Park Life with a Ihagee Exa 1A

By Paul Quellin

At a brisk walk, the local park is about 4 minutes from the front door of the house. That helps with the need to escape. A job once enjoyable, has become so entangled in a growing web of mind numbing legislation. Now work feels like a sentence for some past crime I can’t recall committing. Actually I am lucky really. The Isle Of Man is a beautiful place to call home. A short walk to beaches and a short drive to dramatic hills. But the job… the job so rarely allows enough time to go out for a whole day with a camera. So when brief opportunities present themselves, I’ll slip out to the park. Sometimes starting there early before the chaos of the day begins. Sometimes even strolling around the park with the camera after nightfall.

A Recreational Space

The town of Ramsey was at its zenith during the late 19th century. Guest houses were packed every summer with visitors from the UK and the town needed a recreational space. Mooragh Park was created in the Victorian era from a coastal swamp. Eventually the park boasted a 12 acre boating lake as well as gardens, wooded areas and pathways. To this day it remains a focal point and the start and or finish for many sporting events. It has a well kept look in places, yet some grass areas are left uncut to encourage wildflowers and insects.

Pockets of Tranquility

This is no huge London or New York city park, yet it provides pockets of tranquility. The main areas of Mooragh park support diverse bird life and provide plenty of photo opportunities. To the west the park is flanked by a small area of steep banks planted with trees. Again this part supports a healthy bird population and the trees can help create some lovely lighting conditions. This is where I am drawn most, amongst the trees, along the paths that criss cross the steep sides.

Take the Ihagee

Stepping out for the front door, minded to go somewhere else, my route somehow usually ends up taking in the park. I’ll try and assess the weather then choose appropriate camera gear. Strong sunlight, maybe birds in the trees, so a 100-400 zoom. Overcast… maybe the macro lens and flash, as the park is great for invertebrates. Of course a film camera or several will just have to go in the bag too. Feeling somehow emboldened recently, there have been occasions when there is no digital in the bag and some how I cope. On a walk in February, the Ihagee Exa 1A and a roll of Fomapan 200 Creative became the tools of choice. This lovely Dresden made machine with a waist level finder, came with a Carl Zeiss Jena 50mm. This is ‘Zebra’ version of this lens and they can be prone to very tight focus rings.  This one still suffers with this and after a clean, it seemed better until I reassembled it putting a little metal key back in it’s rightful place in the provided slot to guide the movement.  It all looked clean, it fits well, yet without this in place the focus is very light, put it back in and the focusing needs quite a lot of pressure to turn.  I decided Zeiss knew more about what they were doing than I, so it all went back together and I’d have to live with it for now.

I really do like this thing
I rather like this too

Taking in the Trees

The Ihagee isn’t exactly a sports action camera. At my age, with SLR (Slowly Lagging Reflexes) setting in and that focus ring as it is, best not go for moving targets. Happily there was some lovely directional winter light, making the tree covered banks look special. Up and down the various paths, just admiring the textures as strong light fell on stout tree trunks. A digital would have worked for this too, but the pace wouldn’t suit the atmosphere. Just taking in the trees leaning on them, touching them. Wandering around and shooting with a camera like the Exa 1A and half an hour can fly by, in what seems like just a couple of minutes. Losing the aluminium screw from the bottom of the leather case somewhere along the way was frustrating, but never mind. Returning home in a better frame of mind has to be a good outcome. Maybe this is how photography should be.

Cutting the negatives

The camera was such a joy to use, it wouldn’t matter if results were awful. Then a pleasant surprise as the negatives were being cut. Some, in fact most, were roughly in focus. Generally they had a sort of a warm feel that I liked. The previously untested camera, in combination with this lens and film had produced some images that pleased me anyway. A film new to me, an old camera from a job lot at an auction and results that were personally satisfying. This will do nicely.

Textures
Attempting the viewfinder with my glasses on
Guessing distances, but not so badly
Enjoying the fall of the light
Actually portrait, so it got cropped for this purpose

The camera and park combination can yield more yet I feel sure. Feeling good about the Exa, I located a set of Ihagee bellows and a better Jena 50mm. These lenses will focus very close anyway, but the bellows make a huge difference. As summer comes along and if work doesn’t get in the way all the time; maybe some invertebrate photography with the Ihagee rather than reaching for the digital every time.

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About The Author

By Paul Quellin
Very keen photographer in the 1980s, then there was a gap. Came back to find digital and gradually embraced it. A hankering for film persisted though and eventually a hybrid photographer has emerged. Lots of work I need to do on digital, but the feel of film cameras and the anticipation of the results is special to me. Can't stop buying old film cameras. My output is quite varied and whilst film is slowing me down a bit, I would always rather push that shutter button and take a chance than leave it for a better day.
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Comments

Geoff Chaplin on Park Life with a Ihagee Exa 1A

Comment posted: 16/05/2024

Rather nice images and the lens seems more than acceptable - so it should be as a 2.8 Tessar. The images appear nicely toned - is that the "creative" bit of the Foma film?
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Paul Quellin replied:

Comment posted: 16/05/2024

Hi Geoff, thanks for taking the time to comment. It is a nice lens certainly. I am not sure about what took place with the negatives and I had done a few films over a few evenings in the same chemicals. I was pleasantly surprised when I saw these, but I may need to go back and look at the negatives versus the scan settings I used (I have a feeling this film wasn't in the presets). I thought it was after this one, but around this time I also missed a piece of the sticky tape at the end of a 120 roll of TMax and those negatives came out with an interesting tone...maybe there was a little bit of something there shouldn't be in the developer. Of course it might just be the combination of this film in Atomal. I was quite pleased anyway and the camera is somehow really satisfying to use, so I am just about to finish off a roll of very long expired and un-refrigerated Fujichrome in it. Thanks again.

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Geoff Chaplin replied:

Comment posted: 16/05/2024

When you find the cause do it again! The tones in the context of the subject are a lovely and appropriate enhancement.

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Julian Tanase on Park Life with a Ihagee Exa 1A

Comment posted: 16/05/2024

The tones surprised me too, I seem to remember a film from the past that had those nice tones, but I cannot recall it. Anyways, nice images, I do like the last one, for the lens caught up the bark texture and the light quite nicely. Thank you !
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Paul Quellin replied:

Comment posted: 16/05/2024

Hi Julian. Thank you for commenting. I did set out one possibility in my response to Geoff. With that in mind it would be useful to run the same film again and start with the Atomal 49 from a fresh batch and see how it compares. It might also be scan settings... I think I should get the negs under a loupe and have a real good look given you both picked up on this. If it was an error on my part for once it didn't work out too badly I think. I have learned a lesson about documenting processes more and recording what scan settings I used. Note to self. Thanks

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Julian Tanase replied:

Comment posted: 16/05/2024

Paul, I do not see anything going really bad with the negatives, development wise. True, a bit more contrast, but then again, I am partial to contrast so there is that. But this film looks like it was scanned as a colour film, so checking the scanner's settings would be a good idea; recalled getting the almost same tones, when I scanned a bw film as colour. Curious if I am right about this :)

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Gary Smith on Park Life with a Ihagee Exa 1A

Comment posted: 16/05/2024

Looks like a nice lens on your EXA, what is it about the Jena 50 that is better? I've not tried any Fomapan, maybe I should?
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Paul Quellin on Park Life with a Ihagee Exa 1A

Comment posted: 16/05/2024

Hi Gary. Its a pretty old design with 4 elements, yet they seem to score well on sharpness. Contrast is pretty strong too. Whilst I haven't done it yet, I have seen some impressive results with them on the front of modern digital cameras. Stopped down sharpness is supposed to be excellent at the centre and they allegedly produce nice bokeh opened up (I haven't experimented with that yet on this camera). I am quite keen to try some colour as I gather they handle that well too. Prices seem to be going up as people are trying to find them to marry up with digital as far as I can gauge. I have now got one with a smooth focus ring (well through almost all of the movement).
Thanks Gary.
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Jeffery Luhn on Park Life with a Ihagee Exa 1A

Comment posted: 19/05/2024

I have an EXA 1a. It was my first 35mm camera, sent to me by my brother around 1966 from Germany. He was stationed there in the US Army. I was 14 and delighted to have a real camera! I signed up for a summer photo class and proudly presented the camera to my instructor. "This camera doesn't have a shutter!" she said. True. The mirror flops up and exposes the film. Clunk! No curtain, no leaf shutter, just a lazy mirror. The speeds are: B, 30, 60, 125, 175. 1/175th??? Yeah, imagine the creative possibilities!! The lens is an E. Ludwig f/2.9. 2.9??? More possibilities awaited! I did some shots indoors and outside, using the suggestions on the printed material inside the Kodak Tri-X box. The indoor shots had various shutter speeds and a few of them had a tv in the background. The lines on the tv, according my instructor, informed us that despite the listed shutter speeds, the only working choices were B and 1/60th. This was proven because the tv screen showed all speeds except B with the same diagonal line. So I shot everything at 1/60th that summer. I'm going to expand this response with some photos. That kookie camera impacted my future in a big way, but I'll save that for a later post. Thank you Paul, for inspiring me to dig through forgotten boxes and find the ancient device that set the course for my life!
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Paul Quellin replied:

Comment posted: 19/05/2024

Hi Jeffery, greetings from the Isle Of Man and thank you for the detailed comments. I picked up this 1A along with an Exa 500 and a couple of Voigtlanders in an auction job lot. I have used both now and on paper the 500 is the better camera, so I am not sure why I am drawn to the 1A more somehow. Maybe it is that sound like a trapdoor just closed. With some of my leaf shutter cameras if it is a noisy environment, for a moment you can't be sure you fired the shutter... no chance of that with the 1A. I think I like the build quality, the weight and feel are strangely appealing. I am certainly in no hurry to sell either of the Ihagees; they have character. I have some Ihagee bellows and I am determined that I will produce a passable insect macro with it this summer. Given the shutter speeds I'll either have to use flash too, or find a very drowsy insect. I also have an Ihagee West EXA 1000 awaiting a service, but that is a re-badged Japanese machine. I hope the 1A is still serviceable when you find it.

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