CosteaM

Hi Ben, I have one in good condition from what I remember. I have to check it out when I go home tonight and will let you know. It came with one of my Nikon F cameras and I hated the thing from the day I saw it. I got an eye-level prism to replace the monster.

I have FB prints done almost 30 years ago exactly how glen_h indicates above. They look as good now as back then.

All good answers above. I have both and I use one or the other based on what subject I plan to shoot. I will not take the Hassy for a street shoot but I would take it for urban architecture for example. Also I would rarely use Leica for landscape. Sure there are exceptions but you have to consider what you shoot more often and how you shoot in order to make the right decision. You know what, why not get both and save the headache:)

I use Pyro with good results for 120 or 4x5 film. If you don't like mixing powders I suggest using HC-110 it is concentrate, you just dilute, use and discard. Very economical too and still available on the market.

Terrible news, great loss for our community. I will miss his ever talented presence on PN and APUG. Sincere condolences for his family.

<p>Gents, I fixed the problem and I will post here the solution so it can be of use to other people. Funny that one of the PN members addressed this issue back in 2006 and got the right solution from a gentleman by the name of Gary E. so I give full credit to Gary E. Apparently cameras made by Kyocera around that time ( mid '80) like Yashica FX-3 and Contax RTS II had the mirror applied in the frame with some glue that softens in time allowing the mirror to slide down and ultimately interfere with the lens when the lens is mounted on the camera. Since you cannot push back the mirror in place (glue is soft but not melted) I had to apply heat to the back of the mirror using a hair dryer (keep the mirror up on shutter B). In about 30 sec the glue softens to the point where you can easily push the mirror back in place. Once the mirror cools down it will stay in place and the lens can be mounted and working normal. If the glue will give up and let the mirror slide again that is another issue, I was thinking to apply little spots of fresh glue on the side of the mirror to stick it to the frame but I was afraid not to damage so I'm OK for now and see how it behaves after I use the camera for a while. I'm really happy I was able to bring this camera back to life and look forward to run some film through it. Thank you PN</p>

 

<p>Thank you very much for your input. I will check again after work this evening. <br>

John, the lever on the lens was the first I checked and it travels easy and snaps back into place fast. thanks</p>

<p>Over the past week-end I found a Yashica FX-3 Super 2000 at the Thrift Store in town for $19 (body only). It was responsive at all shutter speeds, even the timer was working. The winding lever was wobly but still in place so I decided to buy it. I fixed the lever quickly but it bothers me that it won’t work with my CZ Distagon 35mm/ 2.8. I'm not familiar with this camera but from what I read it should work with the CZ lenses in Contax mount.<br>

The lens mounts just fine but after I press the shutter the aperture on the lens closes at the preset position but the metal shutter is not opening. This is sort of a locked position.<br>

I can take out the lens the normal way and then camera works well again. I’m probably missing something or camera has a problem that I cannot figure out. Any ideas of what can be wrong?<br>

Thanks</p>

<p>I asked myself the same question as I'm looking at many old cameras that have chips in the paint or even lacking the paint on some areas. I was watching some TV show where technicians are custom painting metal parts on old cars or motorcycles using airbrushes.<br /> The results are stunning.<br /> I'm thinking to try removing the old paint first and then re-paint using the airbrush and masking the parts that don't need to be touched.<br /> Any cons or better ideas?</p>

<p>Luis, considering that the scratches you found are not on the emulsion side I would think it took some force to leave a visible trace on the film. I don't see how such force can be applied while developing the film in the MOD54. I would rather suggest you check if the sheet was properly loaded in your 4x5 holder - if not then it can be scratched by the darkslide movement at the time of exposure. I ruined couple of sheets like that. I use the MOD 54 and never had a problem.</p>

<p>Robert, why would you scan BW negative film as color transparency then conversion back to BW when you can simply scan directly under gray scale BW. Try this next time. Nevertheless your picture turned out very well, congrats.</p>

<p>Any answer to this question would be speculative and probably wrong. It depends on many factors. In the Great Toronto Area there are still 2-3 shows a year that I like to check out in person. On-line sites like KEH.com and your local classifieds (Craig, Kjiji, Evil Baby) are all part of the game when comes to isolating a good deal.</p>

<p>Great job, Rob. I love your still water exercise. Just to let you know the PanF that I shot from the Cathedral Park didn't come out well. I got some uneven development effects. The thing is that I loaded this film without testing and I tried to improvise. Not good... I have to revisit the place but coming week-ends look busy (First The Easter then I have a photo shoot at the Distillery District on Apr 30th-I will PM you).</p>

<p>Some one said essay; this is the right word for what you are doing. You master the words and the pictures. thanks for sharing your special talent with us.</p>

<p>Wow, that is a beautiful clean camera, Chuck. Great shots, love the flower shop. Nothing beats the Zeiss Tessar I guess</p>

<p>Cliff - thanks; I don't mind at all. I actually wanted to take another shot of him but he moved away fast.<br>

Subbrayan - thanks; you have no idea how bad I crave for more time to experiment, go out to shoot and post. Fortunately I still have a day job that I need to keep me on course.<br>

Gene - yes, you know the drill: shoot for the shadows and develop for the highlights. It works.<br>

thank you all for your kind comments.</p>

<p>We moved on a second location at about 30 meters above the beach that offers a breathtaking view of the bay and marina. I changed the back and shot Ilford Pan F. I have not developed the film yet. I will make a separate post if anything good comes out of that film. Rob told me there are couple more places east of the Bluffers Park that are worth exploring. Waking up at 4AM definitely takes a toll on me but I loved every minute of our photo-shoot and will go back.<br>

I hope I managed to convey the real mood and beauty of this place.</p>

<p>trying again</p><div></div>

<p>One picture from the Canon FTB + Canon 24mm FD lens later on from the same spot</p>

<p>Our own Rob Holz shooting his Fed 5 I think</p><div></div>

<p>Hasselblad still</p><div></div>

<p>Some time ago I offered Rob Holz to develop a BW film that he had sitting for a couple of years. We met one day I took the film and processed as I usually do in D-76 dil 1:1.<br>

Rob mentioned to me that he went to watch the sunrise at the Bluffers Park on Lake Ontario and he actually sent me a nice color picture next day. I emailed him back suggesting going together Sat morning so he can show me the place and take some pictures. Bluffers Park was one of the places on my target list that I never got to see.<br>

I decided to take my Hasselblad loaded with two different films: one back with Kodak Plus X-125 and one back with Ilford Pan F-50 and also a 35mm camera where I can mount a 24mmm lens. Pentax Spotmatic was my first choice but the 24 mm Super Takumar was acting too slow telling me that it is in need of a CLA. I checked my 24mm Canon FD and it worked perfect so Canon FTB was my second companion.<br>

I woke up Sat morning at 4:30 AM and I drove 50min to the Bluffers Park. It was still dark when I met Rob in the parking lot, we drank our coffees and walked to the shore.<br>

I started shooting as soon as the shadows on the rocks measured 3EV, sun was still under the horizon but the sky became brighter. We were not alone, two gentlemen with big digital cameras joined us and I remember laughing inside when I heard one of them shooting the sunrise with 6 frames/ sec. Hei, what do I know…<br>

Here are few of the pictures I took with the Hasselblad 500 C/M and 50mm Distagon, Kodak Plus X-125 developed in Thorton two bath for 3min50 sec each. Why? Because I run out of D-76. This was an experiment in the sense that I prepared this developer about one year ago and never used it. I knew it has a very long shelf time so I took a chance and I’m happy I did.</p><div></div>

<p>Beautiful running water shots Rob. Look forward to meet you for the sunrise shoot.</p>

<p>I broke the "bank" this time but what the heck... Got a 50mm Leitz bright line finder for my Bessa-L and a Hasselblad pro-shade. The actual bargain was a Hakuba filter case for $5.<br>

Rob, if you need developing for B&W film I can help you out until you set up your own darkroom.</p>

<p>Thanks Rob. I will be there. I don't know why but I'm always missing something when comes to cameras and accessories :)</p>