thermionicist

<p>Is it possible to use a new flash with dedicated circuitry for new Pentax digital SLRs with an older Pentax film SLR, specifically the LX, SuperProgram, or ME Super?</p>

<p>Oh please, take the LX in for a check! The LX is the finest film SLR Pentax ever made, and one of the finest cameras

made by an camera maker! I own two LX and wish I owned three or four. One of my LX had the same noise, and it turned

out to be a small grain of sand that had gotten into the mirror box and lodged in the shutter track.</p>

<p>Hi guys, thanks for all your responses. I think I'll not have the Olympus OM-10 fixed because I principally use my Pentax K2, KX, Me Super, MX, LX; Minox B, Graflex RB, Speed Graphic and 4x5 view cameras. I bought the Olympus because I had bought an Olympus tele I liked the looks of better than my other teles, but these days I'm not using teles often, and then when I do the Pentax 135mm and 200mm I have are fine. </p>

<p>My two cents worth: I'm still using my Pentax "1-degree/20-degree" spot meter and digital Pentax spot meter with splendid results with my Pentax SLRs, Graflex RB, Speed Graphic, 4x5 view camera, and even the Minox B. It's hard to beat a spot meter. An incident meter is good for portraiture but requires you to be next to the subject, which is impractical with subjects like distant mountains, dramatic thunder clouds or Komodo Dragons. </p>

<p>Thanks, Leandro!<br>

I think I'll get an OM(1-4) because my OM10 viewfinder is damaged. </p>

<p>The other day I got my OM 10 out and shot a roll or two. I forgot how much I enjoyed it. Unfortunately it's had a lot of wear and tear over the past 30 years and could use some TLC. <br>

Where would be a good place to have an OM10 repaired? It needs the mirror and focus screen replaced, along with a routine cleaning, lubrication and adjustment. <br>

Thanks!</p>

<p>I have to do a lot of critical macro photography in the course of my everyday work (to document work-in-progress). I've always used the same rig, and have yet to find anything to rival it: Pentax 50mm f4 SMC-M Macro and 100mm f4 SMC-M macro, sometimes with Extension Tube Set K or Auto Extension Tube Set M, using either a Pentax LX with different viewfinders, or my older Pentax K2. A mirror lock-up is vital for critical macro photography. Of my cameras, only my LX, KX and K2 have mirror lockup. I know these two lenses are older types, but the image quality and flatness-of-field is superb. with the extension tubes, the lenses are capable of 1:1 magnification. </p>

<p>Hi Jim, <br>

Glad to help! Let us know how things turn out for you!</p>

<p>Hi Justin, <br>

Any film camera can shoot IR film, the only caveat is that IR wavelengths will focus BEHIND the film plane compared to visible-wavelengths. so when you focus the camera normally the IR image will be out-of-focus. Most 35mm and some 120/220 cameras have a red mark at the film plane and an IR focus compensation index on the lens. You focus as normal, then move the focused-distance to the IR index. If your camera lacks an IR index marking, then you have to determine the corrected focus experimentally. In other words, you have to guess at how to refocus the camera. One way is to "bracket" the focus. Another is to shoot stopped-down (small apertures) so that depth-of-field will save your focus, but remember -- even at infinity as indicated by the camera the focus will be off. You may waste a couple rolls of film, but soon you'll discover how to compensate your focus and all will be well. IR is fun! <br>

My Pentax SLRs have the IR compensation marks, but my large format, Graflex and Zeiss-Ikon Ikoflex don't so I had to experiment to discover how to correct the focus for those cameras. Once I knew the focus-correction factor, I had no further troubles. You won't have any trouble either. <br>

Enjoy!</p>

<p> </p>

<p>I am considering buying either the K20D or the K-m, so I had the chance to borrow a k20D from a friend and try it in many modes. I do enjoy infrared photography, but it's a hassle with my film-era Pentax SLRs, so I tried the K20D in infrared with the R72 filter and with the Wratten 25 I have used with my film cameras. You have to pick the best channel, through trial and error, to get good results and exposure times were very, very long -- 15 to 30 seconds at ISO 400 with my Wratten 25, and 5 to 15 seconds with the Hoya R-72. I preferred the look of the old-style #25 film (like my very old Kodak Wratten 25, Cokin Red, or a B+W #25) over the R-72. highlights seemed cleaner and snappier, and clouds are more dramatic; the R-72 has a bit lower contrast and a longer tonal scale, but the result lacks that vivid "snap" I'm accustomed to seeing with Efke Infrared film, or older Kodak infrared negatives. Forget using the highest ISOs, as noise becomes unacceptable. </p>

<p>Cellophane is also a good soft-focus filter for portraits or floral photography, as I've used on many occasions, normally I use my 135mm f2.8 prime lens for half-length portraits, and my 50mm f4 macro or 100mm f4 macro for floral photography. The effect is similar, but not as extreme, as spreading Vaseline on a skylight filter, with the benefit that you do not have to clean up afterward.<br>

Another good effect you can do with cellophane is to simulate the effect of a pinhole lens or zone plate/zone sieve lens. With a 28mm or 24mm lens the result can be spectacular. <br>

Also wad up then straighten out the cellophane, stretch over a lens, and use a polarizer and a polarized light source. The polarizer turns the crumpled cellophane into a rainbow of colors! </p>

<p>Cellophane is also a good soft-focus filter for portraits or floral photography, as I've used on many occasions, normally I use my 135mm f2.8 prime lens for half-length portraits, and my 50mm f4 macro or 100mm f4 macro for floral photography. The effect is similar, but not as extreme, as spreading Vaseline on a skylight filter, with the benefit that you do not have to clean up afterward.<br>

Another good effect you can do with cellophane is to simulate the effect of a pinhole lens or zone plate/zone sieve lens. With a 28mm or 24mm lens the result can be spectacular. <br>

Also wad up then straighten out the cellophane, stretch over a lens, and use a polarizer and a polarized light source. The polarizer turns the crumpled cellophane into a rainbow of colors! </p><div></div>

<p>Hi Adam, </p>

<p>That makes me smile! I bought the K1000 new in 1977, then decided after a year of training to go pro. This led to buying the K2. Next, I decided I wanted a good "casual shooter" and bought the ME, and at the same time added the MX. Later, when the ME Super came out I bought three to use as my everyday workhorses. One was stole, I still have two. In 1981, I bought two LX with lots of goodies as an upgrade from the K2 and MX.<br>

Because I enjoyed the ME Super so much I was one of the first to buy the ME-F, but it was a sort-of disappointment. Its AF is not that great. <br>

Later, I wanted another camera with TTL flash, but for more casual or for action work so I bought the SuperProgram. When one of my oldest friends retired many years ago, I bought his KM and KX -- and use them. This made me aware I almost had a complete collection of M and A series cameras, so I found the MG and MV1 from KEH camera and the ProgramPlus just recently on eBay. I made sure each was in excellent shape. <br>

Of all of them I actually enjoy the K1000 the most because its uncluttered viewfinder lets me concentrate on composition. I seldom ever use depth-of-field preview or self timers, even on my other cameras, so the K1000's lack of features doesn't bother me. But over the years, the LX and MX have gotten the most use. </p>

<p>Hi Leo, <br>

Yes, Eric Hendrickson! I should have thought of him sooner! He repaired my KM (dead meter cell) and did a perfct job! Plus, he's a great guy and fun to deal with! </p>

<p>Hi Andrew, <br>

Well, in case you're unfamiliar with the ME-F it has two "arrows" and a center symbol in the viewfinder that indicate which direction you need to focus the lens, then the center symbol lights to confirm accurate focus. This works OK, but the AF lens simply keeps moving to infinity rergardless and keeps whirring its motor, so I do indeed suspect the lens. </p>

<p>Hello, <br>

Does anyone know where I can have my ME-F repaired? The autofocus no longer works properly, although the focus assist does work fine. <br>

Before anyone comments, yes I know there are far better autofocus cameras, yes I know the ME-F is sort of a freak camera, and yes I know it isn't worth much in the used market. That's not the point. I never really enjoyed the camera's autofocus and seldom ever used the cumbersome autofocus lens. But my ME-F is part of my rather extensive collection and I'd like to have it working perfectly. (The rest of my collection includes: K1000, K2, KM, KX, LX + every viewfinder option, ME, ME Super, ME-F, MG, MV1, MX, A3000, ProgramPlus, SuperProgram, twenty lenses excluding 50mm primes, databacks, winders, accessories, Pentax-branded filters, and several Pentax flashes.) <br>

Any help would be very appreciated!</p>

<p>Hello,</p>

<p>The exposure meter in my Minox B is no longer working. I'm quite certain the fault is the photocell. Is it possible to have the meter repaired in the USA? If so, where should I send the camera to have its meter repaired?</p>

<p>Thanks for your help!</p>

Where do I find 8x11 Film Storage Sleeves/Pages to store my Minox 8x11 negatives in them once I've processed the film? I've been using

35mm film negative storage pages but they do not work too well. I'd prefer to find the same type of negative storage pages that

photofinishers use to send you your developed negatives.

 

Thank for you help!

If the photos this takes are better than the fuzzy samples at the License-to-shoot web site, I'd enjoy having one. But if the

photos are as bad as the samples, I'll keep shooting my faithful Minox B. The DSC's photos don't have that unique "Minox

look" I am accustomed to seeing -- which is the entire reason I continue to use my Minox.

 

For me, it's not about the small size, it's about the fabulous way a Minox B turns the most ordinary subject into a

captivating piece of art. The sample photos of the DSC do not have that elusive quality, perhaps DSC's lens isn't anything

like the Minox B's superb lens.

Excellent, Gerald! Looks like I will be ordering quite a few Minox items from you, not just film. By the way, I think I just

bought some Copex Film plus Nanospeed developer and a Jobo 8x11 reel from your eBay store. I also want to buy some

other items from you too.

Thanks, Gerald! I do have a second Minox B that works fine, but its meter is not working. sounds like the best thing for me

to do is get my other Minox B's meter repaired and use it as my second submini-shooter. Looks like my old Atoron will be

going up on eBay.

Hello all,

 

Along with my Minox B I also have a Yashica Atoron that I haven't used in many years. Its meter is dead, the viewfinder is fogged up a bit,

and the shutter runs quite slow.

 

So here's my question: which of the two cameras (The Minox B or the Atoron) takes the best picture aesthetically?

 

In other words, if you were me would you have the Atoron fixed or just stay with the Minox? By the way, I will not stop shooting the Minox

B, but I had thought of shooting the Atoron along with the B.

Wonderful suggestions, Robert! Thank you! I'll be trying all of those ideas.

 

Another film idea I will be trying is slitting down the "Bluefire Police" 35mm film (http://www.frugalphotograher.com) then

developing it with their developer. I've used this film for the past year with my 35mm Pentax LX because the film's

sharpness, long tonal scale and absolute absence of grain is beyond anything I've ever seen! It gives photos from the LX

the same look you'd expect from a Hasselblad. This film seems a natural for using with Minox cameras, or any other 8x11.

I've not been wanting to "roll my own" but I think I'd be crazy not to custom load minox magazines with Bluefire Police.

Hi Robert, David.

 

Thanks for the information! I do appreciate it.

 

While I'm awaiting the elusive SPUR SLD, I decided to try my hand at developing a roll of Minopan 100, which I've been

told was Agfa APX100, in a common developer. For the attempt I tried good old Kodak D-76, the developer I've used

most often since the 1970s (as well as Rodinal). My past experience with D-76 and Agfa films is to reduce development

time. So I diluted the D-76 to 1:1, then ran the film at 10 minutes with gentle agitation. The results were good for a first

time without completely know what I'm doing. The negatives were quite sharp, but contrast is a bit too high and some

highlights burned out, so next time I think I'll try 9 minutes. I'm confident I'll be able to refine developing Minopan/Agfa

100 film with D-76 and achieve excellent results. I'll keep you posted.

 

Attached is a shot from the roll. It is sharper and less grainy than the scan shows, notice the burned out highlights on

the hall's light fixtures.<div></div>

Hi Robert,

 

I tried the link and they do not sell to the USA. The link they listed for FotoImpex USS is a dead link and none of the

other dealers sells to the USA. Freestyle Photographic does sell SPUR, but they don't stock SLD.

 

Does anyone in the USA sell SPUR SLD? It doesn't look to me like either vSPUR or 8x11film.com cares about the US

market and I'm not really motivated to mount a major search-and-rescue operation on the scale of the search for Amelia

Earhart in an attempt to locate their products. Oh wait, I forgot -- SPUR SLD is sold at Area 51!

 

Instead of the elusive SPUR SLD, think I'll try Rodinal and a few other developers that I can actually buy here in the

USA and see which is the best.

 

Honestly, I do not understand SPUR's and 8x11film.com's business practices -- or lack thereof. Why do they make it so

difficult to buy their products? I cannot buy it if they do not make it available for purchase! I would love to have used

their developer, but I give up, they've worn me out with the frustration of it all!

Thank you for the tip!

 

Where can I find Spur SLD in the USA? I've been able to find only the Spur Imagespeed developer. Spur doesn't seem to

be a customer-focused company; they've been unresponsive to my inquiries and their English-language website isn't

being maintained. Their website has a sort of W.C. Fields-like "go away, kid, you bother me!" attitude.

 

Would Agfa Rodinal or Kodak HC-110 be suitable for Minopan films? I'd prefer to use a developer that is easily obtained

from a company who is more interested in serving their potential customers than what Spur seems to be.

 

Also, which black-and-white Minox films are currently being produced?

 

Thanks!

Hello all,

 

What is the best developer and fixer to use with current-production Minox Minopan 100 and 400 speed 8x11mm films? I'm just getting back

into developing my own Minox film and wanted to find the best chemistry for the purpose. By the way, I have the Minox Daylight

Developing Tank that I bought at the same time I bought my Minox B.

 

Thank you for any and all advice!

Yes indeed! My faithful Minox B travels with me wherever I go, tucked away in a shirt or jacket pocket! You never know

when a great photo will show up, and I never leave home without my Minox B!