OFFICIAL I HAVE A NEW (FILM RELATED) TOY THREAD!!

I've got rangefinder fever again. This is one of two new arrivals. A Zeiss Ikonta Contessa 35. Only made for five years from 1950 and has a selenium meter that is unusual for a folding camera. It has a coupled rangefinder too.


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Looks like it could be a bokeh monster

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I saw a camera brand that I hadn't been aware of and had a search on the auction site for examples.
I bought this, a Japanese made Samoca 35 LE, made between 1958 and 1963 ish, my first Japanese camera from this era.
It's a fixed lens rangefinder with uncoupled Selenium meter.
It works nicely at all speeds, although the meter is dead. I've run a short roll of film through it today, it all seems to be fine.
Now I'll wait for a bit of brighter weather to go shoot 24 frames of Fomapan 100.

Samoca35LE.jpg
 
I had been looking at a digital medium format outfit. However, when I saw the prices and realised that they aren't much bigger sensors than my full frame S1 I gave myself a good talking to and looked in the freeads for a film outfit. And here it is, a Pentax 645 at around a fifth of a digital outfit including a €5 tripod and a bag from the charity shop at the same price. The lens is a A 45-85 SMC and I have another A SMC on its way; A 80-160mm.

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Not exactly travelling light, but at least my wallet isn't two grand lighter.
 
excalibur2 said:
Bought a Tamron 60-300mm that I don’t need for £22 inc adapter and postage o_O :rolleyes: ....well I’m bored and it’s something new to play with.

To check the lens out quickly I’ll use a Fotga adapter (canon fD) on my nex 3….silly to waste a roll of film and hope it’s a VG copy.

More info on the lens:-

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Well madness has over come my boredom o_Oas I have bought another Tamron 60-300mm (previous one had fungus) for £13.74 inc.. as well as having a Canon 300mm prime also found in my collection a Tokina 100-300mm. So I'll test the three at 300mm to see how they compare on B/W film. Also have two extenders (2Xs) so will also test those as well at 600mm. (y)
 
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Clive K said:
I had been looking at a digital medium format outfit. However, when I saw the prices and realised that they aren't much bigger sensors than my full frame S1 I gave myself a good talking to and looked in the freeads for a film outfit. And here it is, a Pentax 645 at around a fifth of a digital outfit including a €5 tripod and a bag from the charity shop at the same price. The lens is a A 45-85 SMC and I have another A SMC on its way; A 80-160mm.

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Not exactly travelling light, but at least my wallet isn't two grand lighter.
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Something I would love to have... except I wouldn't, really. Weight is a real deal-killer for me! It would sit on the shelf and look at me sideways, saying, I'm wasted on you, and you wasted your money!
 
ChrisR said:
Something I would love to have... except I wouldn't, really. Weight is a real deal-killer for me! It would sit on the shelf and look at me sideways, saying, I'm wasted on you, and you wasted your money!
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It isn't that heavy compared to my Lumix S1 with kit zoom or the Zeiss Contarex outfit with three primes.
 
bought a FED-2 ''body-only'' from eBay UK for my spare Jupiter-8 f2/50mm
to add to my USSR collection of a FED 3, a FED 4, and my Zorki-4K
turned out to be better than the listing images - so well pleased

all we need now is some sun.!!

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BTW
on the USSR F.E.D and Zorki 4 bodies, these synch socket caps are very slightly smaller than the 'standard' cap
--- however the cap from a Canon AE-1 is compatible
and can be obtained from hello@camerasbymax.co.uk

tn_synch cap.jpg
 
I started working on cars this morning and on the edge of a drive across the street this lot had been left out for the scrap man...

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A Phillips colour enlarger (power cables cut unfortunately) and base board minus the locking nut, a couple of enlarging easels, an "Ensign" branded made in Hong Kong tripod and a Prinz 1000w movie light!! Plus a fluorescent box that had been used as a light table.

Now the Prinz will never be used, the tripod is likely scrap but the easels will and if the enlarger doesn't work it will give up up various useful bits and it's Minolta 50mm lens. If the fluorescent stuff works I'll make a neg light box - I've been wanting one for ages.
 
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auntiemaryscanary said:
I started working on cars this morning and on the edge of a drive across the street this lot had been left out for the scrap man...

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A Phillips colour enlarger (power cables cut unfortunately) and base board minus the locking nut, a couple of enlarging easels, an "Ensign" branded made in Hong Kong tripod and a Prinz 1000w movie light!! Plus a fluorescent box that had been used as a light table.

Now the Prinz will never be used, the tripod is likely scrap but the easels will and if the enlarger doesn't work it will give up up various useful bits and it's Minolta 50mm lens. If the fluorescent stuff works I'll make a neg light box - I've been wanting one for ages.
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Unfortunately the separate mixing controller for the colour enlarger is missing - a shame but there I am. If one isn't available cheaply then it will give some good spares.

Edit: this bit

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Minolta MCII 300/4.5.

Came from LCE in Oxford and I think it was described as 'good' but honestly I don't think it's been used. Hardly any dust, no marks on the lenses or the body.

Chunky old thing. Feels really heavy at 1.1kg.

At f/4.5 it's not the fastest and I have to say in poorer light attached to my Sony A7i it was a little hard to nail a sharp shot - a little easier on my Canon (with IS).

Probably not a lens I'll use a lot, but a decent price.

CA is quite pronounced and it does seem to lack a little contrast, but to be fair I've had it a couple of days and it's mostly been grey.


DSC07560 by Kell, on Flickr


DSC07562 by Kell, on Flickr


IMG_0243 by Kell, on Flickr


DSC07620 by Kell, on Flickr


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DSC07640 by Kell, on Flickr

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Minolta Dynax 7


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A quite remarkable specification on this camera, original glass was a bit crusty so swapped it out for a 35-70 while I wait for some proper glass pop up.
I am impressed by the metering, which shows a 13 spot matrix of the scene with the difference from the average exposure indicated in each "cell" so you can adjust if desired.
Another feature that appeals to me is that the camera remembers all the exposure detail for the last 6 or 7 rolls of film, a real boon for testing out adjustments to ISO etc. to see what EI develops best.
 
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Barney said:
Minolta Dynax 7


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A quite remarkable specification on this camera, original glass was a bit crusty so swapped it out for a 35-70 while I wait for some proper glass pop up.
I am impressed by the metering, which shows a 13 spot matrix of the scene with the difference from the average exposure indicated in each "cell" so you can adjust if desired.
Another feature that appeals to me is that the camera remembers all the exposure detail for the last 6 or 7 rolls of film, a real boon for testing out adjustments to ISO etc. to see what EI develops best.
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Nice. :)

A word of warning if you're going to shoot the Type 517 with it though - make sure you cover the film window on the back of the camera! The cassettes for Type 517 can pipe light onto the film from the window, as I learned to my dismay when I shot a roll with my Nikon F80 recently.

See here: https://www.talkphotography.co.uk/threads/ilford-517-light-leak.766635/
 
FishyFish said:
Nice. :)

A word of warning if you're going to shoot the Type 517 with it though - make sure you cover the film window on the back of the camera! The cassettes for Type 517 can pipe light onto the film from the window, as I learned to my dismay when I shot a roll with my Nikon F80 recently.

See here: https://www.talkphotography.co.uk/threads/ilford-517-light-leak.766635/
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Thanks NIgel,

I had not seen that thread.

I have shot 18 off the roll so far, the camera does have an inspection window, for what reason who knows, so I will tape it up this morning.

(y)
 
Barney said:
Minolta Dynax 7


View attachment 477408

A quite remarkable specification on this camera, original glass was a bit crusty so swapped it out for a 35-70 while I wait for some proper glass pop up.
I am impressed by the metering, which shows a 13 spot matrix of the scene with the difference from the average exposure indicated in each "cell" so you can adjust if desired.
Another feature that appeals to me is that the camera remembers all the exposure detail for the last 6 or 7 rolls of film, a real boon for testing out adjustments to ISO etc. to see what EI develops best.
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Possibly worth saying, the 35-70 is a good lens (or should be).
 
ancient_mariner said:
Possibly worth saying, the 35-70 is a good lens (or should be).
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I found the lens too long in use, need 28mm or even 24.

Do not know what the image quality is like yet, will develop the rolls tomorrow.
 
angelpaaul said:
A Fleabay purchase.

Sold as spares and repairs and untested. It was very dirty, dusty and had the usual Nikon sticky back and grip.
A bit of elbow grease, isopropyl alcohol and new batteries and it's good to go.

All for the princely sum of £20 delivered.

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I use my F80 a lot. It's a very capable camera, especially as you can utilise more modern F-Mount VR lenses to gain image stabilisation with it.
 
Just curious about your scales - "scales" as in "weighing machine" rather than as in fish or music.
 
These

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Thank you. I also have a tape measure, but I don't use it as a rule :exit:
 
FishyFish said:
I use my F80 a lot. It's a very capable camera, especially as you can utilise more modern F-Mount VR lenses to gain image stabilisation with it.
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Well I have the F90x and there is alway an argument which is the better camera..I got mine at the bootie for about £10 and it had a pre AI 50mm lens on it which could have damage the mount :rolleyes:
 
excalibur2 said:
Well I have the F90x and there is alway an argument which is the better camera..I got mine at the bootie for about £10 and it had a pre AI 50mm lens on it which could have damage the mount :rolleyes:
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I had a F90x too. I found it a bit on the heavy side (said he who owns an F5 :rolleyes:)
 
I have the F90x and the N90s as well, they are built like tanks with a reassuring heft to them. I find that the short tele's balance really well on a heavier body and help me get down to a 15th hand held, Goodness knows how the digital brigade go on with a camera the size of a packet of 20 fags and weighing less than a very small Roach. :)

I fully understand that there are weight weenies in most hobbies and I have never been able to decide who are the most seriously afflicted, cyclists or hikers.
 
Barney said:
I have the F90x and the N90s as well, they are built like tanks with a reassuring heft to them. I find that the short tele's balance really well on a heavier body and help me get down to a 15th hand held, Goodness knows how the digital brigade go on with a camera the size of a packet of 20 fags and weighing less than a very small Roach. :)

I fully understand that there are weight weenies in most hobbies and I have never been able to decide who are the most seriously afflicted, cyclists or hikers.
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Well I have a few pre AI lenses e.g. 24 and 105 mm and would never have bought the Nikon F4 if the F90x could have taken them, same for only manual cameras..didn't fancy a Nikon F and use the FM........Nikon say "their cameras can use any Nikon lenses?" erm not sure about that as you have to open a small catch to mount pre AI lenses and not many cameras have this feature :(
 
Pretty sure I don't need any more lenses...

Last one for a bit (I hope).

Though the woman that sold it was getting rid of her late husband's Minolta kit and he also had about 4/5 Minolta 7000's in good nick...

Minolta MDIII 70-210/4


Minolta MDIII 70-210/4 by Kell, on Flickr


Minolta MDIII 70-210/4 by Kell, on Flickr
 
Kell said:
Pretty sure I don't need any more lenses...

Last one for a bit (I hope).

Though the woman that sold it was getting rid of her late husband's Minolta kit and he also had about 4/5 Minolta 7000's in good nick...

Minolta MDIII 70-210/4


Minolta MDIII 70-210/4 by Kell, on Flickr


Minolta MDIII 70-210/4 by Kell, on Flickr
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Congratulations , A nice bit of kit.


I have only shot about half a roll with mine and I am impressed with it. Contrast is nice and micro contrast excellent.

My new arrival is tomorrow, A secret handshake.
 
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Kodak madness. I recently picked up three generations of Kodak Brownie Cresta 6x9 cameras, very similar but larger in scale to my very first camera, a Brownie 127. Also having a curved film 'plane' similar to my beloved Agfa Clacks, to compensate in part for the deficiencies of the meniscus lens. All use 120 film. I think the lenses are all plastic, although one website suggests that the original model has a glass lens. The cameras have an instantaneous speed setting only, maybe 1/50 second, probably the fixed aperture is f11. They feature a built in close up filter and a yellow filter. It's very liberating to use cameras of this type, nothing to decide except what film to use, Fomapan 100 seems to be about right, even faster films except the choice is coloured by the need to read the frame number in the little red window, which is where Foma films win, even though I would love to try the cameras with Ilford film.

I also bought a Kodak 66, which fortunately also takes 120 film. The '66' is in almost pristine condition, even the case. This is much more sophisticated in design with a focussing lens and variable apertures and, for goodness sake, variable shutter speeds (how much more complex can cameras get?)! Good bellows as well.

All the cameras work as expected and they were all under £15, postage paid. The minimalist Crestas are such simple cameras that you can't imagine finding one which doesn't work, the only thing is that the Bakelite body can be easily damaged by rough handling, i.e. don't drop the camera whatever you do.

To follow up, I've ordered a Kodak Retinette!

Without their cases, Cresta, Cresta II (x2) and Cresta 3...

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You might think that the '66' has a double exposure lock or something, some clever feature maybe, because the shutter release is red. In fact, the shutter release only locks when the front is not extended, so you can't fire the shutter when the front is closed, probably more than one should expect from such a simple camera.
 
Found this week in a local charity shop...

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Marked up for £1.99 but I gave them a fiver. I remember seeing a review of the book when it was published (and, I think, a mention in AP). The photographs are fantastic. Herbert Ponting travelled the world, I've seen his pictures from Japan, for example.
 
^^^^ bargain ----- £42 on Amazon .............:headbang:
 
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Used My last roll last week and I liked the results so got another pack for summer. Found on Amazon for 41 delivered which I thought was OK. April 2029 date



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Barney said:
Used My last roll last week and I liked the results so got another pack for summer. Found on Amazon for 41 delivered which I thought was OK. April 2029 date



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It's worth checking the prices on Kentmere 100 and Rollei RPX 100 next time you buy, as they're all the same stock (Agfa and Rollei are just re-badge it), so you can shop around and see which can be had cheapest. Same for the 400asa variants.

Not sure you would have gotten a better deal though.
 
FishyFish said:
It's worth checking the prices on Kentmere 100 and Rollei RPX 100 next time you buy, as they're all the same stock (Agfa and Rollei are just re-badge it), so you can shop around and see which can be had cheapest. Same for the 400asa variants.

Not sure you would have gotten a better deal though.
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FFS

I can probably pick up Kentmere 100 for five and half quid. I thought the Agfa was a high silver content film ?
 
Barney said:
FFS

I can probably pick up Kentmere 100 for five and half quid. I thought the Agfa was a high silver content film ?
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I am on my last couple of rolls of 2012 / 13 dated Lupus APX which is probably the last real stock cut from original rolls, I won't be buying any more for the below reason.

FishyFish said:
It's worth checking the prices on Kentmere 100 and Rollei RPX 100 next time you buy, as they're all the same stock (Agfa and Rollei are just re-badge it), so you can shop around and see which can be had cheapest. Same for the 400asa variants.

Not sure you would have gotten a better deal though.
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There's a useful article from analogue cafe about who makes what. Whole article needs a sign in but you can use a google one which saves faff.

www.analog.cafe

Rebranded Film: Good or Bad?

Knowing who makes your film can help you understand the business you’d be supporting, and whether you can find that film in a year — or if it’s likely a short-lived release.
www.analog.cafe www.analog.cafe
 
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