What Cameras Were Used In Ww2
"We remember the images, but who remembers the cameras that shot them?"
Past John Wade
THINK OF War photography and thoughts plow to the images produced past the likes of Matthew Brady, who battled the difficulties of early on photographic processes to produce a visual record of the U.S. Ceremonious War; Robert Capa, whose work spanned five conflicts, nearly notably the Second World War; and Don McCullin'southward work in Vietnam. We remember the images, only who remembers the cameras that shot them?
When the Crimean War broke out in 1853, photography was in its infancy. Photographers like Roger Fenton and others didn't simply take their cameras to state of war – they took their darkrooms as well. This was the era of moisture plate photography in which photographers were forced to make their own photographic plates on glass, in the dark, before shooting, then use them still wet in the camera before developing them on the spot.
World State of war One, from 1914 to 1918, was the outset to exist seriously documented photographically. Professional photographers used large format plate cameras such every bit the Goerz Anschütz and the Minimum Palmos, even though those cameras originated in Germany. Soldiers who fancied themselves amateur photographer were forbidden to take cameras into boxing zones; many disobeyed, taking advantage of the growing utilise of roll flick that was taking over from rigid drinking glass plates.
By the Second Globe War, photography was a well-established art form. Unfortunately for the Allies, well-nigh of the all-time cameras were made in Germany. Faced with a severe shortage of photographic equipment and forbidden to purchase cameras from the enemy, the British Regular army Film and Photographic Unit of measurement put out an entreatment for civilians to donate cameras bought before the war. Ironically, the cameras more often than not sought were German.
A Common cold War that began as Second World War hostilities ceased, and born out of a mutual distrust between America and the Soviet Union, was epitomized photographically by cameras for espionage.
The Minox subminiature was an obvious contender with its small size making it platonic for surreptitious work and certificate photography. Equally pop were cameras that could be used subconscious in wear and bags, or disguised as everyday objects like lighters, cigarette packets and watches.
The Korean State of war that began in 1950 and lasted until 1953 coincided with the rise to predominance of the Japanese camera industry. Equally war correspondents flocked to the Far Due east to cover the Korean conflict, stop-overs in Japan introduced them to Japanese Canon and Nikon lenses that fitted their German Leicas and Contaxes to requite equally good as, and sometimes better, results. When the war ended, Japanese 35mm cameras began to flood the U.Southward. market. And so began the authorization of Japan over the rest of the photographic world.
The cameras that went to war
Belong Pocket Kodak
Launched in 1912, this was the beginning camera to use 127-size film, which contributed to its pocket-size dimensions. When the Showtime World War broke out, Kodak re-marketed it equally "the soldier'due south photographic camera." The VPK, as information technology was popularly known, was a pocket-size folding model that amateur photographer soldiers kept in their tunic pockets and oft used illicitly to snap shots in places where professional person state of war photographers couldn't easily reach.
Speed Graphic
This was a camera that really stood the test of fourth dimension. Introduced in 1912, primarily every bit an American press photographic camera, it went into regular service in the First World War. Later, the Speed Graphic continued to be a pop workhorse during the 2nd World War for British printing and U.S. Army Signal Corps photographers. It was still going potent during the early on years of the Korean War. For its time, it was a relatively small, yet heavy, plate photographic camera that required glass plates to exist changed between exposures.
Hythe Machine Gun Camera
This peculiar British-made camera's design was heavily influenced past the Lewis machine gun. Information technology was used to train First World War pilots in air-to-air combat, where it was impractical to utilise live ammunition. In 1915, English language manufacturer Thornton Pickard engineered the weapon-shaped camera with the lens in the barrel then that every time the trigger was pulled, a frame was captured on a special roll of movie. The images, once developed, indicated how accurate the airman had been a mock dogfight.
Graflex 1a
This American camera was unusual among those from the First Earth War-era in that it was a single lens reflex design. Such a style of camera incorporated a mirror behind the lens to reflect its image onto a ground-drinking glass viewing screen under a hood on top of the trunk. As the shutter release was pressed, the mirror flipped upward and allowed low-cal from the lens to and so reach the film at the back of the photographic camera. In this way the photographer could preview exactly what would appear on picture show before the motion picture was taken, as opposed to the apply of the separate viewfinder found on other cameras of the time whose view never showed exactly the aforementioned scene equally that taken in by the lens. It was, notwithstanding, big and heavy, and what information technology gained from the convenience of reflex viewing, information technology lost in its size, weight and consequential difficulty of utilise.
The F24
During the Second World War, F24 cameras like this were used for aeriform reconnaissance. The photographic camera comprised a torso with a congenital-in shutter and a range of lenses in a cone on the front end. It shot pictures five by five inches on five-inch-wide rolls of film that had a chapters for upward to 250 exposures. In 1942, the photographic camera was further adult as the F52, whose image format was a massive eight½ by seven inches, using film magazines that could shoot up to 500 exposures.
Super Ikonta 530/16 & 532/16
These ii cameras, subtle variations on the Super Ikonta Model B made by Zeiss Ikon, were reputed to exist the best and handiest in action, and were used prolifically during the D-24-hour interval landings. Both were folding models, in which a bed dropped downwards from a apartment box-like torso, with lenses which cocky-erected on bellows. Each took 120-size motion picture to produce 2¼-inch foursquare negatives. Various lenses were available and coupled rangefinders were built in.
Williamson G45
As well as their use for reconnaissance, specialized cameras were too placed in aircraft to tape the accurateness of a pilot's shooting during air-to-air combat. One of the best known was the G45. It used 16mm cine film, driven through the camera by an electrical motor, powered from the aircraft and synchronized to first filming every bit the plane's guns were fired. From 1939 the G45 was fitted to Spitfires and Hurricanes, then to other aircraft as the war progressed.
Kodak Medalist
Congenital by Kodak in America and introduced in 1941, the Medalist was big, heavy, remarkably rugged and appeared to be indestructible. If ever a camera looked like it should exist a military model, this was information technology. The Medalist shot eight large images to a roll of 620 size motion-picture show. Used a lot for colour photography, it ensured better quality than images from a 35mm camera and was easier to utilize than the Speed Graphic, which it quickly replaced.
F-21
The F-21 was a Common cold War-era model where its minor size fabricated information technology ideal for clandestine photography. Despite measuring a mere 2½ x 2 x two¾ inches, it featured the technical spec of much larger cameras. More than chiefly, it incorporated a clockwork motor drive to advance the film automatically betwixt exposures, which made it easier to use hidden in another object. F-21 cameras were ofttimes disguised in wearable, where the lens shot pictures through false buttons.
Nikon Southward
The first Nikon, in 1948, was the Nikon I which, by the time of the Korean State of war, had progressed to get the Nikon S, launched in 1951 and destined to get the company'south most successful photographic camera up until that time. Information technology was a 35mm coupled rangefinder photographic camera with interchangeable lenses on a bayonet mountain. Post-obit the Korean war, this was the first Nikon to be officially imported into America.
John Wade is a British author and photographer who has written and illustrated numerous articles on camera history for photographic and other magazines in the UK, America and Australia. He has also written, edited and contributed to more than 30 books on photographic history, photographic techniques and social history. His latest book is Cameras At State of war, published by Pen and Sword Books. (world wide web.pen-and-sword.co.united kingdom of great britain and northern ireland). Discover out more than by visiting the author's website at world wide web.johnwade.org
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Source: https://militaryhistorynow.com/2020/10/17/cameras-go-to-war-100-years-of-combat-photography-gear/
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