grain

You'll need a space, a desk by itself in a room by itself with tools and a good light. No cats!

As you look over the puzzle that is the camera, see what comes off easily from the top down.

Lay parts in the EXACT order from left to right that they are removed. Use a floppy refrigerator magnet to hold any ferrous parts or screws

that may roll, and a strip of double sided scotch tape to hold brass ones. Once they hit the floor you have to STOP EVERYTHING and

crawl, which stinks. Singer Sewing oil, in miniscule amounts, not on screws and fittings, only races and eccentrics, never on shutter parts

or gears. Tweezers and Small Screwdrivers a must. A film canister for parts that rattle like bearings and springs.

Never force anything, always try every possible gear and widget three or four times to see what it is actually doing.

In the case of this camera it is just going to be chalked up to a learning experience because Mamiya Sekor 35mm SLR's really stink, and

that's why you never see them much, the electronics go kaput and that''s that. Not even remotely worth saving when the same cash gets

you a working Spotmatic.

But for a teardown experience it might be fun, and yours may have different "issues". Good luck!

I don't know what hardware you're using, but if you have a Mac get an account and use iWeb. It's easy to use and looks like this when you're done:

http://silverimagelimited.com/incorrigible/Blog/Blog.html

...Heat it up.

12 minutes at 75 f.

(19 min at 68 f. which I have used, extrapolated with a time temp chart)

Grain is a function of time and the faster you can develop something the less grainy it is.

Heating it up should help, but your contrast curve will be steeper.

Good luck, don't be afraid to experiment!

The Canonet QL 1.7 GIII is the nicest little tank to carry around for street shots, with

40mm 1.7 it's about perfect. Neopan SS from Fuji is about the nicest cheapest film out

there. An investment in a dark bag, tank and some chemistry will save you a LOT of

money by making your own negatives and provides more control. Easily pays for itself in

five rolls vs. sending it out.

Cheers!

Keep B&W alive!

silverimagelimited.com<div></div>

Just to let this run its course:

I'm a large fat hairy man. Bearded, long hippie-like hair (no, I'm not a hippie) and

bohemian dress. Profile: Pizza addict.

Put a camera around my neck and I'm a overt sexual deviant shutterbug with a lust for

carhart pants. No, it doesn't make sense to me either.

100% of people who know nothing about cameras approach me and ask of my 80's

vintage A1 fleet; "Are they digital?". I've half a mind to take a bunch of snaps with my

littlle 4mp point & shoot, my only digital camera, of a dachshund playing with a

squeaky toy or some such. I've got a 32mb chip I can spare and carry it in my bag.

"Yes officer I understand this is a highly strategic area here at Karls Sausage Kitchen.

(They're all Germans here you know). I want to cooperate fully.

*Palm the sd chip as if to be removing it from the side of the A1*

Here are all my digital images. Thank you for stopping me from harming more innocent

bratwurst customers, really, thanks!"

We should remember to have fun and embarrass these people whenever possible.

Technology exists for a person with a DSLR to roam the planet, and have no on board

storage. None.

Instead, an uplink to a Cellular Tower or even a Satellite enables the camera to send

every image direct to the internet to be stored in cyberspace. It's coming, and very,

very soon.

I give it three years or less until every news photographer is so equipped. And another

five to seven years before that gear is available to the common man. When that day

comes, and it will be in our lifetimes, such scenarios will go down quite differently:

"Yes officer, I was taking photo's. Of course you can see them, here's the url:

subwaysluts.com. Oh, and it's $1.00 a second to log in. I accept Pay-Pal."

It's coming, and for the most part it's already here.

One in five cellular telephones doesn't contain a camera. Almost everyone has a cell.

So in a crowd of 10,000 there are potentially 8,000 cameras. Of those maybe 2% are

iPhones with direct uplink subscriptions to .mac accounts. That's 160 photographers

in a city crowd with the capability I describe, today.

It's going to make the whole argument obsolete, and I for one can hardly wait. Maybe

they'll stop bothering people with real cameras.

"Never try to teach a pig to sing; it wastes your time and it annoys the pig."

Robert Heinlein

If anyone has a copy of the British Journal of Photography Annual 1976, on the bottom of

page 74 is a photo by Daniel Meadows which says more than I can express about the

intellectualization of art. I haven't permission to reproduce it here, sorry.

I'll stick to my others, since it is so that as sharp as it may be it's not able to resolve due to

the migration process polaroid (now fuji) uses for pack film. Still. I do think it's a cool idea.

If there's a brighter finder than in the 350/360 I'd be amazed. It's a zeiss product on those.

Thanks for the responses.

The finest name in plastic tanks that suck. They do not agitate evenly and they retain

traces of old chemistry in the grooves even after repeated rinsing.

End your headaches and go with stainless steel tanks and spiral reels.

I only just now became aware of the Polaroid 180. I have owned and used the 250, 350 and 360

models for many years now. I go to the trouble of soldering in the L-123 batteries myself, since the

alkaline bi-post type is really too expensive and short lived. Control of the light intake is pretty fool

proof and I haven't had to touch the L/D dials in years. As far as I can tell, the shutter is the only

difference. The Tominon is coated for color but so are the GE made zeiss clones on the 350 etc. The

synch in the 350 is X, but you have to stuff an angled chunk of stiff paper in the slot next to the pc

socket to fool it into firing-not really a problem. Optical slaves work with the strobe on the 360. My

question is this: What makes that shutter worth many MANY hundreds of dollars? I see auction listings

where the 180 begins at <$500! The most I have ever spent was $35 for the 360 kit with charger, and

a $40 replacement for the Ni-Cad cell within it. So why is the shutter alone worth more than $425? is it

THAT good?

Marian at Dorian Color Lab will answer any questions you may have.

Easy to find, and an excuse to get in the same end of Mass Ave that New England Photo is on.

They're about the oldest most well equipped shop in the state.

That's not a lot to go on.

1. Are you solarizing film, or the print.

2. Are you using a hyperactive developer like solarol?

3. Is your instructor aware of the difference between solarisation and the sabattier effect?

3a. Do they care if you are?

To quote Dr. Evil: "Throw us a freakin' bone here!"

I always add the suffix nib to any searches for cameras, so as to find new in box examples.

Have 3 A-1's so far. I advise not to worry about who's making what and get what you like to

use in multiples on line. In todays dollars three New A-1's cost about what one did in 1988.

Really: Why worry?

This winter I geared up with 2 Mamiya 645 bodies, a 55, an 80 and a 150, an AE Prism and a

WL finder, for under a grand.

What a great find, and it was obviously a great camera that was used. Do they seem cut

from 120 or are they sheets of 2 1/4 3 1/4? Measure them each on two sides and it will

narrow that down. Could even be 6X9cm proper.

There were far more models out there than the vest pocket. If the camera survived, that's

the real icing on the cake. Could as well have been a recomar 18. We'll agree probably a

kodak.

I use a file sized fire safe. I never store in a basement or garage, and I too use clear-file

(the best).

I would encourage real prints be made as soon as possible, with y'know, enlargers and

stuff.

Good luck!

Last line should read f-11, 15 seconds. ID-11, 1:3, 80 Degrees Fahrenheit, 9min 45sec.

PDN's html doesn't like Mac key options I guess.

...But the great yellow father has turned his face away from his children. Stick to Fuji.

Neopan SS gave me this last week:

Neopan SS, ?11 15seconds.

ID-11 1:3 80˚f 9:45sec.<div></div>

An integral part of any photographer's kit. Can turn a sky filter into a beautiful diffuser in

seconds without damaging the filter. Give the camera an 'eskimo kiss'. Scribbling crossed

lines into the grease with a fingernail you can produce a passable star filter, and by

smearing just the outer edges: a clear center spot diffuser.

Makes the rails run smoother on a view camera. Makes sheet film dark slides slide better.

1001 uses.

Cheers!

A

The kit offered on e-bay has served me well. Six bodies I got for a song were all squeaky,

now all fine, and really FINE. It works. It is NOT difficult if you're at all adept with camera

repairs. It doesn't require a top-off strip, just the front standard cowling and one lug bolt.

Once I got the hang of it I timed myself and accomplished the last, an AE-1 Program, in

under 4 minutes open to close. Follow the instructions and don't get oil anywhere but

where it needs to go and you'll be fine.

Most municipal water supplies have some chlorine, iron and other stuff you don't want in

your developer solutions. Next time you're at the store buy a couple of gallons of

Distilled (not 'pure' or 'spring') water. Use it to mix all stock solutions.

Also, buy a funnel with a screen filter, and some cheap cone paper coffee filters (#4). Your local Natural Foods Store (the one around the corner...you DO live in SF, right?) will

have smaller amber bottles. Make a gallon of stock, filter funnel it into four 500ml amber

bottles, topping off all but one.After making solutions up with distilled water, pour them

into the bottles through the filter cone.

Label them with Date mixed, and work from the one that has air space in it. The other

three, when topped off with NO AIR at all, will last many times longer than what you've

been getting using tap water and big bottles.

I'm the sort of guy that gets really mad when a roll of film/print is destroyed because the

chemistry was contaminated or oxidized before its time. These are the habits I follow to

make sure it never happens. Good luck.

forgot: Ladies have no such a thing as 'nose grease'. Try a clear hand lotion like eucerin or

nutragena to grease the spool edges.

I've had two of these and they all do it. Here's the solution:

Before loading, lubricate the edges of both ends of the take up and delivery spools with

nose grease. (or whatever is handy about the same viscosity).

Why it happens: time marches on!

In the days these were made (30's 40's) 120 came on METAL spools with super smooth

metal edges to the spool ends, that didn't jam up.

Half the problem can be solved by getting hold of some of those old metal spools and

using them in the takeup position. If you're really feeling tricky and have a spare hour, go

into a darkroom and re-spool the 120 onto the metal spool, use metal ones for both

delivery and takeup and problem will never happen again.

Cheers, A.

Are you rushing or taking your time?

If the latter it doesn't pay to skimp.

I bring at least two 35mm SLR bodies, and their friends:

24, 35, 50, 85, 135, 200. All primes, sharper.

Polarizer, Yellow 1.5, Fog 3.

20" Cable Release

A nice tripod and a Nice Backpack.

I own a couple zoom lenses that were given to me over the years, but they're nothing I

ever use. I don't want to get back from a long trip to find that the images can't keep up

with my enlarger.

If I had to bring only one lens on one body it would be the 35 on a mechanical SLR like

an FTB or K1000.

My 2 cents.

Hello all,

I just got a nice second hand Novatron 660 with four heads and stands etc.

Last spring, while I was foolishly living in Lowell Ma, my Minolta Auto IV was adopted by 'ricans along

with my Crown Graphic and more.

I'm looking to get another flash meter, and I see some on auctions now that would do.

Any advice on a dirt cheap and simple flash meter that works?

(Already have a Luna Pro and a Master II for ambient light)

Thanks, A.

There's no place left that won't cook it in 75 degree tmax.

Wait it out, do it at home. Nobody's developed film for me in over ten years.

I wouldn't think of it.

Not that I'm perfect, but if I screw up I have me to blame only.