chris_ogilvie

A large part of the problem with shipping ANY packages is how they are handled at the sorting centers by the shippers. Packages are now largely sorted by high speed automated systems. These systems do not read FRAGILE labels, all packages are handled the same. The problem occurs when these packages descend down chutes in their path to a lower level in the sort facilities. The chutes often get inadvertently clogged with packages, then jammed tight before someone can shut the system down. At the bottom of these chutes the packages land on the next conveyor belt, sometimes with a nice drop. Interesting to watch a large heavy package land on top of small one... Yes, a bit of "Insider Information" here from someone who worked on the engineering of one of these sort facilities. Moral of this rather technical (= boring?) story: Double pack ALL fragile items with the outer box functioning as a sacrificial layer.

<p>Chuck, No, not Audrey! But a much classier lady: Elizabeth Taylor with a Rolleiflex Automat (version?).</p> <p>How about Bunny Yeager?<br> <a href="http://selvedgeyard.com/2014/03/13/bunny-yeager-the-legendary-queen-of-pinups-and-photography-pt-ii/">http://selvedgeyard.com/2014/03/13/bunny-yeager-the-legendary-queen-of-pinups-and-photography-pt-ii/</a><br> Since we are speaking of Rolleiflexes, right?</p>

<p>See also the discussion on this earlier post. I know that my take then was a bit more "on point", since I had just tried the various screens.<br> <a href="/canon-eos-digital-camera-forum/00Yzas">http://www.photo.net/canon-eos-digital-camera-forum/00Yzas</a></p>

<p>Ed,<br> No, what I mean is that the camera's light meter gets thrown off by the non-linear brightness of the Ee-A screen when you use a manual focus lens at different f-stops.<br> Yes, you still have to apply a basic exposure compensation, which varies by the lens.<br> The reason that I also use the Ee-S screen with the 400mm lens (and the other AF lenses) is that I am just too lazy to change the focusing screens between lenses... Guess I am just not a studio photographer.</p>

<p>Andrew,</p> <p>Ee-S screen by far!<br> When I got my 5d, all I had were manual focus lenses from my Contax RTS system. I tried various screens and the Ee-S was the winner. I use it too for my Conorus converted Zeiss Contax-N lenses etc., and even a Canon 400/f5.6.<br> It not only makes focusing easier on manual focusing lenses, exposure metering is more accurate as well with these lenses. You don't have the brightening feature of the Ee-A screen throwing the metering off when stopping down.<br> Avoid any of the screens with a split image center spot. While focusing is a snap, metering becomes useless. I tried this with both a modified Canon screen as well as an aftermarket one.</p>

<p>Still my IIIc body, but this time with Leicavit rapid winder, 35mm coated Elmar and VIOOH finder.<br> Pure fondleable goodness!</p>

<p>Leica IIIc with 50mm collapsible Summicron.<br> Reason: Compact and sturdy set-up with the sharpest screw mount lens. It has been my bullet proof camera since 1975.</p>

<p>Howard,</p> <p>For standard color film developing and printing two places spring to mind:<br> Adolph Gasser in San Francisco, and Looking Glass Photo in Berkeley. I am sure that there are others too in the Bay Area.<br> Indeed, not one hour, but you get the negatives back!<br> I find it actually surprising how long the drug store/ big box one hour develop and print services have lasted. Back in 2008 when I began to go digital, I felt like a film hold-out and it was already rather quiet at the 1 hour counter of the Walgreens (on Spear street down from my office in SF). The counter people at Gasser's started to recognize me as well when I would drop of slide film. Funny, since I am certainly not a prolific or known photographer...</p>

<p>Jim,<br> I would do some research on eBay, specifically under "sold listings". This will give you the best indication for the fair market value for your camera, lenses and finders plus examples of good listings.<br> If you then eventually list your items, I would list the body with the 50mm lens and list all other items separately. Inspect your lenses carefully for separation, scratches (euphemistically often referred to as "cleaning marks") and fungus. On the camera check film advance and the shutter at all speeds. Do list all defects! Classic camera collectors tend to be a picky bunch and will return "not as described" items for a refund (I have been on both sides of this issue!). I believe that most of the interested people looking for classic camera's do so on eBay.</p> <p>Chris</p>

<p>Authentic Leica? Nein, I mean njet!<br> Authentic Zorki? Da!<br> What is it worth? Not so much.<br> Entertainment value? Priceless.</p>

<p>Joe,</p> <p>While I have a Foton, I do NOT have the Panchrotal lens.<br> However, in general this lens needs to be mounted to the 3 lug bayonet on the outside of the lens mount on the camera body.<br> You need to proceed as follows, per the instruction manual:<br> 1. Set lens to infinity focus.<br> 2. Set rangefinder also to infinity.<br> 3. Line up red dot on lens barrel with red dot on center of shutter speed selector dial.<br> 4. Mount lens to camera by pressing to engage bayonet while holding focusing wheel on camera with finger to keep it from turning.<br> 5. Turn lens about 1/8 th of a turn until lens tab catches.</p> <p>Lens should be coupled to rangefinder, but focus it by turning lens barrel, NOT focusing wheel! Actually this is very similar to the old Contax rangefinder camera's!<br> Tel me if this works!</p>

<p>Too funny! The ingenuity of some people...</p>

<p>Oh, the camera can certainly be serviced/repaired <em>by a competent person</em> in Leica's. OTOH in the hands of the average person the risk to really "bugger things up" is significant. Hence my recommendation to the OP to take it to a repair person, instead of providing repair tips.<br> If it were my own camera, I would be tempted to apply ONE drop (NO more!) of lighter fluid (Ronsonol) where lens mount and flange on the body meet. Let this drop seep into the threads and before the lighter fluid dries give the lens ONE twist. If it does not work the first time, off to the repair person! The nice thing about lighter fluid is that it does not dissolves rubber etc or leave an oily residue. The idea is to soften any gunk in the threads just enough to break the bond in the threads. The risk is in applying too much and having this with any dissolved lubricants and gunk seep into the lens and shutter mechanism to cause mischief there...<br> But, it sounds like the camera is in need of some serious TLC, requiring expertise. So my big picture advice to the OP remains to simply take it to a repair person now and not fuss with it at all.</p>

<p>Brad,<br /> No, they are not the same. Where they will be similar, if you compare strictly the multi coated versions (T*), is in the "Zeiss look" produced by their coating system and glass choices. And indeed, the <em>tendency</em> is for high micro contrast, saturated colors (I love the deep blacks!) and at least in all my lenses excellent sharpness. But design formula's, the combination of glass types used, bokeh etc varies from lens to lens. Some are indeed better than others.<br /> I do have a range of C/Y Zeiss lenses from my film days which I still use on my Canon. The 21 Distagon and 100 Makro Planar in particular are simply outstanding. But all my C/Y lenses give me a <em>compatible,</em> if not entirely<em> identical</em> look.</p>

<p>Ouch! It sounds like something is seriously wrong with the lens mount and flange interface. I would suspect cross threading with someone having then really cranked down on the lens...<br> Yes, I second the advice to take it to a competent Leica repair place. Even if it is only a simple fix which we all overlook!</p>

<p>Yes, and not just with vintage camera's.<br> A Brockway (Norwood) Director. Got it cheap and it works well. Essential tool for incident light and luminance readings, nice that it has a swiveling head. In good light it is fine for reflective readings too.</p>

<p>Best Folder?<br> The answer depends on your criteria. Many had rather squinty viewfinders, others left a bit to be desired in the ergonomics. So if you measure the user experience against say a Leica M3, you might be somewhat disappointed.<br> However, when it comes to a simply stellar lens: My choice is the Voigtlaender Vitessa with Ultron lens. Sharp and excellent tonality, perfect for slide film.</p>

<p>Darin,<br> The knob at the lower right is to manually lower the mirror, without tensioning the shutter.<br> Here is a link to a German manual for the post-war version:<br> <a href="http://www.museum-digital.de/san/documents/03120823054.pdf">http://www.museum-digital.de/san/documents/03120823054.pdf</a><br> To service the various items under the side plate with the knobs is fairly straightforward and access is good. Did that years ago with my previous Primarflex, and no, I took no photo's! The various knobs can be readily removed (note orientation of each beforehand!), followed by the cover plate. The shutter speed selector mechanism is a bit finicky and quickly goes out of adjustment. If I remember correctly (it was more than a decade ago!), there is a thin cam which needs to be accurately aligned with a follower pin. If this cam tilts, causing the pin to slip off the cam, you only have one shutter speed.<br> Servicing the shutter curtains is another matter entirely and likely much more complicated (have not done so, yet!). Quite a few German camera's have a nasty habit of hiding screws which are required for access under the leather covering.<br> I also have a Primarflex once again. It too is in need of shutter (curtain) service. At present, it is just one of my treasured museum pieces!</p>

<p>The Foton ergonomics? Well, maybe nothing special, but not particularly irritating either to <em>me</em>. A fairly beefy camera with heft. Nice for larger hands. Shutter release in front, next to body focusing wheel (much like Contax). But, focusing can just as well be done directly with the lens. Since shutter tensioning and film advance are done with the motor, you don't have to take the camera from your eye. Nice! Takes about four frames per second. View finder is surprisingly bright, if somewhat small (less squinty than the contemporary Leica IIIc). The rangefinder is separate, a bit clumsy in operation. But then, it being a Bell & Howell, the lens has T (transmission) stops! Very nice. The other nice feature is the hot shoe for the dedicated Foton flash.<br> The Foton is an interesting, if somewhat oddball design. Extremely well made, built like the proverbial tank. But yes, a failure in the market place. Having only one other lens to offer (4 inch Cooke Deep Field Panchro) certainly did not help.</p>

<p>They <em>did </em>make an excellent 35mm camera: The Foton from 1948. Interesting design of a spring wound motor drive rangefinder camera with superb workmanship, and an excellent Cooke Amotal lens. Reliable too.<br> I used mine for my last roll of Kodachrome.</p>

<p>It only becomes a problem when you run out of shelf space...<br> Then it is crisis mode: You might have to <em>sell</em> some (utter agony!). I know! Just <em>never</em> seem to be able to have less than 15, no matter what I do.</p>

<p>Chris<br> I use Zeiss glass on my 5d and have a few manual focus C/Y lenses. I also had a Leica 50mm Summicron for a while, wonderful lens. BUT, the look it gave me on my shots was very different than my Zeiss lenses. Very sharp lens with more delicate tonality, but the colors did not have the rich, fat saturation and those great deep blacks which my Zeiss lenses gave me. It was particularly noticeable when shooting with the Zeiss lenses and switching between the two: I was shooting old railroad steam locomotives during a photo shoot at a local museum railway. Both color saturation and rendering of the black locomotives differed clearly. Well, <em>my</em> opinion anyway! YMMV...<br> Since then I stick with the Zeiss lenses for the comparable tonality.<br> I do have a very late 50/1.4 MM Planar and love it. Perfectly sharp across the frame from f/2.8. A bit fuzzy at f/1.4 (pixel peeping...). I have observed some sample variation in these lenses. Don't have the 100/3.5, but have the 100mm Makro Planar instead (excellent lens!).</p>

Yes, and no! Yes, I still have the first camera I purchased at age 20: Leica IIIc with Summitar lens. My budget at the time allowed for either the cheapest new SLR (Zenit) or least expensive used Leica. I will always hang onto this one, even if I never shoot 35mm film again. No, the first camera I used was my mothers Kodak box camera. This one was lost many years ago. The first camera given to me, was an East German Beirette. It only lasted 5 years, good triplet lens but horrible shutter and film advance. Both disintegrated, rendering the thing useless.