I spent years resisting adding Kodaks to my collection for the simple reason that Kodak produced far too many cameras. Well, I bought one (Retina 1a (type 015)) and now I have four. This latest Kodak is a derivation of that Retina 1a and my Retinette (type 017) but is now a rigid camera rather than a folder.
- lens: Rodenstock Reomar
- focal length: 45 mm
- apertures: ƒ/2.8 to ƒ/22
- focus range: 3.5 feet to infinity
- lens fitting: fixed
- shutter: Pronto LK
- speeds: 1/15 to 1/500 + B
- flash: PC socket
- film size: 35mm
So, this Retinette 1B, or Type 037, is a nicely made viewfinder camera made in Germany by Kodak AG, the company that Kodak bought from Dr Nagel in 1931. The camera was made between 1960 and 1963. It has a couple of features that I have never seen on a camera before – more later. In 1963, Wallace Heaton (a photographic retailer in London) had these for sale for £31-10-8.
The camera measures 125 by 90 by 85 mm and weighs 530g. The top plate is made from bright plated brass. On the far right is the frame counter. This is a German camera and the counter counts down. It is reset manually by a toothed wheel below the counter. Every fifth number is displayed in white, the resting white dots. To the left of the frame counter and at the front of the top plate is the shutter release button. This is also plated metal and is threaded for a standard cable release.
The middle of the top plate has the camera name in Italic script – Retinette IB. Left of this is the accessory shoe. – a cold shoe. On the far left is the rewind knob. This pulls up to enable the insertion or removal of film cassettes. This rewind knob doubles as a film type reminder. The options are: colour daylight, colour artificial light and monochrome. This is just a memo and has no effect on the operation of the camera.
On the back of the top plate is the viewfinder eyepiece which is nearly central. The eyepiece is contained in an 8 mm circle and measures 8 by 6 mm. Small by modern standards but significantly larger than was usual in the early 1950s. Inside the viewfinder is the image screen. This has bright lines to indicate the image area with parallax indicators for close-ups. At the bottom of the bright lines is the light meter readout. This works by adjusting the shutter speed and aperture to centre the needle.
The front of the top plate has three windows. On the left (looking at the front of the camera) is the light meter sensor window. This is a selenium sensor and so does not need a battery. The selenium sensor is covered with the usual knobbly glass lens. Looking through this at the sensor, you can read the legend “GOSSEN” indicating that the light meter assembly was made by the renown German meter maker, Gossen (who are still in business in 2020).
The middle window of the three is the viewfinder window which is almost (but not quite) central over the lens. The right hand window is opaque except for a transparent line around the edge – this provides the illumination for the bright lines in the viewfinder.
At the front of the camera, below the top plate, is the shutter/lens assembly. This is mounted on a curved fascia. The shutter is a Pronto LK (and not a Prontor LK as the Interweb will have it) made by Gautier in Calmbach, Germany. the ‘LK’ indicates that the shutter is coupled to a light meter. The LK is short for the German Lichtgekoppelt which means light coupled.
The shutter offers speeds from 1/15 to 1/500 seconds plus B. These are set using the outermost milled ring on the assembly. Apertures are from ƒ/2.8 to ƒ/22 which is a good range. The iris diaphragm gives a pentagonal aperture. The aperture is adjusted using a black plastic tab on the left side of the shutter barrel. There actual aperture scale is quite a way around on the right side of the shutter barrel, inconveniently for ease of use.
Also on the shutter assembly is the film speed setting for the light meter. There are two scales for this. The first, on the right of the shutter barrel, offers film speeds from 10 to 800 ASA (broadly the same as ISO speeds). The second scale is very unusual. It has the British Standard scale – marked BS – which is the first time I have ever seen this on a light meter. The principle of the BS film speed is the same as for ASA (partial gradients of the log exposure/intensity curve) but the numbers are expressed on a logarithm scale. So the values here are 22 BS to 40 BS. An increase of 3 doubles the speed. So, 200 ASA is 34 BS and 400 ASA is 37 BS. This is very similar to the German DIN speeds with 10 added (24 DIN = 34 BS). To adjust these settings, you need to pass a small metal tab beside the 500 shutter speed and turn the speed setting ring.
The lens is a Rodenstock Reomar with a focal length of 45 mm and a maximum aperture of ƒ/2.8. All the Retinette cameras seem to have been fitted with Reomar lenses but most of them were made by Schneider-Kreuznach rather than Rodenstock. Obviously, by 1960, the lens is coated and almost certainly on all surfaces. The Reomar lens is a triplet.
Focusing is the second thing I have never seen before. The lens appears to front cell focusing (only the front piece of glass moves to focus the lens, the other two pieces staying still). The strange thing is that the focus helical does not move smoothly. There are indents at just over six feet, ten feet and about thirty feet. These are coupled with distances in black (the other distances are in red). So, when you focus to the first indent at six feet, there are two black pointers pointing at 5.3 and 8 feet – this is the depth of field at this distance and ƒ/4 (I got the aperture value from the instruction manual). Moving the focus to the second indent at ten feet, the two pointers point to eight and fifteen feet. Moving to the last indent, thirtyish feet, the pointers point to fifteen feet and infinity – this is the hyperfocal distance at ƒ/4.
The base of the camera has three items. On the far left is a tripod socket. This is a 1/4 inch Whitworth (possible UNC) thread. Having this at the far end of the camera is not ideal for stability. At the far right is, surprisingly, the film advance lever. At this time (1960ish) there was a bit of a fashion for film advance levers on the base. Initially, this is rather awkward to use but quickly becomes easier with practise. This film advance lever is black plastic as is the tripod socket. Nestling in the crook of the lever is a chrome button. this is the film rewind button. Pressing this in frees the internal mechanism which in turn allows the sprocket shaft to rotate backwards. Once this button is pressed in there is no need to hold it in, unlike the majority of other cameras.
Right by the tripod socket is a small chrome button. Pressing this releases the catch for the back. Inside is pretty much standard for a 35mm viewfinder camera. Inside the door is a red sticker stating that the camera was serviced by Kodak in 1964. As this is a German camera, not Japanese, there are no foam light seals to wear out. Light tightness is achieved by overlapping flanges on the door and body.