I entered photography in the 1970’s while living in South Africa. Just a teen, I was lucky to receive as my first camera an old Exa (version 4, manufactured between 1956 and 1959) that my father had outgrown.
It came with a 50mm lens, extension tubes and a hand-held light meter. This was the camera my father had used to document the family since the early 1960’s.
Unfortunately, my allowance was meager and I could not buy a lot of 35mm film, so I gained only a little experience with this camera: most importantly, it taught me the basic principles of exposure. It was auto-nothing: no auto-aperture, no auto-mirror return, no auto-exposure, no auto-advance…just a fully manual mechanical SLR with a vertical viewfinder.
Working with the hand-held light meter and having to twiddle all the knobs, rings, and dials to get the settings right, it soon taught me the essentials of exposure. Later, I was also given the oddball Zeiss Ikon ‘Movikon 8‘, a clockwork 8mm manual movie camera, that helped cement my understanding of exposure.
The Exa was the budget line of the Exakta series of cameras, made by Ihagee Kamerawerk Steenbergen & Co, Dresden, Germany. Even as a budget version, it was well made, a solid camera strong enough to defend yourself with. It had a few quirks, even for its day, but if all you have experienced is digital SLR’s, the following features should amaze you:
- It used 35mm film. (a long strip of plastic embedded with light-sensitive chemicals)
- It had interchangeable viewfinders, although we had only the hooded vertical finder (as above), so…
- …the image was reversed, side to side, when viewed.
- There was a ‘Sport’ finder, just a rectangular hole in the hood, that allowed for quick, if not accurate framing.
- You could replace the viewfinder with the ‘Special Prism’ , a pentaprism like on today’s DSLRs.
- The shutter was a function of the reflex mirror, not independent.
- Shutter speed range was immense: B, 1/25, 1/50, 1/100, 1/150 (that’s it!)
- The shutter release was on the front, on the left-side of the lens. If you pressed the button where today’s shutter release sits, you would have activated the film rewind.
The lens was likely either an early version of the 50mm f2.8 Carl Zeiss Jena Tessar lens, a four-element lens that came with either coated or uncoated glass, or the three-element 50mm f2.9 Meyer-Optik Görlitz Trioplan. (I can’t quite make it out from the few pictures we have)
I photographed everything I could then, mostly family outings and nature, within the limits of my budget. That Exacta was left behind in South Africa in 1977 when my father commandeered it and traded it in for the latest technology, the Olympus OM2. For a few years, my only camera was the Movikon, which I used for animations and family movies, and even for still photographs. Go figure.
Back in Canada, sometime around 1980, my father tired of the OM2, which he thought too small for his hands. He moved to the heftier Canon A1, and I, in turn, inherited the Olympus. That was a camera designed for macro…but that’s another story.
*Previously published at Splendour Awaits.