wendell_kelly

The Retina is a straightforward design and any good repair shop should be able to do a competent CLA. Be sure to specify a full cleaning/then relubrication of the shutter and a thorough cleaning of the RF/VF optics.

Only one Speed Graphic?

How much of a modification is this on your camera; what is involved? On some cameras, the Leicaflexes for example, recalibration for silver oxide batteries is just a matter of adjusting two potentiometers in the measuring circuit; nothing is removed or added. A fussy future owner could easily return the potentiometer screws to their original positions were that important to him.

You aren't alone. When I travel, I bring an M6 and a 120 camera. The 120 is sometimes a Fuji 690 but I'm using a Rolleiflex E2 these days for reasons of weight and the bulk of the film that I need carry in my luggage. Shooting with a Rolleiflex is a good way to meet new people, especially in Europe. Back home I use a 4x5 or a 5x7 along with a Barnack Leica or the M6. A view camera is also a good way to meet new people. My wife does use a digital camera, a Fuji x100s, which serves her well, especially for grandkid snaps.

I can't remember the packaging other than I ordered the stuff from Freestyle, it was 35 years ago for me; I did process the transparencies in Dektol. Because I made my transparencies as I would a paper print, I was able to make test strips to determine exposure. The 8x10 size of my transparencies can make up for shortcomings in the photographic emulsion.

I also used the Freestyle material when the lecture slides were to be used with an overhead projector. I didn't make contact prints but formed the image in an enlarger, just like an 8x10 print. I had no problems doing this and the tonality in the image could be quite good.

I used to do this quite regularly to prepare slides for R&D review presentations; it was particularly useful for electron microscope images. This was in the days long before Powerpoint presentations and digital imaging. I used Panatomic-X then. More recently I've used Ilford FP4 to make Stereo slides. substituting permanganate for the chromate bleach.

I believe the Ultron 35mm/1.7 had some build quality issues which could a necessitate an expensive repair to secure a loose lens element. Some users report disappointing softness at the larger apertures. The 35mm/2.5 is a popular lens and a good performer; I use it myself. I find it also makes a good WA enlarging lens for printing cropped 35mm negatives on the larger baseboard.

There is also the 3.5E2 which has all of the features of the 3.5F except for the meter. The E2 cost is usually less.

Your objectives/requirements aren't all to clear to me other than you seek to produce good 6x9 negatives.Is it price, size, or a wish to use a 1950"s camera? Price, and pocket portability, put to one side here, you will not find a superior series of 6x9 cameras than the Fuji 690 series of cameras. Sharp lenses and reliable mechanics. I've carried these, 690W and 690SW with me in the Southwestern US and in Europe and have, without exception, been pleased with the images which I brought home. Crisp 16x20 enlargements are routine with the negatives from these cameras. Downside- the cameras are big (you knew that, it is 6X9 format) and heavy. No complications from pinholed bellows in a folder camera. Your choice, just be aware that the Fujis are an attractive alternative.

I'm a bit late joining this discussion; that being said- First choice: a Leica IIIF with a Canon(aka Serenar) 50mm f1.8 and any decent meter ( a Weston Ranger is really nice). I've had this gear on hand/in hand since 1964. In a pinch a Leica IIIc will do - I rarely, if ever, use a flash. If you have problems with this set of gear, the problem isn't in the hardware. Second choice: A Leica M3 with a Hexanon M 50mm/f2 (50mm Summicron V3 or Zeiss Planar 50mm/f2 also OK). This combination is easier to reload the film in dim light and after dark. Second choice only because the camera and lens are bulkier and heavier to carry all day. Good light all-

Dtto. It's a good idea to wind the film around the take-up roll at least on full turn (with the camera open) to be sure the film is snug on the take up spool.

Some camera repair shops have sheet leather in stock and cut a new covering to fit a camera as needed. I just had this done at Cameraworks in Latham NY for a Leica IIIg; the cost was $40. Precision Camera in Chicago is a Widelux specialist, you might contact them.

It isn't difficult to make a diopter lens for a camera which has no adjustment. The plastic lenses found in dollar store reading glasses can be cut and filed to a shape that fits your camera viewfinder window. I cut these out with a jeweler's saw; a fine toothed hacksaw blade will also work. Hold the diopter lens in place with a bit of black tape. One pair of dollar glasses can supply about six diopter lenses. I use these on Leicaflexes and they work well for me.

Let us see if anyone has had work done by John in the past three years or spoken with him. I have been a happy customer of the real John Maddox in the past and have had pleasant telephone conversations with him. I have work for him now. I have replied to a couple of "John Maddox" postings here over the past two years without a reply. What I did get was a stream of Phishing messages supposedly from John but originating all over the world. This character is merely harvesting eMail addresses.

Anyone actually had work done by John Maddox in the past three years?

Please reassure everyone. What is you mailing addresses for camera repairs/ What do you typically charge for a full CLA on a Leica IIIA? I'm inclined to think you are a scammer and not John Maddox.

I wouldn't bother with the Focotar. The Componon is a superior lens. I've fitted a 50mm Componon-S and a last generation El-Nikor 50mm to my Focomat Ic's and the autofocus operates perfectly. I used no-name extension tubes about 2cm long between the lens and the enlarger - the Doorx is about the same length.

The washing soda sold in supermarkets can either be sodium carbonate decahydrate or sodium carbonate monohydrate. The Arm and Hammer "Super Washing Soda" is the monohydrate. Both the monohydrate or the decahydrate will work perfectly well in a developer provided you adjust the quantity used for the water content. It is pointless to go to trouble to obtain anhydrous sodium carbonate then add it to water.

I must present a serious set of questions, since the point has now been raised: For those among us who make/have made the pilgrimage to Wetzlar, where do you stay? Why? For how long? Does anyone go to/ stay in Solms? Why? Certainly equally important, which restaurants do you favor? For which meals? Either place, can you (practically) do the trip on public transport or is a rental car needed? Where to German Leicaphiles stay and dine when visiting Wetzlar? This information is not a small thing if one's travelling companion (often a lady) is to enjoy (at least tolerate) the pilgrimage. Are there parallel things to do for a (non-Wetzlar-obsessed) companion to enjoy? Is there a local society of Leica windows? I'm dangerously close to needing this information.

I almost agree on focal length. I often use an M3 with a 40mm/f2 Summicron for street shooting at dusk and after dark when travelling in Europe I am more than pleased with the results and have some nice 16x20 BW prints to show for my efforts. Tri-X, a lens that is sharp at f2, and a bit of skill/experience in the darkroom can produce some pleasing prints. I, personally, am hesitant to push process beyond Tri-x at 400 because I have no idea what the airport X-ray machines are doing to my film. The conversations that I've had with the people scanning carry-ons in Europe (especially in Holland) have convinced me that ASA400 is as far as I am convinced to go. This being said, a fast (f2.8 or better) 28mm lens is a nice thing to have in your camera bag. The CV 21mm is a jewel.

I have a couple of these for use with my NON APO Leica R lenses. I shoot SLR (most often) with an SL or SL2 with a second generation 50mm/f2 Summicron. Reading the material on the web, some users find this/these extenders perfectly awful. Others find them quite useable. If one carefully considers the comments offered, it seems (to me at least) that the analyses of the optical performance of this particular extender are very much specific to Leica R prime with which the extender was combined. Using this particular extender with an APO Leica R lens is reported produce completely unsatisfactory results (one notes that the population of unhappy users is small). Combining this extender with (other than APO glass) has demonstrably produced quite acceptable results if one is to judge from several sets of posted images. I ran a modest set of trials this weekend (on B&W with a 50mm Summicron on an SL2) shooting road and business signs with and with out the extender on my Summicron. I can't see much a difference in IQ between the two.. I'd like to carry the 2X extender in place of a 90mm Elmarit R to save a bit of weight (the SL2 is pretty heavy as it is). I invite comments and hope to start discussion. Good light all-

Gus- It would be difficult to imagine a more helpful or "on the mark" reply. Thank you for your comments.