Kiev 88

The Camera Obscura was a large box camera, a room which was light-sealed except for a hole in a wall. The lighted scene outside was projected on the wall opposite the hole, and the image could be recorded by tracing it on to paper. This is clearly the progenitor of the box camera from the early part of the last century - the image is still recorded (on film) on the wall opposite the hole (pinhole or lens) of the light-tight box. But what if we wanted the lens to be interchangeable, so we could frame a scene any way we wished? What if we wanted to have an accurate preview of the image about to be recorded on the film? Further, what if we desired the ability to rapidly change film types or formats during a session, from shot to shot if need be? These necessities (whims?) were the mother of Viktor Hasselblad's paradigm-shifting invention, a watchmaker's bad dream which changed the course of photography for over 50 years.

OPTIMISTICALLY NAMED THE 1600f for its purported top speed and focal plane shutter when introduced in 1948, only a few thousand of these cantankerous instruments were produced over a few years. But their impact sent shock waves rippling through time and around the world which can still be felt today, however more faintly than the glory days of twenty, thirty or more years ago.

1600f

Lens mount swapped for one from a Kiev 88

1000f (slightly modified)

Reintroduced in 1952 with a slightly less impossible top speed of 1/1000 and a few internal modifications to improve reliability, and at a reduced price, the camera (now the 1000f, natch) sold better than the previous incarnation, but was branded as having an unreliable shutter, an inherited genetic trait. The accessories carried forward from the 1600f were passed on the the 500, the leaf shutter model which proved that the third time is the charm.

Meanwhile, the Soviet Union had developed a camera industry. Born out of the orphanages of the 1920s, the enterprising and industrious youths in these state-run factories grew to be engineers gifted enough to produce copies of some of the best of Western European fotografia to be sold at prices that could be afforded by the populace of the Eastern Bloc. After WWII more camera technology came under Soviet control, and sometime in the early 1950s or so the decision was made to offer the folks a home-grown Hassy, only this copy did not retain the interchangeability with the item copied as was found in earlier efforts. The resulting Salyut emerged in 1957. Evolution eventually produced the Kiev 88.

One of the more interesting treatments has been done by Steve Ash, see it at http://www.sdash.plus.com/hassalyut.htm

This early 90s model is shown with the Volna 80mm lens standard at that time, as well as a large, clunky metered prism with timeout feature (as opposed to the switched model, more proper for the age of this camera, but which runs down a set of batteries every time I use it. No fault of the finder, I should add.)

The back shown is the NT (new type), most examples of which are smoother than the OT and seem to stress the body gear train less.

Not an export model per the nameplate, but a very smooth working camera

The Kiev - Pentacon Connection

The Pentacon Six

Sorry for the play on words, but the Pentacon 6 lens mount truly provides a connection between the marques. The decision to select this particular mount for an overgrown 35mm SLR-shaped camera was nearly obvious. The Kiev 60 and lenses for it would probably be as rare as the 35mm Start, had a unique lens mount been installed on it. Instead, we have available a relatively simple and rugged body with a extraordinarily wide range of glass, perhaps more than any other 6 by 6 camera (except those sharing this mount.) The flange-to-film distance is shorter than the Kiev88, and an inexpensive adapter allows all of those lenses to be mounted while retaining automatic diaphragm operation. While many of the Kiev 88 lenses are available in the P6 mount, some interesting ones are not, and, in any case, a Kiev 88 user with a range of lenses like me appreciates this utility.

I have trouble believing in coincidences, and the fact that the aperture control pin on Kiev 88 screwmount lenses is in the exact same position as an P6 lenses suggests to me that this was planned, not an accident. It seems likely that attempts to fit the P6 mount to this camera took a long time to perfect.

The modification achieved some level of refinement in 2001 or so. This attracted a new group of users and caused many existing users to add a body of this style to their collection.

At least two styles were widely distributed, a twistlock version and the lever type shown here. The lever, shown in the vertical or wide open position in front of the Kiev nameplate, takes the place of the knurled ring to secure the lens to the body. Moving the lever to the right tightens the securement, and this implementation retains the self-adjusting feature of the origonal Pentacon 6 mount.

This lens is a singular reason to buy a Kiev body. The greatest value in the medium format world, the Arsat/Zodiak 30mm f3.5 Fisheye is absolutely astounding for under 300 USD. Critical evaluation says that the $6000 Hassleblad lens can outperform it, but only QG would make an issue of that. Speculation runs rampant on the origin of this hefty chunk of glass, but it is the most cost-effective way to get this look.

(Click image to enlarge, back arrow to return.)

Jan. '06 - I bought a Rubinar 500mm mirror lens from a private individual. Sam Sherman (samsherman.6146.com) has used a lens of this type handheld with good results. He must not be a coffee drinker, I cannot obtain sharp results without a tripod. However, this lens is razor sharp, at least in the center! I happened to shoot an apartment building when I gave it a quick test with a 35mm adapter, I have never seen such definition on the balcony with any other long lens.

Notice the definition on the verticals below the balcony railing, lower just right of center. I need to do more testing of this lens against my others, but it looks outstanding.

I ordered a Telear 250mm from the same source, it is light and sharp, here is a sample of the shots it produces. (Click image to enlarge, back arrow to return.)

Testing, testing...

I have started some lens testing, just for my own lens selection when I go out to shoot. I really am trying to eliminate the obvious dogs, since there is always a reason that a particular lens ends up sold at auction.

I bought a Mir38 for K88 and it varied from the seller's description a bit ( see Mir Dust ), so I thought I would try a few shots to see if the picture quality would be affected by the nicks and scratches. I used 2 adapters and a Mamiya 645 so I could obtain more than a dozen shots and not try the patience of my companion. We took a drive on a Sunday afternoon, some results are here - Point Fermin. I think I'll keep it. I now have 2 Mir-38s and a Mir-3, I guess I'll have to compare them at some point.

The Kiev - Pentacon Connection

Lenses, lenses, lenses...

Testing, testing...

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