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Post by nikkortorokkor on Jul 5, 2007 20:41:24 GMT -5
Update: I elected to make a brass terminal in the end (old televisions render up a plethora of useful stock). The Hi-Matic 7 meters really nicely now.
Unfortunately the AE coupling was very stiff. I have coaxed some life out of it, but I don't trust enough to burn film with it on auto. Thus I'm using the Hi-Matic7 as a metered manual.
Today I made my first images with the camera. Very nice to use. Heavier and better suited to my long fingers than my Ricoh 500GX, with a much nicer, quieter and less 'tinny' sounding shutter. Much smoother than the Phenix 205E, the mechanical parts of which feel like they were carved out by a madman wielding a chainsaw. A quality product from Minolta's innovative heyday.
I hope the results will be as satisfying as the tactile process of image making.
Have just won an online auction for a 'Sun Widenet model EE' wide adapter, which purportedly fits this camera. It'll be interesting to see if it does
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Post by nikkortorokkor on Jun 15, 2007 7:31:13 GMT -5
Thanks Peter,
We have a couple of these suppliers Downunder, though the biggest (which has a branch in my town) has moved away from its roots and into stuff that makes them money like TVs and cell phones rather than the ham radio gear of yore! Hopefully they'll have the glue so that I can fix the camera tomorrow (patience is a virtue).
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Post by nikkortorokkor on Jun 15, 2007 5:44:37 GMT -5
Hi,
I have worked out the major bugs with my Hi-Matic 7 except for one. The only reason the meter is not working is that the wire has come adrift from the battery terminal. How do I reconnect this? It is stainless and too close to insulating plastic for me to silver solder. It was originally glued, so is there a conductive glue that I can use? If Necessary I can probably make up a new terminal that will take solder, but I'd rather not!
Thanks in advance,
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Post by nikkortorokkor on Jun 10, 2007 4:53:35 GMT -5
OK, be kind to me because I'm new around here and am pretty damned ignorant.
I'm a bike (bicycle) mechanic taking a bit of time off to complete a master's thesis (on nineteenth century bicycle racing) and to take time off from that (whilst not going any where near the 20 odd bikes in my shed) I'm fiddling with cameras. On a bike I'm pretty handy, but with this stuff I feel like a monkey with a brick. Think of it as Zen therapy.
I started off simple and got a Yashica J to function (as a camera, not a hammer, which may have been another use for the J envisioned by the Yashi engineers judging by the ammount of metal they used) but threw my hands up in horror at the multiple problems offered up by a Fujica V2. I think I've got my Hi-Matic going OK, but the Hi-Matic7 is another story, and a wee bit of advice might help.
Apart from a stuck shutter, the 7 has a badly misbehaving winder. For a starter, the lever is showing signs of being forced (it's twisted, and the flats that engage the winding mechanism have been spread) so I've deduced that the winder jammed at some stage and was then forced into submission. Now, with the lever closed the shutter release will not depress. Nor will the winder lever self-return every time. If the lever is returned home manually, then the take up spool returns also. I think, therefore, that the clutch is damaged/not operating. With the winder 3/4 open, the shutter release depreases fully.Though I've taken the top cover off, I haven't dismantled the winding mechanism yet, and thought I'd ask if anyone has advice before I do so. The glass on this camera is not great (shallow wipe scratches) so it's no great loss if I turn it into a display piece with my monkeying-around, but knowing the pitfalls of Hi-Matic 7 winders would be nice if any wiser heads can help.
Thanks for 'listening' to my problem,
Michael Toohey, New Zealand.
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LuShan
Jul 5, 2007 3:52:14 GMT -5
Post by nikkortorokkor on Jul 5, 2007 3:52:14 GMT -5
I love good waterfall pics. Making them is another matter. This one was taken in perfect conditions for waterfalls, awful conditions for cameras. Still, I think it is one of my best efforts at capturing falling water. I'm keen to hear some criticism, so fire away! Image was made on very humble gear: an eos 500 (Rebel to Americans) and consumer 28-70 AF zoom (set on manual focus). Chinese film, processed in the best lab I could find in Nanchang. The secret is a good tripod: cameras come and go, but my loyal Manfrotto 190 lives with me forever! scan taken off a 200x300 (8x12) print Waterfall on LuShan (Mt Lu), Jiangxi province, China.
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Post by nikkortorokkor on Aug 4, 2007 23:38:04 GMT -5
Collectable Digital? Heretics all!
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Post by nikkortorokkor on Feb 19, 2008 0:07:34 GMT -5
Wayne, I was thinking more of the last gasp (late 80s to Y2K) of the pro 35mm SLR when writing about big, (perhaps I shoulda written 'long' fast glass. I suspect that the combination of long focal length, big aperture, AF and blindingly fast titanium shutters allowed sports photographers to freeze the action while blowing out the background in a way that was (for me at least) totally arresting.
I agree (somewhat sadly until I finally get one) that the modern DSLR, with its amazing ISOs, along with IS lenses, brings such magic into the hands of the less well heeled.
As for me, I feel pretty chuffed at having stepped up from a 135/f4 to a blindingly quick 135/2.8!
P.S. ain't it a shame that most of that hi ISO gear & fast glass seems to wind up being used to snap a grainy, fuzzy, or over flashed image of some 'celebritant' holding a handbag in front of her face as she rushes from limo to rehab clinic? The Nikon/Canon engineers do their best to make equipment that can be used to make great art, when what the Paps actually need is something to make the 'bright and the beautiful' look ugly. The cheapest P&S can do that without even breaking a sweat. Oops, waaay OT now.
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Post by nikkortorokkor on Feb 18, 2008 19:32:38 GMT -5
A bit OT, but: Those are interesting comments by Wayne and Walker about panning not being so popular now.
I have to admit that P&S or not, digital has helped me experiment much more freely with panning: being able to check results and correct technique is a distinct advantage that digital offers the the tyro. I've always loved the technique iwhen used by the pros and have continually experimented with it myself. Even with the Oly's limitations, being abe to try and check, try and check made the learning curve much faster. I'd imagine that any digital camera that has full manual control must offer the photography tutor a fantastic opprtunity to run a lesson that seemlessly melds theory with practice. Previously, it was the darkroom that offered this chance, hence, I guess, the importance of the darkroom in photography class. Feel free to flame me for that one!
I wonder if the 'loss' of the pan shot is related to AF, Not because AF can't pan (certainly not since the coming of high end Canon USM AF, anyway) but because it opened up other truly spectacular shots that were a real challenge with manual focus. Here I'm thiking the big, fast lens that not only freezes the action and offers razor sharp detail of the subject, but which also blows out the background to a pleasing blurr. Sprinters lunging for the line, ice skaters jumping, shot putter letting fly (or watching, with wrapt attention, her shot fly through the air) or long jumper landing in a shower of sand. All achievable before by te best pros, but far more so now with the advent of fast, Pro-level AF. Somehow, the poor old pan shot , which was probably a technicaly easier way to produce spectecular action images with shorter, slower non AF glass, has got left behind except by those of us too poor to afford that big, fast AF glass.
I have recently been reminded of another technique consigned to the dustbin of time. I was looking through an old 35mm handbook the other day, the kind of thing pumped out by John Hedgecoe and the ilk, and there was a whole two page spread on the snap-zoom effect (I dunno what else to call it) that came into fashion with the advent of one touch zooms. You know, stick the camera on the 'pod, have the car/ bike/ runner/ skater come straight at you, release the shutter whilst snaping the zoom from tele to wide (or vice versa). I remember trying it on a neon sign and thinking the result was tre cool. Now it just looks very 1982. The same thing happened 10 years ago or so when digicams and affordable computing meant that 'digital photography' meant naff fantasy images cooked up on the computer and served up with a warmed over synth pop sound track. Sometimes taste lags a bit behind technology (more flaming can be applied if deemed necessery).
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Post by nikkortorokkor on Feb 18, 2008 13:59:15 GMT -5
Having used an aging P&S digicam (an Olympus C - 750 UZ) exclusively for several years until rediscovering film, I'm familiar with most of the advantages and disadvantages of the format. Some of the most annoying problems with P&S are there in spades with the Oly -slow & noisy startup, poor focussing in low light, wonderful manual control which can only be accessed by pushing an array of buttons, push button focus (that's my pet hate), a cacophony of beeps and fake shutter noises that have to be manually turned off everytime the batteries are changed and considerable shutter lag Despite all this, the Oly and its enthusiast level P&S bretheren are considerable picture making tools, breathtaking really when compared to the hi quaity but basic rangefinders I personally love or the truly awful 35mm P&S zooms of the 90s that we all loath. I can and have used the Oly for action photography, not because I'm clever, just because I'm not alowed a DSLR! I've learned a few tricks which may translate to other cameras. Some have been mentioned already, but are worth reinforcing. 1 - if your camera uses the familiar AE and AF lock with the shutter release half depressed, then use it! (Gene W has already pointed this out). True snap shots are almost impossible with a P&S digicam of the Oly's level. But by prefocussing and metering where you think the action is going to happen, things will speed up considerably to a workable level. 2 - if your camera allows different modes of control (the Oly offers full Auto, Program, AP, SP and full manual metering), experiment a bit. I've found that the Oly reacts most quickly on AP, and that's where I've got the most spectacular results. eg: Taken on AP, with the shutter release half depressed to pre focus/meter, then panning with the subject. 3. Look for a camera with a manual focus ring.The worst feature of P&S is poor focus performance. (are any still available? I know the Photokina watchers are complaining of a lack of enthusiast P&S as manufacturers steer punters towards more profitable DSLR). Despite the problems, I'm still a DP&S enthusiast. for candidly photographing people they are so much less intimidating than any SLR, D or not, they are light & quiet (if, unlike me, you avoid a model that beeps and bings at you). I'm seriosly excited about Ricoh's GR Digital II and especially their Caplio GX 100. P&S for grown ups? I reckon the Caplio would satisfy 99% of my travel camera needs, on paper at least. BTW, getting back to the origins of this thread, the colours produced by the Oly are slightly muted and less contrasty than those produced by a typical high quality Japanese SLR lens on Velvia. Definitely not the 'TV with the colour turned up to high' look. Saturation is settable in camera, but generall I don't fiddle with it.
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Post by nikkortorokkor on Feb 18, 2008 20:12:41 GMT -5
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Post by nikkortorokkor on Jan 10, 2008 19:47:58 GMT -5
you are all right.
I see evidence of foam on top & bottom of the door.
I also have the tatty remains of a 'big' QL 17 (the 1965 iteration). Oddly enough, that has the seals (well - grey dust by now) on the chassis top & bottom.
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Post by nikkortorokkor on Jan 10, 2008 12:41:30 GMT -5
Peter, I too have to get a round tuit before I use this Canonet. Someone has scraped the door seals off this sample, so the job is half done for me. It looks like the bottom seal should be wideish & mounted on the door rather than the chassis - like a Ricoh 500GX - while the top sits in the 'conventional' groove.
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Post by nikkortorokkor on Jan 9, 2008 21:04:22 GMT -5
I'm not one who gets a lot of bargains - too impulsive and 'see, want, must have!' for that. But I managed to luck out on this one. The vendor had not done a great sales pitch, billing it as 'good for parts'. I bid NZ$2.00 and won the auction - the only bidder. As it happened, I'd bid on a hole bunch of Paxette stuff from the same guy, & he shipped the whole lot postage free. The Canonet turned out to be 100% functioning. The frame counter window is missing (the vendor had mentioned this) but I'm sure that I can rustle up a suitable replacement. This is the 1971 New QL19 - less common because it was superseded almost immediately by the GIII version. The lens is lower spec than that on the QL17, being a 5 element 4 group 1.9/45 versus a 6 element 5 group 1.7/40. Still, not bad for 2 bucks.
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Post by nikkortorokkor on Aug 25, 2007 3:54:13 GMT -5
A Kodak Retina would've been my other choice of 50s German if I hadn't got the Paxette. The Retina has the better reputation for reliability. Well done. Ron, I've cut and pasted the following from the very useful site: www.ukcamera.com/classic_cameras/braun1.htmI= basic model II= exchangeable screwmount lens B= light meter F= built-in flash L= lever rewind C= Compur-shutter L= Bright framefinder LK= light meter, Compur-shutter M= uncoupled rangefinder Auto= automatic exposure So, from what you tell me, you have a Paxette II of some description. If it has a coupled rangefinder, then it is a Super Paxette II. If it has the uncoupled meter and lever winder, then it is a Super Paxette B L and so on. I actually worked out that the one I was bidding on was a Super Paxette II B L from the above list, and was gratified to find exactly that nomenclature engraved on the back when I got it. It seems that looks count. After getting my II B L for NZ$27, I watched a more basic, but prettier Paxette II (or possibly a Super Paxette II, they're hard to tell apart without looking through the finder) reach NZ$54 on the same auction site. It's lucky that the wee Braun's Cyclops-like visage is growing on me;) As a side note, the model I have is incredibly similar to the Voigtlander Vito BL from the same era. If I ever dig my old handmedown Vito BL out of the cupboard, I'll sit the two side by side. But even from this ad (it comes from Marriot's website) you can see that the two cameras could've come from the same design pen: www.marriottworld.com/vito_cameras/vitobl.htmThe Vito is undoubtedly the more logically laid out of the 2, but I just can't get with its finder, whereas the Braun's brightlines seem very accurate so far.
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Post by nikkortorokkor on Aug 22, 2007 22:41:33 GMT -5
You know you have GAS when your teenage daughter starts grinning conspiratorially as you sneak yet another small cardboard box full of metal and glass past your wife. After a real case of caveat emptor (a completely knackered Yashica Minister that I rashly mistook for a Lynx 1000) I've had a couple of wins lately. Top of the list in the class of '57 are the Tougodo Optical Co (also called Togodo Optical Co) Toyoca 35 and the Braun Super Paxette II B L. I also got a very handy Watameter accessory shoe rangefinder for not much money. Here it is modelled on that byword in optical excellence, the mighty Halina 35x Super: Not bad for a grand total of NZ$61 (about US$42) including P&P. I wonder if my wife will agree? I am happy because I was after a Super Paxette II and this one, though not mint, functions flawlessly. I now own a real German interchangeable lens rangefinder...I can feel my credibility expanding already . I like the Toyoca too, if not the ubiquitous 'poor man's Leica, then maybe a poor man's Nikon S2? The odd thing is, I've been regularly outbid on the more common Yamato Pax M3, yet this rather less common Toyoca 35, functionally and visually similar to the Pax, garnered little interest. Does the fact that one can say 'I have an M3' drive the price up? A very nice set of pictures of a Toyoca 35 can be found at asahi.net: www.asahi-net.or.jp/~rd2h-ari/OTH_TOYOCA35.htm
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