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Ensign Selfix 820 and Commando
This nice pair of British Ensign folders from the immediate post-WW2 era came as a package deal, being part of the estate of a recently-deceased collector here in Perth. I'm actually starting to feel a bit guilty about this sort of thing, it being the second nice outfit of gear I've acquired in similar circumstances over the last few weeks from widows who clearly had no sentimental attachments to their late hubby's stuff.. Why? Well, have you ever thought about those lines from that classic poem 'Ask Not For Whom The Bell Tolls' ......
Such introspectional morbid aspects aside, this outfit comprises firstly a Selfix 820 dual-format 6 X 9/6 X 6 cm 120/620 folder, with the very sharp and fast F3.8 Ross Xpres 4-element coated lens and Epsilon 8-speed leaf shutter with speeds of B, T and 1 - 1/ 250 sec. It only has scale focussing but at least the entire lens moves, rather than the front element alone. The 2-piece spring-out optical Albada-type viewfinder is one of the clearest and biggest you could desire, with oversize framing showing both format sizes clearly. I already have a couple of these Selfix 820s, but not in such fine condition as this example. I'm also a sucker for collecting original bits and bobs, so a Genuine Bedouine Selfix 820 box like the one top left was a nice additional touch, not to mention the 1952 'Selfix Guide' book from Focal Press of London and New York. Shame an original Selfix 820 IB wasn't there too, though.
However, that cylindrical can of Ensign Panchromatic EFP20, still with a film in it waiting for development BTW, kind of made up for the lack of an IB. However, with a 'Develop Before Feb 1951' advice on the can, I don't think I'll bother to try and find which camera was used because it would have certainly been the Selfix 820 rather than the Commando, via the visible ends of the spool reading 'Kodak 620' . (How so, Holmes? Well, Dr Watson - the Selfix could use either 120 or 620 film thanks to cunningly designed tapered male prongs that fit into the ends of the film reel, but the Commando only accepts 120 film.)
The other camera is an Ensign Commando dual format 6 X 6/6 X 4.5 cm 120 folder, with an unusual CRF setup where the focussing is achieved by the film plane moving back and forth rather than the lens. AFAIK, only Mamiya in Japan used a similar system for their Mamiya Six. I already have three variants of these Commandos, but I was attracted here to the additional fruit of the original IB and leather ERC - made in New South Wales by 'A.L. Waddington And Son', by the way, indicating this was an Oz market model, not one brought out here by a British migrant family like my other Commandos..
This is a clever camera but would have been very expensive to make, what with all those gears and the additional CRF plumbing. Because of the CRF aspect, the integral viewfinder is considerably smaller than the Selfix's external 2-piecer, but it's still quite adequate for the job unless you wear spectacles. Astute viewers will notice that the Commando has an accessory shoe on the topcover directly above the VF, although it's not synch'd for flash. So what was it for then, you ask? Well, apparently Ensign sold a close-up gizmo kit which fitted in that shoe, incorporating an optical corrector which went in front of the VF, plus a separate dioptre which slipped over the Ensar lens.
The matter of VF masking to change from 6 X 6 to 6 X 4.5 cm format is achieved via that slotted gizmo between the VF and CRF windows in the central housing of the topcover, with a hinged flap doing the deed internally to reduce the negative size.
All that internal gearing for the film-plane CRF focussing setup does give the camera a very 'clean' appearance though, compared to some other CRF setups such as Zeiss Super Ikontas with their strange arms. . The Commando was reputedly based on a former WW2 military design carried forward to peace-time production with a bit of cosmetic upgrading, after the guns had stopped firing and bombs dropping, hence the military nametag.
The Commando is very solidly constructed and cost a relative fortune in its day, with not much change coming out of 50 quid when it hit the streets in 1946. However, you only got an uncoated F3.5 75mm Ensar triplet lens and an Epsilon leaf shutter with B, T and 8 speeds from 1 - 1/200 sec. Sorry, no self-timer either, squire.
The Commando was dropped from the Ensign range of folders around 1949 when the new 'Selfix' range appeared, firstly with the Selfix 820 which appeared in mid 1949 (July according to the date in my photocopy of the IB) and shortly thereafter the Selfix 12-20 and 16-20. By then, the Ensign stable took in the highly respected optical company Ross Ltd - so Clapham Common stuff could look the likes of Zeiss and Voigtlander squarely in the eye from an optical viewpoint, with their well-respected Xpres 4-element lens on offer.
However, those Epsilo
AGFA Record 111, With f4.5 Apotar and Prontor SV
AGFA of Munich made a long series of fine 6 X 9 CM folders, going right back to their 'Standard' cameras of the post-Rietzschel days of the mid-20s, followed by all manner of Billy's and Speedexes, etc, before the Final Recording. So, the 'Record' series were their last swansong, made in one form or another from 1952 to 58 when the Fat Lady of Folders Finally Sang as customers increasingly favoured smaller format cameras.
As with the 6 X 6 cm Isolettes, the Records were made in 1, 11, or 111 guise - the '111' models having the top specs, including an uncoupled rangefinder. However, unlike the TOR AGFA Super Isolette, there unfortunately never was a 'Super Record' with CRF to rival the Zeiss Super Ikonta C and Voigtlander Bessa 11.
There were two versions of the Record 111. Mine is a lesser but still very capable 'Type 1470/315', meaning it has an f4.5 105 mm 3-element Apotar lens and Prontor SV 8-speed shutter with s/timer, compared to the '1470/313' TOR version with f4.5 4-element Solinar and Synchro Compur. However, a lot of informed folks reckon these 3-element longer FL Apotar versions of the original Cooke Triplet 1890s design are about the best you can find anywhere, so stand aside, Novars, Radionars, Tri-Lausars and Ensars! Both versions of the Record 111 are relatively rare, with McK's valuing them accordingly at US$130 - $175.
I've no idea of the original purchase price of a Record 111 wherever it was actually sold, so if anybody knows - please comment accordingly. I'm 100% positive that the Record 111 wasn't sold in Britain and maybe 99% about here in Australia, although I do know that lesser-spec'd Record 1's were sold in the UK courtesy of perusing various BJPA ads.. So how did I get my mitts on it? Well, it's a similar story to the Ferrania Falco S - ie, it came via a migrant family from Europe moving 'Down Under'' in the 50s. I didn't have to be some kind of Sherlock Holmes to work this out - the name and address of the original owner in the Netherlands were inscribed indelibly inside the top flap of the leather case!
It's a delightful camera to use, weighing in at just 700 gms and with nice features such as automatic double-exposure prevention and remote top-cover shutter release. Film count is via the traditional ruby window, with a clever self-closing sprung flap to stop the sun getting to your film should you forget. The VF is integral with the U/C RF in the top cover, and is of a reasonable size, with the circular central RF image nice and contrasty. LIke The Falco S, it is only of 6 X 9 cm format but I guess the RF plumbing would likely have made dual-format a more difficult exercise.
However - that's the Good News Bit - now for the Bad News! This camera is not only called a 'Record', but it also must hold some sort of other Guinness Book Of Records-Type claim to fame in that it had the worst case of the Dreaded AGFA Green Grease Gummitis I've ever seen! The usual problem with veteran AGFAs is just that the focussing control is either stiff or stuck, but this one must have remained in its original leather case from the day its Dutch owners arrived in Oz way back, with that Bayer green grease gradually hardening day by day as our hot summers went into cold and wet winters.
So all those things that should normally move freely on a Record 111, just didn't. The whole bunch of controls like lens aperture, shutter speed, focuss, U/C RF were all stuck solid. Even the strut hinges put up a fight to get the damn thing opened up! Luckily, I'd just bought a new can of CRC Electronic Aerosol Cleaner, so at least half its contents went over the next couple of days, along with several cans of beer for me, in getting all those frozen controls freed up. The worst was the U/C RF control in the top cover - that took AGES to free up, but finally I got there. The usual small squirts of synthetic lube followed, to keep things moving. It still works just fine, BTW - and no - I don't have shares in the CRC Corp - but credit where it's due, eh?
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