Power tower Agfa Clack Ilford FP4 Plus LegacyPro L110, Dilution B 2021
I’m fascinated with the power lines that run through my neighborhood, and with this tower in particular. I’ve photographed it over and over. I still haven’t found the best composition involving it. I suppose I’ll keep trying until either I nail it or I move away.
With this roll, I played around with VueScan’s built-in film profiles. VueScan has a paltry selection of them, far fewer than what rival SilverFast offers. There was no Ilford FP4 Plus profile, for example. But I tried the Kodak T-Max 100 profile, and it immediately balanced the contrast in these negatives.
The Clack is capable of better sharpness than this. No matter what I do, I can’t seem to get good sharpness from my flatbed. Could it be the device itself? Or is it the software; should I try SilverFast? Meh, bleh, what a pain. It’s just easier to send my film to the lab and let them deal with it.
Olaf? Agfa Clack Ilford FP4 Plus LegacyPro L110, Dilution B 2021
I seldom have nice things to say about living in this vinyl village. Here’s one nice thing: plenty of families here do fun things together, like build snowmen.
I suppose families are the whole point of neighborhoods like this. For far less than anywhere else in this surprisingly wealthy town, you can get your kids into good schools. This neighborhood overflows with children. In nice weather, lots of them play in their yards and sometimes in the streets. One family down the street wheels a portable basketball goal to the curb, and the kids shoot hoops for hours. Another family on my block rents a bounce house at least once a summer, which brings in kids from far and wide.
It reminds me a little of the neighborhood I grew up in. There were so many kids, the parents took to calling it Rabbit Hill. Families on Rabbit Hill weren’t nearly as well off as families in this neighborhood, so we didn’t have bounce houses or portable basketball goals. But we still made plenty of fun together. Those houses were cheaply built, as are these. It didn’t matter to us. It was grand to have so many kids to play with. I’m sure the kids here feel the same.
Mail station Agfa Clack Ilford FP4 Plus LegacyPro L110, Dilution B 2021
It’s useful to know which old cameras work well in the cold. It’ll be only a small, select group — old mechanical gear usually gums up when temps fall below freezing.
I took my Agfa Clack out to see how it performed. It went on two frigid photo walks after a snowfall. I have this Korean War-era, wool-lined Army trench coat, and I get it out when it’s either below zero, or below freezing and I’m going to be outside for a while. The Clack fit into the roomy side pocket. But that pocket isn’t lined. The Clack was only slightly warmer in it than it would have been if I had held it in my hand. Every time I got it out, it performed fine.
I have always had a thing for folding cameras. They sure look impressive to me! But many of them are low-end cameras with limited capabilities. I wanted a usable, versatile shooter, so I went looking for a folder with a fast and well-regarded lens. I found it in the Kodak Monitor Six-20.
The Monitor is near the pinnacle of Kodak folding cameras, second only to the rare and expensive (even now) Kodak Super Six-20. Produced from 1939 to 1948, versions of the Monitor were made for 616 and 620 film. Regular 620 Monitors came with an f/4.5 Kodak Anastigmat lens at 103 or 105 mm and a Kodamatic or Flash Kodamatic shutter that operated from 1/10 to 1/200 sec.
For more money, however, you could get a 101 mm f/4.5 Anastigmat Special lens, which is a four-element Tessar design. It was coupled to a Supermatic or Flash Supermatic shutter that operated from 1 to 1/400 sec. My Monitor is one of these. The CAMEROSITY code in the lens’s serial number tells me mine’s from 1946. I gather that Kodak started coating, or Lumenizing in their lingo, this camera’s lens that year, which made them perform better. My Monitor’s lens is marked with a circled L, meaning it’s Lumenized.
Monitors also came with double-exposure prevention and automatic film spacing so you couldn’t wind beyond the next frame, both mighty nice features in those days.
All of these goodies cost, of course. The Kodak Monitor Six-20 with the Anastigmat Special lens was $66, which is equivalent to about $1,000 today.
The Monitor comes with two viewfinders. The first is a brilliant type, attached to the lens assembly. It’s small and reverses the image left to right, making it challenging to use. The other finder flips up on the top plate. It is big and bright, and includes manual parallax compensation.
To use the Monitor, first cock the shutter with the little lever next to the brilliant viewfinder. Guess the distance to the subject and turn the lens barrel to that number of feet. Then frame the shot and press the shutter button on the top plate.
If you like folding cameras, I’ve reviewed several others, including the Voigtländer Bessa (here), the Kodak Tourist (here), the Certo Super Sport Dolly (here), the Ansco B2 Speedex (here), the Kodak Junior Six-16 Series II (here), and the giant No. 3A Autographic Kodak (here). Or check out all of my camera reviews here.
For my first outing with the Monitor I loaded Kodak Ektachrome E100G slide film. I paid through the nose for this film as I bought it pre-respooled onto 620 spools. In retrospect, I should have started with inexpensive black-and-white film, as I had trouble learning this camera’s ways and buggered most of the first roll. “Why won’t this thing fire? …oh.”
So I shrugged, loaded more expensive E100G, and kept going. When I worked the Monitor properly, it delivered excellent sharpness and color.
The Monitor has a clever winding system that stops when you reach the next frame. A lever on the top plate has two settings: WIND and 1-8. After you load the film, slide the lever to WIND and, using the red window on the camera back, wind to the first frame. Then move the lever to 1-8. For the rest of the roll, the winder knob stops when you’ve wound to the next frame.
On my first roll, this system didn’t work quite right and I ended up with overlapping frames. If the same happens to you, just leave WIND/1-8 lever on WIND. Then you can wind freely just like on any other folding or box camera. You just use the red window on the back to see when you’ve wound to the next frame. You do need one extra step here, though: to override the Monitor’s double-exposure protection. Just move the lever underneath the pop-up viewfinder to unlock the shutter.
My Monitor has another common Monitor problem: pressing the shutter button doesn’t actually fire the shutter. The real shutter release is on the lens housing. A complex linkage between button and release is prone to misalignment. The best solution is to screw a cable release into the socket on the lens housing. What I did was just stick my finger behind the lens and trip the shutter manually. Then I pressed the shutter button to release the winding mechanism so I could wind to the next frame.
On this second roll of E100G, I shot the Monitor on a tripod. I was quite a sight toting my kit through the Broad Ripple neighborhood for these photographs! The Monitor had to come off the tripod for this photo, which because of its lovely color is my favorite of all the E100G shots I made.
I came upon some expired Kodak Gold 200, probably among the last Kodak made in 620 before discontinuing the format. It came along on a trip to Bridgeton to see the covered bridge. Unfortunately, the processor goofed and developed this film in black-and-white chemistry. I like this shot best, which I cropped square because its native 2:3 ratio was less interesting.
I made one other successful photo here, but buggered up the whole rest of the roll thanks to shake caused by the way I was firing the shutter.
After I returned home, I finished the roll on familiar subjects. This photo tells a lot about the Anastigmat Special lens’s capabilities. The sharpness and definition are wonderful, but despite the Lumenized coating, the lens is still prone to a little ghosting.
I mounted the Monitor on a vintage tripod and displayed it in my home for several years. I think this camera is gorgeous and I loved looking at it. But it’s a shame to own cameras I don’t use. So I spooled some Ilford FP4 Plus onto a 620 spool and took the Monitor out to play.
Ilford film in a Kodak camera? Scandalous! But the combination worked well. By this time I was developing my own black-and-white film. I used LegacyPro L110, a Kodak HC-110 clone, in Dilution B (1+31). Ilford packaging said 8 minutes at 20° C, so that’s what I did. I scanned the negatives on my Canon CanoScan 9000F Mark II scanner.
All was not perfect with the Monitor after so many years. The shutter had gummed up a little bit, which I fixed temporarily with a drop of lighter fluid through the cocking-lever slot. Some shots, as above and below, showed signs of further shutter issues or maybe light leaks.
But when the Monitor hit, it hit big. Its lens is still a peach after all these years.
I forget what I paid for my Monitor but it wasn’t more than $50. Today, you are hard pressed to find one with the Anastigmat Special lens for less than $100. You might save money buying the similar Kodak Vigilant Six-20, which could be had with this lens and shutter. It lacks the Monitor’s potentially troublesome winding system, but retains the Monitor’s definitely troublesome shutter linkage.
But the Kodak Monitor Six-20 is a beautiful folding camera, and is a peach to use when it works properly. You won’t be disappointed if you buy one. Mine is in the queue to be sent off for repair so it can shoot well for years to come.
If you like old film cameras, check out all of my reviews here! To get Down the Road in your inbox or feed reader, subscribe here.
At last, we reach the end of Operation Thin the Herd. In this project I’ve sold or given away dozens of cameras, keeping only those I’ll use regularly. Some cameras were a no-brainer to either keep or let go. Others I needed to put one or two more rolls of film through to help me decide. When I did, I shared the photos and my thoughts here. You can see all of my Operation Thin the Herd posts here.
I’ve put off evaluating my Kodak Monitor Six-20, which is why it’s last. Putting film through it might show me that I’m in love with the idea of this camera far more than with the camera itself. I haven’t wanted to find out.
I was smitten with the Monitor from the time I first saw one on Mike Connealy’s site. Not just any Monitor, mind, but this one, with the 101mm f/4.5 Anastigmat Special lens. It’s a gorgeous camera, and Mike always coaxed such beautiful photographs from his. I wanted in on the action. No matter that I had sworn off cameras that take out-of-production 620 film, as the Monitor does. I prowled eBay until I found one in good condition at a good price.
Here’s a photo from one of the first rolls I shot. It’s not smart to test an old camera with expensive slide film, but I did it anyway. This is Kodak Ektachrome E100G.
I used the Monitor again about a year later on a trip to Bridgeton. I shot expired Kodak Gold 200 in 620 from the mid 1990s, at the end of 620 production. The lab I sent the film to accidentally developed it in black and white.
I used the Monitor only a few times in the first two years I owned it, and then not again until last November, seven long years later. One reason is that 620 film is expensive to buy expired or hand-spooled fresh, and I wasn’t interested in learning to hand spool my own. But the main reason is that the shutter button doesn’t trip the shutter. The button connects to a series of levers and rods that reach around behind the lens, where the actual shutter release is. They don’t connect properly, and I can’t figure out how to fix it. The only way to fire the shutter is to stick a finger in there. What a pain.
But oh, what a beautiful camera this is! I mounted it on an vintage Kodak metal tripod and displayed it in my living room so I could look at it every day. I kept it there until I moved a few years ago.
I couldn’t put off evaluating my Monitor any longer, so I got it out — and found that its shutter wasn’t working right. No matter the speed I set, the shutter operated at what sounded like the same speed. Mike Connealy advised me to carefully drip a little lighter fluid into the shutter-cable socket and into the cock-lever crevice and fire the shutter at several speeds. Worked like a charm.
Now that I develop my own film and am comfortable working in a dark bag, I tried respooling 120 film onto a 620 spool. It was easy! I had Ilford FP4 Plus on hand, so that’s what I used. I developed it for eight minutes at 20° C in LegacyPro L110, Dilution B (1+31).
It’s hard to level the scene in the Monitor’s tiny brilliant viewfinder. It’s easier in the pop-up “sports” finder, but that finder works best for landscape-oriented photos. But just look at the sharp detail the Anastigmat Special lens captured in this cockeyed photo. The white area on the left is light that leaked onto the end of the roll as it sat on my desk, undeveloped, for far too long.
Given how I have to fire the shutter, I’m surprised I didn’t get my finger in the lens more often than just this one time. I was trying to be creative here by standing the Monitor on its side on the pavement. I forget what aperture and shutter speed I used, probably f/8 and 1/100, but it wasn’t enough to get the depth of field this photograph needed.
I managed to get a few error-free photos on this roll, like the one below and the one at the top of this post. Handled with care, the Monitor delivers!
I decided the Monitor deserved more time in evaluation. By this time the weather had turned chilly and gray, making faster film necessary. I respooled a roll of ISO 400 Ilford HP5 Plus onto a spare 620 spool and loaded it into the Monitor. I developed it for five minutes at 20° C in LegacyPro L110, Dilution B (1+31).
One of the things I like about the Monitor is its 1/400 top shutter speed. So many of the folders I’ve owned top out at 1/100 or thereabouts. 1/400 lets me shoot faster films even on sunny days.
COVID-19 kept me close to home, so I returned to familiar subjects. I have shot the back of this Lowe’s reflecting into that retention pond probably 20 times this year. I think there’s an interesting composition in this scene but I haven’t nailed it yet.
On this roll, a few shots suffered from a light spot in the upper center. Is it a light leak? Is it a shutter fault?
Now I come to the moment of truth: does my Kodak Monitor stay, or does it go?
By the end of my second roll, I’d become fully annoyed with how I have to fire the shutter. It made the rest of the cameras’ limitations more annoying, especially that tiny brilliant viewfinder. The pop-up sports viewfinder eases framing on landscape-oriented photos, at least.
Yet I’m still smitten with this camera. As you can see in these photographs, its lens renders good sharpness and contrast. While I wouldn’t choose any old folder as a primary camera, sometimes it’s nice to let one slow you down as much as they do. This one offers great flexibility given its fast shutter and sort-of fast (f/4.5) lens. And this Monitor remains a beautiful camera.
My Monitor needs a CLA. I can’t evaluate it fairly until it functions properly. Unfortunately, many of my other cameras are ahead of it in the repair/CLA queue: my Nikon F2AS, my Pentax KM, my Pentax ME-F, and my Yashica Lynx 14e. I know exactly who I’ll send these four cameras to (Sover Wong for the F2, Eric Hendrickson for the Pentaxes, Mark Hama for the Yashica). But who restores old Kodak folders? Maybe Jurgen, better known as Certo6, would take it on? If you have any ideas, let me know in the comments.