Belomo Agat 18K

Belomo Agat 18K

Most half-frame 35mm cameras were designed to shoot in portrait format, partly due no doubt as the way a roll of film logically winds through a camera from left to right horizontally, with the wind on lever or wheel operated by the thumb on the right hand. The ergonomics of this on a standard full-frame 24x36mm format camera provides a landscape, horizontally-orientated image; with the same left to right film travel, a half-frame image size of 18x24mm becomes vertical. The very earliest cameras that took 35mm film - before the Leica - often used something approximating the half-frame format, a legacy of 35mm film coming from the motion picture industry. These were often large and bulky cameras however, made to shoot much longer lengths of film; the invention of the standard 35mm cassette allowed camera designs to shrink. However, with the even smaller frame size, half-frame cameras could be scaled down to become smaller still, and compact sizes made it easier to design cameras to be held in different orientations, and a number of half-frame cameras (such as the Yashica Samurai) were made with the film travelling vertically to provide a landscape format image.

The Agat 18K is one such horizontally-orientated half frame camera. It's a very small (95x60x45mm), light-weight (130g) camera mostly constructed from ABS-type of plastic, manufactured by Belomo in the former Soviet republic of Belarus. There was an earlier Agat 18 (presumably the 18 is from the frame size); the 18K model improves on its predecessor in having a wider ISO range, an extra setting on its exposure calculator, a threaded shutter button for cable release, and a redesigned lens cap which covers both lens and shutter release. This lens cap is attached via a cord that has a screw fitting which doubles as a tripod mount. It's designed to be held for horizontal shots, with the film travelling from bottom to top rather than left to right, and held to the right eye with the shutter release operated by the right hand. The camera's ergonomics make holding it for a vertical portrait framing rather more awkward - perhaps it's best held to the left eye and operated by the left hand; using the right eye, the bulk of the camera rests against the user's forehead.

The 18K's manual only appears online in Russian, and so the camera may never have been intended for export (apart from the initials ISO, all other writing on the camera is in Cyrillic): some of the information in this post has been gleaned from other websites, but some from the manual via my own attempts to translate some of it using online tools. The Agat cameras are very easy to find online and very cheaply too: SovietCams.com suggests over half a million of the first version were produced from 1983; the 18K version came out in 1988 and would be the preferred model simply for its extra features. Both versions of the Agat camera have an Industar-104 f2.8 28mm lens (giving a slightly wide angle of view, about 40mm on a full-frame 35mm format), stopping down to f16. The lens has a filter thread and also focuses down to 0.9m, with the viewfinder giving indications of parallax correction for close focus.

Agat 18K lens and exposure calculator

The unique feature about the Agat 18 cameras is the manual calculator which gives a form of programmed exposure. The film's ISO, from 25-1600 on the Agat 18K, is set on the inner ring around the lens, using the white mark underneath the lens first: this ring is difficult to turn using the two tabs on either side of the lens - the manual suggests using a match. The exposure is then set by lining up one of seven symbols on the outer ring with the black line on the inner ring: although largely self-explanatory, the manual provides further information on the lighting conditions they represent:

Object in snow, in the mountains, the sea under clear sun
Bright sun, harsh shadows
Hazy sun, soft shadows
Light cloudy weather, no shadows
Cloudy or shade with open, clear sky
Very cloudy, thunderclouds
Indoors 1 metre away from a window in the absence of direct sunlight

The inner ring also includes dark and light circles at either side of the line for one-stop exposure compensation. With the exposure set, the calculator indicates which aperture is in use, marked off next to the white line where the ISO is set. The shutter is coupled to the aperture setting: the manual lists the possible combinations in a table that appears to suggest that both aperture and shutter speed are continually adjustable as it shows intermediate aperture settings and odd shutter speeds. At f2.8 the shutter is either set to 1/65th or 1/130th, down to 1/540th at f16. The table of apertures and shutter speeds in the manual has asterisks against the intermediate aperture settings, 3.4, 4.8, 6.8 and so on and the asterisk appears to mean something like "The aperture value is not specified on the camera"; as there is also an asterisk against 1/65th at f2.8, this would appear to show that this aperture and shutter combination is set with the exposure ring rotated as far as possible anticlockwise (on the fastest ISO settings, the outer ring is moved some distance past the window symbol to achieve this). As well as the provision for exposure compensation, it is of course easy to override the exposure calculator by simply by either changing the ISO setting or choosing a different symbols.

Agat 18K focus scale and depth of field indicator

There is a depth of field scale around the lens with a series of indentations to indicate different aperture settings; at f11, with the focus at 1.5m, depth of field should be from 0.9m to infinity, although this seems rather generous. The manual has a diagram as to how to interpret the indentations on the scale.

Depth of field diagram from Agat 18K manual

The film advance wheel is the same width as the camera body, which has cutaway sections to give a grip on both sides for ease of turning. The frame counter starts with a dot at 1, resetting with opening the camera, and thereafter goes up in sixes. The shutter is cocked not by the frame advance itself, but by the metal sprocket wheel internally, meaning that without a film, this has to be rotated by hand to cock the shutter for testing. To load the camera, a spring catch on one side is pressed down and the camera body slides into two parts. To insert film, the pressure plate flips down to thread the film across, and this plate has a small cut out and corresponding protrusion inside the body to securely locate it; it also depresses a small pin just visible in the shot below, and, although I'm not sure as to the function of this, given the position, I assume that releasing this pin resets the frame counter.

Agat 18K with 35mm cassette on take up side

The Agat 18K has a removable take-up spool; the receiving chamber is also designed to use a second 35mm cassette in its place (my camera came without the take up spool, but it did have a plastic cassette with an Orwo NP22 label). It is possible to use just an inner spool from a 35mm cassette in the take up side if the camera's removable spool is missing, but the film needs to be attached in some way, either with tape, or the spool can be modified with a slot cut into it to receive the film. However, I've only used it with two 35mm cassettes. When doing so, the take up cassette has to be put together with the internal spool upside down to make a mirror image of the cassette loaded with film. The camera's capacity to use two cassettes is something rarely mentioned in reviews; perhaps this design feature is a response to shooting double the amount of frames with the half-frame format, making it much more convenient to remove a part-used film. The manual shows cutting the typical 35mm film leader to a central tapering point to locate it in the small slot in the middle of an internal spool, but I've simply been taping the film instead, in much the same way as bulk-loading 35mm. Obviously it's still possible to rewind the film if using two cassettes in this way; to rewind film, the internal button on the advance knob has to be pushed in and turned to the red dot instead of the white dot for advancing film.

Agat 18K with Ilford FP4 Plus

While testing, I had difficulties using the camera films in the poor light of cloudy days for the past week: there were almost no sunny periods to use smaller apertures and faster shutter speeds. The best results were with Ilford FP4 Plus; although I also shot some HP5 Plus, most of these frames were not exposed properly, due to my own error in not compensating for how weak early winter morning sun can be, although some of these shots, despite being underexposed, do give a small indication of what the lens might be like stopped down. I also used some Foma Retropan 320, but this gave very grainy images, more obtrusive than the HP5. Finally, with the low light levels over the weekend, I shot some Ilfodata HS23, rated 25: by necessity, every shot used the 'dark cloud' symbol setting, giving f2.8 at 25 ISO. With the Ilfodata film, grain is barely visible, but limitations of the lens' quality are much clearer when shot wide open. Also, with a very shallow depth of field, there was little compensation for inaccurate guess focussing. It does appear that the lens might not quite focus at infinity when wide open; this might be a quality control issue over the construction, although it might simply be that I didn't quite take enough care to make sure the lens was actually set dead on infinity. It is also very easy to accidentally rotate the focus on the lens as this seems very loose. There are also some shots with lens flare, but more obvious are internal reflections, something a few Soviet-era cameras are notorious for, given their shiny plastic insides. The exposure calculator does have some limitations: at the slowest ISO settings, it can't be rotated to the thundercloud or window symbols: at the other end of the scale, being unable to use the bright sun or beach symbol at 1600 ISO would mean overexposure by one or two stops, although I was very far from having this latter problem while making my tests.

The Agat 18K looks and feels like a toy camera in many aspects, but in its design, if not in its construction, it's far more ambitious than that, despite the caveats above. The features such as the focussing lens, the wide ISO range, the ability to remove film partially shot from cassette to cassette, and the exposure calculator coupled to both apertures and shutter speeds, more than just a 'sunny 16' set of symbols, there's also a hotshoe hidden under a sliding cover for flash: all these suggest something more than a toy. I've used an Olympus Pen EE3, which has been my half-frame camera that I've relied on for many years, and although the Agat 18K's Industar lens doesn't compare with the performance of the Pen's Zuiko, it does have a wider maximum aperture, a wider ISO range, and the ability to focus its lens. It's also a much lighter and smaller camera, and very pocketable: perhaps the fun of using it locates the Agat 18K in the toy camera category.

Agat 18K with Ilford FP4

Agat 18K with Ilford HP5 Plus

Agat 18K with Foma Retropan 320

Agat 18K with Ilfodata HS23 rated 25

Sources/further reading:
Agat 18K on SovietCams.com
Agat 18K manual in Russian 
Belomo cameras on Camera-Wiki
Agat 18 review on BKS Picture Blog

Foma Retropan 320 Soft

Foma Retropan 320 Soft 35mm bulk film

In May this year, Foma announced a new film, Retropan 320 Soft. As the past few years have seen the market for film contract, and products discontinued, any news of new films provokes interest - and sometimes a little scepticism - from film photographers online. Foma has both the well-established Fomapan 400 and 100, and recently re-introduced their 200 speed film to their product lines, a new film at a speed fractions of a stop between the two needs to have distinctly different characteristics to be a worthwhile addition. Foma states that Retropan 320 soft is:

is a panchromatically sensitized special negative black and white film with fine grain, good resolution and contour sharpness. The film is characterized by a wide range of half tones and soft light which makes it suitable for photography and subsequent contact printing or “retro” style enlarging of negatives (photographs of still lives, architecture, experiments, landscapes, portraits, etc.)

The choice of name for this new film provides an indication of these qualities, and it could be said that the speed itself, 320 ISO, has something 'retro' about it, there being only one other black and white film rated 320, Tri-X sheet film. Retropan 320 Soft is currently only available in bulk rolls of 35mm and large format sheet films. For this post about the film, I have only tested the emulsion in 35mm, but results for sheet film can no doubt be extrapolated from these. I bought a bulk roll from Process Supplies, the only distributor in the UK so far.

As an entirely new film, there is as yet little data for developers and times. At the time of writing, Retropan 320 is not listed on the Massive Dev Chart; the data sheet from Foma gives times and dilutions for just four developers and their dedicated one (these are: Foma's new Retro Special Developer; Ilford Microphen; Kodak HC 110; Spur NHC; and Rollei Supergrain). I don't use any of the listed developers, and although best results may be achieved in the manufacturer's dedicated developer, it may not be practical to buy specialist developers tailored to every film. Instead, I chose both of the two developers that I've used over a number of years: Rodinal (in this case, R09 One Shot) and Ilfotec LC29.

For my first test roll I had intended to process the film by using one hour stand development in Ilfotec LC29 at 1+100; instead due to a mix up of tanks (the other tank had Kodak Plus-X), I developed this in Ilfotec LC29 diluted 1+29 for 9 minutes at 20ºC. It was immediately evident when pulling the film out of the wash that the negatives were of low contrast and good latitude; there is a grey base to the film, and it does not have any edge markings in 35mm, which can be useful for gauging development. However, the time and dilution used appeared relatively successful despite being entirely serendipitous. The first test roll was shot on an overcast morning, and the six-stop difference in exposures made for the latitude test appeared as a fairly gentle gradation across the frames. When scanning the negatives of this first test, these appeared to show a slightly usual tonal response: however, the grass under the trees was very yellow and reflective of the diffuse lighting conditions. I shot (in sunny conditions) and developed a second latitude test as I had initially intended, using stand development with Ilfotec LC29 diluted 1+100 (this went over the hour mark by a quarter, but with stand development and a film with good latitude, there would be naturally a wide margin in timings).

For a third test roll, I used stand development with R09 One Shot at 1+100. Although direct comparisons suffer the vagaries of each stage between subject and resulting image - metering, camera equipment, development and scanning - this roll appears to show fuller negatives. The first two rolls developed in Ilfotec LC29 looked as though rating the film at box speed risked a lack of shadow detail, especially in high contrast subjects. This is in part an issue of metering, but the negatives in R09 appeared to better achieve the stated box speed.

Retropan 320 at box speed, developed in Ilfotec LC29 1+29, 9m at 20ºC

Retropan 320 at box speed, stand developed in Ilfotec LC29 1+100 for 1 hour 15 minutes

Retropan 320 at box speed, stand developed in R09 One Shot 1+100 for one hour

Foma's data sheet lists Retropan 320 Soft as having qualities of "fine grain, good resolution and contour sharpness". The first quality, fine grain, may be achievable with the dedicated developer. In the tests that I made, the grain appeared not untypical of a 400 ISO film, not what I would describe as 'fine grain'; there does appear a slight difference between the results developed in Ilfotec LC29 with normal agitation and stand development: the appearance of the grain is just perceptibly tighter when stand developed in the two images compared below.

Retropan 320 at box speed, stand developed in Ilfotec LC29 for one hour

Retropan 320 at box speed, developed in Ilfotec LC29, 1+29, 9m at 20ºC

Retropan's "good resolution and contour sharpness" are more evident. There must be a relationship between fineness of grain, sharpness and resolution, although this is not necessarily a straightforwardly linear one: a film can be 'grainy' and still possess good resolution, and the converse may be true. The image below of the chain link and wooden fences does show these qualities, as does this photograph with a spider's web showing up in this shot, and the lettering in this photograph.

Retropan 320 at box speed, stand developed in R09 One Shot, 1+100 for one hour

The "soft light" described in the data sheet appears to be related to halation, and possibly irradiation. This may be due to the film having little or no anti-halation layer. In the tests I made, halation was more prominent when over-exposed, as one would expect, but as the film's good latitude means that it copes well with over exposure, so this effect could be deliberate by design (this can, incidentally, produce a look reminiscent of infrared film when these highlights are located on foliage). With regards to this effect, the data sheet states:

Base 
The following bases are used for manufacturing the particular sorts of the film:
- 35 mm film - a gray or gray-blue cellulose triacetate base 0.125 mm thick,
- sheet film - a clear polyester base 0.175 mm thick furnished with an antihalo colour backing which will decolourize during processing.

This suggests that in 35mm the film does not have a specific anti-halation backing, but the "gray or gray-blue" base may be tinted so as to reduce halation, although the effect of halation can clearly be seen in some of my results; this may also be light scatter due to irradiation, a separate but related effect.

Retropan 320, two stops overexposed, stand developed in R09 One Shot 1+100 for one hour

Retropan 320 at box speed, stand developed in Ilfotec LC29 1+100 for one hour

Additionally to overexposure as a general approach, specifically, subjects with bright local luminance - light areas against a larger dark background - emphasise these effects. This is in part due to metering: all the above tests were shot with an Olympus OM10, relying on its centre-weighted metering. The relationship of subject metering and exposure to development could be better correlated when shooting sheet film of course. These effects would also be less obvious with large format.

Foma's data sheet states that Retropan 320 Soft's "wide exposure latitude provides very good results also when overexposed by min. 1 EV (ISO 160/23°) and underexposed by 2 EV (1250/32°)." It provides times for rating the film at 640, but not 1250 (interestingly, all developing times on the data sheet are given as a range and not absolutes: these are all either one or two minutes). Given the results from the latitude tests that I shot, there seemed little point in specifically finding and adjusted developing time for rating the film at 160, but I did want to try push processing. I shot a roll of Retropan 320 rated at 640 with the Voigtländer Vito IIa,  developed in Ilfotec LC29 1+19 for 16 minutes at 18ºC. This guess at a developing time was based on the results from my first film, with less dilution, and what felt like a much increased time.

Retropan 320 at 640, developed in Ilfotec LC29, 1+19, 16m at 18ºC

For a two stops push, rating the film at 1250 ISO, I developed it in Ilfotec LC29 1+19 for 20 minutes at 19.5ºC. As is generally the case with push processing, the results in good, even lighting were better than the few that I shot at night (as underexposure and overdevelopment increases contrast, and night shots tend to be high contrast, with localised point sources of illumination and deep shadow areas). For a further test of push processing, I might chose less dilution, 1+9, with similar times. Despite local halation, the highlight areas appear resistant to blocking. The characteristic curves on the data sheet are cropped to the very start of the shoulder area: from the latitude tests, I have a suspicion that the film demonstrates a gentle rollover at the shoulder. The curves also show an unusual 'bent leg' to the straight line section, at least with the dedicated developer.

Retropan 320 at 1250, developed in Ilfotec LC29, 1+19. 20m at 19.5ºC

Retropan 320 at 1250, developed in Ilfotec LC29, 1+19, 20m at 19.5ºC

All the tests I've made so far do show Retropan 320 to have quite distinct qualities, and so providing perhaps some kind of niche for it as a product, although these are an unusual combination; I've found it to be a bit of a curate's egg. With limited availability and limited information from the manufacturers, this does provoke some speculation about the intentions for the new film. Presumably what is currently available represents a limited batch of emulsion made to test market viability, but Foma's production of a dedicated developer for it demonstrates a willingness to support Retropan 320 at least for the immediate future; with sufficient demand, availability in 35mm cassettes and medium format rollfilm would confirm this.

Retropan 320 at box speed, stand developed in Ilfotec LC29 1+100 for 75 minutes

Retropan 320 at box speed, stand developed in R09 One Shot, 1+100 for one hour

Retropan 320 at box speed, developed in Ilfotec LC29, 1+29, 9m at 20ºC

Retropan 320 at 640, developed in Ilfotec LC29, 1+19, 16m at 18ºC

Retropan 320 at 1250, developed in Ilfotec LC29, 1+19, 20m at 19.5ºC