Cameras - Holabird Americana

Transcription

Cameras
Western Prospects
Discovering Americana & Numismatics
Session 3
*Cameras*Firearms & Cutlery
*Native Americana*Saloon
*Gaming*Postal History
*Fairs &Expositions*Military & War
*Presidential*Cowboy & Rodeo
*General Americana
Don Dondero
Photographer Don Dondero was a Nevada legend. Born in Ely, Nevada Dondero took his first picture of a celebrity in 1933
when he was just 13 years old. Herbert Hoover, just out of the White House, stopped off at Carson City. Don said “Why
don’t you move over here so I can get the Capitol Building in the background.” Hoover cooperated, as hundreds of other
famous subjects did in the ensuing decades.
He served in the Navy during WWII, flying dive-bombers off of the USS Bunker Hill. Shot down over the Philippines, Don and his gunner made their way to Luzon, where, with the help of local Filipinos over 40 days, they were picked
up by a PT boat and returned to American forces.
After the war, he worked as a garbage man, and then worked for the State of Nevada as an insurance adjuster until
he began to work full-time as a professional photographer in the mid-fifties. His pictures of entertainment and sports celebrities began to hit national and international markets at that time. He was an official photographer for the 1960 Winter
Olympics in Squaw Valley and picked up assignments from Time, Live, Paris Match, Sports Illustrated, Fortune, People,
Der Spiegel, London Sunday Times and many other publications. Dondero was even included as the official photographer
on board the inaugural flight of the Concorde from Paris to Washington D.C. Passionate about his craft, he was a lifelong
member of the American Society of Media Photographers.
Through Dondero’s lens, he photographed all of the greats; Clark Gable, Marilyn Monroe and Montgomery Clift
(when they were in Reno filming “The Misfits”), John Wayne, Jack Benny, Bing Crosby, and Jerry Lewis are just a few. Politicians included: Lyndon B. Johnson, John F. Kennedy and Harry Truman. Nevada’s history was recorded masterfully by
Dondero for decades. In 1994, Dondero published a book titled Dateline Reno with some of his most famous shots, including those of Marilyn Monroe.
Over the course of his long career, Dondero used, mastered, and collected a wide variety of cameras. His extensive
arsenal of equipment includes Leica’s, Nikons, Graflex professional grade cameras and lenses, as well as vintage collectables
from Kodak, Voigtlander, Agfa, Ansco, Olympus and other makes. Dondero left no part of photography left out, with some
incredible vintage movie cameras and even a K20 aerial camera amongst his treasures. Taking a lifetime to accumulate, this
collection has items to interest both the collector and the working photographer. Available only through Holabird’s Western
Americana Collections, some of the cameras and accessories will be available through eBay. Keep an eye to our April auction for the unique and special equipment.
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Western Prospects Auction ~ April 10th-11th & 17th-18th 2015
Lot # 3002 Kodak Ektar
Cameras
135mm f3.8 lens for Ektra
camera 1941-48 This 135mm
telephoto lens for the Ektra
camera comes in it’s original
aluminum case with lens cap.
From the collection of Don
Dondero. Est. $400 ~ $700
FHWAC# 25826
Lot # 3003 Graflex K-20
Lot # 3000 Kodak Ektra 35mm Camera & 50mm Ektar f1.9
Lens 1943 One of most interesting cameras of the past is the Kodak
Ektra. Its design and engineering are simply genius, with many
features that existed on no other cameras at that time. “A precision
miniature camera developed to fill the gap left by drying-up of supplies
of German Leica and Contax cameras in World War Two. As well as a
very accurate long-base coupled rangefinder, it included a number of
innovative and original features, including interchangeable film backs,
and automatic finder and parallax adjustment for the six Ektra lenses.”
The Kodak Ektra Camera was manufactured by the Eastman
Kodak Company from 1941 to 1948. Designed as a quality 35mm
rangefinder camera. It had many features including interchangeable
lens, interchangeable backs, built in zoom finder, and coated lens. A
focal plane shutter mechanism with a unique settings feature for high
and low speeds, capable of 1/1000 to 1 second, however the shutters
were unreliable. Typically found with f1.95 / 50mm lens, but many
options were available ranging Lenses from 35 to a long 153 mm.
This camera comes with the standard 50mm Ektar f1.9 lens
and a high/low level angle finder, as well as the original manual.
From the collection of Don Dondero. Est. $750 ~ $1,500 FHWAC# 25824
Lot # 3001 Kodak Ektar 35mm f3.3 lens for Ektra Camera
1941-48 This lens is for the Kodak Ektra camera, in its original
aluminum case and lens cap & wide angle finder attachment.
From the collection of Don Dondero. Est. $700 ~ $1,100 FHWAC# 25825
Aerial Camera 1941-45 This is
a World War II vintage Graflex
K-20 Aerial Camera. The K-20
uses a 5.25”x20 to 5.25”x200 foot
Roll Film, with an image size of
4x5 inches. Lenses were 6 3/8” f/4.5 with an adjustable diaphragm
and were non interchangeable. This camera has a Kodak Anastigmat
161mm f4.5 lens.
these were made
by Kodak, Ilex, or
Bausch & Lomb,
as available at
the time of order.
Widely used
during the war,
this is the same
type of camera
used by the tail
gunner of the “Enola Gay” to photograph the atomic bomb blast over
Hiroshima. From the collection of Don Dondero. Est. $100 ~ $500
FHWAC# 25827
Lot # 3004 Graflex R B
Super D 1947
The RB Super D,
which features a
semi-automatic
diaphragm, was
produced in
3¼×4¼ (19411963) and 4 x
5 (1948-1957)
formats. This
model is the
3¼×4¼ version with a Graflex Model 2 Film Pack Adapter.
The Graflex is a single-lens reflex camera, first produced
in 1898 in New York, N.Y by the Folmer & Schwing Manufacturing
Company of New York, NY. In the early years it was made in a variety of
formats, settling down in the 1920s to a number of long-lived models
which share the same basic design and mode of operation.
The Graflex vertical focal-plane shutter consists of a single
curtain with a series of four slits of widths from 1½ inches to 1/8;
inch. The shutter spring can be set to six different tensions. Different
combinations of slit width and spring tension allow a choice of 24
speeds ranging from 1/10 to 1/1000 as well as Time. When the shutter
is released, the mirror swings up and triggers the curtain to travel from
top to bottom. In the last models the tension settings were reduced to a
simple High and Low, permitting 8 different speeds.
The standard lenses are for the most part f/4.5 Kodak
Anastigmats and, in later years, Kodak Ektars. This model has a Kodak
Ektar. From the collection of Don Dondero. Est. $150 ~ $500 FHWAC# 25828
Bid online at www.FHWAC.com or call 775-851-1859
179
Cameras
Lot # 3005 National
Graflex Series II Camera
1934-42 National Graplex
Series II camera with
B&L Tessar I C f3.5 lens
in orig box w/papers.
The National Graflex was
marketed as a camera more
or less suitable for woman
because of its small size.
However not easy to handle
for amateur photographs.
Unlike previous Graflexes,
it has a self capping curtain, recalling European designs. The camera
has a lot of features such as direct full view focusing by the mirror and
ground glass. No more composition guess work. Takes ten pictures 2
¼ x 2 ½ inch on 120 film- 8 Exposures roll film. Focal plane shutter.
B&L Tessar series 1 c f=3,5. Graflex exposure guide shows correct
shutter speed and lens setting for all conditions. Interchangeable lens.
Remove the lens by lifting the nickel finished hors shoe clip directly
back of the focusing lever free from the lens board. From the collection
of Don Dondero Est. $120 ~ $320 FHWAC# 25829
Lot # 3006 Graflex
Century Graphic Camera
1954 Garfield Century
Graphic Camera with
Schneider -Kreuznach
Xenotar 80mm f2.8 lens
and mounted Kalart Range
Finder. 2 1/4 x 3 1/4 size
Graphic cameras
were made in 21/4x31/4,
31/4x41/4, 4x5, and 5x7”
film sizes, either with
(Speed) or without a rear
focal plane shutter (Century,
Crown, and Super). The
4x5 is often recommended
as a starter large format
camera and many are still
in use today. The 3x4s and 5x7s are somewhat rare and collectible,
but what about the 2x3s? The 2x3 Crown (leather-covered mahogany)
and Century (bakelite plastic), “baby” versions of their larger
format brethren deserve more attention than they usually get. Often
described as a “press” camera, they are in actuality basic technical
cameras.
Having no rear movements, they are limited in altering
subject shape or perspective. However, they do have useful front
movements: 18mm rise, 7mm shift, 18Þ backward tilt, (swing, with a
simple modification) plus 18Þ forward tilt and up to 35mm fall using
the dropped front camera bed. These movements are quite adequate
for adjusting the plane of focus and correcting converging vertical
lines. Plus, they are relatively lightweight (4.4 lbs with lens, handgrip,
and rollfilm back). Best of all, they are the least expensive technical
cameras available.
The 2x3 Graphics are usually found with a side-mounted
Kalart rangefinder that can be adjusted to focus a single lens. It is not
the most convenient to use, as one has to focus using the rangefinder
and then compose the picture through a separate optical viewfinder
having interchangeable masks for different focal lengths. Its virtue lies
in being adaptable to a range of focal lengths (slightly wide angle to
long-normal and the shorter telephoto lenses). So if you find a camera
without its original lens, or choose to substitute a more modern
multi-coated lens for that which came with the camera, you are still
in business. Directions for adjusting the Kalart rangefinder are on the
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Graflex.org website.
The lenses usually found on the baby Graphics are the
Wollensak Optar four-element Tessar-type or the Graflar or Trioptar
triplets. Much better are the Kodak Ektar and Rodenstock, Schneider
or Zeiss lenses that were also offered for the Graflex XLRF. Est. $250 ~ $600 FHWAC# 25830
Lot # 3007 Voigtlander; Avus Camera
w/Rollex Film Back
1920’s Voigtlander Avus
Camera w/Rollex Film Back
with Skopar 10.5cm f4.5
lens w/Compur shutter.
The AVUS has a double
extension bellows (1:1
closeups), a Skopar (Tessar
clone) 135/4.5 lens set in
a Compur dial set 1/2001, frame finder and little
waist level finder. Compur
dial set is 1914-1928.
The Voigtländer Avus is a folding plate camera, manufactured
at Brunswick, Germany, between ca. 1913 and ca. 1936. This model
has been converted with a Rollex film back. The Avus was designed
with the “semi-pro” user in mind, who was looking after a well built
machine. It was first made in 9x12cm, right after the end of the
First World War, soon to be followed by the smallest size, 6.5x9cm
by 1927. Avus stands for “Aktiengesellschaft Voigtländer Und Sohn”
(“Voigtländer & Son, Inc”).
One of the key points in making the Avus was durability,
and as such some of the best available materials were used. It rapidly
became one of the most popular models within the Voigtlander catalog
during the 20s and 30s, with around 100.000 units made. Est. $100 ~ $350 FHWAC# 25831
Lot # 3008 Voigtlander; Vitessa
with Ultron 50mm f2
1951 The Voigtlander;
Vitessa is my vote for
the most elegant, well
machined cameras in
the post-war era.
The Vitessa
is a 35 mm. precision
camera introduced in
1951 and was available
until about 1964 having
undergone various
developments. The
original Vitessa was
a fixed lens folding
camera, the final
version of which was known as the Vitessa L. This model has been
dated to 1951.
The Vitessa is a high quality folding camera designed around
a quick action film transport and release system to permit rapid
sequence shooting, which makes it particularly useful for action
photography as well as general photographic work. The lens and
shutter assembly is attached to the camera body by leather bellows,
and are held in place by spring tensioned parallelogram struts. When
closed the assembly retracts into the camera body and is enclosed
by automatically opening doors. The camera body fits into a shell
comprising a pressed metal back with a wrap-round to either side
of the front doors. This shell is completely removable to facilitate
Cameras
cassette insertion and removal.
The unique film transport mechanism is central to the
camera design. It consists externally of a plunger - the “Combiplunger” - which, when in its operating position, extends about 35
mm from the camera top plate, and is designed to be operated by
the left index finger. Depressing the spring-loaded plunger has three
distinct functions: firstly it causes the take up spool to rotate thus
advancing the film one frame. Secondly the shutter is tensioned and
finally the film counter is advanced. Once the film has been wound on
by one frame, the link between the plunger and the take-up spool is
disengaged, so that repeated pressing of the plunger does not advance
any more film. The shutter may then be fired by depressing the release
button, which is located on the top right of the camera, using the right
index finger. Once the shutter has been released the Combi-plunger is
re-engaged with the take up spool and the sequence may be repeated,
making possible exposures at steady rate, with some observers
claiming that one frame per second is achievable. The film counter and
the film indicator are fitted behind a window in the front of the body,
and they may be set when the camera shell is removed for loading the
camera.
The Vitessa is fitted with a high performance f2 Ultron
anastigmat lens which is of a six element construction and is coated
and colour corrected. The lens aperture is adjustable to f16 by means
of a sliding quadrant lever on the top of the lens assembly. Focusing,
from 3.3 feet to infinity is achieved by rotating a milled wheel located
on the rear of the camera top plate. This moves the entire lens
assembly forwards or backwards as required to bring the lens into
focus. The focusing movement is coupled to the built-in rangefinder,
which works on the coincidence principle of matching two images at
the point of correct focus. A distance scale is engraved on a rotating
disc which is mounted on the top plate and surrounded by a Depth
of Field scale. The disc is coupled to the rangefinder wheel and turns
against and index mark to show the distance at which the lens has
been set. The distance scale has, additionally, two hyperfocal distance
index marks which have matching index marks on the lens aperture
scale. These provide useful zone focus settings for the occasions when
rapid focusing of the subject is desirable. From the collection of Don
Dondero. Est. $100 ~ $400 FHWAC# 25832
Lot # 3009 Zeiss Ikon
Contax Iia 1950 Zeiss Ikon
Contax Iia with Carl Zeiss
Sonnar 50mm 1.5 lens.
Includes Five Zeiss Ikon
Filters in original cases.
With the Contax
IIa, Zeiss Ikon introduced
a brand new 35mm
rangefinder camera, to
replace the aged Contax
II/III, a design that had
at times given trouble for
its silk shutter straps which had to be renewed in certain intervals.
Moreover, it was now mass produced in the Soviet Union as the Kiev
II/III. Hubert Nerwin had already started this new design at the end
of the war before he had left for the U.S., but having only few trained
technicians at Stuttgart right after the war, the introduction of the
new camera was delayed. The Contax IIa/IIIa line of cameras were an
engineering tour de force, with many new features such as flash synch,
and a shutter that could be set to any speed with the curtains either
tensioned or un-tensioned. Gone were the failure prone silk straps of
the previous camera, in their place were nylon cords for opening the
first curtain, and driving the flash synch, and heavy nylon strapping
to drive the second curtain, and slow speed retard. Also, gone were
the straps running through a hole in the first curtain, which was the
cause of most strap failure. This line of cameras could use any of the
common film canister systems of the day, with one canister, or two, or
could be used as a conventional shoot to the end, rewind style camera.
The back and bottom of the camera came off to give easy loading,
while the take up spool came out too for easy connection to the leader.
Many believe that the Contax IIa/IIIa are in terms of built quality, the
finest camera line ever built (ZeissIkonRolleiRepair.com). However, as
the two curtains travel independently, this design was more prone to
shutter fading on the high speeds, something that was impossible on
the prewar Contaxes. Est. $250 ~ $500 FHWAC# 25833
Lot # 3010 Kodak Bantam Special 1936 Kodak Bantam
Special with Kodak
Anastigmatic Ektar
45mm f2 lens and
Compur Shutter. This
camera is in food
condition, though the
armatures for collapsing
the lens into the body
are very stiff.
The Kodak Bantam
Special was introduced
during 1936, and was
produced until 1948.
The camera has a very striking design, consisting of a black enamelled
cast aluminium body with bright metal horizontal lines. It is a fine
example of a camera styled by Walter Dorwin Teague.
Walter Dorwin Teague was a graphic designer, who became
interested in design for mass produced goods. Eastman Kodak started
their working relationship with him in the 1920s, and it was to
continue for several decades. Collectors now regard the cameras that
were produced as a result of that relationship as some of the most
desirable; consider cameras such as the Beau Brownies, the Vanity
Kodaks, the Gift Kodak as well as the Bantam Special.
The Kodak Bantam Special is a relatively small camera,
described by Eastman Kodak in contemporary advertisements as
an all-purpose miniature instrument. Its closed dimensions are
approximately 1¾ x 3¼ x 4¾ inches, which is compact for the time,
though its profiled shape makes it quite easy to handle. The clam-shell
form was not new of course as it had been used in the early Retina
cameras.
There were two significant variations of the Kodak Bantam
Special as the shutter was changed from the initial Compur Rapid to
a Supermatic shutter. While the version with the Supermatic shutter
was produced over a much longer period but in lesser numbers, fewer
working examples are to be found today as the Supermatic shutter
did not prove to be as reliable as the earlier Compur. The change in
shutter came about in 1941 as a consequence of course of the Second
World War. The camera also had a remarkably fast lens for its time, an
Ektar f/2. The camera also boasted a coupled rangefinder with helical
focusing, described in the contemporary advertising as a military-type,
split-field.
The Kodak Bantam Special was quite an expensive camera to
buy - an advert for the Christmas season of 1936, the year the camera
was introduced, gives the list price as $110, and described it as low
indeed for an instrument of such quality. A later advert of 1938 leads
with Remarkable in Performance and yet moderate in Price, but still
quoting a list price of $115. However, later in that year there was a
deliberate decision to reduce the price to $87.50, supposedly on the
strength of its popularity with amateurs. All this at a time when many
other cameras were selling for between $10 and $20! The camera uses
828 rollfilm, introduced in 1935 for the Bantam range of cameras and
offering a picture size of 28 x 40mm, not dissimilar to 35mm film, but
with the advantage of providing a larger image area. The name of the
film comes from the fact that it was designed to take 8 exposures of
28mm width. Est. $150 ~ $400 FHWAC# 25834
181
Cameras
Lot # 3011 Kodak
Bantam Special
1936 Kodak Bantam
Special with Kodak
Anastigmatic Ektar
45mm f2 lens and
Compur Shutter. This
camera is in excellent
condition, and
includes a leather case
with neck strap.
The Kodak
Bantam Special was
introduced during
1936, and was
produced until 1948.
The camera has a
very striking design,
consisting of a black
enamelled cast aluminium body with bright metal horizontal lines. It is
a fine example of a camera styled by Walter Dorwin Teague.
Walter Dorwin Teague was a graphic designer, who became
interested in design for mass produced goods. Eastman Kodak started
their working relationship with him in the 1920s, and it was to
continue for several decades. Collectors now regard the cameras that
were produced as a result of that relationship as some of the most
desirable; consider cameras such as the Beau Brownies, the Vanity
Kodaks, the Gift Kodak as well as the Bantam Special.
The Kodak Bantam Special is a relatively small camera,
described by Eastman Kodak in contemporary advertisements as an
all-purpose miniature instrument.
Its closed dimensions are approximately 1¾ x 3¼ x 4¾
inches, which is compact for the time, though its profiled shape makes
it quite easy to handle.
The clam-shell form was not new of course as it had been
used in the early Retina cameras.
There were two significant variations of the Kodak Bantam
Special as the shutter was changed from the initial Compur Rapid to
a Supermatic shutter. While the version with the Supermatic shutter
was produced over a much longer period but in lesser numbers, fewer
working examples are to be found today as the Supermatic shutter
did not prove to be as reliable as the earlier Compur. The change in
shutter came about in 1941 as a consequence of course of the Second
World War. The camera also had a remarkably fast lens for its time, an
Ektar f/2. The camera also boasted a coupled rangefinder with helical
focusing, described in the contemporary advertising as a military-type,
split-field.
The Kodak Bantam Special was quite an expensive camera to
buy - an advert for the Christmas season of 1936, the year the camera
was introduced, gives the list price as $110, and described it as low
indeed for an instrument of such quality. A later advert of 1938 leads
with Remarkable in Performance and yet moderate in Price, but still
quoting a list price of $115. However, later in that year there was a
deliberate decision to reduce the price to $87.50, supposedly on the
strength of its popularity with amateurs. All this at a time when many
other cameras were selling for between $10 and $20!
The camera uses 828 rollfilm, introduced in 1935 for the
Bantam range of cameras and offering a picture size of 28 x 40mm,
not dissimilar to 35mm film, but with the advantage of providing a
larger image area. The name of the film comes from the fact that it
was designed to take 8 exposures of 28mm width. Est. $200 ~ $450
FHWAC# 25835
182
Lot # 3012 Nikon F5 35mm
Camera Body with Motor Drive Nikon F5 35mm Camera body Body
with Motor Drive in original box
with instruction manual.
Nikon’s fastest and toughest
35mm SLR ever, with an infallible
1,005-segment color 3D matrix
meter, and fully compatible with
all the newest AF, AF-D, AF-I, AF-S,
VR and G lenses. Also works with
all AI (1977) and newer manualfocus lenses, and every lens back to 1959 with some mechanical
modification. Set CFn 19, and manually-set shutter speeds go to 30
minutes.
Ideal for shooting news, sports and action on 35mm film. If
you don’t mind the weight over the F6, ideal for nature and landscape
35mm photography because of its superb color matrix meter.
The Nikon F5 is the biggest, heaviest, toughest and fastest
35mm SLR ever made by Nikon. Originally selling for thousands of
dollars to full-time journalists in the late 1990s, today it sells for just a
few hundred dollars, making it far more appealing for use in any sort
of general photography.
The rain and dust resistant Nikon F5 is an 8-frames-persecond beast with an autofocus system that acquires and tracks
targets fast enough to support that frame rate. That’s why it takes
eight AA cells, and sucks through them quickly. The F5 has a very
powerful AF motor, and powerful AF-S motor drivers, so lenses focus
faster on it than on lesser cameras.
The F5 is powerful and smooth. It fires with very little recoil,
owing to its internally isolated transport and active mirror-balancer
counterweighted design. From the collection of Don Dondero Est. $200 ~ $400 FHWAC# 25836
Lot # 3013 Nikon F4 S
Camera Body with motor
drive in original box with
instruction manual The
indomitable Nikon F4 is
the most innovative camera
ever introduced by Nikon, or
probably anyone. The Nikon
F4 is what brought cameras
into this modern era.
The F4 shattered more new barriers and advanced more
technology in bigger steps than Nikon had ever done before, or has
ever done since. Nikon’s digital SLRs and F5 and F6 are nice, but still
none of them, not even the D3, is as earth-shattering as was the F4
at its introduction. The Nikon F4, introduced in 1988 and still used
daily by many photographers today, was a breakthrough in that: The
F4 is the world’s first professional autofocus camera. The F4 is the
world’s first professional camera with a built-in motor drive. (Previous
cameras had to use klunky external screw-on motors.) The F4 is the
world’s first professional camera with modern Matrix (intelligent)
light metering. The F4 was the world’s top news and sports camera
from 1988 through the introduction of the evolutionary F5 in 1996.
When the F4 was announced, people waited for months to pay over
$2,000 for them ($3,600 today after inflation). Today you can pick up a
used F4 for just a few hundred dollars! The Nikon F4 remains relevant
today, as it works great with every lens made from 1959 through
today’s G and AFS lenses. The Nikon F4 is Nikon’s most flexible camera
because it’s compatible with the widest range of lenses of any 35mm
camera. Older cameras can’t autofocus, and newer cameras don’t
usually meter well with manual lenses, or work at all with most lenses
older than 1977. From the collection of Don Dondero. Est. $150 ~ $300 FHWAC# 25837
Lot # 3014 Nikon FM 2
Camera Body in original box
with original paperwork The FM and FE were
introduced in the late 1970s
as light weight, lower cost
alternatives to the flagship F2.
The FM series is mechanical
with manual exposure. The
FE series is electronic with
automatic exposure control.
The FM, introduced in 1977, was a mechanical manual
camera with a built in three LED + 0 - meter similar to the F2AS.
People didn’t take the FM very seriously compared to the F2 back
then. That was too bad because the only things the F2 did that made it
different were features that no one uses anyway like interchangeable
screens, interchangeable prisms and 250 exposure film backs. The FM
has a 1-1,000 shutter and 1/125 flash sync.
The FE, introduced in 1978, was an electronically controlled
aperture-priority automatic and manual exposure camera very similar
to the FM. Unlike the FM it has interchangeable focusing screens.
It takes the same backs and motor drives. It has two needles in the
finder: one is the setting of the camera’s shutter speed knob, and one
is the exposure suggested by the light meter. This allows easy use in
manual exposure setting: just match the needles. In the A setting then
only the one needle indicates the shutter speed set by the camera.
Marked shutter speeds go from 8 seconds to 1/1,000, flash sync is
1/125, and a mechanical speed of 1/90 also available for the paranoid
who were worried about the batteries dying. A secret feature for night
photography is that in A mode the FE will time perfect exposures as
long as several MINUTES, and draw only 11mA from the button cells
while doing it.
In 1982 the FM2 added a brighter screen and faster shutter
speeds to 1/4000 and 1/200 to 1/250 flash sync. The trick to getting
1/250 sync is to set the shutter that way and ignore the blinking flash
indicator. Pop Photo’s 1st article about the FM2 was published in the
April 1982 issue. From the collection of Don Dondero. Est. $200 ~ $300 FHWAC# 25838
Lot # 3015 Nikon FM 2
Cameras
while doing it.
In 1982 the FM2 added a brighter screen and faster shutter
speeds to 1/4000 and 1/200 to 1/250 flash sync. The trick to getting
1/250 sync is to set the shutter that way and ignore the blinking flash
indicator. Pop Photo’s 1st article about the FM2 was published in the
April 1982 issue. From the collection of Don Dondero. Est. $200 ~ $300 FHWAC# 25839
Lot # 3016 Nikon FE 2
while doing it. The FE was replaced by the newer FE2 in 1983. From
the collection of Don Dondero. Est. $150 ~ $300 FHWAC# 25840
Lot # 3017 Nikon
N8008 Camera Body in
Original Box w/instruction
manual The Nikon
N8008 is a 35mm SLR of
the late 1980s. Although
its autofocus mechanism
is slow in comparison to
modern standards, it was an
improvement on Nikon’s first
attempt at an autofocus SLR
- the F-501 (N2020 in North
America), and proved to be
reliable and durable, typical of Nikon’s cameras.
Despite being designated in the number range usually
reserved for amateur cameras (indicated by the F- or N prefix),
the F-801 was built to a high standard and incorporated a number
of professional features: A Depth of Field preview button allows
temporary stopping down to the shooting aperture to check DOF. A
Multiple Exposure facility allows up to nine shots within one frame. A
183
Cameras
unique ‘two shot’ self-timer. This allowed a second shot to be taken by
the self-timer a couple of seconds after the first, giving a more ‘relaxed’
and unposed picture. Fully programmed automatic exposure, Aperture
priority, Shutter priority and fully manual exposure control. 30-second
to 1/8000-second shutter speed range with bulb mode. Film-speed
setting from DX code or by manual override (ISO 6 to 6400). 1/250sec. flash synchronisation. Evaluative 2D Matrix and 75% CentreWeighted Average metering modes. Compatibility with the Nikon
Multi-Control Back MF-21, allowing freeze-focus, data imprinting, and
automatic exposure bracketing.
Like the Nikon F4, the N8008 is broadly compatible with
most Nikon AI and AF F-mount lenses, though some features are
unavailable depending on the lens type. All features are available
when used with AF-type lenses. Non-CPU (AI and AI-S) lenses are
supported, but only Manual and Aperture-Priority exposure programs
are available, using centre-weighted metering. Autofocus is not
supported with AF-I and AF-S lenses, and Vibration Reduction (VR) is
not available regardless of the lens. Newer G-type lenses are usable
with the Program and Shutter-Priority exposure programs (though it
is possible to use them in Manual or Shutter-Priority programs, but
only at minimum aperture). From the collection of Don Dondero. Est. $100 ~ $200 FHWAC# 25841
Lot # 3018 Nikkor 105mm
Micro f 2.8D AF This is Nikon’s
original 105mm AF Micro and it’s
a great lens. I bought this one used
in 1999. It focuses right up to 1:1
life size with no fooling around.
If focuses quickly in both AF and
manual modes. “Micro” is Nikon’s
word for macro. This is a macro
lens.
This version has at least two
separately cammed groups of
internal elements that move
separately from one another as the focus is changed. This keeps the
optics optimized at all distances. For this reason you will probably
hear klunking if you shake your lens. This is normal. In fact, mine
sounds like a loose hardware store!!!
Nikon’s premium CRC (automatic close-range correction)
lenses have at least two separate sets of elements moving in relation
to each other as one focuses. This is done so that the lens retains
optimum performance as the distance changes. These tend to rattle
more because there is more stuff moving around. The ultra-wides and
fast wides were first ones to have this feature starting in 1969. All the
micro/macro lenses since 1977 have had this. Nikon uses extra sets of
helicoids to control the different groups of elements.
The 105 AF is more amazing still. Not only does it have CRC,
but now the internal elements are all moving around on cams as you
focus! Some elements move non-linearly while focusing from one end
to the other. Cams allow Nikon continuous control of element position,
and not simply linear control as a helicoid does. From the collection of
Don Dondero. Est. $200 ~ $400 FHWAC# 25842
Micro f 2.8 AF in original box with
instruction manual The Nikon
60mm f/2.8 Micro has been around
for decades. It is an excellent normal
and short telephoto lens, as well as a
superb close-up lens. Micro is Nikon’s
word for macro. It’s the same thing.
This lens focuses to life-size, which
means an object as small as an inch across can fill the frame. From the
collection of Don Dondero. Est. $150 ~ $250 FHWAC# 25843
184
Lot # 3020 Nikkor 24-
50mm Macro f 3.3 - f 4.5
AF w/original box and
instructions Nikon Autofocus
(AF) Zoom Nikkor 24-50mm
f/3.3~4.5s ultra wideanglestandard zoom lens.
The autofocus zoom
Nikkor 24-50mm f/3.3~4.5s
was released barely a year after
Nikon has switched to kick start
the autofocus era and filled the
vacuum with a lack of a zoom lens type extending to ultrawideangle
range (The widest picture angle for a zoom lens among the original
release of AF Nikkor lens group in 1986 was AF Nikkor 28-85mm
f/3.5-4.5s). In a way, the AF Zoom Nikkor 24-50mm was an important
component in the Nikkor zoom lens family as the next ultra-wideangle
zoom lens was only being released a decade later in 1996 (AF Zoom
Nikkor 24-120mm f/ 3.5~5.6D IF). Although with a 2X zoom ratio but
as the lens has some of the most frequently used focal length of 24mm,
28mm, 35mm and 50mm and has served many Nikon photographers
needs over the years due to its versatile picture angles.
This original version of this AF Zoom Nikkor 24-50mm
has an older minimum lock in twist-knob design which is different
from the AF-D version which uses a slide switch but this is not an
important feature as it is only served to prevent accidental switch of
aperture when using programmed AE and Shutter Priority AE mode.
For Aperture Priority AE and/or Manual Exposure control, simply
depress the knob and twist to release. The three most used focal
length indicative settings of 24mm (green), 35mm (white) and 50mm
(yellow) were marked at the zoom ring. Similarly, the lens has two
indexes for zoom index and each being colored. The filter attachment
size is 62mm, making it easier to share with other easily available
system filter accessories. Besides, the front filter does not rotate and
making use of special filter accessories more friendly to operate. From
Lot # 3021 Nikkor 85mm f
1.8 AF The Nikon 85mm f/1.8
AF and AF-D have superb optical
and mechanical quality. They have
been among Nikon’s most popular
lenses for many decades, and
rightfully so.
This is an FX lens, and
works especially well with on FX,
35mm and DX Nikons like the D4,
D800, D800E, D7000, D700, D3X, D300s and F6. It works fantastically
on manual-focus cameras like the F2AS, F3, FE and FA, since it has real
manual-focus and aperture rings that work exactly as they should.
The 85mm f/1.8 AF-D and AF works great with almost every
film and digital Nikon camera made since 1977. If you have a coupling
prong added to the diaphragm ring, it’s perfect with every Nikon back
to the original Nikon F of 1959.
There are two almost identical version of this lens: the
original AF version from the dawn of Nikon’s autofocus made from
1987-1994, and today’s AF-D version, made since 1994. The only
minor difference is the addition of the “D” feature which couples
focused distance to the camera for exposure calculations, which only
matters with flash. This review applies equally to either version.
The way to identify them is by the “D” on the newer lens (as
“1:1.8 D” on the front and side, or by the little slide lock just above
the aperture ring. The older AF lens is simply marked “1:1.8” and the
little lock above the aperture ring is a better and more complex springloaded and rotating pushbutton affair. Est. $200 ~ $350 FHWAC# 25845
Lot # 3022 Nikkor 70-
210mm Macro f 4 - f 5.6 AF This is the original (non”D”)
lens. This lens is extremely well
made. It’s from the same family
as the 35-70/2.8 zoom. It has a
great solid metal filter thread,
metal jacket over one half of the
lens barrel, and assembled with
screws, not mushed together
plastic. D” means this lens tells
the camera the distance to the subject. This helps the matrix meter be
more accurate, especially with flash. It’s not that big a deal. The earlier
70 - 210 non-D lens has the same optics. The only way to see the
difference is the D after 1:4 - 5.6. The AF speed is slower on the non-D
lens since the D lens is geared faster. One turn of the AF screw on the
D lens brings you from infinity to 17;’ on the non-D lens it only brings
you to 40.’ Thus it takes longer for the non-D lens to focus. Either one
works great on the newest cameras like the D70s and D200, although
the D feature may help the flash exposure to be a little more accurate
on the newest cameras Est. $80 ~ $200 FHWAC# 25846
Lot # 3023 Nikkor AF
200mm f/3.5 ED-IF lens in
original box with paperwork
and leather case The AF
200mm f/3.5 ED-IF lens is quite
heavy and long, weighing 868g
and measures 157mm in length
(80mm x 149mm x 157mm). It
has a narrower angle of view
at 12° and a filter attachment
size of 62mm. Two pieces of
ED (extra-low dispersion) glass
elements are used on the first and second element in a 8 elements in
6 group optical construction which also features an IF (internal focus)
design for smoother AF operation; It can only close focus to 2m and
stopped down to f/32 for extra depth of field control. The lens also
incorporated with a “dust” filter which is not part of its optical design
but rather, provides penetration of dust and moisture. Est. $200 ~ $400 FHWAC# 25847
f 2 Manual Lens Nikkor
28mm f 2 Manual Lens. NonAi 28mm f/2.0 Nikkor-N Auto
wideangle lens. Introduced
back in April, 1971, the nonAi Nikkor wideangle lens was
once the fastest of wideangle
lenses with an angle of view
wider than 74° until Canon and
Olympus brought an competing
super fast wideangle lens each at the focal length of 24mm with their
ultra-fast Canon FDn 24mm f/1.4L and OM Zuiko 21mm f/2.0 a decade
later in 1981. This fast speed Nikkor wideangle lens has built a fine
reputation over the years that be able to provide exceptionally high
resolution and image contrast even at its full apertures. This speed
permits easy, accurate focusing and facilitates picture taking indoors
or under any unfavorable lighting condition and making it a firm
favourite among serious amateurs and professional users. It works
flawlessly with every manual focus Nikon ever made, from the original
Nikon F of 1959 through the FM3a and today’s FM-10.
On the D4, D800, D800E, D3X, D3s, D3, D7000, D700, D300,
D200, D2 and F6, use the “Non-CPU Lens Data” menu option to set
28mm and f/2 to get full color matrix metering, EXIF data and finder
Cameras
read-out of set aperture. It works great in aperture-preferred as well
as manual modes on these cameras.
It works perfectly on every professional 35mm camera (F, F2,
F3, F4, F5, F6), and adds Matrix metering on the FA, F4 and F6. From
f 1.4 Manual Lens in original
box The 35mm Nikkor f/1.4
lens is the fastest among all
the Nikkor wideangle lenses
until Nikon introduced an
equivalent wideangle lens
with smilar fast maximum
aperture in the AF Nikkor
28mm f1.4D in 1993 - that was
a feat which has taken Nikon
almost close to 3 decades to
equal such achievement since
the 35mm f/1.4 lens was
introduced as early as in year 1971 ! This fast speed Nikkor lens was
also holding the honor of being the first within the Nikkor lens family
to feature Nikon Integrated Coating (NIC) process where air-to-glass
surface is treated with propriatary formual to ensure maximum light
transmission and minimizes flares between lens elements. The NIC
process contributes greatly to its superior color rendition and high
contrasty images.
Specifications: Focal length/Aperture: 35mm f/1.4s, Lens
construction: 9 elements in 7 groups, Picture angle: 62°, Diaphragm:
AutomaticMaximum, Reproduction ratio: 1:5.6, Aperture scale:
f/1.4 ~ f/16 on both standard and aperture-direct-readout scales,
Exposure measurement: Via full aperture method with Ai cameras; via
stop-down method with non-Ai cameras. Distance scale: Graduated
in meters and feet from 0.3m (1 ft.) to infinity (oo) Weight: 400g,
Dimensions: 67.5mm dia. x 74mm long (overall), 62mm extension
from lens flange, Filters: 52mm screw-in. From the collection of Don
Dondero Est. $150 ~ $250 FHWAC# 25849
Micro f 2.8 Manual Lens Nikkor 55mm Micro f 2.8
Manual Lens. The Micro-Nikkor
55mm f/2.8 lens was first
introduced in December, 1979.
Not only this Micro-Nikkor
55mm f/2.8s lens features a
faster maximum aperture than
the earlier f/3.5 counterpart
but it has an improved macro
identifications with an overall
better finishing. The immediate benefit of the speed gain is a brighter
image presents inside the viewfinder and it minimizes chances of
darkening of split image rangefinder in a standard Nikon K-type
focusing screen. The overall brighter finder also enables easier
focusing and picture composing in many low available light situation
or when an extension tube or a bellows unit is used in conjunction
with the lens.
The 55mm f/2.8 Micro Nikkor lens has a modified Gauss-type
optical design. It has a slightly more complex 6 elements in 5 groups
in its optical formula (Compared to 5 elements in 4 groups used in
last versions of Ai-Spec f/3.5 Micro-Nikkor which again different from
early versions of f/3.5 lens that has a simpler 5 elements in 3 groups
design). The lens incorporates a floating element system in the rear
lens group which was aimed to maintain its high optical performance
at its closest focusing distance. In fact, a significant factor contributes
to great popularity of Micro-Nikkor lenses among photographer and
185
Cameras
professional users is, these series of lenses are not just specialized
lenses for high magnification ratio photography; but they are also
excellent optic for handling general photography. Because high
definition and distortion-correction remain virtually unchanged over
the entire focusing range, this has made micro-Nikkor lenses such an
attractive alternative to standard lenses at similar focal length.
This highly rated lens can reach a maximum magnification
ratio of 1:2 (0.5X) with its internal helical focus mechanism. With a
matching PK-13 Auto Extension Ring, the ratio can reach 1:1 Life Size
(1X)- so does when it is used in combination with a 2X teleconverter
such as Ai-TC-200 or Ai-S TC-201. If you wish to achieve an even
higher magnification, this lens is best to with a Bellow Unit such
as Nikon PB-6 Bellow Unit. With such a possible combination, the
magnification ratio can even be reaching to an astonishing 1:3.5 ! Note:
a PB-4 Bellows unit is available in this auction! From the collection of
Lot # 3027 Nikkor
55mm Micro f 3.5 Manual
Lens in original box Nikon
uses the word “Micro” to
mean the same thing as
“macro.” The Nikon MicroNIKKOR 55mm f/3.5 is an
excellent manual-focus lens.
It works perfectly on every
manual-focus Nikon camera,
and also works great on
all better digital Nikons,
especially the D3X, D700 and other FX cameras. It won’t meter with
the cheaper DX digital or AF cameras like the D90; for these cameras,
guess and use the LCD, or use the Gossen Digisix meter and hot-shoe
adapter.
The lens shows optimum resolving performance at 1:10
reproduction ratio, but since its superb resolution remains virtually
unchanged throughout its entire focusing range, the lens can be
used for general photography as well. The M2 Extension Ring is used
in combination with the lens for close-up work of the 1:2 to 1 :1
reproduction ratios. The automatic diaphragm functions equally well
with the M2 Ring. This lens exhibits excellent image quality, great
flatness of image plane, high image contrast and fine color rendition
which makes the lens especially ideal for photographing close-up
subjects such as insects, flowers and other small objects or for critical
copying of flat subjects such as documents, drawings, stamps, etc.
Reproduction ratios are marked on the lens barrel vis-a-vis
the focused distance. When an image greater than 1:1 reproduction
ratio is desired, various close-up accessories are available for use with
this lens. Note: A PB-4 Bellows is coming up later in this auction. From
Lot # 3028 Nikkor 25mm-
50mm f 4 Manual Lens Close
fousing in to a distance of just
2 feet, and with a wide angle
setting. this lens is ideal for
industrial photography, candids,
portrait photography, landscape
photography, and more.
Focal Length: 2550mm, Aperture Maximum: f/4,
Aperture Minimum: f/22, Camera
Mount Type: Nikon F, Format
Compatibility: 35mm, Angle of
view: 81° - 48°, Minimum Focus
Distance: 2 feet, Elements/Groups: 11/10, Diaphragm Blades: 7,
Tripod Collar: No, Filter Thread: 72mm, Dimensions: ~2.9” x 4.1”,
186
Weight: 21.2oz.
The Nikon 28-50mm is Nikon’s smallest f/3.5 constant
aperture zoom. If you’re in the mood to focus by hand, its a winner in
every way. It’s fast in both aperture and handling, and is small, very
sharp and easy to use. It just goes.
It focuses to two feet (0.6m), and has an especially handy
macro range to 1.1 feet (0.35m) at 50mm, right where you’d want
a macro range. You don’t need to fiddle with macro switches; it just
focuses that close if you’re zoomed to 50mm. Most other lenses
stupidly give you the macro range at the wide end where you don’t
want it. It is faster than almost every other amateur zoom. It has a
constant aperture of f3.5, even at 50mm. By comparison, Nikon’s latest
24-120mm VR is only f/5.3 at 50mm, or more than one-stop slower
than this lens.
This lens is quite a performer, and is also a mechanical
masterpiece. It was a “hefty” lens back in its era, but today, compared
to modern f/2.8 midrange zooms, it is a featherweight. From the
Lot # 3029 Nikkor
25mm-50mm f 4 Manual
Lens Close fousing in to a
distance of just 2 feet, and
with a wide angle setting.
this lens is ideal for industrial
photography, candids,
portrait photography,
landscape photography, and
more.
Focal Length: 2550mm, Aperture Maximum:
f/4, Aperture Minimum: f/22,
Camera Mount Type: Nikon
F, Format Compatibility: 35mm, Angle of view: 81° - 48°, Minimum
Focus Distance: 2 feet, Elements/Groups: 11/10, Diaphragm Blades:
7, Tripod Collar: No, Filter Thread: 72mm, Dimensions: ~2.9” x 4.1”,
Weight: 21.2oz.
The Nikon 28-50mm is Nikon’s smallest f/3.5 constant
aperture zoom. If you’re in the mood to focus by hand, its a winner in
every way. It’s fast in both aperture and handling, and is small, very
sharp and easy to use. It just goes.
It focuses to two feet (0.6m), and has an especially handy
macro range to 1.1 feet (0.35m) at 50mm, right where you’d want
a macro range. You don’t need to fiddle with macro switches; it just
focuses that close if you’re zoomed to 50mm. Most other lenses
stupidly give you the macro range at the wide end where you don’t
want it.
It is faster than almost every other amateur zoom. It has a
constant aperture of f3.5, even at 50mm. By comparison, Nikon’s latest
24-120mm VR is only f/5.3 at 50mm, or more than one-stop slower
than this lens.
This lens is quite a performer, and is also a mechanical
masterpiece. It was a “hefty” lens back in its era, but today, compared
to modern f/2.8 midrange zooms, it is a featherweight. From the
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Lot # 3030 Nikkor 80-200mm
Zoom f 4.5 Manual The birth of this
80-200mm Zoom-Nikkor landmarked
an important footprint in the history
of lens development for 35mm SLR
photography. Basically, its immense
popularity can be summarized down
to a few facts where, other than an
ingenious optical design that provides
excellent image definition across its
entire zoom range, its silky smooth
single pull & push zoom/focusing ring
provides a new level of lens handling
experience in tele-zoom photography,
further, unlike the bulkier 85-250mm
lense, its unique telephoto-type
design has considerably reduced
both the size and weight of the lens,
making it compact enough to be highly portable but more importantly,
it was quite affordable in its price. The lense has an attachment size
of standard 52mm which makes photographers be able to share many
standard lens accessories. Perhaps, initial favorable lens reviews may
have also enhanced its appeal to not just among amateurs and serious
hobbyists but even for professional users as well. The temptation of
a flexible zoom lense that can replace a series of popular medium to
telephoto range from 85mm, 105mm, 135mm, 180mm to 200mm
was hard to resist, adding the advantage optically, this lense presents
an above-average performance for a zoom lense type. Naturally,
since it was a product of 30 years ago, it is simply unfair if we use
performance of some specific high performance modern Nikkor zoom
lenses as a yardstick to measure its overall performance but at the
time of its introduction, it was a hit.
Focal Length: 80-200mm, Maximum aperture: 1:4.5,
Lens construction: 15 elements in 10 groups, Picture angle: 30°
10’(f=80mm) - 12° 20’(f=200mm), Distance scale: Graduated in meters
or feet up to 1.8m and 6 feet, Zooming: By back and forth movement
of the zooming/focusing ring (Reference markings for 80mm, 90mm,
105mm, 135mm and 200mm), Attachment size: 52mm (P=0.75),
Filter: 52mm screw-in, Hood: HN-7, Dimension: 74.5mm dia. x 162mm
length (2-15/16 in. x 6-11/32 in.), Weight: 880g (29.3 oz), Accessories:
52mm Snap-On front cap (108-00-400), rear cap type F (108-00-401),
leather case CL-10 (108-02-311), 52mm screw-in lens hood (108-02201), flexible pouch No, 53 (108-02-303). Nikon Product Code No. for
this old Non-Ai zoom lens: 108-05-109; Note: Serial Numbers of this
older Non-Ai version may have been started with 101911. S/N for the
“C” version is unknown. From the collection of Don Dondero. Est. $30 ~ $90 FHWAC# 25854
Lot # 3031 Nikkor 80-200mm
Zoom f 4 Manual Lens Given the
immense popularity and widely
known throughout the world for its
superb picture quality, probably it
has put a lot of pressure on Nikon to
design a worthy upgrade for their
highly acclaimed Zoom-Nikkor 80200mm f/4.5 - which partly explained
why it has taken them so long to
announce the new successor. The
Zoom-Nikkor 80-200mm f/4.0s was
introduced in August, 1981. This Ai-S
native Nikkor zoom carries with the
new revised coupling system that
enables many Nikon SLRs to operate
some automatic exposure control modes. In some ways, it also enables
the free use of a revolutionary AMP Metering (Automatic Multi Pattern
Cameras
Metering System - concept similar to the current “Matrix Metering”,
first used in a Nikon FA SLR camera) that began to emerge during
early/mid of ‘80.
The lense still features a single focusing/zooming ring,
allowing you to focus and zoom simultaneously especially when
shooting fast-moving subjects. Similarly, it stops down to f/32 for
additional depth of field control which makes it Ideal for candids and
portraits, travel photography, sports, and for creating zoom blurs. But
another main improvement of this new zoom was its close focusing
ability - it now focuses to a close 1.2m (4 ft.) attributed from adoption
of a new 13 elements in 9 groups optical design where this further
extends its picture making capabilities. Another resulting advantage is
a good reproduction ratio be achieved at its closest focusing distance.
Focal length/Aperture: 80-200mm f/4, Lens construction:
13 elements in 9 groups; Focusing/zooming control: via a single
ring, Picture angle: 30°10’~12°20, Diaphragm: Automatic, Aperture
scale: f/4~f/32 on both standard and aperture-direct-readout scales,
Exposure measurement: Via full aperture method meter coupling
ridge provided for Ai cameras and meter coupling shoe for nonAi cameras, Focal length marking: 80mm, 90mm,105mm,135mm,
200mm, Distance scale: Graduated in meters and feet from 1.2m
(4ft.) to infinity (OO), Weight: 810g, Dimensions: 73mm dia. x 162mm
long (overall), 154mm extension from lens flange, Filters: 62rnm
front Screw-in, Front lens cap: Snap-on, Lens hood: HN-23 screw-in
type, Lens case: CL-35A hard leatherette or No. 63 soft pouch. Usable
teleconverter(s): TC-200*, TC-201s, TC-14A * Some specific exposure
control such as Program AE and Shutter Priority AE modes with
certain Nikon SLRs may not function efficiently. From the collection of
Lot # 3032 Nikkor
105mm Micro f 4
Manual Lens MicroNikkor 105mm f/4 is a
special telephoto lens
designed for close-up
photography at high
reproduction ratios.
Offering identical optical
construction as the
Bellows-Nikkor 105mm
f/4, but with a unique
focusing helicoid that
enables operation from
infinity to a reproduction
ratio of 1:2 without the
need for any adapters. The lens features automatic maximum aperture
indexing (AI) with suitably equipped cameras, through the meter
coupling ridge provided. Fitted with meter coupling shoe to enable
Nikon cameras that lack the AI facility to still offer full exposure
measurement. The lens exhibits excellent flatness of field and
distortion free images at all reproduction ratios. Its Nikon Integrated
Coating further improves performance by maximizing image contrast,
while reducing flare and ghost for the stunning color reproduction.
Focal Length: 105mm, Aperture Maximum: f/4, Aperture
Minimum: f/32, Camera Mount Type: Nikon F, Format Compatibility:
35mm SLR, Minimum Focus Distance: 0.47m / 1.55ft, Elements/
Groups: 5/3, Diaphragm Blades: 7, Angle of View: 23°20 / DX format
15°20, Autofocus: No, Tripod Collar: No, Filter Thread: 52mm,
Dimensions: ø2.93” (74.5mm) x 3.77” (96mm) (4.09” max length,
Weight: 17.6 oz / 500g. From the collection of Don Dondero. Est. $150 ~ $250 FHWAC# 25856
187
Cameras
Lot # 3033 Nikkor-P
180mm f 2.8 Manual
Lens The Nikkor-P
180mm f2.8 was fastest*
among all available Nikkor
telephoto lenses at the
time of its introduction.
Many believed Nikon has
put a great deal of effort
in designing a comparable
lens to take on the German
optic at equivalent focal
length. That may well
explained why this lens
was so good in sharpness
and well tamed any
possible coma and
spherical aberration. The
lens also has a built-in telescopic lens hood which can be pull outward
and locked it in place. It accepts various attachments in 72mm dia. size
and it appeared with a diamond patterned focusing grip.
Nikkor 180mm f/2.8 is superior, telephoto prime lens
with high image quality. The 180mm has a relative fast lens speed
and offers lens apertures that stopped down to f/32 for maximum
depth-of-field control. It’s 1.8m close focusing capability allows
photographing tightly-cropped images from comfortable working
distance. The 180mm f/2.8 AI feature five elements in four groups
optical construction with seven diaphragm blades, 13° picture angle
and 72mm filter thread.
Focal Length: 180mm, Aperture Maximum: f/2.8, Aperture
Minimum: f/32, Camera Mount Type: Nikon F, Format Compatibility:
35mm Film, Minimum Focus Distance: 5.9 feet (1.8m), Elements/
Groups: 5/4, Diaphragm Blades: 7, Angle of View: 13°40, Autofocus:
No, Tripod Collar: No, Filter Thread: 72mm, Dimensions: 5.6” (l) x
3.22” (d), Weight: 31 oz (880g). From the collections of Don Dondero.
Est. $150 ~ $300 FHWAC# 25857
Lot # 3034 Micro-
Nikkor 200mm
f/4 IF Manual Lens The Micro-Nikkor
200mm f/4 IF AI
was the world’s first
200mm ‘micro’ lens.
The internal focusing
technology enables
the lens elements
to move inside the
lens and prevents
movement of the lens
barrel as the lens is
focused closer. At
its closet focusing
distance of 2.34ft
the lens produces a 1:2 reproduction ratio. The lens employs Nikon
Integrated Coating on the air-to-glass surfaces of the lens elements
to minimize the flare and ghosting and enhance contrast. The
optical construction features 9 elements in 6 groups, fully automatic
diaphragm, 12°20’ viewing angle and 52mm filter thread.
Minimum: f/32, Camera Mount Type: Nikon F, Minimum Focus
Distance: 2.32 feet/0.71m, Elements/Groups: 9/6, Diaphragm Blades:
9, Angle of View: 12°20, Tripod Collar: Yes, Filter Thread: 52mm,
Dimensions: ø2.63 x 7.1”, Weight: 26.1 oz. From the collection of Don
188
Lot # 3035 Nikkor 300mm f
4 Manual Nikkor-H 300mm f/4.5
Non-AI is a manual focus telephoto
prime lens. The optical construction of
six elements in five groups, six blade
diaphragm, 13ft close focus distance,
8°10’ picture angle and 72mm filter
thread. The lens includes a rotatable
tripod collar and built-in tripod
mounting adapter with a a retractable,
built-in lockable lens hood. The lens
is employs a fully automatic aperture
diaphragm and a meter-coupling
prong. The 300mm is ideal for action,
sports and scenic photography.
Focal Length: 300mm, Aperture
Maximum: f/4.5, Aperture Minimum:
f/22, Camera Mount Type: Nikon F, Format Compatibility: 35mm,
Minimum Focus Distance: 13.1 feet, Elements/Groups: 6/5, Diaphragm
Blades: 6, Angle of View: 8°10, Autofocus: No, Tripod Collar: Yes, Filter
Thread: 72mm, Dimensions: 3.14” x 7.99”, Weight: 38.8 oz. From the
collections of Don Dondero. Est. $150 ~ $250 FHWAC# 25859
Lot # 3036 Reflex Nikkor-C
500mm f 8 Manual Lens with
Case A telephoto mirror lens is
very similar to a telescope. The
image coming through the lens is
bounced off of mirrors before going
to the image. This allows the lens
to be much shorter than it would
need to be without the mirrors.
The lens has no diaphragm and is
normally used with adjusting the
shutter speed to reduce light. Many
of these have small filters that are
attached to the rear of the lens.
Neutral density filters are used to
reduce light when the shutter speed does not reduce enough. Closefocus tends to be much, much closer than with a standard lens. Hand
holding is difficult as with any lens, but will not require a very strong
tripod. A monopod is the normal choice.
Minimum: f/8, Camera Mount Type: Nikon F , Minimum Focus
Distance: 13.1 feet, Elements/Groups: 5/3, Diaphragm Blades: - , Angle
of View: 5°, Autofocus: No, Tripod Collar: Yes, Filter Thread: 39mm,
Dimensions: ~3.66” x 5.59”, Weight: 35.27oz Est. $150 ~ $300
FHWAC# 25860
Lot # 3037 Nikkor
35mm Perspective
Control f 2.8 Manual This optically high
performance PC-Nikkor
lense combines various
positive factors such as
high mobility, portability
and provides a certain
level of versatility in its
unique perspective control
feature - a feature only
previously possible only
with large technical and
view cameras system, this 35mm format PC-Nikkor does find a good
footing in this ever changing photographic market place. It may not
be appreciated thoroughly by you or me because we may find it less
Cameras
suitable for our kind of photography, but for those who are in need of
such specialized lense type, it is a solution provider and deservingly to
have every reason to be around in the Nikkor lens family as alternate
consideration.
Specifications: Focal length/Aperture: 35mm f/2.8, Lens
construction: 7 elements in 7 groups; Aperture scale: f/2.8 - f/32,
Picture angle: 62°; Covering power: 78 °, Diaphragm: Manual
preset type: preset ring provided for convenience when setting the
diaphragm to the shooting aperture. Exposure measurement: Via
stop-down method: meter coupling ridge and meter coupling shoe
not provided. Distance scale: Graduated in meters and feet from
0.3m (1 ft.) to infinity (oo). Lens rotation: Lens optics rotate 360° for
perspective control adjustment in any direction click-stops provided
at each 30° of rotation maximum permissible shift values engraved
at each click-stop position; Lens shift: Special mount enables up to
11mm off-center shifts for perspective control shift adjustments via
large knob at side of lens shift scale provided with graduations at 1
mm intervals. Weight: 320g; Dimensions: 62mm dia. x 66mm long
(overall); 61.5mm extension from lens flange. Filters: 52mm front
screw-in. Front lens cap: Snap-On. Lens hood: HN-1 screw-in metal
From the collection of Don Dondero. Est. $200 ~ $350 FHWAC# 25861
Lot # 3038 PC-Nikkor
28mm f/4.0 Lens with
original box and manual The PC-Nikkor 28mm
f/4.0 was introduced
in August, 1975; with a
true nature of wideangle
characteristic, its 74°
makes it a more practical
lense than the 62° picture
angle offers by the 35mm
equivalent.
Because of
their shifting features,
the PC-Nikkors are put
to effective use in many
photographic applications.
The wider view presents
in a 28mm is even more effective and often be used for shooting
architectural, industrial and commercial photography, in particular
shooting in interior because most often, 35mm focal length of this
lens type is not wide enough for this purpose. Those involve in the
profession of architectural, building planning & management and even
interior designers may find this lense a handy companion in their
works. Anyway, another possibility is, they are also useful in producing
a panoramic picture by joining two exposures made separately with
the lens shifted in opposite directions.
Specifications: Focal length: 28m, Maximum aperture:
1:4.0; Lens construction: 10 elements in 8 groups, Picture angle: 74°
at infinity, Distance scale: Graduated both in meters and feet up to
0.3m and 1 ft to infinity (OO), Aperture scale: f/4.0 - f/22; Aperture
diaphragm: Manual Preset, Exposure Measurement: Stopped Down
Metering, Attachment size:72mm (P=0.75). Depth of field reference
markings: Blue=f/22, yellow=f/16, green=f/8.0, magenta=f/4.0
minimum aperture while the rest (f/5.6 and f/11) are in white.
Infrared index is provided. Hood: HN-9; Lens cap: Metal 72mm screwin type (see picture below). Filter: 72mm screw-in; Dimensions: 78mm
dia. x 68mm length (3-1/16 in. x 2-5/8 in.), Weight: 410g (14.5oz).
From the collection of Don Dondero Est. $200 ~ $450 FHWAC# 25862
f 3.5 AI-s
Manual lens Nikkor 15mm
f/3.5s UltraWideangle
Lense with
original case
The
distinguishing
features of
super wideangle lenses
in general are
their wide
angle of view
and their
extended
perspective.
Unlike Nikkor
13mm f/5.6
which has a even wider picture angle than the 15mm but the lense
has to be on a made-to-order basis. This has made the 15mm lens to
be a more realistically optical ultrawide than the 13mm superwide
Naturally, the 15mm lens has a marginally narrower angle of view in
its picture coverage but it has enabled many Nikon photographers
to start enjoying the sheer fascinating beauty and amazing world of
ultra-wide photography with a reasonably entry cost.
Specifications of 15mm f/3.5s, Focal length/Aperture: 15mm
f/3.5, Lens construction: 14 elements in 11 groups, Picture angle:
110°, Diaphragm: Automatic, Aperture scale: f/3.5~ f/22 on both
standard and aperture-direct-readout scales, Exposure measurement:
Via full aperture method with AI cameras; via stop-down method with
non-AI cameras. Distance scale: Graduated in meters and feet from
0.3m (1 ft.) to infinity (OO), Weight: 630g, Maximum Reproduction
ratio: 1:12.5, Dimensions: 90mm dia. x 94mm long (overall); 88.5mm
extension from lens flange, Filters: Rear-attachment bayonet type;
Skylight (L1BC). orange (O56), light amber (A2). and light blue (B2),
Front lens cap: slip-on; Lens hood, Built-in scalloped type, Lens case:
CL-17 hard leatherette.
The manual focusing is just perfect, and the image quality
is outstanding because this 15mm has virtually no straight-line
distortion. Most Nikon wide lenses, especially the 14-24mm AFS and
14mm f/2.8 AF, tend to bend straight lines slightly. The fact that this
15mm keeps lines ruler-straight, so long as you’re at least 10 feet
(3m) away, makes this 15mm lens uniquely handy for architectural
photography.
Regardless of the so-called built-in hood, the huge fish-bowl
front element collects light from every direction and often leaves huge
fuzzy ghost blobs if you’re not careful to shield the lens from the open
sky or open windows indoors.
The advantage of this 15mm ultra-ultra-wide over the 1424mm AFS and 14mm f/2.8 AF is that is has much less distortion,
probably weighs less, and costs less. The disadvantage is far more
ghosting. The lack of autofocus isn’t significant at these focal lengths,
since everything is usually in focus anyway.
For most people, the newer 14mm f/2.8 makes more sense,
since it’s about the same size and weight and a better lens overall, and
doesn’t cost that much more than a used 15mm (about $1,500 new).
The 14mm f/2.8 has a little more weird distortion. From the collection
of Don Dondero. Check out the major part of Dondero’s collection,
available at auction, at: www.fhwac.com Est. $850 ~ $1,250 FHWAC# 25863
189
Cameras
Lot # 3042 Leicaflex
Lot # 3040 Nikkor 8mm Fisheye f 2.8 Manual Focus Lens Fisheye-Nikkor 8mm f/2.8 Auto in original box with all paperwork
and case. Introduced in 1970. This is the first Fisheye Nikkor lens that
has adopted the automatic aperture diaphragm (See earlier FisheyeNikkor 8mm f8.0). The lens speed of f/2.8 is the fastest in the array of
Fisheye Nikkor lenses. The most significant design of the lens when
compared with older versions is it obviates the need for locking up the
mirror and use of special accessory finders as with many older fisheye
Nikkor lenses. This is the brightest Fisheye lens and is provided
with the automatic diaphragm coupled to the exposure meter. Thus,
viewing and focusing can be done on the focusing screen with the
f/2.8 brightness. Another significant difference is the ability to focus
with the new lens design where the mechanism provides graduation
both in meters and feet up to 0.3m and 1 ft. Older versions of Auto
Fisheye-Nikkor lenses have fixed focus design.
The automatic diaphragm stops down to f/22. There are
five built-in filters on a rotating turret (see picture below) which
has added a layer of flexibility to the lens functionality. It is a lens
combining some good elements in its overall compactness, its fast lens
speed, automatic diaphragm and through-the-lens viewing capability,
as well as the unique fisheye pictorial qualities it delivers.
Specifications: Focal length: 8mm, Maximum aperture:
1:2.8; Lens construction: 10 elements in 8 groups, Picture angle:
180°Meter coupling prong: Integrated (fully open exposure metering),
Distance scale: Graduated both in meters and feet up to 0.3m and 1 ft,
Aperture scale: f/2.8 - f/22, Aperture diaphragm: Manual, Attachment
size: 120mm (P=1.00), Filter: Built-in, L1 A, Y48, Y52, 056 & R60,
Dimensions: 23mm dia. X 140mm length (4-27/32 in. x 5-1/2 in.)
Weight: 1kg (2.2 lb), Accessories: 120mm screw-in front cap (109 - 00
- 232), rear cap type 3F (108 - 03 - 400), leatherette case (108 - 03 305) Est. $1,250 ~ $2,500 FHWAC# 25864
Lot # 3041 Nikon
PB-4 Bellows with
PS-5 Slide Copying
Adaptor Nikon PB-4
Bellows with PS-5
Slide Copying Adaptor
in Mint condition. PB-4
Bellows: This is the most versatile of all the Nikon Bellows Focusing
Attachment. Depth of field can be increased and converging lines
corrected for with the swing or shift of the front lens board. It has dual
twin tracks. On the lower track, the camera and lens can be moved
as a single unit for fine focusing adjustment without changing the
lens-to-film distance. The camera can be attached or detached from
the bellows, or turn to a vertical or horizontal format any position on
the track. Duplication of 35mm film can be made readily with Model
PS4 or Model PS-5 Slide Copying Adapters. Reproduction ratios with
a 50mm f/2 lens ranges from 1/1.2 to 3.6X. Reverse the lens and
reproductian ratios can range from 1.6 to 4.4X. attachment weighs
42.3 oz. (1,200 g). From the collection of Don Dondero. Check out
the major part of Dondero’s collection, available at auction, at: www.
fhwac.com Est. $250 ~ $400 FHWAC# 25866
190
SL Camera Body Leicaflex
SL Camera Body Serial
Number: 1237327. Made
between 1968-1974 the
Leicaflex SL was the second
reflex camera made by
Leica and the first one
with TTL (thur the lens)
full aperture metering.SL
stands for “selective light”.
Durable die cast all metal body construction provides
lightweight rigidity and strength, Average TTL metering, Bright
viewfinder system with shutter speed and match needle display,
Smooth manual film advance and transport, Top shutter speed 1/2000
second top flash sync 1/100 sec. Depth of field preview button.
The SL just may be the high water mark of Leitz’s traditional
hand-built manufacturing prowess. What it lacks in aesthetics it more
than makes up for in feel and workmanship. As with the M’s, nothing
superfluous has been added for commercial appeal. The Leicaflex SL
is mechanical simplicity defined, with a heft and feel that makes the
F seem cheap and flimsy by comparison. Close you eyes and wind on
the film and you’ll swear you have an M in your hands. Look through
the viewfinder and find a size and brightness that puts the F to
shame with its low light focusing capabilities. Plus you get to use the
wonderful, albeit expensive, Leitz lenses. From the collection of Don
Lot # 3043 Leicaflex SL 2
Camera Body Leicaflex SL 2
Camera Body
Serial Number:
1424113
Product
Description:
Prized by
shooters and
collectors alike,
the SL2 was
the last fully
mechanical SLR
made by Leica.
An updated
version of the
previous SL
model it enjoyed
a production
run lasting
only from 1974-1976. Improvements included a viewfinder-visible
aperture scale, redesigned mirror movement to accommodate
specially designed 16, 24 and 80-200mm lenses, hot shoe and a more
comfortable shape.
Body Type: SLR Film Type, Viewfinder: Eye-level, Lens
Mount: Leica R (3 Cam best), Film Type: 35mm, Film Loading: Manual,
Meter: Built-in, Exposure Modes: Match needle in finder, Shutter
Speeds: 1-1/2000th sec., B Sync 1/100th, Self Timer: 10 seconds, Film
Advance: Manual, Rewind: Manual, Flash Information: Hot shoe and
x sync terminal, Battery: PX625, Dimensions: 5.8 X 3.8 X 2.2 inches,
Weight: 27.1 oz. From the collection of Don Dondero. Est. $600 ~ $1,000 FHWAC# 25868
Cameras
Lot # 3044 Leitz Wetzlar
60mm Macro-Elmarit-R
f 2.8 Leitz Wetzlar 60mm
Macro-Elmarit-R f 2.8 with
box, though not in original
package. Lens serial number:
2497620
If there is such a
thing as a ‘must have’ lens
in the Leica repertorie the
60mm f/2.8 Macro-Elmarit-R
could be the one. Based
on versatility and excellent
resolution at all focus ranges
the 60mm Macro has no peer,
it can focus from infinity to
1:2 (half lifesize) without the
use of ancillary devices.”
“Stop it down by one or two apertures and outstanding
results can be achieved at longer shooting distances. It very effectivly
suppresses reflections even under difficult light conditions, light falloff
and distortion are practically non-existent.”“The first impression
you get when you hold the 60mm is that of strength. More than any
other Leica R lens the 60mm f/2.8 Macro-Elmarit-R feels like it was
designed for survivability in the field. Accordingly the helicoid of this
lens is possibly the smoothest and and most reassuring of any 35mm
lens made. Compare the filter ring of your current Japanese lens to the
massive filter ring of the 60mm f/2.8 Macro-Elmarit-R and you will see
it’s like comparing a corvette to a battleship.”
Product Information: 60 mm f/2.8 MACRO-ELMARIT-R is a
60-mm lens with an especially broad range of applications. If you can
forego extreme high speeds in this range of focal lengths in order to
gain the great advantage of a focusing range, from infinity all the way
down to a mere 27 cm or 10 5/8” (a maximum reproduction ratio of
1: 2), then this is the perfect lens for you. Together with the MACROADAPTER-R, a reproduction ratio of 1: 1 can be achieved.
Lens System, Type Macro/Close Up, Focus Type Manual,
Focal Length Fixed/Prime, Focal Length (mm) 60 mm, Aperture F/2.08.0, F/2.8, Min Aperture 22. Compatibility: Compatible Brand Leica.
Dimensions: Diameter 2.7 inch, Weight 14.11 oz. From the collection of
Lot # 3045 Leitz
Wetzlar 35mm
Elmarit-R f 2.8 Leitz Wetzlar 35mm
Elmarit-R f 2.8 in
plastic case. Serial
Number: 2469293
Product
Description: The
Elmarit-R is a retrofocus type consisting
of 7 elements in 6
groups. This versatile
wideangle lens provides excellent contrast and resolution. Optimum
performance is reached as early as F/4. Special lens coating and UV
absorbing cement are utilized to reduce transmission of UV light.
In practice, for the close focusing range below 40 inches, the lens
should be stopped down, if possible, to F/11. Suitable for copy work
. Leica Order No. - 11101 (1964-68), 11201 (1968-73) / LLC - 158.
Production era - 1964-1973 (1964-1965 ca. 200 chrome lenses) <
31,950 lenses. Variants - 1-cam, 2-cam, 3-cam; black and chrome
versions unit is 2-cam
Note - The chrome finish was made for the Leicaflex. Fewer
than 200 were made, and once it was found that the finish could reflect
extraneous light in to the meter cell, this finish was discontinued in
favor of black. This lens is black. Number of lenses /groups - 7 / 6. F
stop range - f/2.8-f/22 in half-stops. Closest focusing distance - 30 cm
/ 11.81 in. Smallest object field - 140 x 210 mm. Diaphragm setting /
type - 6-blade. Angle of view diagonal - 64 degrees. Filter type - Series
6 + 14160. Optional Accessories - Hood: 12564, Front cap: 14163.
Dimensions length x diameter - 40 x 63 mm / 1.57 x 2.48 in, Weight 310 g /14.46 oz. Inscriptions - ELMARIT-R 1:2.8/35 LEITZ WETZLAR
1XXXXXX. LEITZ ELMARIT-R 1:2.8/35 2XXXXXX. Designer - Rudolf
Ruehl - 1964. From the collection of Don Dondero. Est. $300 ~ $600
FHWAC# 25870
Lot # 3046 Leitz
Wetzlar 21mm Super
Angulon-R f 4 Leitz
Wetzlar 21mm Super
Angulon-R f 4 in original
box. Serial Number:
2353660. Product
Description: Why has this
lens remained unchanged
for 30 years? Most
likely because even the
extraordinary research
and development team
at Leica can’t figure out a way to improve it! Produced by the equally
famous Schneider Optic Works in Kreuznach to Leica specifications,
the 21 f4 Super Angulon is the paramount super-wide angle lens.
Exhibiting qualities such as corner to corner sharpness and even
illumination, this is one lens that’s bound to make a lasting impression.
FEATURES INCLUDE: Retrofocus design Focuses as close as 8 inches
(20.3cm)
Leica Order No. - 11 813 LLC - 139, Production era - 19781994 < 8,850 lenses, Manufacturer - Schneider-Kreuznach, Variants
- 2-cam and 3-cam versions, Number of lenses /groups - 10 /8, F
stop range - f/4-f/22, Closest focusing distance - 20 cm / 7.87 in,
Smallest object field - 221 x 148 mm, Diaphragm setting /type Automatic, 4-blade pre-set, Angle of view diagonal - 92 degrees,
Filter type - Series 8.5 - E72, Accessories - Hood: 12506, Front cap:
14145, Dimensions length x diameter - 43.5 x 78 mm / 1.71 x 3.07
in, Weight - 420 g /0.93 lb, Inscription - SUPER-ANGULON-R 1:4/21
LEITZ WETZLAR 2XXXXXX, Designer - Walter Woeltche 22 Oct 1996
Schneider-Kreuznach. From the collection of Don Dondero. Est. $800 ~ $1,200 FHWAC# 25871
90mm Elmarit-R f 2.8 Leitz
Wetzlar 90mm Elmarit-R f 2.8
in original box. Serial Number:
2442250. Product Description:
Economy portrait lens for the
Leica R series system. Leica Order
No. - 11 239 / 11 229 LLC - 172,
Production era - 1964-1983 <
29,000 lenses, Variants - 1-cam,
2-cam and 3-cam, ELC & ELW
versions, Number of lenses /groups
- 5 / 4, F stop range - f/2.8-f/22,
Closest focusing distance - 70 cm / 2.30 ft, Smallest object field - 140
x 210 mm, Diaphragm setting /type - 6-blade, Angle of view diagonal
- 27 degrees, Filter type - Series VII + 14161 filter ring, Accessories ELPRO VIIa close focusing attachment, Dimensions length x diameter
- 72 x 65 mm / 2.83 x 2.56 in, Weight - 500 g /1.1 lb, Inscriptions ELMARIT-R 1:2.8/90 LEITZ CANADA 2XXXXXX, ELMARIT-R 1:2.8/90
LEITZ WETZLAR 2XXXXXX, Designer - Walter Mandle Est. $250 ~ $400 FHWAC# 25872
191
Cameras
Lot # 3048 Leitz Canada 180mm
APO-TELYT-R f 3.4 Leitz Canada
180mm APO-TELYT-R f 3.4 in original
box. Serial Number: 2815313. Product
Description: As the person responsible
during the 1950s for establishing
Leitz Canada as the center of Leica
lens development, Dr. Walter Mandler
attained further achievement as
developer of the remarkable 180
f3.4 APO Telyt. Featuring glass which
corrects chromatic aberrations so well that no focus adjustment is
necessary for infra-red photography, its performance is nothing less
than outstanding. A small, powerful, high resolution lens that you’ll
always want to have on call! FEATURES INCLUDE: Built-in, collapsible
hood Weighs less than 1.5 lbs
Production era - 1979-1998 1,500 Apo version lenses,
Variants - 3-cam or R-only versions, Number of lenses /groups - 7 / 5
for the Apo version, F stop range - f/2.8-f/22, Closest focusing distance
- 1.5 m for the Apo version, Diaphragm setting /type - 8-blade, Angle
of view diagonal - 14 degrees, Filter type - E60, Accessories - Filterring: 14264, Weight - 520 g for the Apo version, Inscriptions - LEITZ
ELMARIT-R 1:2.8/180 2XXXXXX, LEITZ APO-ELMARIT-R 1:2.8/180
3XXXXXX. From the collection of Don Dondero. Est. $400 ~ $800
FHWAC# 25873
Lot # 3049 Leitz Wetzlar 80-
200mm f 4.5 Leitz Wetzlar 80-200mm
f 4.5 in original box. Serial Number:
2773562. This is a Beautiful Example of a
Leica 80-200mm f4.5 Vario-Elmar-R lens.
This is a 3-cam series lens that is Very
sharp zoom lens with stunning image
quality that can rival many of the fixed
prime lenses on the market. It offers
Fantastic Lens coatings and has a built-in
lens shade too.
This lens is in the classy black
finish with a nice textured leather grip. This lens comes exactly as
shown, with all shown too. It is in beautiful Near Mint , Fantastic
working condition with no problems at all. This lens focuses very
smoothly, the aperture works well and has nice clicks for each f-stop
with no oil on the blades. The glass is great, No scratches, No fungus,
light dust, No problems. This lens has Amazing lens coatings too. Great
image quality too…. From the collection of Don Dondero. Est. $250 ~ $400 FHWAC# 25874
Lot # 3050 Leitz Wetzlar 180mm
Elmarit-R f 2.8 Leitz Wetzlar 180mm
Elmarit-R f 2.8 Serial Number:
3249322. Product Description: The 180
F/2.8 ELMARIT-R is a telephoto system
with 5 elements in 4 groups. Even at
full aperture F/2.8, it offers uniform
performance and very good contrast.
Leica Order No. - 11 923 (11
273-Apo version as shown), Production
era - 1979-1998 < 10,499 + 1,500 Apo
version lenses, Variants - 3-cam or
R-only versions, Number of lenses /groups - 5 / 4 (7 / 5 for the Apo
version), F stop range - f/2.8-f/22, Closest focusing distance - 1.8 m /
5.91 ft (1.5 m for the Apo version), Diaphragm setting /type - 8-blade,
Angle of view diagonal - 14 degrees, Filter type - SER 8, Accessories
- Filter-ring: 14264, Weight - 450 g (520 g for the Apo version),
Inscriptions - LEITZ ELMARIT-R 1:2.8/180 2XXXXXX, LEITZ APOELMARIT-R 1:2.8/180 3XXXXXX. Est. $400 ~ $800 FHWAC# 25875
192
Lot # 3051 Leitz Wetzlar Elmarit-R 135mm f 2.8 Leitz Wetzlar
Elmarit-R 135mm f 2.8 Serial Number: 2305426
Leica Elmarit-R 135mm f/2.8 is one of the first manual focus
lenses in Leica’s reflex lens lineup. First designed in 1964, the lens
went through a redesign in 1976, but was eventually discontinued in
1998. The first version of the lens was available with Series 7 filter
thread, while the later model was offered in both Series 7 as well as
E55 threads (the later model was manufactured in Canada). The lens is
commonly available on used markets like eBay, with good quality late
copies fetching ~US$250. The version tested in this review is an E55
model, serial number 2966817.
The optical construction of the lens consists of 5 elements
in 4 groups - nothing fancy here. The build quality is rock solid - the
lens feels and looks sturdy, thanks to the all metal barrel, aperture
and focus rings. Even the built-in lens hood is all metal. All that metal
obviously adds weight, and at 730g (1.6lb), Elmarit-R 135mm f/2.8
E55 is one of the heavier medium telephoto lenses. Fortunately, the
lens is pretty compact, measuring 67 x 93mm (2.6 x 3.66in), although
the barrel extends by a centimeter or so when focusing towards the
closeup. The focus ring is pretty smooth to operate and the aperture
is snappy - expected quality from a Leica branded lens. The minimum
supported aperture is f/22 (the aperture ring moves in half f-stop
increments) and the minimum focusing distance is 1.5m (4.9ft). The
lens accepts 55mm screw in filters.
Product Description: Telephoto lens for the Leica R series
Leica Order No. - 11 211 LLC - 184, Production era - 1968-1998 <
50,800 lenses, Variants - ROM conversion versions, this item is 3 CAM,
not ROM, Number of lenses /groups - 5 / 4, F stop range - f/2.8-f/22,
Closest focusing distance - 1.5 m / 4.92 ft, Smallest object field - 220
x 330 mm, Angle of view diagonal - 18 degrees, Filter type - E55,
Accessories - ELPRO close focusing attachment type 4; Cap 14289,
14089 or 14809. Dimensions length x diameter - 93 x 67 mm /3.66
x 2.6 in, Weight - 730 g /1.23 lb, Inscriptions - ELMARIT-R 1:2.8/135
LEITZ CANADA 2XXXXXX, ELMARIT-R 1:2.8/135 LEITZ WETZLAR
2XXXXXX, ELMARIT-R 1:2.8/135 E 55 3XXXXXX LEICA, Designer Walter Mandler. From the collection of Don Dondero. Est. $750 ~
$1,000 FHWAC# 25876
Cameras
Lot # 3052 Oskar Barnack Centenary Camera
- 24 carat gold plated, lizard skin, R3 Gold
Commerative Body with 50mm Summilus-R
Gold F 1.4 lens Oskar Barnack Centenary Camera - 24 carat
gold plated, lizard skin, R3 Gold Commerative Body with 50mm
Summilus-R Gold F 1.4 lens
In 1979, 1000 set of R3 gold-plated were made to commemorate the
100th Birthday of Oskar Barnack. The body covering is black lizard
skin, with Oskar Barnack’s signature on the top plate. Special number
of this set is 100-037. Body serial number is: 1524767 This set comes
with a matching gold-plated Summilux-R 1.4/50mm lens (#2952525).
This set also comes with papers, box, body cap, both lens caps and
strap. In mint condition with light use and wears.
The camera plated with 24 carat gold and covered with precious
lizard skin, engraved with facsimile Oskar Barnack‘s signature at the
back, as well as “1879-1979”. It comes with wooden box, lens box, both
lens caps, body cap, and strap. In mint- condition. From the collection
of Don Dondero. Est. $3,500 ~ $4,500 FHWAC# 25877
Lot # 3053 Leica M5 Camera
Body (Black) Leica
M5 Camera Body
(Black) Serial
Number: 1353567.
It cannot be overemphasized what
a technological
triumph the M5’s
TTL metering was in
1971. The M5 was
the first rangefinder
with TTL metering,
and an excellent
metering system
it was. SLRs had
TTL metering since the Topcon Super D in 1963. The Nikon SPX
rangefinder prototype from about 1962 had TTL metering, but it never
made it to production. For its time the M5’s meter was among the
most light sensitive made.
The M5 appeared in 1971, nineteen years after the M3’s
introduction. Translation: 19 years of thinking about how to improve
the M3. The majority of new Leica buyers -- well off hobbyists -preferred the feel of the classic M3 type body. However the shooters
-- the guys who made their living shooting Leicas -- mostly preferred
the M5. The proof of that is the majority of M5’s show proportionately
far more wear than any other M camera, except the digital M’s which
are again extremely popular with shooters.
Product Description: Model M5 3 Lug, Overview: The first
Leica M to have built-in meter. 3 Lug refers to the strap connection on
the body, Body Type: Rangefinder, Material: Metal, Black, Viewfinder
Frames: Optical with 50, 90, 135mm frames, Compatible Lenses:
Leica M, Leica Screw Mount with optional adapter, Shutter Speeds:
1/2 to 1/1000th, 30 sec in Bulb, Flash Sync: 1/50th s., Type Flash
Connection: x/m standard, Film Advance: Manual, Motor Capable:
No, Meter: Internal CDS spot meter, used PX 625 battery. ISO from 5
to 3200. Dimensions: 6.1 x 3.3 x 1.4 inches, Weight: 24.69 oz. Years
available new: 1971-1975, Country of Origin: Germany. From the
Lot # 3054 Leica
M5 Camera Body
(Black) Leica M5
Camera Body (Black)
Serial Number:
1357407. It cannot
be over-emphasized
what a technological
triumph the M5’s
TTL metering was in
1971. The M5 was the
first rangefinder with
TTL metering, and an
excellent metering
system it was. SLRs
had TTL metering
since the Topcon
Super D in 1963. The Nikon SPX rangefinder prototype from about
1962 had TTL metering, but it never made it to production. For its
time the M5’s meter was among the most light sensitive made.
The M5 appeared in 1971, nineteen years after the M3’s
introduction. Translation: 19 years of thinking about how to improve
the M3. The majority of new Leica buyers -- well off hobbyists -preferred the feel of the classic M3 type body. However the shooters
-- the guys who made their living shooting Leicas -- mostly preferred
the M5. The proof of that is the majority of M5’s show proportionately
far more wear than any other M camera, except the digital M’s which
are again extremely popular with shooters.
Product Description: Model M5 3 Lug, Overview: The first
Leica M to have built-in meter. 3 Lug refers to the strap connection on
the body, Body Type: Rangefinder, Material: Metal, Black, Viewfinder
Frames: Optical with 50, 90, 135mm frames, Compatible Lenses:
Leica M, Leica Screw Mount with optional adapter, Shutter Speeds:
1/2 to 1/1000th, 30 sec in Bulb, Flash Sync: 1/50th s., Type Flash
Connection: x/m standard, Film Advance: Manual, Motor Capable:
No, Meter: Internal CDS spot meter, used PX 625 battery. ISO from 5
to 3200. Dimensions: 6.1 x 3.3 x 1.4 inches, Weight: 24.69 oz. Years
available new: 1971-1975. Country of Origin: Germany. From the
193
Cameras
Lot # 3055 Leitz
Canada Summilux
35mm f 1.4 Leitz
Canada Summilux
35mm f 1.4 with
original box. This
LEICA SUMMILUX
35mm f/1.4 was the
world’s fastest ultraspeed wide-angle lens
at its introduction in
1960.
This 35mm
SUMMILUX is
the lightest Leica
35mm lens I’ve ever
measured. This is
because this lens
is mostly air and
aluminum, with small,
thin glass elements.
Today’s lenses use
a lot more glass, while other older, slower 35mm lenses use more
brass instead of aluminum. Not only is it tiny and the world’s first
ultra-speed wide-angle lens, it is still the world’s smallest professional
f/1.4 lens of any focal length. This classic 35mm SUMMILUX remains
popular today due to its tiny size, ultra-high speed and complete
freedom from geometric distortion and viewfinder blockage. 19671995: Black, Series VII in 12 504 hood (serial number 2,166,701 and
up) In this version, the front was the usual 42mm (A42) external
diameter, but had no filter thread.
To use filters, you had to use the 12 504 hood. The 12 504 hood could
hold Series VII (S7) filters. From the collection of Don Dondero. Est. $1,500 ~ $2,500 FHWAC# 25880
Lot # 3057 Leitz Canada
135mm Elmarit
f 2.8 Leitz
Canada 135mm
Elmarit f 2.8
Serial Number
2223787. During
several decades
now, Leitz / Leica
have introduced
a wide selection
of 135mm lenses
for their rangefinder cameras, with various formulations and names:
Hektor, Elmar, Elmarit, Tele Elmar and, at last, Apo - Telyt. Some
designs have four elements, as the Hektor and the Elmar versions,
the later releases support a five elements construction. The lens in
question here was introduced in 1963, and it’s design is identical
with the early type of the similar lens for the Leicaflex. It was built
by Leitz Canada and had a special view and rangefinder attachment
that improves focusing and framing accuracy. Image size is thereby
increased by a factor of 1.4. Besides, the use of these “goggles” or
“spectacles”, allows the use of this lens with the Leica M2 camera
model: the finder magnifies the 90mm frame to correct field of view
for the 135mm (the Leica M2 finder does not show the markings for
this focal length). The lens mount is non rotating and has a socket for
tripod use. Minimal focusing distance is 1,5m or 5”. Minimum aperture
is f 32. The diaphragm has full and half stops, and the lens hood is
built in and collapses over the lens front. From the collection of Don
Dondero. Est. $600 ~ $1,000 FHWAC# 25882
Lot # 3056 Leitz Canada
90mm TeleElmarit f 2.8 Leitz Canada
90mm TeleElmarit f 2.8 with
original box. Serial
Number 2586747.
This LEICA
TELE-ELMARIT
90mm f/2.8 was
the compact
alternative to
LEICA’s popular
LEICA ELMARIT
90mm f/2.8 (19581974). Originally
pitched by Leica as the “long-focus dwarf”, it was sold to allow the
90mm lens to fit on your camera inside an ordinary never-ready case.
It sold for the same price as the full-size ELMARIT. LEICA cautioned
that performance was intended more for casual shooting. however
comparisons on the LEICA M9 show surprisingly that this tele clearly
outperforms the larger ELMARIT. The “TELE” refers to the formal
definition of a true telephoto design, where the lens is shorter than the
actual focal length. The 90mm ELMARIT is as long as its focal length,
while this TELE-ELMARIT is shorter. Compatibility: The LEICA 90mm
f/2.8 TELE-ELMARIT works perfectly on every LEICA M camera, from
the LEICA M3 of 1954, Minolta’s CLE, and of course today’s LEICA M7,
LEICA MP and LEICA M9. From the collection of Don Dondero. Est. $600 ~ $1,200 FHWAC# 25881
194
Lot # 3058 Leitz Canada Noctilux 50mm f 1.0 Leitz Canada
Noctilux 50mm f 1.0 Serial Number 2750260 with original box. The
Leica Noctilux 50mm f/1 has long been considered one of the greatest
lenses ever created, by any manufacturer. Its optical fingerprint is
inimitable, distinctive, and incredibly well love by photographers
worldwide. As its name suggests (Noctilux means “light of the night”
[from Latin nocturnus ‘of the night’ and ‘lux’ light], its performance in
low light situations is simply amazing, unmatched by any other lens on
the market. Its price tag is easily outshined by its photographic results,
it opens up a whole new world of photographic opportunities.
The Noctilux has been in continuous production since 1966.
Its manufacture process has always been difficult and costly thus
its production numbers are comparatively low. Also contributing to
its low production numbers, is its cost. The Notilux has always an
expensive lens, so only the most affluent photographers had the means
to foot such a bill. The Noctilux underwent several variations over the
Cameras
years, yet 3 main categories exist: Noctilux 50mm f/1.2: available from
1966-1975. Noctilux 50mm f/1: available from 1975-2008, 4 slight
variations of design are within this era, yet all are optically identical.
Noctilux 50mm f/.95 ASPH: 2008-current
This auction is for the 2nd version Noctilux 50mm f/1
available new in the late 1970’s with 12519 hood and E58 filter
mount. It was a re-design of the original Helmut Marx 1.2 version by
Walter Mandler . By using the famous Leitz 900430 glass, Dr. Mandler
was able to add a half stop to the maximum aperture and to create a
lens with perfectly spherical surfaces for all elements. Of course, the
results were amazing, giving this lens the highest degree of praise
from just about every photography publication, reviewer, and most
importantly professional photographer, the world over. The Leica
Noctilux 50mm f/1 is truly one of the greatest accomplishments in the
photographic world, you’re only regret will be that you didn’t own one
sooner!
Production Period 1975-1978, Code 11821, Focal Length
50mm, Angle of view 45°, Number of elements 7 (6 components),
Filter size E58, Internal thread M 58 x 0.75, Minimum Aperture
f/16, Maximum Aperture f/1, Focusing range infinity to 1 m (40 in),
Smallest object field 41 0 x 620 mm, (11 x 16.4 in approx.) (about
1:17), Weight 580g (1.28 lbs), Dimensions Length from bayonet
flange: 62 mm, Diameter: 69 mm, Box Dimensions 6 3/4” Long x 4”
W x 4”, Original Box & Lens Weight 2 lbs . From the collection of Don
Dondero. Est. $4,000 ~ $6,000 FHWAC# 25883
Lot # 3060 Taylor & Hobson
2in f2 Cooke Amotal Anastigmat
Lens for Leica Screw Mount Taylor
& Hobson 2in f2 Cooke Amotal
Anastigmat Lens for Leica Screw
Mount. Serial Number 300287. This
Leica fitting Lens is in mint condition.
Made by Taylor Taylor Hobson LTD
England. Fully working. Optics are
fungus free. Focus is Smooth . Leica
Screw Fit. From the collection of
Don Dondero. Est. $900 ~ $1,400
FHWAC# 25885
Lot # 3059 Leica IIIg
Camera Body Leica IIIg Camera
Body Serial
Number 877605.
Introduced in
1957, three years
after Leica’s first
bayonet-mount
camera the M3,
the IIIG was to
be the final chapter in screw-mount bodies. It was, however, the first
screwmount to have the shutter speeds progress geometrically which
greatly facilitated exposure calculation. Although over 39,000 were
made during its 10 year production, only 13 were issued in the last
seven years of that run.
Model: Leica IIIG, Body Type: Rangefinder , Material:
Metal, leather cover, Viewfinder Frames: 50mm and 90mm, Preview:
No, Compatible Lenses: 39mm screwmount, Shutter Speeds: 1 sec
to 1/1000th sec, Flash Sync: 1/50th sec, Flash Connection Type:
terminal, Motor Capable: No, Meter: None, Dimension: 5.35 x 2.75 x
1.25 inches, Weight: .7 lb, Years Produced: 1957, Country of Origin:
German. The screw-mount LEICA IIIf is significantly smaller and
lighter than any Leica M camera.
The LEICA IIIg is often quieter than LEICA M cameras, so
in other words, it does what they do best, but even better. It is many
times quieter than the noisy digital LEICA M9. The IIIg weighs only
two-thirds as much as a typical LEICA M. It weighs only half as much
as most DSLRs, and less than one-third what a pro DSLR weighs, and
delivers better image quality. It is the same shape as LEICA M cameras,
but is it slightly smaller in every dimension. LEICA M cameras are
bigger than screw-mount cameras, and digital M cameras have
gotten even slightly bigger. The LEICA IIIg is an excellent sixty-year
old camera. It sold for the equivalent of $3,500 in its day. Facts, like
“1/1,000 second shutter speed” or “longer rangefinder base length,”
are facts, but subjective observations, like “easy to use” must be taken
from your own point of view. From the collection of Don Dondero. Est. $900 ~ $1,200 FHWAC# 25884
Lot # 3061 Leitz 5cm Rigid Summicron f 2 Lens Leitz 5cm
Summicron f 2 Serial Number 1598700. This listing is for a chrome
Leica 5cm f2 Rigid Summicron manual focus screw mount lens in mint
condition.
The rigid Summicron represents as great a milestone in lens
design as does the collapsible Summicron. The collapsible Summicron
becomes somewhat lack-luster at apertures larger than f/4. The
rigid Summicron, on the other hand, is fully usable at it’s maximum
aperture. Images taken at f/2, even in the close-up range, are stunning
in sharpness and contrast. The f/2 aperture finally became a true
working aperture, not a low light emergency back-up. The rigid design
also re-established the Summicron as the best normal lens available.
Lenses of f/2 and f/1.4 from the Japanese competition noticeably
surpassed the collapsible Summicron in the center of the image field—
as for that matter did the Summitar, though over a very small angle
only. This 50 year old design is still among the very best! From the
collection of Don Dondero. Est. $1,250 ~ $2,500 FHWAC# 25886
Please
Go to FHWAC.com for link
to photo
5cm Viewfinder Leitz
Wetzlar 5cm Viewfinder in
Mint Condition. From the
195
Cameras
35mm Summaron
f 2.8 Leitz Wetzlar
35mm Summaron
f 2.8 Leica Screw
Mount Serial
Number 1949763.
Mint condition!
The Leitz Wetzlar
Summaron 35 mm
f/ 2.8 is a wideangle prime lens for
35 mm Leica M and
LSM rangefinder
cameras. Leica
Order No. - SIMOO
screw-lens; SIMOM 11306 M-version; SIMWO 11106 M3 version with
“specs” and caps LLC - 151. Production era - 1958-1963 - 5,289 screw
lenses; 1958-1974 - 30,400 bayonet lenses. Lens mount - Leica Screw.
F stop range - f/2.8-f/22. Smallest object field - 430 x 640 mm - 390
x 590 mm (M3). Diaphragm setting /type - Click stop 10-blade. Angle
of view diagonal - 64 degrees, Filter type - A36, Accessories - Hood:
IROOA 12571, 12585, 12526, 12538, Materials - Chrome plated brass,
Dimensions (length x diameter) - 29 x 51 mm / 1.14 x 2.01 in, Weight 210 g / 7.41 oz. From the collection of Don Dondero. Est. $900 ~ $1,200 FHWAC# 25888
35mm viewfinder Leitz Wetzlar
35mm viewfinder in Mint Condition.
From the collection of Don Dondero.
Est. $200 ~ $300 FHWAC# 25889
21mm viewfinder Leitz
Wetzlar 21mm viewfinder in
Mint Condition with Original
Box. From the collection of
Don Dondero. Check out
the major part of Dondero’s
collection, available at
auction, at: www.fhwac.com
Est. $250 ~ $350 FHWAC# 25890
These are unpaid ads: we support them, and they support us.
ARTISTS CO-OP GALLERY RENO
627 Mill Street Reno, NV 89502 775-322-8896
BE ORIGINAL - BUY ORIGINAL
Est. in 1966, ACR is a true co-operative gallery with
receptions held on the 1st Sunday of each month.
Original artwork by members and local artistisans
including potters, basketmakers, jewerly designers,
woodworkers and more are featured daily.
Open 7 Days a week 11am to 4 pm
CHECKING THAT COMES
WITH THE SERVICES AND
FEATURES YOU WANT.
We have more than 700 Retail and
commercial offices to serve you.
Contact Us
Phone
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196

Cameras - Holabird Americana

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