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Pyrogallol

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Everything posted by Pyrogallol

  1. A “competitive organ”. predictive text does throw up some interesting words and it doesn’t like camera/lens related words in my experience., however many time I type “Leica” it doesn’t understand the word all the time. I am intrigued by the mention of an early cassette that the camera was modified from. Was there a version earlier than the “A” cassette? What was supplied with the “O” cameras to use? Were the users given film in cassettes to use with the cameras when they were given out for testing? considering that they may never have used a 35mm film camera before or did the camera have to be loaded in the dark without a light tight cassette to hold the film? I am more interested in the practical questions than the ££££’s.
  2. There was an oil company in the 70’s that painted their portable property purple, including cameras.
  3. Have a look at http://www.photomemorabilia.co.uk/Ilford/Chronology.html
  4. I have a Nikon one on my S2. and this non-Leitz one on an early Leica 111. I have seen one illustration of it, but can’t find it at present.
  5. Seeing the sprocket holes is normal for me as I print the whole negative including some of the black edges.
  6. I use Leica rangefinder cameras for infrared so I am not looking through the lens and it doesn’t matter how dense the filter is. But my friend uses an slr and gets on all right, the camera meter even gets the exposure right, though it is best to bracket your exposures as a normal meter is not calibrated for infrared light. A 25A red filter will be enough to get an infrared effect and still let you see through the lens to focus. I use Rollei 400 Infrared film. Rated at 400 I find adding +5 stops is about right using a separate hand meter, +5 seems to be right whether the filter is medium red or very dense. I guess the denser the filter is the more of the blue end of the spectrum it cuts out. Your R4 may well meter ok as my friend’s camera does, but bracket anyway.
  7. You could just bracket your exposures until you get used to the sort of negatives you like. Trying to make tests in the real world is not reliable as the lighting changes when you are outside taking pictures, the light can change between one exposure and the next and the contrast can change with it. I’ve done it myself and then you have to make notes of what you are doing. Often, as yesterday, I am testing out different cameras and I take a range of exposures at different shutter speeds on the same aperture to see if the shutter speeds look right.
  8. Looking back at the original posting and the copy of the prints, it is not really possible to give an opinion on the exposures without holding the actual negatives.
  9. I have been using Ilford FP4 since 1972. If you are starting out with it stick to the maker’s recommenced speed and development. Though these days I rate it at 100 ISO, only because at one time I also used Delta 100 and left my exposure meter on 100. I use Rodinal or Perceptol or Tanol now. Years ago I would have used ID11 or D76 at 1:1. I have been using Pan F recently, a 30mt bulk roll, and think it is more tricky to get right.
  10. The old time Weegee type street photographers would have been using a 5x4 camera with a leaf shutter and a nice big flash bulb, so they had plenty of flash that exceeded the available light.
  11. Today’s non-Leica camera is here. A Voigtlander Prominent.
  12. I have a 75mm f2.5 Summarit due to arrive on Monday.
  13. Normal. Too much light in one spot has bled across. Nothing wrong with the camera or lens.
  14. Even better, google “O Winston Link” to see the ultimate flash photography.
  15. A neutral density filter will reduce both the flash and daylight effect. You could just use a slower speed film and combine that with a speed reducing developer. To really get an old look you would need a larger format camera with a leaf shutter that could synch at any speed.
  16. The Holy City M3 with 50mm Summicron, Ilford Pan F, D76 1:1. Copies of old darkroom prints from the 1970’s.
  17. Copy of an old darkroom print. M3 with either 35mm Summaron or 50mm Summicron. Original Kodak Infrared film.
  18. Instant Kodak Hawkeye collection from the freebie box at my local dealer. Hawkeye, Hawkeye Ace Deluxe and Baby Hawkeye.
  19. Leica Standard, 50mm Jupiter. Copy of a darkroom print.
  20. Good luck finding the right side of the spool slot in the dark to slip the tapered end into, especially as the two halves of the cassette shell have to be assembled before you load it, unlike the Contax/Nikon cassettes. Occasionally the grip in the spool doesnot grip. You can take it apart to clean but it is quite small and fiddly or tape the film to the spool as I did the other day for one that refused to grip. Check your cassettes in the loader before you start. As I mentioned before, some of the spools have a fatter cross bar in the end that doesnot fit between the prongs of the Watson winder handle or slips off it. For those cassettes I end up winding the film onto a reloadable plastic cassette and then transferring it to the Leica cassette. I could just use it in the plastic cassette but that is missing the point. when you have finished the film and are loading it into the developing tank, tear the spool off the end of the film but make sure you have a small piece of film left on the negative roll side of the spool grip, so that you have something to hold and push through to release the grip’s grip on the bit of film inside the spool if there is not enough to hold and pull on on the pushed through end. If that makes sense?
  21. I don’t have the Thiele book. In what respect “obvious”?
  22. Where can I get a new copy of the hood to go on my 1950’s lens?
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