old school

Hi

 

Just got stung on ebay for a Kodak 3A which I thought would be "fit

for purpose" and hence working, but has a diaphragm where the blades

are all over the place. All the blades seem to have come out of

where they should sit and one looks decidely bent (haven't opened

the shutter/lens unit yet). Has anyone any experience of taking the

shutter/lens/diaphragm unit apart and fixing the aperature? It looks

like the blades have a small peg that fits into a slot in a ring

that rotates and moves the blades across the opening either reducing

or enlarging the aperature. Is it as simple as straightening the

bent blade, slotting them all back into their slots (assuming all

parts are there and someone hasn't opened it up and tried to fix it

and lost pieces) and sealing the unit again? or am I being naive.

 

As an alternative has anyone ever replace the lens/shutter unit on a

Kodak 3A folder with a unit from another 3A camera? Is this as

simple as undoing the right screws etc...?

 

Any help/advice/experience would be very useful. For info it is a

Rapid Rectilinear Bausch & Lomb Lens with f4-128, with ball bearing

shutter (T,B,I). Just out of interest what is the Instant shutter

speed equivalent to?

 

Regards

 

Stuart

I recently processed my first two films of Ilford Delta 3200. I did the test with the film leader in the fix, and it cleared after about 2 mins, so I fixed for 5mins just to be sure. After washing drying and cutting the negs they too seemed to have a slightly purple haze to them. I went back to the test (which was still wet) and it looked clear. I then washed and dried the test the same way as I had the entire film, and it too had a slight purple haze to it. When asking around, a few others who have used the same film report the same look. So in my experience the 3200 may be fine and may just be a characteristic of the emulsion/film. Others may confirm this. Haven't had the same thing with HP5 and I tend to use fix below its capacity (24 films for a litre, so after 10 films for a half litre I usually mix up a new batch).

Has anyone modified one of the old kodak 3A Folding Cameras (as

described in http://medfmt.8k.com/mf/postcard.html) to use 120 Film

giving a 6x14 or similar negative. If so, could you share your

experiences, how you made the film conversion, problems etc, and do

you have any example photos to share of both your conversion and any

results you have gotten from the converted camera. I am thinking of

buying one of these cameras and doing the conversion, but would like

to see that it will be worth it and learn from others experiences.

 

Many Thanks

 

Stuart

Peter

 

Have a look at Bob Monagha's comprehensive and eclectic site. See http://medfmt.8k.com/bronfb.html for specific details on the types of film backs available. The whole site (http://medfmt.8k.com/) is excellent for both medium format and specifically for S2, S2A and EC Bronicas.

 

Hope this helps.

 

Stuart

Hi All

 

I am interested in the old Kodak Folding cameras (see an article on

http://medfmt.8k.com/mf/postcard.html) and converting the roll film

cameras to take 120. Although this will give me negative sizes

between 3 1/2 and 7 inches wide depending on what model, I cannot

find any information on lenses with these old cameras. In particular

I would like to know their focal lengths and their equivalent 35mm

focal lengths. Can anyone point me towards a website or provide me

with information on the following models.

 

Kodak No. 3A Folding Pocket Models C and B4 (122 Film)

Kodak No. 1A Folding Pocket Model B, No. 3 Hawkeye Model 5 (118 Film)

Kodak No. 4 (123 4x5 roll Film)

Kodak No. 5 (112? 7x5 film)

 

Many Thanks.

 

Stuart

 

PS: If anyone has done such a conversion and has any tips/tricks or

interesting lessons in converting these old folders for 120 roll

film, I would be very grateful.

Have you tried taking a similar movie such as 21 Grams, Momento or Amores Perros (btw if you like cinematography in 21 Grams you will love the 3rd section of Amores on the tramp - very beautiful) get hold of a storyboard or breakdown of each scene and then pick a screen shot or a few shots that convey all the meaning/story purpose of that scene. Put them all together and see if the meaning is still there...

 

Thinking about it, you would get a result very similar to a series of photos that J.H.Lartigue took of the lunar landings off of his television set...however the meaning might only be present in these as we are all so familiar with those images and what they mean/the sequence of actions that unfolded.

 

I suspect this idea may only work on stories where there are two or at most three independent threads that eventually come together at the end. I think most digital photographers just keep the finger on the trigger producing streams and streams of sequenced photos, so they already do this...even if they are really only trying to get one "good" shot that us emulsion dinosaurs actually think about, plan and then and only then take at the appropriate time.

Robert, how does the Jobo clip work? does it clip to the reel or the film?

David, I am asking about two 120 films on the same reel. I think the main problem I can foresee is when the first film passes the ballbearings on the reel and so is no longer being pushed on the reel. The only two methods I can think of are 1) to manually push the first film further onto reel once past ballbearings, but with this comes the possible danger of kinking the film or damaging the lower layer of film with my finger as I push the trailing edge of the film, or 2) taping the two films at the join (maybe even use the tape that attaches the film to the backing paper?) but wasn't sure what the chemicals will do to this or other tapes. Anyone with any experience of doing this? or anyone who has tried the back to back method?

 

As a rule of thumb when working out chemical quantities to ensure that the developer doesn't become exhausted during development (processing two 120 films instead of one) should I stick to the same volume of chemical to film area ratio that I use for 35mm (or should there be enough spare capacity in the developer i.e. that the volume suggested on the tank for each film size is to ensure full film coverage in the tank rather than to avoid exhaustion of the developer?

 

Thanks

 

Stuart

As its possible to process a 220 film on a universal reel, and a 220

film is approximately twice the length of a 120 film, it must be

possible to fit two 120 reels on a single reel. Does anyone do this

(to double the number of films processed in same quantity of

chemicals) and if so, is there an obvious/easy technique for getting

both films on the reel without one overlapping the other, and how do

you subsequently get them off.

 

Thanks

 

Stuart

I was wondering if anyone could tell me if I did the right thing or

whether they would have done something differently.

 

I was photographing in available light with a roll of 35mm HP5+

ASA400. The light (through diffused curtain was changing) so when I

started photographing I had just enough light (handheld) but this

changed after only a few frames. I was photographing very close up

abstract shots of skin. I would normally place the skin on Zone VI

(which it was to begin with. at max ap. f=2.8 at s=1/60 or 1/30 the

slowest I can hand hold) but this had to become Zone V after the

light dropped slightly. The shadows in these shots are not important

(i.e. if I lost a little detail it wouldn't matter) so instead of

Pushing the film to give me an extra stop or two (and a possible loss

of quality in doing so?) I decided to carry on exposing with the skin

at Zone V (with the first few frames not being same as most of the

rest of the reel) and then gave an approximate N+1 (i.e. 25%

increase) in development. As I understand it, my shadows would stay

where they were ZoneII and ZoneIII, but the skin tones would be

lifted a little perhaps from ZoneV to VI. Do you think I did the

right thing? If I'd pushed the film the shadows would have been

lifted by the same amount as the highlights and I would have had to

do more to control this when printing. As I can see I separated the

shadows and important highlights by more than normal processing or

pushing the film would have allowed.

 

Any comments or suggestions would be great.

 

Stuart

Just wanted to add that the service I recieved from Koh's was fantastic. Really helpful, friendly and quick. I placed the order on a Friday and they arrived in the UK on Monday morning. From this experience, I highly recommend using them in future (no relation/connection just a happy customer). Thanks again to everyone who pointed me in that direction.

 

Stuart

Hi All

 

I think I pretty much understand the zone system, and how there are

some scenes where you place the important shadows on ZIII but that

the important highlights you want are placed either above or below

the desired zone. You can then determine to use (a specific roll of)

film and develop N-1 or N+1 as appropriate (if Normal development

doesn't fit your interpretation).

 

The thing I'm trying to work out is how do I do N-1 or N+1. I don't

have a densiometer and I didn't understand how to calculate N and N-

1, N+1 in Adam's "The Negative". If my usual film/developer is

currently IlfordHP5+ and Ilfosol-S1+4 for 7 mins, is there any easy

way or manufacturer published times for N-1, N+1? Or can anyone give

a dummies guide to calculating N+1, N-1 without the use of

densiometers and the like? Go easy on me, I'm new to film processing,

but I'll understand if you speak slowly and in the words of a

child! :-)

 

Many Thanks

 

Stuart

Can anyone tell me if it is possible to load spare film inserts with

film outside of the film backs and have them ready to drop into the

film backs when the film in the backs has been fully exposed? (i.e.

swap with the inserts in the backs) I.e. if I have two backs with

inserts, and two separate inserts, can I effectively have four rolls

of film ready to load/use.

 

Hope I've explained myself clearly enough. Many Thanks

 

Stuart

Thank you both. The Koh's camera darkslide is the one I am after and is compatible with the later S2 and all S2As with serial number greater than 81***. Thanks for your help.

 

Stuart

Can anyone tell me if this item from Adorama

 

http://www.adorama.com/BRDSFBS.html?searchinfo=dark%20slide&item_no=23

 

Is the correct replacement dark slide for Bronica s2a film backs??

 

Many Thanks

 

Stuart.

Hurrah! Processed first film! and all the negs are developed nicely (or as well

as I exposed them). Thanks for all the advice. In the end I lifted the film by

bending cross ways slightly, so that it came off the reel just before it went back

against the ball bearings, and then slippery as an eel it just pulled right out.

 

Clip on one end and then on the other as it came free of the reel and it hung

straight and no curl. Thanks again for all the advice. All the techniques will

come in handy when I hit that first film that snags.

 

Now to add to my mantra "film is cheap".."processing film yourself is cheap - or

at least a lot quicker than waiting a week!"

 

Thanks everyone.

Maybe its just cos I've been practicing with dry, but it didn't slide back past the two ball bearings very easily. Just past them on the reel there is an area where the slot is deeper on both sides. I found it easiest to pull the film out at this point, by-passing the ball bearings and requiring only a slight traverse bend in the film for it to come out. does this sound right.

Hi All

 

Planning to develop/process my first film in the next few days. I

have all the equipment and chemicals, and so thought I would practice

and dry run the procedure. So, both first out of the changing bag and

then inside, I have been practicing with some old films, removing

film from the can, winding it onto plastic reel, putting reel in tank

and sealing etc...

 

Only thing that I can't find an easy way to do, or do without a

worrying amount of force or a potentially damaging curling/bending of

the film, is removing the film from the reel. Do I just pull it off,

and if so how, is there some specific technique that I am missing?

Any tips from your own experience would be welcomed.

 

Thanks Stuart

Hi All

 

I finally found a source of circular 72mm and 77mm graduated ND

filters in the UK. The supplier offers them in graduated 0.3ND (1

stop), 0.6ND (2 stops), 0.9ND (3 stops) or 1.2ND (4 stops).

 

I need this filter for landscape photography where the sky is often

significantly brighter than the scene below the horizon. The thing I

can't work out is which of the above would (in most/average

situations) be the most useful? I can only afford to buy one filter,

and am guessing that either the 2 stop or 3 stop is most likely to

fit most scenes where needed. I'm also guessing that going darker

(i.e. 3 stops) is going to preserve more detail in the sky that can

be lightened if necessary during printing (where the lighter ND

filter might just loose that detail)?

 

What are peoples experiences and which would you recommend?

 

Many Thanks

 

Stuart

Hi all

 

Currently looking into getting a third manual SLR camera body (not to

replace my two K1000s but to use along side), have looked through the

specs but can't seem to find whether or not multiple/double exposure

is possible with the MZ-M. It looks like this is the only feature

missing over rival manuals such as the Vivitar 3800N. Can anyone tell

me?

 

Thanks

 

Stuart

Thanks for the info.

 

Can anyone tell me if, and how well, the Tamron AF zooms work in manual operation?

 

Unfortunately due to price I think I'm looking at either the Tamron 19-35mm or Vivitar 19-35mm. If anyone has any experience of these lenses I would be very grateful.

Can anyone personally recommend a wide angle zoom (17,19,20 - 35mm)

to fit the Pentax K-1000 (i.e. K mount and manual focus) available in

the UK. I am looking for something that is a compromise between cost

and quality of optics, but have been confused by all the different

brands such as Cosina, Sigma, Tamron, Vivitar, Tokina etc...

 

Please help!

I have had three K1000s for 10-15 years and have never experienced that problem (not conclusive survey but isn't an obvious fault). The only problem I have had is with the secondary shutter sticking and so leaving frames looking like I'd used a graduated neutral density filter. This was easily fixed with a good clean and service. I guess your problem should be as easy to fix as the camera is all mechanical and so easier to repair than most. A good camera shop will offer a service/clean and only make repair/replacement should they find anything. Good Luck.

 

I certainly thought it was worth the repair money rather than replacing my old pentax. Wouldn't be without them, they are so well built and take so much rough treatment and still give consistent results over many years.

 

Stu

Please help.

 

I have a Durst 370 and have been trying to get the conversion kit to

enable me to print my 6x6 120 negs. So far the only conversion kit I

have found at reasonable price is the kit for 6x7. I was wondering if

anyone knew if I could just buy this kit and then simply get a 6x6

negative carrier.

 

Any help or experience would be very useful.

 

Thanks

 

Stuart