Vince Lupo
Whatever
I wish there was something that gave a hint of the time period -- maybe I should post a shot of the film's backing paper to see if anyone might have a clue.
National Graflex Series II....
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Vince Lupo
Whatever
Here's the backing paper from the mystery Graflex film. The metal spool didn't have any markings.
Any ideas on a possible time period?
Mystery Graflex Film by Vince Lupo, on Flickr
Any ideas on a possible time period?
Mystery Graflex Film by Vince Lupo, on Flickr
dxq.canada
Well-known
The shutter speed dial internals has a notched speed setting plate. There are two screws that secure the position of the plate that can fine tune the width of the curtain slot.
(I am currently trying to repair a series I with help from Frank Marshman and reading Jo Lommen's wedsite info)
Vince Lupo
Whatever
Well Frank got two of them working great but not the third one. Unfortunately - and as I’m sure you’re aware - these old shutter curtains and straps only last so long, so rather than spend more money having new curtains and straps made, I’ve elected to just keep that one as a parts camera.
Hope to have some new photos from the camera soon.
Hope to have some new photos from the camera soon.
Luddite Frank
Well-known
Vince - I enjoyed reading your thread... glad you got your cameras serviced.
The Graflex focal plane shutters pass over series of rollers, which spin on tiny pivot-pins.
When the lube dries-out, they can continue to "work", but the larger ones "squawk", and the National tends to "shriek".
I got mine from e-bay a decade or so, and it had some ancient found-film in it, so I finished it out... I got a couple nice pics of my 1928 Model A Ford Coupe with a 1920's Philadelphia Suburban Street Car at a grade-crossing in south Scranton.
Will find a scan and share it.
Will look forward to seeing pics from your Nationals now that they're tuned-up.
I have a list of odd-ball cameras that need Franks touch before he retires...
Things like Ansco Automatic Reflexes, Voigtlander Superbs, and some other weird stuff.
I always enjoy your writing about your experiences with vintage cameras !
Best,
Luddite Frank
The Graflex focal plane shutters pass over series of rollers, which spin on tiny pivot-pins.
When the lube dries-out, they can continue to "work", but the larger ones "squawk", and the National tends to "shriek".
I got mine from e-bay a decade or so, and it had some ancient found-film in it, so I finished it out... I got a couple nice pics of my 1928 Model A Ford Coupe with a 1920's Philadelphia Suburban Street Car at a grade-crossing in south Scranton.
Will find a scan and share it.
Will look forward to seeing pics from your Nationals now that they're tuned-up.
I have a list of odd-ball cameras that need Franks touch before he retires...
Things like Ansco Automatic Reflexes, Voigtlander Superbs, and some other weird stuff.
I always enjoy your writing about your experiences with vintage cameras !
Best,
Luddite Frank
Vince Lupo
Whatever
Thanks Frank - don't send Frank all your cameras just yet! He still has a few of mine to still work on 🙂
One thing I did discover with the National Graflexes is that they let in the tiniest bit of light between the outer edges of the mirror and the inside wall (it's noticeable on the right vertical of mine, tiniest gap). It only makes itself evident when winding the shutter after the exposure (the shutter slit creates a bit of a light leak when you finish winding it on), so what I need to remember to do is to cover the lens with my hand when I wind the shutter. I don't really see any way to put any kind of material there to close that little gap, and it seems to be the same with both of the working cameras I have.
The other thing I'm having an issue with is trying to minimize camera shake when hand-holding the camera. I may have to resort to either shooting at the much higher shutter speeds hand-held or stick to using the camera on a tripod.
One thing I did discover with the National Graflexes is that they let in the tiniest bit of light between the outer edges of the mirror and the inside wall (it's noticeable on the right vertical of mine, tiniest gap). It only makes itself evident when winding the shutter after the exposure (the shutter slit creates a bit of a light leak when you finish winding it on), so what I need to remember to do is to cover the lens with my hand when I wind the shutter. I don't really see any way to put any kind of material there to close that little gap, and it seems to be the same with both of the working cameras I have.
The other thing I'm having an issue with is trying to minimize camera shake when hand-holding the camera. I may have to resort to either shooting at the much higher shutter speeds hand-held or stick to using the camera on a tripod.
Vince Lupo
Whatever
It's been a while since I've posted anything in this thread - been having a couple of issues with the Minneapolis camera.
Here are a few shots from a couple of months ago:
Riley in the Field by Vince Lupo, on Flickr
Manassas2a by Vince Lupo, on Flickr
Manassas in the Fog by Vince Lupo, on Flickr
One thing I'm fighting is camera shake - as you can see, even at higher shutter speeds it's a bit of a challenge. I may have to resort to using the camera on a tripod!
Speaking of tripods, the other issue that's recently cropped up is that one of my National Graflexes (yes I have a couple!) won't activate its shutter when mounted on a tripod. I'll press the shutter release button and nothing happens. I take the camera off the tripod and the camera fires. I checked the back, even swapped backs, but the result is still the same. Hmm may have to go back to Mr. Marshman for a look-see.
While the exposures generally look fine, the other thing I have to watch are light leaks, particularly around the edge of the mirror. I've figured out that I need to cover the lens with my hand when winding the shutter - hopefully that will solve the problem. Interestingly, in one version of the National Graflex instruction manual they actually suggest closing the viewing hood when advancing the film and resetting the shutter, due to the increased sensitivity of films. I may end up having to do that as well!
The second National Graflex has a roll of film in it and is raring to go. The one issue that I have with that camera is that the second shutter curtain slightly shows itself when I have the camera set on bulb time. I think in the case of this camera that's the way it is, as Frank went through this camera as well.
I've added a bunch of new accessories to the cameras kit, including two additional 140mm telephoto lenses (they're hard to find so whenever I see one available I snap it up). One of the telephoto lenses had what looked to be a large aluminum adapter for Exakta cameras, so I had to wrest that from the lens (don't ask!) to bring it back to original. Works great and looks great now.
I'm hoping to get out more and put these cameras to better use than simply around the house!
Here are a few shots from a couple of months ago:
Riley in the Field by Vince Lupo, on Flickr
Manassas2a by Vince Lupo, on Flickr
Manassas in the Fog by Vince Lupo, on Flickr
One thing I'm fighting is camera shake - as you can see, even at higher shutter speeds it's a bit of a challenge. I may have to resort to using the camera on a tripod!
Speaking of tripods, the other issue that's recently cropped up is that one of my National Graflexes (yes I have a couple!) won't activate its shutter when mounted on a tripod. I'll press the shutter release button and nothing happens. I take the camera off the tripod and the camera fires. I checked the back, even swapped backs, but the result is still the same. Hmm may have to go back to Mr. Marshman for a look-see.
While the exposures generally look fine, the other thing I have to watch are light leaks, particularly around the edge of the mirror. I've figured out that I need to cover the lens with my hand when winding the shutter - hopefully that will solve the problem. Interestingly, in one version of the National Graflex instruction manual they actually suggest closing the viewing hood when advancing the film and resetting the shutter, due to the increased sensitivity of films. I may end up having to do that as well!
The second National Graflex has a roll of film in it and is raring to go. The one issue that I have with that camera is that the second shutter curtain slightly shows itself when I have the camera set on bulb time. I think in the case of this camera that's the way it is, as Frank went through this camera as well.
I've added a bunch of new accessories to the cameras kit, including two additional 140mm telephoto lenses (they're hard to find so whenever I see one available I snap it up). One of the telephoto lenses had what looked to be a large aluminum adapter for Exakta cameras, so I had to wrest that from the lens (don't ask!) to bring it back to original. Works great and looks great now.
I'm hoping to get out more and put these cameras to better use than simply around the house!
Ambro51
Collector/Photographer
As you descend into new archaic photographic paths....I’ll make you an offer. IF you get the desire to go All The Way, .......I’ll teach you the Wet Plate Process. I’m in South Jersey. Ray
Vince Lupo
Whatever
Ah I think I'll hold off on that for the time being - dry plate and what I'm currently doing with these other old cameras is more than I can handle right now!
As an aside, back in grad school in the 1990's I was heavily into platinum-palladium printing. If I were to start anything new, I'd probably go that route.
Vince Lupo
Whatever
I'm trying to get out more and shoot with both National Graflexes.
Shot with the 140mm telephoto lens and a closeup lens, Ilford Delta 100:
Backyard Feather National Graflex by Vince Lupo, on Flickr
I have a couple more rolls of film to process from them, so hopefully I'll have more here soon. Scanning-wise, I'm using my Hasselblad CFV II 50C back on my 500C body with the automatic bellows and a 150/4 lens, and the whole kit is mounted on a copy stand.
A couple of things I realized - not only do I need to cover the lens when I wind the film, but I also need to fold down the leather viewing hood when winding (they actually advise you to do that in the owner's manual). It definitely makes a difference, as the roll I just processed didn't have any light leaks to speak of (though I did have a couple of frames overlap). Additionally, camera shake is a real issue, and I found that I had best results when I used either a tripod or my monopod with the little tripod legs at the bottom.
I also managed to snag two more 140mm telephoto lenses (one of which had the original box and an old repair receipt) -- one actually had what looked to be a rather large adapter for Exakta cameras glued and screwed to it. I managed to remove the adapter, clean the lens all up and now it looks and works great (so I now have three 140mm telephoto lenses, as well as three 75mm lenses, all in great shape).
These cameras are a real commitment and require a certain degree of intestinal fortitude to make them work well for you. Hopefully that dedication will pay off -- I'm trying to be strong 🙂
Shot with the 140mm telephoto lens and a closeup lens, Ilford Delta 100:
Backyard Feather National Graflex by Vince Lupo, on Flickr
I have a couple more rolls of film to process from them, so hopefully I'll have more here soon. Scanning-wise, I'm using my Hasselblad CFV II 50C back on my 500C body with the automatic bellows and a 150/4 lens, and the whole kit is mounted on a copy stand.
A couple of things I realized - not only do I need to cover the lens when I wind the film, but I also need to fold down the leather viewing hood when winding (they actually advise you to do that in the owner's manual). It definitely makes a difference, as the roll I just processed didn't have any light leaks to speak of (though I did have a couple of frames overlap). Additionally, camera shake is a real issue, and I found that I had best results when I used either a tripod or my monopod with the little tripod legs at the bottom.
I also managed to snag two more 140mm telephoto lenses (one of which had the original box and an old repair receipt) -- one actually had what looked to be a rather large adapter for Exakta cameras glued and screwed to it. I managed to remove the adapter, clean the lens all up and now it looks and works great (so I now have three 140mm telephoto lenses, as well as three 75mm lenses, all in great shape).
These cameras are a real commitment and require a certain degree of intestinal fortitude to make them work well for you. Hopefully that dedication will pay off -- I'm trying to be strong 🙂
Vince Lupo
Whatever
Developed some more film today (Delta 100).
All with the 140mm telephoto (amazingly I just sold a print of the first image!):
Blackwater National Graflex by Vince Lupo, on Flickr
Blackwater National Graflex2 by Vince Lupo, on Flickr
Blackwater National Graflex3 by Vince Lupo, on Flickr
All with the 140mm telephoto (amazingly I just sold a print of the first image!):
Blackwater National Graflex by Vince Lupo, on Flickr
Blackwater National Graflex2 by Vince Lupo, on Flickr
Blackwater National Graflex3 by Vince Lupo, on Flickr
Vince Lupo
Whatever
Nokton48
Veteran
These are lovely. Keep going with it. 🙂
Vince Lupo
Whatever
Many thanks Dan - as you can well imagine it's an effort! But yeah, gotta keep these cameras alive.
Another one from a couple of month ago - I think I shot this with the 75 and the Graflex 'portrait' closeup lens. Delta 100 seems to be my 'go-to' film at this point - much preferring it to FP4 Plus.
Winter Garden National Graflex by Vince Lupo, on Flickr
