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PostPosted: Mon Jul 16, 2012 14:49 pm 
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Your a braver man than I Gunga Din :)

Having said that I have repaired 3 Kodak 35's and basically serviced my Leicas and Contax, not so daunting if you have the ability to understand the workings etc ..

I occasionally have a problem with the long leader for Leica .. as Rick says cut straight, between the sprocket holes ... and be very careful in loading as on the odd occasion I have had a problem it has been because my cut has caught on the mechanism, stripping the film in half :roll: sigh :)

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PostPosted: Mon Jul 16, 2012 16:40 pm 
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Rick, you scare me but I am impressed. :D

Yes you are right, I mean pin holes not burn, as I mean burn the film, got my terms mixed up. If I'm feeling brave I'll try the paint trick. I have some somewhere, hopefully its still liquid!

As for cutting I saw a template and counted the sproket holes back = 20 so that's where I cut inbetween the holes. Allen, I absolutely see your point with a smooth cut and no snags.

I have been toying with the idea of getting a 'broken' 40s cine camera and putting a small camcorder inside. You know, it's one thing that bugs me is seeing modern cameras on a battlefield, public display that is. If someone was to go on with a DPM tunic there would be hell to pay :lol: but sometimes a DSLR or a camcorder is right there. Don't get me wrong, there are a lot of photographers that rightly take the trouble to 'hide' or shield their modern cameras and I applaude that as some of the work is excellent but the open use does not sit well, just IMHO of course.

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"Laws that forbid the carrying of arms...disarm only those who are neither inclined nor determined to commit crimes. Such laws make things worse for the assaulted and better for the assailants; they serve rather to encourage than prevent homicides, for an unarmed man may be attacked with greater confidence than an armed one." Thomas Jefferson, Quoting Cesare Beccaria. 1809

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PostPosted: Mon Jul 16, 2012 17:31 pm 
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BarnacleBill wrote:
I have been toying with the idea of getting a 'broken' 40s cine camera and putting a small camcorder inside. You know, it's one thing that bugs me is seeing modern cameras on a battlefield, public display that is. If someone was to go on with a DPM tunic there would be hell to pay :lol: but sometimes a DSLR or a camcorder is right there. Don't get me wrong, there are a lot of photographers that rightly take the trouble to 'hide' or shield their modern cameras and I applaude that as some of the work is excellent but the open use does not sit well, just IMHO of course.


Your not alone there ... bugs me too ... but like you I have seen some very clever and very sensitive alterations to old cameras to enable a digital to be used ... very clever .. I take my hat of to those folks .. at least they are trying to keep in the spirit of it all ...

I wouldnt myself alter an old camera if it were serviceable, but to use a scrap one would I feel be acceptable, be like giving it a second life in a way ... I dont think I have yet seen a cine camera altered to take a digital movie camera .. what make or model are you looking at, it will be an interesting experiment I think ... look forward to seeing the result ... !!

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PostPosted: Mon Jul 16, 2012 17:37 pm 
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Does anyone have a good recommendation for 120 roll film that suits 1940's era photography? I've used some modern stuff (Fuji I think) and although the results were good, they were almost too good. TBH it wasn't massively different from what I could get with a DSLR, just a lot more expensive

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PostPosted: Mon Jul 16, 2012 17:43 pm 
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Have you tried E-bay ... go for out of date stuff .. Kodak or Agfa .. Ive seen it and used occasionally.

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PostPosted: Mon Jul 16, 2012 18:11 pm 
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I've tried using out of date stock for cine film jobs and it was a blimmin' nightmare. With no way of knowing how it was stored there's no way of knowing how to compensate for extra stops. I'm just after a contemporary in-date stock that isn't superfine grain.

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PostPosted: Mon Jul 16, 2012 18:31 pm 
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Cine does present a problem .. I have a B and H 16mm turret camera and plenty of film .. about 1000 feet in 50ft rolls out of date stuff .. luckily the paperwork is still with it as a guide, the problem is getting it processed, what little I had done was done to negative despite being reversal film, and they tested a short piece first so there is a splice in it ... and it cost about £100 for 50 foot ... :shock:

Out of date still film 35, 120, 620 etc for the most part will still be useable .. the commercial stuff for the amateur market was made to sit on the shelf for long periods ... it was only the pro stuff that needed to be refrigerated (not frozen) and that would be questionable to use in my opinion.

Ilford FP3 and FP4 is good film ... the HP3 and HP4 was faster but grainier to look at ...
Kodak Tri-X was fast also and a little grainy too I think from memory ..

.. personally I use mostly Kodak 35mm film at 400 ASA .. colour as I have said before in as much as black and white prints can be got from colour negatives ..(forgetting computers and digital printing for now) .. and printing through three layers of emulsion gives a nice older look ..

I have a 120 roll film back for my Speed graphic and will be experimenting with that this year so Im looking for some 120 myself right now..

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... " I got vision and the rest of the world is wearing bifocals " ...

... " I won't be wronged, I won't be insulted, I won't be laid a-hand on. I don't do these things to other people, and I require the same from them " ...


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PostPosted: Mon Jul 16, 2012 20:44 pm 
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Thanks. I'll try those out.

As for cine processing, I can thoroughly recommend a setup called i-Labs in Soho. Shoot on colour negative, process and TK to positive - either as tape or Quicktime files.

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PostPosted: Mon Jul 16, 2012 21:11 pm 
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Thanks .. I typed that in but got no where .. do you have a link or tel no .. ??

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... " I got vision and the rest of the world is wearing bifocals " ...

... " I won't be wronged, I won't be insulted, I won't be laid a-hand on. I don't do these things to other people, and I require the same from them " ...


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PostPosted: Mon Jul 16, 2012 21:50 pm 
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As the main players gradually reduce their monochrome film ranges it may be worth trying the asian/eastern block stocks which may not be as refined as Fuji/Kodak/Ilford types. A useful supplier in the UK is Silverprint http://www.silverprint.co.uk
120 format is of course no problem as it is a current format but even 127 format fairly freely available. http://www.silverprint.co.uk/ProductByGroup.asp?PrGrp=229
For cine why not get yourself a daylight cine film processing tank and you can process 16mm or 8mm stuff yourself. Really easy to edit, tape splicer probably easiest (I'm not sure if modern stock can be cemented). I'd imagine 8mm/16mm projectors can be had easily on eBay. Not to difficult to to telecine yourself if you are tight on budget (not as good as a professional transfer of course but fine for a home movie look - or there are plenty of outfits who offer cheap 16/8mm film to DVD services.

Personally I have always loathed Ilford films (except, historically, Pan F) with their mushy greys and have always had a soft spot for awesome Tri-X. But I must admit I use chromogenic monochrome film these days (KODAK BW400CN or Fuji Neopan 400CN for 35mm and 120 formats) that you can drop into and high street photolab and ask for process only and scan to CD (pro-lab needed for 120 formats). Quick and cheap, saves faffing with a darkroom or scanning negs or prints yourself.

By the way, rangefinders with a rubberised focal plane shutter such as Leica or Zorki/Fed are prone to holes in the shutter - caused by the sun; no mirror in the way so the sun is focussed on the shutter blind in front of the film. Generally not a problem walking about but carelessly leave the camera on a table with the sun in view and you will regret it (I have!). Once burnt a pinhole's effect can be reduced by winding on immediately before exposure to reduce the fogging effect but this is contrary to good practice (always have the camera wound and ready to shoot instantly) so a repair or bodge is really a must. Contax/Kiev have metal shutters so don't have the problem, or more accurately, problems of their own.

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PostPosted: Tue Jul 17, 2012 6:49 am 
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On your Leica,Zorki,FED or Ihagee, If you must leave the lens cap off, turn the lens away from infinity and set the aperture to it's smallest. This greatly reduces the light concentration at the focus point and thus no chance of burning holes in your shutter curtains ;)

My 'Red Curtain' IIIc has a little burn spot too :(



Here's my 1941 dated Miniature ("Baby") Speed Graphic 2x3
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PostPosted: Tue Jul 17, 2012 11:11 am 
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Correspondent wrote:
Thanks .. I typed that in but got no where .. do you have a link or tel no .. ??

They are now called Reliance MediaWorks apparently
55 Poland Street
London
W1F 7NN
+44 203 463 2420

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PostPosted: Tue Jul 17, 2012 19:01 pm 
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Correspondent wrote:
I wouldnt myself alter an old camera if it were serviceable, but to use a scrap one would I feel be acceptable, be like giving it a second life in a way ... I dont think I have yet seen a cine camera altered to take a digital movie camera .. what make or model are you looking at, it will be an interesting experiment I think ... look forward to seeing the result ... !!


I agree, I wouldn't alter a working camera but I was thinking of a Kodak mod B or similar.

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These 3 men are dead.
http://news.bbc.co.uk/1/hi/uk/5121552.stm

"Laws that forbid the carrying of arms...disarm only those who are neither inclined nor determined to commit crimes. Such laws make things worse for the assaulted and better for the assailants; they serve rather to encourage than prevent homicides, for an unarmed man may be attacked with greater confidence than an armed one." Thomas Jefferson, Quoting Cesare Beccaria. 1809

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PostPosted: Tue Jul 17, 2012 21:15 pm 
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Hi Martin, thanks for the link to the lab ...

Matt .. I take it you will look for an old 16mm cine camera to play with .. larger format will maybe give you more room and scope for you to fit a small digi videocam.

Rick .. thats a nice camera .. by the way did the packets arrive yet ..??

Chomley-Warner .. hello my friend .. yes I have thought about processing 16mm myself, I actually have one of those Russian circular 16mm processing tanks, the thing being though it may get a little expensive as to use the chemicals just once now and again, then have to throw them may not be an option unfortunately.
Back in the early 1970's I was posted to Binbrook from Singapore and worked on Lightning a/c .. they had a 16mm gun camera in the nose and a radar recorder in the spine, both of which we had to service and change the mag on when they had been used .. when I think of the large processing tanks and racks that we used then I wonder what happened to them all.. be handy to have a set up like that now I think .. !!
Im surprised I think that you dont like Ilford film .. we used nothing but in the RAF of those days ..
and I got some excellent results .. (diluted as I said in an earlier post) .. on my Mamyia C220 .. it wasnt issue but I had been given permission to use it .. a little bit more fun that the standard RAF Rollei T.
Thanks for the info re; film, handy to know .. I cant help wondering where film will be in say 10years time .. BTW .. I see 120 and 35mm mentioned also 127, but no reference to 620, not sure if it is available but of course it is the same film as 120, just on a different spool, easy to 'decant' one to the other though for use in 620 cameras .. but im sure you all knew that anyway ..!!

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... " I got vision and the rest of the world is wearing bifocals " ...

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PostPosted: Tue Jul 17, 2012 22:24 pm 
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Heh, just personal preference! I know Ilford had massive MoD contracts - my Kodak rep used to grumble... :P
But FP4/HP5 ain't a patch on TMax IMHO :wink:

No more than five years ago Anchor Supplies here in Derbyshire had an old MoD processing truck for sale, still fitted out with stainless steel tanks and stinking of fixer!

For general info, this place still does monochrome processing or formats various - cheap too, (probably this chap works from home, no bad thing as big labs aren't interested and you will get a bit of old fashioned craft) http://www.cheshirephotolab.co.uk/pricelist.htm

As for 620 - T-Max 100 is available in 620 at a price but you might as well re-roll yourself rather than pay someone to do it. FOTOIMPEX make a version of 120 with the spool flanges trimmed down to the slightly smaller diameter of the 620 spool but you will need a proper 620 take up spool (and get the bugger returned if someone else is doing the processing). And this place also supplies re-spooled 620, 127, 828 film: http://www.photosupplies.co.uk/shop.php?category=620+Film&shopid=02111201

127 - at least 5 different types still commercially available.

For those that don't know - step by step re-spooling 120 to 620 http://www.inficad.com/~gstewart/respool.htm

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PostPosted: Wed Jul 18, 2012 6:30 am 
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Still nothing Allen. I'm hoping it will get here today. Together with all the other stuff that's still in the mail :(

I've respooled 120 to 620 a few times in a change bag for my Kodak Medalist. It's can be a pain, but it's not too bad considering the number of times I've used it.
Cutting the flanges of a 120 spool didn't work out so well in the Medalist. There was much chafing involved and a ruined 620 take-up spool :(

Rollei re-introduced their line of 127 film back in 2010.
I use Efke 100 myself for my Kodak Vest Pocket cameras. I did find some labs don't process this format anymore.






Another one from the collection:
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Kodak Retina II (model 142) from just before the war. Manufactured by the Nagel plant in Stuttgart.

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