I hope you find it informative and helpful. I have recently acquired a Koni Omega M medium format camera (I explain for those unfamiliar to the camera name). I am in the process of getting it working up to snuff. One of the major problems with it when it arrived was the film advance was sticky. With the help of the Koni guru Greg Webber I have successfully cla'd (cleaned, lubed, adjusted) the film advance clutch on two film backs. I felt I might provide a service to those who are also interested and/or capable of repairing their own film backs. So, I have put together several pictures along with a written description of the steps involved. I will include sources of supply and contact info for Greg Weber (for those not mechanically inclined, wiser than myself, or just scared of doing it themselves) at the end of the tutorial. When time permits I will try to improve this page and include additional information about and photos of the Koni Omega M camera.
Zeiss Ikon was founded in 1926 by the merger of Contessa-Nettel, Goerz, Ernemann and Ica, which itself was the product of a merger of Huttig, Krugener, Wunsche, Zulauf and Carl Zeiss Palmos factory. Zeiss Ikon built cameras at all levels of price and features, from the fabled Contax, Contarex and Twin Lens Contaflex cameras that many photographers dreamed of owning, but many could afford, to the simplest box cameras and folding cameras. All were Zeiss top quality construction, some just had more features than others. But as good as they were at designing cameras, they seemed equally unable to efficiently manage their business affairs. All of the parties of the merger brought camera lines with them, and it was difficult to kill off lines that competed with each other. They made too many models, each available with too many lens and shutter combinations. In one year, they had 104 different models in their catalog, with a choice of nearly 1000 combinations of model, format, lens and shutter! The war changed everything. The plant at Dresden was destroyed in the fire bombing by US and British Army.
I bought this lens because my friend of mine suggest to take me (He has many CZ Distagon lens even the best ones) he say this lens is good as than Distagon. Lens is very nice looking quality built lens. It has excellent sharpness and color rendering. Easy to focusing and catch the right position. I was so much satisfied with this lens. Out perform many $$$ AF lens for reasonable price. To get it quite rare opportunity , not many people want to sell it , because price/performance ratio one of the best.
Vivitar made a number of high quality zooms under the Series I label. The 90mm to 180mm f4.5 flat-field VMC lens from 1978 is an one of them.
This Vivitar 90-180mm f/4.5 lens was really designed for medical photography needs. A ring-light flash unit was designed to mount on the front of this lens too. This original medical market niche explains some of the design features and range of this high quality zoom lens.
This lens is long, and pretty heavy. It produces excellent results in macro-work down to 1:4 at 90mm and to 1:2 at its 180mm setting.
On most modern zoom lenses, macro photography settings are a lower quality setup. Achieving macro capabilities means shifting some elements and so sacrificing some of the zoom's control over spherical and other aberrations.
Buying your first medium format camera can be confusing. I find it helps to point out that you probably will end up with more than one type of medium format camera over your photography career. For me, exploring and enjoying the different types and formats of medium format equipment is much of the fun of photography. By comparison, 35mm SLRs are boringly alike.
Article written by Danny Gonzalez in 1998 comes from archive.
The first thing that anyone looking for a 645 camera should consider is whether an interchangeable back option is of paramount importance. Though interchangeable inserts are almost universal in 645 (only the Fuji RF cameras don't have them), only a mid-roll changeable back offers the freedom to switch to Polaroid at will.
Unlike smaller Asahi lenses, the Super-Takumar 200/4 is a rear-entry lens. This means that it is not necessary to remove the name plate around the front element of the lens to gain access to the aperture blades, focussing ring and the aperture control lever. It is necessary however, to remove the front name plate in order gain access to the first three lens elements in order to clean them. This guide will show how to gain access to various parts of the lens.
Konica FT-1 was one of the last SLRs in the Konica product line. FT-1 was an improvement on the earlier FS-1 with a different meter type, improved quality of electronics and a faster winder speed. Sadly today most of them are in non-working condition. If you find a working one, it is a excellent camera and quite amazing how small it is despite having a built-in motor drive.
Choosing a medium format camera is usually much more difficult than it needs to be. It seems that everyone has an opinion while almost no-one has sufficient, multi-system experience to back their opinion. To the surprise of most, most every opinion you'll hear is agenda-laden rather than sincerely spoken.
The company was founded in 1873, during the first decade of Japan's industrial revolution, by Rokusaburo Sugiura, who suggested that his employer, the Konishiya apothecary in Kojimachi, Tokyo, begin to sell the new cameras and photographic materials that were being imported from Europe and the United States. The apothecary owners consented and gave Sugiura permission to use the Konishiya name. This was seven years before Kodak was founded.
All-round color slide film for every outdoor shooting situation: snapshots, landscapes, and portraits. Fine grain, brilliant and natural colors.
FUJICHROME Sensia 100 [RA] is an ISO 100 high-image- quality daylight color reversal film. Features of this film include beautiful skin tones, natural and true-to-life color reproduction, and smooth textural depiction. Its high color-temperature tolerance during exposure makes it easily and widely applicable for slide production not only for snapshots, scenery, and other general photography, but also for medicine-, science-, and industry-related photography. Sensia 100 is ideally suitable for slide projection and for making big enlargements, as well as for printing on FUJICHROME paper and making high-quality duplicates using duplicating film.
