X Ray Film in a Soviet Leica Zorki Meets Monochrome Monday in Solvang
Updated: 2 days ago
Happy #MonochromeMonday from Solvang, California!
This shot was my contribution to Monochrome Monday, a weekly invitation from John Getchel on X to share black-and-white photos. If you shoot monochrome, join in!
Solvang is a little slice of Denmark tucked into the Santa Ynez Valley, and its storybook architecture practically begs to be shot in black and white. This one caught my eye with its half-timbered gables, round stained-glass windows, and a clock tower hung with a row of bells.
Taking the color away lets the textures do the talking: the rough stucco, the curved timber beams, the shingled roof, and the detail in the clock face all stand out against a plain gray sky.
The Camera: Zorki 1
Unofficial Zorki 1 Manual
The Zorki 1 (often simply called the “Zorki” during its production era) is a classic 35mm rangefinder camera that played a pivotal role in Soviet photography history. Produced by the Krasnogorsky Mekhanichesky Zavod (KMZ) factory in Krasnogorsk, near Moscow, it was essentially a direct copy of the German Leica II (introduced in 1932), reflecting the Soviet Union’s efforts to mass-produce high-quality cameras using reverse-engineered Western designs. The name “Zorki” derives from the Russian word “зоркий” (zorky), meaning “sharp-sighted” or “keen-eyed,” emphasizing its precision.
While not officially numbered as “Zorki-1” at launch, this designation is now used by collectors to distinguish it from later models in the Zorki series.
Origins and Development (Pre-1948)
The Zorki line’s roots trace back to the FED camera, the Soviet Union’s first Leica clone, produced starting in 1934 at the Kharkiv (Kharkov) Mechanical Engineering Plant (KhMZ). The FED was an unauthorized reproduction of the Leica II, capturing its rangefinder mechanism, M39 screw-mount lens system, and compact form factor. During World War II, the FED factory was evacuated eastward to evade Nazi advances, severely disrupting production.
Post-war, in 1948, the KMZ factory—spared from destruction—stepped in to help meet quotas by assembling FED-style cameras under a joint “FED-Zorki” branding. This collaboration allowed KMZ to refine the design, diverging slightly from the FED while retaining the Leica blueprint. By 1949, KMZ transitioned to full production under its own “Zorki” trademark, targeting both domestic and export markets (later export models featured bilingual Cyrillic and Latin engravings, earning the nickname “Zorki-Zorki”). The Zorki 1 embodied the era’s ideological and industrial priorities: democratizing advanced photography in the USSR without relying on imports. It prioritized affordability and reliability over innovation, using locally sourced materials like vulcanite for the body covering and chrome plating for durability.
Early prototypes even bore faint Leica engravings, a testament to the blatant imitation that bordered on counterfeiting—some Zorkis were later reworked and sold as fake Leicas in Western markets.
Production and Evolution (1948–1956)
Production of the Zorki 1 began in 1948 and continued until 1956, with an estimated 800,000 units manufactured—making it one of the most prolific Soviet cameras of the era. The camera’s core specs remained consistent: a horizontal focal-plane shutter with speeds from 1/20s to 1/500s (plus B bulb mode), a coupled rangefinder for precise focusing, and compatibility with M39 lenses. It typically shipped with the Industar-22 (a collapsible 50mm f/3.5 lens copying the Zeiss Tessar, not the Leica Elmar as it superficially resembled) or, later, the rigid Industar-50.
Over its run, the Zorki 1 evolved through at least five major body types (1a to 1e), plus numerous sub-variants, driven by manufacturing efficiencies and minor improvements. Serial numbers provide clues: early models used sequential numbering, while from 1955 onward, a seven-digit system prefixed the year (e.g., “55” for 1955).
Key changes included:
Type 1a (1948–1949): A near-identical “descendant” of the FED-Zorki hybrid, with basic engravings and no cable release thread on the shutter button.
Type 1b (late 1940s): Added a threaded collar around the shutter release for cable compatibility.
Type 1c (1951–1953): Introduced molded body parts and black painted trim bands separating the chrome top/bottom plates from the vulcanite sides, improving strength and aesthetics. This is one of the most common variants today.
Type 1d (early 1950s): Extended the black trim to the lens mount area for better sealing.
Type 1e (1955–1956): Updated shutter speeds to a more standardized 1/25s, 1/50s, 1/100s, 1/250s, and 1/500s (replacing the quirky 1/20s–1/40s of earlier models).
Some units from 1947–1948 even experimented with 1/1000s, but this was rare.
These tweaks were pragmatic: injection molding from 1951 enhanced durability, while cost-cutting measures (like simplified engravings) extended the model’s lifespan into the mid-1950s. By 1956, the Zorki 1 was phased out in favor of successors like the Zorki 2 (1954, adding a self-timer) and Zorki 4 (1956, with flash sync), which introduced more Leica-like refinements. The KMZ factory shifted focus to single-lens reflex (SLR) models like the Zenit, but the Zorki line persisted until 1973.
Legacy and Cultural Impact
The Zorki 1 was a massive success in the USSR, offering professionals and amateurs a Leica-quality tool at a fraction of the cost (around 3,200 rubles new, versus thousands for a genuine Leica). It captured everyday Soviet life, from propaganda shots to personal snapshots, and was exported widely, influencing global perceptions of “Eastern Bloc” photography. Photographers praised its smooth controls, quiet shutter, and sharp Industar lenses, which delivered vintage-style images with subtle softness—ideal for black-and-white film.
Today, Zorki 1s are collector favorites, often fetching $50–$200 depending on condition. They’re quirky heirlooms: reliable when serviced (a CLA—clean, lubricate, adjust—is recommended for 70+ year-old examples), but prone to brass fatigue or sticky shutters if neglected. Users note its “less refined” feel compared to a Leica—duller chrome, looser tolerances—but that’s part of the charm. As one reviewer put it, it’s “a tremendous success in the USSR” despite being “old history” by 1955 standards, proving imitation could spark genuine creativity.
The Film: FPP X-Ray
These Solvang shots were made on FPP X-Ray film from the Film Photography Project. It started life as medical X-ray film, and FPP adapts it to standard perforated 35mm so it can run through a regular still camera. It comes in 36-exposure rolls with no DX coding, and FPP suggests shooting it anywhere from ISO 200 to 400, with their own tests pointing to 200 as the sweet spot.
It’s an orthochromatic film, which means it sees blue and green light but not red, so reds (and skin tones) come out darker. It also has no anti-halation layer, which gives it a subtle glow and diffusion around bright areas, along with enhanced grain. Reviewers describe it as contrasty, especially in bright sun, and it seems to really shine under overcast skies, which suits a plain gray sky like these photos.
Because of that ortho sensitivity, FPP says the film can be handled and developed under a red safelight (they mention a 6-watt Kodak red safelight), and you can even develop by inspection. For home developing, FPP lists Kodak D-76 (or FPP 76) at 6 minutes at 68°F, or Diafine at 5 minutes per bath at 70°F.
One handling tip: the film is prone to light piping, so FPP recommends loading and unloading it in dim light and keeping it in a dark camera bag or light-tight bag before and after shooting. FPP also notes that the conversion to 35mm can leave occasional artifacts on some frames. That’s just part of the character of this quirky, fun film.
What the reviews say
Most users describe it as a charming, quirky, and surprisingly capable camera—once it’s been serviced.
35mmc (Julian Tanase) calls his 1955 example “the exception to the rule” among Soviet cameras. After a CLA it became reliable and he loves the character of the Industar-22.
Kosmo Foto (Paulo Moreira) praises its compact size, street-photography friendliness, and the fact that it delivers “80% of the Leica experience” for a fraction of the price.
Lomography staff note the Industar-22’s sharpness and contrast, while reminding users of the golden rule: never change shutter speeds without first advancing the film.
Mike Eckman sees his 1951 Zorki 1C as a discount copy rather than a Leica equal, but says a working example is as easy to use and as capable of the same image quality as the camera it copies, and gives it a bonus point for overall value as “80% of a Leica for 80% less than a Leica”.
Johnny Martyr compared a Zorki-1c side-by-side with a real Leica and found the Soviet version less refined mechanically, yet still enjoyable for the money.
Pierre Killmayer calls the Zorki 1 “a good camera: it is functional, reliable, and produces really decent photographs”, but says it makes sense for newcomers to viewfinder cameras or as a backup, not for anyone who really wants a Leica, because “It is not a Leica and will never be.”
Camera-wiki describes the Zorki 1 as a 35mm M39 screw-mount rangefinder made by KMZ in Krasnogorsk between 1948 and 1956, with roots in the FED line of Leica copies, and catalogues its body types, lenses and specifications.
Common themes across reviews:
A well-CLA’d Zorki 1 is a joy to use and quite reliable.
An unserviced one is often a parts camera (dried shutter curtains are the biggest issue).
The Industar-22 is better than its reputation and renders with nice contrast.
Bottom loading and the dual-window finder take practice, but many people grow to like the deliberate, meditative shooting style.
Is it a good buy?
For someone who wants the classic Barnack Leica experience without the Leica price, a clean, serviced Zorki 1 remains one of the best value options in film photography. Just budget for a CLA if the shutter curtains haven’t already been replaced.
I bought my Zorki from Ok Vintage Camera
Thanks for stopping by.
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