old school

<p>Sorry, I should have added that I primarily shoot Ilford HP5+, in Kodak HC-110, Or Ilford PanF+ in Ilford Perceptol, usinf Ilford Indicator Stop and Ilford Rapid fix, if anyone is making recommendations for equivalents in powder form. Thanks.</p>

<p>Hi, I was wondering if anyone had advice or experience of film photography in Qatar.<br>

I plan to take as much B&W film as I can for 35mm and 120.<br>

But does anyone know if its possible to get more there either through local shops, or delivered via internet?<br>

I was also hoping to (as I always do) process my own films, but was thinking that taking chemicals probably wasn't that practical (powder developer seems the most practical to take with me, Stop I can do without (using acetic acid - vinegar diluted?), but Fix seems to be the real stumbling block (are there any powder fixers?). I'm assuming carrying liquid chemicals in luggage is not practical, so does anyone know if its going to be possible to get chemicals out there either in local shops or via internet?<br>

Failing being able to process my own films, does anyone know of anywhere to get B&W film processed locally in Qatar or in the region?<br>

Many Thanks for any help. Regards Stuart.</p>

<p>I should have added that I use the Paterson tanks with the plastic reels, but hopefully that was obvious from the description of the method i use.</p>

<p>Yes you can process two 120 rolls on the same reel.<br>

Save the tape at the end of the first film (I peel it off film and backing paper slowly and stick it to the side of the plastic tank). Position the first film so its just past the ball bearings (usually when you feel the film go slack and know that its all on the reel). Then when you load the second film, once its passed the ball bearings, pull it with index and forefinger and lift ever so slightly - not enough to pull it out - but just enough so the leading edge of the second film passes over the first so you have a small overlap (5mm or so is enough).<br>

Take the saved tape and place it across the join. The join feels like a little valley where leading edge of second film is just curling and touching end of first film. I usually cut a cm of so off the tape before sticking so that positioning it at one side of the film isn't so critical. Then to get the tape to stick, just apply very gentle pressure over the join a few times (the double thickness of the film at this joint gives it a little more rigidity, enough to apply pressure to get the tape to stick. You should then be able to reel the second (or rather second half of your joined films) onto the reel in the usual way. By pulling the second film onto the reel and overlapping films slightly, you ensure that they are exactly in line and essentially now the same film, so that getting the remainder on the reel shouldnt pose any problems.<br>

I have found that the tape holds during dev, stop and fix, with the tape only coming off in the wash phase. Never had films over lap and ruin frames, or overlap and cause scratching/marks.<br>

The only word of caution is to remember volumes of liquid that are sufficient to process twice the ammount of film (but that maybe just because I develop using HC-110 dilution H and so have to make sure I have a large enough tank for the volume of dilute developer required). Hope this helps. The first few times I practiced with old films in the light, and then the first few "reel" times (excuse pun! :-) were a little fraught, but after that I use this method anytime I have more than two 120 films to process (it effectively cuts the time in half). good Luck.</p>

<p>The only information I've been able to find around the net is for the Kodak Panoram No.1. Given that the No.1 and the No.4 were (give or take a few years) ["The two earlier model Panoram Kodaks were the No. 4, available between 1899 and 1924, and the No. 1, available from 1900 until 1926" on <a href="http://www.vintagephoto.tv/panoram3a.shtml">http://www.vintagephoto.tv/panoram3a.shtml</a>] manufactured and sold at the same time and for roughly the same period. My guess was they would pretty much have the same shutter speed and aperture (I have no basis for this, just hope, as I have the details for the No.1).<br>

So despite a few different answers, the values given for the No.1, from the majority of people are using them actively, are for 1/50 slow and 1/100 fast, with aperture of f11 (I have also seen stated f14 but that seems a little strange)<br>

Paul is your guess based on using the No.4 or a gut feel? I have to admit that in comparison the mechanism for the No.4 does "feel/seem" a little more ponderous and sluggish than for the No.1 because of the additional size and extra distance the mechanism covers. Anyone else got any thoughts/guesses or observations using a No.4 to expose film?<br>

I feel the only way might be to expose some film and compare to a test using a none SLR, but even then it will be based on visual observation rather than any empirical measurement (I don't have densiometers or what ever would be needed)</p>

 

<p>Have been able to find guesstimates for the No.1 and No.3, but does anyone know (or have calculated/measured) the approximate shutter speeds (both fast and slow) and aperture setting for the Kodak Panoram No.4?<br>

If anyone posts a response and you agree or disagree please post and then we can either take a consesus, an average or work out a way to see which is correct.....<br>

Many Thanks<br>

Stuart</p>

<p>I've got several lubitels and sputniks (the stereo version of a lubitel). I always go for the Lubitel 166u as it has a better catch to hold the film door closed (166b might have to be taped as it has a catch that can be accidently caught and opened mid film). The 166u has a little rotating dial that locks the film door. Never had any light leaks or other problems with these cameras providing you are careful when loading/unloading film etc. The shutter release takes a little practice getting used to (as its small and fiddly or use a cable release) and get into a good practice of always winding on the film either always before or always after shooting (but be consistent which you chose) that way you avoid multiple or blank exposures where you wind on because you are not sure. I always wind on straight after a shot, as that is what you do when you finish a film... <br>

This picture <a href="http://www.photo.net/photo/5431421">http://www.photo.net/photo/5431421</a> was taken with one of my Lubitel 166us. I think it demonstrates that when the conditions are just right the lens "glows" and is the reason I love these cheap marvels (don't be put off by people calling them "toy" cameras - I think they are good/basic starter/cheap TLRs that can produce great results). Don't bother with 35mm insert for lubitel. Using 120 film and the full negative and cropping later is much easier,</p>

Any Kodak Panoram No.1 owners taken their Panoram No.1s apart and renovated/fixed them...Can any of you help me??<br /><br />Ive included numbers from the 693583 patent to try and help explain what I'm asking.

if you want to see (and print out) the patent for the Panoram mechanism which has some real nice drawings of all the parts, just go to <a href="http://patft.uspto.gov/" target="_blank">http://patft.uspto.gov</a> On the left side of the opening page there is a link that says "View Patent Full-Page Images" click on it and it will take you another page that has a box filled with 8 zeros at upper left and a button labeled "View Patent". Type 00693583 and look at the first two pages of diagrams.

I have a Panoram No.1 that swings the lens ok, but the shutter release(49) and shutter arm (48) is not engaging and holding the swinging arm(45), so basically as soon as the tension in the swing mechanism is enough to get past the light baffle between the rear of the lens and the film box, it swings.

The patent doesn't give any clues how the shutter arm 48 (deep breath....the end of which slots into a hole 47 in the swinging arm 45 and stops it from swinging until shutter button 49 is depressed, pushing shutter arm 48 down, out of hole 47 and letting lens 45 arm swing ) is tensioned up to hold into the swinging arm hole 47. Is it just the flexibility of the metal shutter arm itself? I can move the shutter arm up and down but it never seems to home/locate into any hole in the swing arm of the lens (without taking the camera apart I can't actually see 45 where 47 is located - its all very dark in there!) The only thing I have noticed is that the shutter button 49 isn't held in the shutter arm and therefore the shutter arm has moved a few millimeters towards the the lens pivot. Could this stop it engaging in the hole in the swing arm. If i loosen the screw holding the shutter arm can I slide the arm (48) back afew milimeters to this fix the problem (or is the screw held in ahole with no give/leeway)<br /><br />I can move the shutter arm 48 up and down so that it is either tight against the plate 31 or down a few millimeters (up is a little worrying as I would have thought it could only go up when the swing arm hole was in the correct place and the end of the arm could engage in the hole 47. Could it be the swing arm is too high for the shutter arm to engage, if so is it easy to adjust the height of the swing arm, and if so, how?

If I could tighten whatever holds the swing arm (45) so that it holds it tight against the plate (31) then that might then allow the shutter arm to engage in the hole 47 - but i can't see how I would tighten the few millimeters give in at the moment.

Otherwise could it be possible that the shutter arm 48 has got out of line with the line of the holes 47 (shown as line between 10 and 10 on Fig 4). I can't see how this could happen given the arm 48 is held by two screws) and the swing arm (45) is held on the pivot 41.<br /><br />So far I haven't had to take apart the camera, and am hoping i can make these adjustments that will correct the problem without major camera surgery, just keyhole fidling and adjustment. If I can't is it easy to take apart a few panels of the camera to access the top of the swing mechanism (as shown in figs 3 and 4) and if so which parts have you successfully taken apart and put together again?<br /><br />Any help would be very gratefully recieved!.<br /><br />Regards<br />Stuart

<br />Ive included numbers from the 693583 patent to try and help explain what I'm asking. The other Panoram patent for those that wish to see it is or 00689159

BTW If any Panoram owners are thinking that if they remove the brilliant view finder that will leave a small hole in the top case to access the top of the mechanism - don't - after removing four stubborn screws, two view finder lens, and two tiny shims holding the mirror in place, I found that the mirror is sitting on wood, and the whole view finder is built into the body of the camera walls, not just held above a hole in the outer casing....oh well - at least I got to clean the mirror and lenses of the view finder.

Sorry this should show you a few more examples (the passport camera goes under a few names 403, studio

express) Be careful when buying supplementary lenses as there are different diameter lenses out there!.

 

The Polaroid 403 Passport camera or the Pro-pack cameras use those films.

 

See http://www.rwhirled.com/landlist/landdcam-pack.htm and http://www.polaroid.com/service/userguides/photographic/miniportrait_203_403_ug.pdf

 

see for examples of the 403 images. I have the 403 and its great for portraits, parties and general experiements with polaroid peel apart.

I think you should shoot a roll with a camera that you know is correct. This film should be a repeating set of 7

images that are lit/controlled in a very specific way (i.e. are consistently repeatable) shot 5 times (35 exposures)

 

Then shoot the same series of images with your faulty camera with the ISO set to what you think will give you

the "correct" ISO or rather the ISO that gives the same exposure as the correct camera.

 

Then process the film from the correct camera "normally" and check you are happy you have normally exposed,

normally developed negs (you may want to process part of this film and then if necessary process another part of the

film slightly differently til you are perfectly happy).

 

Then cut the film from the incorrect camera into 5 equal parts (which will hopefully have most of the series of 7

images on each part). Develop each at same temperature, developer and agitation as the control film from the

correct camea, but vary the development time from minus 20%, minus 10%, Normal development time, plus 10%

and plus 20%. You can then compare these against the control set from the correct camera that you are happy with,

and you would then have the ISO for the incorrect camera and the development time, that gives you close

to "normally exposed and normally developed" negatives. You may have to repeat, changing the ISO on incorrect

camera or the "normal" time you develop and base the development variations from the incorrect camera on. I would

change only one of these variables at a time. You shouldn't have to repeat the control with the correct camera once

you are happy with the negs. You could keep repeating with finer and finer increments in the development time

depending how perfect you wanted to get the match.

When using dilution H, just be careful to include enough of the developer in your dilution for the number of films

you are processing. For instance a litre of developer at dilution H contains 15-16ml of the syrup. This is just

enough for 2 x 36exp 35mm films or 2 x 120 films. Don't be tempted, because you have a litre of developer to try

and develop 3 films in a 1 litre tank... Just thought I'd mention it as its an extra factor to take into account when

working with Dilution H.

I have an Oktomat, Supersampler and Action Sampler. From memory....I found the Oktomat produced too small an image (because you are fitting eight onto a 35mm negative). The Actionsampler was better in this respect, so the pictures are slightly better. The Supersampler had two speeds (slow and fast interval) which works better, but the panoramic format was more limiting for just a sequence of shots of a subject, however it does offer nice possibilities for moving and trying to cover one subject in the four slots of each picture - if that makes sense!. I can't remember but I don't think either of the others has the different speeds. The actionsampler has flash which makes it fun indoors and for parties etc (although people look a little dazed with the sudden volley of four flashes!). As for build - they are cheap, crappy, plastic, and probably way over priced but all of mine are still working if you treat them carefully....or at least don't drop them when throwing in the air for arial spinning shots! :-) I hope this helps a little. I have also seen another Japanese camera marketed for golfing enthusiasts that takes a sequence of 12 shots, so if the image size is less important than image size then that may be worth hunting down....

Have you considered trying to get one of the Diana clones. I managed to get a Porst Happy for one UK pound (so a few dollars including postage). It produces 6x6 has all the lo-fi, plastic camera "features" and isn't vastly over-priced like the others you mention. Also got an agfa clack about the same time - very similar/same to click but in 6x9. Just some more ideas....to make the decision even harder :-)

 

ps: I started in Medium Format with a Lubitel 166 which I still have and is a sort of half-way-house between "proper" MF and a toy camera.

If the purple negatives were fixed correctly (i.e. for a long enough time in fresh enough fix - and if they are clear this sounds likely) then you don't have to worry about the purple colour of your negatives. I seem to remember this is a UV sensitive dye that is used to control film speed. It either washes out (as you found with your last rolls) or fades with exposure to daylight. I found that leaving a sleeve of negs on a desk in a daylit room (not direct sunlight) for a few days is often enough for it to fade away. Having said that I don't think the purple of the negs has any effect on printing. I certainly wouldn't go to the bother of fixing/rewashing/drying cut strips of negs unless I really had to, as it all increases the risk of scratches, dust or water marks. I think the purple dye has been discussed here many times before, so a search of the archive may confirm all of the above.

But forty rolls definitely means your no longer a beginner! Great notes and really useful to pass this sort of stuff on.

After many hundred rolls I (for the moment) seem to have settled on Ilford HP5+, exposed at 200-320ASA and developed in HC110 H 20C for 8mins (pulling high contrast negs in a little bit -20%) or 10mins for flat to even light. Like you said dilution B can be a little quick at 5mins to be really consistent with the agitation. Re: the accurate measuring - either get a little syringe from a chemist/pharmacy or buy yourself a measuring cyclinder with 1ml divisions. I got a 30ml one and it makes mixing all those HC110 concentrate dilutions really easy. Regards Stuart.

Just a few small tips to add to the above. The 120 film is held to the backing paper using tape (like masking tape but stronger glue) Be careful and slow when peeling this off the film as you can kink or tear the film. Some people leave this tape on, and fold it over the end of the film, but you'll find it will come off when the chemicals go in the tank. I was always a little concerned having a piece of debris floating around in my tank during processing, so always remove it (but there is also a technique where you can use this tape to join two 120 films together on the same reel to process them in the tank at same time - useful when processing lots of films!).

 

The other tip, is with a little pair of scissors cutting a 2-3mm triangle of each corner of the end of film you are trying to load onto the reel always seems to really help. As with the tape make sure you take the triangles out the darkbag so you know they aren't in your tank, and liable to stick on the film and prevent processing etc.

 

You will find lots of other tips in other posts on this site.... things like always make sure your reels are bone dry, wash the reels of photoflow/wetting agent immediately after use etc. It seems daunting at first, but once you've done it a few times you'll soon get the hang of it....and then the fun starts with film/developer combinations, time, temperature, dilution and all the variables you can tweak and play with to control things. Good Luck.

To work out the minimum volume of syrup. Look on the bottle for the label that tells you how many films you can develop per Litre at each dilution. I think from memory its 4 films in 1 Litre at dilution B(1+32). You can then just divide the volume of syrup required to make that litre at that dilution (31ml) by 4 to give you approx 8ml of syrup required per film. Of course you may get away with less (some sites say "Be sure to use at least 6 mL of syrup per 135-36 or 120 roll of film") but at least this gives you an approximate minimum.

 

I have problems when developing three films in a tank at dilution H, as the volume of developer at 1+64 with a minimum of 8mL per each of 3 films =24mL gives a total volume of 1.5Litres, which exceeeds the capacity of the tank. You can just about squeeze enough in a 3 reel tank to do two films at dilution H. Dilution H definitely seems to be a good compromise, as it gives more time and allows you to easily adjust development (reduce or increase) times to suit the application. You can also adjust the agitation in different ways as well with the longer time. But I may be tempted to try dilution E so I can squeeze that third film into the tank.

Michael, would you recommend replacing the focus screen of the S2A? Does it make as much difference as some reports suggest? And how easy was it to do and then get everything aligned/focused/corrected again with the new foam? I've been thinking about doing it for a while but have just had troble choosing between prism, centre split with prism, large and small prism etc. I know alot of this is personal preference but what did you go for? Thanks Stuart.

Michael, I've recently been looking to find someone in the UK that could CLA my old S2A to try to ensure it works well for the foreseeable future (no current problems but i suspect the focus screen foam may be starting to go and so affect very fine close focus). Was also hoping to find someone who could change the focus screen if I bought one from Maxwell/Beattie etc (and at same time replace foam etc). I haven't contacted any of these, or found out yet if they would be able to CLA an S2A , or are even still in business etc, but you might like to try some of the following in the UK.

 

Bronica UK. Bronica Service Department Priors Way, Maidenhead, Berks SL6 2HR Tel: (Direct) 01628 799902 Fax: (Direct) 01628 799912 Please send your equipment to the above address and we will send an estimate of costs by return"

 

Interphoto Ltd., Priors Way, Maidenhead, Berks. SL6 2HR, Tel 01628 799902. The advert mentions free estimates within 48 hours & 6 months guarantee.

 

Bromley Camera Repairs, based in Chislehurst, Kent was established in 1986. http://www.bromleycamerarepairs.co.uk/

 

Camera Repair Centre. For an accurate estimate of the cost to repair your camera, please phone us on 01892 619136.

47 London Road, Southborough,

Tunbridge Wells,

Kent, TN4 0PB

Telephone: 01892 619136

Fax: 01892 540362

Opening Hours: 9am - 5.30pm Monday to Friday

9am - 1pm Saturday

(Closed 1pm - 2pm each day)

 

Camera Clinic

020 7602 7976

HEAD OFFICE: WEST END BRANCH:

26 North End Crescent,

West Kensington,

London,

W14 - 8TD

Phone: 020 7602 7976

Fax: 020 7602 7534 2nd Floor,

18 Great Portland Street,

London,

W1W-8QR

Phone: 020 7631 5224

Fax: 020 7631 5250

 

I would be interested to know if you find any of them that will CLA/service an S2A and what the approx cost is (and would save me a lot of the leg work :-)

Hi Mark, not a high view point, but the one that always took my breath away even after many years living in london, was as you turn off the IMAX roundabout at Waterloo and go across Waterloo bridge towards The Strand. That panorama from the bridge up and down the river is pretty spectacular. The other things that springs to mind, or places I always wanted to get views from are the gantry across the top of Tower bridge, from inside the London assembly building across to the tower and HMS Belfast, and from the top of Guys tower (the hospital in the South). There are aslo places like the old hartleys factory in Bermondsey that had a pretty good view from the roof, but is now in private hands as flats etc. All of the other suggestions are run by official organisations or trusts etc, and so I imagine getting official access might be easier than residential blocks or private buildings. Good Luck, and let us know when the project is completed. Stuart

Jacques, I've just had my first exhibition which was mostly black and white photographs from India and Nepal. You can see some thumb nails of the images at http://www.biscuitbox.co.uk/indiansummer.html

 

I was there Dec/Jan which was warm and dry but not too hot, so didn't have any problems with storing film etc. I shot roughly 1/3 black and white (HP5 and TMax400), 2/3 colour (Kodak Gold 200 or 400) but in hindsight i was most of the time actually taking black and white photos but with colour film!

 

The only filter I used was red for landscapes because I like those black skies when there are whispy clouds around. I print using wet chemistry so had to do a lot of experimenting learning the technique of printing black and white with colour negatives (on Ilford RC multigrade, as I couldn't get any kodak panalure). The best advice I can give for shooting is in the cities - get up really early and just wander around with the express intention of shooting lots and lots of film. Also don't be shy, if you are smiling and approach people they are happy to let you take pictures else you can do it fairly inconspicuously. Be prepared that you will be a curiousity and the kids nearly everyone is very friendly. Where necessary I was able to "ask" for permission first, occassionally it was in exchange for a few ruppees (especially saddhus etc). I usually shoot landscapes but India is definitely about the people. Although do be careful in sensitive areas like burning ghats or some temples.

 

If you have any specific questions or want to know anymore then please contact me.

And here's an example of mine...

 

http://d6d2h4gfvy8t8.cloudfront.net/3830528-lg.jpg

 

Its a project I'm currently doing on a local farm that has a small, old milking parlour - one of the last around - which is due to be replaced soon. Very dark with lots of very contrasty light when the sun comes up. Is a good example of the smooth grain and good mid tone detail....personally I like the blown highlights.

Recently pushed HP5+ to 3200 in Microphen with very pleasing results. Holds enough detail in the shadows, the midtones are very good, has a tendancy for the extremes to be blown/block up but thats what you'd expect with the increased contrast. Very good grain as well.

 

Definitely a combination i'll be using again...

 

if only the ISO dial on my SLRs went to 6400 or higher...I guess I'll just have to deliberately under expose by 1 stop when set on 3200 and treat it like the camera was set to 6400...

Since recieving the replies from D and Bill, on the slower shutter speed I have been keeping the stutter release or cable release fully depressed until the shutter has completed its travel. So far I have not had any reoccurence of the problem so am 99% certain that was the cause/solution.

 

I've also been taking a lot of pictures with the Horizon at night, and I belive that keeping the shutter depressed means I am holding the camera stiller. Try using this camera at night in well lit scenarios where there is lots of movement (on 1/2 f4-f5.6 or 1/8 if brighter) some of the movement effects are fantastic. And because the shutter is just exposing a narrow slit it is much easier to hand hold the camera on 1/2 sec than it would be say with a 35mm camera

I have had this problem with one or two reels (I think the ones I have bought new, as they are tighter and have less give). The causes have always been, either the ball bearing gets stuck, or the sides of the reel arent perfectly parallel. To correct the ball bearing problem, I spent a good 10-15 minutes just pushing the ball bearing into its recess (enough to enlarge it very slightly but not enough to break or deform the reel. I also made sure that the slope, where the ball bearing is to roll up and jam against film and reel to stop the film moving back the other way, was smooth. I did this very carefully with a sharp scapel knive by shaving off a very very fine amount on a little hump that meant the slope wasn't smooth. This seems to have worked well. On the other reel, as it is new, it is nice and tight and all fits together well, but is just slightly out of line (looking at the reel face-on so it looks like an 'H', the vertical spirals/sides aren't quite parallel). Again a little manipulation, just playing with the reel to build in a little more give seems to have worked well, and also when ever the film jams or gets really resistant to moving any further (both 35mm and 120) I find pulling or rather applying outward pressure to pull the spirals so the H is as wide as any give in the reel will allow, eases the problem and I can continue reeling the film on. I hope this helps.