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Old Soviet Camera With X Ray Film

  • bigrickstuart
  • Oct 13
  • 8 min read

Updated: Oct 14

Here are some photos from a recent trip to Solvang, California, known as the Danish Capital of America. It's a themed town established in 1911 by Danish Americans.


It's a very popular destination, and a local advised me that weekends between Thanksgiving and Christmas are extremely busy—"avoid holiday weekends!" Hotel prices skyrocket, parking is scarce, and there's a lot of traffic.


Weekdays are nice, and when I visited mid-week in September, it was wonderful. I've been going there for years, and it seems unchanged, which is great.


This year, I used a camera I purchased from OK Vintage Camera in Slovakia. They service many cameras but specialize in Soviet models. My Zorki 1 was serviced and restored by them, and it's a fascinating camera with a history linked to Leica, the renowned German brand, with Zorki camera part of Soviet camera history both before and after WWII. It remains an excellent camera when properly serviced and restored.


The film I used was from the Film Photography Project X-Ray black and white.


I was trying out a new to me camera with film I hadn't used before.


I was very pleased with the results! I made a few mistakes using the camera (I forgot to extend the lens a couple of times), but overall, I did alright. The film is known for high contrast, and the day I explored Solvang was cloudy and nearly raining, with no direct sunlight so it was a low contrast day.


This worked well for the film, so I lucked out. I'll try the film in sunlight here in Vegas to see how it performs.


Here are some of my favorites from Solvang, with all of them in my Flickr album, and below the photos is AI information on the camera and a description of the film.



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from Grok AI


History of the Zorki 1 Camera


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. Modern enthusiasts load it with expired film for lo-fi aesthetics, keeping its “sharp-sighted” spirit alive.


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FPP BW 35mm X-Ray Film

36 exp Roll / Shoot between 200 - 400 ISO / Non DX-Coded


FPP X-Ray Film Info & Tips:


Sourced from medical X-ray film and adapted to standard perforated 35mm film for your still photography camera


diffusion effect and beautiful, enhanced grain into every photo due to the lack of anti-halation layer


Variable ISO - shoot between 200 – 400 ISO - Our tests indicate that 200 ISO is the "sweet spot"


An Orthochromatic (ortho) film. Ortho films can only see blue and green (outdoor) light. Reds are rendered darker and therefore create darker skin tones.

Our Xray film has a higher green sensitivity, enabling the film to be handled using a red photographic safe-light and allows processing by inspection, meaning you can load and unload film onto your home development reels when using the safe-light


Grok AI Info on FPP X Ray film


What is FPP X-Ray Film?


FPP X-Ray Film refers to a line of black-and-white photographic film produced by the Film Photography Project (FPP), a U.S.-based organization dedicated to promoting analog photography through education, events, and affordable film stocks. This film is not traditional “X-ray film” in the medical sense but rather medical-grade X-ray film repurposed and adapted for still photography use. Originally designed for capturing X-ray images in dental and bone diagnostics, FPP sources surplus or compatible stock from the medical industry and converts it into formats suitable for cameras, such as 35mm rolls, 120 medium-format rolls, and 4x5 sheet film.


Key Characteristics


•  Type and Sensitivity: It’s an orthochromatic film, meaning it’s primarily sensitive to blue and green light (but not red), which mimics the spectral needs of X-ray applications. This allows for unique handling: you can load and unload the film under a standard red photographic safelight (e.g., Kodak 6-watt or 15-watt models) without fogging, enabling “development by inspection” in a darkroom. However, avoid bright room light during loading to prevent “light piping” (internal light leaks along the film’s edges).


•  Film Base:


•  35mm and 120 versions use a polyester (PET) base (0.1mm thick) for durability.


•  Some variants, like certain 35mm stocks, use an acetate base.


•  Speed (ISO/ASA): Variable, typically rated at 100–400 ISO. FPP recommends shooting the 120 version at 100–400 ISO and the 35mm at 200–400 ISO, with 200 ISO often cited as the “sweet spot” for balanced contrast and density.


•  Unique Traits:


•  No anti-halation layer: This causes light to scatter internally, producing a signature high diffusion (glow or halation) effect around bright highlights and a pronounced, beautiful grain structure—ideal for artistic, ethereal black-and-white images.


•  High contrast: Results in punchy, dramatic tones with excellent edge sharpness, though it can appear flat in scans if not exposed properly.


•  Anti-static layer: Reduces dust attraction during handling.


•  Drawbacks: Lower speeds limit use in bright sunlight without filters; prone to scratching due to fewer protective layers; orthochromatic nature means red filters won’t work well for contrast control.


Formats and Availability


FPP offers it in:


•  35mm (135): 36-exposure rolls, non-DX coded, in plastic cassettes. Priced around $17 USD.


•  120 Medium Format: Rolls with standard backing paper and numbering for cameras like Rolleiflex or Hasselblad. About $10–11 USD.


•  4x5 Sheet Film: Packs of 25 sheets for large-format view cameras, emphasizing luminous, high-contrast results. Popular among fine art photographers for its dramatic potential.


It’s available directly from the FPP Store (filmphotographystore.com) and others, and is marketed as an affordable entry into analog photography—cheaper than many boutique films while offering a “vintage medical” aesthetic.


Development and Processing


•  Chemicals: Standard black-and-white developers like Kodak D-76 (or FPP’s equivalent FPP 76) at 7 minutes/68°F (20°C), or Diafine at 5 minutes/70°F (21°C). Avoid developers meant for panchromatic films.


•  Tips: Develop in total darkness or under red safelight. For home processing, agitate gently to enhance grain. FPP partners with labs like The Darkroom for scanning and prints.


•  Results: Produces negatives with good latitude (up to -1 stop underexposure recoverable), scanning flat without curling. Users report “spectacular” images under overcast or indoor conditions, with halos adding artistic flair.


Why Use It?


FPP X-Ray Film appeals to film enthusiasts seeking experimental, low-cost options (e.g., $0.50–$1 per exposure). It’s not for clinical X-rays but transforms surplus medical stock into a creative tool, yielding images with “beautiful grain” and diffusion that’s “different from any traditional film stock.”  Reviews highlight its accessibility for beginners in large format or medium format, especially for moody, high-contrast portraits or landscapes.  If you’re into film photography, it’s a fun way to repurpose industrial materials for pictorial art—much like using cinematic film for stills. For more, check FPP’s resources or try a roll to see the glow effect firsthand.


reviews

Random Camera Blog "I have now shot the second roll under cloudy to overcast conditions, as well as indoors. This film really stands out under these conditions."


Alex Luyckx "There is a lot of contrast here, but that’s a good thing, as it works well. Lots of character here, with excellent edge sharpness and grain structure."

 
 
 

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all photos by Rick Stuart  | email dj at bigrick dot com 

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