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PostPosted: Thu Aug 02, 2007 19:02 pm 
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Mr_Flibble wrote:
Okay, using 50 ISO film in a box camera is not a good idea unless you live in Deathvalley. All shots I did were under exposed, even the sunny ones. :(

The Leica IIIa arrived. It's a 1936/37 body with a 1946 lens. Looking forward to using it.


you really wanna be using an 400 speed film in a box brownie it works great i use ilford hp5 gives you a nice grain

thanks adam

p.s. you put any film through your leica?


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PostPosted: Wed Aug 08, 2007 16:16 pm 
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Hi guys, i'm currently considering buying a WW2 era camera for taking the odd shot at every event, sort of like my Grandad's photos from WW2, mainly him and his mates and site seeing, and also the odd military vehicle etc. What sort of camera would the ordinary British serviceman be able to get ahold of? Also, how expensive is film, and would I have to develop it myself or would I be able to still get the film developed at a chemists etc?

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PostPosted: Wed Aug 08, 2007 17:08 pm 
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You will I think need a basic knowledge of photography to develope and print your own pictures, (if you have I apologise), B and W is fairly straight forward, but color is more involved and would require more expertise too.
135 (35mm) film cassettes were introduced in 1934 so you can safely use 35mm shop bought film, color or B and W enabling you to purchase an old 35mm camera of the times.
You can if you have a darkroom or dark bag, reload 120 film onto 620 spools for use in old 620 roll film cameras, the film is the same size, it is the spools that are different, the modern 120 spools having a larger hole at each end than the older 620 spools.

Commercial processing of color film is still available as is processing of B and W films, but it seems for some reason you will pay more for B and W processing.

I have seen comment here about using fast films to get a coarser grain effect, an older effect, and thats true, but color films have multi layered emulsions and I have in the past quite successfully printed a B and W pic from a color neg, the multi layers of emulsions giving a very satisfactory old look to the picture, which if taken further with vignetting and a tan or light brown coloring (toning) produces a very satisfactory finish as an old picture.


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PostPosted: Thu Aug 09, 2007 20:45 pm 
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Ah cheers chap - I know a bit about photography but nothing about processing the pics myself, so will probably go for commercial printing even if it does cost a bit. Will definitely go for black and white, and i'll keep a look out for 35mm cameras on ebay.

Many thanks!

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PostPosted: Fri Aug 10, 2007 7:02 am 
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There were plenty of cameras available to civilians from before the war, box cameras, folding cameras.
If you want a cheap camera look for the Argus C-3, though it's more typically American then British. It uses 35mm cassetes and the Cintar lens is very capable. They should not cost more then $20 on Ebay.

I think a 120film camera would look better. I started out with a Zeiss Ikon Nettar I bought from Smudger (sold it last month). Having photos printed costs a bit more then 35mm film, unless you ask for contactprints (straight from the negative without enlargement, periodically correct)
A brownie box camera is a real point-and-click device, great for taking period-looking snaps.

German built Kodaks, Contaxes and Leicas would als have been available to the public before the war.
But these can get rather expensive in comparison.

Overall you don't have to develope anything yourself. The photoshops tend to send it on to a lab if they can't do it themselves.

If I recall correctly, Official British Army photographers got Zeiss Super Ikontas (through Turkey) and Kodak Medalists, and another I can't remember. 35mm film cameras were not issued because it was more difficult to get. ...I think I've posted this info in this thread before.


As Correspondent said, best thing to do is stick to either a 35mm or a 120film camera. I know from personal experience that respooling film to other formats is a pain in the backside.

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shaggy wrote:
p.s. you put any film through your leica?


I gotta pick up a roll I shot with it from the the developers today. For the second half I used a 90mm Elmar tele lens. Hopefully I got some nice portrait shots of my friends and Sgt Wilson's Army Show last weekend.


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PostPosted: Fri Aug 10, 2007 9:25 am 
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Hi Rob,

I use a Kodak 35 camera - will bring it with me this weekend for you to have a look at! I use Black and White Colour (sounds strange - but processed the same as Colour, but in Black and White) 35mm film, purchased from any GOOD photography shop.

Results are quite good....

Image
Image
Image

And finally, one in Colour;

Image

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PostPosted: Fri Aug 10, 2007 9:54 am 
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The Kodak 35 with Diomatic shutter is a very nice and compact camera (not as compact as the Retina).
The one with the Kodex No1 shutter is a cheaper model with less features (no double exposure protection), but still as practical.
The Kodak 35 RF is an ugly beast, designed as competition to the Argus C-3. It features a simple rangefinder. Be prepared to do a lot of squinting through the small finderwindow ;)

I find the Anastigmat lenses of these cameras to produce slightly soft images which is not necessarily a bad thing, they did the same thing 60 years ago. They were uncoated until somewhere around the end of WW2. Which makes those lenses a little less usable with colourfilm.
The post-war Anastar lenses are all coated, but I've no experience with those.

examples:

Image
Taken with a Kodak 35, Ilford Delta 100, Slightly underexposed.

Image
Taken with Kodak 35 RF, Ilford HP5+


Overal, I find them very nice and sturdy cameras. They're not expensive and there are always a few on Ebay. I still want the military version of this type, the PH-324. But so far all attempts to get one have failed. I fondled a real one for the first time at Beltring this year.

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Yes, the PH-324 is a very very hard camera to find, especially for any decent amount! Ive been looking for one myself to go in my small Eastman Kodak collection!

I might see if I can get myself an Argus C3. Would be a good contrast to the Kodak 35 and Kodak 35 RF I have.

Cheers,

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I want to get a war-time one for my collection one of these days, the post-war one I take with me to events sometimes.
I keep losing track of exposures most of the time with these cameras, so I wind too often or not enough. I need to train myself to wind it to the next frame right after taking a shot.

There were 2 PH-324s on Ebay last week, one only sold in the US, the other world-wide. With my bid I could've won the US one, and I lost the bid on the other one (and got some fraudulant email from a guy claiming to be the seller to boot). :(

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PostPosted: Fri Aug 10, 2007 10:32 am 
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Last one I saw went for a rediculous amount of money.

Will get one at some point, wont be any time soon though unless one comes up cheap - got other fish to fry first!

Cheers,

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PostPosted: Fri Aug 10, 2007 11:46 am 
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Mr_Flibble wrote:
As Correspondent said, best thing to do is stick to either a 35mm or a 120film camera. I know from personal experience that respooling film to other formats is a pain in the backside.


It can indeed, but anyone who developes their own films would soon become adept at handling the film by virtue of having to take the film from the camera and/or cassette and load it into the developing tank, and in that then it is a small step to respooling.

Another point to consider also is that the majority of early folding and box cameras I have seen were/are in the 620 format and to use one of these cameras respooling may be necessary ? As the 620 was only discontinued by Kodak in 1995 however, it is also possible that there may be existing rolls to be find in old stocks in some shops and it maybe worth asking.

http://en.wikipedia.org/wiki/120_film

http://en.wikipedia.org/wiki/135_film

Its probably all been posted before, but may help ??


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oh we have a newcomer..Welcome to our little fold, correspondent,Do say hello if you see us around. Can't miss us with our two "bricks" or the PRFU armbands.

Why is it necessary to respool film for 620. is it a love of messrs kodaks products.?
The Fuji films may be as unauthentic as american emulsions, but tweaking in the chemistry is possible. if you are seeking those early agfa colours
The Acros is marvellous. for period shots. and none of that messing about and danger of fogging and fingerprints.


Ps I am still not doing any processing sorry, until after the next eye op.
PPs Does anyone know an insurance co that might cover in- field processing, without modern chemicals?

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PostPosted: Mon Aug 13, 2007 16:13 pm 
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Thank you for the welcome, and I daresay you wont be able to miss me either and I look forward to meeting up with you at some future event.

Respooling reared its head only in as much as due to the basic unavailablity of 620 film, to use a 620 camera one would need to respool a standard 120 film from its spool to a 620 spool, the only difference between them being the dimensions and location holes of the spools themselves, the film itself of course being exactly the same in both cases.

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PostPosted: Mon Aug 13, 2007 18:26 pm 
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Well sort of. But I was asking why people respooled rather than just getting a film to fit, i e the fuji pro range.

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PostPosted: Mon Aug 13, 2007 18:39 pm 
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Hmmm Im either missing something or we are talking at cross purposes !! Do Fuji make 620 film then ??
I take your point about buying the film to fit the camera, but if the camera is an old 620 type made for what is now an obsolete film, and a body wants to use it, then the only answer is to respool, unless there are supplies of 620 available somewhere ??

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