Shooting the Fulvueflex in Bristol

We visited Bristol in late October last year and I decided to take the Fulvueflex with me to take some snaps. I loaded it with Fuji Pro 400H and we went for a walk around the harbour. It was a gorgeous sunny day and Bristol is such a colourful place to photograph. The Fulvueflex performed very well.

Double Exposures on the Fulvueflex Synchroflash

I had one roll of Catlabs X Film 80 left so I decided to have some fun and give some double exposures a try. I'd never taken double exposures before (not intentionally anyway) but I knew the basics. The second image will show up most obviously on the dark areas of the first image. Normally one would underexpose each image by one stop to make sure the final image is correctly exposed. Of course, with box cameras there's no adjusting the settings, so you have to do this in development.

There is an art to taking good double exposures. One of the most helpful demonstrations I've seen is this video by Eduardo Pavez Goye, so definitely check that out if you're interested in giving it a try.

I think I need a bit more practice yet, but these were some of the better results. In the end I pulled these shots to ISO 50 and developed them in HC110(B) for 7:50 minutes at 20°C.

Bath tub in the rushes

Beware

Extra secure storage

Portrait of my husband

Ghost boat

Beached

So, that was fun! After shooting 10 rolls of Catlabs film I'll definitely buy more. The results have been great and I think I can call my experiment a success. You can load a box camera with the same speed film in all different lighting conditions and then compensate in development. I pulled the film to ISO 50 and pushed it as far as ISO 640 and got great pictures. There are probably other film stocks that are just as versatile. I wanted to give Catlabs a go because I'd never shot it before. Like I've commented before, the grain is very fine, the latitude is impressive and the film is super versatile in development so overall very happy with the results.

Don't underestimate that plastic lens...

Now I must admit, I didn't expect amazing results from the Fulvueflex Synchroflash. When you read about it online it seems history has judged it a bit of a poor decision on Ensign's part, not really consistent with their brand. Right enough it's the only Ful-Vue camera to have a plastic lens and feels cheap to the touch. It's significantly lighter than the others.

However, when I developed the roll of film I shot on this camera I saw this:

 

The film was Kodak Ektar 100, professional grade film that excels at taking landscapes. Loading film of this calibre into essentially a toy camera felt a bit wrong at the time, but I was clearly too quick to judge the Fulvueflex because, well, look! The picture is gorgeous.

Here are some more of the roll:

So there you go. The Fulvueflex demonstrating that it isn't fancy expensive kit that takes great photos. It also performed very respectably at my wedding last month, so I'm no longer hesitant about grabbing this camera as I leave the house. In fact, on a recent trip to Bristol, this was my go to box camera as I was flying and mindful of my weight limit. I look forward to seeing the results.

Box Cameras and Wedding Snaps

Captured on the Kodak Brownie Cresta III, Fuji Pro 400H

A few weeks ago my partner and I got married in a beautiful ceremony at the Royal Botanic Gardens in Edinburgh. Instead of the usual photo-booth option for the wedding guests, we decided we'd share our passion for vintage cameras and set up a box camera station, where guests could use box cameras to take snapshots of the day. It went down a storm. The novelty of shooting film again would certainly have been a memorable part of the day, and the best part was uploading the images a few weeks later for all to see their handy work.

It was impossible to predict  beforehand what sort of weather and lighting conditions we'd have, so we just went for ISO 400, one of the more versatile films that can handle most conditions. We had a mix of Fuji Pro 400H and Lomography 400, and both performed well.

Garden snaps, captured on the Kodak Brownie Cresta III, Fuji Pro 400H

Most of the wedding guests hadn't shot a film camera for a very long time, and for many a waist level viewfinder was totally new territory. For the most part the pictures came out well. There were one or two instances where people forgot to wind on, resulting in some interesting double and triple exposures. Nevertheless, we have some lovely snapshots to remember the day. The cameras used were:
Ful-Vues model 1, 1.5, 2, and Fulvueflex Synchroflash, Kodak Brownie Cresta III, Ilford Envoy, and an Agfa Clack. 

Here are some of the results.

Captured on the Ensign Fulvueflex Synchroflash, Lomography 400.

Captured on the model 1 Ensign Ful-Vue, Fuji Pro 400H

Triple Exposure, captured on the Ensign Fulvueflex Synchroflash, Lomography 400

Double exposure, captured on the model 1 Ensign Ful-Vue, Fuji Pro 400H

Double exposure, captured on the model 1 Ensign Ful-Vue, Fuji Pro 400H

Captured on the model 1 Ensign Ful-Vue, Fuji Pro 400H

Captured on the Kodak Brownie Cresta III, Fuji Pro 400H

Captured on the Ensign Fulvueflex Synchroflash, Lomography 400

Captured on the Kodak Brownie Cresta III, Fuji Pro 400H

Captured on the Ensign Fulvueflex Synchroflash, Lomography 400

Fulvueflex Instructions

I was scanning Ebay recently, as I do from time to time in case there is any Ful-Vue memorabilia or accessories for sale at a sensible price. Happily, I stumbled across someone who was selling a Fulvueflex with its original box and instructions. Sadly, at the price they were asking I couldn't justify buying it just to get my hands on the box and instructions, but the photos did let me have a glance at what the instructions had to say, which was interesting. Here was what I managed to make out:

You will notice the robust construction of this model in a new material, high impact polystyrene which will not deteriorate with age and is virtually unbreakable.

A full set of accessories is available for those who wish to make the fullest use of their Fulvueflex. These include an Ever-ready carrying case, a capacitor flash unit, sky filter, close up lens and an eye-level frame viewfinder.

The Fulvueflex takes 12 2¼” square (6 x 6 cm.) pictures on 120 size film.

The all-distance Astaross lens is adjusted to give excellent results from as close as 6 feet to distant views.

Other guidelines refer to the accessories available for the camera.

Lens Hood: Rememberthe general rule of taking a picture with the sun to one side of you; but if you do have to 'shoot' into the sun the Fulvueflex Lens Hood will help to obtain a satisfactory picture.

Colour Filter: By contrasting the cloud against the blue sky the colour filter adds the final touch to your countryside and seaside views.

 Close-Up Lens: Endeavour to keep the subject matter lower down in the viewfinder so as to avoid cutting off. This lens allows you to be as close to your subject as 3 ft.

Ever-Ready Camera Case: Apart from offering protection it is also a convenient method of carrying your model. The adjustable neck strap allows comfort in use and assists the steadiness of the instrument during exposure.

On the move.
 The shutter of your Fulvueflex camera opens for a very short period, 1/40th second. This is quite fast enough to 'stop' any slow-moving subject, provided the movement is toward or away from the camera. A clip-on eye-level viewfinder is available as an extra accessoryand is recommended for use under these conditions, at sports meetings, etc.

 So, there was an eye-level frame viewfinder! You learn something new every day. It also focuses as close as 6 feet, which I didn't know before. It can't get as close as the other models then (naturally as the others had pull-out/screw mounts to allow close-ups at 3 feet, whereas the Fulvueflex needed a close-up lens). I don't know if I have a Fulvueflex lens hood, but I do have a lens hood that fits the camera. I shall take their advice when shooting into the sun. I also didn't realise this camera has a faster shutter speed than the earlier models. 1/40 as opposed to 1/30.

I can't see me stumbling across an eye-level frame viewfinder for a Fulvueflex on eBay anytime soon, but one can hope. At least I found a picture of one.

The Fulvueflex Synchroflash

Fulvueflex Synchroflash

The Fulvueflex Synchroflash was the last of the Ful-Vue models and a huge departure from its predecessors.  Released in 1957, this camera really flew in the face of what Ensign stood for - good build quality with excellent lenses.  Conceptually, it wasn't very different from the Super.  It was a pseudo TLR with flash sockets and a flip up hood to shield the viewfinder.  Unlike the Super, it took 120 film, didn't have a tripod bush, ruby window shield, or a three-point focusing mount. 

Fulvueflex viewfinder hood

Fulvueflex back

One of the major differences, however, was the build quality.  The body of the camera was made of polystyrene and the lenses, too, were plastic.  Not all Fulvueflexes bear the Ross Ensign name.  Some, unlike mine (pictured), bear the name Ensign India and were manufactured by Ensign (India) Ltd in Delhi.*

Source: http://www.ensign.demon.co.uk/ensign%20india.htm

A preview of the camera was announced in The Chemist and Druggist in March 1957.  It seems the camera was on display at a photo fair in April of that year:

The Chemist and Druggist, March 9th 1957

"What's all the rush about?

They're off to see their local dealer.

Every photographer today is wise to the importance of a first class lens on his camera. A fact which makes it easier to sell a Ross Ensign camera than any other, and one which will bring an unprecedented number of visitors straight from the Fair to your shop to buy the camera of their choice fitted with the best lens in the world.

But spare time to visit the Ross Stand yourself where you will find promise of even more exciting things to come. New Ross Ensign colour cameras and slide projectors, a new precision enlarger and a fine new series of inexpensive enlarging lenses.

See the new wide screen CinemaScope lenses for 35 mm still and 16 mm cine projection and the latest in low price Ross binoculars. And whatever you do, don't miss the pre-view of the new Ful-Vue – the FULVUEFLEX. It's brand new right through with a fully supporting range of profitable accessory lines. Stand 39. Photo Fair, April 11-17." p.9

Shutter release

The wide list of accessories that complimented the camera were advertised in the same publication in May 1957. As there was no focusing mount a separate portrait lens was required for close up shots. 

May 4th 1957

"There were several new models in the camera range of Ross Ensign Ltd., 3 Clapham Common North Side, London, SW4. A simplified and restyled version of the well-known Ful-Vue – the FULVUEFLEX – has a fixed-focus lens, large reflex view-finder with hinged hood and ever-set flash contacted shutter. It takes twelve exposures on 120-size roll film and at its price (£2 14s 11d) is likely to prove popular. A full range of accessories includes capacitor flash unit (£1 12s 6d), ever-ready case (15s 4d), lens hood (2s 5d), yellow filter (6s 11d), portrait lens (8s 4d) and folding direct-vision view-finder (14 7d)." p.487

Astaross lens and threaded mount

Another advert appeared in the same publication in August.  Interestingly it seems to suggest that the plastic Astaross lens supplied on the camera was one of its main selling points. 

August 10th, 1957 

"Give your Till a gold injection . . .

Here's everything the public wants from a snapshot camera – giant viewfinder, easy operation, modern styling and low price. But it is the Astaross lens on the Fulvueflex which is going to ring the till. Designed by Ross to give every amateur the certainty of success at every click of the shutter, the lens on the Fulvueflex is, optically speaking, quite unique among snapshot cameras at this price. With the Fulvueflex camera it is the lens that makes the picture and the sale.

Fulvueflex with Astaross Lens 54/11 inc. P.T." p.7

We can only wonder what they meant by 'optically speaking, quite unique'.

Flash sockets

A listing for the Fulvueflex Synchroflash in The Chemist and Druggist in May 1958 makes for an interesting price comparison with the Ful-Vue Super, which was still being manufactured and sold at the time.    

May 3rd 1958, p. 492 

"ROSS ENSIGN LTD

Cameras and accessories:

Fulvueflex 53 2
Capacitor flash unit presentation set (complete) 27 6
Presentation set (camera and E.R. case) 66 4
Les Hood 2 1
Filter 6 0
Close-up lenses 7 2

Ful-Vue Super 53 9
Capacitor Flash Unit presentation set (complete) 21 6
Presentation set (camera and case) 65 2
F.V. Super case 11 4

Ful-Vue II E.R. Case 6 3."