When the Leica was first marketed in
1925 it was without competition. It was
an entirely new concept, not seen before.
Thus it was no surprising that the camera immediately became a huge
success with competing companies struggling to offer something similar. Soon Zeiss entered the market with the Contax,
as did others, including Kodak with the German made Retina, but none ever had
the success of the Leica.
This success continued after the
interruption of WWII, with the first post war model, the Leica IIIf and then
the incredible M3 which lives on in its basic concept even today with the Leica
M. Of course there were cameras from competing
companies as well, the continuation of the Zeiss Contax as the main
competitor. Kodak too tried to get a
hold on the 35mm rangefinder market with their incredible Ektra, but Leica
remained on top.
This success continued even far into
the new 35mm single lens reflex camera market which rapidly gained popularity. This brings us to an interesting concept rom
Switzerland, the Alpa Reflex.
Alpa was an offshoot of the Pignons
S.A. company, which made specialty parts (pinions) for Swiss watches. In the late 1930s, Pignons invited engineer
Jacques Bolsky to design a camera for them. This resulted in the Alpa-Reflex in
the 1940s. As did most everyone else, he
took a close look at the Leica, but also at the emerging single lens reflex
cameras (SLR). As a company involved in
the watchmaking industry, the Alpa camera turned out to be an incredibly well
made piece of equipment, mostly hand made with extremely tight tolerances.
What set the camera apart form
virtually all cameras at the time is the fact that the camera was a hybrid,
offering rangefinder focusing as well as single lens reflex viewing. A closer
look, especially at the lens, definitely reveals the influence of the
Leica. Because of the very high quality
of the camera, production was low, but quality and prices were high. Even these
days, collectible Alpa cameras can fetch quite high auction prices.
The original Alpa Reflex
Alpa was quite innovative with other
features too. There is an ongoing
question concerning which camera company was first with such innovations as the
quick-return mirror, through-the-lens metering, cells in prism housings and the
bayonet lens mount. Alpa was a contender for being first with each of these
innovations and several others.
Soon after the introduction of the
Alpa Reflex, a new model was introduced.
While the Alpa reflex sported a waist level viewfinder, the new Alpa
Prism Reflex was one of the first SLR cameras with a prism viewfinder, but it
also maintained rangefinder focusing.
Not only did the Apla cameras stand
out because of their very high quality, this continued with their lenses as
well. They did not make their own
lenses, instead they had them made by some of the best lens makers, Angenieux,
Kern, Kinoptik, Schneider, and others. They
were the only company to guarantee optical quality of the lenses they sold. The Kern Macro Switar lens was a 50 mm lens
at F1.8 or F1.9. It was an apochromat,
and is still highly regarded as one of the best standard lenses ever offered.
Other apochromats offered by Alpa included the 100 mm F2 and 150 mm F2.8
Kinoptik lenses. The company retained
the same lens mount on the Swiss made cameras from 1942 until they ended
production. The back focus of the body was the thinnest of any 35 mm camera,
and as a result, it was possible to make adapters to use lenses designed for
almost any other 35 mm SLR on an Alpa. Adapters offered included Exakta, M42
(automatic diaphragm and manual), Nikon (auto and manual), Leica R, T-mount,
and Contax.
Just as the combination of
rangefinder and reflex focusing was a definite deviation from the norm, Alpa
continued to be different with follow up models as well. For instance, the initial film winding knob
was replaced with a lever wind, as was the case on other cameras. But instead of using the common counter
clockwise, thumb activated winding lever, Alpa decided to do the opposite. Their winding lever stuck out from the front
of the camera and it was activated by pulling it with the right index finger. Alpa also continued to use the camera release
via a knob on their lenses which also activated the auto stop down of the
diaphragm, a system apparently taken over from Exacta.
Alpa 9d with 50mm f/1.8 Macro Switar
The reverse wind lever and shutter release on the lens areclearly visible
The reverse wind lever and shutter release on the lens areclearly visible
One of the strangest accessories for
the Alpa was without a doubt the motor drive.
While everyone would attach the motor to the bottom of the camera, Alpa
decided to put it on the top. The motor
attached by being fastened to the screw fittings normally used to attach a neck
strap. Right above the advance lever a
pin stuck out from the motor which, when activated, actually moved the advance
lever as it would normally be done by the index finger. The shutter release was in the back of the
motor which necessitated a short cable release in front of the motor to be
connected to the normal shutter release on the lenses.
Unfortunately, Alpa did not have the
resources to keep up with the technological advances that the mainstream camera
companies were introducing in the 1970s and sales began to decline. It is not
clear whether the lack of technological "innovation" was due to lack
of money, or actually a choice made by the company against the automation
brought about by other companies.
In 1990 the company could no longer
compete with other manufacturers, especially from outside Europe. The fatal
blow however was delivered by problems within the company. Pignons SA declares
bankruptcy. The last ALPA model produced by Pignons SA was the ALPA 11.
In 1996 Capaul & Weber from Zurich acquired the world-wide rights to the brand-name ALPA. The new owners aimed to continue the tradition of quality established with the classic 35-mm ALPA reflex cameras and to enter into the field of medium-format cameras which resulted in the Alpa 12 camera currently on the market.
As Leica enthusiast we should be able
to understand a certain resistance to market trends. The insistence on doing things their way
brought considerable financial hardships for Leica, especially their less than
lukewarm embrace of digital photography.
Fortunately, with the help of Dr. Andreas Kaufmann, the direction of the
company changed and today Leica is once again one of the major players in the
high end camera market.
I seem to have read somewhere that Jacques Bolsky, the designer of the first Alpa, also designed the American made Bolsey camera of years past. Is that correct?
ReplyDeleteYou are correct, and just like the Alpa didn't follow a path of conventional camera design, the Bolsey didn't either. Probably the best known camera design of Bolsky was the Bolex 16mm motion picture camera. Even today the cameras have a very high reputation.
DeleteWouldn't it be worthwhile for Leica to guarantee the optical quality of their lenses?
ReplyDeleteI don't think it would make any difference. Even the haters usually admit that the mechanical and optical quality of the Leica lenses is extremely high. That is a reputation that even the best of the competition has not been able to undermine.
Delete