[Racer X 69]

Wouldn't the film be pressed flat by the caseback?

What keeps it flat on the shutter side?

[Docrwm]

What keeps it flat on the shutter side?

Pressure from the back and bolstered by the outer edges on the two sides. I'm thinking that inspection via open mount with camera in B mode could confirm......

[Jean Poitiers]

That’s pretty cool John.

Does the curl of the film affect the focus on shots made at wider apertures?

Thanks. Those are not my images, but I will soon put a 135 roll in my 67 with the adapter set ... and I will post it here with my first impressions.

I was thinking about this possible curl of the film edges, but I plan at first to try with some Fomapan 100 B&W film. It's really quite "thick" and "stiff" compared to other films. I like a lot what I have seen thus far with Fomapan 100 and the Caffenol CH recipe. Another plus of a thick, rigid film is that it lays "flatter" and easier in negative holder of the Epson V600 scanner ... again as compared to other film that I have tried recently, etc.

Also, that recently acquired batch of Kentmere 100 is quite "rigid" overall and came out nice with my MX + M 20/4 combo (this one is image is mime ) ... so, it's another possible B&W candidate.

[Jean Poitiers]

Pressure from the back and bolstered by the outer edges on the two sides. I'm thinking that inspection via open mount with camera in B mode could confirm......

Good idea ... I will load a dummy roll of dead film and see. Cheers, J

---

Last edited by Jean Poitiers; 12-05-2018 at 09:51 AM.

[Docrwm]

Good idea ... I will load a dummy roll of dead film and see. Cheers, J

Glad you like the idea, I am very interested in what you find when you test it out.

[Jean Poitiers]

Glad you like the idea, I am very interested in what you find when you test it out.

If I do not get back today, it will be tomorrow. I now have to get dinner ready and near the table ... plus tonight is the monthly meeting of the local photo club ... busy bee, me.

[Docrwm]

If I do not get back today, it will be tomorrow. I now have to get dinner ready and near the table ... plus tonight is the monthly meeting of the local photo club ... busy bee, me.

Très bien.

[Marcus Rowland]

A Sigma SD9 body - unfortunately no lens - for £31 inc P&P. I wanted a Sigma body of some sort to test the occasional SA lens that comes my way, and kept being beaten in auctions for film bodies, ended up getting this for about 50% more than most of the 35mm bodies. The snag is that it is as heavy as hell (using six batteries, 4 x AA and two 123A) and the instructions are in German. I've hand-held a lens over it and determined that it does work, and it's a charity item so I don't feel too guilty about spending the money on something that will see very little use. But if a cheap 35mm body with lens comes along I will probably sell this with the lens and keep the 35mm body for future tests....

[edom31]

Just got my hands on a Minolta HI-MATIC 7... This will rival my beloved Yashica Electro 35 in my rangefinder department...

Test shots are in the works.

[stevebrot]

It's just for the "fun" and the experience of doing it.

I should have some neat "panoramas" and "tall" shots in the other direction that cover ALL of the film base.

EDIT : Below are not my images ... but mine will come later. J

One of these days, I am going to have to convert my Yashica 44 to 35mm. The little camera sees very little time off the shelf, in part because the 127 film is difficult to find and get printed/digitized.


Steve

[Marcus Rowland]

The problem I'm seeing with using 35mm in a TLR is that you presumably have to take the film out in a darkroom, which makes things a bit tricky. Although given the non-standard format you need a darkroom anyway, I suppose.

[cyberjunkie]

As I already proudly announced on the Soft Focus lens Club, after years of lost auctions and patient waiting, I finally won an Imagon 120mm in focusing mount, ready to be adapted to my K-1.
I have many soft focus lenses for large format, from the times I used to collect portrait and SF lenses for bellows cameras.
That includes a handful of Imagons, including a huge 420mm, but all of them are too long to be of some use on a full frame camera.
I have been looking for the shorter versions for long.
Unfortunately I found that every time the price was way beyond what I was ready to pay, especially those in Hasselblad mount.
This time I have been luckier. I found an uncommon version that fortunately didn't attract the attention of some wealthy collector.
It is a Rodenstock Tiefenbildner Jmagon 4.5/120mm in Kochman focusing mount for the Korelle 6x6.






Note the "Jmagon" spelling, typical of pre-WWII uncoated versions.
It is missing (at least) one of the "tea strainer" rings, but it has got one, together with the hood and a yellow filter.
From the size it looks to be the 60mm thread mount (Korelle/Master Korelle used three different mounts, AFAIK).
If I'm right, it should be possible to buy a Korelle to PK focusing adapter, which would allow to fine tune infinity and reach a closer minimum focusing distance.
Keeping my fingers crossed...
I have no info about the company that manufactured the focusing mount. Very likely a small workshop of the likes of Zörkendörfer (Zork), that made the beautiful mounts to adapt modern Imagons to the most diffused medium format film cameras. Kind of present times Novoflex...
I am thinking about trying to use the yellow filter on digital.
Never done that before. It could make sense, though.
While it's true that the effect of a yellow filter can be applied in post production (of course on pictures converted to B/W), a yellow filter could help pre-visualise, and - much more important - could actually tame fringing and reduce atmospheric haze in landscape pictures.
In theory, a red filter would make more sense. The Imagon is a very simple achromat, some fringing has to be expected.
I guess it should possible to adapt the glass of a coated red filter to the push-mount frame of the one that comes with the lens.
I am looking forward to comments/suggestions about this issue.

EDIT:
Found the answer, Frank Kochmann was the maker of the Korelle Reflex before the name was changed in Korelle Werk.
So the helicoid for this Jmagon was not made by a small workshop but the maker of the camera itself.
It is good news, it means that the screw mount was the 40.5mm one of the original Korelle. A later version had a bayonet mount, and the post war Meister/Master Korelle had a 60mm mount.
The commercially available adapter is sold as compatible with the Rodenstock Radionar 70mm, which was the "normal" of the original Korelle, therefore I guess that the adapter on eBay should have the same diameter of my new acquisition.
I hope to be right, converting the 60mm mount and attaining the right register would be a pain...

[Marcus Rowland]

Something a little more mundane - another pawn shop bargain. A Tamron 70-300 4-5.6 macro zoom with PK autofocus mount. One of the earlier ones since it has a macro switch that can only be used at 180-300mm, but working well and very clean. Huge beast, and well worth the £9.99 I paid for it.

[WPRESTO]

Something a little more mundane - another pawn shop bargain. A Tamron 70-300 4-5.6 macro zoom with PK autofocus mount. One of the earlier ones since it has a macro switch that can only be used at 180-300mm, but working well and very clean. Huge beast, and well worth the £9.99 I paid for it.

SFAIK all versions of Tamron's 70~300mm share with the Pentax 55~300mm a reputation for being much better than it should be for the price. I gave mine as a hand-me-down to M and she used for many years during the film era. Still have it, but don't know what to do with it. I should probably give it away to a Pentaxian who cannot afford new lenses as easily as I can.

[Canada_Rockies]

am thinking about trying to use the yellow filter on digital.
Never done that before. It could make sense, though.
While it's true that the effect of a yellow filter can be applied in post production (of course on pictures converted to B/W), a yellow filter could help pre-visualise, and - much more important - could actually tame fringing and reduce atmospheric haze in landscape pictures.
In theory, a red filter would make more sense. The Imagon is a very simple achromat, some fringing has to be expected.
I guess it should possible to adapt the glass of a coated red filter to the push-mount frame of the one that comes with the lens.
I am looking forward to comments/suggestions about this issue.

I have a B&W print on my wall dating from 1962. It is HMS Bounty II under Lions Gate Bridge in Vancouver BC. The vantage point was rocks at sea level below the South end of the bridge. I took it with the first model Pentax (exchanged profitably to me: KX + K 55/1.8 by a collector who identified the model) and a 135/3.5 Takumar preset. The image won 2nd prize in Black and White from the film company in its local contest. I was pretty much broke in those days, and the 10 rolls of film and the camera bag they came in were well worth the darkroom time.

To bring this into focus for you: I used a #2 orange filter to turn the exhaust fumes from the surrounding little boats into mist.

Picture of picture follows.