jim_landecker

<p>The D is similar to the SP, with with the front standard being close to the 45-N. The basics, like opening the camera, are very similar. The DX, a wooden field camera, is quite different.</p>

<p><a href="http://www.cameramanuals.org/prof_pdf/wista_45_sp_vx.pdf">http://www.cameramanuals.org/prof_pdf/wista_45_sp_vx.pdf</a></p>

 

<p>Dave, that may be possible. It looks like the OP's lens splits at the point you have marked. It sounds like he was going to send it back, though, so we'll probably never know...</p>

<p>Unfortunately the ring is not slotted, as I don't think Rodenstock ever intended the lens to come apart this way. Attached is a photo of a Grandagon 90/6.8 rear cell showing an example of the separate ring.<img src="http://oneeighth.com/Grandagon%20Lens%20Cell/Grandagon-rear.jpg" alt="" /></p>

<p>"If the OP has turned the rear cell counterclockwise with such force that he has caused the bottom of the cell housing with the screw thread to fracture (which would take very high force indeed), then he certainly has a problem."</p>

<p>Looking at the pictures, I don't think this is the problem. Nothing has fractured and it's likely not corrosion. The WA Rodenstock lenses have an intermediate ring between lens housing and shutter, and I think the problem is that Sinar sometimes puts thread locking compound on the threads when they mount lenses to DB boards. When the OP tried to unscrew the rear cell, the thread on lens housing side broke free first, leaving the intermediate ring stuck in the board.<br>

<br>

</p>

<p>My Mamiya 7 lenses all focus past infinity...</p>

<p>Alan, if you don't mind me asking, what lens was it?</p>

<p>Quite a bit of BS there. 3D printing or "rapid prototyping" was around long before the Z-printer. Processes such as SLS (selective laser sintering) can produce much tougher parts (glass reinforced nylon) than the Z-printer. There are also sintering processes that can build parts directly out of metal. In the video, it was only the scanning that was claimed to be 40 micron accuracy - most of these processes build in .003"-.010" layers (76 - 250 microns). The parts can look pretty rough out of the machine and usually need hand sanding to smooth them. When I looked at Z-printer parts several years ago, the powder was some kind of starch that was infiltrated with a weak binder from the printhead, just to hold the part together. After coming out of the machine, the part needed to be soaked in cyanoacrylate (crazy glue) to make it strong. The advantages of the Z-printer are mainly that it can print fast and in color, and the machine is relatively cheap because the layer printing is based on inkjet technology. No doubt there will be processes in the future which allow us to make strong and accurate parts economically - today you can pick 2 of the 3.</p>

<p>I had the same issue with my Technikardan. I used a small jeweller's file to remove the paint and maybe a sliver of metal from the board in the interfering area. Some generic boards have required more filing.</p>

<p>Well, I just got a lightly used K-7 and am finding a similar front-focus problem with manual lenses. I also just tried to buy a Tamron 17-50/2.8 which front focused horribly - too far for the AF compensation to correct. I tried two other 17-50's in the store with the same results, and also on their demo K-7, with which the problem was not as bad but still there. Maybe this is just as much an issue with the Tamron lens as the body, but it's not too reassuring. I was thinking of sending my camera in to have it checked by Pentax. Since manual focus is a bit of a secondary function with these cameras, I wonder if the adjustability and QC of this aspect is not as good as it used to be with MF cameras.</p>

<p>It will fit in a Copal #1 (it's the 360 that fits a Copal #3), but you will have to make in aperture scale.</p>

<p>I think "engraved back" means a previous owner has engraved something on it for identification.</p>

<p>The purpose of the arrows is to warn you that the number is coming up, so you don't overshoot or miss it...</p>

<p>The lens lock is inside the bayonet diagonally up to the left from the release button. As far as I can figure out, the pin you're missing is to block an uncocked lens from going onto the bayonet, as well as serving to align the rotating key mechanism mounted from behind. As long as you mount the lens with it and the body cocked, it should still lock and work properly. The question is, was that pin there before your jam and how did it come out?</p>

<p>I routinely develop 2 rolls on Paterson reels. I spool the first roll into the reel, then push it along the spiral with my hand until I feel the end hit the end of the spiral. Then I spool the second roll on and stop just after the end of the film has passed the ball bearings. On rare occasions I'll get a little overlap, but it's usually on the clear leader of the film anyway.</p>

<p>Any decent camera repair shop should be able to find a screw that fits. It'll be a metric thread, probably in the range of 2-3mm. Plus you have a screw in the other side to take out and measure!</p>

<p>Using 220 in a 120 back isn't very practical for a few reasons.<br /> a. film thickness. The edges of the Bronica pressure plate (220 insert) have a small step to allow the plate to move inwards to compensate for the thinner 220 film. You could, as someone else mentioned, stick some backing paper to the pressure plate.<br /> b. the film counter. While you could reset the counter after 12 exposures by opening the back, you'll have to carry a film changing bag if you want to do this outside. Also, after you close the back and start winding again, the back will want to wind continuously for the length of what is normally the film leader, so you'll have no spacing and probably lose count of frames you've shot.<br /> c. Backs and inserts are so cheap these days, you might as well buy the correct one.<br /> Using 120 with a 220 insert is a little more practical because you avoid the frame counter issues, but winding can be a little stiff because of the thicker film plus backing paper. I have also modified the counter on some 220 backs to stop at 12 frames.</p>

<p>It's fairly well known that local or micro-contrast can be increased in photoshop by using unsharp mask, as is explained in <a href="http://www.luminous-landscape.com/tutorials/contrast-enhancement.shtml">this tutorial</a> . This is probably what the "clarify" filter that Lex mentioned is doing, and I believe has been incorporated in Lightroom and ACR as the "clarity" slider.</p>

<p>The shutter release operates via a simple electrical contact on a small circuit board under the release button. It would certainly be possible to run wires from this board to a switch, but you'd have to remove the top cover of the body to install the wires (and possibly a drill a hole to run the wires out). This could be done without compromising the normal function of the shutter release. There are also double cable releases for special applications such as macro bellows, like <a href="http://www.alanwood.net/photography/olympus/double-cable-release.html">this</a> . You can find these on ebay. Or you could probably rig up something yourself out of 2 cable releases.</p>

<p>If the winding interlock fails to release with only one lens, maybe there's a contact in the lens' shutter which is failing intermittently... probably best to have both lens and body checked out by a technician.</p>

No, it's not normal to have such a long delay. I'm assuming that your shutter speed is not set to 1 second or longer, because the red LED blinks only when the shutter closes. As you fire the camera, look through the front of the lens to confirm when the shutter is actually opening and closing. Remove the back and watch the secondary curtain that seals off the rear of the body. Does it rise at the same time as the mirror?

 

Remove the lens and fire the camera while watching the front of the camera body. There are 2 posts on a plate; one of them with a green dot. These posts trip the shutter mechanism and should move at the same time the mirror flips up. Try it using the mirror pre-release lever on the side of the body. When the mirror flips up, the posts will move and stop about 1/8" from their metal stops. Now press the shutter release and they will move against the stops with a click - is this the sound you're hearing after 1 second?

 

If everything seems ok there, you can check the shutter actuating mechanism on the lens. On the edge of the bayonet you'll find a small metal tab poking out, near where "Seiko" is engraved. Push the tab in with your fingernail or a pointy object until you can move the 2 posts on the back of the lens away from the green dots. The posts should move relatively freely until near the end of their travel, where you'll feel some resistance and the shutter will trip with a click. To reset the shutter, turn the posts back to the green dots, where they'll click into position. If the posts bind as you move them away from the green dots, this could be the source of your problem.

 

If all this checks out, I would guess that the problem may be electronic.

 

Jim

The shutter is crimped onto the pin on which it rotates, and over time it slips a around the pin a bit. I surmise this happens because the mirror bounces back off its foam damper and hits the shutter curtain at top of its swing. The fix is surprisingly simple: hold the axle still and push the curtain back around it.

The capacities given in the Kodak literature are very conservative - I've used 150ml per roll of 120 or 300ml per roll of 220, one-shot, with good results. Other discussions on pnet and elsewhere seem to bear this out as a reasonable amount. The best is to try it and see. For me, one-shot gives consistent results when processing small runs of film a couple of times a month in a Jobo...

If you can get the thing apart, take a pair of needle nose pliers, straighten out a short length of the spring

on the end where it broke, and then bend the little hook. It may be tricky to get back together, but worth a try

at least.

Here are two:<p><p>

 

GKing Photo - http://www.gkingphoto.com/ <p>

The Lab - http://www.thelabvancouver.com/

Sounds normal to me (speaking from experience with a 4990). The lamp stays on to keep warmed up and stable for subsequent scans. On some scanners you can set the auto turn-off time of the lamp.

If you're focusing by guesstimation and shooting handheld at wide aperture and possibly slow shutter speeds, I would guess that the extreme precision and craftsmanship aren't going to give you any better images than a Fotoman. If you're concerned about mounting the lens on the cone, you could go to a camera technician to have it installed and calibrated. The Fotoman has a nice straight film path without the reverse curl that other film backs have, so you should get good film flatness, and if the body is well machined (a camera technician could check that aspect too), you can expect pictures that are as sharp as the lens can produce. Otherwise, if you really want accurate focus combined with sharp lenses, the Mamiya 7 recommendation is sound advice (the 50mm is an awesome lens).