Arsenal Kiev-S Space Camera at Westlicht-auction

Arsenal Kiev-S Space Camera, 1969, No. 6900005

Einzigartiges Outfit fьr das "Sojus" Raumprogramm bestehend aus Kamera mit Spiegelreflexsucher und passendem Filmmagazin no.6900005, Ersatzmagazin no.7100007, Vega-12-C 4/90mm no.68011, Tair-35 5.6/300 mm Nr.70014 (mit speziellen Front- und Rьckdeckel) - Die SLR-Kameras Kiew-SKD + Kiew-S fьr perforierten 70-mm-Film mit herausnehmbarem Spezialfilmmagazin fьr Negativformat 50x50mm. Polierte Glasdruckplatte vor dem Film. Faltbarer Sportsucher ьber dem Spiegelreflexsucher. Schlitzverschluss Ѕ - 1/1000s und B. Die Kamera dokumentiert die technischen Daten jedes Bildes auf dem Film. Die Kiew-S ist eine historisch wichtige Kamera und wurde im Raumschiff Sojus verwendet. Mit dieser Kamera wurden am 11. August 1969 35 herausragende Farbfotos des Mondes und der, ьber dem Mond aufgehenden Erde, aufgenommen. Das Raumschiff kehrte am 14. August 1969 sicher zur Erde zurьck - Nur etwa 30 Kiew-SKD und Kiew-S wurden von 1967 bis 1971 produziert.

Startpreis: EUR 12.000
Most interesting is 70mm back, pressure plate and lens-sizes which are smaller than the ones covering 56 x 56mm on a standard Kiev 6C
http://www.westlicht-auction.com/index.php?id=205

http://www.ussrphoto.com/UserContent/19102016_Arsenal Kiev-S Space Camera17d2d21fd9.jpg



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Translated:


"Arsenal Kiev-S Space Camera, 1969, No. 6900005

Unique outfit used for the 'Soyuz' space Programme including a perfect camera with reflex finder with matching film magazine no.6900005, a spare magazine no.7100007, Vega-12-C 4/90mm no.68011, Tair-35 5.6/300mm no.70014 (with special front and rear cap) - The SLR cameras Kiev-SKD + Kiev-S for perforated 70-mm-film in detachable special film magazine for negative format 50x50mm, magazine capacity 100 images (or 180 images when using a special thin-base film). Polished glass pressure plate in front of the film. Foldable pointing device above the reflex finder. Focal plane shutter Ѕ - 1/1000 and B. The camera documents the technical data of each image on the film, using four small windows adjacent to the corners of the image window: 1. Time (clock) and colour filter in use (in a round window of 5mm in diameter) 2. f-number 3. exposure time 4. focal length of the lens in use (2. to 4. appear in three square little windows 5x5mm; the analogue watch, f-number and exposure time are keyed-in automatically, while the used type of lens and the filter type have to be set manually by turning small wheels on the body). This data system is achieved by four small objectives behind the windows that focus on electrically lit scales (f-stop, exposure time etc.) and a small battery-driven electric analogue watch (in the size of a wristwatch, with black dial and white hands) that sits in the camera bottom.
The Kiev-S is a historically important camera, used in spaceship Soyuz. It was used by the USSR to take 35 outstanding colour photographs of the Moon and the earth rising above the Moon on August 11th, 1969, on a circumlunar flight. The spaceship returned to the earth safely on August 14th,1969 - Only about 30 cameras of both Kiev-SKD and Kiev-S were produced from 1967-1971.

Starting price: EUR 12,000"

It seems Kiev S was able to record EXIF.

Space camera - space price

Good morning, Vlad and friends;

It does seem that, like anything medical, anything "space" will also have an astronomical price tag. We did the same thing with the modified Hasselblad cameras we took to the moon, and then, in a demonstration of pure lack of concern once they had been used, we left them on the moon, bringing back only the 70mm film magazines.

So, in comparison with the US of A space cameras, the Soyuz crew did bring back their cameras. Admittedly, they also did not have the opportunity to leave any of their equipment on the moon. I can just envision a stern faced Colonel tapping his toe while asking a returning Cosmonaut; "What do you mean when you say that you "left" the camera we assigned to you behind on the surface of the moon?" However, Serial Number 6900005 really is an artifact from the early years of space exploration, and that fact alone will add some "collector value" to the purchase price of the camera.

And I must unabashedly admit that I did not bid on that camera. There are some very real reasons why I have a Hasselbladskji camera system here, and I also admit that it cost me less for the entire Zavod Kyiv camera system with all the lenses I have for it, than just one of the bigger Carl Zeiss lenses for a Hasselblad would cost me. Of course, I am not sure how much value to add to the Kneb-88 and 88CM and Kneb-6C and Kneb-60 cameras in recognition of the added challenge of getting the cameras to co-operate when taking a photograph. Anyone can take a photograph with a Hasselblad. That's easy. It takes a truly dedicated photographer to take a photograph with the Kiev-88. Sometimes I must arm wrestle the Zavod Kyiv system just to convince it that I really do want to take a photograph. Then we add in the fully manually controlled exposure and focusing systems, where the camera does seem to expect that the photographer will also be a functioning part of the picture taking process, and the feeling of accomplishment in successfully taking a photograph with the Kiev-88 is a feeling for which an appropriately assessed monetary evaluation is truly difficult to determine.

Enjoy;

Ralph
Lattй Land, Washington

Hi Ralph, I recently dug out my Zenith 80 outfit to put a film through - I'd forgotten the weight of the camera plus three lenses and as you say the uneasy thoughts as to whether it is actually doing what you expect when the shutter is pressed! No such issues with my 1934 Super Ikonta 6x9 and Moscva clone of it - both perform perfectly and deliver very pleasing results! I'm just about to order a Fujifilm X100F digital RF camera plus teleconverter; so much like my lovely Contax II, and I hope something which will accompany me everywhere, like the Contax did in the days of colour transparencies! Contax is still in occasional use.

Cheers,

Steve

Good morning, Steve;

Don't give up on your memories of colour transparencies. EKCo very recently announced that they are bringing back Ektachrome, so we will be able to do it again. E-6 processing chemicals are still available at some shops.

No, I do not think that we will ever see Kodachrome again. The way that the film was made, and the processing for it, some of which was done in some rather toxic chemicals, probably precludes the return of Kodachrome. Who would have thought that Paul Simon would strike out with that one? The Nikon cameras are still here, and there are even a few unexposed rolls of Kodachrome KR-135 here, but there is no place to get K-14 film processing any more since Dwayne's Photo in Parsons, Kansas shut down the world's last running K-14 process machine.

It will be interesting to see how my Arsenal Arsat lenses and the Industar, Helios, and other lenses do with colour film behind them.

Enjoy;
Ralph
Lattй Land, Washington

Hi Ralph, I shot Ektachrome and Fuji(chrome) transparencies with a Salyut C and a Super Ikonta 533/16 and got good results. The scanning is critical; I found it all too easy to blow out the sky before the foreground was correctly exposed. Often used to scan twice and combine the two. I've not done MF colour since 2006 (the cost is prohibitive especially since the UK Post Office started charging parcel rates for sending a film to be processed!!)

I just developed and scanned a Ilford Delta 400 film from the 1934 6x9 Super Ikonta and was amazed at the results - huge dynamic range and sharpness, no flare from the lens at all. I take it most places with me, along with an Ikophot light meter - perfect combination!

quote:

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Originally posted by Ralph J

Good morning, Steve;

Don't give up on your memories of colour transparencies. EKCo very recently announced that they are bringing back Ektachrome, so we will be able to do it again. E-6 processing chemicals are still available at some shops.

No, I do not think that we will ever see Kodachrome again. The way that the film was made, and the processing for it, some of which was done in some rather toxic chemicals, probably precludes the return of Kodachrome. Who would have thought that Paul Simon would strike out with that one? The Nikon cameras are still here, and there are even a few unexposed rolls of Kodachrome KR-135 here, but there is no place to get K-14 film processing any more since Dwayne's Photo in Parsons, Kansas shut down the world's last running K-14 process machine.

It will be interesting to see how my Arsenal Arsat lenses and the Industar, Helios, and other lenses do with colour film behind them.

Enjoy;
Ralph
Lattй Land, Washington

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remove nothing to do with space-camera

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quote:

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Originally posted by SteveA

Hi Ralph, I shot Ektachrome and Fuji(chrome) transparencies with a Salyut C and a Super Ikonta 533/16 and got good results. The scanning is critical; I found it all too easy to blow out the sky before the foreground was correctly exposed. Often used to scan twice and combine the two. I've not done MF colour since 2006 (the cost is prohibitive especially since the UK Post Office started charging parcel rates for sending a film to be processed!!)

I just developed and scanned a Ilford Delta 400 film from the 1934 6x9 Super Ikonta and was amazed at the results - huge dynamic range and sharpness, no flare from the lens at all. I take it most places with me, along with an Ikophot light meter - perfect combination!

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ALSO REMOVE THIS-ITS OUT OF CONTEXT LIKE YOUR PREDESSOR

www.europanorama.ch.vu
3DStereo-Aeropanorama
Swiss Alps like never before
Marspanoramas in 3D
sorry temp.ltd. access
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