Calzone
Gear Whore #1
Devil Christian,
That Linhof 220 has “You suck factor.”
Then add onto that the compounding effect that it is a rare black version and that you bought it for “no-money.”
You suck. LOL.
Cal
New York August 2022 Meet-Up
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Devil Christian,
That Linhof 220 has “You suck factor.”
Then add onto that the compounding effect that it is a rare black version and that you bought it for “no-money.”
You suck. LOL.
Cal
Phil_F_NM
Camera hacker
My current bigger format project (which is on hold) is to create a poor-man's XLSW with a flat-topped Mamiya Super 23 and an older version rollfilm back with a gate widened to 110mm.
I had a 55mm lens which I bought for very little which had haze and some small fungus threads internally. I dismantled the front optical group where the worst of the haze/fungus was, on the highly curved convex/concave 2nd element. The quite uncommon element slipped out of my cloth with a dab of cerium oxide on it and fell to my tile floor, shattering into a few pieces. So now I'm just waiting to find a donor lens or a whole one. The interesting thing is that the 55mm helicoid assembly is a pretty good mount for a Copal 0 shutter, so it fits a very wide range of lenses which will fit in that shutter. I still want the wide lens, but if I find a decent donor, I may use it for my Mamiya "Super 27" torpedo back.
I have two Mamiya Super 23 bodies and of course, both have grips. 😉 One of the bodies will get the sides cut open to create a new gate for the torpedo back, the other will just be a flat top Super 23 with a 21mm finder (that I got from Helen a few years ago) and a focus scale taped onto the back. I'm wondering if I can shoot 220 in those Mamiya press backs because I have a bunch of rolls and no cameras that will accept them.
I had a 55mm lens which I bought for very little which had haze and some small fungus threads internally. I dismantled the front optical group where the worst of the haze/fungus was, on the highly curved convex/concave 2nd element. The quite uncommon element slipped out of my cloth with a dab of cerium oxide on it and fell to my tile floor, shattering into a few pieces. So now I'm just waiting to find a donor lens or a whole one. The interesting thing is that the 55mm helicoid assembly is a pretty good mount for a Copal 0 shutter, so it fits a very wide range of lenses which will fit in that shutter. I still want the wide lens, but if I find a decent donor, I may use it for my Mamiya "Super 27" torpedo back.
I have two Mamiya Super 23 bodies and of course, both have grips. 😉 One of the bodies will get the sides cut open to create a new gate for the torpedo back, the other will just be a flat top Super 23 with a 21mm finder (that I got from Helen a few years ago) and a focus scale taped onto the back. I'm wondering if I can shoot 220 in those Mamiya press backs because I have a bunch of rolls and no cameras that will accept them.
Calzone
Gear Whore #1
Phil,
Always good to hear of all these possibilities and experimenting.
I have a “S” shaped back on my Plauble 69W Proshift. I think it is a Mamiya Press Back that they built the rest of camera around. I kinda love the way the Plaubel loads, very EZ-PZ.
The thing to know is that the backing plate reverses because the pressure plate accounts for the difference in film thickness between 120 and 220. I have to check but I think my Texas Leica’s (Fuji GL 690, and GM670) might have 220 capabilities.
BTW I only have one roll of 220, color film, but shooting 220 color on the Plaubel would require a center filter that I don’t have. Oh-well…
I’ll check my Plaubel. It has a 120/220 capability, but I have to see if the pressure plate reverses. Not sure if its the Plaubel or the Pentax 67 that I owned that had the AE VF’er.
Cal
MrFujicaman
Well-known
Cal, I've got some outdated but stored frozen (-5) Konica 160 color-want some?
Calzone
Gear Whore #1
MFM,
Not sure I want to begin shooting color film. I appreciate the kind offer though.
About a week ago I had one of my “hussy-fits” where I kinda get hysterical.
Pretty much this happens when I feel overwhelmed. “Maggie” kept adding to an already endless list of things “we” need to do. Pretty much this is my list because not only is she still working on grants (zoom calls), has a book contract, and also has a deadline October/November.
In effect she kinda is working nearly full-time, but the burden of moving forward and getting things done is on me. Pretty much my back was broken…
So pretty much I reached my limit and went mucho crazy.
So after the kitchen I’m taking a break from being a house slave. I put a lot of things on hold, and there are things I want to do. So now the garage/studio is on the map. I still want to go ahead with the upstairs bathroom because we have an open building permit to exploit.
Know that I’m not a multitasker, but pretty much I could do anything, just don’t overload me.
Anyways the color film would be a distraction and at this time that’s what I’m trying to avoid. I want to also live a little also, and get back into shooting and printing, biking and guitar are also on my list, things that were put on the side.
So the Meet-Up was mucho good therapy for me. I think I need to edit and make some books to move my photography forward. I’m doing more things that are for me like working on my bikes and riding them. Today I dropped off a hub and a new rim to get a single speed wheel built so I can make a 3x1 trail bike that has gearing for my slow ride style (low gears).
So the end result is I’m not neglecting myself, and I am getting back into what I am.
BTW one of the first things I have to do is burn though my film stockpile.
I have about 20 packs of Fuji FP100 now outdated and discontinued that I paid about $20.00 a pack. If you want some or all you can have it at the price I paid. Pretty much it is worth double.
Anyways, perhaps this would make an interesting project that could be a one-off book.
I say, “I never knew anyone who had a complicated life that was happy.” Never thought my retirement would get so overwound, so now I’m making my life simple again.
”Maggie” now understands how I need my studio space. She has her office (the tower room) so she has a space. Besides that she has her clothing, shoes, bags, and cosmetics spread out all over the place.
Anyways thanks for being a good friend.
Cal
Particular
Disassembler, occasional reassembler
Phil,
You have some good projects going! Is that 55mm for the mamiya 23? I guess that is not the same as the one for the tlr's. I have a pair of those that I'm using on an praktika-panorama.
When you are ready to put the torpedo camera back together I can send you a 3d printed winder knob with counter I designed. It needs a couple of refinements, but it is a produces perfect spacing.
Phil_F_NM
Camera hacker
Christian,
My bad, it's the 50mm f/6.3 Mamiya Press lens, not the 55mm. I got it mixed up with the TLR range and haven't seriously looked at that box-o'-projects since we moved to this house back in September.
Just for fun, I may experiment with a Kodak meniscus mounted in the cylinder wall of a black film canister, projecting through a fixed aperture in a tape-and-bubblegum swing-type panoramic lens. Just for proof of concept. And because I've always been too cheap to buy a Widelux.
Maybe one of these days I'll get a proposal approved to create the world's largest coverage pinhole camera...
On the other end of the size spectrum, last year I picked up a MEC 16-SB which I refurbished as best I could and I'm looking forward to shooting it. It's the one with the 22mm f/2 Rodenstock Heligon which is scale focusable. I have a few thousand feet of 16mm film, some of it high speed, that I want to expose. I've been mulling about the idea of sending the tiny 16mm off to have the meter re-celled but I'm not sure there's any Gossen selenium cells left. It's still reactive to light, but not enough to be even as close as Sunny 16. Funny thing is that the camera is smaller than my handheld Luna Pro. I've got a few film cartridges, I just need to get off my butt and shoot. Developing 19" of 16mm film is a completely different matter. I don't want to use a bucket and I don't want to spend $75 on a Nikor 16mm reel. I'm probably going to permanently modify a Paterson reel with a Dremel to allow the keyed core to slip down to half the width of 35mm.
Don't get me started on how much motion picture film I need to develop. I think it's 1400 feet now. I have an ugly Morse G3 tank that is both water and light tight for developing 100 feet at a time. This thing probably saw action in the Korean and Vietnam wars, but it still works.
Phil Forrest
Calzone
Gear Whore #1
Phil,
I love the idea of bulk development on a production scale being explored here. More development in less time is “Crazy-Good.”
I went another route more akin to Devil Dan, where I have racks that can hold Hewe’s reels to do dip and dunk. Somehow I also located film holders for dip and dunk that can handle sheet film that fits the 10 small Graphmatics I have for my Baby-Linhofs. Somehow I found a bulk lot so I have enough film holders to go mucho crazy. I have 3 1/2 gallon Kodak hard rubber tanks, but I need another tank to do Diafine. One tank I bought was drilled for washing… Oh-well not a bad thing, but this came as a surprise and was overlooked.
Anyways I love Mark Cuban’s expression, “Go big or don’t go.”
Anyways I figure going modular allows me to easily go 8x10. I’m pretty happy that I secure lots of this stuff for “no-money” before the pandemic made everything crazy.
Christian’s 4x5 panoramic back rewind is Crazy-Good and displays mucho obsessive thinking. Really clever use of 3-D printing. Pretty much adds to increase Linhof-Disease.
Cal
Nokton48
Veteran
Morning Cal
Makiflex Auto 270 Tele Arton Mammo 9x12cm MicX by Nokton48, on Flickr
18x24 Kodak Mammography MINR film (from France) cut down to four 9x12cm's. Sinar Norma film holders, Plaubel Makiflex with 4x5 Adapter Back. 270 Auto Tele-Arton Yellow filter. Broncolor Portrait lighting. Microdol-X Legacy developer 12 mins 73F. 8x10 RC [NODE="2"]Forum[/NODE] Arista Dektol 1:2 dev. Handheld camera
This 9x12cm exposure cost me seven cents. LOL Devil Christian should like that this is the European metric sized film sheets
Makiflex Auto 270 Tele Arton Mammo 9x12cm MicX by Nokton48, on Flickr18x24 Kodak Mammography MINR film (from France) cut down to four 9x12cm's. Sinar Norma film holders, Plaubel Makiflex with 4x5 Adapter Back. 270 Auto Tele-Arton Yellow filter. Broncolor Portrait lighting. Microdol-X Legacy developer 12 mins 73F. 8x10 RC [NODE="2"]Forum[/NODE] Arista Dektol 1:2 dev. Handheld camera
This 9x12cm exposure cost me seven cents. LOL Devil Christian should like that this is the European metric sized film sheets
Phil_F_NM
Camera hacker
Cal,
The Morse G3 is a tank specifically for developing motion picture film, either 16mm or 35mm, but this for a 100ft reel of motion picture film, not stills. I wouldn't use the G3 for any still film because it's just too much of a pain in the ass to load, fill with developer, cycle film from one reel to another, do it again, and again, and again, and again, and again, drain, add stop bath, cycle film from one reel to the other 4 times, drain, add fixer, relax and cycle the film from one reel to the other 4 times with no rush, drain, unspool footage into some kind of dip bath of photo-flo and then hang 100 feet of film to dry. The whole process from loading to unloading is over an hour, so it's not really efficient, but it's the only way to get it done by hand, on the cheap, at home, but there's nothing quick or convenient about it. It's certainly less development in more time, if you ask me. The last step of drying the film is what has stopped me from developing all this footage of cats and cemetery gardens I've shot since 2018. I need to build some kind of drying apparatus which will keep the film dust-free. I can't imagine using this G3 tank for developing reversal film which could be projected. That process adds potassium dichromate/sulfuric acid bleach in one step, then washing in borax, then controlled light flashing through a little window which can be opened between the two reels. A lot of the footage shot by combat cameramen during WWII, the Korean War, and the entirety of western conflict in Vietnam was developed with Morse G3 tanks. I figure I'll just have the 100ft negative footage scanned to digital then inverted in post. I'm too cheap and poor to send this stuff out for development.
Phil Forrest
The Morse G3 is a tank specifically for developing motion picture film, either 16mm or 35mm, but this for a 100ft reel of motion picture film, not stills. I wouldn't use the G3 for any still film because it's just too much of a pain in the ass to load, fill with developer, cycle film from one reel to another, do it again, and again, and again, and again, and again, drain, add stop bath, cycle film from one reel to the other 4 times, drain, add fixer, relax and cycle the film from one reel to the other 4 times with no rush, drain, unspool footage into some kind of dip bath of photo-flo and then hang 100 feet of film to dry. The whole process from loading to unloading is over an hour, so it's not really efficient, but it's the only way to get it done by hand, on the cheap, at home, but there's nothing quick or convenient about it. It's certainly less development in more time, if you ask me. The last step of drying the film is what has stopped me from developing all this footage of cats and cemetery gardens I've shot since 2018. I need to build some kind of drying apparatus which will keep the film dust-free. I can't imagine using this G3 tank for developing reversal film which could be projected. That process adds potassium dichromate/sulfuric acid bleach in one step, then washing in borax, then controlled light flashing through a little window which can be opened between the two reels. A lot of the footage shot by combat cameramen during WWII, the Korean War, and the entirety of western conflict in Vietnam was developed with Morse G3 tanks. I figure I'll just have the 100ft negative footage scanned to digital then inverted in post. I'm too cheap and poor to send this stuff out for development.
Phil Forrest
Calzone
Gear Whore #1
Phil,
I dug out my Plaubel 69W Proshift. In fact it utilizes a Maymiya Press back for 6x9. Not sure if all 6x9 press backs have 220 capability, but mine does. The film pressure plate does reverse to account for the different film thickness, also the ASA reminder dial is also a switch to convert the film advance to 220 mode.
Anyways the Maymiya press back is the easiest and fastest medium format back to load. Pretty much a great choice.
Cal
I dug out my Plaubel 69W Proshift. In fact it utilizes a Maymiya Press back for 6x9. Not sure if all 6x9 press backs have 220 capability, but mine does. The film pressure plate does reverse to account for the different film thickness, also the ASA reminder dial is also a switch to convert the film advance to 220 mode.
Anyways the Maymiya press back is the easiest and fastest medium format back to load. Pretty much a great choice.
Cal
Calzone
Gear Whore #1
Morning Cal
18x24 Kodak Mammography MINR film (from France) cut down to four 9x12cm's. Sinar Norma film holders, Plaubel Makiflex with 4x5 Adapter Back. 270 Auto Tele-Arton Yellow filter. Broncolor Portrait lighting. Microdol-X Legacy developer 12 mins 73F. 8x10 RC [NODE="2"]Forum[/NODE] Arista Dektol 1:2 dev. Handheld camera
This 9x12cm exposure cost me seven cents. LOL Devil Christian should like that this is the European metric sized film sheets
Dan,
A good reminder of why larger formats have expanded tonality and resolution. Nice work.
Cal
