wendell_kelly
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Posts posted by wendell_kelly
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Who could ask for anything more? You would, if time=money.
-- Don -who owns 2 film Leicas, a 6x6, 6x9, and a Speed Graphic- Essedi
Only one Speed Graphic?
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<p>I am eagerly awaiting the completion of a CLA on a LN Canon F-1n that I bought from my trusted camera repairman. I have held it on the day I bought it but it went directly into the CLA process. He called me today to say it would be ready next week, but he wanted me to verify that I really wanted it to be modified to take the silver 1.5v battery. He explained that to some collectors, it would de-value the camera, a fact I was aware of thanks to being a devotee of this forum.</p>
<p>I told him to proceed with the mod. He had previously done so on my Canon Ftb and Nikon FTn, both black and beautiful. And I wil have my Canon F-1 (original) so modded when it is ready for a CLA. I have never sold a camera. I have given many away.</p>
<p>I would be interested in surveying your opinions on this. I know one can use zinc air batteries as a substitute for mercury, and I have several of the ridiculously overpriced C.R.I.S. adaptors that work very well, but being able to use silver cells is so convenient. I am an ardent environmentalist, having been born and raised in the city that was the home of the Love Canal. Niagara Falls was the birthplace of the electro chemical industry and during WW2 and for several decades after, over a dozen huge chemical plants were belching dirty smoke into the air. My father came from the coal mines of WV to spend 30 years producing cyanide at Dupont. All that remains are ugly rusted abandoned factories and a city where more than half of the population is on welfare. Niagara Falls Ontario is doing very well thanks to Casinos. But even as an environmentalist, wasn't the ban on mercury batteries for cameras a bit of a stretch?</p>
<p> </p>
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.
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I have returned to film completely. I have so many superb film-burners that I want to explore. Only in special circumstances would I pick up a digicam. I have a Leica M3, a Nikon F, and a Rolleiflex 3.5 F. Who could ask for anything more? How can I ignore such machines when I want to go out shooting? Anyone else in this position? I even have a Speed Graphic for LF! And a Minox for spying!
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.
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Did it come in a blue (I think, it has been a lot of years) box, and say "3 minutes in Dektol" on the outside?
Yes, I tried to make 35mm slides from it. Maybe it wasn't good for that.
I seem to remember it as more gray than it might have been, or maybe lower contrast than I thought it should be.
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.
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I have a "Kodak Direct Positive Film Developing Outfit".
(Note: not the later TMax 100 version.)
I haven't had the chance to try it out yet.
When I was young, and just starting in darkroom photography, my father shot
slides on Kodachrome, and later Ektachrome, but I couldn't afford that.
I did see in stores the above mentioned kit, but also couldn't afford it.
(That was when I was about 10.)
I did once buy from Freestyle 8x10 sheets of some material designed for
making slides from negatives, but never got very good results.
(That is, contact print 35mm negatives, cut out in the right shape,
mount in cardboard mounts.)
So, 50 years later, it will be interesting to see if it works.
(Now that I can afford color slide film and processing.)
Color film processing is convenient in that, in the end, all the silver
is bleached and fixed out. Black and white is more complicated, with the
need to remove the first developed silver, but not the second. The bleach
has to convert to a form that isn't developable but is fixable.
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.
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Many B&W films can be processed as transparencies by reversal processing
e.g., Reversal Process | B&H Photo Video
Rollei Black & White Reversal Kit for 20 Films – Nik & Trick Photo Services
and others: B&W Slides from Tri-X? You Betcha!
and those are for special kits for best results.
mere exposure to light in the developing process can produce so-so results at least.
It's tedious, but not really difficult.
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.
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Probably worthwhile if you gibe a budget-
[Excellent++] Voigtlander Ultron Aspherical ASPH 35mm f/1.7 Screw From Japan 773 | eBay
"Random Ebay Example"- but this is what I paid for my Ultron 35/1.7 several years ago.I had the chrome version before this one, sold it as a favor to a photographer and then replaced it.
Another Random Example-
Voigtlander 35mm 2.5 MC | eBay
The 35/2.5 mentioned above, even less than I paid for the vintage Nikkor 3.5cm F2.5. I also have the 3.5cm F1.8 in S-Mount, it's a stop faster than the F2.5, and a ridiculous amount of money on LTM. The F2.5 is just as sharp with both lenses at F2.8.
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.
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The lenses should be similar, and the meter in a camera of this vintage is unlikely to be that useful for practical photography unless the selenium cell has been replaced recently. Other than the interchangeable finder, there isn't much to choose between them. I have both a 2.8D and 3.5 E and much prefer the balance and feel of the 3.5 E, since the 2.8D feels front heavy due to the larger lens. +1 on Orsetto's advice to look for a 3.5 version with Planar/Xenotar rather than the more expensive 2.8 variants if you're concerned about cost versus performance. I don't think I've ever taken a single exposure wide open with my 2.8 D, and I used to use my Rollei TLRs a lot for commercial work when I shot film.
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.
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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.
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As the title suggests I’ve been looking (not super intensively) for a 6X9 medium format camera- something that’ll shoot 120 film.In my search I’ve come across more than a few old school cameras - 30s, 40s, 50s Zeiss and Voigtlander folders and stuff, trying to figure out how I feel about them. It’d be fun to try one out before I spend the $$.
But one camera caught my eye... never seen one before and have zero idea how they are to shoot with etc.
It’s a Brooks-Veriwide. I guess it has a fixed lens? The one I saw had a 120 film back on it and also some other brand viewfinder. So from that I take the camera needs to be accessorized...
Anybody ever have one? Shoot one? Seen one in real life?
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Just a fun survey. In my case it would probably come down to my 1957 Yashicamat or my Olympus OM2n.
In favor of the Yashica would be the 100% all metal construction and the overall beauty of the camera itself. It is an attention getter for sure. Not to mention the nice MF image quality.
Despite liking my old Nikons The OM2n is a little gem. Compact, huge viewfinder and again very nice on the eyes. A very pretty camera in chrome. The reason I would keep the Oly over the Nikons comes down to this. The 28mm 3.5 lens. Good at all stops but for scenic work crank it down to F8-F11 and it is one of the best lenses on film I've ever used. IMO world class as is the fine construction of Olympus prime lenses.
Because of versatility and portability, in the end The OM2n with the 28 3,5 and a 50mm would be my choice if I could just keep one.
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-
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Just a fun survey. In my case it would probably come down to my 1957 Yashicamat or my Olympus OM2n.
In favor of the Yashica would be the 100% all metal construction and the overall beauty of the camera itself. It is an attention getter for sure. Not to mention the nice MF image quality.
Despite liking my old Nikons The OM2n is a little gem. Compact, huge viewfinder and again very nice on the eyes. A very pretty camera in chrome. The reason I would keep the Oly over the Nikons comes down to this. The 28mm 3.5 lens. Good at all stops but for scenic work crank it down to F8-F11 and it is one of the best lenses on film I've ever used. IMO world class as is the fine construction of Olympus prime lenses.
Because of versatility and portability, in the end The OM2n with the 28 3,5 and a 50mm would be my choice if I could just keep one.
Just a fun survey. In my case it would probably come down to my 1957 Yashicamat or my Olympus OM2n.In favor of the Yashica would be the 100% all metal construction and the overall beauty of the camera itself. It is an attention getter for sure. Not to mention the nice MF image quality.
Despite liking my old Nikons The OM2n is a little gem. Compact, huge viewfinder and again very nice on the eyes. A very pretty camera in chrome. The reason I would keep the Oly over the Nikons comes down to this. The 28mm 3.5 lens. Good at all stops but for scenic work crank it down to F8-F11 and it is one of the best lenses on film I've ever used. IMO world class as is the fine construction of Olympus prime lenses.
Because of versatility and portability, in the end The OM2n with the 28 3,5 and a 50mm would be my choice if I could just keep one.
Just a fun survey. In my case it would probably come down to my 1957 Yashicamat or my Olympus OM2n.In favor of the Yashica would be the 100% all metal construction and the overall beauty of the camera itself. It is an attention getter for sure. Not to mention the nice MF image quality.
Despite liking my old Nikons The OM2n is a little gem. Compact, huge viewfinder and again very nice on the eyes. A very pretty camera in chrome. The reason I would keep the Oly over the Nikons comes down to this. The 28mm 3.5 lens. Good at all stops but for scenic work crank it down to F8-F11 and it is one of the best lenses on film I've ever used. IMO world class as is the fine construction of Olympus prime lenses.
Because of versatility and portability, in the end The OM2n with the 28 3,5 and a 50mm would be my choice if I could just keep one.
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I don't own one but I watched this video and it seems that the film leader needs to be pushed through the take-up spool slot enough to get a good grip as the spool is rotated, also making sure the film is properly seated on the sprockets
Video
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.
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Hey all,
Bought a widelux recently that’s a bit of a beater. Wanted to know if:
1) anyone know if it’s possible to buy new rubber/leatherette for it to replace the old stuff? Anyone make anything like that?
2) is it possible to repaint this specific camera? Does anyone do this on a widelux and if so, any reviews?
3) if a repaint is not possible or practical, is it possible and practical to do small touch ups to the paintwork? It’s not “regular” single colour stuff. I don’t think it’s actually normal “paint” but I’m not sure...
Just want to spruce up the girl a little. I mean she’s real pretty but could do with some new shoes and a haircut lol
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.
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I'd like to find a film SLR with a built in diopter adjustment
on the viewfinder. I know some of the Leica R's have it, and
the later Olympus OM's, but would like to avoid putting out
as much cash as those cameras still go for.
What about the Contax models, or any others?
Thanks....
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.
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What evidence do you have in this regard?
Listen carefully, the ice is creaking ;)
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.
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I read some conversations about me and that I did not exist -- effectively, I and my Leica Screwmount Camera repair service are a scam. Well, I'm here and alive to tell you I am not a scammer. All of you that have done business with me in there past know that. It was a shock to read such speculation about me. I guess that's all I have say.
Anyone actually had work done by John Maddox in the past three years?
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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.
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Don't know how much you paid for a duff Focotar and extension tube, but I bet it was far more than a no-brand set of M39 extension tubes, that would have done exactly the same job.
Besides, there's no guarantee that the doorx tube will be the right length for the Componon, and a set of extension tubes would offer you more options.
"The more I read about the Focotar, it sounds well worth having it serviced."
- It would cost a fortune to have scratches polished out, and you'd still only be left with a Tessar type 4 element lens. Be happy with the good condition Componon-S you have, and don't throw your money away on a lens that sounds ruined beyond hope.
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.
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Hello,
I am about to make some Cafennol Developer and already have ascorbic acid and Kbr.
I found a Sodium Carbonate provider to which i asked if the product is anhydrous. He replied saying the data sheet only states that hymidity is 0.150 max
Can this be considered anhydrous since it´s less than 1 gram?
I already know if heated sod. Bicarbonate becomes sod. Carbonate, but I just don´t want to do that.
Thanks in advance
romeo
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.
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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.
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The 35mm f2.0 is a classic. If you sell it you will regret it. I seldom use the 28mm. For street shooting the 35mm is best. The 28mm has some distortion in the corners. The 50mm Summicron is another classic and the one that I turn to the most. It is a good portrait lens. The purchase of a second lens depends much on what you want to photograph. But, given all the options I still would go with the 50mm Summicron.
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.
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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-
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It's actually the opposite.
Age is badly affecting all the "R" models.
The main issue has to do with lubricant failures (congealing which creates stiffness in the component its supposed to assist, and/or the accompanying out-gas fuming):
- You already mentioned the Depth-of-Field preview lever. This can stiffen so badly that when the operator forces it, causes the plastic lever to sever.
- Along the same lines, internal mirrorbox mechanism lubrication failure. This also creates various problematic symptoms.
- Lube failure out-gassing. This creates electronic switch chatter with any item that has an exposed contact pad or wiper (creating malfunctions for either the meter on the R6, or for the more complex Auto exposure systems in the R4, R5, R7, R8 & R9).
- Mirrorbox anti-flare lining not only is cracking, but its self-stick backing is also contributing to the out-gas issues.
- Foam substance; dust, cushioning & light seal materials, are a contamination due to age related decay.
- Even with the mechanical shutter of the R6, lube failure may at some point show up in the slow speed escapement 'clock' mechanism. The other models have electromagnet/armature surfaces that if contaminated, will produce speed errors.
Leicaflexes on the other hand, lack ANY foam (black yarn used), power through failed lubricant (speeds very reliable), and have robust metering (if the batterybox never experienced acid leakage). The most common issue with Leicaflexes, are the (Leica diamond) prism unit viewfinder flaws (small out of focus blobs caused by age related tarnish to the silver/aluminum coating).
Still, if an "R" or Leicaflex has had preventive or proactive service performed, then certainly many of these issues can be avoided.
So there shouldn't be any concern in using them for important activities...
Gus-
It would be difficult to imagine a more helpful or "on the mark" reply. Thank you for your comments.
- You already mentioned the Depth-of-Field preview lever. This can stiffen so badly that when the operator forces it, causes the plastic lever to sever.
Kodak Retina IIIc
in Classic Manual Film Cameras
Posted
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.