Topic: I just picked up...

[Francois]

Thanks. I just hope it's going to be simpler than I expect.

[hookstrapped]

Pontiac Lynx I  (127 3x4)

[Francois]

Pretty metallic... perfect for a night out 

[Bryan]

That's a beautiful camera Peter!  According to Camera Wiki there were no more than 100 of them made.  Is there a focus scale on there somewhere? 

The other versions are very rare. The Lynx I was the very first model, made during the war in 1942. It does not have a focal plane shutter, which was probably not operational yet, but a Pontiac or Gitzo leaf shutter from 1/25 to 1/200. The shutter cocking is not coupled with the film advance. The lens is the four element Berthiot Flor 50/3.5 with front cell focusing. The lens and shutter assembly is mounted on a retracting helix. The front plate is in bright aluminium. It is said no more than one hundred were made.

http://camera-wiki.org/wiki/Lynx

[Francois]

Wow, that is a rarity!

[hookstrapped]

That's a beautiful camera Peter!  According to Camera Wiki there were no more than 100 of them made.  Is there a focus scale on there somewhere? 

The other versions are very rare. The Lynx I was the very first model, made during the war in 1942. It does not have a focal plane shutter, which was probably not operational yet, but a Pontiac or Gitzo leaf shutter from 1/25 to 1/200. The shutter cocking is not coupled with the film advance. The lens is the four element Berthiot Flor 50/3.5 with front cell focusing. The lens and shutter assembly is mounted on a retracting helix. The front plate is in bright aluminium. It is said no more than one hundred were made.

http://camera-wiki.org/wiki/Lynx

I read (via Google translate) a French site that was skeptical of that 100 number, i.e., they think many more were made. And considering the decent price I paid from an Austrian camera shop, and how good condition it's in, I have to think it's not that rare.

But it does seem that it was a preliminary model to the Lynx II because the body is the same as the II, minus the shutter button and shutter speed dial (connected to a focal plane cloth shutter on the II), though it has the base for the shutter speed dial.

There's a focus scale -- first pic, 0.8 by the B, 1 at 11 o'clock round to infinity by 200 shutter speed, though no DOF scale.

Yeah, I fell in love with its looks, but it also works!

[Bryan]

There's a focus scale -- first pic, 0.8 by the B, 1 at 11 o'clock round to infinity by 200 shutter speed, though no DOF scale.

Yeah, I fell in love with its looks, but it also works!

I see the focus scale now.  I was thinking it focused with the helical but I guess that’s just to extend the lens out.   

[Bryan]

I've been wanting a TLR with a working light meter for a while now.  This was about $50, much less than getting a Rolleiflex that may or may not have a working light meter.  This is a nice camera and everything seems to function good.  The shutter sticks a bit if the flash isn't set to X but that's not much of a problem.  It came with a case that I'll need to re-stich. 

Ricoh Diacord L by Bryan Chernick, on Flickr

[hookstrapped]

Nice!

[Francois]

Nice indeed.
On some cameras it is possible to change the flash sync with an internal adjustment. When you operate the blades by hand, there is usually a contact strip that triggers the flash. You can either adjust it or slightly bend it so that continuity happens only when the lens is fully opened. But that involves seriously digging into the shutter assembly and is often not for the faint of heart.

[Bryan]

I doubt I would use it with a flash and I’m not going to dig into it unless it’s absolutely necessary.  I may use some gaffers tape to hold the flash switch in the X position, it moves really easily.  I can see myself loosing a bunch of shots because I didn’t notice it moved. 

[Francois]

That would definitely ruin things.
The detent spring for it is probably too weak inside. And that is probably a pain to fix.

[AJShepherd]

There's a shop for the charity MIND which I usually pass once or twice a week.  A while back they'd often have some cameras in the window but mostly only generic 35mm compacts. Today my eye was caught by the Brownie, but it's a 620 camera and from research looks like it can't use 120 film (the Brownie Hawkeye i have is 620, but will take 120 film so long as the takeup spool is a 620 spool).

While most of the other stuff they had were generic (really generic in most cases) 35mm auto compacts from the 80s, I was taken by this Kodak ColorSnap 35 model 2 so picked it up for a tenner.

Looks pretty minty, even the never-ready case, and there's a closeup attachment in the little pouch attached to the case strap (sadly no filters). Hope to give it a try soon, weather permitting.

(It was made in England, so shouldn't it be a "ColourSnap"?)

[Francois]

It looks adorable.

[Bryan]

(It was made in England, so shouldn't it be a "ColourSnap"?)

Not if their American corporate overlords had anything to say about it.

Funny that they would put 35 in the name of a 620 camera. 

[AJShepherd]

The brownie was 620, the Colorsnap is 35mm. Should have mentioned that.

[Francois]

Some of those Brownie Hawkeyes can be modded to take at least one 120 spool.

[Bryan]

I saw this 1937 Zeiss Ikon Super Ikonta 530 listed in Facebook Marketplace just a few blocks from my home.  I went to check it out and saw that it had a lot of haze in the lens and the shutter was slow.  I decided to take a chance so I talked him down on the price a bit and took it home.  The shutter just needed to be fired a bit, now all the speeds seem accurate.  I took the lens apart and was able to clean it quite well, it turns out the haze was old grease or oil on the lens.  The rear element has a slight have that you can only see with the flashlight test so I think it will be alright.  After putting the lens back together I did several checks to make sure the rangefinder was focusing correctly.  I’ll run a roll of film through it to make sure it’s correct. 

At first I was confused that there are two windows on the back for the frame count.  I finally figured out that early 120 film didn’t have numbers for 6X4.5 film so you have to use the 6X9 numbers.  For the first shot the number one goes in the first window, for the second shot the number 1 goes in the second window and so on. 

The picture of the camera was shot with my Ricoh Diacord L using Kodak T-Max 400 developed in Rodinal 1:50. 

Zeiss Ikon Super Ikonta 530 by Bryan Chernick, on Flickr

[Francois]

This one looks mighty sweet.
I just love old folders

[hookstrapped]

That Super Ikonta is beautiful! I've been looking at Zeiss Ikon folders myself, particularly 6x9s. Then I stumbled on a 6x11 on etsy from 1932 for real cheap and it looked in great shape and had the top lens (12cm f4.5 Tessar) so it got me wondering... Ahh, it's made for 116 film, which at 2 3/4" wide is a quarter inch wider than 120.













The last pic shows the modified 120 reels -- tops trimmed with nail clippers so they fit in the reel wells, and spacers from Camerahack via the FFP store. Here is a link to instructions on home-made reel spacers and also creating a mask (116 and 616 are the same size film -- I think the only difference is in the diameter of the reel core).
http://kodak.3106.net/index.php?p=516

Since the 120 film is too narrow to ride the rails, the pressure plate doesn't really work along the top and bottom edges, theoretically affecting focus. I did some test shots and the lens seems pretty sharp, but I can see it could be even sharper if I install a mask. The instructions in the linked doc are for a Kodak, not a Zeiss Ikon, and there are some differences that make his instructions not directly transferable, but I have an idea of what to do and he pointed me to the material to use for the mask -- black styrene sheets.

Anyway, the camera is great, bellows are in great shape, the lens was a little dirty but looks in great shape, the shutter speeds are slow less than 2/3 of a stop, no oil on the aperture or shutter blades. I thought I jammed up the shutter permanently by testing the self-timer but was able to prod it through (will never try that again). Test pics here

http://www.filmwasters.com/forum/index.php?topic=9956.msg134168#msg134168

To focus, I carry my Kiev rangefinder and transfer the focus distance from it to the Ikonta.

[Bryan]

That’s a nice one Peter, can’t wait to see some wide shots from it.  I have a 15 foot roll of perforated 70mm Kodak Panatomic-X that I need to run through my Kodak Monitor.  I have some old 616/116 backing paper to use with it but light sometimes leaks through the paper from the ruby window on old paper.  I’ll be interested in how well the styrene works for the mask. 

[Sandeha Lynch]

That Super Ikonta is beautiful! I've been looking at Zeiss Ikon folders myself, particularly 6x9s. Then I stumbled on a 6x11 on etsy from 1932 for real cheap and it looked in great shape and had the top lens (12cm f4.5 Tessar) so it got me wondering... Ahh, it's made for 116 film, which at 2 3/4" wide is a quarter inch wider than 120.

Since the 120 film is too narrow to ride the rails, the pressure plate doesn't really work along the top and bottom edges, theoretically affecting focus. I did some test shots and the lens seems pretty sharp, but I can see it could be even sharper if I install a mask. The instructions in the linked doc are for a Kodak, not a Zeiss Ikon, and there are some differences that make his instructions not directly transferable, but I have an idea of what to do and he pointed me to the material to use for the mask -- black styrene sheets.

For the film gate width you could get some thin woodstrip with a notch filed into each end, with the right tension they will just wedge into place.


IMGP6043a by Sandeha Lynch, on Flickr


IMGP6041a by Sandeha Lynch, on Flickr

This was a Kodak Autographic 3A that took 122 film, converted to 120. The wood strips were painted matte black before using the cam.
Not bad, but the lens wasn't anything special.

[hookstrapped]

That Super Ikonta is beautiful! I've been looking at Zeiss Ikon folders myself, particularly 6x9s. Then I stumbled on a 6x11 on etsy from 1932 for real cheap and it looked in great shape and had the top lens (12cm f4.5 Tessar) so it got me wondering... Ahh, it's made for 116 film, which at 2 3/4" wide is a quarter inch wider than 120.

Since the 120 film is too narrow to ride the rails, the pressure plate doesn't really work along the top and bottom edges, theoretically affecting focus. I did some test shots and the lens seems pretty sharp, but I can see it could be even sharper if I install a mask. The instructions in the linked doc are for a Kodak, not a Zeiss Ikon, and there are some differences that make his instructions not directly transferable, but I have an idea of what to do and he pointed me to the material to use for the mask -- black styrene sheets.

For the film gate width you could get some thin woodstrip with a notch filed into each end, with the right tension they will just wedge into place.


IMGP6043a by Sandeha Lynch, on Flickr


IMGP6041a by Sandeha Lynch, on Flickr

This was a Kodak Autographic 3A that took 122 film, converted to 120. The wood strips were painted matte black before using the cam.
Not bad, but the lens wasn't anything special.

That's a nice elegant solution. The problem with my camera is that, when closed, the bellows are extremely tight up against the underside of the rails.

I've been thinking of a solution like yours, but with a thin metal base and a styrene top glued to it.

[Sandeha Lynch]

Understood - and the 3A was a larger camera. Anything should do it as long as it doesn't push the film away from the original gate.

[Francois]

Maybe use some popsicle sticks...

[hookstrapped]

Or I can just order this

https://www.spillerphoto.com/product/116-to-120-camera-conversion-set/

 

[Indofunk]

Or I can just order this

https://www.spillerphoto.com/product/116-to-120-camera-conversion-set/

 

oooooohhhhhhhh https://www.spillerphoto.com/product/soundtronics-mfos-soundlab-ultimate-with-arturia-keystep-in-a-wooden-case/

[Francois]

Wow! That is one heck of a synth!

[Indofunk]

Behringer (yes, I know...) is coming out with a Moog Model D clone, and depending on the price I am 90% sure I will get it (and, being a Behringer, it will break in a year )

[Francois]

With behringer it's often the plastic case that's crap. But if you find a way to put the guts of the device in a custom enclosure, they can last a decent amount of time.
I know it's the case for their pedals. But if you have many, they all end up looking the same.

[Indofunk]

In my experience, it's definitely the electronics that crap out. Burnt out resistors, crappy soldering, that kind of stuff. But for the one year that they work, they're a great budget deal!

[Francois]

There's a show on the JHS pedals channel where Josh talks exclusively about Behringer. He explains how they manage to get the cost down so much when compared to their competitors like Boss (which they blatantly copy). Quite interesting.

[Indofunk]

Isn't the answer cheap Asian labor and reduced marketing costs? 

[Francois]

Not entirely. Behringher is actually a vertically integrated company. They don't outsource any step that goes in their products. They produce everything from the pcb's to the plastic. That way they have a great level of control over costs. That's how they can get things made at such low cost.
Check this out for the long and more musical answer
https://youtu.be/ApJZa8yCMCQ

[zapsnaps]

or had delivered... the new One-Instant packfilm via Kickstarter. I can't wait to sue it. But it's SO expensive, I hope I don't suffer too many failures.

[Pete_R]

I just pulled the trigger on this cutie. A bit of a cult camera. It's a screw mount rangefinder, built in China but based on a Yashica chassis. Can't wait to start pulling it apart...

[hookstrapped]

Or I can just order this

https://www.spillerphoto.com/product/116-to-120-camera-conversion-set/

 

Update: I received this kit, which includes a number of permanently modified take-up reels and modifiers for the reels on the 120 film you're using. That's cool.

But the rails that you mount to the existing frame in order to provide a surface for the film edges to run over don't allow the camera to close due to their thickness being added to the space between the folded bellows and the frame. It's very tight already. This is weird since the maker developed this specifically for his Ikonta. Maybe model variation...

So I can go back to my original idea using a thinner brass strip as a base, building up the rails with strips of styrene, or I can do nothing. Well, not exactly nothing...

In my first test, everything looked very sharply in focus. The film runs over rollers on either side of the frame, which sets the film plane distance along with the rails. And as long as the film is taut, with the pressure plate controlling backward movement and the rollers controlling forward movement, it seems fine. As for ensuring the film is taut, the take-up reel has no backward play so that's good. The feeder reel will roll freely however if I trim the 120 flanges too closely. But if I leave some nubs when I clip them with my nail clippers, I get some friction what prevents any play. So I think that's what I'll do.

[MiguelCampano]

I said goodbye to my Bronica and picked this thing up from the auction site... Gets here in a week or so.


67 by Miguel Campano, on Flickr

67 by Miguel Campano, on Flickr

67 by Miguel Campano, on Flickr

67 by Miguel Campano, on Flickr

Additionally, picked up a 105mm 2.4 lens from KEH, which gets here tomorrow, some filters and film, as well as ordered a 3D-printed right hand grip for the camera.

Pretty excited to give this a try!

[Francois]

Get ready for that bone shaking mirror slap

[AJShepherd]

Wow. Miguel, that's something splendid. I've often been tempted by the idea of having one of those humongous Pentaxes, and so far the only things putting me off have been that I'd probably need to sell a few other cameras first, and that I'm not entirely sure that I'd want to cart one of those around all day!

Look forward to reading what you make of it once you've used it!

[Indofunk]

It's only a matter of time before Miguel gets into large format. The less convenient, the better! 

[Bryan]

Miguel, why the Pentax over the Bronica?  Was there something you didn’t like about the Bronica?

[MiguelCampano]

Miguel, why the Pentax over the Bronica?  Was there something you didn’t like about the Bronica?

The camera had a thing that, apparently, is fairly common with them (happened to my ETRSi as well) which is that the battery holder gets a bit loose and the batteries can't make contact, therefore it won't fire. You can fix it with a little piece of cardboard to make pressure, which I didn't do. In addition, while I like the modular system with the backs, finders, etc, their prices are going up significantly and I'd rather have something like a dedicate SLR with a couple of good lenses and call it a day.

I was actually in the market for a Fuji GW690, however, the sellers from Japan were not responding to my offers in time and I decided to pull the trigger on the 6x7.

[Bryan]

Miguel, why the Pentax over the Bronica?  Was there something you didn’t like about the Bronica?

The camera had a thing that, apparently, is fairly common with them (happened to my ETRSi as well) which is that the battery holder gets a bit loose and the batteries can't make contact, therefore it won't fire. You can fix it with a little piece of cardboard to make pressure, which I didn't do. In addition, while I like the modular system with the backs, finders, etc, their prices are going up significantly and I'd rather have something like a dedicate SLR with a couple of good lenses and call it a day.

I was actually in the market for a Fuji GW690, however, the sellers from Japan were not responding to my offers in time and I decided to pull the trigger on the 6x7.

My ETRSi doesn't have the battery door problem.  The modular backs are not something I feel I need so it's more of an annoyance to have to fiddle with the dark slide and all the interlocks on the camera.  I prefer a TLR for most shooting but the Bronica works better for focusing when I hook it up to the microscope and it works better for macro with the extension tube.  I just don't feel I use it enough but I'll hold onto it a bit longer. 

[Jeff Warden]

Pretty excited to give this a try!

Now that's a camera and a half. That and a Minox subminiature and you're all set. 

[John Robison]

Well, was just gifted a Kodak Tourist. This one has the lowest specification multi element lens, a 100mm f8.8 triplet with front element scale focusing down to 3.5 feet. It is in a Flash Diomatic shutter with T, B, and 1/25, 1/50, 1/100.
The camera and lens is clean and appears to be functional.
Not wanting to respool 120 onto 620 reels I removed the upper and lower pins and using a rotary tool ground out the ribs of the feed chamber, then wrapped the 120 film in a tube made from milk jug plastic and placed it in the feed side, it’s not located by pins but seems to feed normally, using the red window for frame positioning.
It’s very gray and dull here but hope to shoot the roll today and develop and contact print by Friday. Because it’s so gray I loaded 400 iso. Well, we shall see what we shall see.

[Francois]

Kodak tourist were definitely low spec. And the second version even more so. I got one which was completely missing the film advance, so I had to rebuild almost from scratch. I have yet to try it out.

[John Robison]

Kodak tourist were definitely low spec. And the second version even more so. I got one which was completely missing the film advance, so I had to rebuild almost from scratch. I have yet to try it out.

Not all were ‘low spec’, I also have one model that came with the 101mm f4.5 Anastar, a four element lens just one notch under their Ektar, another four element design. The Anastar is in a Kodak Syncro-Rapid 800 shutter, although I don’t set it above 1/200 sec. To get to 1/400 or 1/800 the spring forces are scary. The Syncro-Rapid also has a setting for flash sync delay for then various flash bulb timing plus an ‘X’ setting for electronic flash.
This model was a very premium camera at the time and in constant dollars would sell for over $1K today.

[Francois]

Just to compare, my Tourist II has a Kodet Lens, a Flash Kodon Shutter with Time-Bulb-Instant settings, apertures from f/12.5-32, fixed focus. Nothing more than that.

[John Robison]

Just to compare, my Tourist II has a Kodet Lens, a Flash Kodon Shutter with Time-Bulb-Instant settings, apertures from f/12.5-32, fixed focus. Nothing more than that.

Yes, the one you have was the least expensive ‘snapshot’ model, with a 86mm single element meniscus lens with fixed focus. Little more than a folding version of a 6X9 box camera.
The one I got 2 days ago was a freebie so the price was right. Once this first roll is finished I’ll paint the feed chamber black and slip in a couple of 1/16 nylon washers on each end of the spool to center the roll.
Cutting away the ribs and extra metal in the feed chamber with a rotary tool was fairly brutal, not a neat machining operation....but apparently it works as the film advance is very smooth and the backing paper numbers line up perfectly.

Do you happen to have any photos taken with your Tourist II?

Kodak always bugged me by sticking to that 620 film size and not transferring to 120 spools. Some of their cameras are very nice, but hobbled by the discontinued 620 film size.
Have never been a fan of respooling so it’s cut and slash on the cameras to fit 120 film.