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Perfectly touch up black M9 finish


M. Valdemar

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If you have small areas of "brassing" on your black M9, this stuff is a miracle, it will touch it up almost perfectly. You would have a hard time seeing the repair it even with a magnifying glass.

 

I used to use this on my Epson R-D1, and yesterday I touched up my black M9 on the bottom plate and on the top.

 

Aluminum Black Aluminum Black - Birchwood Casey

 

It is good for small scratches or dings, not for a large area of missing paint.

 

I use a little on a cotton swab, let it sit about five minutes, then wipe off any excess with a tissue. It doesn't seem to be harmful to finish in any way. I used it on my R-D1 for years.

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Hi - this also seems to be available in the UK Peter Dyson & Son Ltd. METALWORKING PRODUCTS. I also see advertised something called "Brass Black" from the same manufacturers. Anyone with any experience? Of course, I'll probably just let the battle scars stay where they are, but it's interesting to speculate...

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I'm not sure "Brass Black" is the same product as "Aluminum Black". I have not tried "Brass Black".

 

 

Hi - this also seems to be available in the UK Peter Dyson & Son Ltd. METALWORKING PRODUCTS. I also see advertised something called "Brass Black" from the same manufacturers. Anyone with any experience? Of course, I'll probably just let the battle scars stay where they are, but it's interesting to speculate...
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As the M9 top and bottom plates are brass it makes more sense to use 'Brass Black' and NOT 'Aluminium Black' doesn't it? Good model railway shops often have brass blacking in stock.

 

Steve

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I see brassing as a sign of virtue and hard work, and perhaps as a sign of carelessness, too. I am always amazed to see mint condition decades-old Leica's. Then there is Gary Winogrand's M4.
I agree if the camera is used and consumed as a professional tool. As an amateur who values form as much as function, I personally rather concur with Stephen Gandy who wrote on his website, "Trashing them photo-journalist style just never made any financial sense to me, besides, why destroy art?"
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Maybe, but "Aluminum Black" works perfectly. You are free to experiment.

 

As the M9 top and bottom plates are brass it makes more sense to use 'Brass Black' and NOT 'Aluminium Black' doesn't it? Good model railway shops often have brass blacking in stock.

 

Steve

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I think Winogrand was more of a psycho/obsessive than a photographer. If anyone exposed hundreds of thousands of frames compulsively like he did, one could always find enough for a gallery show.

 

Anyway, I try to avoid battering my gear. I don't become crazy with every scratch, but I don't go out of my way to "brass" cameras. Anyway, I don't think anyone is concerned about the stylishness of a brassed camera except for a few nut jobs. You can walk around with two dozen brassed black M4's around your neck and the girls still won't like you.

 

I agree if the camera is used and consumed as a professional tool. As an amateur who values form as much as function, I personally rather concur with Stephen Gandy who wrote on his website, "Trashing them photo-journalist style just never made any financial sense to me, besides, why destroy art?"
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If you have small areas of "brassing" on your black M9, this stuff is a miracle, it will touch it up almost perfectly. You would have a hard time seeing the repair it even with a magnifying glass.

 

I used to use this on my Epson R-D1, and yesterday I touched up my black M9 on the bottom plate and on the top.

 

Aluminum Black Aluminum Black - Birchwood Casey

 

It is good for small scratches or dings, not for a large area of missing paint.

 

I use a little on a cotton swab, let it sit about five minutes, then wipe off any excess with a tissue. It doesn't seem to be harmful to finish in any way. I used it on my R-D1 for years.

 

Do you also have something for the scratches in the steel version?

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I think Winogrand was more of a psycho/obsessive than a photographer. If anyone exposed hundreds of thousands of frames compulsively like he did, one could always find enough for a gallery show.

 

Anyway, I try to avoid battering my gear. I don't become crazy with every scratch, but I don't go out of my way to "brass" cameras. Anyway, I don't think anyone is concerned about the stylishness of a brassed camera except for a few nut jobs. You can walk around with two dozen brassed black M4's around your neck and the girls still won't like you.

 

I beg to differ with you about Garry Winogrand. I met him several times when he lived in Austin and taught at the U. of Texas. I certainly wouldn't call him a psycho/obsessive person by any stretch. If you met and sat with him you'd begin to see how he worked, always glancing around, taking in his immediate environment, but certainly not much different from any observant photographer. It is true that he did shoot a lot, and that certainly helped him build a large body of work to review and select from. But based on looking at his contact sheets, his instincts and timing were astounding, as his best photographs demonstrate. He understood the significance of the "decisive moment," and was poised and ready to capture it more than any photographer I've seen, other than perhaps Elliott Erwitt. Instead of bracketing for exposure, I would say he bracketed for content and meaning. And he did it brilliantly.

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You might be right, but a guy who took thousands upon thousands of rolls of film, threw most of them in a drawer without even developing or looking at them, and who spent most of his waking hours snapping photos one after another without even looking at his negatives is quacky-doodle in my book.

 

There is a fine line between genius and compulsion, between obsession and creativity.

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