robbiebedell

<p>Thank you Al for your fast response. The weird thing is that the film I first went with was a roll of Tri X. So, I thought, maybe if I try a different film. So I put in a roll of Arista EDU and it worked flawlessly. Then I put in a second roll of Tri X. First click, then no crank. So it does seem there is an adjustment to be made as you have suggested. I am going to call Harry Fleener before I make up my mind. Thank you again Al!!</p>

<p>I just bought a gorgeous Rolleiflex 3.5 E. It is really like new. The seller stated that it has been overhauled-shutter, film transport-the works, by Harry Fleener. It has his sticker inside. With no film it, it I runs like a new camera. I just put my first roll in it and took the first frame and went to crack it..no go. I have not of course tried to force it. I played around and learned that if I push the shutter button a second time, then the crank works and the film advances. I am not new to Rollie but that doesn't mean I know everything. Is there something I am overlooking? I really want to keep this camera!</p>

<p>Hi Michael, It is the holder for the Omega D2. There is one on the 'Bay right now for $30, buy it now. Cat. # 429-029. I will post pix of mine tomorrow...if you still need them..You will have to do some metal grinding, but it's nothing major.. Robbie</p>

<p>Michael, I had the same problem and found that the metal Omega filter holder was very easy to adapt to my 1C. I just shorted the arm and drilled new hole. It looks like it came with the enlarger and it works great...Robbie</p>

<p>Thank you all for your input!</p>

<p>Yes, Professor! In my Ikontas where the DEP IS working I here the click, but not in my new Ikonta III. I think you have hit the nail on the head. Thank you! Robbie By the way, can you tell me where there mechanism is? Is it in the linkage beneath the bellows or someplace more scary like under the top plate?</p>

<p>Ah, David, this is very informative. I just checked my other two Ikontas, both post war, and only one of those two has the working DEP. All of these cameras are in great shape and not mistreated. So it very well could be that previous owners did disable them. I am hoping to be able to restore DEP in my Ikonta III as I am quite absent minded and it's easy for me to forget whether or no I made an exposure. Thank you for your insight David! Robbie</p>

<p>Thank you Jean-Yves. I am tripping the shutter the usual way with the shutter release on top of the camera. Yes, I can trip it with the lens itself, but that would indeed avoid the double-exposure protection. I think it's time to call a repair person! Thank you..Robbie</p>

<p>I just bought a beautiful Zeiss Ikon Super Ikonta III. I loaded it with a test roll and am surprised that the double exposure prevention does not seem to be working. I have a couple of earlier Ikontas and the prevention works great. But on this new camera I am able to cock the shutter over and over without advancing the film to the next frame. I have searched around and nowhere have I found a secret switch to change this. Other than this the camera is working flawlessly. Does anyone have experience with this? Thank you! Robbie Bedell </p>

<p>I patched some large missing pieces of vulcanite on my M3 probably five years ago and my handiwork is still going strong. It's not pretty but who's really looking. I used artist's acrylic paint from the tubes. I mixed black and yellow until they matched the original vulcanite. The paint should be quite thick. I then just filled the missing spots and let it dry. But when almost dry you can mould it into shape and even use your fingerail to press matching texture. It is very tough.I use my camera nearly every day and it has held up...Robbie </p>

<p>Open the lens and from the front look into the camera at the ground glass with the lens shade on. Look at the edges of the ground glass and peer at the corners. If you can see the corners, the lens is not vignetting. If you cannot see the corners, then take the shade off. If you then can see the corners, the shade is the culprit. If you still cannot see the corners you have a mystery.</p>

<p>Paul, This is good. I got my first, an M3, the same year as you, 1969. I took all of my early photos with it. I got hired (my first photo job) by a newspaper in Stuart, Florida, in 1973 and one day I got really stupid. I went for my daily rounds to the police station and there was a detective there with an engraving tool, kind of like a Dremel. He was grinding numbers and words on all sorts of stuff, guns, etc. He said that I should let him grind some kind of mark on my camera so if it ever got stolen I could spot it right away on someone on the street. So I let him grind two vertical lines in the top plate just above the rewind lever. I lost the camera in the early '80s in Brooksville, Florida, along with the 50 summicron that was on it. I often wonder where that camera has ended up. It must be out there somewhere. If one of you has it, do not worry. I will not try to claim it!!! ( BTW the # was over 1 mil)</p>

<p>Thank you for all of your replies...</p>

<p>John, No I have not had a Va, so it is possible that it is the original, but...(Tom) I think it is a replacement because when I got the camera the screen was upsidedown, with the dull side up. I turned it around and cleaned out the inside. That's when I began to really wonder what type of screen it is. I had a Rolleiflex E2 a while back and it had a beattie and it seems as bright as that...</p>

<p>I just bought a beautiful Rolleicord Va. I half expected that when it arrived I would be shopping for a bright screen, as I have owned these cameras in the past and know how dim they can be. But I was pleasantly surprised to see it has a very bright screen. I am aware of the various aftermarket bright screens out there, but how can one tell one from another if there are no maker's labels? This one has a standard gridded screen with no split-image. I have a Beattie in my view camera and know that it has two pieces. This is just a one-piece screen. Thanks in advance...</p>

<p>I managed to get one yellow and one uv 19mm filter from Manfred Schmidt in Chicago. Sometimes he has stuff no one else has. He is very knowledgable and very helpful. Just google his name if you are looking for something. Those little filters are hard to find!</p>

<p>Thank you all. I think my lens might have the 'bloom' Paul mentioned. So that is good. The glass is extremely clear for a lens of this age, clearer than my rigid summicron. I have an adaptor ordered and I can't wait until it gets here...</p>

<p>I just bought a 3.5cm Elmar for a very good price. (#271245). I beleive the number is 'pre-war' and it is not supposed to be coated, but it looks as if it might well be coated. It has a faint blue reflection. How can I tell if it is indeed, coated?....Also...does anyone have any filter suggestions? I know it takes A 36 filters, but where can I find those tiny screw in filters? The must be about 18cm...Thanks in advance!</p>

<p>You will get the best price from Ken Hansen. Email him at <a href="mailto:y@aol.com">khpny19@aol.com</a> and he will give you a very good price...I know from experience..Robbie Bedell</p>

<p>Lori, If your lens is in good condition email Ken Hansen at <a href="mailto:khpny19@aol.com">khpny19@aol.com</a>. he will give you a fair price and you will have a very satisfying and fast exchange. </p>

<p>About 15 years ago Ken Hansen loaned me an 8x10 Deardorf wth a 305 G-Claron. I used it to photograph a very large Mark Rothko painting in a collection in Palm Beach. When I got the Provia transparency back from the lab I, through the loupe, saw some hairs on the photo. At first was angry because I thought the lab people were careless. On further inspection, with a stronger loupe, I saw that the 'hairs' I saw were actually some bristles of Rothko's brush that had come off the brush during the painting and were embedded in the paint. . I don't know about sharpness tests but this lens to me is remarkable! Robbie Bedell<br>

<a href="http://robbiebedell.photoshelter.com">http://robbiebedell.photoshelter.com</a> </p>

<p>Phil, Good luck on your trip to China!</p>

<p>OK, Phillip. I heard from my friend in Beijing and he was not much help. He can't remember how much the camera was and never did go to the factory in Shanghai. But he did buy a complete outfit in Beijing from Edward Chung and Mary Kwok at <a href="http://www.greenviewclub.com">www.greenviewclub.com</a> He said that they are a first-class outfit with a huge variety of all kinds of view cameras and are also a high-end custom lab. They speak English so that is not a problem if you do not speak Chinese. I hope this helps! Robbie</p>

<p>Phillip, I have a friend who lives in Beijing and he bought a shen-hao there. I beleive he went to the factory and met the man who makes them. Give me a couple of days and I will find out what I can about his purchase. I believe it was quite inexpensive....Robbie </p>

<p>Geof, I have a Bausch and Lomb Tessar IIb in a Volute shutter from 1903 which covers a lot more than the 4x5 I use it on. It is an extremely sharp (and contrasty) lens. I would not be surprised if you found your Protar to be a very good lens, although I have never used one. The Volute shutter is amazing in itself. The single iris in the lens does double duty as a shutter and aperture ring. I use a piece of surgical tubing and a rubber squeeze bulb for a shutter release. The whole aparatus is both beautiful and functional. Hope you enjoy yours! Robbie Bedell</p>