I tried taking the 450E apart. Apparently the bottom plate is glued on. I don’t want to mess with that. I did find the lever that releases the shutter. Didn’t figure out why the button doesn’t move it all the time. 
I’ve got a 35mm Leica R-4 which my dad gave me as a graduation present. The thing is in beautiful condition and absolutely rocks my world. I’ve got a 80-210 (or thereabouts) zoom, a 50mm, and a 28mm wide-angle for it, all Leica. The lenses weigh about as much as solid lead, but man do they perform.
I’ve also got a Mamiya 645 Pro TL, which shoots on 120 or 220, 6x4.5cm format. (Though right now I only have 120 magazines for it.) I love going out and shooting chromes with this thing. Magic-hour light plus Velvia 100 and a tripod makes just about anything look amazing, no matter how talentless the photographer. For that camera I’ve got a 34mm wide-angle, an 80mm, and a 200mm telephoto. I’ve also got a 2x extender which turns the 200 into a 400 (half the speed, of course.)
I have a $200 Canon digital that I use for shits and giggles. I’ve got nothing against digital, but I still prefer film for anything I want to print. In addition to all the extra choices, it’s just so much more fun.
(I suppose this is why when I was shooting video in college, I shunned the stupid new Avid machines and did everything on the A/B deck-to-deck. It’s just more fun.)
A few years ago I purchased a genuine 16mm Krasnogorsk from eBay, although I have yet to use it, mainly because the guy who could get me cheap 16mm film moved to India.
I had actually started picking up paying portrait work but the new job has put the kibosh on that so I just treat it as an expensive hobby. I may drag out my studio lights out for an occasional project but they aren’t likely to come out of storage soon.
Cameras:
Nikon F2A - Sentimental and practical value, will still work after the nukes fall and the EMP wipes out all the digicams. How many things do I own that work after 26 years? I should take it to a repair place to get it cleaned and serviced then put it on a shelf.
Nikon F3 - I never really liked this camera as much as the F2. Little value in selling it.
Minolta Dimage 7 - It does a lot but has so many shortcomings that frustrate me. I’ll keep it since it’s one of the few digicams that does infrared well.
Canon A75 - replaces my old A10 as an everyday camera
Sony Hi-8 - One of these days I’ll clean it so I can get my Hi-8 tapes bumped to digital
Panasonic MiniDV - I wish I had spent a few dollars more and gotten something with manual control of WB and exposure and mic inputs.
Oh, almost forgot:
Graflex Crown Graphic 4x5" - the classic press camera of Weegee and Irving Klaw. Never used it yet but I still want to get into large format.
Oh, and I forgot. While it’s not technically a camera, I also have a Nikon Coolscan 9000, a film scanner which I can use to scan both my 35mm and 120 chromes.
Eastman 7231 Plus-X Negative is $70.24 for a 400’ roll directly from Kodak. Not that that would do you any good with the Kraz. A quick google search shows a 100-foot daylight spool for about $21 and Plus-X reversal for $25 at this place. You can probably get a better price from Kodak. (Colour stock is also listed.)
I shot some Ilford B&W in my K-3. It was for making prints, and I think the pitch was different from the pitch on film meant for shooting. While the K-3 sounded okay, it seems that the film did not engage the sprockets and only about three seconds were usable.
I’ve also shot Fuji F-125T with no problem at all.
If you’re going to shoot colour, remember that you’ll need a #85 (orange) filter when using tungsten film.
Nikon D70 digital SLR. I’m definitely loving this thing. Insanely quick on the snap, and it takes a gorgeous picture. Some of the early results are here.
Also have an old 2 megapixel Cannon Powershot A40, but for obvious reasons, it doesn’t get used too much anymore.
I understand the “why” of this, but the idea of needing a Polaroid back for a Polaroid camera is just funny.
My “one to grab” is a Sony DSC-81 or some similar semblance of letters and numbers - 3.2 megapixel.
It’s entirely replaced my Canon Eos ElanII 35mm. A year ago, I did some head-to-head shooting, and looking at 4x6 prints (from the local chain camera shop and my inkjet printer) the digicam was significantly sharper. Of course, if I had been shooting chrome and wanting to make huge prints, the situation would reverse, but the biggest I’ve ever taken 35mm was 8x10, so it’s not too relevant. The only way the Eos is better is speed - digicams just take a lot of time to boot up, auto-expose and auto-focus. Sadly though, I’ve only put two rolls through it in two years.
Previous 35’s were the Minolta X700 with add-on motor drive and before that, an XG-1. Had a painfully sharp f1.2 50mm, a 28 mm, and a 300 mm as well as a 80-200 zoom. Not sure why I abandoned all that for the Eos, actually. Oh yeah… I couldn’t hit the broad side of a barn with anything. I was at a rental darkroom, finishing up my prints one night and someone looked at them and said “You’ve got astigmatism?” Apparently, to a trained eye, my not-quite-focused images held the clue. The solution was autofocus.
Another camera that was interesting (not necessarily fun!) to use is my grandfather’s folding Kodak 3A. Ten years ago, the film was really hard to find - now it’s just plain impossible. There used to be a guy in New York that bought wallpaper-sized rolls of film from Kodak and cut them to the right width, but no more. Of course, he didn’t stop making the stuff until after I’d hand-built a daylight processing tank and film carrier for the enlarger. :smack:
Think of it as a 4x5 view camera using roll film and without the “view” - six shots to a roll, focused by luck with distance-guesser scale on the bed.
When I was able to use it, it took some really nice pictures. IIRC, the guy in New York was using Tmax 100, so even at 16x24" you have to look hard for grain. When I’d processed the first roll of film and made a couple contact prints, the effect was fascinating. Thoroughly modern Tmax film, Ilford paper and modern chemistry, but the images were unmistakably “old.”
Every now and then, I have thoughts of mounting the lens onto a 4x5 camera’s lensboard. After all, it’s not the bellows and film winding sprockets that make the picture, right? But the big hurdle to that is getting a 4x5 camera, then hoping the lens threads will mate to a shutter.
:rolleyes: Overlooked the camera I use most now, Nikon D100
Curiosity here.
I’m left eyed. Any one else?
(Makes using with the FE and FM a pain without the MDs)
Gotpass, those old Ektars (and other Kodak lenses for large format) were AWESOME! Lots of people were adapting them for other cameras in the 70s and 80s. Don’t know if anyone is doing that anymore, but a good lens is a good lens. A competant machine shop can custom mill an adapter to get you on a shutter, just be sure to mark the infinity focus point on your new camera’s bellows.
Ditto. I got lucky and was able to get the 12 inch (300mm) Commercial Ektar. It came with a working shutter and it is what I use on my 8x10. Aside from a few dings on the rim, minty. Excellent sharpness and contrast, and contact printing the prints is pure pleasure. Later on, I managed to get the 6 inch (152mm) Ektar for the “small” camera (the 4x5) 
I’m still using a little 640x480 Epson PhotoPC 550 that I won in an Internet caption contest in 1998.
My cameras:
Digital:
Kodak EasyShare CX4300 (Note: This camera sucks. Don’t buy one.)
Film:
Olympus IS-20 35mm (all-auto)
Vivitar LC 650 35mm (got it for $1 at an estate sale; takes terrific photos)
“Yamasheta” (i.e., generic) plastic POS I got for $2 at an estate sale
1962 Yashica Flash-O-Set 35mm
Kodak Flashfun, circa 1960; takes interesting photos
Lomo LC-A (doesn’t work anymore)
An old 110 that I haven’t shot with since the processing got so expensive
Video:
JVC Mini-DV camera of some kind that I’ve shot a few zero-budget movies with
My Wife’s Cameras:
Digital:
Canon PowerShot A70 (pretty good camera)
Film:
Polaroid 600
Polaroid Land Camera
Polaroid Joycam (she takes amazing photos with this)
Polaroid iZone
Pentax 35mm of some kind
Old Kodak Brownie
Old large-format Yashica
I think I’m forgetting a few, but you get the idea. Oh, and we’re going to treat ourselves with our tax return this year: She’s getting a Holga outfitted for Polaroid film (“Holgaroid”), and I’m getting a pinhole camera that takes 35mm film.
Oh boy, yes. Lots. Here’s the bulk of them, divided into still and movie and ordered oldest to youngest (I have others, namely many more still cameras between the Swinger and the Maxxum and a few more movie cameras, but they’re in closets somewhere):
Still Cameras:
The Ray “B” (early model, before Mutschler, Robertson, & Co changed to Ray Cameras), 1895, 3¼x4¼ plates
Kodak Brownie No.2A, 1909, 116 film
Kodak Brownie No.2 Model D (first run, with sliding back), 1914, 120 film
Kodak Brownie No.2 Model D (standard, with clip back), 1914, 120 film
Kodak No.2A Folding Pocket Brownie (horizontal with black bellows version), 1914, 116 film
Kodak No.1A Autographic Jr., 1916, 116 film
Kodak Cartridge Hawk-Eye No.2, 1923, 120 film
Ansco Dollar, 1925-1928, 127 film
Kodak 50th Anniversary Brownie, 1930, 120 film
Kodak Rainbow Brownie No.2 Model B (Green), 1931, 120 film
Kodak Rainbow Brownie No.2A Model B (Red), 1931, 116 film
Kodak Six-20 Brownie Jr. (US model), 1934, 620 film
Agfa Ansco Plenax, 1934, 620 film
Agfa Karat, 1937, 35mm film in a metal cassette
UniveX AF-4, 1938, #00 film
JEM Jr 120, 1940, 120 film
Kodak Target Brownie Six-20, 1941, 620 film
Argus Rangefinder C3 “The Brick”, 1940-1945, 35mm film
Kodak Vigilant Six-16, 1940-ish, 616 film
Kodak Brownie Target Six-20, 1946, 620 film
Kodak Brownie Target Six-16, 1946, 616 film
Clix-O-Flex Reflex, 1949, 127 film
Kodak Duaflex II (non-focusing Kodet lens), 1950, 620 film
Kodak Duaflex II (focusing Kodar lens, ribbed front), 1950, 620 film
Kodak Brownie Hawkeye, 1950, 620 film
Kodak Brownie Hawkeye Flash, 1955, 620 film
Kodak Duaflex IV, 1955, 620 film
Fleetwood Candid, 1955-1960, 127 film
Cardinal Photo Champ (I guess it was a promotional item–I can’t imagine anyone buying it), 127 film
Herold Spartus 35F Model 400, 1960-ish, 35mm film
Kodak Holiday Flash, 1960-ish, 127 film
Polaroid Swinger (early “yes/no” meter), 1965, 20-series Polaroid film
Minolta Maxxum STsi, 2000 (if I remember when I bought it), 35mm film
Movie Cameras:
DeVry Standard Automatic “The Lunchbox”, 1926, 100’ 35mm spool
Cine Kodak Eight Model 20, 1932, 25’ double 8mm spool
Siemens Model C, 1934, 50’ 16mm magazine
Paillard Bolex H8, 1936, 25’-100’ double 8mm spool
UniveX Cine Model 8A, 1936, 30’ straight 8mm spool
Paillard Bolex H8 EBZW, 1937, 25’-100’ double 8mm spool
Keystone A-7, 1937, 100’ 16mm spool
Bell & Howell Filmo 70-DL, 1950, 100’ 16mm spool
Paillard Bolex B8, 1953, 25’ double 8mm spool
Yashica U-matic, 1961, 25’ double 8mm spool
Keystone Americana, 1963, 25’ double 8mm spool
Yashica U-matic S, 1964, 25’ double 8mm spool
Kodak Escort 8 (with optional zoom lens), 1964, 25’ double 8mm spool
DeJur Versa Dial, middle 60s, 25’ double 8mm spool
Bell & Howell FocusMatic 672XL, 1972, super 8mm
Canon AZ1014E, 1973, super 8mm
Elmo Super Filmatic 108, 1974, super 8mm
Minolta XL401, later 70s, super 8mm
Canon AF310XL-S, 1983, super 8mm
I do too.
The last camera listed on the stills list is a 35mm SLR and my primary camera. The Canon 1014e from the movies list is my primary movie camera. The others are all used at least once (I don’t like collecting for the sake of collecting, my cameras all have film go through them, even if only rarely and if the right kind can’t be found).
A Brick. Everyone has a Brick in their house somewhere, it’s a law. The shutter on mine tends to stick, I’ve fixed it as best I can, but it still moves a little slower than it should.
Actually, one came with my last computer. 1 megapixel, occasionally used for testing stuff, but never to actually photograph with.
I think in a closet or the attic. Maybe not, I’m not sure.
No and no.
Yes and yes.
Primarily, yes, but just? No. I also take pictures of the dog.
Oh, god, no. I don’t work well with the public.
They caught my eye. Apart from some movie equipment, I don’t seek out any particular camera. I just wander around until I find one that looks right (from a purely aesthetic or curiosity point of view, the “value” doesn’t matter–I don’t care if it’s worthless, a good many are). I also like cameras that look like they’ve seen better days, I like cleaning them up and getting them working again. It’s sad when they’re unused. I like cameras.
As for professional vs. personal use…
I’ve been paid to take photos once. It was a long time ago, and I took some photos of a band in L.A. with my OM-4. I thought about doing it more, but I had a job that took up my weekdays and I just never got around to doing it even on weekends.
I shot some videos for pay years ago. There was one commercial, and some band concerts. I’ve been paid to work on film projects, but only once as a videographer. (This for a feature-length ‘film’ shot on DV.) I shot a commercial video project since I’ve been in the PNW, and it looks like I’ll be picking up more of those gigs. I’ve fallen in with a guy who owns a video business who uses JVC GY DV500s. He’s thinking of upgrading to DV5000s. We were talking the other day, and he said that business is really picking up. (He said that he joined the Chamber of Commerce – the only video business in it – so I suspect that that will generate more business for him.) He has 20 weddings booked so far, plus a one-hour commercial video, plus a four-hour commercial video for the same guy, possibly a documentary for a school in Seattle, and some commercial videos for someone who has businesses in malls. I understand there are some legal deposition gigs too. He uses two cameras on his shoots. He said that he needs to add at least one more crew. And then he paid me a compliment. He said I’m the only one he knows that he trusts to shoot (aside from himself and his wife, of course). 
So if all goes well, it looks like I’ll be a ‘professional’. In addition, he wants to make low-budget movies. We’re shooting a short video, and my short film will follow. No pay for those. When we start ‘making movies’…? We’ll see. The idea is to make money for four to six months a year doing his ‘boring’ videos, and then make our own stuff the rest of the time.
Since four of my 16mm cameras are crystal synch, I’m hoping to hire myself out (with the Éclair) and rent cameras to local filmmakers. I have lots of lighting gear, too, which I’ll rent out.
I have to say that I’m surprised there is such a following for medium- and large-format cameras! It’s very rarely that I see a medium-format camera in use, and I don’t think I’ve ever seen anyone use a large-format camera.
So you still shoot super-8? (Maybe you answered my ‘Who uses super-8?’ thread a few weeks ago, but I don’t remember.) Are the ‘home movies’, or do you tell stories?
I’d really like to shoot a super-8 film. It’s fun, and I have a couple of great cameras. But since sound film is no longer available, I may as well shoot 16mm. I could get an Erlson switch for the Beaulieu, and find a recorder that will accept the synch tone; but the 16mm cameras have crystal motors, so all I’d have to do for them is get a DAT deck.
Maybe get a Speed Graphic as they have a focal plane shutter so you don’t have to worry about mating the lens to a shutter.
Sadly my crown has a broken Graflok back so it may only be good for parts. Time to start shopping for a replacement.
I shot 8x10 Polaroid before (save the neg!), and sometimes rented a Polaroid back with the Hassys, esp when doing industrial shots. Plus, I have around here somewhere an old roll film Polaroid, I’ll have to dig it out someday and rub up against it again. I know it’s not the original, but it is a very early vintage. I used to use a Square Shooter for fun at parties and school events. Major fun. I even had that Polaroid 35mm Instant Slide film set up. The B&Ws were way cool.
Has anyone here ever used an NPC Polaroid back for their 35mm SLR?
How exactly does that work? Every 35mm SLR body Ive seen has the focal plane recessed relative to the outer casing of the camera.
Fiber optics (scroll down)
I’ve seen samples and demos at shows. They looked pretty good there, tho contact print size. I’m wondering about real world use.