bobpeters

I have a Minolta SRT-102 that the Shutter doesn't work properly on. It doesn't cock when the film advance lever is pulled, and it only fires when the long spring underneath the base, is either pushed or pulled. Is there something out of sync inside the camera? How do I fix it, and where can I get it fixed? My hands and fingures are too big for work this fine.

Is it normal for RC paper to go black in the developer in Caffinol C, or any developer, before looking normal? I don't know if I'm not exposing long enough, not getting it out of the developer quick enough, or not letting them sit in it long enough, but most of the prints I made, have a black "cast" over them. You can see an image on them, but it's black all over.

I would pay $8 for one.

I know that they say it's difficult to produce Kodachrome, but is that because it's hard to make the film, or is processing it a nightmare why they don't make it? I'm wondering if it would make sense to sell, and Paul Simon would probably hate me for saying this, as a B&W film, and figure out the processing later, as Kodak doesn't have a low speed B&W film. Would it be possible to make a film with all the same properties a Kodachrome, including archival stablity, that's less of a pain in the butt to develop?

It's too bad that they don't make film recorders anymore, as you could make slides, or color separated B&W negatives, of what you want to save. There are some out there but I don't think any of them work on anything later than Windows XP.

I own one as well and like it as well. The holders are about as easy to load as a film holder. I really like that It uses little solution, so I can develop more negatives with the same amount of dry Caffenol ingredients. This is the 1st sheet film tank I have ever used. I do wish that they made racks for 2.25x3.25 inch film, as that would make development of the little film much easier. Some people would probably want 3x4 inch film racks as well.

And if you are not REAL CAREFUL, you will put your finger through the shutter curtain, and wreck the camera.

Unless you use a camera that doesn't use a curtain shutter.

I'm not sure what relevance the previous post has, but while this thread is resurrected.

 

How's it going Henry?

 

Any joy with the modification?

I'm assuming that, that much light must be blinding.

There's no comparison between the precision of a hand-assembled Swiss watch - even a pocket watch - and the relatively crudely stamped gearing required for a shutter.

 

A watch that lost or gained two minutes an hour would be far more accurate than most shutter timing mechanisms.

 

The clunky mechanism of a mechanical shutter makes even an old Sekonda or Timex watch look precision made! Even a Mickey-Mouse kid's watch (remember those?) required greater precision.

I was probably well after mechanical Mickey Mouse Watches, though I do remember that Jethro on Beverly Hillbillies had one that was missing one part.

bob has it.

Unlike the contact printing frames, the Graflex filmpack holders don't even make an attractive print holder...

My last film pack:

[ATTACH=full]1242897[/ATTACH]

It is, of course, a little past its "best by" date:rolleyes:

It looks like it's 1963 or later anyway.

The 47mm Super Angulon XL does work on the Busch Pressman Model D with limitations. One of them is that you have to remove the back of the camera to get the rear elements installed onto the shutter, so it's no longer a quick change. Another is that you have to focus near infinity by dragging it on the storage rails, and I have no idea how close you can get with it. My fingers are kind of large so it's hard to work the controls even on a toyo field recessed lensboard, and I was thinking that it might be usable on the Pressman.

Are Pack Film holders useful for anything now, other than as Ground Glass holders for home made Graflok cameras, and as glass plate holders? I figure you could use them as single sheet holders with a matte black backing plate. And with possibly some modification, a homemade enlarger negative holder, or as the base for a panoramic 120 roll film holder. Of course you could use them with new old stock film packs, but I think those were last made in 4x5 in 1992.

Did the Swiss ever make a large format lens shutter? I'm asking the question, as I know the Swiss made mechanical watches and that a shutter is similar to a mechanical watch in the size requirements for the parts, as they have to fit into a limited space, and that some of the operation of the two devices is similar. It would seem natural for them to make shutters as well.

[quote=

 

Flashbulbs throw a LOT of light for their size-significantly more than an electronic flash. One of my favorite photographers-O. Winston Link-used an array of 50-100 bulbs to illuminate trains at night.

 

I would've hated to be a crew member of a train he was taking a picture of, as you would probably see nothing for quite a while afterwards.

When I used long rolls of film I loaded them into old school reusable cassettes inside my changing bag. No bulk loader involved. Who needs it? If you have a real(!) darkroom you could find ways to precisely measure desired film lengths by hand.

IDK how much labeling you might need? Do your cameras depend on DX coded cassettes? I think bulk rolls of APX 25 came with tiny printed labels "APX 25" if you like such and feel challenged to decipher your scribbling: There are paper stickers for sale that you could use with your type writer. For my needs color coding, as established by Ilford, would be enough. I'd stick a snippet of green tape on my 400, blue on 100 and red (lacking an orange option) on slower.

 

How many different films are you going to buy and handle? - I recommend sticking to one brand for a speed. It doesn't matter much what you'll pick the important part is getting used to it and that takes quite a while.

Just text information, as the only DX cameras I have are point and shoots.

I think I tried the bare spool in a bulk loader in a changing bag.

 

For one, it avoids scratching if the cassette seal isn't so good.

 

It is slightly tricky, in that you have to keep your hand on the spool handle so it doesn't unspool while you are taking it out.

 

In early years, my favorite was to put the camera in the changing bag, shoot off the appropriate number of shots, tape to the spool, and rewind.

 

But bulk loaders aren't hard to find for low prices used, so I now do it that way.

 

In an actual darkroom, I put two pieces of tape on the door the right distance apart, taped one end to the top, cut at the bottom tape, taped to the spool, and rolled up.

Using the camera, actually sounds really clever.

Can you load bare 35mm spools from a bulk loader in the dark, and then put them in the cassettes, and how do you label the cassettes?

I need Busch Pressman Vue Focus Rangefinder Eyepiece, as I lost one of mine when it fell out. I don't matter if it's from a model C or Model D.

I'm wondering about that too. I travel with a changing bag when I'm shooting film, but it's mostly a "just in case" thing. Given my tendency to carry back-ups for my back-ups in 35mm, I've never had something happen that couldn't wait until I got home, although it's small enough that it does give me a bit of peace of mind.

 

I can't imagine loading 35mm in one unless out of pure necessity-such as Kodak HIE. I'm always afraid of poking my finger through the shutter :)

I don't have any other completely dark space for sheet film holders.

I haven't shot more yet, as I have a little bit of a cold. These might be a little under exposed as well. I dymo labeled a note on the back of the head on my Auto Meter IV f a ISO step to stop "translation."

If you're loading 35mm film emulsion out, then you're exposing the film through its base and lucky to get a picture at all!

 

Most 35mm take-up spools reverse the curl of the film in order to keep it tight across the sprocket roller. And why are you loading a 35mm camera in the dark anyway?

The Minolta's wrap the film around the takeup spool emulsion out, by feeding it around the lens side of the takeup spool, before hooking it up to the spool.

The film formats that are easy for me to load are 120 and emulsion in 35mm, as you just have to attach the end of the film to the take up spool, and it's easy to get it really tight if needed. Next is sheet film holders and the 2x3 grafmatics (I don't have one in 4x5), as even as you can't see your hands, it just feels natural to me for some reason. I do it in a changing bag in the basement.

 

The film format that is a pain for me to load is emulsion out 35mm, as I usually don't get the film tight enough on the takeup spool, and it jams and binds. I don't know if there's a technique, so it winds tight on the spool, or what? Most of the time I've loaded my Minolta X370 it jams and binds, as the end of the leader isn't nice and tight on the take up spool, even though I follow the instructions the best that I can. I seem to have some luck with it, by manually turning the takeup spool gear with my thumb.

I want to do something similar with an auto focus auto wind point and shoot, and a DJI phantom 2 drone.

What about replacing the capacitors with new ones?

These are the first four sheets of 4x5 Arista Ultra EDU 100 film I shot at Spruce Pond near Tully, NY on 12/31/2017 with a Wollensak 101mm f4.5. That is why they have no corners. I didn't vacuum out the holders, or wait for the camera to cool down, as it was 2 degrees F outside when I shot these. This is a Quick and dirty scan I did on an HP 3 in 1, that does not have film scanning capability. I didn't have the right size B&W contrast filters for the 47mm Super Angulon XL lens I got for Christmas, which is why I used this lens, as it was mounted on a board already. I didn't do my own development on these.