At about age eight I remember an expression from an elderly gentleman 'more fun than a Blackpool tram'. that stuck in my mind because I could not figure out why a Blackpool tram could be fun. I traveled on trams regularly with my parents and most of the time I was told 'now just sit still and behave'.
Some time later I was given a Kodak twin lens reflex with a roll of 127 reversal film and while out wondering I took a photo of the toast rack tram in the Fleetwood tram yard. It was then that I realized, just staying put on this old tram while in motion would have probably been fun!
More images of Blackpool and Fylde
This little camera was a huge step forward when compared with the previous box camera the view finder was bright and clear and I could really compose an image as I wanted it albeit reversed. It also came with a flash gun, a lens hood and a case.
One little idiosyncratic feature that Kodak incorporated was the wire frame ' Sports viewfinder ' that folded out from the bottom of the camera. While it served its purpose for panning a moving object lifting rather than pressing the shutter without moving the camera required some practise.
Another feature, a big step forward in functional design when compared with the box camera was a film wind on stop for every frame, For the first time one did not have to rely on the numbers printed on the film backing and viewed through the little red window on rear of the camera.
The contact prints from the 127 film were just large enough view once mounted in an album. But the main attraction was that in 1958 the 127 format was becoming very popular and as a result the cost of film and processing materials was in reach of a 10 year olds pocket money!
The other photos were taken in Swizerland and Austria about the same time.
Paying for a first real camera in 1962 Britain was a daunting task and extended way beyond the limits of a teenagers pocket money. However an extra paper round at night and one on Sundays helped. Wallace Heatons Blue book partially satisfied the pangs of desire until the full amount of cash required had been accumulated.
Once the camera had been aquired another £9.00 had to be saved for a Gosen Sixtry light meter. In the meantime a small purchase of a density wedge or extinction light meter worked surprisingly well (and still does) . I have learned since from an excellent article in Australia's Better Photography Magazine that my little meter is a Leudi first made in Austria in the 1920's. It is designed to give exposure readings with 13, 32,64 and 125 ASA film!
I have fond memories of the Retinette 1A I know some of Kodak's specifications variations with this model suffered from the same shutter jaming problems that the Voigtlander had but that was not my experience it served me well until I got to Art school where I needed big negs so with some regrets I sold the Retinette and moved up to a then serious camera a Minolta AutoCord.
Most of my negatives from this period were lost when my parents moved overseas. The two prints below of Speak Hall near Liverpool and one other very scratched roll of Plus X film are all that have survived the years.
After the Russians smashed my little Olympus this Retina almost filled the requirement as pocket camera no light meter so not quite a point and shoot, but heck! I always have more than one pocket. The Schneider Kreuznach lens on this camera is a beauty. Uncoated so surprizing and often dramatic effects can be had if shot towards the light or if reflections catch the lens.
Kodak: a listing of every camera the comany has produced
The Brownie Page All that is the Brownie
