Rollei 35TE ^_^ Mr. Hoffman's Giant Yellow Rubber Duck 霍夫曼先生的黃色小鴨

This Rollei 35TE can be considered a "boomerang camera." The last time it was in my collection was around 1997. I remember taking it to shoot in downtown London. Later, after purchasing the Contax T2, I temporarily let go of this camera. The Rollei 35TE is a mechanical camera. Its predecessors are the Rollei 35 and Rollei 35T. The metering on the earlier models was done with a needle on the top, while the 35TE has LED lights inside the viewfinder, indicating underexposure, normal exposure, and overexposure. I prefer the latter.

This is an extremely lightweight manual camera with excellent lens quality. The focal length is 40mm, with a Tessar lens consisting of 4 elements in 3 groups and an aperture of f/3.5. Due to its age, the metering may not be accurate. It's recommended to calibrate it using a SLR camera metering (such as a white wall, preferably with a gray card) before use, and then it can be used for an extended period.

The focusing function is simple visual focusing, so you need to practice your ability to estimate distances. Generally, as long as you have a rough idea of distances from 1m to 10m, you should be able to handle it well. The photos taken on the streets of London (in the evening) on the website were taken in this manner, with shutter speeds of 1/30 or 1/60 seconds, using the smallest aperture and the maximum depth of field to avoid focusing errors.


這台 Rollei 35TE 算是回鍋相機，上次在我的收藏裏應該是1997年左右吧，記得我還帶去倫敦市區拍攝，後來因為購入了Contax T2，就暫時出脫了這台相機。Rollei 35TE是台機械相機，她的前兩代分別是 Rollei 35和Rollei 35T，其測光表是位於機頂指針式的，35TE已經變更為觀景窗內的LED燈號, 可顯示曝光不足、正常、過量，我比較習慣後者。

這是一台非常輕便的手動相機, 鏡頭品質沒話說, 焦距40mm, 鏡組4片3群, 光圈3.5的Tessar鏡頭. 測光表可能因為年代久遠會有些不準, 建議使用前先以單眼相機測光(如白牆, 有灰卡更好)進行校正, 之後就可長期使用了.

對焦功能是很陽春的目測對焦, 所以要先練一下自己的目測能力, 一般只要對1M到10M的距離有些概念就可得心應手, 網站所拍攝的倫敦街頭(傍晚)就是以這種方式拍攝, 快門1/30或1/60秒, 以求使用最小光圈與最大景深, 避免目測對焦的失誤.


During the test period with the film loaded, Mr. Hoffman's giant yellow rubber duck happened to arrive at the Glory Pier in Kaohsiung for an exhibition, so I casually took a few shots.

裝上底片測試期間正好與上了霍夫曼先生的黃色小鴨到高雄光榮碼頭出展，隨興拍了幾張。





"The giant yellow rubber duck "Rubber Duck" arrived in Victoria Harbour, Hong Kong in May this year, immediately causing a craze. It even attracted many Taiwanese tourists to Hong Kong to witness its appearance. At that time, Dutch conceptual artist Florentijn Hofman, when interviewed, revealed his idea of wanting to visit Taiwan. With the efforts of Keelung Port, Taichung Port, and Kaohsiung Port, yes! The Rubber Duck is finally coming to Taiwan!

With the strong efforts of Taipei, Taichung, and Kaohsiung, it was confirmed that the Rubber Duck would first meet with everyone at the Glory Pier in Kaohsiung. Mayor Chen Chu announced on August 5th that Dutch conceptual artist Florentijn Hofman has signed a contract with Kaohsiung City. It was confirmed that from September 19th (Mid-Autumn Festival) to October 30th, 2013, the yellow Rubber Duck will be exhibited at the Glory Pier near the exit of Love River in Kaohsiung. After the news was released, it excited many people who learned about it."

-- The above excerpt is taken from https://www.vogue.com.tw/feature/content-11212


"巨型黃色小鴨Rubber Duck 今年5月「游」進香港維多利亞港Victoria Harbour時，便立即造成一股澡盆鴨風潮，甚至吸引許多台灣觀光客前往香港一睹鴨鴨風采。當時，荷蘭概念藝術大師弗洛倫泰因霍夫曼Florentijn Hofman受訪就曾透露過「想來台灣」的想法，加上基隆港、台中港以及高雄港前陣子的極力爭取之下，沒錯！黃色小鴨Rubber Duck終於要來台灣啦！

就在台北、台中、高雄的極力爭取之下，黃色小鴨Rubber Duck確定先將在高雄光榮碼頭和大家見面。高雄市長陳菊8月5日宣布，荷蘭概念藝術大師弗洛倫泰因霍夫曼Florentijn Hofman目前已與高雄市簽約，並確定將在2013年9月19日（中秋節）至10月30日，於高雄市愛河出海口一帶的光榮碼頭展出黃色小鴨Rubber Duck，消息一出後，也讓得知消息的民眾興奮不已。"

-- 以上文章節錄自 https://www.vogue.com.tw/feature/content-11212

A Waterproof Camera 防水傻瓜相機 華山隨拍

2013/9/14

Basically, it's a point-and-shoot camera, paired with a waterproof case, claimed to be able to withstand depths of up to 3 meters underwater...though I haven't tried it.

Insert the batteries, put on the waterproof case, unlock the shutter, take the shot, and it automatically advances the film. It not only has a built-in flash but also an external underwater viewfinder. Remember to open the built-in lens cover before diving. The lens focal length is not indicated, but it appears to be a plastic lens. When I bought the camera, the store included a roll of Kodak Gold film. I took it to the Huashan 1914 Creative Park to shoot, and the colors were very strange, with high contrast. Just thought I'd share that for reference.

基本上是一台傻瓜相機，加上一個防水殼，號稱可以水下3米 ~ ~ ~ ~ 沒試過。

裝上電池，穿上防水殼，打開快門鎖，拍攝，自動過片。不只有閃光燈，也有外接水中觀景窗，要記得下水前要先打開內建鏡頭蓋。鏡頭焦距沒有標示，看起來應該是塑膠鏡片，當初買相機時，店家附了1捲柯達金軟片，我帶到華山藝文特區去拍攝，顏色很詭異，反差很大，給大家參考了。

Repair of CONTAX T2 維修經驗分享

I haven't taken my CONTAX T2 out for external shooting with film for nearly 10 years. However, this roll of Kodak TMAX 400 produced some confusing light halos. Initially, I thought it might be due to poor anti-glare capabilities of the lens, especially considering the first photo was taken around 10:30 in the morning with the sun just above the frame's upper right corner. But upon further inspection of other photos, I found that some indoor shots without direct sunlight also exhibited the same halos. At the same time, I noticed that sometimes the camera lens would get stuck when retracting into the body, as shown in the accompanying video, stopping halfway. Upon comparing the diameter of the lens barrel with that of the halos in the photos, I suddenly realized that my camera was leaking light...

近10年沒有將底片裝入CONTAX T2外拍了，結果這捲Kodak TMAX 400出現了令人困惑的光暈，會說是光暈是因為以下這張照片是第一張約莫早上10:30左右，太陽剛好在畫面的右上方，乍看之下以為是鏡頭抗耀光能力不好造成的光暈 ，繼續檢視其他相片後，發現有幾張相片即是在沒有太陽的室內，一樣會出現光暈。同時間，相機鏡頭縮入機身時有時候也卡卡的，如以下影片，會停在半途。比對鏡頭鏡筒的直徑竟然跟以下光暈的直徑雷同，這時後才恍然大悟，我的相機漏光了‧‧‧



Could the sun being in the upper right corner around 10:30 cause this halo? No, it was due to light leakage from the camera lens...
約莫10:30左右，太陽在畫面的右上方會造成這個光暈嗎?
不是，是相機的鏡頭漏光了...

Later, I sent the camera to a camera technician for inspection. The report came back stating that the lens barrel's light seal had deteriorated, causing the lens barrel axis to loosen, resulting in the aforementioned malfunctions. However, these issues could be repaired. After waiting for two weeks, the camera finally returned, and the test results showed that everything was back to normal and satisfactory.


後來我把相機寄給相機師傅檢查，回報是鏡筒防漏光套筒老化，鏡頭筒軸鬆動，導致上述兩項故障，可以維修。等了2週，相機終於回來了，試拍結果一切正常，令人滿意。




The repaired CONTAX T2 is once again a vibrant tool.
修復後的CONTAX T2又是一尾活龍


Check out the test photo compilation of the CONTAX T2 after repair.


相機修復後CONTAX T2測試照片集錦。

Hasselblad 500c, Pinhole Lens ^_^ My First Time Pinhole Photography 針孔攝影第一次

I've had this "pinhole lens cap" from Rising for quite a while now, but I never had the chance to take it out for a test shoot. Taking advantage of a day off, I decided to bring it out to soak up some sun and experience pinhole photography. In addition to the camera and pinhole lens cap, a tripod and a cable release are essential tools for pinhole photography.

這個Rising出的「針孔鏡頭蓋」買了有好一陣子了，一直沒有機會拿出來試拍，趁著一天放假拿出來曬曬太陽，也體會一下針孔攝影。除了相機、針孔鏡頭蓋以外還有三腳架和快門線都是針孔攝影不可或缺的工具。



Mounted on the Hasselblad 500c with the "pinhole lens cap."

裝上「針孔鏡頭蓋」的 Hasselblad 500c  



Specifications of the "pinhole lens cap":

f185 (for convenience, using f192 for metering)
Angle of view: 62 degrees (it is recommended to frame using the 80mm standard lens)

「針孔鏡頭蓋」的規格:
f185 (使用上以f192測光較方便)

視角62度 (建議直接用80mm標準鏡頭構圖)  

Setting up the tripod in the center of the Chiang Kai-shek Memorial Hall square, I used the wider-angle lens Carl Zeiss Distagon 4/50 C to frame the shot. First, I took a photo with the optical lens for comparison, also to set the aperture and shutter values. At the moment, at f192, it required approximately 10 seconds of exposure.


在中正紀念堂廣場中央架好腳架，用較「針孔鏡頭蓋」視角更廣的廣角鏡頭Carl Zeiss Distagon 4/50 C來構圖，先拍一張光學鏡頭的照片作為比較，一方便也確定好光圈和快門的值，當下換算f192大約是需要10秒鐘曝光。



This is the image taken with the Carl Zeiss Distagon 4/50 C wide-angle lens.

這是 Carl Zeiss Distagon 4/50 C 廣角鏡頭的成像  


Next, I switched to the "pinhole lens cap." At this point, the tripod became crucial. Changing lenses requires avoiding any movement of the camera and tripod. If accidentally moved, it's advisable to reconfirm the framing, as film and developing in the digital age can be quite expensive. Once the "pinhole lens cap" was securely installed, I pressed the cable release and counted silently to 10. 1, 2, 3,... 10. Done. Around 3:00 PM, there were inevitably people moving about in the square, so the blurred figures were expected.


接下來換上「針孔鏡頭蓋」，這時三腳架是重點，更換鏡頭過程須避免相機和腳架的移動，不小心動到的話，建議再構圖確認一次，畢竟在數位時代底片和沖片都是很貴的，還是小心為妙以免浪費。「針孔鏡頭蓋」安裝妥當接下來就是按下快門線並默數10秒鐘1、2、3、、、10，完成了。下午 3:00左右，廣場上有人是一定的，所以人影晃動的影像是預期中。



這就是針孔成像?
Is this what pinhole imaging looks like?


After developing the film, I measured the proportions of the images. It would have been a more accurate choice to use the Carl Zeiss Planar 2.8/80 C for framing, as several photos captured buildings that were too large due to the wide-angle lens, resulting in them being cut off in the pinhole images. The main subjects became incomplete, which can be considered a case of failed work.


底片洗出來後，我量了一下成像的比例，改用Carl Zeiss Planar 2.8/80 C來構圖應該是比較正確的選擇，因為有好幾張相片中的建築物因為在廣角鏡頭了拍得太大，在針孔成像時都被切到了，主題建物變得不完整，算是失敗作品的案例。


Link to the "First Time Pinhole Photography" album.

「針孔攝影第一次」相簿連結。

Yashica Electro 35 GT and Tele/Wide Lens Set @ Songshan Tobacco Factory 松山菸廠

2013/7/10

Can non-interchangeable lens RF cameras capture wide-angle or telephoto shots?

The answer is yes, we can achieve this by using external wide-angle and telephoto lenses.

However, we need to address the issue of the RF camera's viewfinder first. Generally, non-interchangeable lens RF cameras only have a framing frame for one focal length in the viewfinder. Therefore, when we attach a wide-angle lens, the original framing frame becomes too small. Conversely, when attaching a telephoto lens, the framing frame becomes too large. To solve this problem, besides jokingly drawing new framing frames on the original viewfinder (just kidding!), we can use an external viewfinder.

For example, if the lens focal length on the RF camera is 50mm, attaching a 0.7x wide-angle lens is equivalent to 35mm. At this point, we just need to find a 35mm external viewfinder to attach to the flash hot shoe of the RF camera for framing.

不可換鏡頭的RF相機可以拍廣角或遠景嗎?

答案是可以的, 我們可以用外接式的廣角鏡和望遠鏡來達到這個目的.

但是要先解決RF相機觀景窗的問題. 一般不可換鏡頭的RF相機的測距觀景窗都只會有一個焦段的構圖框. 因此, 當我們外接廣角鏡頭後, 原構圖框就變得太小了. 反之, 接上望遠鏡頭, 構圖框就又變得太大. 為解決這個問題, 除了在原測距觀景窗上自己畫上新的構圖框(開玩笑的!), 就是採用外部光景窗.

舉例來說, RF相機上的鏡頭焦距是50mm, 裝上0.7倍的廣角鏡後, 就等於35mm, 這時只要找一個35mm的外接觀景窗裝在RF相機的閃燈熱靴上, 就可以用來構圖了.


The Yashica Electro 35 series RF cameras have designed a set of lens accessories to meet this demand: (1) 0.8X external wide-angle lens, (2) 1.3X external telephoto lens, and (3) an external viewfinder with framing frames for both wide-angle and telephoto shots. The fixed lens focal length on the Yashica Electro 35 is 45mm, so after attaching the external lens, the new focal lengths become 36mm and 58.5mm. While 36mm may be considered wide-angle, 58.5mm should still fall within the range of standard lens focal lengths.


Yashica Exectro 35系列的 RF相機, 因應這項需求就設計了一組鏡頭附件 (1)0.8倍外街廣角鏡頭,
(2)1.3倍外街望遠鏡頭, (3)具有廣角與望遠2個構圖框的外接觀景窗. Yashica Electro 35上的固定鏡頭焦距是45mm, 所以裝上外接鏡頭後, 新的焦距便成為 36mm 和 58.5mm. 36mm或許可稱為廣角, 但58.5mm應該還算在標準鏡頭焦段的範圍內.



Yashica Electro 35GT and Tele/Wide lens set



The Songshan Tobacco Factory has been converted into a cultural and creative park for some time now, and I hadn't had the chance to take some old (building) photos. Taking advantage of a few days off, I went to Taiwan this time to visit, and also to test the Yashica Electro 35 GT and the external wide-angle and telephoto lens set. Below are several sets of photos comparing the perspectives of 36mm, 45mm, and 58.5mm.

The first set of comparison photos is of the maternity ward next to the Xiaoshandang.


松山菸廠改成文創園區有一陣子了, 一直沒有機會去拍些老(建物)照片. 趁著連休幾天出發去台年前走這一遭, 順便測試一下Yashica Exectro 35 GT和外接廣角望遠雙鏡頭組. 以下就是幾組 36mm, 45mm, 58.5mm 視角比較的照片.

第一組比較照片是小山堂旁的育嬰房


f = 45mm x 0.8 = 36mm


f = 45mm


f = 45mm x 1.3 = 58.5mm


The second set of comparison photos is of the skyscrapers in the Xinyi District. The 58.5mm one clearly has vignetting.


第二組比較照片是信義區的摩天大樓群, 58.5mm這張明顯有暗角



f = 45mm x 0.8 = 36mm


f = 45mm


f = 45mm x 1.3 = 58.5mm


This dual lens set does not have coated lenses, so it may not have anti-glare capabilities. In practical terms, it's more convenient to use at the wide-angle end. The inconvenience lies in the four-step process for focusing: (1) using the parallax of the built-in viewfinder in the camera for rough focusing, (2) reading the focusing distance on the fixed lens, (3) checking the corresponding table on the external lens to obtain the actual distance, and (4) adjusting the focusing distance on the fixed lens to match the actual distance.


這套雙鏡組是沒有鍍膜的鏡頭, 所以應該沒有抗耀光的能力, 實用上還是以廣角端使用的機會較多. 較不方便的地方是需要四個步驟來玩完成對焦 (1)由相機內建觀景窗的疊影成向來對焦(2)讀取固定鏡頭上的對焦距離 (3)查詢外接鏡頭上的對應表取得實際距離 (4)調整固定鏡頭上的對焦距離至實際距離.

Canon EOS 5D2 and Carl Zeiss lenses @ Neidong Forest Park 內洞森林遊樂區

2013,6,23

Personally, I think the greatest contribution of digital SLRs to the photography world is the revival of traditional manual lenses. In the digital age, it allows enthusiasts of old photography to experience the tactile sensation of old lenses again, while introducing the charm of these lenses to new photography enthusiasts. Before Sony mirrorless cameras entered the market, the Canon EOS 5D/5D2 was always the preferred choice for adapting traditional SLR lenses. I have personally adapted Contax/Yashica, Nikon, and M42 series lenses. The biggest challenge when adapting traditional manual lenses to digital SLRs is focusing. Apart from using a full matte focusing screen for naked-eye focusing, there are generally two options: (1) replacing the traditional split-image focusing screen to fully restore the traditional focusing method, and (2) adding a focusing chip to the lens adapter ring to restore autofocus (AF) focus confirmation functionality. These aids somewhat increase the convenience of manual focusing, but the precision ultimately depends on individual skill.


個人覺得Digital SLR對攝影界最大的貢獻，就是讓傳統手動鏡頭可以復活，在數位時代讓老攝影同好回溫老鏡手感，讓新攝影同好體驗老鏡魅力。在Sony無反相機上市前，Canon EOS 5D/5D2一直是轉接傳統單眼相機鏡頭的首選，我自己就轉接過Contax/Yashica、Nikon和M42系列鏡頭。傳統手動鏡頭轉接Digital SLR後，最大的挑戰是對焦，除了全磨砂裸眼對焦屏裸眼對焦外，一般還有兩種選擇 (1) 更換傳統裂像對焦頻，全部回復到傳統對焦方式，(2) 鏡頭轉接環加裝對焦晶片，回復AF對焦點確認功能，這些輔助多少增加了手動對焦便利性，精確度就看個人功力了。




Left to right: Carl Zeiss Sonnar 2.8/135 T*,
Makro-Planar 2.8/60 T* C, Distagon 2.8/28 T*

Canon 5D Mark II and Samyang 500/6.3 Mirror @ Dragon Boat Competition 龍舟比賽

In the era of single-lens reflex film cameras, Tamron's reflex lens 500mm f8 was sufficient to rival the quality of original manufacturer lenses, becoming the preferred choice among third-party lenses. In the digital single-lens reflex era, the three major third-party lens manufacturers no longer produce such lenses. The more common option on the market should be Samyang Optical's reflex lens (as well as other rebranded versions such as Vivitar, Rokinon, etc.). The reflex lens I have on hand has a specification of 500mm f6.3, with an aperture half a stop wider than f8. This means that under the same lighting conditions, the shutter speed can be increased by half a stop, for example, changing from 1/90 second to 1/125 second. Another advantage is that when manually focusing with a single-lens reflex camera, the optical viewfinder will also be half a stop brighter, making focusing a bit easier.

在單眼底片相機時代，騰龍(TAMRON)的反射式鏡頭500mm f8已足以媲美原廠鏡頭的成相品質成為副廠鏡頭中的首選。在數位單眼時代，三大鏡頭副廠都不再推出此類鏡頭，市面上較普遍的應該算是Samyang光學的反射鏡了(還有其他貼牌如Vivitar, Rokinon等)。手邊的這顆反射鏡規格是500mm f6.3，光圈較f8大上半格，也就是相同光線條件下，快門速度可快上半格，例如1/90秒變成1/125秒，另一個好處是使用單眼相機手動對焦時光學觀景窗也會明亮半格，讓對焦容易一些。


Reflex lens Samyang 500/6.3, 反射鏡頭 Samyang 500/6.3

The first outdoor shooting test happened to be on the Sunday before the Dragon Boat Festival. The dragon boat heats were in full swing at the Dajia Riverside Park in Taipei. I was sitting on the grandstand near the finish line, holding a Canon EOS 5D Mark II and the Samyang 500mm f6.3, which was a relatively lightweight combination for a super telephoto lens. Since it can only be manually focused, when shooting moving objects, I had to first decide on the focusing point and then make minor adjustments when the object approached. Fortunately, there were many dragon boats, which made manual focusing manageable. Perhaps because the heats were conserving their strength or aiming for participation rather than victory, there weren't many actively competitive teams. After watching for about an hour, I finished testing the lens and went back home.

首次外拍測試剛好是端午節前一個週日，台北大佳河濱公園的龍舟預賽正在如火如荼的進行中，我坐在終點站附近的看台上手持著Canon EOS 5D Mark II Ma 和 Samyang 500mm f6.3 還算是個超望遠鏡頭輕便組合，因為只能手動對焦，拍攝移動中的物體時須先決定好對焦點，等物體接近時再微調拍攝，還好龍舟比起汽車相對滿很多，手動對焦還能應付。也許是預賽保留實力或是志在參加不在得名，積極衝刺的隊伍不多，約莫看了1個多小時，測試完鏡頭後就打道回府了。


This team was very diligent; they were still putting in a lot of effort when returning to the starting point. They should have a chance to make it to the finals. 這隊伍很盡責，返回起點時還是很賣力，應該有機會入決賽


The dragon boat in the background faintly reveals the famous "donut" bokeh of the reflex lens.
背景的龍舟隱約出現反射鏡有名的甜甜圈

For exciting photos, please refer to the dragon boat competition album.

精彩相片請參閱龍舟比賽相簿。

Contax T2 @ Banqiao 435 板橋

The Banqiao 435 is a newly emerging cultural and artistic spot in New Taipei City. However, what attracts most families with children is a large area of fine white gravel sandbox, which is the main attraction for children coming here to play. After spending quite some effort finding a parking spot, as soon as I entered the park, I saw a mother holding an umbrella, enjoying watching her two siblings happily playing in the sand, shielding them from the sun. Watching these children shovel sand into the toy truck's bucket and then pour it out, repeating the same action tirelessly, they seemed to be enjoying themselves immensely. After playing for a while, the children were finally willing to wash their hands and feet and move to the shaded playground area with slides. Next time, it would be better to come earlier or after 3 p.m. for a more relaxed experience.

Photos please refer to the Banqiao 435 album.


板橋435是新北市的一個新興的藝文景點，不過最吸引一般育兒家庭的是一大片細白石子的沙坑，這才是小朋友們來這裡玩的目的。費了好一番工夫停好車，一進園區就看到媽媽撐著傘幫兩個玩沙玩得不亦樂乎的姐弟倆遮陽，看這孩子們把沙鏟入玩具卡車的車斗，再把沙倒出來，反覆做同樣的事，樂此不疲。玩了好一會，孩子們才願意清洗手腳，轉往有樹蔭的溜滑梯遊樂區移動，下次應該早一點或是下午3點後再過來比較輕鬆。

相片請連結 板橋435相簿 。


Hall - Chiang Kai-shek Memorial Hall 禮堂 - 中正紀念堂


After enjoying playing in the small white sand area, gently return home as it was.
開心玩完小白沙 輕輕放回原來家


Today's outdoor shooting with the CONTAX T2 was my go-to camera before entering the digital camera era. Besides taking snapshots in Taiwan, I have also been to Japan, Thailand, New Zealand, Italy, the Netherlands, Denmark, and other places, experiencing many battles. Perhaps because I used too much film, the rewind motor had to be repaired once. Since 2003, it has been stored in a dehumidifying box most of the time. These days, I wanted to take it out for some fresh air, but I found that sometimes when turning off the camera, the lens couldn't retract completely. Fortunately, the camera's shooting function is normal, so I still took a roll of Kodak T-MAX 400 outside. However, after developing the film, I found several frames with light leaks, precisely where the lens's outer support retracts. I suspect it might be due to aging light shielding foam or rubber, which not only caused light leaks but also jammed the lens retraction mechanism. I hope there's still a camera technician who can repair this camera.


今天外拍 CONTAX T2是我進入數位相機時代前的隨身機，除了在台灣隨拍，也到過日本、泰國、紐西蘭、義大利、荷蘭、丹麥等地，經歷過不少戰役。大概是底片拍太多了，過片馬達曾經送修過。2003年後就一直常住防潮箱，這幾天想拿出來透透氣，卻發現有時候關機時鏡頭竟然無法全部縮入，還好拍照的功能正常，所以還是外拍了一捲Kodak T-MAX 400。不過拿回沖洗後的底片後，有好幾張底片漏光，漏光的位置剛好是鏡頭縮入後的鏡身外援，猜測可能是遮光海綿或橡膠老化，不但漏光還卡住鏡頭縮入時的軌道。希望還有相機師傅能修這台相機。


Contax T2, Carl Zeiss Sonnar 2.8/38 T*




Contax T2 by Kyocera

Kyocera Contax RX and Aria

Believe that photography enthusiasts who own more than one camera and lens equipment will encounter the same problem when going out, which is what equipment to bring. It's ideal to bring all your gear to avoid any regrets, but sometimes, for the sake of convenience or quick mobility, choosing equipment to bring based on the anticipated photography needs of the day is the thought of most people. Here, I have organized past experiences and, using my equipment as an example, listed some outdoor shooting combinations for reference.

相信擁有一機一鏡以上器材的攝影同好一並會碰到相同的問題，就是出門該帶什麼器材。未免有遺珠之憾，將所有家當都帶出門當然是最好不過了。但有時會了方便或行動迅速，預測當日拍照的需求來選擇外帶的器材，應該是大部分人的想法。這裡把過去的經驗整理了一下，以我的器材為例，列出一些外拍組合供大將參考。

Travel Photography A
旅遊攝影A(28mm ~ 135mm)

Contax Aria
Carl Zeiss Distagon 2.8/28 T*
Carl Zeiss Vario-Sonnar 3.4/35-70T*
Carl Zeiss Sonnar 2.8/135 T*
Total weight 總重: 1800

For general travel photography, the principle is lightweight equipment. For wide-angle and telephoto, D28 and S135 should be the preferred choices. As for the standard lens, I prefer using VS35-70 instead of P50. Although it sacrifices opportunities for low-light shooting, in the efficient setting of travel, a fixed-aperture standard zoom lens covering wide-angle to mid-telephoto can fulfill the need for multiple lenses. And for a lightweight body, nothing beats the Aria.

一般旅遊攝影，器材以輕便為原則，以廣角端和望遠端而言，D28 與 S135 應該是首選。至於標準鏡頭方面我習慣以 VS35-70 來代替 P50，雖然犧牲了弱光下的拍攝 機會，但是在講求效率的旅遊途中，一顆涵蓋廣角與中望遠端的定光圈標準變焦鏡頭的確能攜帶多個 鏡頭的需要。至於輕便的機身，當然非 Aria 莫屬了。

Travel Photography B
旅遊攝影B(21mm ~ 135mm)

Contax Aria
Carl Zeiss Distagon 2.8/21 T*
Carl Zeiss Vario-Sonnar 3.4/35-70T*
Carl Zeiss Sonnar 2.8/135 T*
Total weight 總重: 2035

For architectural or historical site travel photography, D21 provides a satisfying ultra-wide-angle view with minimal distortion. Places like Italy and Kyoto, Japan, are ideal for showcasing this lens, especially for capturing the facades of churches. Before purchasing the Aria, I used to pair it with RX, a combination weighing nearly 2.4kg with three lenses, tripod, and backpack, something to consider for those with a petite stature.

建築或古蹟類的旅遊攝影，D21 可提供滿意的視角(超廣角)與 最低變形率。義大利和日本京都應該是最適合這顆鏡頭發揮的地方，尤其是一些教堂立面的拍攝， 可同時將來往人潮與主題一併納入構圖之中。在購入 Aria 之前，我都是搭配 RX 出勤，一機三鏡近 2.4KG，加上腳架和背包，少說也有 5KG，身材嬌小的人要考慮一下。

Scenic Photography A
風景攝影A(16mm ~ 200mm)

Contax RX
Zenitar Fish-Eye 16/2.8 MC
Carl Zeiss Distagon 2.8/28 T*
Carl Zeiss Planar 1.4/50 T*
Carl Zeiss Vario-Sonnar 4/80-200T*
Total weight 總重: 2355g

A lightweight scenic photography combination, the fisheye lens provides a unique wide-angle effect for natural landscapes. The wide-angle and standard ranges are covered by the acclaimed D28 and P50, ensuring vivid scenery. For telephoto, the VS80-200 is used for techniques involving partial framing commonly used in scenic photography, easily extracting distinctive subjects from chaotic landscapes, and its macro feature (1:4) comes in handy when needed.

輕便的風景攝影組合，魚眼鏡頭所造成的超廣角效果讓自然 風景呈現不同風貌，廣角端和標準端則分別由受好評的 D28 與 P50 負責，絕對能讓景色徐徐如生。 在望遠端則利用 VS80-200 來負責風景攝影中常用到的局部取景的技巧，可以很容易的將具特色的 主題從一片雜亂無章的風景中萃取出來，而所提供的微距功能(1:4)也能適時派上用場。

 

Scenic Photography B
風景攝影B(28mm ~ 180mm)

Contax RX
Carl Zeiss Distagon 2.8/28 T*
Carl Zeiss Planar 1.4/50 T*
Carl Zeiss Makro-Planar 2.8/100 T*
Carl Zeiss Sonnar 2.8/180 T*
Total weight 總重: 2915g

This combination caters to high-quality scenic photography needs, with D28, P50, MP100, and S180 all being lenses known for excellent resolution and color performance. However, it comes with a greater physical cost. After purchasing VS35-70 and S135, I started opting for the "Travel Photography A" combination, as MP100 in this setup offers the possibility of macro photography, making capturing insects or close-ups of flowers a breeze.

這個組合可提供高品質的風景攝影需求，D28、P50、MP100 和 S180 均是解像力與色彩表現極佳的鏡頭，相對的也必須付出較多的體力代價。曾經帶著這樣的組合走過陽明山國家公園的幾個山頭，但是自從購入 VS35-70 和 S135 後，就開始偷懶，改帶「旅遊攝影A」。這個組合的特點在於 MP100 這鏡頭提供了微距攝影的可能性，因此昆蟲或小花小草的特寫(1:1)可說是輕而易舉。

Macro Photography
微距攝影(35mm ~ 100mm)

Contax RX
Carl Zeiss Vario-Sonnar 3.4/35-70T*
Carl Zeiss Makro-Planar 2.8/100 T*
Total weight 總重: 2025g

The macro feature of VS35-70 is designed at the 35mm wide-angle end, providing a magnification ratio of 1:2.5. MP100, on the other hand, achieves a 1:1 ratio at the mid-telephoto end. Both complement each other in macro photography due to their different perspectives. As MP100 weighs 740g and the lens barrel extends approximately twice its length at maximum magnification, it requires a more stable body. Hence, I usually pair it with an RX body and a Gitzo 2 tripod.

VS35-70的Macro功能設計在35mm廣角端，可提供放大率1:2.5。MP100中望遠端放大率則達 1:1。兩者因視角不同，可拍出不同透視感的微距攝影作品，在生態攝影上相輔相成。由於 MP100 重達 740g，且使用最大放大率時鏡筒伸長約一倍，必須使用底盤較穩固的機身，因此我通常搭配 RX 機身與 Gitzo 2 號腳架使用。

Telephoto Photography
遠距攝影(50mm ~ 360mm)

Contax RX
Carl Zeiss Planar 1.4/50 T*
Carl Zeiss Vario-Sonnar 4/80-200T*
Carl Zeiss Sonnar 2.8/135 T*
Carl Zeiss Sonnar 2.8/180 T*
Carl Zeiss Mutar II T*
Total weight 總重: 3460g

Ideal for distant nature photography subjects such as animals and birds in the zoo, distant lotus flowers in ponds, and close-ups of sunsets. The main use of MII teleconverter extends the focal lengths to 270/5.6 and 360/5.6. Although I used TT300 before, after comparing its results with S180+MII, I found no significant advantage in color saturation and resolution for TT300. Therefore, I sold it, as there was limited opportunity to use the 300mm focal length.

適合遠距離自然攝影主題，如動物園中的動物和鳥類，水池中無法接近的荷花，以及夕陽的特寫等。主要利用 MII 加倍鏡的特性，將鏡頭焦距延伸到 270/5.6 與 360/5.6。雖然以前曾用過 TT300，但是在與 S180+MII 的拍攝結果比較後，覺得在色彩飽和度和解析度上 TT300 並無明顯勝出，因此在考慮 300mm 焦距使用的機會不大後將其脫手。

Zeiss Ikon Contax IIa snd D

1932 marked the introduction of the interchangeable lens rangefinder (RF) camera Contax I by Carl Zeiss's camera factory Zeiss Ikon, setting the stage for the Contax brand. In 1936, the Contax II and Contax III (the Contax II version equipped with a light meter) were released, offering an ultra-fast shutter speed of 1/1250 seconds, a 100mm longest baseline, a metal focal-plane shutter widely adopted in modern cameras (note: this is a metal vertical-travel shutter similar in construction to the traditional double-curtain horizontal-travel cloth shutter, differing significantly from the multi-curtain metal shutters used in modern cameras), a convenient single low-speed and high-speed shutter dial, a combined rangefinder and viewfinder, and a three-lug lens quick-detach mount. These features positioned Carl Zeiss as a leader in rangefinder camera technology in its contemporary industry. Around 1937, Carl Zeiss engineers, not content with their achievements, began developing a new generation of cameras, a prototype for modern single-lens reflex (SLR) cameras. However, due to the approaching war, the full realization of this endeavor would have to wait until after World War II.

1932 年，Carl Zeiss 的相機工廠 Zeiss Ikon 推出了一台可交換鏡頭的測距式 (RF) 相機 Contax I，為 Contax 這個品牌揭開了序幕。後續在 1936 年又推出了 Contax II 和 Contax III (附有測光表的 Contax II 版本)，這一系列的相機提供了超快速的快門 1/1250 秒，100mm 的最長基線，現代相機廣為採用的金屬縱走式簾幕快門 (註: 此一類似鐵捲門的金屬縱走式簾幕快門，在構造上仍類式於傳統雙簾式的橫走式布幕快門，與現代相機採用的多簾式金屬簾幕快門差異甚大。)，方便的單一低速與高速快門旋鈕，合而為一的測距窗與觀景窗，以及 三插刀式的鏡頭快拆接環，使得 Carl Zeiss 在測距式相機技術上的領先當代同業甚多。然 Carl Zeiss 的工程師並不以此為滿足，約莫於1937 年，又開始研發新一代的相機，也就是現代單眼相機的雛型，但是隨著戰事的的逼近，真正的開花結果則要等到二次世界大戰結束之後。

Left: Contax IIa, Right: Contax D

戰後重生 

Post-war Resurgence

1945 was a tragic year for Carl Zeiss. The main production facilities for cameras and lenses, Dresden and Jena, were nearly obliterated by Allied bombings. After the war, the division of Germany into East and West following the Soviet-American rift also divided the path to rebirth for Carl Zeiss.

Under Soviet control in East Germany, Carl Zeiss quickly utilized the surviving equipment and parts in Dresden and Jena to produce some versions of the Contax II/III cameras under the Carl Zeiss Jena name. They also trained Soviet technicians, eventually moving the entire production line to the Soviet Union, where the Kiev 2/3/4 cameras and lenses, mimicking the Contax II/III, were manufactured. With this foundation, East Germany's Carl Zeiss had the opportunity to continue researching pre-war SLR cameras and introduced the world to the first reflex SLR camera with a pentaprism viewfinder in 1949, the Contax S. This was a significant milestone in the history of modern cameras. Later, during the Zeiss Ikon VEB and Pentacon periods, they released cameras such as the Contax D (introduced in 1952, further details below), E (Contax D with a light meter), F, FB, FBM, and more.

1945 年，對 Carl Zeiss 而言是悲慘的一年，主要的相機與鏡頭的生產工廠 -- Dresden 與 Jena，因盟軍的轟炸而幾乎蕩然無存。戰後則由於蘇俄與美國的決裂導致德國的分裂，Carl Zeiss 的重生之路也被一分為二。

在蘇俄控制下的東德 Carl Zeiss 很快的利用 Dresden 與 Jena 僅存設備與零件生產了一些 Carl Zeiss Jena 版本的 Contax II/III相機，同時並訓練蘇俄技師，最後讓蘇俄將整個生產線移至蘇俄，開始生產仿 Contax II/III 的 Kiev 2/3/4 相機與鏡頭。就在這樣的基礎下，東德 Carl Zeiss 有機會繼續戰前單眼相機的研究，並在 1949 年向世界介紹了第一台具有五稜鏡觀景窗的反射式單眼相機 Contax S (註: 戰後除了Contax S，還有匈牙利 Duflex、義大利 Rectaflex、瑞士 Alpa Prisma Reflex 都在發展這項技術，其中應該是Duflex最早1947年少量生產。)，打開了現代相機史上的重要一頁。後續更在 Zeiss Ikon VEB 與 Pentacon 時期 推出了 Contax D (1952年發售，下文將介紹的相機)、E(附測光表的Contax D)、F、FB、FBM 等單眼相機。

In West Germany, Carl Zeiss faced more challenges. Engineers and executives, including members of the board, who left the Soviet-occupied zone with the withdrawal of American forces, established the Carl Zeiss company in Stuttgart. With no blueprints, they managed to build the tools for manufacturing cameras and established a complete production line, finally releasing their post-war masterpiece, the Contax IIa, in 1950, followed by the IIIa. While these cameras retained the lens mount and a similar exterior appearance to the Contax II/III, all parts were redesigned and re-manufactured, resulting in improved stability and durability compared to pre-war models.

在西德的 Carl Zeiss 則沒有那麼順利，隨美軍撤離蘇俄佔領區的一批工程師(包含董事會)在 Stuttgart 重新成立了 Carl Zeiss 公司，在連藍圖都沒有的條件下，從生廠相機的工具製作到完整生產線的建立，終於在 1950 年推出了戰後 的大作 Contax IIa (下文將介紹的相機) 和 IIIa，除了與 Contax II、III 有著相同的鏡頭接環與相似的機身外觀外，所有的零件均經過重新設計和生產，穩定性與耐用度均較戰前機型提升許多。

西德 Zeiss Ikon Stuttgart 的商標

東德 Zeiss Ikon VEB 的商標

鏡頭接環

Lens Mount 

Although the Contax IIa was a post-war redesign and production, it retained the lens mount of the pre-war Contax RF series, making almost all pre-war lenses compatible with the Contax IIa (except for the pre-war Biagon 35/2.8). In comparison to the contemporaneous Leica RF cameras with the M39 screw mount, the bayonet mount's convenience is unquestionable. Even the post-war Japanese Nikon S series RF cameras directly adopted the Contax mount. Due to the post-war division of East and West Germany, Contax RF camera lenses came from three sources: West Germany's Zeiss-Opton/Carl Zeiss, East Germany's Carl Zeiss Jena, and the Soviet Union's Kiev series.

The Contax D continued with the M42 screw mount introduced by the Contax S (note: the M42 screw mount originated from Kamerawerke Niedersedlitz's Praktiflex with the original 40.5mm, later changed to 42mm after the war, so it was not first introduced by the Contax S). This mount, due to its ease of production, quickly became the target of imitation in the flourishing post-war Japanese camera industry (SLR), notably by PENTAX (PENtaprism conTAX). In North America, the M42 screw mount is sometimes even referred to as the Pentax screw mount. Thus, apart from the high-quality Carl Zeiss Jena lenses, Contax D had many Japanese lenses to choose from.

Contax IIa 雖是戰後重新設計與生產的相機，但是卻沿用了戰前 Contax RF 系列的鏡頭接環，使得戰前所生產的鏡頭幾乎都可用在 Contax IIa 上 (除了戰前的 Biagon 35/2.8 以外)。相較於同時期 Leica RF 相機的 M39 螺紋接環，插刀式接環的方便性無庸置疑，就連戰後日本 Nikon 研發的 S 系列 RF 相機也是直接採用 Contax 接環。由於戰後東西德的分裂，使得 Contax RF 相機的鏡頭來源分成 3 個地方：西德 Zeiss-Opton/Carl Zeiss、東德 Carl Zeiss Jena 與 蘇聯 Kiev 系列。

Contax D 則是沿用 Contax S 所開創的 M42 螺紋接環 (註:M42螺紋接環是來自於Kamerawerke Niedersedlitz的 Praktiflex原始40.5mm，戰後改為成42mm的螺紋接環，所以並非是Contax S首創)，由於生產技術容易，因此很快的成為戰後蓬勃發戰的日本相機工業 (SLR) 的模仿對象，其中以 PENTAX (PENtaprism conTAX) 最為有名，在北美地區甚至以 Pentax 螺紋接環來稱呼 M42 螺紋接環，因此，Contax D 可使用的鏡頭除品質極佳的 Carl Zeiss Jena 鏡頭外，尚有許多日系鏡頭可供選擇。

Contax IIa 插刀式接環

Contax D 螺紋式M42接環

快門結構 

Shutter Mechanism

The Contax IIa used a modern vertically-traveling shutter widely adopted in contemporary cameras. Its mechanical structure is similar to the traditional horizontally-traveling cloth shutter, with the shutter curtain's movement direction changed to top-down. The material was switched to aluminum, and the shutter curtain was composed of dozens of thin aluminum strips (somewhat like the design of a rolling shutter), producing a distinctive shutter sound when released.

The Contax D, on the other hand, used a traditional horizontally-traveling fabric shutter mechanism, which remained the mainstream curtain shutter mechanism until the 1970s.

Contax IIa 採用現代相機廣泛使用的縱走式快門，其機械結構與傳統橫走式快門簾幕類似，只是快門簾幕的行徑方向改為由上而下，材質改為鋁金屬，為使其如布幕快門般捲動，快門由數十片條狀鋁片所組成 (有點像鐵捲門的設計)，釋放時有其特有的快門聲響。

Contax D 的快門簾幕則採傳統橫走式移動的布質快門，一直到 70 年代都是簾幕快門機構的主流。

Contax IIa 縱走式金屬快門
 

Contax D 橫走式簾幕快門

速度轉盤

Shutter Speed Dial 

The Contax IIa's groundbreaking 1/1250 sec shutter speed, though modest by today's standards, was revolutionary for the 1950s technology. Another seemingly ordinary feature was the ability to choose low-speed and high-speed shutters on the same dial. This differed from contemporary cameras that had separate dials for low and high speeds.

The design of Contax D's shutter speed dial was considerably different from modern cameras. The shutter speed indicator, shutter dial, and shutter speed dial were separate. Rotating the shutter speed dial (the lower arrowed dial) caused the shutter speed dial (distinguishing low and high-speed shutters with red and black numbers) to move to the indicated speed. Behind the camera, there was a switch to select the indicator pointing to slow or high-speed shutters. It was a complex design and a vulnerable part of the Contax D.

Contax IIa 的 1/1250 sec 快門速度算是劃時代的創舉，雖然從現在的標準來看 1/1000 sec 也只能算是最低需求，但是對 50 年代的技術而言，已經算是高不可攀了。另一項看似普通的特點則是在同一轉盤上可選擇低速快門與高速快門，有別於當代其他採用低速轉盤與高速轉盤獨立分開的相機，後者的設計在 Contax D 上仍保有一些痕跡。

Contax D 的快門轉盤設計與現代相機有很大的不同，快門速度指標、快門轉盤與快門旋鈕都是分開的，轉動快門旋鈕 (下方有箭頭的旋鈕)可令快門轉盤 (以紅色和黑色數字區分低速與高速快門) 轉動到速度指標所指向的快門速度，在機身後方則有一個選擇開關，用以切換指標指向慢速快門或高速快門，是一項很複雜的設計，也是 Contax D 很容易壞的部分。

Contax IIa 整合式快門與底片計數盤 

Contax D 分離式快門盤與底片計數盤

機身規格

Camera Specifications 

詳細機身 規格比較 機身 Contax IIa Contax D 生產者 西德 Zeiss Ikon Stuttgart 東德 Zeiss Ikon VEB 發售年 約 1950 年 約 1952 年 底片型式 24mm x 36mm 24mm x 36mm 鏡頭接環 Contax RF 插刀式接環 Contax M42 螺紋式接環 快門型式 縱走式金屬簾幕 橫向式布質簾幕 快門速度 T-B-1-2-5-10-25-50-100-250-500-1250 慢速 B-1-2-5-10-20-50 快速 100-200-500-1000 對焦方式 重疊式測距觀景窗 反射式磨砂對焦屏+菱鏡觀景窗 自拍器 有，機械式 有，機械式 閃燈接點 有，特殊接頭 有，PC接頭 機身高度 78mm 84mm 機身寬度 134mm 149mm 機身深度 44mm 52mm 重量 520g 560g

標準鏡頭Standard Lenses

The Contax IIa is paired with the early post-war version of the West German-made single-layer T-coated Sonnar 50/2 lens. This lens has specifications for both pre-war and post-war versions. The pre-war version further divides into cylindrical and non-cylindrical designs, all manufactured by Carl Zeiss Jena with lenses lacking coatings. After the war, East Germany's Zeiss continued to produce T-coated lenses under the Carl Zeiss Jena brand, and they were marketed alongside Contax IIa and IIIa cameras. West Germany's Zeiss only produced the non-cylindrical version, initially under the Zeiss-Opton trademark, also featuring T-coating. Later, it switched to the Carl Zeiss trademark, making it the top-tier lens for the Contax RF system.

On the other hand, the Contax D is paired with the East German-made Tessar 50/2.8 from Zeiss, featuring T-coating and considered an affordable standard lens of its time. Similar to the Tessar 50/3.5 paired with the first-generation Contax S, both are standard lenses with small apertures. With the development of the M42 mount, automatic aperture versions were also introduced later.

Contax IIa 所搭配的是西德製具單層 T 鍍膜 Sonnar 50/2 戰後初期版。這鏡頭規格有戰前版與戰後版，戰前版又分沉筒式與非沉筒式設計，均為 Carl Zeiss Jena製造，鏡片均無鍍膜﹔戰後東德蔡司仍繼續以 Carl Zeiss Jena 商標製造 T 鍍膜鏡頭，並搭配 Contax IIa、IIIa 行銷。西德蔡司僅生產非沉筒式版本，初期以 Zeiss-Opton 為商標，亦有 T 鍍膜，後期則以 Carl Zeiss 為商標，可說是 Contax RF 系最高級的鏡頭。

Contax D 所搭配的是東德蔡司具T 鍍膜的 Tessar 50/2.8，是當時的平價標準鏡。與第一代 Contax S 所搭配的 Tessar 50/3.5，都是屬於小光圈的標準鏡。後期隨 M42 接環的發展，也出了自動光圈的版本。

Left: Zeiss-Opton Sonnar 50/2.0, Right: Carl Zeiss Jena Tessar 50/2.8

鏡頭規格
Lenses Secifications

詳細鏡頭 規格比較
鏡頭	Zeiss-Opton Sonnar 50/2.0	Carl Zeiss Jena Tessar 50/2.8
生產者	西德 Carl Zeiss	東德 Carl Zeiss Jena
生產年	約 1951 年	約 1951 年
接環	Contax RF 插刀式接環	Contax M42 螺紋式接環
鏡組	3 群 6 枚	3 群 4 枚
光圈	2-2.8-4-5.6-8-11-16-22	2.8-4-5.6-8-11-16
光圈葉片	9 片	12 片
對焦距離	0.9 m ~ 無限遠	0.5 m ~ 無限遠
濾鏡口徑	40.5 mm	40.5 mm
鏡身外徑	46.5 mm	51 mm
鏡身長度	41.5 mm	45 mm
重量	135 g	115 g

參考文獻

1. Charles M. Barringer and Marc James Small,

"ZEISS COMPENDIUM East and West -- 1940-1972",

Hove Collectors Books, 1995.

2. Ivor Matanle,
Standard Lenses
"COLLECTING AND USING Classic Cameras",

Thames and Hudson, 1986.


相關網站

1. The Zeiss Historica Society

2. CameraQuest's Classic Camera Profiles

3. The Zeiss Ikon Contax home

4. Mike's Praktica Home

5. The Contax Classic Supply Store WWRepair