Wednesday, 31 December 2014
In most respects, this is just another ultra-basic plastic 35mm camera, but this one has the added feature of a close up setting, a little lever which shifts the focus of the lens to 0.6-1.2m. This particular example is branded by Barclaycard, and was presumably some kind of corporate freebie.
One unusual feature of the Pellix is the fact that the viewfinder doesn't go black during an exposure, as the mirror is semi-silvered and remains fixed. This meant that I could keep my subject in view while I waved the camera around with the shutter open, before firing a separate flash with a blue gel attached.
Monday, 29 December 2014
I hadn't heard of the camera until I found it in a charity shop (complete with another lens and flashgun) for £10. At first I thought it was broken, as the mirror didn't move, but Google told me that this is a fixed, semi-transmitting mirror, to allow metering to take place near the film plane. The downside is that you loose light through the mirror, effectively reducing the aperture of the lens.
This is a more typical redscale result, cropped square after scanning. The results from the Nightbird were mildly disappointing, I have used a stand alone roll of the film in my Vivitar Ultrawide and Slim in the past, but that was in autumn when there is more light around.
There was just about enough light to produce an image using the available light from a window with the sun shining in.
I had expected the results to be less grainy, given that this film is allegedly ISO800 and this was taken in bright sunlight, albeit close to the winter solstice. Redscale is always a bit hit and miss though.
Wednesday, 17 December 2014
Sunday, 14 December 2014
Thursday, 11 December 2014
Wednesday, 3 December 2014
I've made several pinhole cameras in the past, including a 35mm anamorphic camera, but I decided that building a 120 version was beyond my skills, and I found this one on eBay for a very reasonable price. I'm using expired Fuji Velvia ISO50 film, as I have few rolls of this lying around, and I anticipate a steep learning curve when it comes to composition.
Tuesday, 2 December 2014
Wednesday, 26 November 2014
There are many variations on this category of fully automatic zoom lens cameras. I find that longer focal lengths, with their small apertures are very difficult to get sharp results with, and the 90mm maximum on this one is fairly manageable. It also has a switchable "panoramic" mask.
Saturday, 15 November 2014
This was another charity shop find, I think it was £5. It's a solidaly built fully automatic rangefinder camera from the 1970s. As far as I can tell it's working, the automated programmed exposure has no manual settings, but the aperture and shutter speed combination the camera has chosen is displayed in the viewfinder.
Friday, 14 November 2014
This isn't a very interesting picture, but I've uploaded it to show the effect of the ailing focal plane shutter, one edge of the frame is unexposed, then the image fades in from black as the shutter curtains pick up speed. It only seems to happen on the two fasted speeds, though nothing below 1/30th works anyway.
Thursday, 13 November 2014
Corfield made a number of variations of the Periflex camera, this is one of the later ones. Their unique feature is a periscope, which is lowered down in front of the focal plane shutter, and reflects a small portion of the view into an eyepiece, where it can be focused, before using the other eyepiece as a viewfinder.
The slower speeds no longer work on this onse, and I suspect the shutter curtains may not run at a steady rate, we shall see.
Tuesday, 11 November 2014
Soviet era cameras never had much of a reputation for build quality or reliability, whether these overlapping frames and shredded sprocket holes are due to the design or simply lack of maintenance, I don't know. It was certainly quite difficult to wind the film on, I suspect it could do with some lubrication.
Wednesday, 5 November 2014
This unusual Soviet era camera uses 35mm film, but takes 32mm x 24mm frames rather than the standard 36mm x 24mm. This example is in poor cosmetic condition, but appears to be working.
In keeping with its era, I've loaded it with some Rollei Retro 100 black and white film.
Monday, 3 November 2014
Technically this was one of the better photos on the roll, the focusing ring problem did mean quite a lot of the mid-distance shots were out of focus. I was lucky with this one, using the closes focus distance and an aperture of f4, the lens seems pretty sharp.
It was apparent that the rangefinder is significantly "off" when compared with the focus scale on the lens, there appears to be some slippage of the focussing ring, so I only really felt confident at infinity and the closest setting, though using a small aperture where possible should help compensate for any focussing errors.
This horse chestnut tree is one of my regular local subjects.
Thursday, 30 October 2014
The Eastar S2 is a Chinese made 35mm film rangefinder camera produced from 1965 to 1990 by the Tianjin Camera Factory. It uses a coated Eastar f=50mm 1:2.8 lens and a viewfinder with coupled rangefinder and parallax-corrected bright frame. It has a leaf shutter with speeds from 1 sec. to 1/300 sec. and PC-type flash synchronization. It uses a cold shoe for holding strobes. The film counter rest on top of the film advance lever. Film rewinding is with a folding crank on top of the body. It has a self-timer and was delivered with a case.
Tuesday, 28 October 2014
Wednesday, 22 October 2014
This was £2 in a charity shop, it has two focal lengths, 38mm and 65mm, there is auto-focus and full auto-exposure. It was in its original box, with a price label of £179.99 - a lot of money in the 1980s. Luckily it came with a battery, which would otherwise have cost several times what I paid for the camera. I've loaded it with a roll of Agfa Vista ISO400 from Poundland.
Another outdoor shot at the annual sculpture show at Chatsworth House in Derbyshire. The piece in the foreground is called "Wingblade".
There is a "B" setting, but no cable release socket, so I opened the shutter with a piece of black card in front of the lens, before taking up my position for the 2 minute exposure. I used the smallest of the three stop in order to maximise depth of field as there is no way of focusing the lens. The subject movement during the long exposure is all too evident!
Although the film is still in date, it shows evidence of deterioration, with backing paper markings being visible, and some mottling, nevertheless the nonagenarian Brownie performed well.
Sunday, 19 October 2014
The No.2 Brownie was introduced in 1903, and continued in production until 1931, the design evolved over the years, though it remained recognisably the same camera. This particular iteration was made between 1920 and 1924, making this camera at least 90 years old. According to one source, this was the first camera to take 120 film.
Monday, 6 October 2014
The Nuvis 75 uses the short-lived and now obsolete APS format. I think I paid about £2 for this one, and I really only bought it as it came with a couple of films which I intended to use in one of my more sophisticated APS cameras. Since I was given a supply of APS film earlier this year, I now feel able to use it in the more pedestrian APS models in my collection.
This is the closest I've come yet to a complete failure in my camera of the week project. The shutter was firing OK when I checked the camera prior to loading, by setting the shutter with the lever which is operated by the passing film perforation. While in use, I had my suspicions that the shutter wasn't firing, and I have no idea why it suddenly worked for just one of the 24 frames, a boring shot that was one of the last few to finish the film off before developing.
I quite like the pattern of all the blank frames, with the one little glimmer of hope from the week!