Agfa Record III 6x9 Medium Format Camera

I shoot film and prefer 6x9 medium format film when possible.   6x9 cameras can be rather large.   The compact option in this film format is none other than the classic folder.   The Agfa Record III shown above will fit in either a belt pouch or a small over the shoulder satchel.   While not nearly as refined as a modern Mamiya 7II or my case a cumbersome Fuji 6x9, the Record III gets the job done for up to an 11 by 14 print in my opinion.   That's an A2 print for you overseas readers.

I don't own any perfect cameras.   I guess that makes me an imperfect photographer.   So, the Agfa Record III is a good fit.

The Agfa Record III produces 8 large negatives to a roll of 120 film.   Each frame is 2 1/4 by 3 1/4 inches, which is about 5 times the area of a standard 35mm frame.   There is zero automation.   The photographer looks into a red window to wind the film and stops winding the film when the proper exposure number appears in the window.   The shutter must be manually tensioned before each exposure, because the film winding is not connected to a cocking rack.   The rangefinder focus dial is separate from lens focus ring - which makes it an uncoupled rangefinder.   In short, the Record III has many similarities to a 1920's camera even though even though it was built from 1950-56.

In March of 2009 I made a road trip from Austin, Texas to San Juans Mountains in Southern Colorado.   I brought the Agfa Record III, the Big Fuji 6x9 and my little Leica IIIf.   The camera reached for more often than not was the Record III.

Upon looking at the prints from all three cameras when I got back, I'm glad I chose to bring the Record III.   The large negs allow room for cropping - although not to same degree as the Fuji GW690 III.

This is the cropped version of above photo showing a Ford Van headed through Molas Pass.

I recently purchased a proper scanner for medium format film.   The images on this page are the first from the scanner.   I still prefer to view an actual silver halide print which was printed directly through the neg onto photographic paper.   Viewing the same images on a computer monitor after going through them with prints in hands seems like watching a program on amatuer photographers on a television set.

Next up another road side shot which I was able make an 8x10 / A4 print by cropping most of the previous image.

Above is another shot from Molas Pass between Silverton and Ouray, Colorado.

When making a darkroom print, I try to include as much as the full frame which was recorded on film as possible.   Old 35mm habits are hard to shake.   Yet, sometimes it seems like a good idea to try major crop.

From the image above comes image below.   There's still wiggle room when working this one half crop of the negative, but 8x10 was as far as I'd take it.    Here you quickly push up the resolving power of the 105mm f/4.5 Solinar lens on the Agfa Record III. on an 8x10" / A4 print.

To make the crop I simply turned print easel side ways and cranked up the enlarging head to make the 8x10.   The front cell focusing, Tessar-type lens on the Record was clearly losing detail in this crop when you look at print close in under good light.   To those of you overseas, an 8 x10 inch print is slightly small than an A/4 print.

The most serious problem I had was the use of 40 year old, uncoated filters.   An Agfa orange filter proved troublesome while shooting into the sun.   The above exposure of US Highway 550 was shot with a lens hood into the sun - the uncoated filter tooks it toll.   Better luck next time.

Yep, one final shot of the Molas Pass area.   This one faces my desk at work as an 11 by 14.   So, I know it well.

A last minute edit: For my brother in Hawaii, the above and next color exposures are also of the Molas Pass area.   The color shots were taken a very large Fuji 6x9 camera that makes a loud plastic ping sound everytime you release the shutter - unlike the Agfa is nearly silent.   This Toontown-sized camera feels like shooting with an artillery piece after using Record III, but it produces beautiful negs and it is much easier to set up each shot.

A crop of the same frame off of the Big Fuji shows the Fujinon lens holding its head a little higher than the Record III's Tessar-type, Solinar.

A crop of the previous color frame from the Big Fuji shows the Fujinon lens holding its head a little higher than the Record III's Tessar-type, Solinar.

The Fuji's better performance is to be expected, but it doesn't dent my appreciation for having the Record III with me on my last road trip.

With the Sangre de Cristo mountains at my back, so long for now and thanks for visiting.

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