, the setting pin can be broken when you advance the film and cock the shutter.

 

 

 FED 3

FED 3

 

The FED 3 is a Ukrainian rangefinder camera inspired by classic Leicas. Over two million were produced between 1961-79. It takes 35mm film. The FED 3 is am evolution of the FED 2 and the dimensions of the two bodies are identical. The top deck is modified because the FED 3 has to have a shorter rangefinder baseto make room for the slow-speed mechanism. Shutter speeds are 1 sec, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500s and “B”. In common with many Soviet-era cameras, the shutter must be cocked before the speed is altered.

There are four definable models in the FED 3 series.

  • FED 3a was introduced in 1961. It retained most of the FED 2 features, including the mushroom-shaped advance knob. The rewind knob is larger. The diopter is no longer adjusted by a lever but is adjusted by the ring over the viewfinder.
  • FED 3b was introduced in 1963. It has a film advance lever and a flat top deck. It had no strap lugs, but an ever-ready case was originally available. The FED 3b is usually fitted with an Industar 26M or Industar 61 lens. These are interchangeable with other lenses with an M39 mount, but are not 100% compatible with the Leica standard.
  • FED 3L was introduced along with the 3b in 1963, and has a body like the 3a but a different shutter speed knob. The knob on a 3L resembles the ones on the FED 3b; the speeds are engraved on a plate beneath the knob instead of on the knob itself. The shutter speed plate is clipped where the top deck steps down. Usually fitted with an Industar 61 lens.
  • FED 3L/D is a FED 3L with a multi-coated Industar 61 L/D containing Lanthane.

 

 

REGULA III-A

Regula 3a

 

The Regula IIIa is the most basic of the III series, a simple viewfinder with no bright lines and no light meter. It does have a full speed range Prontor-SVS shutter which is much better than older basic Regulas; the previous Regula II base model had a manually cocked shutter!

The IIIa was also redesigned and re-badged in 1958 as the Mastra V35 for Photopia in the UK.

Manufacturer: King

Date of Production: 1956

Type of Camera: Viewfinder

Film Type: 35mm

Lens: Steinheil Cassar 45mm f/2.8

Shutter: Prontor-SVS

Shutter speed range: 1s-1/300th + Bulb

Focus areas: 1m-Infinity

Viewfinder: Yes

 

 

 

 

 LUBITEL 2

 

LUBITEL 2

 

Lubitel (cyrillic: Любитель) means “amateur” in Russian. The Lubitel 2 was made in great numbers by the Leningrad GOMZ (later LOMO) factory. More than two million were produced between 1954 and 1980. There are versions with a cyrillic name plate or with one in latin script as the one shown, and it was rebadged for various other markets as Kalimar TLR100, Amatör II and Global 676[1]. It was also produced as a stereo version and sold as the Спутник (Sputnik). The camera body is made of plastic, possibly bakelite. The waist level finder and focusing rings are made of metal. These cameras were delivered with a case and strap made of artificial leather. There is a stepless aperture scale under the taking lens with apertures from 4.5 to 22. Winding the film is done by a black knob on the right side of the camera. This does not cock the shutter.

 The most exceptional feature of the Lubitel that its focusable reflex finder has no simple matte screen but a big viewing lens which makes it looking like a brilliant finder. Inside the finder that lens has a small round plane matte screen spot for exact focusing. A collapsiple little loupe helps focusing exactly. This very clear finder helps you to compose your picture in dim light situations. The focusing is done on the small center spot. Four wedges help you orientate the picture. While very bright, this finder gives a “dancing” picture. This happens especially when the camera is hanging on your belly and you look down into the finder. This is rather strange, since this is the position you’re supposed to look through it. When you look onto the glass from closer by, you often get a “tunnel” vision; the edges become darker (light falloff?). The finder hood can be folded partially so that front and back of the hood serve as sports finder.

The Lubitel has a LOMO T-22 75/4.5 taking lens. It is actually a little wider than the normal 80mm medium format standard lens. The shutter is cocked with a red-dotted lever. The aperture and the shutter button are all positioned around the taking lens.

 The Lubitel-2 has no framecounter. When you turn the knob in the direction of the little white arrow, frame numbers on the back of the 120 film become visible through the little red window.

 

 

 

DRUOPTA FOKAFLEX

 

 

This basic bakelite pseudo-TLR is attributed to Foka of Rotterdam, but some authorities says Druopta made it. Czechoslovakia c. 1946. Takes 120 film. Taking lens 75mm f8. Fokar 2 shutter 1/25 – 1/100 + B

Repairs: None. Full working condition though shutter speed dial sometimes sticks due to some wear on the plastic underneath.

(Vir: pbase.com)

 

 

 

PERFEKTA

 

PERFEKTA

 

The Perfekta was a Bakelite 6×6 120 film box camera made by VEB Rheinmetall in East Germany, c.1954. The body was made in black Bakelite, with cream-coloured controls.

The Perfekta 1 had a flip-up frame finder, an aperture controlled by a small knob below the lens, and a B/I shutter control on the side of the lens barrel. The shutter-release was a button below the lens, opposite the aperture knob. The design is very much like the Druopta Efekta, except for the placement of the shutter control and release.

The more rounded Perfekta II and Perfekta P66 (c.1956) had a collapsible lens barrel, an optical finder and a ring around the lens to control shutter speed. The shutter-release was moved to the top of the body.

KODAK JUNIOR 620

The Kodak Junior 620 was a self-erecting viewfinder folding camera for type No. 620 film rolls. It was made by the German Kodak AG branch of Kodak in the former Nagel factory in Stuttgart. Its design followed conceptions of earlier Nagel rollfilm folders like the Nagel Triumph:

self-erecting, Gauthier shutter, Anastigmat lens, brilliant finder plus collapsible frame finder, and focusable lens.

Hersteller Kodak AG, Dr.-Nagel-Werk, Stuttgart
Typ Junior 620
Einführung 1933
Ausverkauf 1939
Neupreis
Filmtyp Rollfilm 620, Format 6×9 cm
Optik Kodak Anastigmat 10,5 cm
Blendenbereich 7,7 – 22
Entfernungseinstellung 2,5 m bis Unendlich
Fokussierung Manueller Fokus
Bajonett Optik fest montiert
Objektivschutz durch die Klappe der Kamera
Filtergewinde Aufsteck-Filter ø27 mm
Vergütung keine
Verschluß selbstspannend, 1/25 und 1/50 Sek. (Alfred Gauthier, Calmbach), zusätzlich “B” und “T”
Belichtungsmessung ohne
Blitz keine Synchronisationsmöglichkeit
Sucher Brilliantsucher, für Hoch- und Querformat drehbar
Selbstauslöser ohne
Stromversorgung nicht notwendig
Abmaße 151 x 83 x 35 mm (geschlossen)
151 x  83 x 121 mm (aufnahmebereit)
Gewicht 465 Gramm
Sonstiges Zweifaches Stativgewinde 3/8″ für Hoch- und Querformataufnahmen. Filmtransportkontrollfenster (rot) auf der Rückseite
Es gibt auch Versionen mit Klapprahmen-Sportsucher.
Bemerkungen Aktuelle Rollfilme Typ 120 passen aufgrund geringfügig anderer Spulenmaße nicht in die Junior 620, der Außendurchmesser des Spulenkerns muß etwas verringert werden (Ø23mm, Länge 64mm

AGFA CLACK

The Clack camera was manufactured by Agfa 1954-65. Earlier models had a metal body, later ones were made of plastic. It is a simple, boxlike camera, with a single-element 95mm meniscus lens with built-in close-up lens and yellow filter. It takes 6×9 cm pictures on 120 film.

To enable this camera to take quality pictures with such a simple lens, it is always stopped down to f/11 or below. The large negative size allows usable contact prints. The negatives don’t need to be enlarged by so great a factor. The best feature is the curved film plane. There’s no pressure plate in the back of the camera; the film isn’t supposed to be flattened. The camera body is oval shaped when viewed from above, and the film is led around the curved back of the camera to create maximum sharpness: an intelligent solution to create a low-cost camera of decent quality.

More data:

  • Aperture f/11 and f/12.5
  • Shutter about 1/30 plus B
  • Built-in yellow filter

Zone focusing with two steps:

  • 1-3m (3-10 feet) with a built-in close-up lens.
  • 3m (10 feet)-infinity with just an aperture ring between the lens and the film

A useable camera

The Clack is a light viewfinder camera. It works great with ISO 50 slide films like Velvia, so use it while you can still get that film. Black and white ISO 50 films, and overexposing 100 speed color negative by one stop ought to be fine.

Loading the camera

To change the film, use the bottom screw. Two arrows and a text in German and English show how to open the camera. The bottom and most all sides save the lensboard come off. The pictures shows the ttom screw and some of the imitation lizard skin that covers the body.

SOKOL 2

 

Made by LOMO in the city formerly known as Leningrad, the Sokol-2 (Сокол-2) is a fairly common camera in collections, which probably has everything to do with the fact that it was fairly advanced for its time and place. What also helps is that it was exported to Europe as well as sold within the Soviet Union. However its ubiquity can’t conceal the fact that these cameras are marked by a very high malfunction rate – in this case being a heavy brick doesn’t mean having an eternal lifespan. Shoddy isn’t the word, but the world has seen more decent workmanship.

Sokol Avtomat

The first camera in the series was the Sokol (“Falcon”) Avtomat, that appeared in 1966. LOMO was obviously inspired by the novel Japanese rangefinder cameras that had a lot of functions for a competitive price. So they designed the Sokol, as a Soviet-Russian attempt to copy what made Japan one of the rising stars in the industry.

The first Sokol has quite some functions up its sleeve. For starters, it had an automatic exposure mode that made things dramatically simpler for the amateur photographer – you push the button, the Sokol does the rest. Manual control was, of course, still an option. The Sokol also had parallax correction and a quite nice one at that: as you focus closer, the framelines shift to the lower right corner. Much better than the usual set of framelines for infinity and close-up. Other features include a large rangefinder base (72mm), a good lens, a Copal-licensed shutter and flash sync at all speeds.

Successor

The original Sokol was succeeded in 1969 by a model unchanged except for the number of cells in the lens facade: three instead of six. LOMO probably figured that half the cells did the job just as well for half the price, or perhaps they just doubled their sensitivity and added a transistor. This configuration stayed in production until 1979, when the Sokol-2 was released into the world. To quote Princelle: “Modernised version of the Sokol Avtomat. Identical characteristics”. This would seem to mean that all the changes were either cosmetic or internal, and that the new index number is a bit of a farce. Maybe they did it for marketing reasons. (But in a communist market?)

Perhaps noteworthy is the budget Sokol that was for sale in 1974 and 1975 on the domestic market: this LOMO 130A had only one light meter cell and, in a clear effort to cut the most dramatic costs, lacked the strap lugs.

The Sokol-2 in close-up

The first things that strike when you hold a Sokol-2, are its mass and its dimensions. For its class, it’s a very heavy camera. To blame are the materials of which it’s made: pressed aluminium plate for the top, and cast iron for the carcass. All this metal gives the camera a reassuring solidity, but also contributes to its plumpness.

Dimensions

Its dimensions are remarkable for an amateur camera too, since it’s not only quite long and high, but especially thick. Reason for this is the very large back focus distance needed by the Industar-70 50mm f/2.8 lens. Why LOMO used this lens on an amateur camera I don’t know, but perhaps there is a link to the MMZ Orion KM prototype of 1964, that also had an Industar-70 as lens. Perhaps MMZ made a prototype, ordered lots of Industar-70 lenses, cancelled the Orion KM anyway as too expensive to produce (?), and was stuck with lots of Industar-70’s. Perhaps MMZ, through intervention of the Plan Bureau, donated them to LOMO? I don’t know, but the Industar-70 with its long back focus seems hardly suitable for a relatively simple compact like this. Anyway, size was apparently not an issue when designing this camera, since the roll of film gets generous space inside the camera.

Features

Considering that this is a Soviet-Russian camera that first appeared in the 1960’s, when Leica-II clones still ruled the domestic market, the Sokol-2 has some very advanced features. For instance, it has automatic parallax compensation. As you focus closer, the framelines move more and more to the bottom right corner. Also, the Sokol-2 can be used as a point-and-shoot automatic camera, when set to the ‘A’ position. A system of luminescent arrows in the viewfinder indicate when the light conditions are suitable to take a picture. Thirdly, the Sokol-2 has a precise rangefinder with a very large base (72mm), and a teintless viewfinder. The Sokol-2 also had some minor improvements over other Soviet-Russian cameras of its day, like a hot shoe with incorporated X contact, strap lugs, a hinged back, an automatically resetting exposure counter, and a proper rewind crank.

This camera is a modern one on many respects, and the designers had certainly taken a look at modern Japanese cameras. For example, placing a film is very standard: just drop the cassette in on the left, pull the film lip out, feed it over the sprocket and into the take-up spool, wind on the film a bit, close the back, take three false exposures with the back shut, and the camera’s ready for operation. Similarly standard is rewinding a film: when the film is fully exposed, press the sprocket release button underneath the camera, and rewind the film with the rewind crank. The crank is on the left hand side of the body, and is placed under a 90 degree angle, I suspect as not to confuse the amateur public with knobs and levers and things on the top plate. Often though, the rewind crank has broken off. Apart from my own, I’ve seen several Sokols on eBay which have this problem.

Operation

Taking pictures is somewhat less straightforward than with those standard Japanese compacts. The shutter release knob, for example, is not on top of the body as you would expect, but on the front. It’s also not a knob, but a slide that you have to press downwards in order to trip the shutter. On top of the camera, in the place where the shutter release knob is normally found, there is only a cable release connection. The slide cursor could better have been placed a bit more to the top, because as it is now, it’s difficult to reach. I have to stretch my right index finger all the way down to operate the thing.

The Sokol-2 has a single-stroke wind lever, which isn’t exactly well-designed either. The lever is not on top of the camera, but somewhere in the middle. It traverses along the side of the body. What’s worse, is that the wind lever on my Sokol-2 does not block after the current frame is wound on. It’s possible to wind on the whole film without the wind lever ever blocking. That can be very annoying when you put the camera away a few days, then pick it up again, and forgot whether or not you advanced the current frame. You’ll probably advance the frame anyway to be sure, and probably waste the frame in the process. I don’t know if all Sokol-2’s have this problem or that it’s only a particular quirk of my model, but make it a habit to always advance the films after taking an exposure, so that you won’t have any doubts later on.

The Sokol-2’s viewfinder system is fairly advanced. As I said earlier, it has automatic parallax correction and a light meter indication. It’s also neutral-teinted, which is ofcourse better for judging colour. The rangefinder spot is a small bright yellow/greenish rectangle, which because of the large rangefinder base, can be focused precisely.

The light meter indication is done by five luminescent arrows in the viewfinder. All the arrows point downwards. Since I don’t have the manual to this camera I don’t know how the system works, but I guess that you have to try combinations until the middle arrow shows. If you set the camera’s aperture ring beyond f/16 to ‘A’, the camera should automatically find an aperture to suit the currently selected shutter speed. If the camera detects an underexposure, the shutter blocks (but the wind lever doesn’t…)

It’s a pity that the Sokol-2 does not have interchangeable lenses, because as a L39 rangefinder it might have become quite successful. Instead, the Sokol-2 has a fixed Industar-70 50mm f/2.8 lens, that focuses from 0.8m to infinity. The rangefinder coupling is internal. If the pictures I’ve taken with it are representative, its image quality is quite good. It has a rounded-off five-blade aperture, that can be set both manually and automatically. If you want to switch from automatic to manual, you must first unlock the aperture ring by pressing a small iron lip on the bottom right of the lens barrel. Keep it pressed and turn the aperture ring at the same time.

Contrary to such cameras as the Voskhod and the Iskra, the Sokol-2 does not have a shift program, ie. that the apertures and shutter speeds can be shifted onto different values. You can easily mimick that though by grabbing hold of both rings, and moving them together.

The Sokol-2’s meant for export have the film value stated in ASA, where the Sokol-2’s for the internal market are marked GOST. My Sokol-2 takes 20 to 320 ASA film, the sensitivity of which can be set by a ring on the lens facade. The film sensitivity is rather crudely but effectively coupled to the light meter: the less sensitive the film gets, the smaller the aperture hole turned into place over the CdS cells…

Concluding

What else is there to say about the Sokol-2? Not much, I think. It’s a down to earth camera with some nice features considering the time and place of construction, but nothing truly unique. It’s an amateur camera that, despite some quirks and a deplorable malfunction record, simply takes pictures. Nothing more, nothing less.

(Vir: alfredklomp.com)

 

CLOSTER II-B

 

The Closter II is an Italian made 35mm viewfinder camera. It was made circa 1950. I has shutter speeds of B 25 50 100 150 and 200. It has a Zeltar 5cm 1:6.3 lens which is focused by the knob on the side of the lens, similar to many vintage rangefinder cameras. It has f-stops of 6.3, 9, and 12.5. Each stop is cut into a piece of metal that rotates between the lenses, so the aperture is perfectly round. This produces a nice bokeh, but you can’t use f-stops between the marked ones. The film loads from the bottom in a fashion similar to leicas.

(Vir: virtualcameramuseum.com)

ANSCO 1A

The Ansco No 1A is an American folding camera, using 116 film. It was in production from c.1915 to 1926[1].

 

 

 

MINOLTA SRT 101b

 

The Minolta SR-T 101 is a 35mm SLR camera made by Minolta Camera Co. Ltd, Japan, premiering in the March 1966 Japan Camera Show [1]. Sales began in April 1966 and it stayed in production with only minor changes for ten years, the result of the thorough development effort that was put into the camera. The body is a direct continuation of the Minolta SR-7 model V of 1962, itself an innovative camera. However, the SR-T 101 has many significant features apart from the TTL meter. Perhaps the most notable one was the full aperture metering facility, which automatically compensates for the speed of the lens fitted on the camera at any time, a feature it took Nikon twelve more years to figure out how to accomplish. Full aperture metering in 35mm SLR cameras was pioneered by the brilliant Tokyo Kogaku Topcon RE-Super, a feature lacking in every screw mount camera until Olympus Kogaku introduced the Olympus FTL, their first full frame 35mm SLR in 1971, which was abandoned one year later in favour of the OM system.

The first generation camera body serial numbers started from 1000xxx (see section below). When first introduced, the standard kit lens was the 58mm/f1.4 MC Rokkor-PF, with 6 elements in 5 groups, beginning from lens serial number 5000xxx. About four months after launch, the 55mm/f1.7 MC Rokkor-PF, 6 elements in 5 groups, was added as an alternate kit lens. Then in September 1968[2], the 58mm/f1.2 MC Rokkor-PG, 7 elements in 5 groups with 8 aperture blades, became available. These earlier kit lenses featured knurled metal barrels, versus later rubber-gripped MC Rokkor-X (or MC Rokkor) versions. A very well crafted ever-ready case was available in either brown or black leather to protect the camera with normal lens. A longer-nosed black ever-ready case was made for the SR-T101 and 58mm/f1.2 combination.

The SR-T has an extremely bright finder with a central micro prism focusing aid that proves to be very accurate in most cases, since even when no visible lines are present in the subject, all out-of-focus objects appear to shimmer. Two exposure meter needles and the selected shutter speed are shown in the viewfinder. A small rectangle to the right indicates the acceptable needle deflection range for a healthy battery when the ON/OFF switch on the camera base is set to the battery check position labelled BC. Battery power is saved by placing the switch in the OFF position whenever the camera is not used. Battery power may also be saved by keeping the lens cap on whenever possible, since the exposure meter draws current in proportion to light intensity entering the camera lens. The metering circuit is dependent on an obsolete mercury battery. It may be replaced using a zinc-air hearing aid 1.4-volt battery, which usually comes in a six-pack and is not very expensive.

Several internal parts may fail on a forty-year-old camera, and the SR-T 101 is no exception. The only serious trouble is related to the exposure meter movement itself, in which the tiny coil tends to break, this situation requires a replacement. The back door rubber sealing foam will usually need replacement, and so will a small strip of same cushioning the mirror when it goes up. A strip of this may be cut from a similar sealing material from a hardware store. All other problems are easily put right with a minimum of effort and tools, unless the camera is worn out, which rarely happens. In fact, anybody who figures out how to remove the top cover without causing any damage may repair it oneself.

How old is my Minolta SR-T 101?

During the ten-year manufacturing period of the Minolta SR-T101, many small changes were made to the camera body. Several of these changes are easily detected and they can help determine time of manufacture to within a few years. It should be noted that any part of a camera may be replaced due to repair and smaller parts are more easily swapped, but normally these features may be considered original. Top cover and base plate are parts usually replaced due to impact damages, and a replacement top cover would not have the original serial number.

 

1966-late 1969: the first generation 101’s have a finely-knurled black shutter speed barrel (even on chromed body models), and have single slot screws holding the base plate and top cover on, while later generations use Phillips head screws. From 1966 into 1967, the two screws at the back of the top cover were the same distance from the eyepiece, while on all later SR-T‘s the right-hand screw is farther away from the eyepiece. From 1968 on, the black plastic shoulder pieces between the front cover and the top cover are held in place by visible screws. In Fall 1968 Minolta began selling black body SR-T101’s, like image at left, from serial number 1270xxx on.

1970-1973: the second generation and later 101’s have a coarse ridged chromed shutter speed barrel. From 1972 on, as seen on the inside of the top cover, the film counter clear plastic window is glued in place, while on earlier versions it is held in place by an internal bracket.

1973-1975: on the third generation 101’s, the black plastic piece under the accessory shoe protrudes up forming a ridge in front of the shoe, while earlier versions have a single metal peg.

The lack of mirror lockup (MLU) on an SR-T101 is not an exact indicator of its age. MLU first began to be discontinued early in the transition to the second generation, but did continue at least until the third generation SR-T.

Metering: CLC and full aperture TTL

Camera ads from the 1970s boast of its CLC (Contrast Light Compensator) metering, calling it “the brain”. CLC is a form of TTL metering with two CdS cells. It compensates for over-exposure by assuming that the upper side of the picture is the sky (overcast) and that the lower part is the subject you want to photograph. ISO values can be set from 6 to 6400.

The Minolta SR-T 101 was one of the first cameras to have full aperture TTL metering. This was possible thanks to the fact that Minolta had placed the aperture ring on its RokkorMC lenses close to the camera body. This way, the position of the aperture ring could be communicated mechanically to the metering system inside the camera. What is actually transmitted is not the aperture itself, but the offset between the selected aperture and the lens’ maximal aperture.

Other specifications

  • The SR-T 101 has a cloth focal plane shutter with speeds from 1 sec to 1/1000. The film advance lever automatically cocks the shutter, preventing double exposures. Shutter speeds are shown at the bottom of the viewfinder.
  • The manual-focus Rokkor lenses have a very good reputation and some are very fast: the fastest standard lens in SR-T101 time was 58mm f/1.2 MC Rokkor PG.
  • The SR-T 101 uses a PX625 cell for the metering system only. With a dead battery, all functions but the meter will continue to work.

 

 

 

YASHICA ELECTRA 35GS

 

There are so many Yashica Electro 35 Rangefinder cameras on offer on the web, often with little in their description to differentiate them. Many of these offerings have supporting pictures of dismal quality or are partially cloaked in their cases. Site visitor Lindsey Harris, suggested that a chronology of these cameras would be useful, and kindly provided a sketch, which has been expanded upon below

….the original Model Yashica Electro 35 was introduced in 1966. It is shown here in the brushed satin chrome finish. This model was also available in a black enamel version, which was emblazoned on the lower right front with the emblem “Professional”. The front view is depicted with the optional Tele Adapter and viewfinder. Two demarcation lines appear in this clip-on finder which show the field of view for the Tele or Wide Adapter. This camera has a battery powered aperture preferred automatic exposure system. The ASA range is from 12 to 400. To set the film speed for the automatic exposure control system, a dial which has both ASA and DIN settings is rotated to the required indicator. This round scale has a transparent plastic cover with a dimple that may have been designed to act as a magnifier, but does nothing on my example. Subsequent models only have the prevailing ASA standard on the scale and no protective dial cover. An ASA to DIN conversion table was printed inside the back door of some of the later models.

A major Yashica innovation was a unique automatic all electronic step-less shutter, the speed of which is controlled by an Electro-Magnet. This gave rise to the model designation “Electro”. This technology is shared by some of the Polaroid Land cameras. In 1960 the Polaroid Land 120 made it’s debut…. it was manufactured in Japan by Yashica.

The correct exposure is determined by turning the aperture ring until neither the red or amber lamps are lit. These are visible both on the top of the camera and in the view-finder. A small arrow visible next to the lamps on the top plate, indicates the direction in which the aperture ring must be turned in order to achieve the correct exposure range. It also warns when exposures time will be so long, that a rigid mount is required. The lamp covers on the top have a directional shape. The lamps as they appear in the finder however were round. Among the later design changes, having the shape of these lamps appear as arrows in the finder, was most helpful.

Few examples of the round ‘traffic light’ indicators survive. All of the other cameras in the series shown on this site display Arrow Indicators in the finder.

A shutter release knob threaded to accept a cable extension trigger, and a self timer with a nominal 8 second delay, add icing to the cake of the entire series. The fixed lens is the coated legendary Yashinon DX ƒ1.7 45mm constructed with six optical elements in four groups. The lens mount is threaded to accept 55 mm accessories.

Note the spartan design of the wind lever, a carry over from the earlier classic models. It too, was made over in short order with black trim which also added to the comfort of the user, and this improvement is found in all the other models of the series shown on this site

The published fully automatic exposure range capability of the system was from 30 seconds to 1/500 second as you can see in the accompanying graphic. Far longer accurate time exposures have been repeatedly reported.

The camera was designed to be powered by a Mercury TR 164 / HM-4N 5.6 Volt battery. Due to the hazardous nature of mercury, these batteries are long discontinued. An adapter to use available batteries is described in the link from the Main Page of this site. It powers this model and all of the Yashica Electro G series which follow right through the GSN / GTN up to, and including the MG-1.

The success of this camera with it’s incredibly fast lens at an affordable cost, spurred the introduction of the new model G [defining Ggrade-up] in 1968. There were changes in the cosmetics and it was delivered with a new Yashinon Color designation on the lens. This was added to re-assure the public that the lens was fully Color corrected, at a time when the use of colour film exploded. There was no change to the advanced original design of the lens itself, other than an internal modification of the focus gearing.
The Model G is shown here in satin chrome finish. Starting in 1969 it was also manufactured in a black enamel finish, with the model designation GT. It can be viewed with a link to “Variations” below. The GT was supplied with an exclusive lens shade, which according to the manual, locks the setting in AUTO when mounted. It does that with all the other rangefinder cameras of this series that I have tried it on. There is no mechanical lock as such, depending instead on the fact that moving the setting under ordinary conditions is not easy, and with the lens hood mounted, one simply cannot get enough leverage to move this in error.
The tell-tale identifier of the prior Electro 35, and the G and GT versions is the sculptured recess on the bottom plate. This is an ergonomic design to enable the door to be easily grasped and opened. [See link to variations for detail images and the origin]. This design could provide a means of positive registration on a hand grip / flash bracket or other anticipated mount.

The Electro 35 and the G series viewfinders self adjust to compensate for parallax as the focus ring is turned, another welcome feature. Even the ancient Electro 35 makes focusing in the dimmest light a snap under conditions that would defy focusing an SLR. These models are readily identified, in that they have the rear door release operated by a tab mounted on the bottom of the camera. This is visible on the extreme left of the lower photo. Why this was changed is unclear because it was a trouble free design without the potential for problems that the later combo rewind / door release introduced.

The fold out rewind handle is attached to the shaft by a screw, which makes replacement of the handle spring simple.
A socket is provided on the side of the body for a flash extension cable. This is a PC socket [Photo-Flash Connector]. The term ‘PC’ is said to originate with Prontur Compur, the noted German shutter manufacturer who first introduced this connector, that became an industry wide standard. A cold flash shoe is top mounted. The ASA scale ranges from 12 to 500. The Battery Check Button & Indicator Lamp are framed in white. These cameras are so ideal for working in poor light conditions, that the battery test button also provided the means to light up the frame counter. The Slow / Over Indicator Lamps on the top are trimmed within a black template. The black skin is still a coarse cross hatch, which provides an excellent grip.

….the second generation Electro 35 G introduced the combo door release / rewind handle. One can only speculate that the move to a change in design was to emulate the SLR’s which were taking over the market. There is no hot shoe and it too has a PC socket on the side for a flash synch cable. The fold down rewind handle was still attached with a screw. Notice the flat bottom plate. Viewed directly from the front, it is indistinguishable from it’s predecessor

…the third generation Electro 35 was introduced in 1970. This was available both as the chrome satin Electro 35 GS and the Black enamel finish Electro 35 GT. Yashica also promoted this as the “Gold Mechanica”. All the electrical contact points were gold plated to increase the efficiency of the electrical current flow, and to prevent oxidation from forming which could possibly impede that flow over the course of time.

 The GS retained the white template around the battery test button, while at the same time doing away with the test lamp which adjoined it in the G….Why waste battery power with two lamps, right? Pressing the test button lights up the frame counter window only. The GT switched to a black template around the battery test button, which looked so classy that it was adopted in all chrome and black succeeding models. They also heralded the switch over to a simulated leather grain skin…. The combination film door release / rewind handle on the GS and GT are attached to the shaft with a screw. The flash shoe is still not Hot. The ASA scale has been extended to range from 25 to 1000.

Interestingly, the GS and GT as well as later models can be found both made in Japan and assembled in Hong Kong with the key elements, most notably the lens and optical finder originating in Japan. The insert shows a label from the Yashica box of the Hong Kong version.

(VIr: http://www.yashica-guy.com)

KODAK INSTAMATIC 100

The model 100 was one of Kodak’s first Instamatic camera released in the USA.

It used the 126 film (Kodapak) cartridge.

The button on the front released a pop-up flash holder for a single AG-1 peanut flashbulb. Elevating the flash holder changes the shutter to 1/40th of a second whether there is a flashbulb in the holder or not.

 

Specifications

  • Type: viewfinder film camera
  • Manufacturer: Kodak
  • Production Dates: March 1963 – 1966
  • Film: 126 film cartridge
  • Lens: 43mm f/11
  • Image: nominal 26×26mm (hence 126), actual 29×28mm, masked to 26½×26½mm for printing
  • Shutter: mechanical leaf, 1/90 sec. and 1/40 sec. with flash popped up
  • Price: $15.95
  • Designer: Frank A. Zagara
  • Power: 2×AAA batteries for flash
  • Tripod Mount: none

 

 

 

KODAK INSTAMATIC 104

Kodak’s greatest success in camera history was the Instamatic camera series for its 126 film cartridge. Sixty million such cameras were sold by Kodak alone, mostly in the 1960s and 1970s. And of course the simplest models of the series were probably the ones which boosted Kodak‘s sales statistics the most. The 104 featured a connector for the new flashcube, instead of the Instamatic 100‘s holder for single flashbulbs. When cocked for the next exposure, the camera turns the flashcube 90 degrees to bring the next flashbulb into position. The cube can be detached by pressing the button on the front of the camera.

The camera was produced by Eastman Kodak Co. in the U.S., and also by Kodak’s overseas plants, for example Kodak AG in Germany, Kodak Ltd. in England, and even by a Kodak plant in Australia.

 

Specifications

 

 

 

KODAK INSTAMATIC 133X

The Kodak Instamatic 133 was a 126 cartridge film camera introduced by Kodak in 1968, one of a long line of Instamatics. The 133 had a flashcube socket; the Instamatic 133X was similar, but was fitted for Magicubes.

Specification

  • Manufacturer: Kodak Ltd, Kodak AG and Kodak Spain
  • Designer: Alexander Gow
  • Body Styling: Kenneth Grange
  • shutter speeds: 1/80 sec. (sunlight), 1/40 sec. (dim light or flash)
  • Lens: 1:11/43mm fixed-focus
  • Film: 126 cartridge

In the early 1970s there were more families with several children living in Germany than nowadays. And it had become very common that sooner or later the children got a real camera. So it was lucky for the family’s budget that simple cameras were in fashion, the Instamatics of Kodak. These cameras were made by Kodak’s German plant Kodak AG and by its British plant Kodak Ltd. In the 1970s, these factories offered lines of Instamatics styled especially for the home market. One line started with the Instamatic 33, which had a connector for a separate flashgun instead of a flashcube socket. The model numbers in this line ended in “33”; the higher the number, the more features were offered.

KODAK INSTAMATIC 155X

Kodak‘s 155X Instamatic Camera or 155X Câmara Instamatic was a viewfinder camera for 126 (Kodapak) film cartridges – one a large range of Instamatics. It was made by Kodak Ltd. in the UK, Kodak AG in Germany, and Kodak Brasileira Comércio e Indústria Ltda. between September 1971 and 1977. The only adjustment possible was by rotating the lens ring between symbols for Sunny and Cloudy/Flash, which changed the shutter speed. Film advance was by a combination thumbwheel with lever attached.

  • Manufacturers:
  • Production dates: 1971 – 1977
  • Film 126, 28x28mm images
  • Lens: Kodar
  • Viewfinder: optical
  • Flash: Magicubes

 

 

 

POUVA START

The Pouva Start was a great success for Karl Pouva‘s little camera factory in Freital near Dresden. With a moderate price of only 16.50 Deutsche Mark (east) it was affordable for the young people. Thus it became a typical beginner’s camera in East Germany. Estimated 1.7 million Start were sold. The first model of 1951 (or 1952?) had just a sports finder, its other features were like those of contemporary smart Bakelite cameras: two apertures, modes time and instant (1/30 sec.), screw tube and simple lens (Duplar 1:8, 2 elements in 2 groups). It was licensed by Hungarian and Polish camera makers.

The second Pouva Start version of 1956 was a little smarter, with optical finder and weather symbols for the apertures. The West German Hama distributed a similar bakelite camera, made by Apparatebau und Kamerafabrik in Monheim. This copy, the Hamaphot P56L, had an Original-Tricomat-6.5cm lens, a flash synchronized shutter, and a flash shoe.


HEXI

Produced about 1950s, West-Germany
Film type 120
Frame size 6×9
Lens Tricomat-DGM, 65mm, f/8 and f/16
Focus Range 1m – infinity
Viewfinder fixed
Shutter Leaf, 1 blade
Shutter speeds about 1/30 and B
Exposure meter none
Other Cable release socket
Accessory shoe and flash sync port
Weight 237g
Serial number No number

BILORA BELLA

The Bella was a line of cheap but attractive and well-built 120, 127 roll film and 35mm cameras made by Bilora in Germany. The Bellas went through several revisions over the life of the name. The body was based on alloy castings, with added leather-effect covering – in various colour combinations. Each was styled a little more like a 35mm camera than a roll film one. The back was removable for film loading, and most models featured a different, large back catch.

The 44 models took twelve 4x4cm images on 127 film; the 46 models made 6x4cm frames on 127, and the 66 models took 6×6 photos on 120 film.

The Bella 44-1 was also sold by Ansco, rebadged as the Ansco Lancer. Bilora also used the names Roxa, Bonita and Reporter for Bella variants.

  • Manufacturer: Bilora, Germany
  • Shutter: B, 1/50, 1/100s
  • In production: 1953-1966

 


FERRANIA – CONDOR 1

Dodano: 03.02.2012

This camera resembling a Leica, with its three windows in frontage (including two for the rangefinder), was manufactured since 1947 in Florence, then in Milan. It was conceived by Officine Galileo, a manufacturer of optics since many years. Ferrania, hitherto a manufacturer of consumables and bottom-of-the-range cameras joined Galileo to subcontract the manufacture a top-of-the-range camera. Certain models can to be found without the Ferrania inscription.

In spite of certain resemblances to Leica, this Italian camera has a fixed collapsible lens. Its Iscus Rapid shutter is powerful, since it allows speeds to 1/500 second. The lens is Eliog 3,5/5 cm.

Dodano 2.8.2012

Kodak No. 2 Hawk-Eye (Model “C”)

This is the “Kodak No.2 Hawkeye (Model “C”), which was produced by Kodak from about 1924 to 1927. From 1913 to the early 1930s there were many different models and versions of the “No. 2 Hawkeye” produced.

Overall the “Model C” is your typical Kodak box camera from the 1920s. This camera itself is mainly constructed of wood, metal, and cardboard. The rear part of the camera appears to be made of metal, with cardboard layer covered in a thin leather. The front part of the camera for the most part is made of wood, which also had a thin leather covering. The “Model C” proved to be so popular that it was even reissued as the “Anniversary Kodak” in 1930, to celebrate the 50th anniversary of the Kodak Company.

On a standard roll of 120 film, you will get eight 6 by 9 cm frames on the negative. The viewfinder is a bit odd because it is very small, and the image that appears in it is usually quite dim. The camera’s shutter is a simple rotating disc/spring attached to a two-way leaver; which is a common shutter mechanism for box cameras produced during this era. The shutter speed is approximately 1/30th to 1/40th of a second. The controls of the camera are very simple, there is no aperture settings, or shutter speed control; just the two-way shutter leaver and advance key.

I often hear from people and other antique dealers describing the camera as “Nice camera, great shape, but the lens is missing”. This always makes me smile, because they do not realise that the camera’s meniscus lens is actually behind the shutter.

Another thing that I found surprising is the number of people that have no idea how to open the camera. To open it all you do is unhook the two latches, one on the top and the other on the right side of the camera. Then you pull out the advance key, and the rear part of the camera should easily separate from the main chassis.

Kodak Instamatic 277X

The Kodak Instamatic 277X was a 126 cartridge film camera introduced by Kodak in January 1977 and continued until 1985 – one of a long line of Instamatics. The 277X had a Kodak Reomar lens with aperture setting by pictograms or distance for flash provided by magicubes.

 

 

 DODANO 16.12.2012

 

ZENIT 122

Danes, 16.12.12 sem se sprehajal po sejmu starin v Muggi in na celem sejmu naletel na ta fotoaparat. Po nekaj ogledih, nekajminutnem pregovarjanju s prodajalko sva prišla do cene 30€. Tako sem v ceni dobil:

Fotoaparat:   Zenit 122 (letnik 1991)

Objektiv:        HELIOS 44M-5 58mm f2 (letnik 1991)

Adapter:        KENKO 2X TELEPLUS MC4

Flash:             National PE-145

in celo torbico 🙂

The Zenit 122 is a 35mm SLR made in Russia by KMZ, introduced in 1990 — one of a long series of Zenits. Lenses have the 42mm screw thread fitting; the standard lens was a 58mm f2 Helios.

This Zenit model features an ABS plastic body and a TTL light meter, displaying on the right of the viewfinder as red LEDs, for over and under exposure, and a green one for correct settings. (The earliest versions had a system using two red LEDs.) The ground-glass focusing screen has microprism and split-image focus aids.

The focal plane shutter has speeds from 1/30 to 1/500 + В.

There is a self-timer, set by first locking down the shutter release, then setting a thumbwheel on the (photographer’s) right-hand end of the camera, and then firing the timer using the button on the front, below the 122 marking; below that is the self-timer indicator.

 

Navodila (USER MANUAL)

Vir: kremlinoptics, camerapedia

 

DODANO 15.04.2013

ZORKI 4K

The Zorki-4K is a 1970s Soviet-era 35mm film rangefinder camera. While KMZ did produce a Zorki-5 and a Zorki-6, the Zorki-4K body is actually the latest camera in the line, with a total of 524.610 cameras produced from 1972 to 1978. Latin Zorki-4K = Cyrillic Зоркий-4K and means Sharp Sight.

The Zorki-4K is basically a Zorki-4 with the addition of a fixed take-up spool and a film advance lever instead of the knurled knob. The KMZ logo was moved to the left so it would not be covered by the advance lever and leave room for a rubber lever stop. Its standard lenses are M39 screw mount Jupiter-8 50mm f/2 or Industar-50 50mm f/3.5. Shutter is cloth horizontal focal plane with speed 1-1/1000 +B.

Main difference from Zorki-4: It has shutter lever cock

Zorki 4K – 1977

Vir: Fotua, Camerapedia

 

DODANO 05.06.2013

PRAKTICA LB2

The Praktica LB was a 35mm SLR with focal plane shutter and all manual controls.

The Praktica LB has an uncoupled exposure meter using a selenium cell. No batteries are needed to power the exposure meter. An updated version, the LB 2, had some minor changes such as a plastic-tipped film advance lever and a chrome shutter speed dial, rather than black. Both the LB and LB 2 lack a self-timer.

Manufacturer: Pentacon

Date of Production: 1972-1977

Type of Camera: SLR

Film Type: 35mm

Lens: Various (M42 Mount)

Shutter: Focal Plane (metal)

Shutter speed range: 1s-1/1000th + B

ASA/ISO range: 6-1600

Size (w*h*d): 140mm * 98mm * 48mm (no lens)

PRAKTICA LB2 – 1972-77

Voigtlander Bessa

The Bessa family of Voigtlander, Germany is one of the best and sought after medium format RF in the market, began around 1930s to compete with Zeiss’s, some were 6x6cm like Baby Bessa 66, mostly they were 6x9cm format, but some are dual format (6×4.5cm and 6x9cm) Prewar Bessa. Afterwards, Bessa RF (Rangefinder) which release with “unique focusing”, with the upperleft knob as it’s cousin Bessa II, 135 relatives are Vito III and Prominent family, to move the lens plane chamber for focusing (the lens has no focusing ring and I was told that they are symmetrical design which rendered more quality, and Contax AX, first Contax AF SLR which use with MF lens used this moving chamber method).

Bessa I, Voigtlander pushed Bessa II, which has coupled rangefinder integrated with viewfinder as from BessaRF. the last of it’s series Bessa II still have the same superior machanical and optical design than the competitors.

The era of Bessa ended when SLR start to take over the market from RF, and 135 format begin to eat up the 120 share. The advantages of Bessa to other RF are :

  • The unique or odd machanical and optical design make are very eye catching.

The disadvantages of Bessa to other RF are :

  • The unique focusing, the upperleft knob focusing which someone may find difficult to use and handle the camera steady.

Voigtlander Bessa – 1932

Manufacturer : Voigtlander, Germany
Era (Mfg.) : 1930-1950s
Lens : Fixed normal lens (focal lenght 105mm or 110mm)
Format : Medium (120) with 6×4.5, 6x6cm, 6x9cm, or dual format of 6×4.5 and 6×9 (mask needed)
Accessories : Voigtlander Accessories
Models available :

The Bessa was the first production model of the Bessa line. Produced between 1929-1956 by Voigtländer, the Bessa is a medium format folder that uses 120 Film to produce 6×9 photographs. It is the best known and the most sold of all the Voigtlander cameras, with estimations as high as 575,000 cameras made. It was the first self-erecting camera offered by Voigtländer. The Bessa was produced with four different lens types: Voigtar, Vaskar, Skopar, and the Color Skopar. Also there were three shutter leaf options: Prontor, Compur, Compur Rapid. Identifying which options are present in the camera is usually done by inspecting the inner lens ring, and the outer lens ring, or by year of production. One of the revolutionary features of the Bessa was a self-timer which allowed for timed and self photography.
Bessa Production variations by year


  • 1929-1949. Self-erecting rollfilm camera. Similar to the “Rollfilm”. There were many sizes and modifications. All models are priced about the same.
  • 1929: 6×9, brilliant finder;
  • 1930: 6×9 and 6.5×11, brilliant and folding finders;
  • 1932: 3.4×5.5 and 6×9, lens on rails, replacement to “Inos”;
  • 1935: 4.5×6 and 6×9, shutter release on door;
  • 1937: 4.5×6 and 6×9, finder with cover;
  • 1945: same as 1937, some models had sync;
  • 1949: similar to 1937, better shutters.

Bessa’s produced after 1930 featured two ways to frame your photograph. First there was the “Eye level sports finder” located in the top of the camera under a metal hood. You would simply open the spring loaded hood to reviel two square brackets, the front bracket usually housed a glass lens that would assist in determining the actual viewing angle of the lens. Although some models did not feature this glass aid the process for framing your image through the sports finder was the same. Alight both square brackets and press the shutter release. The second framing option offered on Bessa’s produced after 1930 is the “Brilliant Finder”. Operated in much the same manor as a TLR viewfinder, the Brilliant Finder offered greater accuracy which eased composition.

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Grad Kožljak

Sicer je že kar nekaj časa odkar sem obiskal Kožljak in o njemu tudi pisal na Forumu. Pa zakaj nebi še tukaj napisal par besed….

Grad Kožljak z njegovo srednjeveško arhitekturo je eden mnogih gradov v Istri, katerega si je še posebaj vredno ogledati. Kožljak se nahaja v vzhodnem delu Istre nad Čepić-kim poljem, na zahodnem delu Učke. Polje, katero vidite z gradu je bilo do leta 1932 jezero površine 860 hektarov. Leta 1932 je bilo jezero izsušeno in izkopan je bil 4250m dolg kanal za odvodnjavanje., kjer je voda odtekala v Plominski zaliv. Sedaj pa po polju teče reka Raša. Nekaj mesecev po izsušitvi jezera, je bila tam zgrajena prva cesta. Na čepičkem polju se nahajajo ćiribirske vasice. Večina je zapuščenih, ohranile pa so se Nova Vas, Letaj, Grobnik, Čepić, Brdo, Kostrčani, Jesenovik in Šušnjevica.

Ćiribirci (Ćići) so manjša etnična skupina naseljena na območju čepićkega polja. Ćići se prvič pojavijo v Istri proti koncu 14 stoletja, največje naseljevanje pa sledi v 15 in 16 stoletju. Njihovo poreklo je severna dalmacija, od tam so se pa kot pastirji naselili v Istro.

KOŽLJAK – VIRTUALNI IZLET

Posebnih oznak kako priti do gradu ni. Če prihajate iz Umaške strani, potem je dostop najlažji tako, da pred tunelom Učka zavijete desno, proti Labinu. V dolini izberete izvoz za Šušnjevico in se po stari cesti peljete še ca. 7km do vasi Kožljak. Tam zavijete levo v hrib (tabla Zagrad), prečkate železnico, katere prehod NI zavarovan in po slabem kilometru pridete do vasice Zagrad. Tam pustite avto. Našli boste tablo ki označuje pot do gradu. Od avta do gradu pelje slabih 400m kolovoza. Ob poti, na levi strani, stoji lep kamniti zid. Kmalu boste na levi strani opazili stara mestna vrata in obzidje.

Mestna vrata

Obzidje okoli glavnih vrat je lepo ohranjeno. Ko vstopite skozi mestna vrata, je na vaši desni strani še edina ohranjena hiša. Le-ta je služila kot obrambni objekt za mesto. Vse okoli vasi opazimo veliko lepo ohranjenih stopnišč, vodnjak, številne lepe rastline in množico drugih zanimivih detaljev.

Vhod v Kožljak.

 

 

Stopnišče na levi strani gre proti ruševinam hiše, ki je bila verjetno naseljena vse do konca 20. stoletja. Če se ozrete proti vrhu hriba, boste videli ruševine cerkve in obzidje starega gradu.

Vodnjak

Če se povzpnemo po stopnicah, ki so pred glavnimi vrati opazimo na vrhu stopnic na naši desni strani mestni vodnjak.

Pod stopnicami, ki vodijo proti vrhu oz. zgornjemu delu kjer je bil sedež starega fevdalnega gradu opazimo pod njimi ostanke cerkve sv. Hadrijana.  S stopnic, ki vodijo proti vrhu pa se nam odpre pogled na Čepić-ko polje in osrednji del Istre. Kljub temu, da se grad nahaja na višinih skromnih 184mnv, je pogled v dolino vseeno fantastičen.

Notranjust, za mestnim obzidjem

Mestno stopnišče, katero vodi proti cerkvi.

Na žalost se je ohranilo le nekaj ruševin, ostankov nekdanjih obrambnih stolpov vendar je obisk celotnega mesteca pravi užitek za ljubitelje stare arhitekture, zgodovine in lepih razgledov na podeželje osrednje Istre. Več slik si lahko ogledata v FOTOGALERIJI.

KOŽLJAK – ZGODOVINSKI PREGLED

V vsej svoji zgodovini je imel Kožljak več imen. Imenovali so ga Castrum Gosilach in Coslaco v srednjem veku, Wachsenstein so ga imenovali Nemci, Cosliacco pa Italijani. Približno šest stoletij je Kožljak veljal za enega pomembnejših gradov na območju reke Raše.

Govori se, da je bil Kožljak zgrajen v 11 stoletju. Zgradili ga je istrski grof Urlich I Weimar-Orlamunde. Stara rimska cesta, Pula – Tarastica (današnja Rijeka), je potekala skozi ta teritorij, obstajajo pa le predvidevanja, da je bil Kožljak tudi rimska vojaška utrdba.

Prvi zapisi o Kožljaku izhajajo iz leta 1102, pod imenom Castrum Gosilach. Takrat je Urlich II podaril Aquilejskim patriarhom svoja posestva v Istri. Aquilejski patriarhi so dodelili fevd Puljski škofiji. Puljska škofija je Kožljak dodeljevala različnim baronom, kateri so bili pod vplivom Goriške grofije, Aquilejskih patriarhov in vladarjev bližnje pazinske regije.

Prvi poznani gospadar Kožljaka je bil Filippo de Coslaco iz leta 1234, imenovan tudi Filippo Wachsenstein-ski po zpisih iz leta 1244. Skozi stoletja se je v Kožljaku menjala vrsta vladarjev predvsem zaradi kofliktov med goriško grofijo in aquilejskimi patriarhi.

Od leta 1374, po smrti Alberta IV, je spadal Kožljak pazinski Grofiji, katera je istega leta prešla v roke avstrijske družine Habsburg. Kožljak je tako imel različne vladarje in mnoge družine so gospodovale Kožljaku.

Leta 1300 je bil Kožljak v lasti Enrica II iz Gorice, 1325 pa v lasti Ugona IV iz Duina. Leta 1331 sta bila njegova naslednika Filippo II in Volrico of Wachsenstein.

V tistem času so Kožljak imenovali Wachsenstein, njegovi gospodarji pa so uporabljali naziv Wachsenstain-ski.

Istega leta so Benečani poskušali osvojiti grad in zajeti Filippa II in Volrica, katera sta bila obsojen na smrt vendar je jih je armada Aqilejskih patriarhov prehitela in osvojila grad. Nekaj let kasneje, leta 1342, pa dajo Aquilejski patriarhi ponovno Kožljak v feud in sicer naslednikom Ugona Duinskega. Od leta 1363 pa je bil gospodar feuda Filippo Guteneški (Filppo di Guteneck).

Leta 1374 je goriški grof Alberto IV potrdil Filipu Gutenškem lastništvo nad Kožljakom in nekaj drugimi vasicami. Tako je Filip postal novi gospodar Wachsenstein-a in njegovi nasledniki so vladali nad Kožljakom vse do leta 1668.

Leta 1385 zgradi Filippo dobro poznani Pavlinski samostan nedaleč od Kožljaka. Pavlinski samostan je poznan kot takšen, ko sta Filipova naslednika Nicolo’ in Ermanno leta 1395, podarila samostan s cerkvijo Pavlinskemu redu. Gospodar Kožljaka je uporabljal samostan kot pokopališče svojecev.

Po Filipu je Kožljaku gospodaril Ermanno. Leta 1430 pa postane novi gospodar Kožljaka njegov sin, Giovanni Gutenek Wachsenstein-ski kateri poroči Anno Schomberg. Ker otrok nista imela ga po njegovi smrti nasledi sorodnik, Gregorio Moyses.

Leta 1436 na nasledijo trije brati: Martino, Paolo in Giorgio I Moyses. Paulo in Giorgio umreta v vojni s turki in tako postane Martino edini naslednik. Leta 1494 prevzame oblast njegov sin, Giorgio II. Ker Giorgio II nii imel potomcev zapusti leta 1525 Kožljak sestrinim sinovom. Leta 1529 si bratje Castellano, Giorgio Nicolich in Giovanni Barbo razdelijo nekaj vasic, ki so bile v lasti Kožljaka.

Družini Barbo in Nicolich sta ostali na gradu Kožljak. V spodnjem delu je živela družina Nicolich, v zgornjem pa družina Barbo. Leta 1574 bil v kmečkem uporu ubit naslednik Nocolich-ev, Giuseppe Nicolich.

Grb rodbine Barbo Wachenstein

Družina Barbo zapusti Kožljak leta 1620 in se preseli v Belaj. Obe družini, Barbo in Nicolich, sta dodali k njihovim priimkom vzdevek Wachsenstein-ski. Nicolich-evi izumrejo v začetku 17 stoleja, njih pa nadomestijo družini Diotalevi in Calotti, kateri so gospodarili nekaj vasem v bližini Kožljaka.

Večino imetja Kožljaka si je na koncu lastil Castellano Barbo Wachsenstein-ski. Imel je tri sinove: Bernardino, Giorgio in Francesco. Bernardino je gospodaril Paz-u, Giorgio je gospodaril Belaj-u, medtem, ko je Francesco ostal na gradu Kožljak z družino Calotti vse do leta 1630.

Giorgio se je odselil iz Istre, Francesco pa ni imel naslednikov. Tako je večji del Kožljakove lastnine podedoval Barnardinov naslednik. Leta 1668, Francesco Carlo Barbo proda Wachsenstein-sko imetje princu Auersperg, kateri je imel takrat v lasti Pazinsko provinco. S tem je grad Kožljak izgubil vso svojo pomembnost. Med leti 1400 in 1567 je bil še zadnjič obnovljen, po vojni med Austroogrskoin Benečani v začetku 17 stoletja pa izgubi ves svoj strateški pomen. Nekaj desetletij za tem se upravljanje Wachsenstein-a preseli v prelepi Belaj.

PREVEDEL IN PRIREDIL: Tomičko
VIR: SMRIKVE.COM
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Forumi in “PARAZITI”

Že vrsto let spremljam nekaj forumov. Od šprta, fotografije pa vse do forumov z “lokalno” tematiko, se pravi o krajih, zgodovini, navadah, ……

Vsi te forumi imajo po več sto registriranih članov in po nekaj tisoč tem ali objav. Kako lepo se to zdi na prvi pogled. Ko pa nekaj časa slediš forumu pravzaprav opaziš, da te forume drži pri “življenju” le peščica ljudi. Polovica te peščice so avtorji novih tem, pobudniki srečanj druga polovica pa redno odgovarja na te teme, se odziva na vabila,……

In ostali? 80% verjetno nikoli ne napiše razumljivega stavka, ali pa le odgovorjio s smeškotom ali dvemi. Ostalih 20% tu pa tam še napišejo kakšno mnenje, vtis, pohvalo, opis in podobno.
In le-te, ostali si včasih celo drznejo napisati “…itak se na forumu nič ne dogaja”!?!?!

Ma ne mi reči?! Nič se ne dogaja? Ko bi vsak od teh junakov enkrat tedensko napisal kaj zanimivega, povabil kam, postavil zanimivo vprašanje, skratka karkoli, da se bo na forumu “nekaj dogajalo”? Ne, to pa ne gre…..

Vem, polovica teh člankov ali karkoli bi pač to bilo, bi bilo verjetno za v koš, cenzuro, mogoče slabo napisano pa vendar….nekaj bi se dogajalo.

No,….potemtakem se lahko tudi vprašam kaj je boljše? Malo in “kvalitetno” ali pa mogoče bolje rečeno čisto, neonesnaženo ali pa veliko gradiva z vprašljivo kvaliteto vsebine?

Če se pa vrnem na naslov: FORUM in PARAZITI….. Kdo so paraziti? Enostavno! To je skoraj vseh tistih preostalih 80% kateri le črpajo znanje, informacije, ipd….prispevajo pa praktično ničesar.

Cepiva za parazite verjetno nikoli ne bo, vsaj za tiste forumske. Zanima pa me, kako potem dvigniti kvaliteto nekega foruma. Prepričan sem, da je med tistimi 80% veliko število razgledanih in pismenih ljudi a kaj ko jih je strah(?) napisati nekaj besed, ali pa se bojijo “odgovornosti” v primeru vabila na neki dogodek, pa najsi bo to športno srečanje ali zgolj piknik ali pa skromen klepet ob pivu?

Ogledal sem si statistiko nekaj forumov in rezultati so iskreno povedano žalostni:

Forum A:

Članov: 107  Objav: 10.400 Teme: 1500
Od tega je 10 registriranih članov prispevalo 90% vseh objav.

Forum B:

Članov: 12.500 Objav: 264000  Teme: 55.000
Od tega je 40registriranih članov prispevalo okoli 200000 objav.

FORUM C:

Članov: 600 Objav: 85000 Teme: 5500
Od tega je 12 registriranih članov prispevalo okoli 60000 objav.

Razvidno je torej, da je število oz. procent “parazitov” več ali manj na vseh forumih podoben…..da ne govorim o vseh tistih ki so samo prijavljeni in brez ene same objave in pa o vseh “robotih” katere včasih administratorji niti ne brišejo. No, saj….razen da kvarijo povprečje neke hujše “škode” niti ne delajo.

In kaj lahko naredimo v tej smeri? Ima sploh smisla iskati oz. težiti k večjemu prispevanju posameznikov???

Tukaj sem brez idej…..pa vi????

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SS REX

Na današnji dan mineva 68 let odkar so bombardirali REX-a, v tem času pa v izolski mareni poteka razstava pod imenom REX – Blišč, Propad, Obujeni spomin in zato je prav, da o Rexu napišem nekaj besed:

Rex je bil največja Italijanska potniška čezoceanska ladja hkrati pa tudi edina katera je osvojila modri trak in katera se je lahko kosala z ostalimi čezoceankami tistih časov.

Ladjo je naročila NGI (Navigazione Generale Italiana) grajena pa je bila v Cantieri Navali di Sestri Ponente (takrat še pod imenom Ansaldo di Sestri Ponente). Gradnja Rexa je trajala dobro leto in pol. Od Januarja 1930 pa vse do 1. Avgusta 1931.  Krstila sta jo kralj Vittorio Emanuele III in kraljica Elena.

 

Posebnost Rexa sta bila dva nizka( 15m) dimnika z rdečim in zelenim trakom, kar je bila značilnost italijanske pomorske flote v tridesetih letih in dva 45m visoka jamborja. V dimnika pa je bilo speljanih 12 izpušnih cevi. Ladjo sta  poganjala dva motorja s štirimi turbinami, propelerji pa so imeli premer 5m. Ob splovitvi Rexa sta imela motorja 120000 konskih moči (kar je bilo ca. 4000 KM več kot načrtovano). S kasnejšo predelavo pa je Rex razvil dobrih 136000 konjskih moči. Na krovu je bilo nameščenih 24 rešilnih čolnov.

Ladja je bila pravo malo mesto saj je imela 12 nadstropij katera so bila povezana z dvigali in stopnicami. Petnajst, z vodotesnimi vrati,  med seboj povezanih prekatov je delilo ladijsko lupino  Ob morebitnem vdoru vode pa so se vrata hidravlično samodejno zaprla. Ladja je imela dva zunanja bazena in telovadnico, katera je bila obenem tudi največji prostor na ladji. Poleg tega je imel Rex še gledališče, banko, kino, knjižnico, fizioterapijo,  fotografa in cerkev. Poleg tega so lahko potniki uživali v mnogih trgovinah, restavracijah, brivnicah in česalnicah. In kot se za malo mesto spodobi je imel Rex tudi svojo tiskarno, opremljeno s tremi tipografskimi stroji, saj so tam tiskali ladijski časopis “Morske novice”.

22.septembra 1932 se Rexa preda Italia Flotte Riunite (Združena italijanska flota) katera  je nastala kot posledica združitve NGI, Lloyd Sabaudo in Cosulich. Prvotno je bil Rex naročen s strani NGI.

Dolžina ladje je bila 268,20 metrov.
Širina 29,58 metrov.
Višina 40 metrov.
Nosilnost 51.061 brt.

Na ladji je bilo 870 članov posadke:

– 59 častnikov,
– 258 mornarjev,
– 90 kuharjev,
– 450 natakarjev,
– 8 medicinskih oseb,
– telefonisti in telegrafisti.

Ladja je lahko sprejela 2032 potnikov:

– 378 potnikov v prvem razredu,
– 378 v posebnem razredu,
– 866 v tretjem razredu,
– 410 pa v turističnem razredu.

Drugi razred na ladji ni obstajal, ker nihče ni želel potovati v “drugem razredu”.

 

 

RAZKOŠNI PRVI RAZRED

Najrazkošnejši je bil seveda prvi razred. Tu so bila prava stanovanja, sestavljena iz prostorne spalnice, kopalnice, dnevnega prostora in terase kot zasebnih prostorov. Med skupne prostore pa je sodila jedilnica, glavna soba, galerija, kinodvorana, gledališče, knjižnica, trgovine, bazeni, fizioterapija, telovadnica.

POSEBNI RAZRED

Posebni razred je sprejel 378 gostov. Poleg kabin z dvema ali štirimi posteljami in kopalnico so tu imeli tudi cerkev. V tem nadstropju so imeli dve dvigali, jedilnico, bazen ter verando za jutranjo in popoldansko kavo. 160 m2 je bilo namenjeno otrokom. V preddverju so bile pisarne in trgovine.

TRETJI RAZRED

Kabine tretjega razreda so sprejele skupno 866 gostov. Gosti tega razreda so lahko obiskovali kinopredstave, jedli so v jedilnici za posebne priložnosti, prebivali so v prostorih, ki so bili razdeljeni na kadilce in nekadilce, imeli so verando z barom in gospe so imele zase posebno sobo.

 

TURISTIČNI RAZRED

Turistični razred je sprejel 410 gostov. Posebnost tega razreda je bilo dvigalo in restavracija za slavnostne pojedine. Zelo prijetna in primerna za sprehode je bila veranda. Tako kot tretji razred je imel tudi turistični razred sobo, namenjeno samo gospem.

 

OTVORITVENA, PRVA VOŽNJA

Rexova prva vožnja se prične 27. septembra 1932 ko se z 1872 potniki odpravi na svojo prvo čezoceansko pot v New York. Toda že pred Gibraltarjem se pojavijo težave z motorjema in ladja je primorana ostati v Gibraltarju kar tri dni, dokler se okvare niso odpravile. Ker so se nekateri potniki bali nadaljne plovbe z Rexom so z vlakom odpotovali na nemško transatlantsko ladjo Europa. Ob prihodu v New York pa jih je čakalo presenečenje; zagledali so namreč Rexa privezanega ob pomol.

To fotografijo je objavila Giovanna Vichi. Na sliki je njen nono, v ozadju pa Rex na njegovi prvi vožnji. Giovannin oče, pa je bil vkrcan na Rexu.

MODRI TRAK

 10. avgusta 1933 ob 11:30 izpluje Rex iz Genove ter na plovbi med Gibraltarjem in New Yorkom prične osvajati modri trak, prestižno nagrado za najhitrejše prečenje Atlantskega oceana in razdaljo preplul v zavidljivih 4 dneh, 13 urah, 50 minutah s povprečno hitrostjo 29 vozlov. Rexa je tarkat poveljeval Francesco Tarabotto.  S tem je Rex prevzel modri trak nemški ladji Brener ter ga obdržal vse do leta 1935, ko je Rexu prevzela modri trak francoska ladja “Normandie”, s svojimi 80.000 brt.  Normandie je na povratni vožnji iz New Yorka do Gibraltarja vozila z 30,35 vozli in je tako prevzela modri trak. Tako je Rex kar dve leti plul z kar 29 metrov dolgo zastavo (modrim trakom) – za vsak vozel hitrosti ladje med potovanjem po en meter.

 II. SVETOVNA VOJNA

Svojo zadnjo plovbo kot komercialna, potniška ladja je Rex opravil pomladi leta 1940. Kasneje odpluje v Genovo, Benetke, Pulo in Trst. Med 2.svetovno vojno jo spremenijo v ladjo Rdečega križa (prvotni plan je bil celo spremeniti Rexa v letalonosilko) katera vozi vojake s severnoafriških bojišč v Italijo. Ladjo tudi maskirajo (potemnijo okna, prebarvajo jo s peščeno barvo), da bi jo lažje skrili pred Angleži in zavezniki. V Trst pride ladja že precej izropana. Do konca jo opustošijo leta 1944, ko je zasidrana v Trstu.

 

POSLEDNJA VOŽNJA

5. septembra 1944 so ladjo zaradi možnosti bombandiranja Trsta, pripeljali na slovensko obalo, da bi jo bolje skrili pred zavezniki. Zaradi svoje velikosti in plitvosti našega morja je ladja nasedla kakih 200 metrov od obale, nekje med Izolo in Koprom. 8. septembra ob 11 uri, 12 uri in 18 uri pa so jo napadla zavezniška letala (RAF). REX je štiri dni gorel.

 

“PRI REXU”

Delu obale med Izolo in Koprom rečemo “PRI REXU”. Neketeri vedo, marsikdo pa ne, da je to ime ostalo po tukaj potopljeni ladji REX. Prej se je ta del obale imenoval “Giro carozze”.

Domačini so iz ladje pobrali vse, kar je bilo še kaj vrednega. Državne oblasti pa so se odločile, da ladjo razrežejo in železo pretopijo. Tako je bil REX v petdesetih letih največji slovenski rudnik železa. Narezali in pretopili naj bi nad 11000 ton železa, ki so ga po morju prepeljali v Pulo od tam pa z vlakom na Jesenice. To je trajalo kar polnih 5 let, vse do leta 1958. Po pričevanju športnih potapljačev pa naj bi precej ostankov ladje še vedno ležalo na dnu morja. Ladja je bila zelo razkošno opremljena. Žal se ne ve, kje je končala večina te bogate opreme, saj so jo v Trst, še posebej pa v Koper, pripeljali docelo izropano. Iz morja je železo dvigoval legendarni ‘Veli Jože’.

 

LEGENDA ALI RESNIČNOST

REXOV ZAKLAD

 

Zanimiva je izpoved hčerke nemškega majorja Wermacht Fritza Haiderja, ki je v času vojne deloval najprej v Veroni, kasneje pa v Trstu. Po vojni se je preselil v Belgijo, kjer je deloval kot konstruktor ladij. Leta 1950 se je poročil in rodila se mu je hčerka Ingrid. Petnajst let je živela v Kanadi in med obiskom v Evropi jo je spodbudilo pisanje takratnih časopisov o potopljeni ladji Rex. Zdelo se ji je, da ve več kot pišejo časopisi. Zato je kot zgodovinarka in sodelavka pri filmih začela z raziskavami o tej ladji.

Če hočemo govoriti o zakladu, skritem v eni od kabin na REX-u, se moramo povrniti v čas, ko je Italija razpadla in so Trst in okolico okupirali nemci. Ob tem se moramo spomniti Rižarne, kjer so se dogajala velika hudodelstva. “Rižarno” – nekdanjo tovarno riža so nemci spremenili v krematorij, kjer so v enem samem letu pobili in zažgali med 3000 – 5000 ljudi, največ Židov, Slovencev, Italijanov in Hrvatov. V glavnem izobražencev in vplivnih ljudi. Tukaj so nemci selekcionirali ljudi. Nekatere so takoj umorili, druge pa so skupaj z naropanim bogastvom, večino židovskega porekla in seveda z dragocenostmi pobranimi iz REXA, (slike, kipe, tapiserije, pohištvo in drugo bogastvo…) z vlakom transportirali v Nemčijo.

Zlato, drage kamne in druge dragocenosti, pa so visoki nemški oficirji skrili na ladji REX. Po vojni je mnogo potapljačev, domačih in tujih, ki so vedeli za dragocene zaboje, skrite v eni od kabin – iskalo izgubljeni zaklad. Nazadnje so tam raziskovali (neuradno kot turisti) avstrijski potapljači in kot vsi do sedaj, so bili tudi ti brez uspeha.

Zanimivo bi bilo vedeti, kdo je našel izgubljeni zaklad in kje je končal?

Veliko materiala o Rexu sem dobil od  Marjana. Marjan je Izolan, Marjan je prava pravcata enciklopedija o Rexu, o bivši železnici Trst – Poreč (po domače Parencani) ter mnogih drugih zanimivostih naših krajev.

O Marjanu bi lahko marsikaj napisal a najbolje je če se Marjan sam predstavi zato citiram Marjanov življenjepis, katerega je napisal že kar nekaj let od tega…..

Sem izolan. Odrasel sem v tem kraju. Že kot otrok sem spoznaval to lepo mesto. Takrat je bilo mesto še bolj prazno, Čutiti je bilo še ostanke iz vojnih časov. Pomol je bil miniran, precej hiš je bilo porušenih ali praznih. Ostanki železja iz potopljenega Rexa so ležali vse povsod. Tudi njive v bližnji okolici so postajale vse bolj zapuščene. Ljudje so odhajali v podjetja, potrebno je bilo graditi. In gradili so. Vse to sem gledal in opazoval.
Gledal sem kako rušijo plinarno, kako selijo pivovarno iz mesta, kako gradijo digo. V sansimonu gradijo počitniške hiške, jih povezujejo z potko do obale. Pri rudi pečejo opeko. Večkrat sem zbežal do klavnice in gledal kako se ubiva krave. Pri kvadratu, kjer smo se kopali je zrasla nova benzinska črpalka, tam sem kot otrok na avtih čistil šipe.
 Nogometno igrišče, kjer sem tako rad brcal žogo, z očetom pa gledal tekme, so preselili v bližino pokopališča. Postavljal sem keglje na kegljišču. V arigoniju so se vrstili plesi za odrasle. Pri železniški postaji, kjer smo stanovali, pa so naredili zelo lep športni park. Tam je bil moj drugi dom. In še bi lahko našteval, kako je mesto raslo, kako sem to doživljal, a ni potrebno. Bil sem otrok, ki je zrasel z tem krajem.
Po osemletki sem se vpisal na kovinarsko šolo v Kopru. Izučil sem se za strojnega ključavničarja. Nato sem se zaposlil v tovarni igrač, kjer sem delal kot strojni ključavničar. Ob delu sem študiral na pomorski šoli. Kasneje  sem postal vodja strojnega parka v vzdrževanju tega podjetja Tam sem ostal več let, dokler nisem pristal v prosveti.
 Šport mi je pomenilo veselje, zato sem se vpisal še na visoko šolo za telesno kulturo. Nato sem kot učitelj telesne vzgoje delal na osnovni šoli v Izoli in Kopru. V prostem času pa sem treniral mlade rokometaše s katerimi smo večkrat osvajali naslove republiških prvakov.
 Ko so v Izoli zgradili nov hotel za upokojence, me je takratni direktor zaprosil, če bi lahko njihove goste vodil na izlete. Pristal sem, od takrat dalje, pa je bilo moje delo zapisano turizmu.
 S turizmom sem živel in delal. In v nekem smislu to počnem tudi sedaj.
 Naj omenim le nekaj dogodkov, ki so bili povezani z mojim delom v tem kraju.
  Jadranski susreti
 Ko je bila Slovenija še pod Jugoslavijo, je zagrebška televizija vodila oddajo »jadranski susreti«. To so bile športno-zabavne igre, ki so vključevale vsa obmorska mesta vzdolž jadranske obale. Podobno kot »igre brez meja« Tekmovala je tudi ekipa Izole. To je bila takrat najbolj gledana oddaja, kjer smo s svojimi uspehi in simpatijami, Izolo predstavili iz anonimnosti. Spoznali so naš kraj.  Kar petkrat szapovrstjo smo zmagali, kar je bilo za naše malo mesto izjemen uspeh .Za trud, ki sem ga vložil v to športno-zabavno igro  in za promocijo Izole, sem bil predlagan za občinsko priznanje, a ga kasneje zaradi nevoščljivosti nekaterih »prijateljev« nisem dobil.
 Rokomet
 Kot sem že omenil, sem bil z rokometom v Izoli tesno povezan. Poleg tega, da sem član kluba že od 1966 leta dalje. Sem poleg igranja, treniranja in skrbi za naraščaj, organiziral vsako leto tudi turnir za Demšarjev memorijal. Ta turnir je v svoji enkratnosti (podobno, kot turnir v Teramu) , privabil v Izolo ekipe iz vseh krajev. Popularnost tega športnega dogodka je tako narasla, da je bil potreben drugačen pristop. Organizacijo so prevzeli drugi ljudje, a se na žalost ni obneslo in je vse skupaj padlo v vodo.
S prihodom Barič Toneta v Izolo je turnir ponovno zaživel. Tokrat še v lepši luči in z novim imenom »Evrofest«.Turnir je postal tako odmeven, da se ga udeležijo športniki iz vseh koncev sveta. Tokrat pa, je občina prisluhnila organizaciji. Saj brez njene pomoči nebi bilo mogoče organizirati tako velikega spektakla, na katerega smo sedaj vsi ponosni.
  Tunel
 Leta so tekla in tekel sem tudi jaz. Redno sem se udeleževal pohodnih tekov pri nas in v tujini, kjer je bila tovrstna rekreacija bolj razvita. Povabil sem nekaj prijateljev, da mi sledijo. Da vidijo kako izgleda, ko teče po par tisoč ljudi vseh starosti in sposobnosti na enem kraju. Med njimi se je najbolj navdušil Izolan, Ivo Lazar , ki je celo ustanovil svoj klub tekačev in z njim dosegel velike uspehe.
Take tekme smo želeli tudi v Izoli. Organizirali smo kar nekaj takih tekov, ki so lepo uspel. Pohodni tek, ki se je prvotno imenoval »tek za pokal Sansimona« smo nato preimenovali v »Bepijev pohodni tek«. Da bi popestrili traso, ki je takrat potekala po zaledju naše občine, sem se zavzemal, da bi pot potekala skozi zapuščen železniški predor, ki je že 40 let zaprt in ne služi ničemu.
 Prvič nam to ni uspelo, a s prihodom g. Zorkota v komunalo, ki je imel posluh  za take stvari, smo to realizirali. Počistili so, kar je bilo noter svinjarije, uredili traso proge, ki je bila zaraščena, mi smo v tunelu prižgali bakle, da bi bil dogodek bolj veličasten. Tako, je bil po tolikih letih, sprehod skozi tunel spet odprt, bilo je nekaj enkratnega. Še danes je to lepa sprehajalna pot.
 Alternativni turizem
 Vedno sem hotel nekaj novega. Moj pogled v turizmu je bil drugačen kot so ga imeli drugi turistični delavci pri nas. Nisem ponujal Benetk, Grčije, Havajev… osredotočil sem se na predstavitev naših krajev. Turiste sem vodil v zaledje.
 Na kozarček vina nismo šli v gostilne ali drage restavracije. Rajši smo se ustavili pri kakšnem zanimivem kmetu, kjer smo doživeli tiso pristnost, avtohtonost, ki ostane gostom v nepozabnem spominu. Domačine pa sem spodbujal, da svoje »kantine« odprejo kot kmetije odprtih vrat. Nekaterim je to uspelo, drugim ne. Niso se hoteli spopasti z birokracijo in raznimi inšpekcijami, turističnimi strokovnjaki in podobno.  So le dobri kmeti, ki se poznajo na svojo delo.
 Trgatve
 S takim pa je lepo sodelovati. Ko je bil čas »bendime«, sem organiziral pravo turistično trgatev. Turisti so se dela prijeli s tako zagnanostjo, da so kar  tekmovali med seboj, kdo bo več natrgal. Potem pa se je pilo in jedlo, pelo in se veselilo, govorilo se je daleč na okoli.
Pa so nastali tudi problemi. Preveliko število gostov se je prijavljalo na takšne turistične trgatve. Sam nisem zmogel vsega. Ponudil sem  sodelovanje podjetju Vina Koper. Ti so bili na začetku z idejo zelo navdušeni, a ko je prišel čas trgatve, niso imeli ljudi, ki bi se s takimi trgalci ukvarjali. Niso imeli izkušenj. Mislili so, da bodo s tem napravili več škode kot koristi in so raje pripeljali trgače iz Reke, kot naše goste, ki bi za tak dogodek tudi plačali.
Nisem razumel ozkogledosti – takrat odgovornih ljudi na Vina Koper, pa sem odnehal z to ponudbo.
 Oljke
 Raje sem se usmeril na oljkarstvo. Prvič sem organiziral trgatev na Bivju, a smo zaradi slabega vremena končali v kantini namesto, da bi obrali oljke. Naslednje leto sem predlagal, da bi trgatev izvedli kar v Izoli.
Poiskal sem Danila Markočiča, ki je bil z idejo najprej skeptičen, nato pa se je strinjal..
Organiziral in vodil sem prve turistične trgatve oljk pri nas in uspelo je.  Nadaljevali smo tudi v prihodnjih letih  in tradicija se nadaljuje.
Povem naj, da sem pri tem delu deležen kar nekaj ciničnih pripomb in polen pod noge od ljudi, ki si sedaj ponosno štejejo v čast, da je to postalo del turistične ponudbe in si zasluge pripisujejo kar sebi in namenoma pozabljajo  na začetke turistične trgatve oljk pri nas.
 Film
Aktivno sem sodeloval pri snemanju filma o Izoli. Film, ki je z svojo vsebino močno vplival na zavest občanov in je v danem trenutku na nek način preprečil pozidavo območja na svetilniku. To pa je razburilo nekatere občinske uradnike in gradbenike. Ki so hoteli z ultimatom (ali »ta« projekt ali nič) uresničiti svoje ambicije. Ne glede na to, ali se s tem občani strinjajo ali ne, ali je to za Izolo dobro ali ne. Važno je le, da se gradi.
Da nebo pomote, vsi smo za ureditev območja na svetilniku. Želimo si ureditve, ki bo okolju prijazno in nebo preveč vplivalo na izgled Izole, na tisto, kar daje temu kraju čar.
 S tem filmom smo hoteli Izolo prikazat, kot še ne odkrit turistični kraj, ki si še  zmeraj lahko upira agresivni, neosebni pozidavi, ki nima nobene zveze z mediteranskem stilom mest. Pozidati želijo vse. Napolniti vsak prostor, spremenit ta kraj v najkrajšem možnem času, po izgledu Kopra, Lucije ali Portoroža, v »moderno mesto« .
Odločno sem bil proti taki betonizaciji, kjer je edino merilo – denar. S takim razmišljanjem, pa sem se zameril nekaterim urbanističnim in turističnim strokovnjakom.
 Kot delavec v turizmu vem, da je potrebno nuditi nekaj več kot le sonce, morje in prenočišča. Zato sem hotel ponuditi temu kraju nekaj več kot le to.
 Muzej vlakcev
 Tovarna igrač, ljubiteljski zbiralci malih vlakcev in stara železniška postaja, so mi dali navdih, da na tem področju nekaj naredimo.
Napisal sem program, dogovarjal sem se z odgovornimi, da bi postavili muzej, ki bi v Izolo privabljal številne obiskovalce od daleč in povsod. Zamisel je bila postavljena na profesionalni osnovi. V realizacijo projekta bi se vključili strokovnjaki iz raznih področji, razne strokovne šole, posamezniki in podjetja, ki bi s skupnimi močmi napravili nekaj enkratnega.
 Pa so se stvari razvijale drugače kot je bilo zastavljeno.
Na začetku za kaj takega ni bilo posluha. Čeprav so na občini pobudo odobravali, turistični delavci so se s tem strinjali, a dlje od tega ni prišlo.
 Preteklo je kar nekaj let, dokler je spet postalo aktualno. Odgovorni v turizmu so spoznali koristnost te ponudbe. Zavihali so rokave, zagnali se v projekt, določili  roke in se prijeli dela. Z veseljem sem pomagal, kar je bilo v moji moči. A ko sem zaprosil, da mi vsaj delno pokrijejo stroške, ki sem jih imel in ki bojo še nastali, sem opazil, da ni pravega posluha. Ko pa sem uvidel, da se projekt razvija v čisto drugo smer, kot je bilo zapisano v programu, podkrepljen še z časovno stisko, sem se počasi umaknil. Da pa jih ne bi pustil čisto na cedilu, sem poiskal G. Srečkota, za katerega vem, da je primeren za tako delo in  ga zaprosil, da nadaljuje s tem projektom. No napravilo se je, kar se je dalo. Čeprav drugačno od zamisli, nekaj je pa le nastalo.
 Lotil sem se drugega projekta.
 Rex
 Med Izolo in Koprom je potopljena ladja Rex. Na prvi pogled nezanimiva in pozabljena, a ko jo bolje spoznamo , vidimo da je lahko še kako zanimiva turistična atrakcija za našo občino, za obalo in še več. Intenzivno sem nadaljeval z zbiranjem podatkov o tej ladji. Naslikal sem kar nekaj slik na to temo. Zbiral sem predmete, informacije kje se kaj nahaja in podobno, imel ničkoliko pogovorov. Skratka vse, kar je v zvezi z njo, sem si zapisoval.
V letošnjem letu pa sem to predstavil javnosti.
 Razstava je imela nesluten odmev. Prihajali so ljudje od vsepovsod, prišli so novinarji, pa televizija, radio, razni poznavalci, ali pa ljudje, ki so želeli spoznati Rexa..
Pisalo se je o Rexu. Javljale so se razne turistične agencije , ki so si želeli ogledati  to razstavo. Zelo lepo je  Rex predstavljen tudi na internetu. Narejena je bila zgoščenka.
 A vsaka stvar, pa naj bo še kako zanimiva, se  lahko kaj hitro konča, če ni posluha tistih, ki se s turizmom ukvarjajo na višji ravni. In to se je zgodilo tudi v tem primeru. Prostor v katerem sem imel razstavo, je občina odstopila drugemu ponudniku, tako, da se sedaj selim drugam. 
Zavedam se, da mora vsaka ideja dozoret. In lahko le upam, da se bodo pojavili ljudje na odgovornih mestih, ki bodo opazili, da je lahko Rex velika osvežitev v  ponudbi na obali. Da je lahko turistično privlačen in bodo pristopili k tem projektu. Le počakati je treba nekaj časa.
 Internet
 V modernem svetu komunikaciji, si ne moremo zamisliti pretoka informaciji brez interneta. Vse bolj je prisoten na vseh področji poslovanja, na ponudbi in povpraševanju. Zato smo se odločili, da napravimo spletno stran, ki bi naš kraj, kar najbolje predstavili javnosti doma in tujini.
Angažiral sem se predvsem na področju športa in kulture. Iz turizma pa sem poudaril pomen istrske ozkotirne železnice in Rexa. Tudi ta predstavitev je lepo uspela. Pohvaljena je bila v raznih časopisih in revijah. Poklicali so me celo iz Velike Britanije, da bi to spletno stran priklopili na najbolj gledane brskalnike  po svetu.
Kakšna  priložnost in promocija za naš kraj.?
 Pri odgovornih v Izoli pa vlada za take projekte nekakšna nezainteresiranost, ki jo je težko razumeti. Le malo posluha in dobre volje je potrebno, da bi lahko mi naše ideje lažje realizirali. Mnogo je še takih volonterjev, ki imajo voljo, občutek in ideje, pa so skriti. Ne izpostavljajo se. Pa nič !!!
Če samo pomislim, da me  po dvajsetih letih profesionalnega dela v turizmu, niso niti enkrat poklicali na kak sestanek o turizmu, o turistični ponudbi, ali vsaj na pošten pogovor ali pa mogoče povabili v članstvo turističnega društva. Je to običajna malomarnost ali pa morda kaj drugega, zavist, ignoranta, navadna škodoželjnost. Kdo ve. Da ne govorimo o tem, da bi me povabili na razne sejme ali izlete, ki so se jih delavci v turizmu ob koncu sezone redno privoščili.
 Mogoče pa je prav tako! In tako pač mora bit.
 Povedal sem le nekaj del iz mojega življenja in dela v tem kraju.  Mogoče bom sedaj počel kaj drugega. Recimo obelodanil pravo kraško jamo sredi Izole ali pa predstavil Izolo kot zdraviliški kraj s termalno vodo, kot je nekoč že bil. Čas pa bo prinesel svoje. Mogoče pa se bom usedel,  pogledal malo nazaj se spomnil na prehojeno pot, delo in možnosti pa prepustil drugim.

Pred dnevi smo tako sedeli v Marjanovi galeriji, katera se nahaja v starem mestnem jedru. Galerija je pravzaprav mali muzej. Tam najdemo knjige, fotografije ter vrsto različnih predmetov kateri nas popeljejo v preteklost. Na policah so fascikli polni dokumentov in informacij o Rexu, Parencani,…… Na stenah pa vrsta slik katerih avtor je nihče drug kot Marjan sam. Tako nam ponosno pokaže album, v katerem so fotografije vseh njegovih del, tega pa je res ogromno. Slike tako deli po tematiki; morje, rex, jadrnice, soline, Izola, tihožitje, portreti, figuralika, akti, konji, oljke,……Ob pogledu na vse te slike, je bilo kar nekaj takšnih za katere sem pomislil kako pi pasale pri meni doma. Da ne govorim o knjigah ali pa o vsem znanju katerega ima Marjan.

Marjan je celo izdelal 4m dolgo maketo Rexa. Pravzaprav še ni končana, manjka pa ne veliko, le malo spodbude bi rabil. Upam, da bodo bralci s komentarji spodbudili Marjana da maketo konča.

Ko sem ga vprašal ali ima v planu napisati knjigo ali spomine, pa je rekel približno: “Škoda, da se ob takšnih pogovorih, kot je današnji ne najde nekdo, ki bi posnel ali. zapisal vse kar povem. Ne vem kje bo vse to končalo, ko mene več ne bo”.

In človeka res zamika, da bi se tako večkrat vsedel z Marjanom, se pogovoril o tem in onem in mogoče, zakaj pa ne, tudi zabeležil. Pogovori z Marjanom so res prijetni, predvsem pa zanimivi in poučni.

Marjan mi je dal na uporabo tudi fotografine njegovih slik. V TEM ALBUMU si lahko ogledate slike na temo Rex. Večinoma so olje na platnu.

Vir:

http://www.rex-mk.si

http://rexship.blogspot.com/

wikipedia

Klepet z  Marjanom (Marjan Kralj)

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Tigrovska spominska pot in beško-ocizeljski jamski sistem

Včasih je lahko suša tudi koristna sem med potjo proti Ocizli razmišljal v avtu. Zato sem se tudi v tem sušnem obdobju odpravil na krajši izlet z namenom obisakati nekaj jam iz beško ocizeljskega jamskega sistema.

“Večje količine vode v jamah s to sušo sigurno nebo”, sem pomislil…….

Štartal sem pod Ocizlo.


Pred mostom zavijem desno ter nadaljujem po kolovozu še kakih 200m kjer naletim na tablo, katera opozarja na Kaverne za katere je treba zaviti desno, v pobočje Brgoda. Kaverne sem tokrat izpustil, omenim pa naj, da je ca. 30m nad kolovozom kar 18 kavern katere povezuje stara vojaška pot, izkopali pa naj bi jih poljski in češki vojaki med 1. svetovno vojno kateri so takrat bili nastanjeni v Ocizli. Pri zadnji, 18. kaverni se pot spusti nazaj na kolovoz.

Tu sem zavil levo, prečkal strugo potoka ter se pričel dvigovati proti Ocizli. Ves čas sem hodil v senci in prijetnem hladu med hrasti, javori in celo belimi gabri. Sčasoma se teren malo izravna in pridem  na »karbonico«, kjer so med vojno Furlani žgali oglje. Območju se reče Cumpet in v  bližini je na levi tudi istoimeski slap. 

Voda (kadar je) se cedi  čez s sigo zalite peščenjakove plošče.

Dvignem se nad slap in na mestu kjer prečim potok so včasih domačinke prale perilo. Nekoliko višje se nahaja manjše zajetje vode iz leta 1958. Kmalu se gozd konča, jaz pa po jasi nadaljujem v levo proti prvim hišam Ocizle.

Najprej opazim na desni velb, pod katerim izvira Krmonov studenec. Na žalost pa je zadnjih nekaj let skupaj z vinogradom nad njim zagrajen z mrežnato ograjo. Stopim v vas in nadaljujem do Kamunske hiše nad njo pa nadaljujem v smeri proti cerkvi Marije Magdalene. Pri tabli “Tigrovska pot Ocizla” zavijem desno na kolovoz ter se kmalu začnem strmo spuščati v Luzo, vse do struge potoka kateri nosi isto ime.

Tam je tudi izvir. Voda je vedno hladna, dobra in povrh vsega nas vedno pričaka (isti) krigl v katerega si lahko natočimo vodo. Tu se ponovno pričnem vzpenjat po pobočju Preserja ter se kmalu zatem spustim v dolino. Kraju domačini pravijo območje Pr Malna. Nižje so tudi ostanki mlina, kateri je vodo dobival iz struge Korošce. Domačini pravijo, da je mlin obratoval nekje do začetka druge sv. vojne oz. do leta 1940 ko sta granati poškodovali mlinščico in mlin.


Tukaj zgleda okolica kot pravi pragozd in človek težko pomisli, da se le nekaj 100m stran nahajata vasici Ocizla in Beka.

Ustavi me pogled na tablo kjer piše Hrast. Hrast kot hrast bi si rekel vendar me njegova čudna oblika ustavi in naredim nekaj posnetkov.


Skozi gozd nadaljujem do polja, kjer se ponovno vzpnem vendar tudi hitro spustim do slapa V Žlebini. Sevada je bil suh. Nad slapom zavijem levo, kjer se pot nekoliko razširi ter nadaljujem v smeri Beke. Le nekaj metrov pod Beko se pot priključi na makadamsko cesto katera povezuje Beko in Socerb. Tu zavijem levo ter se po klancu spustim vse do Lipe pri Mazarju. Sicer ni ena tistih ogromnih lip z 8 meterskim obsegom, se pa največja na tem področju. Kraju drugače pravijo Na Mazariji.

Zavijem levo in zapustim makadamsko cesto. Tukaj se prične moj težko pričakovani beško-ocizeljski jamski sistem. Misli o jamah zmoti nekaj metuljev kateri ponosno pozirajo in zaslužijo si en “foto session”.


Tako me pot najprej vodi mimo jame S-3 in Jurjeve jame. Brez jamarske opreme razen luknje v tleh ni veliko videti oba »vhoda« v jamo pa sta označena s tablo.

Naslednje jame pa so bile razlog mojega izleta. Tako se najprej spustim pod naravni most, kjer je tudi vhod v Miškotovo jamo. Pod mostom se nahaja vhod v jamo, obkroža ga pa nekaj naravnih oken. Sprva je jama široka, po nekaj metrih pa se zoža v relativno ozek »hodnik«. Nedeljski jamarji pa lahko jamo raziskujejo le še nekaj metrov, potem pa jama izgine v globine. Brez primerne opreme in znanja pa se tu lahko le obrnemo nazaj. Kasneje me pot pelje čez naravni most kjer si je z vrha možno ogledati vhod v jamo in naravna okna.


Sledi Maletova jama, katera je ena redkih po kateri teče slap čez vhod. Tokrat sem o slapu lahko le sanjal. In že sem pri Blaževem spodmolu, vhodu v Ocizeljsko jamo. Do njega se strmo spustim in vstopim v jamo. Po nekaj metrih pridem do nizkega in ozkega prehoda trikotne oblike. Prostora je ravno za človeka in ne prevelik nahrbtrnik. Tako je moj nahrbtnik drsal po zgornjem delu prehoda. Tu opzim kar nekaj »prebivalcev« jame….Pajke, skorajda prozorne kobilice, komarje, netopirje in kasneje v čisti in hladni vodi neke vrste črvov ali pijavk?! Tako se počasi prebijem do ožine. Slab meter siroka in približno dva metra globoka ožina je pod mano, le ta pa vodi na odprto, v okrogle oblike brezno. Iz nahrbtinka vzamem vrv, ter se spustim v ožino. Vode je malo, prehod pa je relativno enostaven, kljub mokrim nogam. Izstopim iz jame, okoli mene sama skala, 30m višje pa vse okoli mene rastejo drevesa. Izhoda ni, razen po isti poti. Od tu lahko ponovno vstopim v jamo in nadaljujem ali pa se po isti poti vrnem. Odločim se za slednje.


Pred tem pa naredim nekaj posnetkov. Ker je sonce visoko, brez oblaka na nebu, je slikanje malce težavno in rezultati niso po pričakovanjih….ja sedaj bi rad sušo, da je možen prehod skozi jamo, pa oblake nad breznom, takšne temno sive barve po možnosti kumulonimbuse…..ampak na to kombinacijo bom še čakal….in čakal……in čakal…..


Po poti nazaj naredim še nekaj posnetkov in že sem pri izhodu iz jame. Iz prijetnih 9 stopinj se vrnem nazaj na poletnih >30 stopinj. Od tu nadaljujem po pešpoti mimo »brezna«, katero je tudi označeno. Bližam se izhodišču svojega izleta.

Za konec si pustim še zanimiv prehod skozi brinov gozdiček, nadajujem mimo polja in počasi se moj 7km izlet konča. Skupaj s slikanjem, ogledom vseh lokalnih znamenitosti vključno z jamami sem porabil 6 zelo turističnih ur, od katerega sem več kot uro prebil v jamah.

vir: geopedia e-kataster jam

vir: geopedia e-kataster jam

Tigrovska pot. Vir: ŠKTD »Zveza« Ocizla
Trasa je enaka moji le da se pot prične v vasi Ocizla


 Skratka izlet katerega priporočam vsakomur.

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100 let

Minilo je že nekaj tednov od tega, vendar je prav, da se spomnemo na našo nekdanjo tramvaj progo Piran – Lucija.

V petek 20.07.12 ob 12. uri in pet minut je minilo sto let, odkar je tramvaj, kateri je povezoval Tartinijev trg v Piranu – Portorož in takrat še sveto Lucijo, prvič odpeljal s Tartinijevega trga. Proga je bila v uporabi vse do leta 1953, ko so jo ukinili ter tramvaj in njegove vagone odpeljali najprej v Ploče ter naprej v Sarajevo in Dubrovnik.

Med letoma 1912 in 1953 je bil piranski tramvaj javno prevozno sredstvo in je povezoval piranski Tartinijev trg z železniško postajo Porečanke v Sveti Luciji (današnji Luciji).

11. septembra, 1911 dodeli Dunaj koncesijo za obratovanje tramvaja. Tako se ukine trolejbusni promet  in se po njegovi trasi položi tramvajske tire, za napajenje tramvaja pa se celo uporabi drogove trolejbusa. Dolžina tramvajske proge je bila 5447m in je tedaj stala 150.000 kron, katere sta tedaj poravnala Istrska pokrajina in sama občina Piran.

Otvoritev proge je bila 20. julija 1912. “Vozni park” je takrat sestavljalo pet vozov rdeče barve, dve prikolici (letno in zimsko) in tovorni vzdrževalni voz.  Tramvaji so dosegali hitrost 26kmh na trasi pa je bilo pet izogibališč.  Kakor bivši trolejbus je električno energijo še naprej dobavljala elektrarna v Bernardinu, le da je bila za potrebe tramvaja potrebna nadgradnja in sta zato prvotni parni stroj nadomestila dva dizelska agregata. Žal pa je leta 1935 ukinitev Parencane, ozkotirne žel. proge katera je povezvala Trst in Poreč botrovala velikemu upadu števila potnikov, vendar se je tramvaj obdržal vse do začetka 50 let prejšnjega stoletja, ko je tedanja oblast Svobodnega tržaškega ozemlja sklenila progo ukiniti. Razlog ukinitve je bila nekonkurenčnost tramvajskega prometa v primerjavi z avtobusnom prometom. Tako je tramvaj po progi še zadnjič zapeljal 31. avgusta 1953.

Naši starši in nonoti se ga verjtno še spomnejo, jaz pa te sreče žal nisem imel…..

Do 20.09.2012 je v avli občinske palače v Piranu si je možno ogledati razstavo ob stoletnici pirankega tramvaja.

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Jama in akumulator

Kaj imata skupnega jama in akumulator?

Vse se je začelo, ko sem to nedeljo, 5-8-12  na blogu, Carso segreto zasledil, da so maja  odprli jamo “Le torri di Slivia” oz. kot ji domačini pravijo Pejca v Lascu za javnost. Takoj je padla odločitev,  da se zapeljem do Sistiane ter si v bližini ogledam to jamo. Po izstopu iz avtoceste je bil dostop do izhodišča presenetljivo dobro označen in brez problemov sem našel kmečki turizem z istim imenom kot ga nosi jama. Tam je tudi izhodišče do jame .

V času mojega prihoda je ravno potekal ogled jame, tako, da je bilo potrebno počakati dobre pol ure, da je prišel avtobus s skupino obiskovalcev jame.

No,…pravzaprav ni avtobus ampak je traktor s prikolico. Prikolica pa je posebaj izdelana za prevoz potnikov. Kasneje sem izvedel da je taka prikolica, za 20 oseb, nehumano draga…tam okoli 30.000€

Za ogled jame se nas je zbralo dva angleža, šest nemcev, štiri italijani in moja malenkost. Pa nas že na vhodu v jamo razdelijo na angleško in italijansko govorečo skupino.  Corrado, naš vodič kateri je med drugim tudi lastnik posesti nam že na vhodu pove nekaj besed o zgodovini jame, nastanku Krasa medtem, ko se je prva skupina že spustila v jamo.

Deset minut za prvo skupino pričnemo z ogledom. Med drugim dobimo tudi čelado s svetilko. Samo za varnost. Vhod v jamo je umetno narejen, saj je naravni vhod oz. brezno oblike lijaka in je dostop tam zelo težek ali nemogoč za “nedeljske” jamarje.

Po strmih stopnicah se spustimo v jamo. Najprej nam Corrado pokaže kje je naravni vhod. S “terase” se čez globoki prepad vidi sončna svetloba katera pronica skozi vhod.

Dolge notranje stopnice se spuščajo ob naravnem jašku in vodijo v osrčje jame, šestdeset metrov pod zemeljsko površino.  Tu se začuti, da smo v neki novi dimenziji, v prostoru kjer so oblike in barve odvisne od kapljanja vode. Stene in strop jame so posuti s stalaktiti, zavesami, cevčicami in kamnitimi lestenci. S tal pa se dvigajo skupine stalagmitov v obliki stebrov, po katerih je jama dobila svoje Italijansko ime; le Torri di Slivia.

Sicer pa ji domačini pravijo Pejca v Lascu, katera je po raznolikosti kapniških oblik ena lepših jam tržaškem Krasu.

Na nadmorski višini 114m se nahaja naravni vhod v jamo, širok jašek s kamnitim dnom, v katerega se je mogoče spustiti le z jamarsko opremo in ravno skozi ta jašek so se na koncu devetnajstega stoletja v jamo spustili prvi raziskovalci. Pejca v Lascu je bila dobrih štirideset let zaprta za javnost, od maja 2012 pa je ponovno odprta.

Jama je tudi raj za netopirje, zato je v jami veljalo stroga pravila o razsvetljavi in številu obiskovalcev. Med najbolj poznanimi vrstami netopirjev prebivajo v jami veliki podkovnjak z značilnim gobcem v obliki konjske podkve, mali podkovnjak in dolgokrili netopir poznan po zelo majhnih ušesih.

Ogled jame je bil zelo prijeten, poučen predvsem pa je v tej vročini temperatura 9 stopin celzija v jami kar pasala.

Po ogledu se še malo pogovorim s Corradom o možnosti, da bi pripeljal kolesarske in nekolesarske prijatelje na ogled jame in seveda obvezno kosilo po ogledu. Tudi termin po dogovoru je možen glede hrane pa več ali manj kar si zaželimo, seveda paprevladuje domača, lokalna kuhinja.

Tako se poln vtisov ter zadovoljen ker je bilo možno tudi poslikati jamo vrnem do avta.

Pa se počasi približujemo povezavi jama in akumulator……

Avto seveda ne vžge. Pogledam v njegovo drobovje….smrdi po kislini.

OK,….akumulator je crknil. Živega človeka vse toka si mislim in se vrnem do Corrada po pomoč. Ker je imel še en ogled jame, mi na pomoč priskoči njegov sodelavec. Najprej me s traktorjem potegne do hleva. Poizkus vžiga motorja s kabli ne gre skozi…. in predlagam, da pokličem koga od svojih kateri bi mi prinesel nov akumulator.

Corradov sodelavec, žal si imena nisem zapomnil, pa se ponudi, da me zapelje do Komna, kjer bom na črpalki dobil nov akumulator. Pa še ceneje je kot če bi ga vzel v Italiji. In tako se odpeljeva proti Komnu.

V Komnu, na črpalki najdem primeren akumulator. 110€. Dam kartico katere POS terminal ne prebere. Probamo enkrat, probamo dvakrat….ne dela. Skočim do bližnjega bankomata in tudi ta ne prebere kartice. Seveda o pin kodi masterkarda nimam pojma….

Kaj sedaj?! Pa se spomnem, da imam v denarnici še eno kartico, druge banke. Na srečo poznam pin, kartica dela na računu pa je ravno toliko da zberem za akumulator. Plačam in vrneva se do avta. Zamenjam akumulator in avto takoj vžge.

Zaradi vseh zapletov s karticami sem tako praktično brez evra, kar tudi razložimo mojemu prijaznemu rešitelju ampak mu obljubim, da se mu čim prej oddolžim. Kar nerodno mi je bilo….človek mi pomaga, posodi orodje, me vozi naokoli jaz pa mu nisem v stanju niti za stroške bencina povrnit. Pa mi z nasmehom odgovori: “Ne se sekirat, ko se srečava boš plačal kafe…..”

No, vsekakor se bom še vrnil tam in poravnal svoj “dolg”….

 

Skratka jama je vredna ogleda, pa čeprav relativno majhna, osebje pa izredno prijazno.

 

Mislim….to se ne zgodi vsakemu, da se iz Izole pelje do Komna po akumulator in si sproti še jamo ogleda….he he….

Hvala vsem, tako za ogled jame kot za pomoč!!!

Še nekaj fotografij je TUKAJ

 

 

 

Vir:  letak torri di slivia

http://www.catastogrotte.fvg.it

 

 

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