BTW the last video is marked private or is that the 'Art' home movie.
There's no reason why you shouldn't do it with your Watson.
I've not tried, but I would expect it's pretty straightforward. Just retract the piece of film protruding to the cassette loading section (or cut it off), then lift the remaining film out and put it back in its light-tight bag and tin. All in complete darkness, of course.
That's the one NIgel, Watson 100.
Think I'd look at it on a risk/reward basis. If bulk loaders are much cheaper than a roll of bulk film then it's better to have one per film and label the loader with the film inside. That way once it's in there's far less chance of a mishap. If you start swapping then it's easier to accidentally knacker a whole roll or just forget which one you have in as I've you've swapped them around a bit too much.
I can barely fumble a roll of 35mm into a developing spool so could not be trusted to operate a bulk loader without disaster
It's pretty straightforward, but there is still room to make mistakes. I loaded three full rolls forgetting to rotate the light trap after inserting the cassette and closing the cassette door, meaning the film scraped across the plastic and was full of scratches.
Whilst I do like a Weston I find I tend to grab a light meter with a simple, straight forward layout like your Vivitar. Handy little battery free things.Got this Minolta 600 SI Classic for a song.
Apart from the grip (which was missing - thread about that here) it looked in pretty good nick.
Half way through some film so will finish that off and see.
Also picked up this light meter from the same seller.
Minolta 600 Si Classic by Kell, on Flickr
Vivitar 35 by Kell, on Flickr
And this is a better pic of the XG-M
Minolta XG-M by Kell, on Flickr
Not had a chance to really use it yet, but I was a bit concerned about the internal light meter on my SRT101. The seller actually included it for free with the XG-M as I bought several things from her.
Bargain! I paid £12 for the last one I bought.
Interesting , the lens looks much newer than the ones I remember on the Penacon six, quite an under rated camera and system in the UK.
Many of the problems seem to be centered around the film transport mechanism as a whole from the loading procedure of the film which if carried out without due care creates many reports of overlapping frames. To the operation of the advance lever whereby the lever must be returned under constant pressure and cannot be allowed to just slap back into position.
I don't remember either of those being true at the time.
Money was still pretty tight in Britain in the 1960s, when the Praktisix morphed into the Pentacon Six. They sold, if not like hot cakes, certainly like warm buttered scones!
It wouldn't be a problem for the majority of buyers. At that time, the only medium format camera with an instant return mirror was the Bronica S2, so far as I know. Hasselblad 500C and 500CM "went black" when you pressed the release.
Yes, film winding was the Praktisix / Pentacon Six's Achilles heel. Allegedly, this was solved with the Exakta 66 variant that was made in West Germany.
And for longer for some. My mum had a Zenit 35mm in the late 70's as a western made SLR was out of reach financially. It did her well for a number of years.Money was still pretty tight in Britain in the 1960s, when the Praktisix morphed into the Pentacon Six. They sold, if not like hot cakes, certainly like warm buttered scones!
