graham_patterson

If I recall correctly, these cameras are both 35mm types (and the lens focal lengths would support this). Try the Mamiya User Forum (http://www.mamiya.com/) for an answer. I would presume that they mount on the lens filter threads in a similar manner to video camera wide/tele adapters.

I have 1 roll of D3200 for test at the moment. I'm guessing that

Aculux is going to need around 9-10 minutes at 20C based on the

IDII/D76 times for the other Delta films. I'm leaning towards 9

minutes at EI 1600. I'll do a zone test and see if I'm right. I need

to do a similar test with D400.

 

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Aculux used to be a favourite of mine with Tri-X.

I'm waiting for Barry Thornton's darkroom book to be published by

Creative Monochrome. If it is anything like his earlier 'Elements' it

should be fascinating reading. Even if I never _use_ any of the

techniques to their potential!

Some black lenses have full stop detents, some don't. Click stops seem

to have been a later production feature.

Sounds like a combination of needing a clean and cold stiffening the

lubricants. Does it work now it's back in the warm?

I doubt that it is much of a manual, though the earliest I've seen is

for the C3. It's a basic beast and even a C2, C3, or C22 manual

would be close enough. If you are that desperate, try:

 

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Oldtimer Cameras,

P.O. Box 28A,

Elstree,

Hertfordshire,

WD6 4SY,

UK

 

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Tel. (+44) (0)181 953 5479 or (+44)(0)181 953 2263 Fax (+44)(0)181 905

1705 (Use either the International prefix, or 0 if you are in the UK).

 

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I doubt that they have an original for sale, though.

It's a standard 1/4" thread. Where you will have fun is that the

YashicaMat camera back incorporates the base too, so you can't change

film on a tripod. That's the price of the 'L' shaped film path and the

camera compactness.

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You can get 3/8" inserts to shift down to 1/4". It's going the

other way that is awkward.

Mine appears to have 2mm thick foam, but it is getting old. I'd suggest something greater than 2mm, but less than 4mm.

There's a lot of factors to balance out.

 

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How are you travelling, and for how long? Where do you expect to be, and hence what subjects do you expect to present themselves? Can you live with one or at most two lenses? And then you have to factor in what form of camera support is essential. Then there is the question of what you have, or can afford. The best camera for any job is the one you already have 8-)

 

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In medium format I have, or can borrow, a YashicaMat or a Mamiya M6. Both are compact, portable, and decent quality. The 'Mat is less valuable, but the M6 is a dream to use. And add a table-top tripod or Ultrapod II.

 

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But just because I like my choice doesn't make it particularly good!

The C220/f are the same size as the 330 series. There won't be a lot of difference from the 124 in terms of weight - at least until you add lenses!

 

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Both the 220 models have a lens change baffle, and the black series lenses fit without trouble. The 124 will be quicker for sequences of frames.

Here's another question for the list (based on some experience with a 6): can you do double exposures?

Yes. No.

 

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You can either use one polarising filter with a marked mount and swap it between lenses while keeping the same orientation, or, if the lens spacing permits, use two identical filters and set the taking one to the same angle as the viewing one. Minolta used to make a linked pair for the Autocord, called the Autopol, but it is a rare and pricy item these days.

 

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Whatever method you use, it isn't perfect.

 

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Circular polarisers were developed to work with certain types of through the lens metering which are sensitive to polarised light. With the possible exception of a late model Rollei, I don't think any TLRs fall into this category.

If you check the 'TLRs' section of the recent archive, you'll find several topics on focusing alignment.

 

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'The last set of pictures'? Is this a problem that has just started? The only reasons that a lens pair might be misaligned is shock, or someone fiddling with the lens (such as loosening the retaining ring so that any shims drop out). I'm assuming that it was factory perfect!

 

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Is this the only lens you have, or does it apply to all lenses?

 

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It is just possible to mis-mount a lens so that it isn't fully flat on the lens board, but I doubt the auto-cocking would have worked.

 

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The lens board could be mis-aligned, but that would require a substantial impact. These are tough cameras.

 

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You put 220 film in by mistake? Yes, it's been done - and not just on these cameras.

 

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The focus screen could be mis-aligned, especially if it has been removed recently.

 

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Was the camera back latched fully home on both sides? If not, that can affect the pressure plate alignment.

 

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Summary: Only fiddle with the 180mm as a last resort.

I overlooked the obvious - the measurement from the plane of focus to the back of the camera (film plane approximately) would also help enormously.

 

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Thanks again.

I'm trying to sort out some discrepancies in the manuals

concerning the various 105mm lenses for inclusion in my

Mamiya TLR Summary.

 

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If you have one of the following lenses:

 

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105mm f3.5 chrome (Seikosha MX shutter),

105mm f3.5 black,

105mm f3.5 D black,

105mm f3.5 DS black

 

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could you spare a few minutes to make the following measurements?

 

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Set the camera / lens to closest focus (maximum bellows extension)

and measure the front element to subject distance and the field of view width at the plane of focus. Measurements to the nearest cm or half inch will suffice.

 

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Please include the lens model, the camera model, and whether the

camera body has one or two scales for 105mm lenses.

 

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Many thanks.

Have you tried setting the multi-exposure control to 'Multi' to enable the shutter releases?

 

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If the shutter lock is off, then it sounds like a jam in the transport / shutter interlock. Opening the camera and removing the takeup spool might help.

The amount of correction will depend on the infra-red sensitivity of the film, and on how much visible light you include (i.e. are you using an infra-red filter?). The more visible light you include in the exposure the more conservative you have to be with depth of field, as you have a range of wavelengths to focus.

 

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There's a note in Barry Thornton's 'Elements' that when he tried Konica 750 the first time he tended to over-correct.

 

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I thought Konica provided notes on focus adjustment with the film?

 

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I have a suspicion that no two lens designs/models are identical in their infra-red behaviour if they are designed for visible light use. Thus a general formula could be a problem. Is there an optical designer in the house?

The areas covered at closest focus according to the manulas are:

 

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55mm 6.4cm sq.

65mm 6.7cm sq.

80mm 8.6cm sq.

105mm 21.8cm sq.

135mm 25.2cm sq.

180mm (std. and super) 27.2cm sq.

250mm 31.1cm sq.

 

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The film dimension is 5.6cm sq.

 

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The 105 DS is slightly different from the 105.

Given your intended user, I think you are wise to rule out the Rollei stable. You don't say how old your son is, but youngsters do get put upon if they have 'ostentacious' possessions. Plus good examples are pricy.

 

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YashicaMats (the pre-124 model) with the Yashinon lens would fit your needs. It's quite portable (for a TLR), which would probably score with your son. And the results are excellent for the money. Limitations: fixed lens, 120 film, and a pest to change film on a tripod.

 

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The Mamiya C220 would be another option at a similar price. It's bigger and heavier than the 'Mat, but does offer near life-size close-ups as standard if you take care with parallax. It would also offer expansion options at a reasonable budget. Limitations: mainly bulk, but you have to manually cock the shutter. It does offer 220 capability.

 

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Then there are the Minolta Autocords, the Seagulls, and the Lubitel, but I have no personal experience of these.

Tom, you should have had an email reply from me about the back exchange. (It won't, but the lock mechanism _may_ be exchangeable). The C220 back has the rubber 'M' embossed coating, and the C330f is leatherette.

There is a chance that the C330s-type screen isn't a retro-fit, but original. My documentation on the C220f is sketchy, at best. I'm surprised that Mamiya would put an advanced feature like this on the 'budget' model. The WLF finder isn't much of a guide, as these were easily swapped.

 

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If anyone can comment on C220f screens from direct observation, or from a manual, I'd like to know, and if necessary make corrections.

There is always the obvious point:

Since you are coming from a 645 you may forget that you have fewer frames available at first. If you were coming from 35mm, you'd be only too aware of it!

I recently updated my Mamiya pages with an exposure compensation table, along with some observations about the scale versus the auto compensation system. This was the result of some correspondence with Joachim Hein, who did most of the math (thanks!). The scale compensation on the C220s and the pre-C33 errs up to half a stop over.

http://www.btinternet.com/~g.a.patterson/m_faq.htm

Do bear in mind that the C220 screen isn't glass, and can be scratched, or damaged by solvents.

If you do the calculation, you'll find that the C series have about 95% finder coverage. This is a common value for reflex cameras; some are better, some are worse.

 

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Since the 220 screen is fixed, I'd use the finder recess to mount an acetate overlay. It isn't quite as easy to use as something on the finder surface, but it won't cause any damage either.