Derek Leath
dl__images Instagram
Here are a few more images of one of the 11si models. This one has the black crinkle paint finish and is a tidy example in good working condition. The macro version of the Kern 50mm Switar (the later f/1.9 Macro-Switar is seen here) can rotate its focus ring approximately 2 & 2/3 turns from infinity to closest focus. As seen in some of the images it can still rotate a bit further towards the closest setting: it's not quite at minimum distance in these shots.
The depth of field indicator system may well be unique to these lenses? As the f stop is selected, small brass or copper strips progressively appear, or disappear, beneath a series of small holes drilled through the lens barrel to indicate the current aperture. You can see the two gold-coloured indicators for the maximum f/1.9 opening that is selected, clearly visible in the fifth image, as opposed to the adjacent holes for the smaller apertures. From memory, I believe ALPA called this DOF scale "Visifocus".
It's very impressive to adjust the aperture ring and see the dots change colour as the f stop is decreased or increased, but I doubt it's really as usable as a conventional DOF scale. And, whilst I'm not easily frightened by working on fairly complex cameras or lenses, I do confess that, the complexity of the Visifocus scale, together with its exceptionally long travel helical, would make prospect of having to strip down a Macro-Switar fully, rather frightening!
The chrome rotating switch with black arrow visible at the end of the lug on the lens mount that houses the release plunger is an auto/manual aperture control. It's essential to set this if a self timer exposure is being made unless the lens is being shot wide open. Finger pressure on the release plunger is what actuates the stop down system, akin to some Exakta SLRs. But without a finger on the plunger, the timer will not close the aperture automatically at the moment of exposure, hence, it has to be manually locked down via the switch.
The chrome sliding release switch on the body near the body release may be set to lock the release system, in which case, depth of field and or light metering (it's a stop down metering system) can be checked simply by pushing the lens plunger down without fear of inadvertently firing the shutter in the process. It has three positions and can also be set to stop down and meter, before slight additional pressure will then trip the shutter.
If the Macro-Switar is used on an older ALPA body without a body release slider lock, rotating the lens aperture switch, as well as facilitating correct timer exposures, will also enable the depth of field to be checked without firing the shutter, if desired.
Many lenses made in the larger ALPA bayonet used from the 4 onwards have a clip system for fitting filters or lens hoods. Filters click into a groove at the front of the lens using a spring circlip on their rear mating flange as do lens caps. Lens hoods have a stronger clip that has to be depressed by thumb and finger to retract it out of the way before the mount will clear the lens. This makes it impossible for a hood to fall off accidentally as whilst it will rotate freely around the lens, it is positively locked into the groove and will not remove unless the clip is manually depressed. It's so simple and effective one wonders why more manufacturers didn't use it. Perhaps it cost more to make? As a bonus many lens hoods can be reversed onto the lens and clipped securely around the barrel for easier stowage and lens protection. See the final image of the 11si in its original packaging as a case in point.
Like certain Rollei 35 models no external battery hatch mars the appearance of the 11si. On the bottom of the body casting on the rewind side, a small sliding cover complete with sticker advising the original battery specification may be slid across to permit battery installation or replacement. It's visible in the image with the back removed from the body just to the left of the film gate.
Unusually for any camera that's not a Zeiss Ikon or an Exakta, the take up spool can actually be completely removed from the body if desired. It's not permanently installed into the body, as it's retained in place by a simple leaf spring underneath it. This may be gently extended enough to slide the spool out of engagement with its drive lugs in the socket at the top of the wind side housing. But why? Unlike a Contax or Exakta the ALPA design doesn't lend itself easily to cassette to cassette loading. Perhaps it facilitates the use of a bulk film magazine, or permits the leader to be attached to the spool prior to inserting the cassette? Certainly, I had no trouble loading the 11si with spool in its proper place though as a regular Contax shooter, juggling camera back and body whilst inserting leader and cassette comes easily. It is just the way ALPA made them. Personally I'm not inclined to criticise this peculiarity, because I will need to dismantle an ALPA 7 at some stage, and, it is certainly going to make it that much easier to dismantle that part of the camera, than a typical take up spool installation...
Harking back to 1960s design cues, a top deck light meter readout is included underneath the accessory shoe, of all places. The small lever at rear covers or exposes a little window inside which the three illuminated lights for "Under" (Red), "Correct" (Green), or "Over" (Yellow) visible within the main viewfinder are duplicated, in order to permit metering without the camera to one's eyea potentially very useful feature for tripod photographyparticularly for those of us with bad necks like myself, who finds hunching down to peer though a low eye level finder a real chore at the best of times.
All this is made foolproof by Alpa's innovative third meter cell, that is included specifically to detect any light entering via the viewfinder eyepiece, and subtract it from the total light received through the lens by the more conventional pair of cells mounted on the prism. So simple, and so effective. If only the camera also featured open aperture metering, as well! And, should you be wondering, here, if an 11si is a scandalously expensive (no 35mm camera of its time, was more expensive on the UK market than the 11si according to photographic author and former Alpa dealer, Ivor Matanle) and eccentric confection of sensational build quality, highly innovative, and downright archaic design featuresyou'd be absolutely right.
Near the rewind knob (which, incidentally, extends upwards and outwards on twin struts, to promote rapid rewinding) there is a small plate, typically finished in silver or gold, on which the letters "K.M." are immaculately engraved. These are the initials of the original owner of this Alpa 11si. Pignons would (at a price) make you an Alpa to your precise specificationseven to the extent of supplying non-standard format sizes such as extra-long film gate, or shorter than 36mm length or other variations. As late as the 1970s they were still prepared to (and did) manufacture long obsolete models such as the Alnea 7 first introduced in the early to mid 1950s on special request. Engraving the fortunate buyer's initials onto that small plate attached to the top of their flagship model was no doubt a reflection of the pride they took in making it as much as the owner's pride of having such a rare and exclusive model.
There are many more unusual details that make photography with an ALPA 11si no better or (perhaps) worse than with more prosaic cameras, but, without doubt, different, to almost any other make.
Cheers,
Brett
What a beautiful camera. Really is impressive.
Derek Leath
dl__images Instagram
Just picked up this 6b. I must have the Alpa bug.
Alpa 6b by
Derek Leath,
on Flickr
Alpa 6b
by
Derek Leath,
on Flickr
Alpa 6b by
Derek Leath, on Flickr
Alpa 6b by
Derek Leath,
on Flickr
Alpa 6b
by
Derek Leath,
on Flickr
Alpa 6b by
Derek Leath, on Flickr
Lovely! Congratulations Derek!
By the way, according to Lothar Thewes' transcription of the Pignons factory records in his book—your Alpa 6b was manufactured in 1959.
Derek Leath
dl__images Instagram
I guess that makes it a little older than me 
p.giannakis
Pan Giannakis
wow, what a beauty !
571514m3
Established
Alps magic...different...special...very expensive...complicated...
A camera shop owner in the town I grew up sold them and let me touch them. I did not then and still don’t ‘get’ them. Now they don’t age well.
Could you tell where and why they appeal?
They look kind of kooky, but so do Exa. I’d love to know what makes people giddy about them....
A camera shop owner in the town I grew up sold them and let me touch them. I did not then and still don’t ‘get’ them. Now they don’t age well.
Could you tell where and why they appeal?
They look kind of kooky, but so do Exa. I’d love to know what makes people giddy about them....
p.giannakis
Pan Giannakis
What makes you say that? I read about collectors who have used many of the iconic cameras and they only sings praise for the Alpas. Very reliable and exceptional optics. Ergonomics... so and so....
The later Alpas aren't that complicated internally. Except for the focus screen mounting system, which is crazy, and a total PITA. The shutter mechanism is one of the simplest double roller set ups you're likely to see. You do notice the hand built nature of them in some of the smaller details. The escapement star wheels, for instance, look to be hand crafted, the prettiest I've ever seen. I can't speak for the older models such as the Reflex and Prisma because I've never worked on them, but they are a different design altogether even down to the lens bayonet used.
Why Alpa?
I suppose one obvious response is "Why not?". Cameras are made for recording images. An Alpa is a camera. But different owners are likely to have their own reasons. Some of these may be emotive reasons. I'm not immune to those, but, I do consciously try to limit my cognitive dissonance and be objective (about my reasons for using any camera).
Objectively, then, why photograph with an Alpa (as distinct from collecting them).
Firstly, they were machined to particularly tight tolerances. I doubt any other 35mm maker would have approached the precision of their lens to film plane accuracy. Seriously. High resolution test negatives were made for each lens and camera supplied by Pignons. (To their credit the makers of the newer Capaul & Weber medium format models have continued this tradition of high precision, and pushed it even further.)
Secondly, the lenses were some of the very best if not the best available in their day. Not every lens—there were, admittedly, a few of the cheaper ones which were definitely so-so. Pignons did duplicate some of the options in certain focal lengths, presumably in an attempt to broaden the affordability of their system. But the best lenses—Eg the Kerns, and Kinoptiks—were superlative. Period magazines such as Pop Photography and Modern were, in some cases, unable to definitively ascertain the sharpness of certain optics—the 150mm Kinoptik Apochromat f/2.8 for instance, exceeded the maximum resolution their testing equipment was capable of measuring (80lp/m+). I never used that, but the 100mm Apochromat I tried with Acros 100, might just be the sharpest 35mm lens I've ever used. A combination of superlative optics, and extreme precision in location of the plane of their focus, meant that a well-operated Alpa could achieve standards of resolution from the 35mm format which would have been challenging to better with other equipment—even Leitz (which were rangefinder, anyway).
Lastly, I enjoy using mine, and I generally seem to make my best images with a camera I like. I'm not giddy about them, though. Perhaps it helps that I didn't actually pay cash for mine.
The arguments in favour of using Alpa equipment in 2022 may be rather different, of course. Newer lenses can surpass those older ones available for the 35mm Alpas. And yet, people use 1950s Leicas, Contaxes, Nikons and many other even older 35mm cameras. Why, then, should Alpa be any different?
In terms of ageing, 1950s or older models will in some cases need replacement curtains. Not always. Some 50s Alneas can have curtains that might just be serviceable—if they're still flexible enough, and haven't shrunk—certainly, light proof. Others can literally be in pieces, and I don't know why their condition varies from camera to camera.
With almost any classic horizontally running focal plane shutter, as they age and wear, it is usually the first curtain which slows. For years this used to puzzle me (not just with Alpas, fp shutters generally). Each curtain relies on a similar, if not identical spring to propel it across the gate. Why, then, is it always invariably, the first curtain which loses pace? The reason was of course blindingly obvious. It's the first curtain shaft doing all the heavy lifting for a shutter mechanism. It must power the release latches, rotate the timing gear. The second only has to sit and wait until it's un-latched.
Alpas do have a proclivity to tapering exposure at their slit speeds. Why they're so susceptible to this, I don't honestly know. Their active curtain shafts typically run on ball bearings, which must be good for minimising friction. And yet, the first curtains like to lose pace more than most other makers' shutters do. All I can suggest to guard against it is regular use. Forum member Chris hasn't had his 6 or 7 serviced for a few decades, but they still run well. Perhaps they just hate to sit?
Cheers,
Brett
Being fortunate enough to own a copy of Lothar Thewes' book with details of the annual serial number allocations, if forum members would like to know the year of manufacture of their Alpa(s), make a post to this thread, (no private messages, please) and I'll reference the details for them.
Cheers,
Brett
571514m3
Established
Such a very nice explanation of their appeal. I do appreciate equipment for its intrinsic qualities.
Thank you for this explanation and information!
Thank you for this explanation and information!
phofseth
Established
For anyone tempted to service their alpas, I would warn that the instruction books claim that ordinary oils will destroy the existing lubrication in the camera. No idea of the chemistry involved, but I presume Capaul&Weber (current owners of the brand) can provide advice.
p.
p.
Derek Leath
dl__images Instagram
Alpa7 by Derek Leath, on Flickr
itsonlyaparkinggarage by Derek Leath, on Flickr
StillPoint by Derek Leath, on FlickrA few images from my Alpa 7
Derek Leath
dl__images Instagram
phofseth
Established
Alpas do turn up on the market., and not just on "westlicht"/Leica- type auctions. Last sunday I walked through the large photo market at Hilversum outside of Amsterdam and there two of the tables had Alpas for sale, Since I already have a sufficient supply I was able to resist any temptation to even ask about the price.
p.
p.
Derek Leath
dl__images Instagram
Newest addition to my collection, 11el
IMG_2825 by Derek Leath, on Flickr
IMG_2773 by Derek Leath, on Flickr
IMG_2774 by Derek Leath, on Flickr
IMG_2825 by Derek Leath, on FlickrIMG_2773 by Derek Leath, on FlickrIMG_2774 by Derek Leath, on Flickragfa100
Well-known
Well I still have my 10D and 6C plus a 24mm f 3.5, the 40mm f 2.8 and my Kern Macro Switar 50mm f 1.9. I still use the Switar on my Sony A7s and A9 and few times I have pulled out the 24 but I really can't remember the last time I used the 40mm Makro Kilar. I may have to pull them all out and use them this weekend....
Derek Leath
dl__images Instagram
Newest Addition to the Alpa Collection. I have film in it now, hopefully photos soon.
IMG_4203 by Derek Leath, on Flickr
IMG_4204 by Derek Leath, on Flickr
IMG_4203 by Derek Leath, on FlickrIMG_4204 by Derek Leath, on Flickr
romualdo
Newbie
My Alpa 7 with 50 Kern-Switar finally back from Florida (I'm in Australia) - serviced (lens & body) shutter replacement & rangefinder alignment by 3R Camera (Radu Lesaru) - he came recommended to me via an Alpa afficonado/dealer (Franco Cornaggia) in Switzerland. He has the production sheets for many of the Alpa cameras - I was able to source a PDF of my camera's production details (see PDF image) & that it was indeed imported into Australia (Melbourne) in 1956, the year of my birth.
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