What a wonderful camera and history!

I have a couple of Zeiss Ikontas/Super Ikontas, and many other vintage cameras as well. The Contessa's shutter is quite reliable, except for the top speed, which I would also avoid using, as other have suggested.

If the shutter speeds "sound" right, it's probably unnecessary but any of the vintage camera repair shops recommended in this thread and others should be able to test the speeds and do a light cleaning and lubrication for under $100. It's also fairly easy to get to the shutter on this model, and to gently apply a few drops of naphtha solvent (lighter fluid). Do not try to apply lubricant yourself to the gear train of a vintage leaf shutter unless you are experienced, and never, ever apply any lube of any kind to the delicate shutter blades. If you have to clean the rangefinder, do so very carefully, using isopropyl alcohol and a Q-tip, as the prism is very easy to damage. Blow out the back thoroughly with a rocket blower or similar; use "canned air" only with extreme caution and not around the lens surfaces.

Many of these cameras will give years more of service if well taken care of, and, judging from the surface appearance, yours has been well-loved and cared for.

Have fun shooting film! It's my biggest photographic pleasure these days.

Andy

Outstanding!

Andy

I got the liquid kit, but after watching some of the videos, I don't think the powder kits are as hard to mix as the old film chemistry could be. I'm going to develop this weekend, having accumulated quite a bit of film.

BTW, back in the olden days of film, my teacher said that there was an enormous difference in longevity between storing film above or close to freezing vs. well below. I've always kept mine in the freezer.

Andy

Hi Mike,

I've shot film up to fifteen years old (B&W) with no ill effects. For color, I think it's less predictable, more a matter of the specific film type. I did have some Agfacolor that was 12 years old and came out perfectly, but I've also had a few rolls stored for less than that that came out with a distinct color cast. Of course you can always alter that a bit digitally.

I got my Cinestill chemistry from Adorama, with no shipping problems (although they used the accursed FedEx).

Happy Shooting!
Andy

I believe it is a tenet in most faiths, sort of like the "Golden Rule", some version of which is in virtually every holy or sacred work in almost every world religion.

Andy

I guess I'm in the demographic that learned how to shoot using 35mm full frame gear, and from the age when zoom lenses were the size of a field artillery piece, slow as molasses, and not of very good optical quality.

I simply learned what to expect when I picked a lens for a shot - especially as that choice was a fixed, or prime as we say nowadays, focal length. If I was looking for a specific shot I would know whether to pick up a 200mm telephoto lens from my bag instead of a 135, or a 24mm WA instead of a 35 simply because I had a good expectation of the field of view, depth of field, and sense of perspective I could achieve with it. When I first switched to digital cropped format, this was the best place to start, and TBH, I still think in those terms.

If you didn't grow up photographically with this frame of reference, then it's all irrelevant anyway, but when camera makers were getting a lot of film camera users to step up to crop digital, it made a ton of sense to present their "equivalents" in this manner.

Andy

The thought behind my comment is that the truest good deeds are done without expectation of return, even in the form of public acknowledgement or goodwill. I guess that's just how I was raised.

Andy

Nevessa,

I returned to film a few years ago, thanks to the gift from a very generous friend of a camera I had wanted since I was in high school. I've spent these last years rediscovering film, and assembling the outfits I either had or lusted for in my youth. My choices are my own particular preferences, others are equally valid. I currently shoot 35mm outfits in Barnack Leica, Kodak Retina, Nikon F, Pentax Spotmatic, and Rolleiflex SL35 versions, with medium format gear that includes Rolleiflex TLR, Hasselblad 500C (with a selection of lenses), and Zeiss Ikon Super Ikonta outfits. I use Gossen, Pentax Spotmatic, and Sekonic / Norwood light meters. The use of this gear gives me a sensory and aesthetic pleasure that I don't find in my DSLR outfit, although I use it for lots of stuff. I also have a 4x5 outfit, although I rarely use it these days. I might do more in the future if the cost of film becomes more affordable or if I want to take on specific projects that demand it.

My workflow is fairly simple - I shoot and develop C-41 process color film in several varieties. I develop it in steel Nikor tanks and reels, using easily available chemistry. The chemistry is fairly non-toxic except for disposing of used fixer containing silver, and you can google safe methods for that. I process in a water bath kept to precise temperatures with an inexpensive (under $50) sous vide cooker in a dishpan. I was experienced in B/W processing from my original film days, and I find it easy with just a changing bag instead of a darkroom. The chemistry is stored in plastic soda bottles, squeezed to eliminate all air before I close them up. You don't need the dark jugs and bottles that B/W chemistry required, air is the enemy here, far more than light. I expect to get 25-30 rolls per 1 litre kit. The whole kit, including tanks and reels, dishpan, mixing beakers, stirrers (I use stainless steel kitchen whips), changing bag, and funnels, should cost less than $100, plus maybe another $50 if you want a sous vide heater (I paid $20 for mine on eBay - it was open box). The sous vide heater is very helpful for accurate color rendition, but not absolutely necessary.

After development, I scan my film on a refurbished Epson V600 scanner that cost under $200 at Adorama. I scan at 4800 dpi - if I want high resolution scans later I can rescan with a "wet" process (google is your friend here) on the same scanner. I process in Lightroom/Photoshop, and convert to B/W if that's my desired output. I can share digitally or print up to somewhere between 8x10 and 11x14 if I choose. I can also send out either scans or negatives for larger printing. The 35mm and 120 negatives provide a very rich and high quality image the equal of anything else you can produce, either digitally or on film. That's what works for me.

As to your specific questions, I'd give up on film that old if it hasn't been cold-stored. Film is still fairly cheap, especially bargain varieties like Kodak Gold or Lomo. If you want to send out film for development and scanning, you may have a local shop that does it (mine does) and returns the negatives or you can choose a mail order lab (The Darkroom in San Clemente CA and Photosmith in NH are the ones I use most often). Get medium to high quality scans - if there is something you want to print really large you can use these resources for a high quality drum scan as well as for printing.

Bob Malarz is spot on in terms of the cost. It's not nearly as expensive as you might expect. And, of course, the results can be spectacular (see Bob's portfolio for examples). There are times that the multiple shot approach of digital is best, but for the kinds of "art" images I like, film forces me into a more contemplative and one-at-a-time approach. For me, it requires additional concentration and vision - absorbing me in a way that digital often does not. That's the true beauty of shooting film for me.

I hope this has given you at least one new perspective, and if I can provide any other gudiace, please let me know here or via private message. Best of luck on your photographic journey.

Andy

It's been documented many times. My father and Major Charles Winchester (MASH) always told me the same thing, "The truest charity is the one that's anonymous..."

My regard for the Leitz family is higher because of the knowledge that they kept this story hidden for more than five decades.

Andy

I'm afraid that's one I can't really help with. :( I guess you're done with the roll when it won't turn any more? Perhaps you could ask on the Argus forum?

Nevertheless, well done!

Andy

Always!

I do not think they often need service, unless there is delamination of the balsam or fungus growth. Dust isn't usually a problem. Buy from a trustworthy dealer who accepts returns. It's fairly easy to inspect the lens and see whether there are problems. If there are, return it.

The Elmar short telephotos are abundant and inexpensive - it's the normal and wide angles that get pricey real quickly. I have a Russian 35 on my IIIc, which was clean and functional on arrival. The helical grease was sticky and hard, but I was able to disassemble and clean it without difficulty.

I'd take Bob Malarz's advice on a technician; I know it's sound. There may be others as well, but if Bob says this guy is the best, I'd take that to the bank. Good luck! Those old Barnacks are a lot of fun to shoot!

Andy

Holy Moly!

That's a real "sumgai" find!

Andy

Wow! Color me impressed. That lens/rangefinder assembly can be very hard to deal with.

Before you give up, I'd recommend one more trick. If you can get enough of the blade assembly exposed, it wouldn't run much risk to try cleaning it with naphtha (lighter fluid) applied to both the blades and the slow speed clockwork, if you can get to it. On a shutter I don't want to disassemble, I use a fair amount of naphtha on a Q-tip or, better, lint-free swab. If you use a Q-tip, be very careful to keep cotton fibers from getting stuck. I've had good luck using soft, lint-free applicators from my wife's makeup stores. You can also get them at Sally Beauty Supply. Very gentle application works. You need to apply the solvent, then release the shutter repeatedly to see if it speeds up noticeably. If you make progress let it dry and apply some more. If it's getting close to sounding right, a drop of molybdenum oil applied to the gearing with a toothpick may also help, but do not put any lubricant of any kind on the shutter blades.

It is often enough to clean it with solvents, but there are disassembly instructions on the Internet, and it's not quite as bad as it looks. Chris Sherlock has dozens of videos on leaf shutter disassembly and repair on YouTube. I never thought I could do it, but I have, taking photos or video to show each step so I can eventually get it back together!

You got the hardest part done! I'd at least try the solvent cleaning procedure.

Andy

I saw it on the Tube of You. The model I bought has more than enough capacity to circulate the bath in a big tub. It's a perfect solution for a fraction of the cost of the old time stuff.

Andy