We dedicate this book:

To Peace among Nations

To the Conscious Progress of the World

To Science and Knowledge, the only source of Justice

To our restless efforts towards improvements for Mankind

To another 100 years of Glory!

Copyright © 2014 by Luiz Antonio Paracampo Filho

Editorial coordination and preparation

LUIZ ANTONIO PARACAMPO FILHO
Research
LUIZ ANTONIO PARACAMPO FILHO
Proofreading
ROGER BARESEL
Desktop publishing
ADOLFO SAMYN
Cover
LUIZ ANTONIO PARACAMPO FILHO
The Author

Luiz Antonio Paracampo Filho, is a metallurgical and special materials

engineer. Since the early days he has been involved with
photography and has done his own laboratory developing and
enlarging, after completing the first course for developing color films
in Rio de Janeiro where he lives. In those days he not only took his
own pictures and developed them but also began constructing his
own cameras and related equipment, as well as planning what he
could not yet construct. While still in middle school, he met Hans
Gaizer, a very skilled man who used to maintain the microscopes at
the medical university where Luiz’ father was a professor.

This contact was a skilled and important employee of a large firm

which imported Zeiss equipment from Oberkochen. Soon Luiz went to
the workshop of the firm which specialized in all kinds of tools such as
lathes, cutters of all kinds and more specialised devices for the
manufacture of lens elements for used microscope lenses, with
vacuum pumps for coating the lens surfaces. To Luiz, this was
Paradise! This paradise, he says, was completely unseen by ordinary
people in the streets, once it found a location in the commercial
sector of Rio de Janeiro, in the basement of a communal building.
They used the garage of two nearby buildings to get the workshop
into operation and access was via an extended corridor. This large
facility also carried out guarantee and after sales service for all Zeiss
(West) products, including cameras. That way, Luiz became familiar
with the cameras and shutters of the famous Zeiss Ikon range. Luiz
was only 13 years old! During the early 1960’s, the shop moved to
Vila Isabel, slightly further from the center. In 1960, the Soviet
Exhibition took place in São Cristovão, RJ.
This exhibition demonstrated the great industrial power of the Soviet
Union, and according to Luiz, no other exhibition since then has
shown so many movie, photo, and television products.

Luiz told me he was surprised by two events:

The first of them was meeting a man who had taken his first pictures
when he was a very little child. He was an old family friend and won
the agency rights for the Foto-kino segment of Mashpriborintorg, the
Russian export company.

The second and most striking event was meeting a Zenit camera,
which seemed to have been ―born from his mind‖, according to Luiz.
He told me that this camera system had been conceived by himself,
just one year before he saw the Zenit. It was love at first sight.

As the World is very small, and Rio de Janeiro smaller still, the first
camera to present a problem was a ―Leningrad‖ model. Luiz says that
possibly due to the Zenit’s impact he didn’t notice the Leningrad at
the Exhibition. This camera came into the hands of Hans Gaizer, now
a competent Zeiss repairman, and consequently to Luiz’ knowledge,
GOMZ (the factory in Leningrad) not only produced Lubitel and
Smena cameras, whose simplicity fascinated him from the beginning,
but also a fine top line range or products.

As is well known and according to Luiz’ observation, Zeiss was the

grandfather, not only of the Soviet camera industry but was indirectly
present in the background in its early sales in Brazil.

From then, a history of experience and knowledge was set in motion.

The author empirically constructed the basis of an after-sales repair
and maintenance service that was further extended to pre-sales
checks at Artia, the firm that began importing Soviet cameras to
Brazil.

This general description is a patchwork of information from Luiz’ mind

and several other sources, aided by a great team of co-operators
mentioned in the text, of course not excluding the histories and
experiences reported at the end of the book.

Luiz’s obsession with Soviet cameras dates back to 1962. As a

technical photography buff, the most perfect camera that he
could imagine was a synthesis - a synthesis of the Contax S
and the Leica screwmount rangefinder. While attending a
Soviet Exhibition in Rio de Janeiro, he happened upon a Zenit
3 - which pretty much matched the ideal vision in his head! At
that moment, Soviet cameras captured his imagination – and
they haven’t let go since!

Luiz Antonio Paracampo Filho: Professional Lubitel Tester & Technical

Expert
A few years later, he went to work at an import company that
brought Soviet cameras into Brazil. His job was to test and evaluate
the cameras – so that the company would be comfortable selling
them with a warranty. Each day, he broke down, rebuilt, and fully
examined Soviet cameras – inside and out – to see what makes them
tick and to identify any potential problems. His vast experience has
given him an intimate knowledge of the technical quirks of Soviet
design – and he has gained unique insight into the very special
hardware that underpins their amazing results. The Lubitel was one
of the best-selling cameras that he handled, and he’s a bona fide
expert in the technical underpinnings of each model.

Name: Luiz Antonio Paracampo Filho

Job: Engineer

Hometown: Rio de Janeiro, Brazil

1. The Lubitel’s design remained largely the same for almost

60 years, and it is one of the most widely produced Russian
cameras - you feel that it holds a special place in Russian
camera history? Why?

Paracampo: I believe so. The Lubitel was a kind of phenomenon, a

kind of boom in the photographic world. The first boom was the FED
camera before the war – which continued afterwards in a stream of
FED and Zorki models. Both were produced in millions of units. Both
were copies of German cameras which were much less prolific with
smaller production runs.

These booms were due to several factors. First, the Soviet people’s
interest in photography was encouraged by the government – as the
Revolution called upon each citizen to become a responsible register
of events and history. Secondly, a lot of money was invested in
camera factories and engineering in the Soviet Union. And third – not
to be forgotten – was the Socialist structure of the Soviet Union.
Before the War, their cameras were of poor quality but afterwards,
their attitude changed. The Lubitel began as the ―Komsomolets‖
(Young Communist) –offering a ―better‖ product to a ―better‖ class of
children. Before the War, this market was filled with Maliutka cameras
and Smenas (originating from the Greek ―Semen‖- New Generation or
– Change). The Komsomolets boys were given this idealistic name,
and idealistic product – so this camera gained a strong level of
acceptance. From my experience in Brazil, I particularly recall the
Lubitel 2 camera. It outsold every camera! It was really a
phenomenon. At first, I hated the camera but my attitude suddenly
changed when I saw the results it could produce. Regarded as a copy
of the Voigtländer Brilliant, it easily beat its predecessor and proved
to have much broader appeal. Both amateurs and professionals loved
it. Why? Because it was unbeatable for the price: it had just the right
amount of technology; its optical results were astonishingly good;
resolution was fantastic; its depth of field was remarkable.

2. What do you think the Russians contributed to the

international world of photography and cameras?

Paracampo: In the Soviet era, the Russians contributed their

expertise in large mass production of good quality and very
acceptable cameras – derived from ―high class‖ foreign cameras –
and priced extremely low. This expanded the worldwide market and
attracted consumers. The real philosophy of ―socialism‖ applied to
this market.

3. You once created a mash-up camera consisting of a Smena

8 body and a Lubitel 2 lens. How did that work?

Paracampo: It was only a joke really. I never used it as a real

camera!

4. When you repaired classic Lubitels, what were the most

common problems that you found? Any really crazy defects?
Paracampo: Lubitel 2’s (and previous models) are prone to film
freezes after the 6th or 8th picture. This is because they had no axle
in the feeding spool. The Lubitel 166 and 166B solved this problem,
but it reared its head from time to time in the 166 Universal. Happily
the Lubitel+ has once again fixed this problem, and done it one
better with rewind capability. If you have a Lubitel with this problem,
here’s a quick fix: paint the spool rails with a bit of Vaseline. Other
common problems are stuck shutters and self-timers. Light can leak
through the rear door near the tripod thread or throughout the entire
rear door if the top springs that keep it closed come loose. The 166
models came with better shutters and better doors than previous
models. Any light leakage is really rare with these models – and if it
occurs, is probably due to the photographer more than to the
camera.

5. Do you still enjoy shooting film through analog cameras?

What kind of photography do you like to do?

Paracampo: I hate cameras that use any kind of batteries. So I stay

away from digital – unless it’s absolutely necessary – like for e-mail.
Even so, I prefer to shoot film and scan my negatives. I mostly shoot
children, people, and macro images.

6. Do you have any funny or crazy stories about the Lubitel or

another Soviet camera? Any freaky bits of trivia?

Paracampo: Perhaps my most unforgettable experience happened

with a friend. This friend bought a camera from where I worked. It
was a magnificent new Kiev 10. He was not all that experienced, so
he used Agfa-color CT18 as his first film. The lab technician
developed it wrong and the film became reddish. He had probably
used a hot bath by accident. My friend received the film and saw the
results. He said ―this is impossible, everything is RED!!‖ The guy who
sold him the camera asked what kind of camera he was using. He
said ―a Kiev 10.‖ ―Oh,‖ said the salesman, ―that figures, communist
cameras only take RED pictures!‖

7. In your opinion, what makes a Lubitel unique?

Paracampo: First, the attraction of its brilliant and clear viewfinder.

Secondly, its small size which allowed it to fit nicely into your hands –
if it wasn’t for its complete lack of ergonomics! Thirdly, the 6×6
image that it creates is nothing less than the OPTIMUM
COMBINATION OF LENS RESOLUTION, DEPTH OF FIELD, PICTURE
SIZE, and FILM GRAININESS. And finally, the democratic usability of
the camera. No automatic settings, no stopping, nothing that
prevents you from doing anything. It’s almost like a professional view
camera – but not quite.

8. If someone REALLY loves the Lubitel, what are some other

Soviet-era cameras that they should hunt down and purchase?

Paracampo: According to the forums in which I participate, FED and

Zorki cameras are unbeatable. These cameras really deserve a re-
created edition; I have several of them. In particular, the FED 2 is the
most sought-after and loved camera in my community.

9. Would you have any words of advice for future Lubitel

photographers?

Paracampo: You can’t beat the basics. Keep studying the basics.
You’ll learn with them. When you grow, the camera grows with you.
Do everything, not just what other people suggest for you to do.
Think for yourself about what you can do in the present to best
design your future.

Interview taken from Lubitel+ Love From Waist Level

Luiz was always a promoter of the idea of producing a variety of
cameras in Brazil, and always met resistance from those who can do
it, as well as difficulties from the competition.

The first difficulty was met in 1966 when someone registered the
camera shown below,
It had a f9 lens and fixed focus & single speed, of equal capabilities to
the Lubitel 2, and so, the importer had to pay a fee equivalent to 20
dollars (in 1966) on each of the cameras imported. Incredibly,
despite a price rise, Lubitel’s sales more than doubled in the following
year.

Time provided the answer: after almost 50 years this camera

completely disappeared; the maker does not make cameras of any
type yet Lubitel still makes successful products.

The other problem arose in 1980 with the ―producer‖ (really only a
mere packer) of the camera shown here:

A lawsuit was begun claiming to be the official Brazilian and ―real‖

producers of Smena 8, Smena Symbol, Vilia, and Siluet. That way,
we were required to request them to authorize the commercialization
of such cameras. Time again was implacable but eventually, the
authors of this unwarranted attack simply disappeared from the
market, to the rightful condemnation of all respectable world camera
dealers.

At the end of this narrative the reader can delight himself with
some of my personal projects, mainly directed to LOMO and
Lomography products.
From RAOOMP to LOMO

Writing a book is not always an easy task. Mainly if you have in mind
the intention of doing it in the best possible way. The excellent is
enemy of the good, and the good is not always satisfying. Through
this motto, developments are made, items are perfected, and new
technologies come to light. That way mankind goes forward.

This book has two objectives: to commemorate the first hundred

years of the LOMO factory, and to praise the open minded people
whose ambition and philosophy lay behind such a great endeavour.

I had the idea of writing this book some time ago, but I only recently
made up my mind how best to shape everything that will be
described in the book. Such a large enterprise, with multiple activities
would be impossible to describe. Far from that, it is my intention to
make a history of the LOMO factory, that produced everything from
toys to space research items, military weapons to the largest
observatory telescopes, from sea oil prospecting equipment to optical
devices for ships, from movie theatre equipment to semiconductor
production devices.

I intend to concentrate on the image making equipment that include

movie making and projection equipment, together with photographic
cameras and connected items, for which the factory is best known all
around the world.

To do so completely and comprehensively called for the help and

support of many people, and their previous work was a contribution
to this task. Their work was invaluable for the feasibility of such a
task. To them my best thanks.

HPR with his book Leica Copies;

Patrice Hervé Pond with 300 Leica Copies;

Jean-Loup Princelle with the Authentic Guide for Russian and Soviet
Cameras and the new edition Made in USSR;

Albino Pegorari and Claudio Asquini From Russia with a click;

David Tomlinson with his pioneer notes at RCCCUK;

Viktor Suglob with his book 1200 Fotoapparatov iz SSSR, and his site
Mirfoto.by;

Jimmy McKeown . Price Guide to Antique and classic Cameras;

Georgiy Abramov with his detailed painstaking work on his huge site
Photohistory. ru;

Vladislav Kern mentor of the reference forum USSRPhoto.com.

Without his efforts world’s main lovers of Soviet cameras would not
be gathered together and this book perhaps could never get birth;

Aidas Pikotas pioneer in his precision site Sovietcams;

Juhani Halmeenmaki with his magnificent cedricfan web page, where

one can see his love for the uncommon and his efforts on research;

Erkan Urmut: A movie art professional enthusiast and professor at

the Istanbul University;

João Lopes Freitas from Zenith camera yahoo groups, with his
excellent photos obtained from a Smena camera;

Nathan Dayton with his site Communist Cameras;

Alexey Niktin USSR cameras;

Alfred Klomp in Alfred’s Camera Page;

Ulrich Witte - fotos.cconin.de;

Alexandr Komarov – Fotoua;

Fotomuda - fotomuda.net;

Marco Cavina - Articoli Tecnici Di Argomento Fotografico;

Alex Photo - Fotoua.com;

Igor Ustinov - rus-camera.ru;

Francisco Duarte Forum Câmaras Russas;

Zenit Camera Archive;

LOMO Museum;

The Polytechnical Museum of Moscow;

Fotocamers.narod.ru;

Museum of photography agecam.nm.ru;

Sovietcamera.su;

Lomographic International Society;

Antique Russian Cameras.

And the extraordinary collectors:

Yuri Boguslavsky, Fedka;

Yuriy Davidenko DVD Technik;

Oleg Khalyavin okvintagecamera.com;

Alain Berry University professor and camera collector;

Massimo Bertrachi - corsopolaris.net/supercamera;

Jean-Marc Burtscher - Soviet camera;

Holger Schult - Cameras downunder;

William Parkinson –nightfoto.com;

Guido Studer – Guido-Studer.com;

Andrei Klemin - klemin.ru;

Sylvain Halgand - collection appareils fr;

Tom Tiger - tomtiger. nl;

Alexander Bronstein - leica.boom.ru;

Oleg Staroseltsev retro texnika.ru;

Kiev survival site - www3.telus.net;

Jay JAVIER - jay.fedka.com;

novacon.com.br;

Cultural Hercules Florence.

And the independent collectors:

Igor Chertok, Mike Haley, Jim McGee, Dmitriy Kopp, Mike Schenk,
Jacques Morin, Michel Chretien, Oleg Kravets, and professor Milos
Mladek;

And of course several others who anonymously contributed to our

general knowledge.

This book reflects my own opinions as well as knowledge gained

during several years of observing and working together with the
importer of Russian cameras and microscopes in Brazil at Rio de
Janeiro city, where a quality control was implemented and further
conversations were changed with TOE of London.
During this period – 1960 to 1995 - we learned about LOMO know-
how transference and factory training in Turkey, and India, and we
also collaborated with EMPG in Campinas, State of São Paulo, in the
production of our own cameras based on the Lubitel and Smena
models.

That way, a chapter of Foreign LOMO cameras describes some or our

adventures.

Museum Kino Moscow

Professional cameras like that were the first peacetime productions at

RAOOMP. Modelled on the Le Parvo 35mm movie camera from Debrie
& Cie. France. Still in 1916! Made for World War I documentary!

Latvia stamp 2006 - Le Parvo camera - The first one produced at RAOOMP
 With a camera like this, Dziga Vertov made the famous film ―Man with the Movie
Camera‖; Sergei Einzentein made ―Potëmkin‖ and V. Pudovinka made ―Deserter‖.

These cameras were produced in small quantities. The first mass

produced item was a 35mm movie projector ―The Russ‖ in 1918,
aimed at schools, adult education and entertainment. These devices
were organized under the supervision of the engineer Leonid
Gavrilovich Titov.

These items initiated a series of other new products and started the
early history of the Soviet Optical industry.

It is said that the large consumer market and the mass production
made the cornerstone of Soviet development during those years. It is
dated at 1929, two years after the beginning of the ―Five Year Plan‖,
when the camera industry in the Soviet Union began with the
production of EFTE cameras in Moscow and the Fotokor at the GOMZ
factory in Leningrad.
 Russ projector and Leonid Titov

At that time, Russia was in a state of extreme political instability. In

June 28th 1918, just two days after the launch of the Russ projector,
based upon the Pathé Nº 2, the factory was nationalized and became
GOZ - its second name.

Internal peace in Russia began only after 1922 when it was declared
the Soviet Union. Then began the real Soviet pre-history of the
photographic industry. There are two pre-historic periods. The first
one began just when photography was invented and Russia produced
cameras and other devices using imported components. The Soviet
pre-historic period nationalized this manufacturing but units were
only produced in limited volumes. GOZ being now a public enterprise,
several people with their own ideas came to them to show their own
concepts, which would be produced on experimental basis to test
their potential. At the same time this would bring expertise and
knowhow to the engineers and workers of the manufacturing unit. In
order to fulfill their aims comprehensively, the OOMZ "Experimental
optical-mechanical plant" was founded in 1921 especially to deal with
new born ideas. The workshop also served to help the creation of the
new devices of GOI, the optical institute that calculated all optics in
the Soviet Union. It began operating at full capacity in 1926, when it
became VOOMZ ―All-Union experimental optical-mechanical plant"
and was working as such when it was consolidated in the LOMO group
in 1962, becoming a trainee factory to develop specialized workers.
Which western country would today make such a decision? There are
no more ―Experience Houses‖ to develop new products. Although in
China it is said that small workshops operate within universities in
order to raise a generation of skilled workers for their tasks in various
industries.

Independent workers congregated in cooperatives and sold their

production in the common market.

There were known a variety of products in the pre 1927 years:

And as will be seen in the next topic, just due the gathering of useful
information among interested citizens, Russia became a pioneer in
the world of photographic camera techniques.

St Petersburg as the capital of Russia in the XIX century produced

various photographic cameras.

Some marvelous examples are shown here:

Karpov Uchenik Series 1 ~1905

Karpov Reflex ~1896
I. Steffen camera ~1906

FK 13x18 camera ~1890 also from Steffen. The definitive model appeared around
1900 and was produced at first by LOMO, and later by several other producers
until 1990 with only very small modifications!
LOMO History a Brief Presentation

The LOMO PLC Works at Chugunnaya Street in St Petersburg.Picture from 1914

The LOMO PLC Works at Chugunnaya Street in St Petersburg.Picture from 1962

 The LOMO PLC Works at Chugunnaya Street in St Petersburg.Picture from 2012

The optical enterprise LOMO was officially founded on February 4th

1914, first with the named RAOOMP (РАООМП) "Российское
Акционерное Общество Оптического и Механического
Производств" (Russian Joint Stock Company of Optical and
Mechanical Production) as an Optical and Mechanical Production Joint
Stock Company. From this date it was by far the first and largest
Russian factory dedicated to the manufacture of optical and
mechanical enterprise, and is now one of the greatest in the world, if
not the greatest. The start of construction was registered during the
summer of 1913.

The present description is a tribute to Knowledge and Science and

also to a factory whose destiny was not just the generation of
revenue, but also a legacy to mankind, and how technology can be
used for the development and improvement of mankind.
At the time, the Russian economy was in good condition and it was
made to be the largest financial, scientific and industrial centre in
Europe.

It was an era when Russia’s industrial growth peaked at the

extraordinary level of 30% a year, never attained by any other
country in the world. The nobility owned almost all the land and Tsar
Nicholas II decided to industrialize his country to an unsurpassed
level.

Soon the WW War I exploded and RAOOMP was the first factory to
furnish all kind of required optical devices for the Russian army, such
as telemeters, binoculars, periscopes and gun sights.

The foundation of RAOOMP was done under military philosophy, once

it united three main smaller shops: the local subsidiaries of the
German companies Goerz and Zeiss (the enemy) and the workshop
of the French company Debrie, Russia’s ally during WWI. German
factories in Riga which could easily fall into German hands, were
relocated to the capital of the then Russian empire in Petrograd, later
Leningrad and now St. Petersburg. The main shareholders of the
newborn firm were the French ―Schneider-Creuzot‖ company, the
Russian-Asiatic Bank and the St. Petersburg Commercial Bank. After
considering a number of sites, a four-floored building at Chugunnaya
Street was constructed and happily inaugurated on the February 14
th
1914. It stands there now.

The sad experience of the Russian Navy defeated in the Russo-

Japanese War called for modern equipment for Russian battleships.
Tsar Nicholas II ordered to pay what was necessary to rival the
outstanding German industry, and so was born this new enterprise
with its optical and mechanical workshop based at the Obukhovo
Steel Mill Works, then in Petrograd. A.L. Gershun, a professor at the
local university, was appointed as the first head of this emerging
optical industry.
The foundation of LOMO was not a random decision. Its history
belongs to the origins of modern Russia, and of Russia herself. It was
part of the continuation of a supremacy plan, which had its roots in
Peter the Great’s decision to move the capital to St. Petersburg in
1703.

At that time, the navy was the most important military force of a
modern nation. Through his decision, Tsar Peter the Great was not
only transferring the capital to a port but also encouraging the all
important ship building industry to come to the new city.

Russia, and especially St. Petersburg, had an important prior history

in optics and lens development. Back in 1839, Vasili Yakovlev von
Stuwe opened the Pulkovo Observatory under the orders of Tsar
Nicolas I. Thanks to the Stuwe works, by 1885 the city of St.
Peterburg was acclaimed as the World’s Astronomy Capital.

Also in 1900 the St.Petersburg National Research University of

Information Technologies, Mechanics and Optics was founded as an
special school for masters of precision instruments and optics. In
1918, just after the Bolshevik Revolution there was founded also in
St. Petersburg, the GOI, State Optical Institute, which became the
centre of development of all Russian optics since then.

After the end of the WW1 Germans were prohibited to develop

military devices, lost their territories and became economically
vulnerable as a result of the Versailles treaty. During 1917, Russia
quit the War, renouncing some territorial and financial claims through
the Treaty of Brest-Litovsk. Germany saw in Russia the possibility of
restoring some of its power. The Soviet Union was an excluded
country due its new political regime and saw enormous possibilities in
her own development. That way on April 16th 1922, in the Italian city
of Santa Margherita Ligure, both countries signed the Rapallo Treaty
of mutual cooperation at various levels. At that time, the economies
of both Germany and the new Soviet Union were isolated from the
western countries, and thus favored cooperation between hes two
countries.

Furthermore, the Russians got access to German engineering

techniques and expertise, which provedinvaluable, when in 1927
Stalin began his series of Five Year Plans to rapidly industrialize the
USSR. According to him, Russia should, at the third stage of the Five
Year Plan, be at the top level of production quality making all the best
products the world could ever hope to see.

In fact, at the first Five Year Plan the Progress Factory was founded
which from the beginning made school and scientific microscopes and
also in the 1930’s the best planapochromatic objectives bearing the
name Zeiss, of superb quality which would have been impossible to
produce at such prices in Germany.

In 1918 RAOOMP was nationalized. in 1926 it began producing its

own optical glasses at its other unit LENZOS (Leningrad Factory of
Optical Glasses) (ЛЕНЗОС) Ленинградское Завод оптического-
стекла ; this same year the branch Promet (later Progress) was
opened, producing gunsights for the German Reichswehr army
artillery. During 1932, there were nationalized two types of German
camera shutters: the Vario became the GOMZ and the rim-set
COMPUR became TEMP. Following a plan of amalgamation of
factories, the conglomerate had passed through a number of different
names and administrations:

The names:

The original RAOOMP led into forming several branches the most
important were:

GOMZ /ГОМЗ (1914-1962)

KINAP /КИНАП (1931-1962)
PROGRESS /ПРОГРЕСС (1931-1962)
From 1924 the enterprise was frequently reorganized with various
designations and management boards.

The enterprise conducts the history from existing since 1924

(TOMP) "Trust of the optical-mechanical productions" (ТОМП),

‖Треста оптико-механических производств‖ where some small
plants and workshops entered.

On December 29, 1929 by the decision of Council of Work and

Defense of the USSR it was reorganized into TOMP and its structure
included the Izyumsky and Leningrad plants of optical glass, and also
Pavshinsky plant of exact mechanics.

This new association received the name (VTOMP) "All-Union Trust of

the Optical-mechanical Enterprises" (ВТОМП). ‖Всесоюзный Трест
Оптико-Механических предприятий‖.

In 1930 of VTOMP again I replaced the name with (VOOMP) "All-

union association of the Optical-mechanical industry" (ВООМП)
‖Всесоюзное Объединение Оптико-Механической
промышленности‖. In the same 1930 the enterprise was renamed
into (GOMZ)."The state optical-mechanical plant" (ГОМЗ)
‖Государственный оптико-механический завод‖.

Since 1962 The conglomerate was known as LOOMP, "The Leningrad

association of optical-mechanical enterprises" (ЛООМП)
‖Ленинградское объединение оптико-механических производств‖
— and in 1965 it became LOMO, "The Leningrad optical-mechanical
association (ЛОМО) ‖Ленинградское оптико-механическое
объединение‖. By the time of LOMO’s creation it included the
following manufacturing plants:

• "KINAP" (film equipment)

• "Progress" (military production — artillery sights etc.)

• (OOMZ) "Experimental optical-mechanical plant" (ООМЗ) «Оытный
оптико-механический завод‖

• Certain other enterprises

From 1962 to 1965 the enterprise was called "LOOMP" (The

Leningrad Association of Optical-Mechanical Enterprises).

In 1993 LOMO was privatized and received the name JSC LOMO, the
owners of which include more than 16 thousand shareholders. Today
about 3.5 thousand employees work in JSC LOMO ОАО ‖ЛОМО‖.

LOMO NAMES before the LOMO structure:

1914 - Russian Joint-stock Company of Optical and Mechanical

Productions (RAOOMP) - Российское Акционерное Общество
Оптического и Механического Производств (РАООМП)

1918 - Plant of Optical and Mechanical Productions - Завод

Оптического и Механического Производств

1921 - State optical plant N 95 (GOZ) - Государственный

оптический завод N 95 (ГОЗ)

1930 - State Optical Plant (GOZ) - Государственный оптический

завод (ГОЗ)

1931 - The State Optical-mechanical Plant (GOMZ) of name OGPU -

Государственный оптико-механический завод (ГОМЗ) им. ОГПУ

1939 - Plan N 349 of name OGPU mail box 412 - Завод N 349 им.
ОГПУ п/я 412

1960 - GOMZ of name OGPU - ГОМЗ им. ОГПУ

1961 - GOMZ of Lenin's Order of OGPU - Ордена Ленина ГОМЗ им.

ОГПУ

***
1926 - Experimental telescope plant - Опытный трубочный завод

1927 - Progress plant - Завод "Прогресс"

1933 - State mechanical plant "Progress" - Государственный

механический завод "Прогресс"

1937 - State unified plant "Progress" - Государственный союзный

завод "Прогресс"

1940 - State unified plant N 357- Государственный союзный завод

N 357

1953 - State unified plant N 357 of mail box 825 - Государственный

союзный завод N 357 п/я 825

***

1931 - Leningrad state plant of cinematographic equipment (KINAP) -

Ленинградский государственный завод киноаппаратуры (КИНАП)

***

1962 - Leningrad association of optical and mechanical productions

(LOOMP) - Ленинградское объединение оптических и
механических производств (ЛООМП)

1965 - Leningrad Optical-mechanical Association (LOMO) -

Ленинградское оптико-механическое объединение (ЛОМО)

1993 - LOMO open joint stock company - Открытое акционерное

общество "ЛОМО"

***
The Second War years were a hard time for LOMO and during the
Leningrad Siege several employees died from hunger and starvation.
LOMO lost many of his staff as occurred everywhere in Russia, but
the great challenge of reconstruction after the War was eventually
won.
In 1957 due to the high demand for photographic products, LOMO
cooperated in the foundation of the MMZ factory at Minsk in
Belorussia, the Minsk Mechanical Works named after S.I. Vavilov. His
first products had been cameras and machines for optical instruments
and processing devices. A production line of Smena cameras was
founded there. In view of expanded production and the naming of
manufactured items, in 1971 the BelOMO (Belarusian Optical and
Mechanical Association) was founded on the basis of the previous
MMZ S.I. Vavilov factory. Soon new generations of camera such as
the Vesna, Siluet, Chaika and Vilia models came into production, all
derived from the original Smena. They can be seen on the following
pages.

From the 1990’s, the now giant company, became known the world
over and this is probably due to the efforts of Matthias Fiegl and
Wolfgang Stranzinger, who founded LOMOGRAPHY in order to spread
and commercialize popular photo cameras. As a result of a short joint
venture experience with the consultancy McKinsey, that organised
international trade fairs, resulted in the creation of the LOMO
American subsidiary now operating in the United States.

Naval optical instruments; all kind of lenses; astronomic instruments

and telescopes; meteorologic instruments and devices; Professional
movie cameras and projection equipment; sound installations for
theatre and radio broadcasting; sound and image recorders for
television networks; amateur and professional cameras; telephone
and communication equipment; loudspeakers and microphones;
amateur movie equipment; medical and metallurgical, scientific and
school microscopes. Precision measuring equipment was pioneered in
the construction of large telescopes; stereo projection without glasses
for the audience; the kinopanorama technologies and MANPADS a
portable optical guided missile.
Our description will concentrate on the development of the camera,
giving special honor to the most important market phenomena –the
Smena, which is not often seen as an important landmark in the
photographic world. But this camera was decisive in a series of
technical innovations adopted by various other manufacturers.
Smena (the new generation) is said to be the very opposite of all
sophisticated cameras. Its technical conception, alongside the Lubitel
another LOMO product, goes against the establishment belief that
complicated cameras are needed for quality work. This simple camera
in expert hands produces top quality results at near box camera
prices. Really it is one of the best cameras to counter camera snobs
who think that you need an expensive camera to take satisfying
photos.

The Smena second series adopted the 40mm optics as standard as

early as 1953. It needed twenty more years for Leica CL and Rollei 35
to adopt the same philosophy in their products.

LOMO was known in the photo camera field through the 1930
Fotokor, which was the first mass produced Soviet camera. The
extraordinary Reporter of 1937 and being the developer and
contributor of the FED in the first period through their VOOMP Pioner
(1934), the Gelgar Stereo Camera and in the previous war years
some Aero photogrammetric cameras and especially the famous
Photo Sniper with its 300mm lens. Also pioneered bringing on light
the first 35mm SLR camera the Sport, which was evolved from the
1929 Gelvetta. Other cameras were made, but special attention was
directed to the learning photography by using such simple cameras
as the Uchenik and Cyclokamera and Rekord, which were produced
in smaller parallel factories. The Smena camera was aimed at
children and its forerunners can be considered to be the Liliput
(1937) and Malyutka (1940)
 Conglomerate of factories united in 1962 under LOMO

The first Staff of LOMO: From left to right, top to bottom: Lieutenant-General A.N.
Krylov and Engineer-General Y.N. Perepelkin were two of the marine military
engineers who developed the optical and mechanical industry in St Petersburg at
the beginning of the 20th century. They laid the cornerstone on which A.L. Gershun
(bottom left picture), a professor at St Petersburg University, erected an optical and
mechanical workshop which was the foundation of the Russian domestic optical
industry. Major-General A.P. Meller (bottom right picture) was one of the founders
of RAOOMP in 1910.
The way

Remembering the Soviet Education Minister Lunatcharski, still in

1933, ―Every civilized man must know how to use a camera as often
and as precisely as he uses a watch to know what time it is. Everyone
in USSR must possess not only general training, but specific training
in photography, and we must march toward this boot‖.

Today, photography is in the hands of everyone including untrained

people, that way the general knowledge aimed in the past, went
downstairs, as in everything today. The philosophy of divide to
multiply, was put apart.

With no doubt, the Foto-GOZ was an indicator of the future on 35mm

market. The camera was drawn having in mind the interests of the
technical and experienced photographer. This project from 1925,
foresees the future expansion of the 35mm film, and is the landmark
of the direction of the future Soviet industry.

At this time, Russia was a poor men country, and a great culture.
35mm was the basis of the movie industry and movie making. As the
mass production reduces the cost of unitary use, 35mm was the ideal
format for everyone. During the industrialization process, a treasure
of ideas came to life.

Foto-GOZ

f/2/60mm lens, double extension bellows, sliding back film chamber

GOZ decisively paved the way of 35mm. The well established German
industry was slower in doing so, once the larger formats were already
in spread use. Another camera was the Min of 1929 that resulted in
the Gelvetta prototype of 1934 and the Sport of 1935, marketed from
1936, predating the German Exakta as the world’s first 35mm SLR
camera. The second era of the Five Year Plan has begun in 1933 and
a variety of models came to light.

Foto GOZ and sliding magazine Sov. Foto. June 1927

 Foto GOZ adapted in the top of its projection device. At left rheostat. (Camera
mounted on top up-side down)

During that era, GOZ commercialized the first camera to the public.
There was the school cameras aimed to teenagers.

GOZ School Box Camera 1923?

(LOMO document)

Around 1980s, the Modern Photography magazine said through an

article of Jason Schneider ―They did‖ –―Russians were the first in the
SLR world and overcame developed countries in the world of
inventions. They had begun the era of the most important camera
type of the XXth Century". -The Sport camera developed by A.O.
Gelgar was also the first one to employ the metal vertical focal plane
shutter.

Gelvetta camera engravings on lens cap and Shutter diagram.

The cooperation of the Germans also brought the Leica largely known
in Russia from 1929 through the distinctive journalistic work of
Rodchenko, and GOMZ, was the first in producing the Pioner which
would later be born as the international famous FED of Kharkov. GOI
Institute recalculated the original Elmar.

Pioner Camera first and second models

 Pioner camera first and third model

At left GOI lens in Original German Elmar body and at right

GOI lens produced at VOOMP experimental factory

The same lens was used on Sport cameras shown in the next picture.
The lens has now a resemblance to the then made Tessar for Contax.

Another landmark searched by collector world over is the famous

Fotosnaiper (sic). They were made in two series, the first one using
the Pioner body, the second one using FED bodies. The first one
begun around 1936/37 and the second in 1937 Both use the GOI
4.5/300mm lens (that later became the Tair 3) and differed each
other by the reflex cage.
During the war Leningrad was in siege and suffered from shortage of
materials, so, production was transferred to Krasnogorsk.

Above, case and complete Fotosnaiper FS-2. Down, reflex cage detail.

This camera became world famous through the pictures taken from
Leningrad to the Finnish coast. It was used by the observation
squadron RKKA during WWII.

Soyuzkino FK 13x18 from the early days

In the pre-WWII years GOMZ saw a large development and presented
these cameras:

Stereo GOMZ 1938 also developed by Gelgar

Fotokor 1929 one million produced up to 1940

Turist 1934 - Rare type with Compur shutter

Liubimov Multiplikator 1938 and operating schematics
Reporter 1937 first run and serial model. Professional camera
 Prototyping alterations on original Zeiss cameras.

Such as above

1940 no name 6x6 camera based on Nettar

and

Start based on Ikoflex also from 1940

Also

1939 Qvadrat 9x12 Revolving back similar to Linhof III

Objective Industar 55 4.5/140mm and TEMP shutter.

Reissued in 1957.
Three types of GOMZ Soviet shutters came to light:
GOMZ: based upon the German Vario (There was another identical
version produced at Foto Trud Moscow called EFTE)

TEMP: Made by Progress and similar to Compur

MOMENT: Made by GOMZ an advanced Telma type with slow speeds

and rim set dial. This shutter in simplified form and including some
Klio solutions gave birth to subsequent ZT series used on
Komsomoletz, Lubitel, Smena, Vympel, Estafeta, Yunost, Voskhod
and some other cameras from LOMO and MMZ.

Box camera GOMZ with meniscus lens 24x24mm 1932

During these years came also popular type cameras as the Liliput and
Maliutka using paper backed 35mm film, these were the forerunners
of the pre-war Smena.

Above four versions of the Liliput (1937), down two versions of the
Maliutka (1939).
 And finally the Smena original in 1939

From the beginning of the Five Year Plan up to the days before WWII,
there were an expanding of parallel industries and every effort
towards the knowledge of the science of photography was largely
spread, mainly in Leningrad, still the ―intellectual‖ Russia’s capital.
Cyclokamera 1935

Artel Novaya Shkola

Article Uchenik Un carton Russe by Allan Berry (Nov-Dec 2000) Uchenik 1935

Artel Novaya Shkola

 Rekord 1936 UPT Lengorso Metallokombinat Leningrad

During these years there was also grown the movie camera and
projector manufacture and the following equipment appeared in the
market, mainly due the government efforts of spreading culture and
general knowledge to people, in every place of the country.

Type of the most widespread travelling cinema "Gekkord" aroud 1937- 1940 in a GAZ-4 pickup
Movie table projector GOZ 1923

And also those projectors

K25 TOMP-3
 TOMP-4 KSK-16-15

1938 movie cameras KS1 Bell& Howell based and 16S-1 Siemens based

KN-1 sound portable projector

And by 1936 they began mass making all kinds of microscopes

 The first OMZ produced microscope Nº 001 at Polytechnic Museum Moscow

Around 1940 Progress was making not only simple microscopes, but
also microscopes equivalent to the Zeiss "Large Universal
Microscope", the "Large Routine Microscope", and the "Medium
Routine Microscope", that is, all of the basic units of the Zeiss
microscope line.

Progress also designed some of its own instruments. An example is a

very compact medical field microscope. It had the basic frame of the
standard type, but the base and stage folded, so that it could be
fitted into a small, portable wooden case, lined with velvet and
covered with leather. It is the sort of very nice instrument that makes
one ask if all "modern" changes are good.

There is little information suggesting that either Progress or Zeiss did

much development work during WW-II. We must assume, however,
that ideas were formed in the brains of the scientists, whether or not
they were put onto paper. But then things changed quickly. (after
Prof. Mahlon Kelly)
And came the war
Leningrad (Sankt Petersburg) is largely known world over by the
Siege of Leningrad or Leningrad Blockade which was a long military
operation during WWII undertaken by the German in the Eastern
Front theatre. The attack has begun at August 20th 1941 when the
Germans arrived at Leningrad. Finland attacked at east front, cutting
all city supplies, but Leningrad did not fade.

The siege started on September 8 th 1941, when the last road to the
city was severed. Although the Soviets managed to open a narrow
land corridor to the city on January 18th 1943, the siege was finally
lifted 27 January 27th 1944, during a total of 872 days being the
longest and most destructive siege in history.

Historically documented is the fact that Germany’s main objective

was making the people to die of hungry and starvation, once there
were no plans of relocation the urban population, and soon occupy
the city after a giant calamity of a planned destruction of the city,
thinking that the rest of the country would receive an unconditional
rendition after this horrendous fact.

This intention could be proved through the yet printed invitations to

the victory that would be celebrated at Hotel Astoria when the city
would change its name for Adofsburg.

The blockade was cutting off all communications and prevented the
defenders from receiving food or supplies. Food would be the main
weapon against the citizens, cutting them the city would reach
starvation after only a few weeks. The objective was never occupy
the city but maintain it under bombardment and siege in order to
accelerate the starvation.

Heroically Leningrad resisted although each day increased the

number of deaths. At LOMO all employers and directors began to live
in the factory in order to concentrate efforts. Several production
items of their own were passed to the new formed Krasnogorsk in
Moscow and to Siberian factories opened at clear sky!

During these dark days the GOMZ conglomerate produced up to their

possibilities an interesting kit destined for observation of the Finnish
coast. It was the DF telescope 1500mm focal length f25 with 1º15’
field observation and further a PDF with the same optical block in
periscope mount to be used in trench.
 DF Photo-Telescope

Minimum focus at 100m

Also a portable enlarger that needs no darkroom being used in battle
field for immediate distribution of pictures to strategists. This
enlarger uses car headlamps and is exclusively built for 35mm
negatives (24x36mm), and 9x12cm enlargements. The equipment
were used in mobile laboratories assembled in cars or trucks aimed
to military seeing quickly the Picture results.

GAZ AA Automobile (Polutorka) used as auto photo laboratory

On June 27th 1941, was organized the civilian population defense,

and over a million of citizens were engaged in the construction of
fortifications. It is said that the guns of the cruiser Aurora were
moved to the Pulkovo Hights, place of the Observatory “World Capital
of Astronomy” since 1840.

Food and artillery supply were done via the Lake Ladoga known as
"The Ice Road". The city literally starved in complete isolation until
November 20th 1941, when the ice road over Lake Ladoga became
operational. This road was named the Road of Life.

The siege was finally broken in after fierce battles of the Operation
Iskra started in the morning of January 12 th 1943, providing some
relief to the besieged population of Leningrad.

Finally in January 27th 1944, the Soviet expelled German forces from
the southern area and in June of 1944, the Finnish Defense Forces
returned to their land.

The Peace came

During the early peace years it was necessary to reconstruct the city and
the mind of citizens. A new Hope for everyone. About one year after the
war’s end, GOMZ introduced a brand new camera. This new camera
was called “Komsomolets”. The new camera was a real landmark in
Soviet camera industry. For the first time they accepted a standard
roll film. Previous cameras in Soviet Union only accepted roll film
made from 35mm film Now for the first time a standardization. The
name “Komsomolets” was careful chosen. During WW I several
inexperienced countrymen were killed in the war front and their sons
invaded the city bringing social problems to citizens. Now in similar
situations these young people who lost their families would be the
hope for the future of the Country. The youth is now organized in
their schools. Komsomolets means acronym of Kommunisticheskii
Soyuz Molodyozhi [All-Union Young Communist (League)], a kind of
scout boys organization, that way an homage to the young boys and
girls, the future of the Soviet Country.

THE LUBITEL FAMILY

(from the book Love from Waist Level)

Born From The Ashes

To put things in perspective, let’s first take a look at the time frame.
The Soviet Union stood victorious in the aftermath of World War II
and laid claim to Eastern Germany. With this new territory came a
crucial resource for their burgeoning nation – the knowledge and
tools of the world-famous German optical & photographic industry.
Whole factories were dismantled and shipped East – destined to
supply the Soviets with world-class means of documenting their daily
lives and great loves.

One beneficiary of this new technology was “GOMZ” – which elegantly

stands for “Gosularstvennyi Optiko-Mekhanicheskii Zavod” (State
Optical-Mechanical Factory). Established in St. Petersburg (Leningrad)
since 1914, this was one of the oldest Russian optical companies. In
1965, they changed their name to something a bit more familiar to
folks like us: Leningradskoe Optiko Mekhanichesko Obedinenie
(Leningrad Optical-Mechanical Union) – or simply, “LOMO.”

About one year after the war’s end, GOMZ introduced a brand new
camera. Dedicated to and named after the Soviet Union’s Communist
Youth Organization, this small twin-lens medium format camera was
called the “Komsomolets.” On the surface, it was an obvious copy of
the Voightlander Brilliant – a ground-breaking TLR camera that was
created nearly 10 years prior. It featured a glass lens and a
lightweight Bakelite (an early form of plastic) body. Despite the
Komsomolet’s simplicity and clear “homage” design, it was a pretty
incredible achievement for a country that just emerged from a huge
and damaging war.

Komsomolets although a copy of Voigtlander Brilliant, it had another

technology in its base. The shutter and lens are completely based in
Zeiss technology The T21 lens from Komsomolets is a continuation of
the project “Nettar” which is quite different from “Voigtar”or “Vaskar”
and focusing Lubitel camera is not a a copy of focusing Brillant once
its T22 also based in “Nettar” is a complete different lens from
Skopar. The shutter ZT- series is a Russian concept, although based
on early Klio shutter used on Zeiss cameras. The basic block
Shutter/Lens suffered many variationsand were employed on Smena,
Yunost, Sputnik, Effekta, Estafeta, Vympel, Vesna, Schkolnik, and in
more advanced formas in Smena Symbol, Rapid, LOMO 135, Smena
Stereo and Etiud(LOMO). Lubitel generations was a landmark in
amateur world photography This camera is still produced (in China)
and Smena put the quality camera affordable to every one’s pocket.

The origins of Komsomoles and Lubitel: left: Voigtlander Brilliant V6, right: Focusing Brilliant

The Amateur’s Delight

After three years of producing Komsomolets, the GOMZ factory proudly
introduced a new camera with a radically important feature – coupled lenses.
This meant that focusing the viewing lens focused the taking lens in kind,
allowing the photographer to hone in precisely on their subject. This camera
was given the name “Lubitel” – which roughly translates into “Amateur” in
Russian. From these humble beginnings, a grand lineage was born.
Over the next few paragraphs, we’ll take you through each individual Lubitel
model and details their many charms and features – so we don’t have to get
into the specifics right now. But chew on this for a second – from the Lubitel’s
original conception in 1949 to the end of its production in the early 90’s,
something between 4 and 5 MILLION cameras were produced. That’s
somewhere between 8 and 10 MILLION little Russian lenses mounted low and
high. Given these staggering numbers, it’s easy to appreciate the impact that
the Lubitel had on its fans and owners – both inside and outside of the Soviet
Union. Allow us to take you through it’s grand “family tree” – beginning with a
few individuals that predated those fateful days following WWII.
THE LUBITEL MODELS

KOMSOMOLETS “YOUNG COMMUNIST”

Produced 1946-1950 / Approximately 25,000 units

Central shutter with B, 1/25, 1/50. 1/100s
T-21 80/6.3 taking lens, 75/4.5 viewing lens

Appropriately named after the Communist Youth organization “Komsomol,” this

camera is one of the very first products created by the burgeoning Soviet photo
industry. It is also the very FIRST TLR camera created in the Soviet Union.
Overall, it’s pretty much an exact copy of the original non-focusing Voigtländer
Brilliant, albeit with a few simplifications to the body design. It’s produced in
Bakelite – a predecessor to modern-day plastics. Although the focusing
Voigtländer Brilliant was released eight years earlier, the Komsomolets was
modeled after the first Brilliant, so the taking and viewing lenses are not
connected.
As with the Brilliant, the Komsomolets has a small internal compartment for
storing filters and supplementary lenses.
LUBITEL “ AMATEUR”

Produced 1949 – 1956 / Over one million units

Central shutter “ZT-5”: 1/10 – 1/200s
T22 75/4.5 taking lens (coated), 60/2.8 viewing lens

The successor to the Komsomolets has one major innovation – as inspired by

the 1938 Voigtlander Brilliant – a coupled gearing to connect the taking and
viewing lenses, allowing each to be focused in sync. It’s shutter had a larger
range of speeds, and it’s shooting and taking lens both opened up to a nice n’
bright f/2.8 and had a wider angle of view.
The name “Lubitel” roughly translates to “Amateur” – the type of person who
would have been a seriously lucky goose to have one of these appear under the
Christmas tree. Like the Komsomolets, it was produced in Bakelite. And just for
kicks – a Chinese copy of this original Lubitel emerged in 1961 under the
mysteriously hilarious name, “Changle.”

LUBITEL 2
Produced 1955 – 1980 / Over two million units
Another Bakelite beauty, the Lubitel 2 is pretty much identical to the original
Lubitel, but with a few small changes. A gentleman by the name of G.
Barkovski, is credited with the creation of this “upgrade.” Most notably, the
camera now featured a self-timer and flash snyc. It also has a small housing on
the side for two lens filters.
As you can see from its production dates, the scope of its manufacture is
HUGE. We’re talking over two and a half decades of Lubitel 2’s! An interesting
note is the Bakelite texture from camera to camera. Bakelite molds only work for
so long before they have to be replaced. As they wear out, they’ll impart
different patterns and “mistakes” to the body parts that they produce. If you
compare a few Lubitel 2’s from different years, you’ll often see a marked
difference in the texture. Lubitel 2’s were produced with both Latin and Cyrillic
nameplates – and were produced for a variety of export markets and foreign
partners. One notable variant (pictured here) is the Kalimar TLR100 – which is
simply a re-branded Lubi 2.

LUBITEL 166

Produced 1976 – 1986 / Approx 70,000 units

Starting in ’76, the Lubitel was cast in modern-day plastic, rather than Bakelite.
The original 166 is a somewhat rare model – as it’s production number (70,000)
is far beneath the mammoth quantities commanded by the other models. It
featured a few significant improvements over the Lubitel 2, namely a film
counter (rather than a red window) and a coupled advance and shutter cock.
One of the most collectible variants was made in 1980 to commemorate the
Moscow Olympic Games.
LUBITEL 166B

Produced 1980 – 1990 / Approx 900,000 units

This model took the innovative Lubitel 166 and simplified it. Gone is the film
counter and coupled shutter & advance. In exchange, you get a set of handy
weather symbols to guide your exposure settings.

LUBITEL 166 UNIVERSAL

Produced 1983 – 1993 / Approx 400,000 units

It’s with this beauty that the folks at LOMO in St. Petersburg closed the book on
classic Lubitel production. This camera is essentially identical to the 166B, but
includes a mask for two film formats: 6x6cm and 6x4.5cm. It was actively
manufactured until 1993.

LUBITEL CURIOSITIES

SPUTNIK STEREO CAMERA

Produced 1955 – 1973 / Approx 400,000 units

This three-eyed beauty is often mistaken for a pair of Lubitel 2’s which have
been joined at the hip. Although they share a lot of the same basic mechanics,
the Sputnik is definitely a separate beastie of its own.

But given its similarity, we decided to feature it here as a “family friend.”

Fashioned in Bakelite, the Sputnik was created at the LOMO St. Petersburg
factory and featured twin 75/4.5 lenses, speeds from 1/10-1/250, and a ground
glass waist-level viewfinder. Each click of the shutter fires two nearly identical
images – with “nearly” being the operative word. Both shots have a slightly
different perspective – allowing you to get the full 3D effect when you view them
with the included – and very special – stereo viewing glasses.

At the chapter Foreign Country Experiences you may see in the section Brazil
a series of interesting adaptations and further developments up-dating these
cameras and Smena.

You can also see a Single Lens Reflex with the same philosophy.

Those cameras were not limited to these models. At the mind of people , the
inventive people and those who had skillfulness and possibilities came a lot of
several variations. At the times being the doing yourself and inventiveness were
great and every task was encouraged. That was the reason tools were
produced un large quantities and affordable to everyone. House shops were
working abroad and who had no skill, requested to the one who had. In the
factories, workers had access to high quality tools and special machine tools
during the spare times and so were born….

Other Curiosities in 6x6

Underwater housing above for Lubitel camera, down for Sputnik no

data obtained. Unknown authors.
Two more housings commercially available in small quantities.

Above from Original LOMO housings. Down conceived by A. Rogovym

(Underwater Sportsman)
Lubitel Screen compendium for oscilloscopes made by LOMO

Device UPL-1 using the Lubitel body as enlarger part

Twin paired handmade Lubitels for stereo

Photography
USSRPhoto

Factory men made

experimental Stereo
 Elektron independently built-in
electronic flash combining a Lubitel 2 camera and a Luch 57 flash,
and Lubitel with high capacity 35mm film adapter
 The Panorama 22 has its roots
on Lubitel and Horizont. Format 55 x 137mm

Meanwhile LOMO technicians were developing together German experts

cameras would create a new status. These were the cameras they were
working, and appeared in 1949.

First Leningrad experiments:

Leningrad 1st generation (1949)

 Leningrad 2nd generation (1952)

First FCH experiments:

1949 was a year of results. Then it was also born the FCH a Luftwaffe
Robot copy made for the Soviet Army.
The new FCH camera made also in two different series made use of
the recently developed Industar 22 lens from KMZ. Observe that the
second Leningrad generation (1952) it was a motor driven camera.

From then, one spring motor drive camera was a request of Soviet
government. This represent a union of efforts making a ”fusion” of previous
Leningrad and the FCH. All cameras had rigid metal focal plane shutters.
 KOMSOMOLETS
Producer: GOMZ
Years of production: 1946-1950
Lens: Triplet-21 6.3/80
Shutter: 1/25, 1/50, 1/100, + B.

LUBITEL
Producer: GOMZ
Years of production: 1949-1956
Lens: Triplet 22 4.5/75
Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
+ B.

See development and variants at the

beginning.
 SMENA 1ST GENERATION

Producer: GOMZ
Years of production: 1953-1960
Lens: Triplet-22 4.5/40
Shutter: 1/25, 1/50, 1/100, 1/200 + B.

Smena 2

Detailed smena evolution

In the next segment

Smena 1

Smena 3 Smena 4
 MOMENT
Producer: GOMZ
Years of production: 1952-1954
Lens: Triplet 26 6.3/130
Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
+ B.

For Polaroid film type

UCHENIK
Producer: GOMZ
Years of production: 1952-1954
Lens: Triplet 26 6.3/130
Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
+ B.

For 9x12 plate film

 SPUTNIK
SPUTNIK-2
Producer: GOMZ/LOMO
Years of production: 1955-1975
Lens: 2x Triplet 22 4.5/75
Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
+ B.
Sputnik 2: Lens: 2x Triplet 35 4/75
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.

NEVA
Producer: GOMZ
Years of production: 1956-1958
Lens: Industar 6 3.5/75
Shutter: 1/8, 1/15, 1/30, 1/60, 1/125,
1/250 + B.
 LENINGRAD
Producer: GOMZ/LOMO
Years of production: 1956-1968
Lens: Jupiter 8 2/50
Shutter: 1 sec to 1/1000, in logarithmic
or linear scale according to the
production year. Original project began
in 1949 – See the article

Three Leningrad generations:

A Landmark of an Era
A great success at 1958 Brussels Fair
receiving the Gold Medal of Peace.

EFFEKTA
Producer: GOMZ
Years of production: 1955-1956
Lens: Triplet 22 4.5/75
Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
+ B.

Forerunner study of Estafeta and Vympel

 ESTAFETA
Producer: GOMZ
Years of production: 1957-1958
Lens: Triplet 35 4/75
Shutter: 1/8, 1/15, 1/30, 1/60, 1/125,
1/250 + B. with LVS

Simplified version of the Yunost, now in

6x6 frame size.

ESTAFETA (MMZ)
Producer: MMZ
Years of production: 1959-1961
Same as GOMZ model.
 VYMPEL
Producer: GOMZ
Years of production: 1957-1958
Lens: Triplet 35 4/75 (or Industar 6 in
first units)
Shutter: 1/8, 1/15, 1/30, 1/60, 1/125,
1/250 + B. with LVS

Version Yunost, now in 6x6 frame size.

Maintaining rangefinder.

VYMPEL (MMZ)
Producer: MMZ
Years of production: 1960
Same as GOMZ model.
 SPORT
Producer: GOMZ
Years of production: 1957
Lens: Triplet 32 3.5/45
Shutter: 1/8, 1/15, 1/30, 1/60, 1/125,
1/250 + B. with LVS
Upgrade model of Smena incorporating
coupled rangefinder. Together Estafeta
and Vympel, the first Soviet camera to
incorporate LVS shutter.

YUNOST
Producer: GOMZ
Years of production: 1957-1960
Same as Sport with a general face lift. Name
was changed not to be confused with prewar
SLR Sport also from GOMZ.

A great success at 1958 Brussels Fair

MAYAK
Producer: GOMZ
Years of production: 1961
Same as previous Yunost with a new top
housing and rangefinder through a single
ocular
Only prototypes made.
 OGONIOK
Normal Yunost camera associated to a new
bottom cover carrying a small electronic flash
unit. Together Smena 2 Ogoniok and Lubitel
Elektron these were early attempts towards a
built –in flash on camera.

Years of production: 1961 (probably)

Russians came first on electronic units.

Previous models built for single use lamps
already existed.

See the Curiosities section.

KOMPAKTA
Producer: GOMZ
Years of production: 1956-1958
Lens: Industar 65 2.8/28
Shutter: 1/8, 1/15 1/30, 1/60, 1/125,
1/250 + B.

This camera uses 16mm film and is a

real curiosity. Really it is a rangefinder
version of the 1951 Minicord from Goerz
in a reversed construction and smaller
body.

Was announced at Western press

through Science et Vie magazine in 1961
 KOMPAKTA 2
Producer: GOMZ
Years of production: 1960
Lens: Industar 65 2.8/28
Shutter: 1/8, 1/15 1/30, 1/60, 1/125,
1/250 + B.

Intriguing Reflex camera, once the

previous model was well established,
they decided to copy the original
Minicord, that is smaller then the first
bersion. Same specifications as above.

VOSKHOD
Producer: LOMO
Years of production: 1964-1968
Lens: Triplet 48 2.8/45
Shutter: 1, ½, ¼, 1/8, 1/15 1/30, 1/60,
1/125, 1/250 + B.

This camera was the successor of the

Yunost the exposure meter was tied with
the speed and diaphragm giving the
correct diaphragm for each speed and
vice-versa.

It is said the Triplet 48 was developed

together Emitar 2.8/45 applied on Polish
Fenix cameras.
 VOSKHOD STEREO
The Voskhod inspired two stereo
prototypes: This is the second one.
Producer: LOMO
Years of production: 1967
Double lens and shutter. Possibilities of
working in stereo or mono 24x32 size.

ALEI
This is the first one.

Producer: LOMO
Years of production: 1964
Double Voskhod lens and shutter.
Possibilities of working only in stereo
mode 24x32 size. But has panorama
capabilities 24x70 size.

TECHNO
Producer: GOMZ
Years of production: 1958
Lens: choice of Industar 55 4.5/140 and
Orion 6.3/80
Shutter: “Temp” (Compur type) 1, ½,
1/5, 1/10, 1/25, 1/50, 1/100, 1/200 +
K(B) & D(T).

A re-edition of the prewar model with

some refinements. Double front
extension bellows with off center
movements and rear extension with
tiltability
 SELENA 2
Producer: LOMO
Years of production: 1966-1969
Lens: Industar 73 2.8/40 or Helios 79
2/45
Shutter: 1/30, 1/60, 1/125, 1/250,
1/500 + B. At a choice of diaphragm the
speed is set automatically; At a choice of
speed the diaphragm automatically goes
tho tha ambient light.

Shutter is fired by the left hand in the

bottom front of the camera.

SELENA 2.8
An odd characteristic is the lens out of
the center of the shutter barrel
 SOKOL 6 CELL
Producer: LOMO
Years of production: 1966-1969
Lens: Industar 70 2.8/50
Shutter: 1/30, 1/60, 1/125, 1/250,
1/500 + B. At a choice of diaphragm the
speed is set automatically; At a choice of
speed the diaphragm automatically goes
tho tha ambient light.

SOKOL 3 CELL
Completely automatic and identical to
the previous series. Those cameras has
only one operating hole hiding the cell.
The other ones are merely decorative.
 SOKOL -2
These cameras have only X synch and na
addition of a hot shoe.
All the models have the most
sophisticated rangefinder found on a
camera. Parallax correcting and all
indications seen in the view finder.
Extra bright and contrasty view.

These cameras went sold under various

names: Aurora, Revue Auto and Ladoga

All Sokol and LOMO 130 cameras were

developed in a pool together Fuji Photo
Film and CPL Copal Precision Ltd.

LOMO 130
Same as all Sokol models slightly
simplified made for the internal market
The one single cell is the real unique
operating in all models.
 ETIUD
Producer: LOMO
Years of production: 1969
Lens: Triplet 48 2.8/45
Shutter: 1/30, to 1/500, in continuous
mood. Shutter adapted from Smena
Symbol
Was planned to be the successor of
Voskhod but did not enter in production

FKM-1
Microscope version of Etiud

Years of production: 1969-1980

No lens no shutter

COSMIK 117
Producer: LOMO
Years of production: 1973
Lens: Industar 87 5.6/25
Shutter: Electronic continuous mood.
Uses the Film ORWO K-16 similar to the
110 type
 ALMAZ 101
Producer: LOMO
Years of production: 1980-1981
Lens: Volna 4 1.4/50
Shutter: completely electronic with
stepless control 30 sec 1/2000s
Only prototypes

ALMAZ 102
Producer: LOMO
Years of production: 1979-1984
Lens: Volna 4 1.4/50
Shutter: electro mechanical shutter 1s to
1/1000 data transference from TTL
prism.

ALMAZ 103
Producer: LOMO
Years of production: 1979-1986
Lens: Volna 1.8/55
Shutter: Completely mechanical shutter
1s to 1/1000 and plain prism.
 ALMAZ 104
Producer: LOMO
Years of production: 1986-1989
Lens: Volna 4 1.4/50
Redeveloped camera from model 102
extra contacts in body and prism shows
speed numbers on screen through LED
displays.

ELEKTRA 112
Producer: LOMO
Years of production: 1979-1984
Lens: Industar 73 2.8/40
Shutter: Point and shoot conjugated
shutter from 30sec, to 1/500 automatic
shutter

LOMO KOMPAKT
Three series

Producer: LOMO
Years of production: 1983-2005
Lens: Minitar 1 2.8/32
Shutter: 2 sec to 1/500 Production
transferred to China

First model (Russian style)

 Variation M for internal market Production and export model

ZENIT 35F

Evolution of Smena family setting a new

generation of cameras towards a popular
model. With built in flash.
Diaphragm is set by film speed.

Year of production 1987-1992

Lens: Triplet 4.5/35 fixed focus
Shutter: Fixed shutter speed 1/125.
 LOMO 35F-1
Producer: LOMO
Second variation of Zenit 35F
Years of production: 1992- 1993
Lens: Triplet 4.5/35 fixed focus
Shutter: Fixed shutter speed 1/80.
In this model the flash automatically set
its level of light according to conditions.

LOMO 35FM
Producer: LOMO
Years of production: 1992-1993
Lens: Triplet 57 3.5/35 fixed focus
Shutter: Fixed shutter speed 1/125.
Motor driven film
In this model the flash automatically set
its level of light according to conditions

The prototype was made for developing

motor driven cameras intended to be
used in future SLR Almazes.

KOMPAKT – M2
Based on LOMO LCA with built-in flash
Producer: LOMO
Years of production:1990
Lens: Minitar 2.8/32 or Opalar 2.8/35
 KRAB
Underwater housing for LOMO LC-A

Year of production 1989-1999

AKVAKON

RAB AKVAKON
Underwater adaptation of model LCA
For direct underwater use.
Producer: LOMO
Years of production: 1988
Lens: Minitar-1 2.8/32mm
Shutter: Same as LCA
 LOMO KOMPAKT
The Five types of LOMO Kompakt
Including the Spy LOMO variation made
to be disguised when used.
 SMENA 18
Produced: 1988 years

These cameras are mechanical

prototypes of LOMO Kompakt Include
models using the optical- mechanical
block of Smena 19
 AKVAKON 2

Underwater adaptation of model LOMO

35FM with motor wind
Producer: LOMO
Years of production: 1990
Lens: Triplet 57 3.5/35

Shutter: Same as LCA

Why a new Smena?
The Smena was the second camera intended to be mass produced by
LOMO. It finally reached the market in 1953.

The post war years were reconstruction years and LOMO was in a
stage to re-obtain the supremacy of previous days. It was said that
when the war began, There were an unsold stock of Sport –Pioneer of
SLR cameras. Those cameras came in wood cases that were used as
firewood during the terrible Leningrad’s winter days, while the
cameras itself were thrown away.

The Komsomolets and further the Lubitel set new parameters of

standards directing to a poor population that wanted cameras. Russia
and all Soviet Union were employing how many people as possible in
the reconstruction of the country, and specially the war destroyed
Leningrad. In those post war years it was needed burn stages to the
progress. Automobile factories grew producing trucks and autos,
tractors etc. a standardization was felt needed. It was born the GOST
State normalization. America sent a lot of war materials mainly in
trucks tanks, military radios and planes. Every item was adapted for
their internal production. Under this climate appeared the ZIS trucks,
busses and cars, the GAZ trucks, the Lisunov Plane and EST radios
and televisions. Just after the war there was decided to become a top
of line world camera producer and cameras like Leningrad, first as
GOI, The FCN and the TSVVS began to appear. The popular 35mm
camera had to wait a bit. The idea was still difficult. The world did not
see none yet. The Smena camera opened a new trend. A camera the
western world had not see and we shall discuss this later.

The main goal was: - The new Smena must be one of the best
cameras. Affordable and easy to use to oppose against snob
(Capitalists) who think (and make other people believe) that he
needs to use an expensive camera to take satisfying photos.

Some examples of the first post war days Soviet products:

ZIS-115

ZiS 15

ZIS-150
ZIS 154 busses 1946/1950

ZIS 155 1949/1957

GAZ M20 the most advanced passanger car of the era.

GAZ 12

GAZ-63

GAZ 56
 MAZ 200

Lisunov LI-2

EST- D-11 similar RCA -15-3

 The Birth of the Smena

The Kodak Bantam (1935-1938) (first model-picture above) began

the Smena Saga before the war. In post war days everything was
different. The camera had to reach the masses but make a
professional level pictures. A study of all existing technology was
established. The sma developer of the Smena pre-war, undertook the
task of the Smena first generation. He was I. Shapiro. Were put on
analysis the western greatest successes.

Three cameras were basically elected by their characteristics in each

of the market segment and together intelligently amalgamated
everything in the already available Russian resources.

The low priced cameras were:

The American Argus A; The American Kodak 35; The German Agfa
Karat.

The quality cameras were three German cameras:

The Leica Compur; the Leica II; The Nettax; The Contaflex I

The Russian side was given by:

The VOOMP; The Lubitel; The Industar 22

In an era of so much American influence, The Smena became the

“American” camera the Americans did not build.
The low priced cameras:

Argus A (1936)

Kodak 35 (1938)

Agfa Karat (1938)

The quality cameras:

Leica Compur (1930) Leica II (1932)

Zeiss Nettax (1937)

Zeiss Contaflex I (1953)

The Russian stuff:

VOOMP Pioner camera

Lubitel and Smena shutter and lens comparison

The T-22 lens schematics

The Smena shutter

 The Lubitel shutter

In both pictures self-timer removed.

Complete shutter assembled for both models

The Smena 1st Generation Chromosomal composition

From Argus A; the plastic body, the left hand advance, the film as
part of the mechanics.

From Kodak 35; the all plastic body, the combined metal parts, the
shape of knob.
From Agfa Karat; the compactness, the cartridge to cartridge load,
the 32mm slip-on filters.

From Leica Compur; the all black construction, with shiny metal
parts, the between the lens shutter; the lens quality level.

From the Leica II; the all black construction, the parallelipedical
viewfinder house.

From Nettax; the general lens shape, the polygonal faced body, the
removable back and the Zeiss look.

From Contaflex I; the proportions and all the polygonal Zeiss body

From the VOOMP; the complete parallelipedical viewfinder top and

used the same already done viewfinder lens pair. A Leica alike view!

From Lubitel; the lens and shutter. -The lens is the same T-22
reduced to 40mm focal length. The glasses already existed it was
needed only to correct the curves for the new focal. Reduce the FL to
40mm was a goal. It maintained the Elmar relationship between focal
length/lines per mm resolution in the center of the image.High quality
results. Was the first European camera to use this FL. (The first of all
was the Olympus 35 of 1948). - LOMO used the same Lubitel shutter
without iris diaphragm. The diaphragm was put into the lens.

The Industar 22 lent to Smena the external crown ring diaphragm

“modus operandi”.

Now, the name Smena discretely repeats the Komsomolets homage

to the New Breed.
 The possible postwar Smena would be a Zenit.

In the picture above the very first example of the Zenit prototype

Before adopt the name Zenit, the new camera was baptized as
Smena. As Smena was in pre-was days a very simple camera, the
KMZ engineers changed the name to Zenit because the name begins
with “Z” so well received through Zeiss cameras.

The first Smena series with its 32mm yellow filter.

 General view

Images: Courtesy of Camaras sin Fronteras

Back view

Bottom view
 Top view

Rear internal view

These five pictures correspond to a later series with black face plate,
plastic advance knob with film speed reminder and a new crown
indicator of frame counter.
 1-body;2-back;3-shutter front disc;4-lens;5-finder window;6-
counter;7-wind button;13-self timer lever;14-synchro flash;15-front
barrel;16-depth scale;17-limiter;18-film release;19-accessory
shoe;22-frame indicator;23-speed dial;24-shutter cocking;25-
release;26-cable release input.

2-back;8-film guides;9-tripod screw;10-lock;11-lock repairs;12-

prssure plate;20-unexposed film magazine; 21-exposed film
magazine.
A Comfortable release for the old Smenas.

LOMO and MMZ logos in Smena backs

 And front

A Smena enlarger UPL-3

 Ogoniok a tentative built-in miniature flash Smena

(after A. Berry) –See similar on Yunost

Camera built by David Kravtsov inventor and developer of the stereo

printed view without glasses
 A complementary field

camera

Can you believe this could be a Stereo Smena?

This prototype Redkaya camera certainly built in the LOMO factory is
a special stereo test camera with automatic picture transposing and
convergence of optical axes.

It is a further development probable made for NIFKI

NIKFI Stereo camera beginning years ‘50

At NIKFI Stereo laboratory during the beginning of years 1950, L. A.

Akimakinoj proposed a camera constructed by A. V.Sokolovym for
35mm film and frames – 24X30mm. The original camera built has
film movement identical to the European advance system 1-3; 1-3.a
Another new version does not need the film advance in one and three
strokes which is common to all cameras using this picture size. The
stereo pairs in the new version are successively positioned after a
single and constant stroke and are not interleaved with images of
other stereo pairs. The system is practical once are not needed
cutting and transposition of stereo pairs and simplifies the separation
by theme.

Another version using the format 33x54 proved satisfactory and

compatible with the old 45x107 format using all picture area.
The new proposed camera aims eliminate cuttig and transposing of
stereo pairs easing the Picture taking and preparing slides for the
show. Obtaining:

1) More precision, homogeneity, quickness and standardizing

stereoscopic mountings.

2) Minimizing visual fatigue.

 Holographic studio of NIKFI

Scientific Research Cinema & Photo Institute (NIKFI) is the state

institute, founded in 1929, is the single in Russia and unique in the
world scientific center on the development of technique and
technology of professional cinematograph, photography and other
imaging facilities.

NIKFI is widely known as the leader in the field of three-

dimensional stereoscopic and holographic images creation technique.
In the 40-s' for the first time in the world the stereoscopic film
projection without glasses on perspective lenticular screen was
realized, invented in NIKFI by S.P. Ivanov.

The system of stereoscopic cinematograph "Stereo - 70",

developed in NIKFI, is considered as the best in the world in the
category of qualitative reproducing stereoscopic motion-picture image
and it is used in stereo movie theatres both in Russia, and in many
other countries abroad. In 1991 NIKFI was awarded by the "Oscar" of
American Academy of Cinema for technical achievements in the part
of stereoscopic cinematograph.

In early 70-s' complex works in the new area of the three-

dimensional images creation – holography were begun in NIKFI The
researchers developed holographic materials and their chemical-
photographic processing, methods of hologram recording, copying
and reconstruction methods, laser sources and other parts of
holography processes. One of the first high-quality image holograms,
that was written by the Yuri N. Denisuk method, were made in NIKFI
by G.A. Sobolev.

Under the management of prof. Komar the development of the

holographic cinematograph system offered by him with the three-
dimensional color image were kept in NIKFI For the first time in the
world the holographic one-color 20-seconds film was demonstrated
on the special holographic screen in 1976 at the UNIATEC congress in
Moscow. Holographic screen 0.6x0.8 sq.m. formed four vision areas,
from which one-color three-dimensional scene of moving human was
observed. Two-color 3-D cartoon on the screen with five vision areas
was demonstrated in 1984.

At present under the management of Yuri N. Ovechkis works on

pictorial holography are kept in NIKFI in the part of new technological
facilities of hologram production development, improvement of
holographic photo materials and their chemical-photographic
processing.

Pictorial holograms of NIKFI, including multicolor three-

dimensional images, were demonstrated on many international
exhibitions (Austria, Hungary, France, Finland and many other
countries) and every time were considered as one of the best in the
world.
 PRE-WAR
SMENA (SMENA ORIGINAL)
Produced: 1939-1941 (GOMZ)

Foldable camera. Triplet, 6,3/50. Single

speed shutter 1/50 ("М") plus "В". 25
frames in 35mm paper baked film. Scale
focusing lens. Based on the 1935 Kodak
Bantam camera Bakelite construction .
Dimensions : 114х72х42 mm, weight
210g. the Smena original, the first
generation and series 5 to 9 were
designed by A. Shapiro.

Kodak Bantam camera

 POST-WAR
SMENA
(FIRST GENERATION)
Produced from: 1953 (GOMZ)
and 1957 (MMZ)

The new Smena generation was a camera

intended for the masses. Its project borrowed
the most desirable features of FED/Zorki (finder
and lens block) and Kiev (removable back and
cartridge to cartridge loadings) and used the
acclaimed T-22 lens formula for a wider angle
(4.5/40mm) and similar resolution and contrast
to the famed Industar 22. Finally, Leica and
Contax features and final picture qualility at a
price of a box camera.
 SMENA 1 (SMENA)
Produced: 1953-1955 (GOMZ)

Name: „Смена“
Producer: GOMZ/MMZ
Frame size: 24x36
Lens: Triplet-22 4.5/40
Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
+ B.
Year of release: 1953-1960 GOMZ
c.1958 MMZ.

Quantity: 1.774.847 units (MMZ model is

not included).

Original price (in year 1961) 11 roubl

This simple bakelite camera was

announced by soviet press in 1953, with
regular production starting in 1954.

Shutter plate - 51x51mm. Film advance

knob -plain (groves in the middle on later
samples). 4 white screws on the shutter
plate. White lens faceplate with serial
number (with date prefix) and Gomz logo
in black/red paints. Big GOMZ or MMZ
logo on camera rear door.
 SMENA 2
Produced: 1955-1962 (GOMZ)
1957-1961 (MMZ)

Name: „Смена“
Producer: GOMZ/MMZ
Frame size: 24x36
Lens: Triplet-22 4.5/40
Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
+ B.
model introduced in 1955 and made from
1957 also at Minsk Mehanicheski Zavod
from detachable pieces.

This model introduced the self timer

 SMENA M
Produced: 1962

Name „Смена-М“
Producer: MMZ
Lens: Triplet-22M 4.5/40
Shutter: 1/8, 1/15, 1/30, 1/60, 1/125,
1/250 + B.

Made only at MMZ. Introduction of self

concepts.

Different synchronized shutter speeds and

release system. Produced only by MMZ
 SMENA 2M
Produced: 1963

Name: „Смена“
Producer: MMZ

Slight modifications from Smena M

Includes self-timer unit.

As Smena M, produced in small quantities.

These were transitional cameras forseeing
a departure to new models.

Smena MMZ gave birth to Vesna and a

new series of Smena GOMZ were born.
 SMENA 3
Produced: 1958-1960 (GOMZ)

Name: „Смена“
Producer: GOMZ
Frame size: 24x36
Lens: Triplet-22 4.5/40
Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
+ B.
Year of release: 1958-1960 GOMZ

This model introduced the left lever film

advance à la Exakta
 SMENA 4
Produced: 1958-1960

Name: „Смена“
Producer: GOMZ
Frame size: 24x36
Lens: Triplet-22 4.5/40
Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
+ B.
Year of release: 1958-1961 GOMZ

Synchro version of model 3

 JANUS
Produced: Prototype-1960
This prototype is a fusion of the Smena 3
And the Sport 2 movie camera
 HUA SHAN
CHIANG JIANG
Produced in China: 1961-1962

Above: HUA SHAN (Sparking

Mountain) Made in Sichuan

Middle: CHIANG JIANG 1 (Yang Tse

River) made in Xibei

Bottom: CHIANG JIANG 2

Above, the logos in the camera back

 THE SPLITTING These new types were influenced by new
German Werra and both used the crystal
The two factories decided make their finder piece used on original Werra, but
own personalized models. retained the previous cartridge to
GOMZ began the new Smena generation cartridge loading. While Vesna used a
and MMZ introduced the Vesna. complete own design, the new Smena
generation had its body influenced by the
top class Leningrad camera. Smena, now
shares the accessory filters and close up
lenses of FED and Zorki.

Werra 1st series

Leningrad 2nd series
 VESNA

Produced: 1962-1964

Continuing the philosophy of 40mm lens,

now in a new body introduced the 24x32
“ideal” format.

Name: „Весна“
Producer: MMZ
Frame size: 24x32
Lens: Triplet-22 4.5/40
Shutter: 1/8s, 1/15s, 1/30s, 1/60s,
1/125s, 1/250s + B.

LOMO variation with T43 lens later used

on Smena 6 sports metal top and
different logo.
 VESNA 2
Produced: 1964-1966

Name: „Весна“
Producer: MMZ
Frame size: 24x32
Shutter: 1/15s, 1/30s, 1/60s, 1/125s,
1/250s + B.

Bakelite camera identical to the

predecessor Vesna, without shoe and still
T-22 lens or accessory shoe with a new
lens T-43 4/40 mm and speed range
reduced to 1/15s – 1/250s using exactly
the same Smena shutter

Produced by MMZ
 SMENA 5
Produced: 1961-1962

Name: „Смена 5“
Producer: GOMZ/LOOMP
Frame size: 24x36
Lens: Triplet-42 5.6/40
Shutter: 1/30, 1/60, 1/125, 1/250 + B.

A new body design was developed at

GOMZ/LOMO. The new camera, although
retained the versatility of the previous
with even more ergometry and style.
 SMENA 5
Produced: 1961-1962

The first model of this new series was

transitional model was the only one to
have a reversible sunshade, no eveready
case, a smaller range of shutter speeds
and 5.6 lens. Inspired in the new
German Werra

The Werra sunshade concept.

 SMENA 6
Produced: 1961-1969

Prototype

Name: „Смена 6“
Producer: GOMZ/LOOMP/LOMO
Frame size: 24x36
Lens: Triplet-43 4.5/40
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.

Reconceived Smena 5 with greater lens

aperture and conventional presentation
with eveready case.
 SMENA 7 Name: „Смена“
Producer: GOMZ/MMZ
(PROTOTYPE) Frame size: 24x36
Produced: 1968 Lens: Triplet-22 4.5/40
Prototype with exposure meter and Shutter: 1/10, 1/25, 1/50, 1/100, 1/200
metal top. + B.

SMENA 7
(COMMERCIAL TYPE)
Produced: 1969-1971

Production: LOOMP/LOMO
Identical to type 6 but without self timer
 SMENA 8
Produced: 1963-1971

Name: „Смена“
Production: LOOMP/LOMO
The most prolific camera. Sold under
various names. Exactly equal to Smena
6 but including rewind.
Name: „Смена 8M“
Producer: LOMO
Frame size: 24x36
Lens: Triplet-43 4.5/40
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.
World’s most popular camera in several
name and color variations in a single
model. Compact version of the previous
“Smena 8”

Variation with self timer

 SMENA 8M
Still mantainning the same mechanichal
lay-out

Colored versions

Yunior Foto Konstruktor

SMENA 9
Produced: 1969-1971

Name: „Смена 9“
Producer: LOMO
Frame size: 24x36
Lens: Triplet-43 4.5/40
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.
Last of the second generation.
Identical to Smena 8 but lacks self-timer
 SMENA 35
Produced: 1990-1993
Name: „Смена35
Producer: LOMO
Frame size: 24x36
Modernized Smena 8M with fixed spool
and Smena Symvol finder. Shoe and
rewind crank from LOMO LCA.
Various colour combinations.
 SMENA 20
Produced: 1988-1990

Announced in text-only document at the

1990 Photokina, this camera seems to
have been produced in very small
numbers. It has the same technical
characteristics as the Smena Symvol,
but rebodied in Smena 35 size and shape

Name: „Смена“
Producer: GOMZ/MMZ
Frame size: 24x36
Lens: Triplet-43 4/40
Shutter: five speeds in weather symbols
 Name: „Vzgliad“
Producer: PZTP

Frame size: 24x36

VZGLIAD Lens: Triplet-22
4.5/40
Produced: 1993-
Shutter: 1/15, 1/30,
1/60, 1/125, 1/250
+ B.

Only 100 prototypes made by the "PZTP" ("Penzensky Zavod Totchnych

Priborov"). Watch factory after transferring manufacturing tools from LOMO.
Technical characteristics identical to Smena-35 (LOMO), but more near mechanics
to Smena 20 due its shutter coupled to film advance.
Conceived by LOMO Chief designers M.G.Holomiansky and A.P.Avdonin. The 4/40
mm "T-43" lens has a new appearance. Logo with Russian Federation Flag on the
frontplate. Shutter speeds: 1/15s, 1/30s, 1/60s, 1/125s, 1/250s + B. Was the
last attempt in making a low priced camera
All names of LOMO AND ASSOCIATED UNITS:

1914 = RAOOMP; 1919 = GOZ; 1925 =TOMP; 1930 = VOOMP;

1930 = GOMZ; 1962 = LOOMP; 1964 = LOMO; 1993 LOMO PLC.
 SMENA RAPID/SL
Produced: 1968-1977

Name: „Смена“
Producer: LOMO
Frame size: 24x36
Lens: Triplet-43 4/40
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.

USE FILM RAPID “SL” Needing no rewind

SL stands for “Schnell Laden“ or Quick

Load
 SIGNAL SL
Produced: 1970

Name: „Сигнал-SL“
Producer: LOMO
Frame size: 24x36
Lens: Triplet-43 4/40
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B. Programmed with diaphragm

Very few produced

Equals Smena SL but has auto

exposure meter
 SMENA SYMVOL
Produced: 1971-1991

Name: „Смена Символ“

Producer: LOMO
Lens: Triplet-43 4/40
Frame size: 24x36
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.
 SMENA SYMVOL
Produced: 1971-1991

Other variants:
This camera gained a wide spread
acceptance world over and was renamed
according to the various importers.
 SMENA E
Produced: 1971-1972

Name: „Смена-E“
Producer: LOMO
Frame size: 24x36
Lens: Triplet-43 4/40
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B. Programmed with diaphragm

Very few produced

 SMENA SYMVOL
136
Produced: 1977-1979

Name: „Символ 136“

Producer: LOMO
Lens: Industar-73 2.8/40
Frame size: 24x36
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.
 LADOGA/
COSMIC-10
Produced: 1971

Name: „LADOGA“
Producer: LOMO
Frame size: 24x36
Lens: Triplet-43 4/40
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250 +
B.
 SMENA 19
Produced: 1985-1989

Name: „Смена 19“

Producer: LOMO
Lens: Triplet-43 4/40
Frame size: 24x36
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.

An attempt to modernize the model

„Смена Символ“
 SMENA MOLNIJA
Produced: 1985-1986

Name: „Смена Молния“

Producer: empg/Novacon
Frame size: 24x36
Lens: Triplet-43 4/40
Frame size: 24x36
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.
With built in electronic flash from Frata

Two model variations right or left handle

An attempt to produce a Brazilan

variation on the model Symvol
Only prototypes made. See history
Foreign country experiences.
 SMENA 18
Produced: 1984 first version like LC-A
1985 second version with Smena 19
shutter and lens

Name: „Смена 18“

Producer: LOMO
Lens: Minitar-1 2.8/32 first version
Lens: Triplet-43 4/40 second version
Frame size: 24x36
Shutter: 1/15, 1/30, 1/60, 1/125, 1/250
+ B.
 SMENA 11
Produced: 1967 Prototypes only

Name: „Смена 11“

The most desirable cameras from the

huge Smena group. This small series
consist of 4 cameras: mechanical
Smena-11, single speed (1/60s) automat
Smena-12, more advanced 4 speeds
(1/30s, 1/60s, 1/125s, 1/250s) automat
Smena-14 and never seen alive Smena-
15 with spring motor (!!!). Unfortunately
only few prototypes Smena-11, -12 and
14 are known to exist ...

This LOMO prototype was announced in

1967. Metal-plastic body with more
angular edges. Bi-format 18x24mm or
24x36mm, selected via a simple sliding
mask in the viewfinder. Bright-line finder
centered on lens axis, with fixed half-
frame indicators. Advance lever under
the body. 36 or 72 view frame counter.
Accessory shoe on the top plate centered
on lens axis. Industar-60 2.8/40 mm or
Industar-73 2.8/40 mm lens. Shutter
with speeds: 1/30s, 1/60s, 1/125s,
1/250s + B.
 SMENA 12
Produced: 1967

Name: „Смена 12“

Producer: LOMO
Frame size: 24x36
Lens: Industar-73 2.8/40
Shutter: 1/50,B. single speed

This LOMO prototype was announced in

1967. Identical to Smena-11, but with
lightmeter surrounding lens. Shutter
speed priority automation with single
speed 1/60s and B. Diaphragm scale
visible in finder. Fitted with Industar
2.8/40 mm or Industar-73 2.8/40 mm
lens
 SMENA 14
Produced: 1967

Name: „Смена 14“

Producer: LOMO
Frame size: 24x36
Lens: Triplet-22 4.5/40
Shutter: 1/30s, 1/60s, 1/125s, 1/250s

This LOMO prototype was announced in

1967. Identical to Smena-12, but with 4
shutter speeds automat: 1/30s, 1/60s,
1/125s, 1/250s
 SMENA 15
Announced: 1967

Computer Art - Not Real image!

MMZ developed together Fuji of Japan the

Siluet camera based upon Fujica models.
The cooperation MMZ-LOMO brought up the
Smena 15. Produced: 1967
Name: „Силует Рапид Авто“
Producer: Belomo
Frame size: 18x24
Lens: Industar-75-3 2.8/30
Shutter: 1/30s, 1/60s, 1/125s, 1/250s +B.

Fuji Film Co. also ventured on the

The employed Seiko Shutters were later used
development of MMZ Orion KM and LOMO
on BelOMO Vilia family of cameras.
Sokol Family.
 LOMO 135 VS
Produced: 1975-1980
Motor driven camera

Name: „Ломо-135ВС“
Producer: Lomo
Frame size: 24x36 mm.
Lens: Industar-73 2.8/40.
Shutter: 1/15s, 1/30s, 1/60s, 1/125s,
1/250s + B.
 LOMO 135 M
Produced: 1980-1985
Motor driven camera Second version.

Name: „Ломо-135M“
Producer: Lomo
Frame size: 24x36 mm.
Lens: Industar-73 2.8/40.
Shutter: 1/15s, 1/30s, 1/60s, 1/125s,
1/250s + B.

This second version has an exposure

calculator around the front lens ring
Curiosities and prototypes

Smena viewfinder concepts

Smena rangefinders
Blik Smena rangefinder variant
 A Smena for Kids

YuFK-2

Tells the basics of photographic instruments with a do-it-yourself

assembly.
Foto Konstructor "YuFK-2" teaches through its kit the principles of
optics and mechanics and one can assembly a model of camera, an
enlarger, a film viewer, a slide projector and a loupe.

Back of camera with mask removed

With original mask

Suggesting of a half frame Smena on conventional model

using YuFK-2 masks and a second stop bar in the sprocket
axis.
 The camera, 18x 24mm

Film viewer

Two element Loupe formula Huygens or Ramsden

 Enlarger Projector

Includes stand and illuminator box with 12V lamp

Achromatic lens and simple shutter.

Two pictures of a single Picture camera
Odd constructions
And endless stereo adaptations….

Camera Stereo Ladoga

 Small production series Smena stereo

Smena Stereo factory prototype with reflex finder

 Home built Stereo Smena

Smena Stereo LOMO pre-run series

Smena Stereo pre-run series variants (from A. Berry collection)

Small production series Smena stereo

And home built stereos

 Home built Stereo Smena

Home built Stereo

Two more home built Stereos

 Front view

Rear view

The doppel Werra inspired the doppel Smena

After B. Parkinson
LOMO on Movies

Since the beginning through its branch LenKINAP, LOMO showed its
main vocation to construct equipment for movies.

They constructed equipment for all kind of professional picture taking

as well as for researches in new techniques.

TOMP 4 projector and sound equipment

That way they built all necessary system for Stereokino and
Kinopanorama pioneering both techniques.
 Stereokino

The Stereokino was developed in Russia around the 1930 years.

Beginning with an anaglyph process developed by E. M. Goldovsky
through an interesting method of reversal when the two different
emulsions which registered left and right eye views, (each side of
film) were reverted for the blue (or green) and red colors. It was
called the “Dipo-film”. Further it was seen through colored glasses
and give the Stereo sensation. The most interesting was that you
need only the conventional projector to show it, no optical
attachments nor two synchronized projectors. This happened in 1939.

During the 1940 the Soviet art movies came with "Weekend in
Moscow". Made by the conventional twin film technique with a double
camera specially developed for taking pictures and special projecting
equipment. Each taking camera, worked with three films for the color
enregistrement. The equipment was the TZKS-1 called “the monster”

TZKS-1 three color camera in simple and stereo configuration

But the most interesting was that in 1937, Semyon Pavlovich Ivanov
developed the practice of na stereoscopic projection system that
need no glasses. This process was known as the raster or lenticular
system which today are used in somo 3D post cards. Ivanov was
known as “The Best friend of Soviet movie makers”
In February 1941 begun in Moscow the operation of the first
stereoscopic movie theatre in world, using no glasses!

Masked screen for stereoscopy without glasses.

http://www.stereokino.ru/rastr.htm

The first stereoscopic film with no glasses was “World of Youthness”

(more known abroad as "Concert"), seen by half million of spectators
during the first war days.

In the early days of war, during 1942 Semyon Pavlovich Ivanov, Boris
T. Ivanov and Alexander Andrievskii who filmed "Concert", continued
their work and created a large aperture raster. A new picture taking
method was developed where a two mirror attachment made the
stereo pair with different sizes of images in the ratio 0,67:1 in each
(11x18 mm) images.

The frame was uncommon for the cinema Standards. After some
experiences S.P.Ivanov proposed to remove one of the three holes in
each frame obtaining a greater image in the size 15.5 x 15 mm. The
new system was called "Stereo 35-19."

That way the ratio became nearer the visual Standards 3:4.

After the war, from 1946 were filmed “Parade of Youthness” “In the
Trail of the Enemy” filme "Robinson Crusoe", and several others, in
1964 the raster system gave place to the polarizing filters.
 Circular Kinopanorama

Films are exhibited in the so called circus giving a 360º view of the
scene. The Idea was first shown by Walt Disney in 1955 which He
called Circorama. There was only the cylindrical part and there were
used eleven projects to show the theme in 16 mm. Due difficult
mixing between camera images, there were made small spaces
covered with Black strips.

The Soviet version first shown at Moscow VNDH URSS, in 1959,

and later – in Praga and Tokio. Had 25 m diameter and 15 m high,
with a capacity of 500 viewres. People see the scenes standing up.
Pictures are recorded and shown on 35mm equipment. The projection
is made through the black strips between the screens. Each projector
fills the angle of 32.7º (360°: 11 = 32.7°). The sound is recorded
separetaly in 11 audio channels and reproduced around the screens,
the floor and the ceiling of the theatre, in order to simulate the Best
natural sound.

Lit:. Goldovskiy EM, From silent movies to the

Kinopanorama, M., 1961.

Placing and disposition of the screens at krugovoy

kinopamorama at VNDH USSR
1- Section of the conical screens (lower diameter 17.26m upper
diameter 15m) screens in trapezoidal form with 3.5m at the
upper part and 4.9m at lower; 4.2m high.
2- Section of cylindrical screens width 4.9m height 3.5m.
There are eleven screens in the conical section and eleven
screens in the cylindrical section totalizing 22 projectors in
simultaneous operation.

Kinopanorama technology

Krugovaya kinopanorama exhibition hall at VNDH

Internal of the panorama kino theatre Picture by Yan
Vladimirovich.

Another picture
Shown in complete magnificent working form
Amplifiers wall (Perm)
Sound reproducers (Perm)
The control of Kinopanorama picture and sound
Some photographs about Paris, Perm and Kiev Kinopanorama

The central booth with 1 Vic X and one KPP1 6-perfs

KPP-1 projector during a show launching - 1200 m reels
The central booth with 2 Vic X and Two "Baker " KPP-1 Kinopanorama
projectors

When the screen is not there. Soviet Kinap speakers and STS sound
system (1986-1987)
 (Kiev 2008)

Moscow Mir Panorama 1958

 The Kinopanorama is still alive!

II International Cultural Forum os St Petersburg 2-4 December 2013

Some Professional devices:

Three different models of series KS and AKS movie cameras

Based in Bell & Howell Eyemo produced from 1938. In 1947 the
production was transferred to Krasnogorsk.
KS hand held AKS adapted for the Air Force

16ZP

Movie projector
 16mm Sound portable projector 1936 up to 1960

2SR

Sound movie camera in two models with divergent turret or for zoom
lenses. 1970 years.
Made by LOMO in cooperation with Krasnogorsk
Movie viewfinder preview 7S41
35mm / T2.4
50mm / T2.5
75mm / T2.6
100mm / T3.1
150mm / T4.5
35mm / T2.5 / cf 3’6″ / 138mm Front
50mm / T2.5 / cf 5′ / 120mm Front 80mm / T2.5 / cf 5’3″ / 120mm Front

Other LOMO anamorphic lenses

Zoom lens 20/120mm 2.5

UO-15 cinema audio amplifier

Amateur Movie Cameras
Under these conditions It was not possible not to supply amateur with
the excellent quality of LOMO movie cameras.

This section is an offer of Erkan Umut famous Turkish movie

director and collectionist.

Sport cameras offered in four series were the first, beginning in

1960.

T-40 or T-41 2.8 10mm.

In an upper class came the Neva and Neva 2 offered from the
same date. Was atree lens turret with two converters for wide angle
and telephoto. SH1 1.9/13mm and two converters 0.5x and 2x.

Then came the incredible Lada. These superlative cameras with a

modest appearance, really overshadowed all products in the market.
Its excellent craftsmanship preview roller bearings in all moving
shafts of the camera! 1963. Totally automatic electric eye.

Lada and Lada 2 prototypes. Lada were offered in various colors:

khaki, black and blue. PF-2 1.7 9/37mm
The Avrora grey or black was the electric eye version of the Sport
4. -1966. T-51 2.8 10mm.
Lantan was the successor of the Lada Incorporates TTL auto
electric eye. -1969. Granit-3 1.4 7.3/32mm
Aurora 10 and 12 introduced the Super8 in Russia. The
model 10 ia a totally manual camera while the model 12 has
permanent electric eye. - 1971. T-54 2.8/16mm
These low priced cameras were s succeed by the new series
214, 216, 218, being respectively Normal lens manual
adjustment; same camera with electric eye; and same as
previous with zoom lens. – 1976. First limited production with
LOMO name from 1972.
Number alterations were done for export. The 217 is the same
as 214; and 216 the same as 218. T-54 2.8/16mm or Agat 14
2.8 9/27mm - 1972
Exploded view of the 218 model and camera in its bag.
LOMO/Avrora 200 and 220 -1979. High grade cameras. The
22º incorporate slow motion lap dissolver, fade-in/fade-out and
remote control. Variogoir 2B 1.8 6.5/65mm
The Avrora 224 repeated the model 200 with a lower cost
zoom. And the 226 was the same camera adapted wit a
recorder for soun-on film during picture taking. Granit 12
2.8/9-27mm. 1885
Professional projectors PKP-1 and KPT-1
Kupava Amateur movie editor in three identical versions for 8mm,
Super 8, and 16mm.
The most successful 8mm projector the Luch 2 identical to Luch 1
(no sound synchronized); shown closed and open.
And the Sel-1 synchronizer for model Luch 2, all Russ types, and
Volna variations.
Previously two Volna projectors

Russ 320 and Russ 340 both with zoom lenses.

The traditional Russ first model for 8mm and super 8 the second
most sold projector
Kvant Super 8 top class sound projector.

8mm film splitter

Svetliachok a projector for the kids Uses 6 1.5V batteries size D
KPR 1937 made also in Ukraina

KN-20

The “Projector of Learning” several projectors like that were used in

cars during the 1930 years to offer movies and teaching classes to
all regions of the country
 KPT-1

The standard of movie theatres.

 35K1A

The standard of movie theatres.

LOMO also built miniature toys

Miniature toy cars.

 High quality audio horns

Heavy bass speakers

Microphone for recording studios
 Distribution audio equipment

Lomo/Kinap UP27 mic preamps. The UP-27 is one of the most

well-known Soviet microphone preamps, with a strong reputation for
its fat and warm sound.
LOMO Built the first commercial type Maksutov lens MTOM Leningrad

And used them on their ASTELE™ 150 OTA Amateur LOMO

Telescope - A1800.

As an interesting fact I saw when visited LOMO, the only Mak

binocular existing in world. It is a pity do not have a picture!
They were exact pairs of such ultra compact commercial monoculars
also built by LOMO

During the beginning of 1930 the first amateur astronomer telescope

The first after was production: measuring microscope UIM-21 1945.

Astrograph made for the Pulkovo observatory 1945

ZTSh reflector telescope 2.6m diameter main mirror
mounted in Crimea Ukraine and built in 1961 at the time the gratest
ineurpe and the third in world.
 The PKP-1 set the Standards for all
movie theatres in the East. Was the main projector applied not only
in Russia but also India Turkey, Afghanistan, Azherbazhan, Siria,
Egypt and other countries and cities.
LOMO also built the first Soviet Professional vídeo-tape recorder
intended for use in television broadcast.

BTA Telescope
BTA ( B olshoy T eleskop A lt-azimuth) – the gratest in Eurasia
having the main mirror 6m of diameter. Placed at the Special
Astrophysics Observatory turned ou the greates in the world in 1975,
being 5 meters greater then the Hale telescope at Palomar
Observatory. This record was maintained up to 1993, when was built
the Keck Observatory telescope; but maintained as the greatest
monolithic mirror of the world up to 1998.
Assembled BTA telescope

Mirror main diameter 6m

Main mirror focus focal length 24m

Focus length in composed system 349.4m

Principal tube 42m

Mass of mirror 42 ton

Mass of the full system 850 ton

Astel 60 telescope
Picture shos a presentation of the Astel-60 telecope at Petropavlovsk
square. Telescope for schools or advanced amateur observations.
 Foreign Countries Experiences:
At a first glance LOMO was the most accessible of the Russian
factories. And it would be considered as the Ambassador of Soviet
photo-optical industry. Undoubtedly was the most active of the
conglomerate in foreign countries. Sealing this philosophy the first
movie camera produced by LOMO, the Sport, was renamed
Ambassador for the external market.

Poland
LOMO’s first foreign cooperation began in Poland

Start

Start I or Start

Camara "Start" (1954 - 1960)

First Polish TLR- 6x6cm

- Euktar or Emitar lenses : Taking lens 1:4/75mm, viewer

1:3,5/75mm central shutter 1/10 to 1/200sec & B synched.

From about 1949 it was formed the WZFO especilly constructed for
producing all sort of photo and movie equipment in Poland. They
decided to built a TLR for the internal market. This camera began to
be projected by Centralnym Laboratorium Optycznym but WZFO had
the same Idea and united efforts towards the same boot.
After the war, Poland and Soviet Union united efforts for a mutual
development and Poland received in 1954 a complete car factory in
order to build the Warsawa car under Pobeda plans, but optical and
fine mechanical engineer had already sufficient technology to build
their own models. LOMO lent the Lubitel shutter and Polish developed
their own optics slightly luminous than the Russian counterpart. It
was made the first Start model.

Start B, and Start II) (Known as the Polish Rolleiflex)

The original model was followed by a new generation based on same
concept. A new body model with a new lens, based on Zeiss Triotar of
older Rolleicords with the same previous shutter would give the
structure for two new variants: The simple one will have the same
specifications of the previous version, and a new one with crank film
advance, auto stop and shutter tensioning with double exposure
prevention and windows for seeing diaphragm and speeds. A kind of
poor man’s Rolleiflex is now offered. Millions were sold and WZFO
was known world over through these cameras.

„Start B” (1960 - 1967) - „Start II” (1960-1965) (First

proposed name "Duoflex")

Both with twin Euktar lenses 1:3,5/75mm

 Start 66, Start 66S
The third generation changed again its body in a more Ikoflex style.
With a very smart presentation, maintained everything was right
lenses and shutter. Two variations came: a simple one and an
automatic stop advance. These cameras came in an era of the demise
of the 6x6 and regrettably did not see so much success.

"Start 66" (1967 - 1970) , "Start 66S" (197? - 1980 ?)

Emitar 1:3,5/75mm

"Start B" - evolution

Start 66 S with auto-stop and automatic frame counter. During this

period WZFO was absorbed by PZO which halted its production. PZO
microscopes also follow the same LOMO standards.

Fenix
"Fenix": I, II, Ib, IIb (Is, IIs,) (Ia, IIa,)

After the Start and following the same Soviet politics they
launched the Fenix that was a kind of an upper level Smena,
fulfilling so the 24x36mm market.
 The first model was a direct finder camera using the same
shutter and a new developed lens, always based on the faithfull
triplet. Now Euktar 2.8/45mm.

All the cameras share the same body and has a single generation.
Model I and Ia are exactly the same, but Ia has film rewind.

Model Ib is the same as Ia but sports a collimated finder with aerial

frame.

Model II and IIa had the same differential of I and Ia this series, the
rewind capabilities. Both series II sports a coupled rangefinder very
similar to the Agfa Karat. There were planned models Is and IIs with
self timer. but did not came into production.

Their common characteristics are:

- Coupled film advance and shutter cocking with Double exposure

prevention.

- manual frame counter with window over the left hand advance
lever.

- Film “memory” around the release Button.

- Optional cassette to cassette operation without rewind.

- "Fenix II" rangefinder gives all image focus frame.

- Contina inspired body.

- Bottom rewind knob (on rewind models)

Fenix I and Ib

And....
 Fenix II

Rear view of Fenix series “a” with rewind fork

Soviet Union cooperated with Poland in the area of optics, mainly in

the military affairs. Here, due cooperation of the emerit collector
Jacek Przybyszewski we show a WZFO 1952 production of the soviet
S-3 camera from Kazan. It was applied in Su-15, Mig-21 and Mig-23
planes.
Polish version of Soviet S-13 aerial camera

Internal view of the chamber in Polish S-13

 Diaphragm aperture settings

Plate indicating a S-13 produced for the Poland Air Force by WZFO

Russian S-13 with Tair 3 300mm lens

 Openings shape in the S-13 high speed rotary focal plane shutter

Russian version with Industar 3.5 50mm

 Belarus
Just in 1957 LOMO cooperated in founding MMZ in Minsk, Belarus,
one of the then Soviet Republics, in order to have a new facility
towards producing lenses, Lens manufacturing tools and equipment,
and began producing Smena MMZ as shown in the tables. A special
chapter will be dedicated to them.

China
LOMO’s second foreign cooperation continued in China.
After their experience in cooperation on the assembly line at Minsk,
they went to China to begin production of CHIANG JIANG and soon
after Chang Le at Xi Bei province from detachable parts. Later, HUA
SHAN at Sichuan where Chinese begun to make their own bodies.

Two CHIANG JIANG in the center two HUA SHAN at the borders.

CHANG LE was the second camera.

Both cameras inspired Chinese to new adventures. The Smena

inspired the Xing Guang Beijing at Camera Factory and the Youyi,
with Rollei 35 body which uses the same Smena T22 and shutter.

See the following page

And Lubitel inspired several generations, types and novelties.

Right: Hong Mei –Left: Hong Mei – 5

Next page: HM-Qu Mei

 The HM-Qu Mei

This is the Qu Mei intended to use a short lived 120 black glossy
paper film that simulate tin type photos. You need not to copy your
negatives. The idea was not new. You can see it had its roots long
ago in this ad of 1930 and also the more recently the Fotochrome and
the Polaroid One Step.

Fotochrome ad.

Polaroid One-Step
Hong Mei HM1 s a foldable camera adapted from Agfa Isolette body
sporting a Lubitel shutter and lens.

Hong Mei 5 fuses the Czech Flexaret focusing system with the same
shutter and lens. All used same shutter and T22 lens derived from
Lubitel. (Changzhou Camera Factory China)

Today they produce two LOMO variations and Lubitel 166 plus.
Through Lomography, LOMO is still alive!

LCA+, LCW and Lubitel 166 + are also currently produced.

 India
LOMO was a long time partner of Cine Sales Co. of India. They begun
in 1949 installing Soviet movie projectors in every cinema halls along
the country, and selling movie cameras to studios, to which still is the
greatest movie industry in Asia. That way, after the maintenance,
they went to the production of various professional 35mm sound
projectors and also produced the Lubitel 166 which inclusive were
exported to TOE in England around the 1980 years.
based on LOMO PKP projector

Lubitel Cinesales india

 Brazil
Since the early 1960 LOMO marked its share in our country though
the Lubitel and Smena cameras. Lubitel 2 made its first triumphal
appearance through a friendship football game between Vasco da
Gama of Rio de Janeiro and Dynamo of Moscow in 1958, when the
Soviet Trade Representatives distributed Lubitel cameras to all the
Brazilian football staff and some of them were given as praise to the
public who had its Maracanã bills in accordance to the five State
Lottery numbers of the same day. A truly success. In 1958 Brazil
attained the Football World’s Cup Championship, and Russia made his
show at Brussels’ World’s Fair, one year after the Sputnik successful
satellite launch.

In 1986 It was signed an agreement of Twin Towns or Brother Cities

between St. Petersburg and Rio de Janeiro. It was presented the
movie Leningrad Rio de Janeiro showing their similarities. This led to
organize two exhibitions of potentialities of each city in the other.
There were shown the pre-production examples of Smena 35 and the
new Lubitel 166 Universal in a cocktail to entrepreneurs at
Copacabana Palace. This same time I was working on the projects
now shown, and I was invited to visit their factory.

Since 1975 with the international petroleum crisis, it was difficult to

obtain import licenses, but it was easier to firms that produce and
export some items. It was officially made two modalities of easiness
of importing: draw-back and pay-back facilities. In the first one you
aggregate Brazilian components, in the second is a turn-over of
values in import export modalities.

We jointed efforts of three firms: Ourselves, the Eletrometalurgica

Piniewsky Gimenez and Frata who would furnish the electronic
modules.

It was decided to make different kind of cameras although based in

simple LOMO technology. And there was born the first project the
Smena Molnija. The idea was to expand the commerce, that way we
went to both programs The Smena Molnija is based on the Smena
Symbol with a top and bottom modifications incorporating an
adaptation for a built in electronic flash using a simple pen cell unit
already available from Frata. This was our main and immediate boot.

The Smena itself went to a series of ideas. Lubitel also suffered

several versions. And then was born an upgrade version if it. The
Vertex a single lens reflex in the 6x6/4.5x6 format. This camera had
only 88 pieces (less than the original Lubitel). It was an extreme
versatile camera with a lower production cost (for the body only).
 The Smena Molniya

Made in two versions: right and left handles.

 Bottom view of the two models

Using the same project of original Smena 8M it was suggested an

upgrade visual of the sacred camera. Only change in the outside face
of the body, a new aerodynamic top and an stylized front name plate
gives a new appealing shape to this champion of sales. So was born
the Smena 8-40 using the same frontal optics/shutter assembly.

At the time, Beirette of GDR was a great concurrent. They went down
making a single speed and meniscus lens

That way was proposed a Smena 8-35 with fixed focus 35mm lens,
applying the shutter of an already built camera from our Consortium
the EMPG called Ami which was copy of the Ferrania Eura.
 Ami camera 6x6

Its optical finder was employed on the top unit of Smena Molniya.

In the following picture we see the appearance of the second version.

A new “chemistry” was again employed: a 0.8x Petri wide-angle

adapter over the 8-35 made a 28mm wide angle camera. The variant
employed the original five speed Smena shutter and two diaphragms
8 and 16. At the side the Petri wide and telephoto converters.
And what to do with the original Smena’s big throat?

A new “chemistry” suggests dapting the full Lubitel optical and

shutter unit making an excellent and affordable portrait camera. The
8-75 is the answer.

And what did you say about stereo? At this same year Realist was
showing its short base stereo. Previously Leica and Contax had their
models. Why not a low priced competitor? Twin meniscus optics from
8-35 in a modified Ami shutter created this short base stereo ideal for
close-ups and flash photography. 1/30 speed with fixed f16 ad filter
thread 46mm for close-up lenses and neuter filters. This same idea I
saw later in Loreo and Hugo de Wiij cameras and accessories.

The 8-35 evolved in a high level camera The Plastika Project.

This project came to reality but only two prototypes were made. We
had requests for much more but that was another story.

The Project Plastika renamed Vertex Stereo

Vertex Stereo rear view

 The Disaster.

All these cameras derived from Smena and those in the next
segment derived from Lubitel were intended to be produced, and
including we were forming specialized people in assembling those
items. We would do different types of cameras because they were
intended for export and place them in the export items of
Technointorg as the Cinesales Lubitel.

All these projects were paid by empg which was a large manufacturer
of electronic connectors tube bases, printed boards etc. That same
year CoBra Computer - Computadores Brasileiros S/A was born
theoretically developed to fulfill all market needs in South America (at
least) empg was requested to produce bases for chips and all kind of
connectors in a huge demand.

They signed contract, after making several revenue projects. I said to

them that was untrue the projected market could no be this size,
there were external pressures, etc. empg contracted several
financing in order to increase its large industrial park in Jundiaí São
Paulo. Contracted specialized men in tooling at high salaries.
Suddenly CoBra unexpectedly suspended their requests and
regrettably empg was completely broken in 1995 immersed in
extraordinary debts.

A pity to our projects. Although they are still alive in this description.

During this time I accompanied the enthusiasm of LOMO people

during the beginning of Almaz Project, the difficulties during
prototyping and and their demise at the same era. As you know,
Almaz would supply to the journalists syndicate of URSS. With the
demise of Soviet Union they removed their interest in continuing their
development.

The profile was exactly the same.

I believe that a conclusion is evident. Be the judge.

 Lubitel

A parallel work was made with Lubitel in order to produce some

variants

The TLR was the king of cameras since the appearance fo Rolleiflex

The first competitor also arose in Braunsweig the Voigtlander Brillant

. Others followed. After the war, Komsomolets and Lubitel begun
spreading in the market world over.

Just in 1959 Japanese were consolidating his market share and in

order to assure their position in the market new ideas were applied.

Among them they were the first to introduce wide angle and
telephoto attachments to all bayonet mount TLR Sun and Walz were
the first of them. Rollei followed some years later with a high quality
product and Yashica waited a bit more. Using current accessories we
developed a multitude of variations.

Yashica telephoto converter kit on Yashica 124

 Sun telephoto kit on Kalloflex

Sun telephoto kit for 6x6 (right) and 4x4 cameras (left)

The only manufacturer to propose converter for 4x4 cameras.

Sun Wide angle for 6x6

Rollei presented huge and costly quality units in 0.7x and 1.5x
adapters.
But recently Seagull of China put on market only the telephoto 1.5 X
converter

Seagull GC15X TLR 1.5x Telephoto Lens

This extremely compact and low cost converter is the target of our
later Lubitel telephoto camera.
Fish eye adapter and two types f technical sunshades
The technical sunshade is made of rigid aluminum adapts into 40.5
lenses and has internal screw for series VI accessories.
Wide angle 0.42X and macro lens with illuminator tube
Lubitel The New Generation

Above: Lubitel Telephoto. - Next page: Lubitel Wide angle SWC and
built in flash with eye level finder.
 Elektron Once the built –in flash camera

And feasible models. Below 35mm adaptation for studio composition

A miniature reflex for 4x4 pictures in 120 film.
And the Do-it-Yourself Honeyflex! A kit to the young !
 Orbita

The project Orbita is a development of basic ideas shown in Sputnik

cameras. These cameras has limited operation due its compactness
that imposes a kind of rear doors that are in no way satisfactory Also
the body allow large tolerances in the shutters mounting holes. This
turns difficult mounting stereo pairs in function of the alignment of
lenses. In our case we opted for regulating the gear train through the
finder lens. This was not yet decided in the prototypes we have done
but is the decision for the future. The Orbita project sports a new
body of own concept including a battery chamber for the motor in the
third option. This is the basic body we constructed: This multiple
project belongs to the same that begun with Smena Molnija.
We began building a new body. A flexible project that could be used
in a variety of applications. The project Orbita received its name due
the singularity of one of its adaptations. A panoramic camera turning
around 360º whose project was based in the old Alpa Roto
Panoramic.

Alpa Roto Panoramic

The body was thought in order to be used in all versions of our new
project.

These intended versions are: The normal Sputnik with all three lenses
and shutter found in original model. It was thought various more
versions:

A wide angle Fixed focusing using the Yunkor lenses in the original
Sputnik shutters, making use of diaphragm. This type needs not to be
reflex, so a simple frae finder was proposed.

A telephoto version applying three teleconverters in the back of the

camera. This is difficult to make and has a limited stereo appeal, it wil
be easier apply front converters as in the case described in the
Lubitel Tele

Another version is the Close-up version 35mm of interpuppillary

distance and fixed focus at 1metre. Close-up lenses bring to nearerer
distances, remembering tht each diopter must be added +1 by the
reason of the 1m positioned lens. Now it was used a pair of 8/75 from
Shkolnik in a synchronized rotary shutter with 1/125s speed. 8, 11,
16, 22 and 32 diaphrams are available.
This is the basic body of Orbita project.
A wide angle using a 90mm lens was thought. This interesting model
was develop to be used with an Hypergon type lens. Due inherent
difficulties to mout this lens in a shutter we developed a shift front
designed to receive a normal Smena shutter off-axis operating a
single metal sheet inter elements. The diaphragm is click-stop disc
with Waterhouse stops. This can be seen in the next two views. The
next one shows the assembled system.
The Roto panoramic begins with a special case which holds a wheel
(no shown) that contacts the film. The upper half part of the case has
a simple shutter closed when camera is still and opens immediately at
the beginning of operation. This is done by a relay that also frees the
contact wheel we said about. A small motor with gear reduction
begins to move the film, which becomes part of the mechanics. This
makes the body to turn around the lens nodal point. When the turn is
complete the system turns off. The lens to be used in the systemis a
T-69 from Vilia cameras. A side removable front accept 49mm filters.

The half bottom of the roto panoramic

The top half of the roto panoramic

Seeing open and closed shutter and filter drawer.

Finally the basics of panoramic camera
Front and rear of the stereo case

Rear view
Assembled stereo unit

From papers of the project

Now some cameras of Doing-It-Yourself Generation

Which proves a market niche for our projects

From MFcam a Sputnik stereo with wide angle Mamiya lens

From Somakray a panoramic Super Angulon Sputnik

Factory prototype? Below artisan cameras USSPhoto

Proposed stereo finder and Original Sputnik finder

Our own SSV2 universal stereo finder 6x13 to 10x15cm.

The original Sputnik and two versions of Sputnik 2
Plus…..
And this factory odd ball

These Oldies with its lenses

Plus this Novelty from Lomography

 Belairgon 114 and 90mm

Let me dream about these possibilities:

 Stereo Normal

Stereo Wide and Stereo Macro

Orbita
Super
Wide
120º
53mm
f11
 The Vertex Camera

The Vertex Project was kicking my mind during several years. During
this period I decided to develop this one in order to fulfill an
unexplored market space. An it was born. In 1989 it was presented in
th Sovetskoe Foto magazene and won a diplom. The existant model
was fitted with Kiev 80 lens but our intention was to use less costly
objectives. By this reason, I developed some lenses that would fit the
camera and have a competitive price. The first idea was to use
already machined barrels to be used in Zenit cameras, adapting new
lens elements that exeute out boot.

Now you can see what was done. Four pictures of the camera
prototype itself with Kiev 88 Volna 3 lens.

Front view

Rear and upper view

And two lateral views
The basic Vertex system
Technical data
 Proposed lenses:

Trikonar Normal lens constructed from Helios 44 body with two options:

Industar 58 from Iskra or T-35 from Vympel.

Plenagon wide angle using all components of Mir 1 but having a correction of
the second rear element. 5.6/65mm.
 .

Duo Panchar double focal 180 and 127mm respectively 4.0 and 3.5 openings
telephoto using Jupiter 9 complete body and a telesope lens in the front element
with two special rear lenses to fulfil their focal lengths.

Aureole 138mm. simple meniscus lens mounted in Jupiter 9 focusing barrel and
stellar diapragm. A set of special filters controls softness.
All lenses in M42x1 enable using na extension tube to fit tem onto Znit
M42 body. Also a special 1.2X tele-converter permits using all Zenit
lenses in Vertex bodies with infinity focus.

Transient tele-converter for using Zenit lenses in Vertex.

Industar -58 e T-35

Original lenses Mir-1 Jupiter-9 and Helios-44-2

There is foreseen other project versatilities such as flange changing for
mounting Pentacon Six/ Kiev 6 , Kiev 80 and Mamiya 645 lenses.

An eye level finder is also foreseen. Without pentaprism uses only lens
reversing system like Dollond telescope. Its case can receive the same
exposure meter from Zenit 13 camera series.
Old pictures of the camera

Vega 12 lens


 HEDRA the Future

Considering a date such as the hundred years of LOMO factory I

believed this could not let to be remembered. Of course a book
calling old reminds is the most natural thing. I thought a step further.
From the last year I decided to make a new camera to commemorate
the event. This camera should not be another camera. It should be a
completely different camera, a new proposal, something different of
everything that existed. This camera should be popular but must also
be of high class. Must be a simple equipment to be produced at a low
cost. Its visual must remember the classics. The camera also must
last a lifetime and must be analogical because so was formed the
LOMO name.

LOMO in Russia does not produce cameras anymore, but they survive
in China factories through the same name based on Lomography
efforts of Matthias Fiegl Wolfgang Stranzinger and Sally Bibawy and
their staff.

Besides LOMO LC-A and LC-W and LUBITEL 166 + that are true
heritage of the original LOMO of St. Petersburg, they produce simple
and exotic cameras, that have in common the same ideas I posted in
the Smena segment during our efforts in making Brasilian versions.

Trying to make an attractive camera, I was dealing with Canon

Powershot case, Minolta CLE and Agfa Optima. None of them was
satisfying my new ideas. That way I abandoned the way and went to
a more classical camera. Something remembering a Leningrad or a
Kiev 4. A truly classical camera. So was born the project Hedra. Why
Hedra? - Hedra means Base in Greek; the base of a future the new
base of a new concept.

From Canon Powershot G10

From Minolta CLE

 From Agfa Optima (with LOMO 135 M lens and shutter)

Finally we came to a Classic. A larger body for a large frame:

29x67mm in order to satisfy all formats in lomography Film advance
à la Leningrad removable front for a variety of shutters and lenses
including stereo, panoramic, multiple frames and round shot.
Telephoto, fish eye and everything you can imagine!

The Hedra became the Smena 100.

Camera preview

The Hedra project is a camera in its own way. Its project is absolutely
unique similar to none. Its large frame format 30 x70mm is at same
time compatible with both worlds 35mm and 6x6 cameras.At your
choice Hedra can shoot in the 18x24, 24x36, and 30 x67. And the
“showing sprockets” formats with 30mm width. Shoots conventional,
panoramic, stereo, multiple frame, sequential, multiple focal length in
a single shot, with any focal length lens through an easy change of
masks and front plates.
 The six frame sizes of Hedra camera

1) Half frame format 18x24mm or stereo 4x 18x24mm

2) Standard 24x36mm
3) Stereoscopic 2x 24x32mm
4) Three images stereo or individual pictures 3x 24x23mm
5) Panoramic size 2x68mm
6) Super Panoramic 24x70mm (diagonal 75mm)

With the standard 24x36 size we can apply classical camera layout
and special lensed display of Lomography cameras such as Super
Sampler, Action Sampler, Octomat, POP 9, Holga 135 TIM, and three
types Robot Disderio .

With Super Panoramic size we can apply the Nimslo four lens system,
the three lensed Image tech and the large Rensha Cardia display.
Also a four lens system combining two details, a panoramic and a
side telephoto detail picture as shown in the under view picture.

The extra thin body opens capabilities to use small focal lengths
lenses from LOMO LCA, LC-W, Chaika and Agat. The large size throat
permits a great variety of shutters with a good choice of mechanical
mountings. The largest possible diagonal of frame turns it compatible
to everything available in the market lens and shutter combinations.
An extreme simplification of its mechanics allied to a good choice of
materials turns it reliable and indestructible. Everything at the size
and a look of a Classic. A camera to grow-up!

We propose two type of shutters: The Lubitel shutter for the higher
class and the Holga shutter for a low cost camera. An extra top class
could use the Seagull 4 shutter, of course other types could
eventually be used. With such shutters, we have immediate the
following…. See the schematic mountings:

Showing the large mouth

Shutter mount for single frame

 Shutter mount in panorama mode

Stereo shutter mounted on camera

Shutter mount for very small lenses

Lens borrowing capabilities… and accessory system access:

 LOMO LCA and LOMO LC-W

Smena series and LOMO 135 VS or M

Lubital 166 and La Sardina

 Sprocket Rocket

Chaika and Agat

Fisheye and Diana Mini

 Holga 35 and Holga 135 TIM

… and adapt theses lens/shutter combinations to new

functiona:

Super Sampler and Octomat

POP 9 and three types Robot Disderio Action

Action Sampler and Nimslo

Nishika and Image Tech

 Fuji Rensha Cardia two models

… and accessory system access:

Holga Fish-eye lens

Holga fish-eye finder

Holga Wide angle Converter

Holga Telephoto converter

Holga macro lens kit

Holga Close-up lens kit

Cable release
Holga Fish-eye lens FEL for HL series

Holga HL lens series 25 and 60mm and Pinhole

Tunnel lens with macro and Wideangle for LC-A

Universal wide angle and macro lens

Holga filter kit and flash
Diana De Luxe kit

The Smena 100 (Hedra) has compatibility with

Diana Lens System through the change of front
panel.
Diana F+ Camera

Diana Strobe
Strobe Adapter

Universal Finder

Fisheye Finder
 Splitzer

High quality standard lens

 Diana F+ 20mm Fisheye Lens

Diana F+ 38mm Super-Wide lens

Diana F+ 55mmx Wide-Angle and close-up Lens

Diana F+ 110mm Telephoto Lens

The HEDRA Body and construction.
Hedra means Base

Extra thin front plate-to-film only 18mm.

Film in large frame (30x70mm) without masks.
Complete set of body parts without springs.

No shutter or lens.
 The Birth of a Phoenix

Start of Soviet Mass Camera Production

Probably up to that time no other camera had a direct political

decision for its birth. Fotokor was the first.

Undoubtably it was born due several convergences of facts that

occurred in the 1920 years. As you know, Germany was prohibited to
develop weapons through the Versailles treaty, Russia was being
charged due the war waiver in the final days..

And were apartheid from the Europe business.

Both countries needed to overcome their difficulties. In this climate
both signed the Rapallo treaty for mutual cooperation and
development. The hungry Russian market, the recent development of
Ortagoz lens by the GOI institute,

Schematics and aberration graph of the objective «Ortagoz»

«Ortagoz» unglued four element of symmetrical construction (see picture) with 1:4,5 openings and ƒ = 13,5 см focal
length for the 9X12 cm format
.
and some cooperation of the Germans, made the birth of a camera
which has a soul in itself –The Fotokor.

1927 marked the decree beginning the Five Year Plan for the Soviet
Union development. In May 1928 the Factory GOZ is made
responsible to begin the development of a new camera for the
internal market through a decree of the Superior Council of Economy.

The choose camera type was not a new model, but a established
model in the recent past years; a plate camera at 9x12 size. Now it is
interesting to note that it was relatively common in Germany, roll film
cameras, and Russians refused to build such cameras. Why?—

Photo sensitive industry was showing its weakness in the past years,
and produce a rollfilms should be a difficult task. During the end od
the 1920 years, there were common 127, 120, 122, 126, 128, and
130 films in cameras that were not compatible between them. All are
amateur formats and the offer were seasonal. The then most sold
sizes were the 35mm due the cinema industry and the 9x2 plates
supported by professionals and advanced amateurs alike.
Observe that only 120 films were used in adaptors for plate cameras
and 120 films only reached mass production after the WWII when
there were issued the Komsomolets and the Lubitel.

At 1st May 1929 the camera was first shown to the public.

Now has begun the fascinating history of the endless trend of the
mass camera production in Soviet Union.

A second bath of 100 cameras were distributed to the officials in the

XV Congress of the Bolshevik Party at June 25th 1930.

Soon the cameras were equipped with GOMZ and TEMP shutters
substituting the Vario and Compur of the first models.

It was said that Fotokor was a copy of Zeiss Maximar, the Goerz Taro
Tenax, The Ica Niklas or Trona, but it was an own project, of course
based in all of the best German cameras of then.

Taro Tenax and Ica Niklas

These Fotokor cameras overshadowed another similar camera also

produced in Soviet Union – the EFTE, Foto Trud or ARFO, Artel Foto,
made in Moscow, which had also its production begun in 1929.
 Ica Trona and Zeiss Maximar

Soviet «EFTE» camera made in 1929 could come with «ARFO», «ARFO Anastigmat», «Moskva Periscope» or
«Kengott» lenses .

Previous the beginning of the Soviet camera production, Specialized

magazines gave a heavy focus on Do-it Yourself towards producing
your cameras, simple rangefinders and tripods, adapting old
objectives and doing their own emulsions, what led skilled people to
arrange themselves as cooperative groups, in order to supply needs
and so earning their each day bread. These small business were
called ‗Atelie‘, and they placed their own marks.
During 1926 it was founded the magazine Sovietskoe Foto directed to
show all photo results from artists, the soviet press and news from
the official factories of photographic products. When the Fotokor was
presented in 1928, an article compared the new GOMZ camera to the
Ideal of Ica and the Maxima of Nagel. (Andrey Sheklein)

Meanwhile, 1929, the world of photography decisively was changed

by Rodchenko, who revolutionized the world press with his unusual
and advanced use of his simple Leica. This led to an urgent
production of a camera that could be the nearest possible to Leica.

So was born the Pioner from VOOMP-GOZ, (Leningrad) the FAG from
Geodezia (Moscow) the FED (Harkov) and later, after the war, the
Zorki in Moscow.

Pioner was the first trial in a mass produces 35mm but as other
factories were doing the same, and FED became established in the
market, GOZ decided for another model that became the world‘s first
35mm SLR – the Sport. Using the same GOZ Industar 10 whose first
units equipped the first FEDs from Harkov.

Fotokor made the Soul of the Soviet industry, and although in Soviet
Union there was no previous experience in mass industrial processes,
this camera sold near one million of units during its 10 years
production. At those times, this corresponds to more than twice the
German camera production in the last twenty years. This
phenomenon was repeated again with the Smena 8M that reached
near 40 million unit. In the end of the production those Fotokor were
equipped with the high quality Industar 2 4.5/135mm ands TEMP
shutter but photographers of the era said that the old Ortagoz were
the portrait lens ―par excellence‖. They also produced a 6.5x9 camera
with Industar 7 lens 3.5/105mm.

While the Russians had in mind large productions with no

sophistication to fulfill the common citizen‘s needs, the Germans were
interested in Propaganda through their products. That way extremely
high costs in production were partially absorbed by the German
government in order to show and attract the consumer to their recent
born philosophy. This era was marked by unsurpassable technology
masterpieces, impossible to be done in a free world. With the demise
of Germany at the end of the WWII, This technology was passed to
Russians not in a free way but at a cost of millions of lives during the
conflict.

These two Fotokor cameras witnessed moments of happiness and also saw the terror of war.
They were recently found in the father’s home basement of my friend Sergei in St.
Petersburg.
 The Second Phoenix

Just in the previous war years, the Sovietskoe Foto announced in the
Autumn of 1937 the birth of a new camera intended for the high class
category of photographers. This camera was the Reporter and
Industar 7 the link in the step up of the technology from Fotokor.
This new camera was basically conceived by Andranik Ioannisiani,
conjugated several qualities of the top best German cameras.

The main body came from Contessa Nettel Including the shutter.

The Reporter‘s large base rangefinder was a clever conjugation of the

Contax 80mm paralax prism and the rotating wedges from Super
Ikonta. The interchangeable lens of its own, had the glasses inherited
from the super ikonta‘s Tessar and its Newton finder with angular
compensation was reminiscent of Plaubel Makina, is now removable
to match the fitted lens. The Reporter Used metallic single plate
holder, Film pack adapter and roll film back.

"Reporter" - the first Soviet camera for professionals. Speeds 1/5 -

1/1000 sec. Fabric focal plane shutter. Less than 1000 pieces from
1937 to 1940 were made. Two talented designers, two brothers
worked at the state optical-mechanical plant of OGPU - Bagrat and
Andranik Ioannisiani before war. Younger, Andranik, leading designer
of photo equipment at GOMZ, developed the camera REPORTER. Here
A. K. Ioannisiani's sent to the editor of "Leningrad Truth" magazine, a
letter in September, 1937:" About your letter sent to me by the
editors of "Leningrad Truth", I answer in short with the characteristic
of the Reporter camera which, obviously, will settle all your
questions. This camera is intended generally for the qualified press
photographer, but, obviously, will also answer the tastes of the
advanced amateur photographer. Allows obtain all sort of pictures,
except reproduction, and represents the manual klapp-camera having
advantages regarding convenience of speed shooting, so necessary at
the fast reporting. The format of a shot is chosen 6,5 x 9cm both
allowing a direct (contact) photo printing, or enlargements to any
size. Variable slot curtain with eight pre-set speeds from 1/5 to 1/100
plus K and D manual times. Focus is carried out on opaque glass and
at distance scale and also includes a special, range finder
mechanically coupled to the lens built into the camera. This
guarantees speed in aiming and accuracy on sharpness. Lenses are
interchangeable in quick-detachable frames, the main lens is an
Industar-7 1:3,5 F = 10,5 cm. Also it is supposed, as an additional, 1
high-aperture 1:2,8, 1 wide-angle and 1 telephoto lens (acute-
angled). The additional and interchangeable Newton view-finder,
gives the chance of fast installation of various viewfinders of different
focal lengths in accordance to additional lenses. The camera has an
all-metal stamped body, covered with true skin. Adaptations and
lenses to it are assumed to release in sale separately." On July 2,
1941 Andranik Konstantinovich was mobilized for defensive works
and was lost.

From article in the Fotomagazin magazine 12' 2000. In the

fundamental reference book "Russian and Soviet Cameras", the
author Jean Loup Princelle, specifies two designers of this camera.
Ioannisiani and Alexander Vorozhbit. On the basis of information
which has been kindly provided by employees of LOMO to
Fotomagazin redaction, it is possible to draw a conclusion that
Alexander Vorozhbit developed only the camera bayonet, and
Ioannisiani was the main designer. Probably because of the War, the
plant didn't solve a problem of calculation and production of optics to
it, since it used as normal lens the Industar-7, primary intended for
the cheap Bakelite TOURIST Production of the camera is stopped in
1940 and Soviet mass production of complex photo equipment and
optics were ready only after war when the equipment, technologies
and details of finished products were supported by those used on
Germany.

Contessa Nettel and Contax rangefinder

Super ikonta wedge prisms and lens 3.5 105m and Plaubel Makina III

Old philosophers said that facts in world were repeated each

hundred years. Let us see the rebirth of the LOMO Phoenix for
another serial premium of success.
Sport/Gelvetta LOMO’s first World Landmark
After Sirov
After Burnmovitch
The internals

Here we demonstrate the working mood of curtains in the

Sport/Gelvetta Camera.

This camera which was undoubtedly the first SLR conceived for using
for use 35mm film, took inspiration in the 1932 Contax external style.

Based in the first concept of MIN of 1927, shows the option of mass
diffusion of the 35mm film as an amateur standard long before this
idea took other countries.

This SLR had many advances. The first one was the shutter operated
by mirror, always clearing the light. The second one was the
employment of laminated steel vertical blades and an internal frame
to block the light after exposure was made. And more, the non
rotating speed dial, the ultra soft release, the front release knob as
an extra against vibration, and the overall simplicity and
extraordinary reliability for those times and today. Another extras are
the full frame focusing screen, which always was a nightmare of
camera designers and the built in telescope sports finder.

I prepared these sheets based on the camera itself and in the

available data from Photohistory.ru (Abramov), the site of Alexei
Niktin, Soviet CAMS(Aidas Pikotas), Nightphoto(Bill Parkinson),
Appareils Photographiques (de Halgand), notes on From Russia with a
Click (Albino Pegorari and Claudio Asquini) and literature of and the
topics in USSRphoto (Vladislav Kern). They are aimed to classes
camera historic technology.
 Three Leningrad Generations:
A Landmark of an Era

Text material adapted from Oleg Tumazov, Aidas Pikotas,

Jean-Loup Princelle, Georgy Abramov, J.Karvelis Klaipeda and
other related material.

First Generation

Фотоаппарат « ГОИ», ГОИ, 1947 г

First public shown in the A.A. Syrov book ―Photographic Way‖ in
1952, The Leningrad was a governmental decision to make a high
quality camera system in order to compete against ―The Greats‖.
After the War, Russia had a large population of German prisoners,
including high level of skilled technician engineers etc. Russia
proposed the liberty and return to their homes against preparing
specialized hand work in their factories. Lots of projects came to life,
and Leningrad was one of them. The first generation was conceived
by Hans Fibbe, a German employee in the Zeiss house. That returned
in 1932. It is interesting to know that some interesting German
cameras were developed in Russia by the staff that oriented the
works at Kiev, the lenses at Krasnogorsk and the measuring
instruments at Leningrad. Through those people, it was born the
famous WERRA and the less known Belmira, and also the Pouva
Start, Several onofficial versions of the Exakta , the famous low
priced Exa and the intriguing Neuca, Neucaflex and Ucaflex that
shares same parts of FED, Zorki, and Zenit. Other cameras included
should be the Foitzica, the Publica and Lorenza.

Under a certain aspects, it seems that the Sport shutter concept

could also be contributed in order to make the second edition of
Leningrad.

At this time Russia and Germany were in a recuperation phase and

the exchange of information through privileged people was a real fact
in everyday practice. Several prisoners had relatives in Germany, and
most of that, when they returned nobody could confiscate their minds
and their experience.
 Фотоаппарат «Ленинград», ГОИ, 1953 г

Model specifications:

GOI and Leningrad Prototypes of a 35-mm rangefinder camera

Dating from the second half of the 1940s.

GOI:
Combined collimated viewfinder and coincident-image rangefinder
with a small round eyepiece (long-base rangefinder, base = 7cm,
magnification = 0,7x, as in the Contax/Kiev and Reporter third
generation). Uniformly semi-transparent golden-tinted viewfinder
rendering a greenish viewfinder image. Standard lens GOI Industar
2,5/50mm (four lenses in three groups, Tessar style, calculated at
the Institute Vavilov = GOI in 1940), collapsible, uncoated, in an
unique three-claws bayonet and with filter ring 40,5 x 0,5,
changeable. Focusing to near 0.8m is done by turning a small chrome
plated knurled wheel on the left lower side of the lens mount. Along
with the Industar standard lens an uncoated and by sure rangefinder
uncoupled GOI Uran-14 2,5/35mm wide-angle lens is known (but
unseen) (calculated in 1945 by GOI). Frame counter below the
rewinding knob (0 – 40). Only one unit is known to survive.

Leningrad :
Combined collimated viewfinder (van Albada principle) and
coincident-image rangefinder with a large square eyepiece with three
lens field frames. (long-base rangefinder, base = 7cm, magnification
= 0,7x, as in the Contax/Kiev and Reporter third generation).
Uniformly semi-transparent golden-tinted van Albada collimated
Galilean viewfinder rendering a greenish viewfinder image. Standard
lens GOI Jupiter-3 1,5/50mm (seven lenses in three groups, Sonnar
style, calculated at the Institute Vavilov = GOI in 1946), collapsible,
coated, and interchangeable in an special bayonet mount and with
filter ring 40,5 x 0,5. (Contax standards) Each of the interchangeable
lenses has its own helicoids (focusing from infinity to nearer than
0,8m). Other lenses include: Orion-15 6/28mm, Uran-14 2.5/35mm
and Industar-33 2.8/80mm (all coated). Frame counter below the
release knob (0 – 40).
Lens Bayonet reminiscent but not equal to the old 1935 Contaflex.

Both modes have horizontal traveling focal plane shutter using sliding
black painted steel sheet metal plates; speeds 1 – 1/500 sec..
The shutter speeds are controlled by a vertical knurled wheel in the
camera top. Film transportation (with a single claw engaging the
upper film perforation holes) and shutter cocking is achieved with a
(folding) sliding lever mechanism on the rear side of the camera top.
As the shutter plates need more space than a textile shutter would,
the film cassettes moved forward and are responsible for the two
bulges on the camera front, that, on the other hand, make the
camera quite comfortable to hold. For easier and smooth winding, the
film pressure plate retracts when the film is transported (patent by
Burmistrov).

Leningrad first generation Second issue outfit

 After Suglob

After Princelle

Michael Kampf and J;L; Princelle show us the original GOI 1947
prototype.
The original lens Industar 2.5/ 52mm was originally developed as an
alternative option for Gelvetta/ Sport cameras.

Here the foldable horizontal translation cocking and frame advance

lever … An unique feature. The triangle at the back cover is intended
to hold camera in its case, freeing the camera‘s bottom tripod hole.
Idea from Contessa.
Milos Miladek and J.L. Princelle now show the Leningrad Original, the
second GOI Prototype of 1948, soon after the ―Fotoapparat –
Conference‖.

Take a look in its compactness, Leningrad X Zorki 3M

Comparing with Zorki 3M of 1953 we can feel the compactness of

GOI/Leningrad design. This was due the completely removable back
shutter concept. The compactness was much more felt in the Kiev
design.
 The rangefinder in the first Leningrad Generation.

Third variation Reporter rangefinder.

The two versions of Leningrad, the original GOI and the Leningrad,
shared the same body, shutter and rangefinder with slight
modifications.

Their construction has its origins on Contax long base rangefinder.

The basic prism was previously used in the Third generation pre-war
Reporter of the same GOMZ factory.

The first generation repeated the Reporter lay-out substituting the

counter rotating prisms (of Super-Ikonta) by the cylindrical lenses of
the Contax.

It was placed an exit block to limit the field of normal lens making so
a 0.7:1 range-view finder. Here is the schematic.
The second version substituted the forward block by a cemented
diopter doublet, in which the cemented surface forms the reflecting
surface of the Albada view range-finder, this way were shown the
frame limits of 35,50 and 80mm lens fields, according the shown
drawings.

Important: -This was the first camera to have a built-in universal

finder.

The following Picture shows the rangefinder compensating prisms

used in Kiev camera series.

The shutter system in the first Leningrad Generation.

Both versions use the same shutter. It is an Art of Mechanics and

unique in its conception as the Italian Gamma and the Hungarian
Kinga. As the Italian camera shutter, this one employed in the first
generation Leningrad is completely solid metal and has no ribbons at
all. Made to last more than a lifetime! Also completely detachable for
easy repair. The advance of the curtains is exactly the same advance
of one picture frame, so, no sprocket wheel and an extraordinary
smoothness. Pressure plate goes off during advance operation.

Shutter assembly and working diagram in first Leningrad generation

The giant pressure plate releases pressure freeing the film for friction
free frame advance; the rear removable cover denotes complete
Zeiss influence up to the locks.

The special bayonet mount follows Contax/Kiev system.

The focusing helicoids are built into the camera. The main differences
between the two variations are: the rangefinder types and the lens
changeability possibilities in the second model.
 Second Generation

The second prototype generation was conceived by I.Shapiro. The

first impression is that there is little connection between this camera
and the previous models. The base of the rangefinder is shorter, the
appearance is more classical, and the camera is motorized. However,
the veritable missing link has the same shutter speed selector knob,
now moved back behind the zeroing button of the frame counter,
(what denotes similar shutter speeds control) the frame counter itself
being placed in front of this knob, but this time with a vertical-
running metal shutter (in 1952!). The lens mount, with an original
bayonet (like the Alpa reflex c. 1945 and somewhat similar to the
future M3 Leica, sporting an adapter ring for Zorki M39 lenses).
J.L.Princelle in his The Authentic Guide to Russian and Soviet
Cameras, 2nd edition, 2004 says that this camera shows signs of the
future series-produced Leningrad. -I do not agree-. This camera
shows decisive differences to the third generation as we will show.

«Leningrad» Experimental Camera 1954 -the link to the final

camera
First issue second generation no name Leningrad
This second issue Leningrad had two variations. As a curiosity, it is
very interesting to know that the general camera style was some
years later found in a totally different camera, but also with
motorized film advance, in the Japanese Beau Auto Tera.

This reinforces the teory of existing data changing or spy activities

between large manufacturers.
As a kind of illustration we show above Teraoka Auto Tera and Bell&
Howell Foton, showing the winding at the camera bottom. Auto Tera
(Auto Terra in some models) has normal Copal shutter.

In the next picture it is shown the working system of the Bell &
Howell Foton camera. Developed by Lewis Moomaus,

Fig 4 and 5 shows the curtain positions ―cocked‖ and ―released‖.

But remember that the Sport metal vertical shutter is a strong
candidate for this second generation. It was a proven one built at the
same GOMZ factory in 1935. It was reliable and people there had all
the techniques to rebuild them.

The second Leningrad Generation very probably would have a similar

system.

See Mechanics of the Gelvetta in the previous description.

In the second generation of the Leningrad, the ―normal‖ speed dial on

camera top is the frame counter setter. The vertical wheels at its
rear, is the true speed dial.

In the second series of the second generation, there is a dial at the 4

o‘clock position. This is to control time space between pictures. (a
kind of pacemaker)

The speed dial position together the high body shape, also speculates
a repetition of the previous shutter found in the first generation, now
in a vertical travel way.
The shutter lay-out found in BH Foton, avoids use of wide angle
lenses once there is no space for their rear elements. Due this reason
this shutter style was not used in the second generation.

Third Generation 1958

Here four views of Leningrad first production series

And some variations on the same matter

Four front screws version , Double wind

Non motorized version

Burst sequential version

 Two Police variants

Outfit of the first issue Third generation

 The new rangefinder foresees and shares its project
together German WERRA. Curtains mechanics came from
Zorki 4 and the film advance spring wind came from Finetta
99!

The new generation was created towards creating an

impact to the world market more than a new top quality
camera system, which was the first proposal soon after the
war.

Рзф Ленинград Radio controlled camera set 1959

The new rangefinder shares its project together German WERRA

but Leningrad Pioneered the system.
 This is an image seen in the Leningrad Range/viewfinder .

One has the 50, 85,135mm fields.

There were Leningrads in the Land, in the Space and

under the Sea!

“Space program Leningrads” ФАС аппарат

Year: 1966 Electric drive Speeds: 1/60 and 1/1000
LENINGRAD SPACE FAS-1, 1968

Another version of the Space Leningrad presented at WestLicht

Photographica Camera Auction at Westbahnstrasse in Vienna.with
this description: "This camera was manufactured for the Soviet Lunar
Space Program with MIR-1 2.8/37mm no.6707935. It is based on a
heavily modified Leningrad with enforced clockwork motor drive and
no viewfinder. All parts of the camera are made to the highest quality
standards. Shutter 1/140 and B. Negative format 20 (24) x 36 mm,
the design of the negative window is uncommon and obviously was
shaped to accommodate a round object (the moon). All armatures
are sturdily built for use with hand-gloves. Mechanical and electric
release (direct or remote). Connection to the on-board electrics by a
special 19-pole plug. The diaphragm is operated by a substantial
lever on the left side of the lens that has three positions: down (fully
illuminated moon – f/11), level (halfways lit moon, f/5,6) and up
(light at the moon terminator, f/2,8); schematic explanation on a
plate on the hinged camera back. Behind the MIR-1 wide angle lens a
special flap is mounted that only moves laterally while the release is
pressed. It prevents a burn of the shutter fabric if the camera points
towards the sun accidentally.

A tailored system was intended for it and one of the best was the
underwater cases for them.
“KRAB” Underwater housing - UKP model

Planned to be used with:

Jupiter-8 or Jupiter-3 (27º underwater)

Jupiter-12 (47º underwater)

Orion-15 (56º underwater)

Leningrad type 1

Leningrad Type 2
Super Optimist
 About the Super Optimist camera:

Technical description:

Original Leningrad body.

There was added a complete front and prism house of Zenit E/B in
order to couple M39X1 lenses.

These components are from a Zenit E first series with wink mirror (as
shown by the case in the bottom of the mirror, the mirror small size
and the M39 thread.)

There was inbuilt an external exposure meter, with cell placed in the
largest window of the original Leningrad‘s view-rangefinder.

The calculator was taken from a Kiev 4 with a new scale glued over it.

The galvanometer needle is seen from original Leningrad‘s ocular

place.

The photocell (and all exposure meter) was taken from FED 4 –First
series with knob advance type.
 The rewind crank was borrowed from FED 11 (Atlas).

This model has no self timer and the hole of he original lever is closed
by the self timer start button taken from Zenit 3M/Zorki 6/Kristall

The lens is a Jupiter 9 for Zorki(Leningrad) with a shortened focusing

mount, to match.

The slow speeds gear 1sec/1/30sec was removed for reflex screen
positioning, so the spring advance is considerably lighter.

The original Zenit wink mirror system was changed and lowers only
when film advances, but due the repeatability of mechanics, it
operates as it was an instant return mirror camera.

A new roof was made to protect the finder pentaprism.

The Construction
 This is an image seen in the Leningrad Range/viewfinder .

One has the 50, 85,135mm fields.

The new rangefinder shares its project together German WERRA but
Leningrad Pioneered the system.
 The image seen in Werra range finder where in the lower right angle a
prism let choosen speed and diaphragm be seen from the shooting point.

Werramatic

Leningrad and Finetta 99 the links

Similarities in film
advance
 And bottom spool locking device

Similarities in winding button and flash synchro dial

 Comparison between spring wind knob, firing button and frame
counter

There were two models of Finetta 99, with and without slow speeds
dial

Another comparison: spring wind knob, firing button and frame

counter

The Belmira

German synthesis of a simplified three generation Leningrad

A largebase rangefinder – A Contax S Release.

The sliding advance touch – in a Vebur shutter

A removable back – and right eye rangefinder

Everything in a comfortable packing

 Almaz – The Swan Song
Of Lomo’s camera production

The concept:

Announced camera system:

The basic body originates three variations: The basic model, The
automatic model, and The semi-automatic model. -Two shutter
options: mechanical shutter in two variants: 1s up to 1/1000s and up
to 1/2000s, and electromechanical shutter 10s to 1/1000 or 30s to
1/2000.

The body accessories include: one plain pentaprism and two TTL
pentaprisms; one for automatic information, the other for manual
transference, all with changeabel oculars. Three ground glass types
and a right angle finder.

Six types of lenses: Five with fixed focal lengths 50-55mm/1.2;

52mm/1.2; 52mm1.8; 35mm/1.4; 18mm/3.5. One zoom lens 35-
105mm/2.8.

A 250 pictures magazine adaptor, Two sunshades, Camera case,

Outfit case and an extra handle as battery booster.
The ongoing project:

Almaz 101 -All electronic camera. First study project.

Two variants of Almaz 102 and an Almaz 104.

 Almaz model 103.

Model 103 wit data back and two finders

 Model 104 with 250 picture magazine.

At left TTL prism of model 102 right from 104

Right angle finder with diopter adjustment and folding finder

 The four blade all metal shutter

All the included material is a cooperation of Aidas Pikotas, Alexandr

Komarov, Alexander Bronstein, Alexander Shanin, Alexey Niktin,
Allan Berry, Arthur Grochowski, Georgiy Abramov, Juhani
Halmeenmaki, Viktor Suglob, Vladislav Kern, Xalmaz, Zenit Camera
Archive, Sovetskoe Foto articles.

Coincidently The development of this camera occurred at the same

time we were developing our own projects, which we describe in the
Chapter about LOMO in the foreign countries -Brazil. Meanwhile I
visited them twice, unfortunately I have no original images but I have
something to tell. The negative face of this history was that all papers
al LOMO was destroyed somewhat like to erase the human efforts in
research and development of such project. Great part of the persons
who worked in this project are jubilated or no more alive the other
ones are difficult to gather and the history is going to the forgetting
paradise as several other endeavors. The positive point is that there
are survivor cameras and lenses which are real dumb witnesses of an
important period of study and development. It is our mission to hear
and see the testimonials of these imperishable goods of metal and
glass components which carries the soul of people who created and
did them. By our luck, the soul of sensible collectors is tuned with the
creators not only to show them but also tell their history and our
history for the present and future generations.
Something as the LOMO‘s Leningrad was born from the KMZ Zorki the
Almaz had its roots on the Zenits. Around 1974, Russians are feeling
that the screw mount of such cameras were a bit out-of-mode. All
Japanese cameras had migrated to bayonet. But, -Which kind of
bayonet to use? An error on this decision would mean a great market
loose. Meanwhile the Japanese Asahi, producer of Pentax cameras,
were trying to expand its share just though licensing its ―K type‖
bayonet mount to other makers in order to spread the compatibility
of their cameras.

Their offer arrived to KMZ and LOMO, and soon joined GOI the
―mother of camera techniques‖. The Arsenal was also called, but after
a preliminary study they opted for the Nikon bayonet.

After a detailed study of the past in bayonet evolutions of the various

camera builders, it was seen that limitations were greater than
expanding possibilities and this is perfectly seen just in the ―K‖ (or
AP-K) system that although having the same mount, data were not
transferred in lenses of different series for different camera series.
This evident fault, is masked in advertising campaigns, with a
subliminal message of a new advantage offer which is untrue.

This bayonet was the beginning of a program that culminated in an

order to build the best possible camera using ne new bayonet which
was an adaptation of the original ―K‖ with new tolerances and
retaining only the diaphragm coupling basis. It was so called the
Russian bayonet.

The Japanese had no option because all screw mount cameras had its
production halted and customers had only the bayonet option, but in
Russia it was maintained the screw and bayonet mount production of
cameras and bayonet proved to be unpopular. This was not a
phenomenon found exclusively in Russia, the selling of screw threads
Zenits exploded all over the world with production at extreme high
levels up to the demise of Soviet Union.

In Russia the Bayonet ―K‖ became bayonet ―K-O‖ with a preview of

being another ―KOAF‖ to be used in auto focus camera. This was
standardized in 1987 Under GOST 24692-81 number.
Model Descriptions

Almaz -101 - Aperture priority automatic model, it was planned to

equip this model with electromechanical shutter of own manufacture
(similar to shutter used on Zenit-19, Zenit-APk, etc. - without
batteries worked only one mechanical speed and, probably, В); power
supply 6V battery (like Almaz -102, РХ28). Indication in viewfinder -
mixed - optical and digital. Value of a diaphragm transferred
optically. Full working models, probably, does not exists at all, only
prototypes.
Industrial production is absent - electromechanical shutter was not
produced. Probably, prototypes had Seiko-shutter, but this is only
speculation.
It was planned to be the most advanced of Almaz family and the
most expensive.
Intended to be the "reporter pro-camera". Up to 4 frame per second
with winder and, in future, with motor-drive. Info-channel between
body and prism.

May be used as basis for "police photocase" with aperture-priority

mode ONLY, without manual mode at all.

Almaz -102 - Produced in small series. The main functional

difference from Almaz-103 built-in TTL-metering. (Classified as
semiautomatic according to Soviet terminology). In the larger
pentaprism viewfinder there was a digital display showing shutter
speed and diaphragm values also arrows indicate directions for
exposure correction. The price - more than 650 roubles (of 1981!).
The regular camera had МС Volna 1.4/50 lens.
63 units (official information by LOMO) were released.

Almaz -103 – Completely mechanical camera as early Nikon F2

without electronics... The "amateur reporter camera".
Interchangeable focusing screens, various viewfinders (prism, waist-
level), multiexposure capability, motor attachment, Interchangeable
back cover, viewing of depth of field, synchronization X and FP (later
model - only X). Camera came with MC Volna 1.8/50 lens. Good for
the amateur. A multilayered coatings. Original price - 350 roubles (it
is reduced up to 295).

Almaz-103 - Variant, which allows using TTL light metering. 9508

pieces (official information LOMO) were released. All Almaz- 103 used
adapted mechanical Kiev 17/19 shutter.

Almaz - 104 - In fact - the same as Almaz-102, with another TTL-

light meter. Supplied with MC Volna-4 lens. In first models indications
are identical Almaz-102, but more frequently simplified indication: 5
LEDs (red,yellow,green,yellow,red) and only shutter speed in
viewfinder (NO aperture showing) in some samples. Samples that
show aperture have a small round window in the left upper corner
through a small prism seeing the outside of lens barrel.
Released about 10 samples.

Almaz-105 - Only rumors. No confirmed data. Of course, Almazes

were planned to be upgraded, but – all documents were destroyed,
now only rumors and conjectures.

First Generation of lenses :

Lenses produced by LOMO for Almaz

MC Mir-47K 2.5/20:
-1984 - up to 10
-1986 - up to 50
-1989 - up to 110
-1993 - up to 200
MC Volna-10K:
-1985 - about 10,
experimental makro: - up to 100,
MC Volna-4K - 1.4/50:
-1980 - up to 20,
-1982 - up to 80,
-1984 - up to 100,
-1985 - up to 60,
-1986 - up to 100,
-1988 - about 10,
MC Volna-8K - 1.2/50
MC Vega-13K 2.8/100:
-1984 - above 10,

According to [email protected] , during the years 1980 there

were also made several lenses based in the diffractive
principles in optics.

These were apochromatic lenses and called Ionar:

Ionar-1 - f '= 300, 1:4,5, 2 = 8 ° (the only mass produced lens)

Ionar-1M - f '= 300, 1:4, 2 = 8 °, (w/ internal focus)

(experimental type of sturdy design)

Ionar-2 - f ' = 400, 1:4,5, 2 = 4 °

Ionar-3K - f '= 700, 1:4,5, 2 = 3,3 °

Vario Ionar T - f '= 700-2450, 1:5.6-1:19.6, 2 = 3 ° 30'-1 °,

(variable focal length)

These projects witnessed the glorious past of optical

calculations by LOMO.

Sub contracted production lenses for Almaz

MC Mir-64K 2.8/20(KMZ)
MC Zenitar-K 2.8/20 (KMZ):
-1993 - about 30,
MC Zenitar-K 2.8/28(KMZ):
-1994 - about 10,
Mir-46 MA,MC Mir-46 MK - 1.4/35(KMZ):
-1980 - about 10,
-1983 - above 10,
Zenitar-MA - 1.4/50(KMZ):
-1980 - about 10,
MC Zenitar-KA - 1.4/50(KMZ):
-1986 - at least 15,
MC Zenitar-K2 - 1.4/50(KMZ):
-1989 - about 20,
MC Zenitar-K 1.4/85(KMZ):
-1986 - at least 6,
MC Helionar-1K 1.4/85(KMZ):
-1988 - up to 10,
MC Zenitar-1K 1.4/85(KMZ):
(optical scheme are equal Helionar-1K)
-1991 - above 10,
-1992 - up to 30,
MC APO Telezenitar K 2.8/135 (KMZ):
MC APO Telezenitar K 4.5/300 (KMZ):
-1987 - ?,
-1991 - up to 300,
-1993 - greater than 310,

MC Mir-61K 2.8/28(UOMZ,Sverdlovsk):
-1988 - above 3
MC Volna-12K 2.8/35(VOMZ):
-1989 - about 44

MC Volna-9K macro - 2.8/50(LZOS):

-1985 - up to 5,
-1987 - (total released about) 100.

MC Fodis-1K 1.8/135(KOMZ):
-1986 - up to 12,
-1990 - up to 10,

MC Oberon-11 2.8/200(ВОМЗ VOMZ)

(optical schematics MC Telegoir-K 2.8/200 1975-91)
-1993 - up to 750,
-1995 - greater than 1100 VOMZ MC Oberon-11K - export variant,

Volna 10 and Volna 4

Super-Helios originated the MC Volna

 Vega13 K2.8/100 and Yantar 12 3.5/35-100

MC Yantar-21К", 3,6-5,3/35-140, 1991-?, GOI, LOMO

GOI Lenses

Tele Goir K 2.8/200

MC Granit 20 7/ 70-210
 MC Granit 13 3.5~4.5 /80-
240
Other Lenses

Volna 9K

Fodis 1 1.8 135

MC Oberon 11K 2.8/200

The fascinating old history of LOMO, The factory that brought the first
mass produced totally Soviet camera, the Fotokor, the first Leica type
copy, the Pioner, the first 35mm SLR the Sport, the top class
Leningrad of 1949, became more exciting in these last days of the
Soviet Union. As an external observer, I accompanied the developing
history of this fabulous challenge. Observe this report is based in my
point-of-view, but it was seen and felt by myself and by sure I believe
is not thoughtless opinion of my own. At first I caught no attention to
the Almaz process just because my camera (The Vertex) was
delaying a lot in their analysis. Really they said no answer about and
now I know why. =It did not enter though the official ways or exactly
saying the one man that do the internal decisions at factory. But in
1995 when I visited again the factory I heard reports over an internal
fight to those wanting to halt activities on the factory and those self
sacrificing and other giving their lives in order to maintain production,
after that I saw everything with another eyes. Meanwhile the
production area was purposely lowering the quality level control in
order to build a bad reputation in their products. But as everything is
never lost, in the same period Lomography came to light and gave an
over life to the small LOMO LC-A camera.

Almaz was developed, constructed and commercialized under

government order, to create the best possible camera in the world.
The Syndicate of Journalists of URSS would be the great buyer of
such cameras but regrettably in those confused days (1986) it
removed its support to this LOMO great project.

Government was the target for quick political changes, that way, the
sabotage practice was done everywhere to everyone‘s eyes. Soon I
remembered the Russia‘s histoy purge years greatest argument. As a
victim of such behavior, I personally bought and payed a lot of
Smena 8M which arrived with empty packing with original factory
closing inspection seal! While half of LOMO Compact simply do dot
work at all. The Almaz, (Diamonds, the camera that would be
eternal!) failed by that same reason. In the era, I was absolutely
impressed by the high quality of the new lenses recently issued.
Production costs were of no matter the prestige was more important!
The huge program was to build a complete professional system in
three years! Japanese took at least forty years to do so. The technical
staff involved in such plan was tremendous! Today it is economically
unfeasible such a challenge! The boot was doing the best camera
system of the world. Something like was aimed in the 1937 Five Year
Plan but was broke by the War and the 1949 trial with Leningrad first
generation was not achieved. Almaz were planned to reach a
production of 25000 units by year and was also planned to be the
camera for reporters from small newspapers to the biggest agencies.

According to my point of view, the camera had wrong roots sine the
beginnings. The lenses were exceptional due the relative little
amount of influences but the body is much more complicated.

Its departure basis was the Minolta with a Nikon look. Minolta was
also the basis of Leicaflex both cameras were terribly unstable with
premature death commercially dissimulated. The Almaz camera
suffered from another problem all Japanese shutter production (Copal
and Seiko) were employed in Japanese cameras that way Almaz
cameras should employ other makers It was tested Pentacon
electronic shutter But the Pentacon Electronic cameras were the
demise of the factory. They suffered from quick death syndrome. The
best shutter, the FEL-74 from KMZ do not fit Almaz models although
reliable it was difficult to produce. By unknown reasons it was denied
the use of titanium sheets to LOMO cameras. At the same era, Kiev
used titanium in their shutters (Kiev 10, 15, 17, 19) and Kiev 88 and
titanium dishes were normally sold in street vendors at Moscow!

I personally bought some as gifts after my return. Something was

wrong and very wrong.

As an exception Almaz 103 used a deeply adapted Kiev 19 shutter.

These cameras are still surviving! Once and then they are found in
the used market in working conditions, if not, requiring only a slight
lub and cleaning.

Minolta disappeared from market and together came the general

―discard philosophy‖ dissimulating unachievable standards.

This era, end of 1980 beginning of 1990 and up to 2000, marked a

profusion of electronic cameras of all makes and types that do not
work at all; somewhat that intended to force people to go to digital.
Very sad… the consumer has no active voice.

In Belarus 1987-88 there were finishing tests on passive auto-

focusing CPU. On LOMO there was planned production of point-and-
shot camera using thi CPU, as a new model of LOMO-Compact. After
this stage, insert CPU in Almaz prisms. Full auto-focusing is planned,
but this requires FULL re-engineering of lens production, not feasible.
Another way to modernize cameras was inserting a motor drive... In
1990 at LOMO it was planned starting production of motor-driven
point-and-shot cameras (Zenit-35MF). In future - use this motor in
SLR's. I heard a report about a mal function of those motors and high
rejection level. To me it is absolutely incomprehensible once motor
making is a very old and known engineering technique. Can one tell
me about this other disaster?

Testimonials say (not only rumors) that project "Almaz" had its
documentation destroyed (as instruction demands - all has limitation
period). Trustworthy information is not present. Samples, happily
were settled in private collections, in Russia and in foreign lands.
During the destruction some items were preserved because they were
sold to these collectors; remember that the surviving examples must
disappear.

When one of participants of the Almaz project in the beginning of

1990's has returned after study and work in America in order to open
the market there, he brought with him the Volna-4K, Mir-47K and
Almaz-103 he had on hands, and return them to the factory (as that
clause was under the contract). Then he noted that not only the
department was disbanded, but also the accounts of the department!.

All papers (the contract, the receipt, a copy of the waybill and so
forth), testifying about presence at him the given photo technical
equipments are destroyed. So they (fortunately for him) could not
accept this equipment at all.

Front face mount and mirror housing

Front and top views of the main body
Top and bottom mechanics
Shutter assembly and speed governor (at left)
 Rear view of speed governor and self timer

Front plate of speed governor and associated parts

Thanks for Club Dalnomer and Sovetskoe Foto Magazine for the use
of pictures.
 The Smena Molniya

Made in two versions: right and left handles.

 Bottom view of the two models

Using the same project of original Smena 8M it was suggested an

upgrade visual of the sacred camera. Only change in the outside face
of the body, a new aerodynamic top and an stylized front name plate
gives a new appealing shape to this champion of sales. So was born
the Smena 8-40 using the same frontal optics/shutter assembly.

At the time, Beirette of GDR was a great concurrent. They went down
making a single speed and meniscus lens

That way was proposed a Smena 8-35 with fixed focus 35mm lens,
applying the shutter of an already built camera from our Consortium
the EMPG called Ami which was copy of the Ferrania Eura.
 Ami camera 6x6

Its optical finder was employed on the top unit of Smena Molniya.

In the following picture we see the appearance of the second version.

A new “chemistry” was again employed: a 0.8x Petri wide-angle

adapter over the 8-35 made a 28mm wide angle camera. The variant
employed the original five speed Smena shutter and two diaphragms
8 and 16. At the side the Petri wide and telephoto converters.
And what to do with the original Smena’s big throat?

A new “chemistry” suggests dapting the full Lubitel optical and

shutter unit making an excellent and affordable portrait camera. The
8-75 is the answer.

And what did you say about stereo? At this same year Realist was
showing its short base stereo. Previously Leica and Contax had their
models. Why not a low priced competitor? Twin meniscus optics from
8-35 in a modified Ami shutter created this short base stereo ideal for
close-ups and flash photography. 1/30 speed with fixed f16 ad filter
thread 46mm for close-up lenses and neuter filters. This same idea I
saw later in Loreo and Hugo de Wiij cameras and accessories.

The 8-35 evolved in a high level camera The Plastika Project.

This project came to reality but only two prototypes were made. We
had requests for much more but that was another story.

The Project Plastika renamed Vertex Stereo

Vertex Stereo rear view

 Lubitel

Yashica telephoto converter kit on Yashica 124

Sun telephoto kit on Kalloflex

 Sun telephoto kit for 6x6 (right) and 4x4 cameras (left)

The only manufacturer to propose converter for 4x4 cameras.

Sun Wide angle for 6x6

Rollei presented huge and costly quality units in 0.7x and 1.5x
adapters.
But recently Seagull of China put on market only the telephoto 1.5 X
converter

Seagull GC15X TLR 1.5x Telephoto Lens

This extremely compact and low cost converter is the target of our
later Lubitel telephoto camera.
Fish eye adapter and two types f technical sunshades
The technical sunshade is made of rigid aluminum adapts into 40.5
lenses and has internal screw for series VI accessories.
Wide angle 0.42X and macro lens with illuminator tube
Lubitel The New Generation

Above: Lubitel Telephoto. - Next page: Lubitel Wide angle SWC and
built in flash with eye level finder.
 Elektron Once the built –in flash camera

And feasible models. Below 35mm adaptation for studio composition

A miniature reflex for 4x4 pictures in 120 film.
And the Do-it-Yourself Honeyflex! A kit to the young !
Proposed stereo finder and Original Sputnik finder
 Our own SSV2 universal stereo finder 6x13 to 10x15cm.

These Oldies with its lenses

Plus this Novelty from Lomography
 Belairgon 114 and 90mm

Let me dream about these possibilities:

Stereo Normal
Stereo Wide and Stereo Macro
Orbita
Super
Wide
120º
53mm
f11
 The Vertex Camera

The Vertex Project was kicking my mind during several years. During
this period I decided to develop this one in order to fulfill an
unexplored market space. An it was born. In 1989 it was presented in
th Sovetskoe Foto magazene and won a diplom. The existant model
was fitted with Kiev 80 lens but our intention was to use less costly
objectives. By this reason, I developed some lenses that would fit the
camera and have a competitive price. The first idea was to use
already machined barrels to be used in Zenit cameras, adapting new
lens elements that exeute out boot.

Now you can see what was done. Four pictures of the camera
prototype itself with Kiev 88 Volna 3 lens.

Front view

Rear and upper view

And two lateral views
The basic Vertex system
Technical data
 Proposed lenses:

Trikonar Normal lens constructed from Helios 44 body with two options:

Industar 58 from Iskra or T-35 from Vympel.

Plenagon wide angle using all components of Mir 1 but having a correction of
the second rear element. 5.6/65mm.
 .

Duo Panchar double focal 180 and 127mm respectively 4.0 and 3.5 openings
telephoto using Jupiter 9 complete body and a telesope lens in the front element
with two special rear lenses to fulfil their focal lengths.

Aureole 138mm. simple meniscus lens mounted in Jupiter 9 focusing barrel and
stellar diapragm. A set of special filters controls softness.
All lenses in M42x1 enable using na extension tube to fit tem onto Znit
M42 body. Also a special 1.2X tele-converter permits using all Zenit
lenses in Vertex bodies with infinity focus.

Transient tele-converter for using Zenit lenses in Vertex.

Industar -58 e T-35

Original lenses Mir-1 Jupiter-9 and Helios-44-2

There is foreseen other project versatilities such as flange changing for
mounting Pentacon Six/ Kiev 6 , Kiev 80 and Mamiya 645 lenses.

An eye level finder is also foreseen. Without pentaprism uses only lens
reversing system like Dollond telescope. Its case can receive the same
exposure meter from Zenit 13 camera series.
Old pictures of the camera

Vega 12 lens


 HEDRA the Future

Considering a date such as the hundred years of LOMO factory I

believed this could not let to be remembered. Of course a book
calling old reminds is the most natural thing. I thought a step further.
From the last year I decided to make a new camera to commemorate
the event. This camera should not be another camera. It should be a
completely different camera, a new proposal, something different of
everything that existed. This camera should be popular but must also
be of high class. Must be a simple equipment to be produced at a low
cost. Its visual must remember the classics. The camera also must
last a lifetime and must be analogical because so was formed the
LOMO name.

LOMO in Russia does not produce cameras anymore, but they survive
in China factories through the same name based on Lomography
efforts of Matthias Fiegl Wolfgang Stranzinger and Sally Bibawy and
their staff.

Besides LOMO LC-A and LC-W and LUBITEL 166 + that are true
heritage of the original LOMO of St. Petersburg, they produce simple
and exotic cameras, that have in common the same ideas I posted in
the Smena segment during our efforts in making Brasilian versions.

Trying to make an attractive camera, I was dealing with Canon

Powershot case, Minolta CLE and Agfa Optima. None of them was
satisfying my new ideas. That way I abandoned the way and went to
a more classical camera. Something remembering a Leningrad or a
Kiev 4. A truly classical camera. So was born the project Hedra. Why
Hedra? - Hedra means Base in Greek; the base of a future the new
base of a new concept.

From Canon Powershot G10

From Minolta CLE

From Agfa Optima (with LOMO 135 M lens and shutter)

Finally we came to a Classic. A larger body for a large frame:

29x67mm in order to satisfy all formats in lomography Film advance
à la Leningrad removable front for a variety of shutters and lenses
including stereo, panoramic, multiple frames and round shot.
Telephoto, fish eye and everything you can imagine!

The Hedra became the Smena 100.

Camera preview

The Hedra project is a camera in its own way. Its project is absolutely
unique similar to none. Its large frame format 30 x70mm is at same
time compatible with both worlds 35mm and 6x6 cameras.At your
choice Hedra can shoot in the 18x24, 24x36, and 30 x67. And the
“showing sprockets” formats with 30mm width. Shoots conventional,
panoramic, stereo, multiple frame, sequential, multiple focal length in
a single shot, with any focal length lens through an easy change of
masks and front plates.

The six frame sizes of Hedra camera

 1) Half frame format 18x24mm or stereo 4x 18x24mm
2) Standard 24x36mm
3) Stereoscopic 2x 24x32mm
4) Three images stereo or individual pictures 3x 24x23mm
5) Panoramic size 2x68mm
6) Super Panoramic 24x70mm (diagonal 75mm)

With the standard 24x36 size we can apply classical camera layout
and special lensed display of Lomography cameras such as Super
Sampler, Action Sampler, Octomat, POP 9, Holga 135 TIM, and three
types Robot Disderio .

With Super Panoramic size we can apply the Nimslo four lens system,
the three lensed Image tech and the large Rensha Cardia display.
Also a four lens system combining two details, a panoramic and a
side telephoto detail picture as shown in the under view picture.

The extra thin body opens capabilities to use small focal lengths
lenses from LOMO LCA, LC-W, Chaika and Agat. The large size throat
permits a great variety of shutters with a good choice of mechanical
mountings. The largest possible diagonal of frame turns it compatible
to everything available in the market lens and shutter combinations.
An extreme simplification of its mechanics allied to a good choice of
materials turns it reliable and indestructible. Everything at the size
and a look of a Classic. A camera to grow-up!

We propose two type of shutters: The Lubitel shutter for the higher
class and the Holga shutter for a low cost camera. An extra top class
could use the Seagull 4 shutter, of course other types could
eventually be used. With such shutters, we have immediate the
following…. See the schematic mountings:
 Showing the large mouth

Shutter mount for single frame

Shutter mount in panorama mode

 Stereo shutter mounted on camera

Shutter mount for very small lenses

Lens borrowing capabilities… and accessory system access:

LOMO LCA and LOMO LC-W

Smena series and LOMO 135 VS or M

Lubital 166 and La Sardina

Sprocket Rocket

Vivitar tele and wide angle

 Chaika and Agat

Fisheye and Diana Mini

Holga 35 and Holga 135 TIM

… and adapt theses lens/shutter combinations to new
functiona:

Super Sampler and Octomat

POP 9 and three types Robot Disderio Action

 Action Sampler and Nimslo

Nishika and Image Tech

Fuji Rensha Cardia two models

… and accessory system access:

Holga Fish-eye lens

Holga fish-eye finder

Holga Wide angle Converter

Holga Telephoto converter

Holga macro lens kit

Holga Close-up lens kit

Cable release
Holga Fish-eye lens FEL for HL series

Holga HL lens series 25 and 60mm and Pinhole

Tunnel lens with macro and Wideangle for LC-A

Universal wide angle and macro lens

Holga filter kit and flash
Diana De Luxe kit

The Smena 100 (Hedra) has compatibility with

Diana Lens System through the change of front
panel.
Diana F+ Camera

Diana Strobe
Strobe Adapter

Universal Finder

Fisheye Finder
 Splitzer

High quality standard lens

 Diana F+ 20mm Fisheye Lens

Diana F+ 38mm Super-Wide lens

Diana F+ 55mmx Wide-Angle and close-up Lens

Diana F+ 110mm Telephoto Lens

The HEDRA Body and construction.

Extra thin front plate-to-film only 18mm.

Film in large frame (30x70mm) without masks.
Complete set of body parts without springs.

No shutter or lens.