Help to choose a good slide projector

[fredlee70x7]

It may be an old technology now but I have many slides which I

continue to enjoy for many years to come. I used to own a low-end

consumer grade projector which how died (BTW, it's garbage). There

are not much current info on the web to research. Even at B&H,

there are not many higher end models except Leica RT-s/RT-m and

Kodak Carousel.

 

Can any one share your knowledge how to select a decent slide

projector at today's market, either new or used. I am very confused

with all model variants of Kodak Ektagraphic III (A, E, AMT, ATS,

AS, BR etc).

 

Are Pradovit CA2500 as good as RT-s/RT-m? I don't need fancy

features like sound editing, multi-projection, dissolving units etc.

[stwrtertbsratbs5]

Are you only going to project 35mm slides, or is medium format in the mix, too?

 

Robert

[fredlee70x7]

I love to have a medium format project too (I also use Rollei 6008i and Mamiya 7II), but it's too expensive. I'll restrict to 35mm now slides unless the price is much cheaper.

[flying_tiger]

Mamiya Pro Cabin Pro 67 is a multi-format slide projector but it's manual feeding. For 6x6, Hasselblad PCP 80 and for 35mm, Leica Providat 2002 or P600(available in Europe).

 

Good luck!

[rob_murray]

The Kodak Ektagraphics are nice commercial machines. The differences in the models are minor. Kodaks website should be of help. Kodak lenses are not very good. Buehl makes nice ones. I have one made by

Raynox 100mm F2.8 and it is very bright and sharp.

[bill_thorlin]

Might be of interest to you to have a look ( no pun intended ) at the ones that combine both a projector and a monitor. Increased flexibilty from personal viewing to full blown display.

 

Braun Novomat series for one covers these - there may be others.

[stwrtertbsratbs5]

I bought an old Leica P 500 projector - it looks like an art deco toaster, but it was really cheap at $16.49. Nice lens, but I dont't have the optional tray accessory, so I feed them in one at a time. A more modern Leica projector would be an option.

 

Robert

[charles_stobbs3]

I suggest an old Kodak Signet projector if you can find still find one. It has a 40 slide magazine or a single slide feed that ejects into a stack holder. Also several lenses were available according to the distance between projector and screen so you could fill the screen.

[Robert_Lai]

I have a Pradovit CA2500, and it is superb. Much better than the Kodak Ektagraphic that I picked up cheaply on ebay. The illumination is far more even, the image is brighter, and the AF works far better. They were the top of the line back in the 1980s, and sold for over $1000. They are solidly made of metal alloy castings. Even the projector's top cover is metal, not plastic. The main plastic part is the dust cover for the projector. They also have a feature to set voltages, so you can use the same projector in Europe as well as North America.<p>The Leitz Colorplan 90mm f/2.5 is one of the best on the market - bettered only by the Leitz SuperColorplan. Leitz still supports their projectors with parts and service if needed. Kodak has discontinued projector manufacturing, and so spare parts will be of spotty availability in the future. If you can find a good Pradovit CA2500 for under $450 (that's what I paid for mine 3 years ago), then you should get it. Like all Leitz gear, it will last several generations. BTW, it can also project superslides with the appropriate condensers (127 film in 2x2" mounts).

[anand_raghavan1]

You can get a used Rollei MF projector for a few hundreds (<$500). I don't mean the Rolleivision series, but the earlier ones.

 

In terms of the final image, most of the Kodaks should be the same. The differences are mostly in operation.

[alex_lofquist]

The Leitz Pradolux RT 300 has the fabled Colorplan lens and Leica illuminating optics mounted in a US-made Telex Caramate (professional level) frame. KEH has one for about $340.

[fredlee70x7]

What will you choose between a Leitz CA2500 and aq Leica RT-300? What are the functional and qualitative diference between these two? Should I pick the newer RT-300?

[stemked]

Fred,

 

If you plan to view your slides a lot there are heat issues to think about too. I was very concerned about fading or even meltine of slides (yes, I have had this happen with old old projectors). Once upon a time I looked into this and all of the kodak projectors I encountered at the time seemed to be very hot. I posted a similar question to yours here at photonet (years ago) and was pointed toward the Leica models. I ultimately went with a small Leica (I can't recall the name of the model off-hand) because it ran so cool and is also very quiet. I can say I have generally been very happy with it.

 

If you do think about Leica though you have to consider slide trays carefuly. The Slide trays that came with my model were too wide and the carriage kept missing them. I picked up the correct tray and the projector has been a dream since then.

 

To be very honest with you though I fell in love with loups and a good light box myself and only occasionally pull out the projector, hense why I can't recall models well anymore.

[glen_johnson1]

One lower-cost solution would be an older 35mm Braun slide projector from the mid-1960s. My D-46 West German projector is like new, all-metal, uses modern straight trays and lamp, has a razor-sharp Rodenstock 100mm/2.8er lens, and cost all of $40.

[mozart 2]

As a Leica user of many decades, I'd opt for either a Pradovit Color 150 or the Pradovit Color 250; they often pop up on Ebay at good prices; they're circa late 1960's to early or mid 1970's.

 

Here's some useful information that I've posted elsewhere; you may read between the lines.

 

Sorry for the long dissertation, but the respose below was originally posted at the photo forum (http:thephotoforum.com)

 

Hope that this is more than "illuminating" ;>)

 

Best wishes in your photographic endeavors!

 

Bill

 

 

 

 

 

 

Bryant:

 

Decades ago, I used to shoot almost nothing but slide film simply because of their clarity, tonal range, detail, luminosity, sharpness, etc. Some time ago, I began to shoot print film and have recently decided to go back to using slide film, because print film simply cannot compare, especially at great enlargements - a projection of a slide onto a 50 X 50 inch screen for example.

 

Decades ago, I was able to attend two 2-day Leica Photographic Seminars - one in Peoria, IL - sponsored by the camera shop that I was then working at and the second at Southern Illinois University in Carbondale, IL. At both seminars 35mm slides were projected - using Leica projectors, of course - onto an 8 X 12 FOOT screen - a 96 times enlargement from the 1 X 1.5 inch slide. The projected slides were clear, sharp with extraordinary detail. show great luminosity and color separation, etc., etc., etc.

 

I project my slides on an (now old) Pradovit Color 150 projector onto a 50 X 50 Matte White Screen.

 

Some (hopefully) useful information:

 

1. 35mm slides have a thinner emulsion which accounts for a number of things, namely the ability to transmit finer detail, sharpness, luminosity, & color separation at greater enlargements than print film.

 

However, these factors are dependent upon a number of other factors:

 

1. While a Silver Lenticular screen produces a bright image with a wide reflectance angle, the surface actually breaks up the image so that the surface can become interruptive of your viewing enjoyment. A glass beaded screen will also produce a bright image, but with a narrower angle of reflectance when compared to a Silver Lenticular screen.

 

For that reason, I sent back my Da Lite screen (Silver Lenticular) and had them replace the surface with a Matte White screen, which gives slightly less brightness when compared to the other surfaces, but - because of its flat surface - gives a highly detailed image with a broad angle of reflectance.

 

2. With the exception of the Leitz projector, all other projectors, i.e. Sawer's, Bell & Howell Cube, & the Kodak Carousel will project a slight to a significantly orangish light on the screen and there will be a significant loss of image brightness and clarity at the edges - this is particularly true of the Sawyer's and Bell & Howell Cube projectors and noticeably true with the Kodak Carousel.

 

The Leitz projectors project a very nice bright white light which is clear out to the edges of the frame. They also have an extraordinary cooling system, which will not damage slides even over the long haul. My Pradovit Color 150 (watts) will project brighter (and clearer, even in the shadow areas) images than the any of the above mentioned slide projectors even though some of them had 500 watt projection lamps compared to my 150 watts.

 

Older Leitz projectors, such as Pradovit Color 150 (watts) and the Pradovit Color 250 (watts) - both with 90mm Colorplan lenses - are still often offered at reasonable prices on Ebay. The 90mm Colorplan projection lens will give you a moderate projection distance between the 50 X 50 inch screen and the projector; so you might also wish to consider the 120mm Leitz projection lens. You can also find newer models as well.

 

3. Of course, all of this is for naught, if you don't have consistency of exposure, accuracy of focusing; minimalization of camera movement (shake); and, above all, an good eye for composition, i.e. aesthetics.

 

In addition, I would be certain to forward slides for processing to a very reputable company to insure that your efforts are well rewarded with their high standards. For example, the older of my two younger sister sent her Super 8 movie film to all sorts of places in order to obtain cheaper processing. Her movies of her children consequently suffered - mostly off color. In short, why spend time, effort, and money attempting to produce excellent images only to have them greatly diminished by poor processing standards. Or projection standards, for that matter.

 

4. As for slide film, decades ago, I excusively used Kodachrome II; Kodachrome 25 and occassionally Kodachrome 64. I did so because Leitz lenses reach their optimal performance either at wide open or a few stops down from being wide open. So I had absolutely no problem in obtaining sharp images at either wide open or at 2 or more stops down.

 

I've experimented with Fuji and Agfa, both of which had their small advantages (decades) ago, but I found that the dyes used in these other slide films were not stable.

 

These days, I probably switch to mainly using Kodachrome 64 and/or Kodachrome 64 professional (when the need or project demands) and may again experiment with Fuji slide film sometime in the near future.

 

Hope this general discussion is useful.

 

Bill

 

 

 

Bryant:

 

You're more than welcomed!!!!

 

Of all the discussion points, I've contributed, none is more important point # 3, because it will help insure getting the best results from your camera equipment. With that said, here is some additional hints that might be of use.

 

1. Even though slide film has a "certain" range of exposure values, it cannot - like other films - "bridge" the entire range of lighting values. Under the circumstances, both composition and exposure have to go hand in hand. You can - to a certain extent - "bridge" the exposure range gaps with negative film, especially with B & W) in the darkroom through the process of "burning in" or "dodging", etc.

 

For example, if you're shooting a scene with both shade and bright lite areas, you may wish to compose your photograph so that you just make use of the light - rather than to include (broad portions of) it - and then carefully take your exposure, hopefully with a hand held meter using the incident light meter attachment.

 

Therefore the exposure for slide film must be "right on"; "dead on" or "correct" with variations due to aesthetic interpretation - see below.

 

2. For that reason and even though you may make careful exposure readings, you may wish to "bracket" your exposure a half stop on either side and see what the results might be. For experimental purposesa and to find your own technical and aesthetic standards, film is relatively cheap. Besides, you might find - aesthetically - that a slight underexposure might result in the "better" slide under certain condition - and thus make for a better enlargment/print.

 

I have found this particularly true when shooting under shaded light conditions - such as may exist in various state parks - when even 1/3 stop differences in exposure can be readily seen in the slide. BTW - one of the nicer things about using rangefinder lenses is that the lens openings are continuous - even though there are half and full stop "clicks" on the lens. You can readily see this continuity on many of the old folding type of roll film cameras.

 

3. If possible, find a family member or friend who might have a Kodak Carousel projector handy and ask them if they will allow you to project your slides on it. It's one thing to hold up the slide to some light source or to look at them through a loupe, but it is entirely a different experience to see them projected. Besides, it will give you a better idea as to how an enlarged print would appear.

 

If you opt for this route, make certain that the projector is perpendicular to a flat white surface - a nice white wall (at night) will do just fine - otherwise you might see some "keystoning" of your slide - the top being slightly wider at the top than at the bottom and the slide will not be sharp from corner to corner.

 

Again, I hope this adds to the range of the discussion.

 

Bill

 

 

Dave:

 

My apologies! So here's some further information and a story.

 

I am not certain that I can provide you will all of the "details" you might wish to know or need, but I will share more of what I've learned and experienced over the years.

 

1. My "old" Leitz Pradovit N-24 projector, which I purchased used and used my old Kodak Carousel 750H as a trade, had a lamp filament adjustment screw on the left side of the projector - as the projector was facing the screen.

 

As you may or may not know, Leitz was world renown - and still is - for the manufacture of superb microscopes - something that they did decades prior to Oskar Barnack's invention of the prototype Leica. (LEItz CAmera).

 

In viewing through a microscope and especially, when doing photomicroscopy, one of the things that needs to be done first is to "columnate" the light source. (I think I am using the correct term.) I will not describe the whole process, but basically one had to make certain the that light emerging from the bottom of the microscope was "centered" to provide even illuminatation all the way through the slide and thence to the optics of the miscroscope and also to the film.

 

FYI - I worked for some time as a Staff Photographer at the University of Illinois College of Medicine - Peoria (Illinois) campus and had the privilege of working with a $35,000 (decades ago prices) Zeiss Photomicroscope III. Not knowing anything about photomicroscopy, I obtained Kodak's publication "Photography through the Microscope" and spent hours - including many unpaid overtime - learning the art of photomicroscopy, developing B & W and Ektachrome films to eventually come to a high standard of producing consistent results.

 

In the process, I found out that the exposure metering system in this fine new Zeiss microscope was way off; the illumination diaphram at the bottom light source was defective; that the flash unit was disfunctional; that the microscope needed some other minor adjustments; and the poor service (not Zeiss) of the company in Chicago that sold the microscope to the School of Medicine in Peoria. But that's another interesting and long story.

 

At any rate, the Leitz Pradovit N-4, the Pradovit Color 150 and the Pradovit Color 250 - and I suspect newer models, all have an adjustment screw to make certain the the light source is centered to provide even illumination on the slide and through the optics.

 

All one had to do is to cut a nice 2 X 2 inch piece of cardboard and drill about a 1/4 inch hole in the absolute center. If you purchased your Leitz projector new, this centering slide came with the projector.

 

Then one just placed the centering slide in the slide tray, loaded it in the projector, and turned the projector on. Then one placed the (milky white - for want of a better description) dust cap over the lens and made certain that the projection lens was turned all the way back into the projector.

 

In this process, the centering slide produce a "double" image of the filament of the projection lamp on to the lens cap. In my old N-24 Leitz Pradovit - using a CYN lamp, the image would look something like this if it wasn't centered.

 

 

(Well, I tried providing a diagram, but it doesn't work, when I previewed it.)

 

 

One simply turned the lamp filament adjustment screw ever so slightly in either direction to make certain that the top and bottom images of the filaments were aligned - centered. A very short process that only needed to be repeated, if the lamp burned out and needed replacement.

 

I know that projectors made by Kodak, Sawyer's, Bell & Howell, Airquipt, Pentax, etc. never had a lamp filament centering device to insure even illumination of the slide. Perhaps, other European projectors - Kindermann or Rollei, for example - might have had them, but I've only seen these projectors and haven't used them.

 

2. At one time, Leitz made a "test" slide, which include a very nice "color wheel" in the center, a double (top and bottom) very long grey scale at the bottom center, and an array of other means by which to compare the image quality, sharpness, corner to corner luminosity of Leitz projectors.

 

This "test" slide - which is, unfortunately, no longer available - came in handy in other ways as well. For example, it provided a means to insure that your projector was exactly perpendicular to the screen on which you were showing your images. If the test slide projected a sharp image at the top of the screen, somewhat sharp in the center, and out of focus on the bottom, you quickly realized that the projector was not perpendicular to the screen and made the necessary adjustments. I still use my "test slide" - it's the first slide shown - when I show (somewhat rare these days - but that may change) slides

 

I obtained a Leitz Pradovit "test slide" for use when I was the Staff Photographer at the School of Medicine in Peoria. It came in very handy to insure proper exposure and developing times for B & W films and/or for color slides - at times we did a lot of duplicate slide shooting and processing for the medical staff/professors at the College of Medicine. It also came in handy when we made Cibachrome prints - on few occasions - for the "Pathology Boards" (4 X 8 foot masonite boards, painted blue, which held, prints, diagrams, words, etc. showing the progress of a disease) that the school's educational department did for the medical students.

 

3. If my memory serves me correctly, my old Pradovit N-24, the Pradovit Color 150 and the Pradovit Color 250 (all now older models) constructed the focusing or auto-focusing mechanism in such a manner that the slide chamber moves rather than the lens. Obviously, such engineering makes for more rapid (and perhaps, accurate) focusing and less eye strain on the viewers - over a long period of time - the projection of several hundred slides in an evening.

 

4. The slide chamber on Leitz projector is designed to keep the slide cooler than other projectors thus eliminating or greatly minimizing the "popping" in and out of focus that can happen when a 'cool' slide hits a warm or hot chamber. One of our customer's - a Professor of Art at Knox College in Galesburg, IL deliberately used Leitz projectors because (1) she could leave the same (art) slide in for very long periods of time and (2) the projector wouldn't damage her slides in anyway whatsoever.

 

5. Of course, there are other important factors as well - beginning with the optics of the condensors and Leica projection lenses - the most famous of which is the 90mm Colorplan. If you come across an old Leitz Pradovit N-24, you'll find out that it weighs a ton. Well, not literally, of course, but it is much heavier than the Kodak Carousel. My Pradovit Color 150 is a little lighter, but still manufacture with more than durable materials - beginning with the housing.

 

6. I hesitate to "advise" you on what Leitz Pradovit projector to seek for possible purchase, but I will offer the following.

 

Although the Pradovit N-24 is still an excellent purchase, I am not certain of the availability of CYN projection lamps. If interested, you should, of course, email Dave Elwell of the Leica Camera repair dept. and inquire if they still have the quartz halogen lamp conversion kit still available, which will allow you to use the FCS bulb. At one time, I found 18 FCS lamps and paid a mere $12.00 for the lot - so I have more than enough lamps to last me the rest of my life.

So if you're currently constrained by budget, I might opt for a used, but excellent condition, Leitz Pradovit N-24, but be certain to check with the Leitz repair department first for the conversion kit.

 

If you're moderately constrained by a budget, I'd seek out the Pradovit Color 250 - not because you intend to project images in a very large auditorium, but because you may wish to have a slightly brighter light. The Pradovit Color 150 produces a much brighter and whiter light on the screen and is very well suited for home use.

 

Both the N-24 and the Pradovit Color 150 and 250 projectors used the same type (diameter) lenses and are, therefore, interchangeable. In addition to the 90mm Colorplan, I would also opt for a 120mm Leitz Projection lens - I believe the name is Elmaron - it's been a long time since I've looked at mine. The 120mm lens will simply give you a little more distance between the projector and a 50 X 50 inch screen.

 

Sometime later and I don't know when, Leitz redesigned both its projectors and its lens - so I am not certain as to whether the lenses for 1500 and 2500 series projectors - also a nice buy these days - are compatible with the older projectors. You'll have to do your homework in this area. On the point, members of the Leica Historical Society and/or Leica Camera should be of great help.

 

Hope this additional information is useful.

 

Again, my apologies for the mis-interpretation.

 

Bill

 

 

Dave:

 

Just in case it's within your budget, here's a current Pradovit Color 250 being offered on Eay.

 

I've cut and pasted the item's description below, since it will provide you with additional information that might useful or helpful in your endeavors.

 

As for his statement that a lot of these (older) projectors show up for auction have a defective autofocus, I am not certain that I would stand behind that, since I was still working at Peoria Camera Shop when these models, the Pradovit Color 150 and the Pradovit Color 250 had been introduced and we never had to send one back. Besides, the focus on my Pradovit Color 150 still works very nicely. Nevertheless, it would pay to do your "homework!"

 

Another alternative is to look for a Leitz "Prado" projector, which were built for home use, but designed primarily for auditorium use. Currently, there are two "newer" units - one without the lens and lens mount on Eay - and an old version of the Leitz Prado. The older version's auction number is # 752699050 and the bid price is currently $10.00.

 

The only problem with these older Prado's is that the lamp will probably cost you an arm and a leg - i.e. $30.00 to 36.00, if they are still available through a store and/or cheaper on Ebay. I am not certain about the lamp cost and/or availability of the newer Prado model.

 

As you will note, the Prado projectors used a single slide changer for only two slides. Such an arrangement my not fit your purposes, but it may be an alternative to consider.

 

 

Pradovit Color 250 projector

 

Auction #

7527345629

 

 

Description (revised)Please read this description thoroughly and clarify any unanswered questions before bidding:

 

When the first generation of Pradovit Color projectors was introduced, during Leitz's golden years (late 60's, think of M4 and you got the idea!) they were touted "The perfectionist's projector". My personal opinion is that they are THE ONLY widely available laboratory grade automatic projectors ever made. The Pradovit Color 250 was the big gun in the series, introduced later and replaced in 1977/78 by the C-2500 series as the top Leitz projector. The specs: Low voltage (24V) quartz halogen lamp has a low heat/light ratio, yields white light which is the closest to daylight of all incandenscent light sources (less eye fatigue after extended viewing); 250W power yields just under 1000 lumen, more than enough for home use and adequate for auditorium projection (same lamp, EHJ, as the last true Leica slide projector, the Pradovit P2002). Unique to the Pradovit Color and the Pradovit 1500/2XXX projectors is the dual channel cooling: one fan pulls fresh air and pushes it onto the slide stage to keep the slide cool, as well as under the lamp to cool the transformer; the warm air is expelled onto the next slide (in the tray) in order to preheat it through a special duct (lower temperature contrast prevents slide popping). The bulk of the air is drawn inside the lamp housing and is expelled by the second fan after cooling the lamp. Large aspherical lens replaces two spherical ones, increasing light efficiency significantly (two less glass-air surfaces). Cast aluminum chassis, lamp housing cover, metal lens mount. The sturdiest lens mount ever designed! (The lens doesn't move for focusing! The slide does! (Contax fans listen up! Somebody else came up with the "film focusing" idea long before Contax did, but it was not in a camera!) Dimmer switch saves 15% power and doubles lamp life. (on my 6' screen I hardly ever need full illumination) Built-in timer for automatic advance. No slide-no light shutter with slide sensor. Autofocus; focus the first slide by turning the lens and all subsequent slides will be focused automatically (unless the AF is off). Here are some advantages over other projectors: Full illumination of superslides (possible with the later Pradovit 2XXX series ONLY with special condensors and heat filters, which you have to buy separately). Single slide projection possible (try that on the 2000 series!) Built ?in self timer (mechanical, control located just under the lens). The Pradovit Color 250 can take all the P mount lenses if fitted with the sleeve (and some of the P2 ones), whereas the next generation (Pradovit Color, C/CA2500/1500) can NOT take the early lenses. Which brings me to the punch line: this particular projector has the early Leitz Colorplan 90mm 1:2.5 lens, which has 5 elements in 4 groups, an absolutelly superb lens; When the newer projectors (starting with the later model Color/Color250/AF were designed, the focusing mechanism (autofocus especially) wouldn't clear the older lens so the lens had to be redesigned for a 42.5mm tube (in the process being cheapened to a 4 element design, so if you have or are considering buying a later Colorplan you basically have a Hektor 2.5 design (itself not to be confused with the currrent Hektor 2.8 which is a 3 element cheapie). Only relatively recently has Leica gone back to a 5 element (Super Colorplan, a lens which costs over $300). At the time, Leitz prized themselves with the large depth of field of the lens, making refocusing between slides almost unnecessary, as long as the mounts were consistent (that is you do not mix glazed with unglazed slides, cardboard with plastic, etc.). A lot of these projectors show up for sale with defective autofocus. The repairs are prohibitive for most of us. So if you buy one of these untested, be prepared to focus by hand on the projector as there is no remote focus capability! There you have it! Can you beat this? Have you thought of precision? The slide is guided in the slide stage on 3 rollers to reduce wear. Every time I use a Kodak Carousel/Ektagraphic, being spoiled by my Leitz projectors, I feel something missing (even if I use the great Schneider Cinelux lenses). It must be the precision with which these things operate. I am sure anybody who has had a chance to use one of these will agree with my opinions expressed here. PLEASE, do not copy this or any of my descriptions for any purpose without my permission. Buyer to pay for shipping. Check out my other auctions for more Leica stuff and other optics for sale.

 

If you're interested, Leitz also made a 'wide angle' projection lens for both the Prado and Pradovit projectors. One couple who were members of the Peoria Color Camera Club had an old Prado projector with a wide angle lens. They painted their basement walls a nice bright white and used it as a projection screen. Seeing their slides was almost like being in the scene itself. An interesting visual experience. Greater impact than seeing slides on a 50 X 50 or even a 60 X 60 matte white screen.

 

At any rate, now you have more information than you ever (perhaps) thought possible, but that's what happens when you deal with a conscientious Librarian! ;>)

 

Best wishes in your photographic endeavors!

 

Bill

__________________

"Great spirits have always found violent opposition from mediocre minds. The latter cannot understand it when a man does not thoughtlessly submit to hereditary prejudices but honestly and courageously uses his intelligence." --- Albert Einstein

[andyandrews34photo.net]

Plato said, "Beauty of style and harmony and grace and good rhythm depend on SIMPLICITY." I would not sell my Linhof Ideal Format projector for any amount. With it, I have the Kleinbildansatz with 100mm Leitz lens, to project 35mm and Super Slides. In fact, I don't use the changer stages but slide any format slide OR slide strip through the gate(8cm sq.!), sandwiched between optical-grade polycarbonate sheets. Delron rails hold the strips in perpendicularity to the optical path. I mask with 3M aluminum foil duct tape (not cloth!).

The audiences love chromes shot with Mamiya 7 43mm and Fuji GSW690III projected on the 108"x240" white-beaded screen with Leitz lenses. My lamp has gone 10 years now. A spare cost me $20. So much for whistles and bells! Love you all! Andy Andrews

[ron_robertson1]

<p>To <strong>Fred Lee,</strong> or anyone who wants to get the best results when projecting their colour slides....Of course there are many features within automatic slide projectors...Quiet operation, jam free action, fade/dissolve system, bright even illumination..and so on.. But central to most things photographic is the image forming /optics<strong>...The lens</strong><strong>...</strong>from my experience the Leitz range of Pradovits have the very best lenses...You should choose a fixed focal length ,not a zoom....<strong>All</strong> variable focal length lenses are an optical compromise...<br>

A projection lens (by which most others are judged ) Is the Leitz 90mm. f2.5 Colorplan..or the Leitz 150mm f2.8 Elmaron...both giving you the best sharpness on screen from your carefully taken(glass mounted) sharp colour transparencies....Remember, the retina of the eye has a 'thirst' for detail and sharpness... Let me finally sum it up this way...The German built range of Kodak Carousels were excellent machines, but many were fitted with Kodak zoom lenses which were optically poor...Some of their fixed fixed focal lengths were better...But if you could take, for example, a Carousel S-AV 2050 and convert the lens mount to take a Leitz 90mm Colorplan or Super Colorplan....<strong>then...</strong>sir, you would have a fine projector !!!</p>