Andrew in Austin

<p>The only roll film camera that I know of that fits this description is a Seagull 203 with range-finder focusing.   It had two swinging doors on the film plane to convert the camera from a 6x6 to a 645 format.   Definitely, several steps above the humble Holga, but not quite a Super Ikonta.</p>

 

<p>It can be viewed at <a href="http://medfmt.8k.com/mf/sg/">http://medfmt.8k.com/mf/sg/</a>.</p>

The second sentence of my above post should read, "I personally would <u>not</u> want to kluge..............

The Zeiss-Ikon 533/16 Super Ikonta is a mechanical marvel in its own right. I personally would want to kluge an experiment onto what is a superbly engineered medium format folder. According to Mark Hanson, the film counter alone has 40 different parts.

 

Yes the build limits the size of the lens.

 

The physical diameter of the 105mm elements is larger than the 80mm lens. Hence, the thread size for the lens element has a smaller diameter on the 533/16's shutter assembly than it would be for a 6x9 camera. The Compur shutters for a 6x9 also require a larger mounting hole in the front stardard as well. So a wider front standard would be required. Lastly, a longer door/support platform and bellows will be inorder, as well.

 

Once you get use to the square format, 6x6 takes on a beauty all of its own. I have a 6x9 folder and rarely use it, although it can yield a rich 9" by 14" print on 11" by 14" paper.

 

If you need a medium format with a variety of focal lengths, try a Mamiya 330. It's a bulky TLR, but it still has bellows.

In case your German is a bit rusty, you'll have to click on the "Kameras," link to get to the filter chart.

I just look it up on the Classic Camera <a href="http://home.t-online.de/home/tigin/camindexd.html?http://home.t-online.de/home/tigin/diam.html">web site</a>. I couldn't tell if they're push-on or threaded.

Just use a number 2 Melitta cone shaped filter holder and a paper coffee filter to remove any of the particulate matter as you pour the solution into your bottles. As mentioned, I'm sure 99.99% of the D-76 from the package will be in solution.

<p>Keep in mind that can be recorded on film and what is pleasing when viewing the print aren't always the same. In other words, after you've exposed the negative, you still have the second step of exposing photographic paper.</p>

 

<p>My guess is even if you over expose a color negative by one or two stops, you'll still have 7 stops recorded on film. Of which, 4 to 5 stops show up as well exposed when the print is made on an automated minilab printer.</p>

 

<p>On the other hand, if you <u>under</u> expose a color negative, then the exposure may actually suffer a decrease with regards tp the useable dynamic range recorded on the neg.</p>

 

<p>With black and white, I can do my own printing. Consequently, with a traditional optical enlarger one has the option expose a little wider dynamic range onto the final print by either burning or dodging.</p>

 

<p>This last bit of info may be technically obsolete, because there are digital printers that use CRT's to transfer the image from the negative to the print after doing a digital scan. In this case, dodging should be achievable by manipulating the scanned image.</p>

<p>Before you buy the Autocollimator, there is method for checking the focus setting at infinity called back sighting.</p>

 

<p>Check out Rick Oleson's web site. You'll find the method listed as "Bringing infinity indoors". It's listed at the bottom of the following web page.</p>

 

<a href="http://rick_oleson.tripod.com/index-27.html">http://rick_oleson.tripod.com/index-27.html</a>

Evan, better minilabs stock a paper cassette loaded with Kodak Portra, which is designed to print B&W with RA-4 chemistry. - Don't blame the film -

Check with a camera shop in your area. Tell the clerk that you're doing an art project with the Holga and you need some recommendations with regards to affordable processing.

 

Don't forget to fix the light leaks on the Holga with some duct tape, unless that is part of the look you are striving to achieve. Do a google search and I'm sure you'll find quite a few do-it-yourself modifications for Holga.

 

If all else fails, the Porter's idea sounds like a winner to me.

Pedro, to get a handle on dpi, you'll need to factor that an inch is 2.54 cm. - So 2400 dpi is 2400 d per 2.54 cm (or) 944 dp/cm. -

 

I did a rough calculation for a 645 neg at 1800 dpi. I'm assuming that the true resolution of the Epson Perfection 3200 is no more than that for film.

 

Approximating on the consevative side, as I always do, that's 4000 x 3000.

 

If you're using a 645 negative, then that's good enough for a A1, (8"by10") print with some wiggle room to spare.

A Rollei 35 S with a Gossen Digisix lightmeter. As mentioned, the Rollei comes with superb optics and it's a compact package.

 

If you want a pocketable medium format, then either a Voigtlander Perkeo II with a Color Skopar or an Agfa Isolette III with a Solinar are fun to use. Do note, if you are used to Zeiss glass, especially the Planar, the Skopar and Solinar lenses perform are at their with a lens hood at f/8 to f/11.

Igor as you turn the winder knob, use the lever on the camera back to open the red window for viewing the frame numbers and stop turning the knob when the number appears in the window. When you release the lever on the film back the red viewing window will be closed. So you'll need to hold it in the open position as you wind the film advance knob.

 

8 frames is all you'll get out of a roll of 120 film. Fuji Acros 100 uses a white paper backing and dark bold lettering that makes the frame numbers much easier to see. After exposure 8 use the red viewing window as you roll the film advance knob until the paper disappears.

<p>Hello Richard,</p>

 

<p>If yours is broken, I have a spare winder from a parts 35RC that I'll let go for $5 with postage.</p>

 

<p>The good news is you'll never have this problem with a medium format camera.</p>

 

<p>Cordially,</p>

 

<p>Andrew Yue<br>

<a href="http://www.ph.utexas.edu/~yue/misc/rangfndr.html" target="_blank" class="slink">My Olympus 35 Web Page</a></p>

I try to keep it simple, so I'll bring along Rollei 35 SE in a belt pouch. I doubt if it's sufficient for professional photography, but it's unobtrusive and quiet.

Print the images from Rick Oleson's web site, they're great.

 

With regard to a do-it-yourself pin spanner, buy a couple of Staetler drafting compasses and install the two steel pivot pins onto one of the compasses. The Staetler drafting compass has a nice fine thread adjuster which to adjust the width of the pins.

 

To remove the self-timer screw, it must be turned CLOCKWISE!

 

The screw on the shutter speed dial can be removed in the normal anticlockwise manner.

 

I've used jeweler's tweezers in the past as a pin-spanner. They tend to slip, scratching the face of the pin screws. I find that substituting a compass for pin spanner to be far more secure than tweezers.

My post should read, it's easy to test the variance in your reflective meter readings with regards to different colored objects.

<P>I often have to rely on the "Sunny 16 Rule" with a couple of old medium format cameras and a Rollei 35, that has a light meter, but is easily fooled by back-lit subjects.</P>

 

<P>It's test the variance in meter reflective meter readings with regard to objects of different colors. In fact I just step out into the noon day sun with three different color cards and a Gossen Digisix meter to make sure that the "Sunny 16 Rule" works.</p>

 

<p>Here are the readings:</br>

<ul><li><b>EV 13 2/3</b> with an imperfect Black matte board</li>

<li><b>EV 15</b> with an 18% Gray Card</li>

<li><b>EV 17 1/3</b> with a White matte board.</li>

</ul>

 

<p>Off course a normal scene will have objects with different luminences and in the noon day sun shadow contrast is enhanced a bit.</p>

It wouldn't be the first time a 1 hour photo lab missed the mark. The operator doesn't have time to set the filtration to all 24 or 36 frames. If the filtration is off in a particular frame, the effect can usually be clearly seen in the shaded or neutral colored areas of the frame.

<p>Doh! MEA CULPA! The info I just posted is TOTALLY wrong for printing color negatives. In fact, it's completely bass ackwards.</p>

 

<p>To <u>remove</u> a color cast you <u>subtract</u> <u>filtration</u>.</p>

 

<p>To subtract cyan, you would preferably <u>decrease</u> the magenta and yellow filter densities equally in .05 steps until the cyan cast is removed.</p>

 

<p>Equal parts of magenta and yellow are the compliments of cyan. I'm assuming that the cyan filtration was set to zero for the origninal print.</p>

 

<p>Disregard my first post, which would have worked for Cibachrome, but not much else.</p>

Sean, your question refers to both scans and prints. If you are referring to a traditional color print made with an enlarger on color RA-4 type paper, then the filter pack is off.

 

When figuring the filter correction for a particular negative if you wish to remove a color cast you add that color. It's counter intuitive.

 

Therefore to subtract a cyan cast in the final print you either a) add cyan filtration in small steps or b) add both magenta and yellow filtration in small steps. When magenta and yellow are added equally its essentially the same as increasing the cyan filtration.

 

Whenever you add filtration, you may have to open the aperture of the enlarger lens by a half stop or more.

I use either a medium or light yellow for people and reserve the orange for landscapes. The orange filter really brings out the contrast of the clouds.

 

The red filter is a bit much, unless its the middle of a bright sunny day in the desert. You also lose three stops of light with a red filter.

 

I bought my entire collection of filters for the 35RC off of evil-bay. Hoya polarizers come up for auction from time to time as well. They are a bit of a rough fit. I believe the film speed adjuster rubs against the inner element of the polarizer when the filter is screwed all the way down. So, I leave it a bit loose.

<p>I don't know about London, but Luton Camera Service offers reputable repair services for Olympus fixed-lens rangefinder cameras.</p>

 

<p>Luton Camera Repair Services Ltd.<br>

49, Guildford Street <br>

Luton LU1 2NJ England </P>

<br>

(Telephone): 01582 458 323 <br>

(email): service@lutoncameras.co.uk <br>

(web): http://www.lutoncameras.co.uk

I bought a the Digisix last December. Although, I have some quibbles about its modern design, mainly the button pushing to change the ISO setting, but the Digisix works great and has earned its keep when shooting with my 50 year old medium format cameras. It is very convenient bring along.

 

The Digisix replaces my 30 year old Luna Pro that still works like a charm as well. I have found the count down timer to be handy for print washing, which I do in a different room from my enlarging. The Luna Pro and enlarging attachment now reside in the darkroom.

 

The shoe adapter, which is optional, is poorly designed. On my Super Isolette, for example, the meter sits too far back and is inconvenient to use. Besides having the meter dig into my forehead, what makes the shoe adapter impractical is one must push a button at the top of the meter, then lower the camera to read the LCD panel and rotate the dial. Since, one is essentially using the mounted Digisix as a handheld meter, I don't see any advantage to mounting to the camera at all.

Lindsay, I hope that 65 to 80 pounds was for a complete cleaning, lube and adjustment of the meter to use silver oxide batteries.

 

I've replace the light seals on three cameras and mirror pads on another. It's worth the effort. You not only seal out light, but dust as well. On the RC be sure to remove the pressure plate that holds the film flat, which will give you more room to work.

 

7 bucks for a precut kit, that's a good deal. Cutting the new seals is the hardest part of the operation.