vaantique

<p>Here's one of the first pictures.<br>

Fuji 3000 190mm Ektar f/6.3 1/50 sec<img src="http://d6d2h4gfvy8t8.cloudfront.net/8524429-md.jpg" alt="" /></p>

<p>They're in the cutout portion of the back past the velvet light lock on the camera. Since they don't interfere with anything I didn't find it nessesary to countersink them.</p>

<p>Unfortunately I don't have any equipment to scan the frames.<br>

I can tell you that if you meter it right you'll get crisp, vivid slides. The grain of Kodachrome is a perfect match for 8x11 film<br>

Make shure you talk to them and include a note when you send it off so they know what to do with it.<br>

Also one of my rolls was a little short, make shure you make it a tad longer so they can staple it into thier roll without it ruining a frame.</p>

<p>back front</p><div></div>

<p>Back back</p><div></div>

<p>I got this Idea in my head a while ago to make a Polaroid pack film back for my Graflex SLR. <br /> After some measurements I found that The back from an old Vivitar slide printer and a piece of Masonite would work to get the focal plane right. I routed out a slot on the face so that a thin piece of plastic could act as a darkslide. With some velvet and epoxy glue to make light seals I was able to simply screw it on. Two thin strips of masonite glued on the edges lock the holder in on the same plane as the bag mag. After some sanding and filing of the metal spring to provide clearance it fit perfectly and works well.<br /> I've taken one exposure on Fuji 3000 and It it in focus and with some pencil marks on the ground glass the subject is framed well.</p><div></div>

<p>Minox B loaded with Kodachrome 64. Fits in my pocket in its little blue leather case I made with measuring chain. If I'm going somewhere at night or indoors I carry the little flash and a small altoid box filled with Ag1B flashbulbs.<br>

I started the habit of puting it in my pocket everytime I pick up my wallet. I hardly notice it anymore and I couldn't imagine going anywhere without it.<br>

Great for macro shots if I see something that catches my eye.</p>

<p>I just got back my first 3 rolls I sent to Dwayne's to process and the turned out brilliant. The fine grain of KR-64 really is a wonder for subminiature sizes. If only I had been born a few years earlier, I could have done all this with KRM-25!<br /> <br /> This is the first roll of color I've put through this little camera and I can say I am just as impressed with the camera as the film. I had some doubts about the accuracy of the meter but the colors are rich, the contrast good, and everything is sharp.<br /> <br /> I have a brick of KR64 120 waiting in the fridge so I will continue taking pictures and I encourage other minoxers or minolta 16 users to contact Dwayne's to set up an agreement. They're charging me the same as processing for a 35mm roll for sending them my strips in bags in a 8mm film can. Not bad considering I'm saving money by slitting film.</p>

<p>I've run two rolls of film through my Adrette (same camera as the Edinex) I've had for a while and when I after fixing a light leak that fogged the first roll (B and W I developed myself) I put in some color to try out the lens. When I got the prints back I realized that they had black on one edge and when I examined the negatives the frome was off center.<br>

When I got this camera it didn't have a takeup spool, so I had to trim a plastic spool to fit. Ithought that was my issue but examining it and doing some measurements it seems to be fine. The only thing I can think of is the cassette is not in the right position. Are the early leica or other cassettes different in some way? Has anyone had this kind of issue with any early 35mm's?</p>

A deal on ebay for a brick of PKR 120 gave me a lifetime supply of Kodachrome to slit down. I'm hoping the thinner base will allow for me to load 50 exp, so none of the length goes to waste. I just need to make a good viewer and mount system.I was thinking on a short strip between two microscope slides with a special viewer to magnify the frames. The slides and metal viewer could fit in a standard wooden box designed to store microscope slides.

Bill,

was that Kodachrome II or Kodachrome X? KR X is similar to modern KR 65 while K II was replaced by KRM 25, which has higher saturation and more contrast than 64.

I was wondering if anyone knows what kind of machines Costco and York photo use for printing. I was planning on

what lab to use for Ektar when I get some. I would like to use a lab that does printing directly from the

negative to retain as much detail and minimize any color problems or other issues from having the film scanned

then digitally printed.

Maybe I'm just being a little obsessive, but I'd like to get the full effect of this film.

After a few emails to Dwayne's in Kansas, the last remaining K-lab in the world, I have found out that they can

process KR-64 if I slit it down and send it to them in sealed cans!

 

I'm looking forward to slitting down a roll and wanted to let everyone else know so that the demand on this

historic film will keep up and Kodak will remain true to the film that has no other equal.

 

For anyone else interested in having them process some, in my last email they state they need at least 2 inches

of leader at each end to splice the film in to the

processor and

"The cost per film strip will be $9 plus $4 for the first film strip and .50 for each additional for shipping and

handling."

 

 

I'm going to design some mounts for the film and build a special pocket viewer so I can show off these little

gems when I get them.

 

Out of curiosity though, did Kodak or Minox ever offer any Kodachrome stock for Minox cameras? If so has anyone

ever seen any of the slides?

So, by their reasoning you shouldn't buy any old camera?

 

I have a wall of cameras that would disagree, let me introduce you to my friend the Argus C3, his telephoto has fungus but the pictures are spectacular!

"It's probably obvious to everyone but me, but I have to ask: Why?"

 

To combine the SLR capabilities of a Graflex and the instant feedback of Polaroid, or should I say Fuji Instant now?

 

I also would love to use the 3000 speed black and white with it to take indoor portraits without any flash. Emulsion lifts would also be neat to make if the fuji 669 equivalent works well.

Can anyone with a Graflex SLR sheet holder measure or tell me what the distance from the frame of the holder to

the film surface is?

 

I'm trying to construct a back for my 4x5 R B series D out of a Polaroid pack film back from a Vivitar slide

printer and a piece of quality birch plywood. It wouldn't have a dark slide, but I could remove it in a changing

bag if I ever really need to remove it before the pack is used up.

Just decided to browse Kodak site today and saw an anouncement introducing new Ektar 100 negative film. Is this

brand new? This is the first I've heard of it. I'd love to try it with some of my classic cameras. From what I've

heard of the original Ektar 25 it was amazing quality.

http://www.kodak.com/global/en/professional/products/films/ektar/ektarIndex.jhtml?id=0.2.26.14.5.14&lc=en

Where do you all buy your diodes for the conversions? I've searched online and all I've found is datasheets.

The reason I don't want to use zinc air is I'm probably going to leave this camera for long periods without using it, and the nature of these cells is they are meant to be used in constant drain devices like hearing aids and they are meant to be replaced regularly.

I bought a very nice OM-1 the other day with 3 different lenses and a hefty flash. After checking the thing up

and down and looking through all the manuals I realized it takes a mercury cell. After searching to see what

options there are for replacement I've settled on adapting it to Silver oxide cells using a Schottky diode to

lower the voltage. Has anyone done this or used any other satisfactory methods to use modern batteries?

I was thinking that I could simply remove the bottom cover and solder the diode on the positive lead wire going

to the battery connection and then make an adapter for whatever size silver battery would fit the easiest. Zinc

air batteries are not on the table since they tend to go bad quickly by their nature and poor performance

reported by other people.

I've got a Compur rapid shutter on a Adox Aderette and it's having a little touble. It works well on 100 to 500,

but on slower speeds when I set the f stop to 2 or 2.8 the shutter fires and sticks open. I took the mechanism

apart from the back aperture and shutter blade assembly and bathed them both in solvent to remove any oil or

gunk. After reassembling and testing it there was no improvement.

The front lens element has a ding in the metal ring from a drop, could the impact have bent something causing

binding with the aperture open?

I recently cleaned off an old camera rangefinder that I had sitting in a box of junk for my cameras, and

discovered that it was off a bit. There are 2 adjustments on the camera, the semi silvered mirror angle can be

adjusted and the wheel with the scale can be loosened and adjusted. What is the method used to calibrate it?

I've already tried adjusting the screw that angles the mirror, but that hasn't fixed it.

Yeah, that's what I expected, loss of detail in the shadows. I'd rather compensate some in development since these are individual sheets. I can always make notes and develop them in separate batches.

Oh, forgot to mention, I use hc-110 and would like to use it in whatever dilution.

I'm getting some Fomapan 200 (Arista rebrand) from Freestyle photo to use in my 4x5 Graflex slr. I've read over

the spec sheet and it says that it will tolerate pushing 2 stops without developing compensation, which I don't

think would give good results. The massive dev chart hasn't given me much help either.

 

Has anyone had any luck processing this film to 400 or even 800? Grain is not a problem because this is 4x5 sheet

film that will be contact printed or enlarged to 8x10.

I never meant this to devolve into another stupid Film vs. Digital shouting match, and I apologize to the moderators for having to step in. I use both media and know that they both have their place. The part that gets me annoyed is that these people are using something that will give them a poor approximation, or something they didn't think of as a characteristic of that film, when most of the film stocks are still being made that this program simulates and you could go out and actually buy a roll of film and get the actual look and feel instead of an approximation.

 

I'd liken this to using tempera paint or watercolors that say on the tube "simulates the look of pastels!", why then don't you just use pastels if that was the look you wanted?