Austin Mini - Clutch Part 1

Non-Verto clutch woes

Blown slave cylinder

Top - old slave
Bottom - new slave

New slave ready for assembly
using liberal amount of DOT 4 fluid
for wheel cylinder/cap lubrication

Copper washer (from the flexible hose)
did not come with the new slave (or hose)
so I cleaned the old washer

New slave cylinder + new flexible hose
ready for installation

Since the fluid spurted out by the slave was jet black I went ahead and dismantled the master cylinder.

So much crud came out of the master cylinder
fortunately the inner wall was intact.

Master cylinder repair kit

Master cylinder components cleaned
and new wheel caps installed lubricated
by fresh DOT 4 fluid

Master cylinder ready for installation

Fresh DOT 4 fluid was transfused into the hydraulic system and bled until no air was coming coming out of the slave bleeding valve. But there were a few snags, the clutch throw out stop could not be adjusted as per Haynes and I had to insert a 1/4" bolt at the end of the clutch arm push rod to get clutch action. Although clutch pedal feel and action significantly improved, after driving around my neighborhood I still experienced intermittent clutch slide on steep hill climbs...more problems lurking ahead :(

Smiths Tachometer

With the prices of Smiths Classic Gauges going through the roof, I gambled at eBay and won this for about $20/shipped. It is an RVI* 1433/01 negative ground probably pulled out of a junked mid-60s MGB, MG Midget or Austin Healey Sprite.

*The RVI Series only works with conventional contact point ignition systems. For later models (or converted) with electronic ignition, use an RVC.

NOTE: the black dotted lines between the distributor and coil denotes a wire that should be removed. Essentially the tachometer replaces the wire and, is in series between the distributor and coil as shown in the diagram.

The gamble paid off!

Frankenstein Isolettes

Agfa Isolette II Apotar 85mm f4.5
Bad bellows

+

Agfa Jsolette Solinar 85mm f4.5 Compur Rapid
Agfa Isolette I Agnar 85mm f4.5 Vario
Both have bad bellows

-

Agfa Jsolette
Agnar 85mm f.4.5

=

Agfa Isolette II Solinar 85mm f4.5
Agfa Isolette I Apotar 85mm f4.5

Solinar and Apotar pics

Yashica-Mat

Yashica-Mat with Luxamar 80mm f3.5

This is my second 'Mat, both acquired at under the $100 mark and worked out of the box - clean lenses and the shutter fired at all speeds without needing exercise. I find the earlier sans light meter Yashica-Mats more appealing compared to the later sought after 124/124G series.

Need a light meter? Learn Sunny 16 or use a hand held meter. To the left of the picture above is a plastic Bayonet 1 lens hood which can be found on eBay for under $10, highly recommended to prevent strange light artifacts from being recorded on film.

Yashica-Mat with Yashinon 80mm f3.5

Luxamar 80mm f3.5
Fuji Acros in Rodinal 1+50

Yashinon 80mm f3.5
Fuji Acros in Rodinal 1+100

Luxamar vs. Yashinon

Both lenses are four element Tessar type. Some claim the Luxamar lens fitted to early models of the series were manufactured in Germany. You decide...;)

Violin Making in the Philippines - Amador Tamayo

I have mentioned my friend and colleague Amador Tamayo in Musicfest 2012 and PWU School of Music Performance Program as a cello mentor to our younger generation of talented cellists.

Amador has appeared as soloist with the Philippine Youth Orchestra, Manila Symphony Orchestra and Manila Chamber Orchestra while serving as principal cellist for these orchestras. An avid chamber musician, he has performed two Beethoven Cello Sonatas with pianist Charito Pizzaro and collaborated with esteemed Filipino violinist, Gilopez Kabayao and his pianist wife, Corazon, in performances and a recording of Schubert Piano Trio No. 1 in B flat major.

He was a music student at the University of the Philippines, College of Music but eventually finished a Bachelor of Science in Mathematics. As fate would have it, under the auspices of the Goethe Institut he was awarded a scholarship to study violin making in Germany. From 1978-1982 he worked as an apprentice to Hubert Schnorr in Hamburg supplemented by studies at Mittenwald School of Violin Making.

Let's visit his shop in the foothills of the Sierra Madre mountain range outside of Metro Manila where...

...he is assisted by three associates.

Due to our tropical climate, a temperature and humidity controlled environment is essential for storing wood and varnishing instruments.

Production figures since 1981 total to an estimated 140 violins, 20 violas and 20 cellos. Most of these instruments are played by Filipino musicians but a few have also made it abroad: Australia - 3 cellos, Canada - 3 violins, Germany - 4 violins, 2 violas + 1 cello. Singapore - 2 cellos, Taiwan - 2 violins + 2 cellos, USA - 6 violins + 1 cello and Vietnam - 1 cello. With more commissions and repair waiting, the shop is kept busy...

Amador doing routine maintenance on my old Italian mistress, a copy of which is in his long term project list ;)

Tamayo violin ca. 2007

Tamayo cello 2011

Leica II restoration

[From the Archives, ca. 2005]

Leica II ca. '32 after restoration

As you can see below this camera was in a very sad state lacking the vulcanite cover when I acquired it. The shutter worked only because it was oozing with a WD40 type lubricant mixed with a lot of grime and dirt. Initially I was stumped by the lack of a film take up spindle and spool. Fortunately a short spindle from a Fed 2 bolts on in tandem with a Zorki film spool. 

before restoration

For details of the procedure on how to completely dismantle a Leica II or clone please go to Jay's site or this concise but EZ to follow technical illustration by Rick Oleson.

partial disassembly of a Leica II

Before disassembly the lens flange to film plane distance [28.8mm] was measured using a caliper just to make sure it has not been tampered. Once this is determined, take note of the location of the shims so that the register will be exactly at the same specification upon reassembly. The shims on a Leica are mostly metal with a small piece here and there of vellum like thin paper for fine tuning. I never encountered metal shims on an FSU clone, just paper.

I set the body aside and traced a paper pattern to use as a template for a new cover using Micro Tools #4040 leatherette. The body was cleaned with ultra fine sandpaper moistened with lighter fluid to insure proper adhesion.

Dirty winding gear set, ready for lighter fluid immersion and blasts of air, Fed short replacement spindle standing by for trial. A Zorki spindle is also a bolt on option.

I immersed all the gears in lighter fluid followed by generous bursts of compressed air. Once they were clean I sparingly greased the gear set with Castrol GTX to insure smooth winding.

The shutter curtains looked light tight and only needed cleaning. Making sure the curtain and ribbon attachments do not get contaiminated with oil, I carefully lubricated the rollers and curtain drum spindle using a syringe loaded with watchmaker's oil. After all these steps were accomplished I tensioned the curtains and installed it back to the top super structure.

shutter crate and top plate ready for reassembly

This is the most difficult step in the reassembly of the shutter in any Leica derived focal plane shutter system.

Mating the coupling pin [above - 1] to the curtain drum hole [2 - below] as well as shooting the roller pins [1 - below] to the corresponding holes [2- above] of the top superstructure.

Aside from that, the curtain drum gear needs to couple with the release gear [3] underneath in the wound position at the same time the laths need to be overlapped [4] approximately 180 degrees opposite the drum hole or else the shutter will not work properly. This picture approximates the proper orientation and the shutter worked. Of course it is assumed that the curtains were properly installed.

All of these have to be done in one shot and requires practice, time and a lot of patience!

Before inserting the shutter crate and top assembly to the body I did the TV shutter test to make sure that the speeds are pretty accurate. Usually if the 1/500 looks good all the other speeds will fall into place. I also use an M3 as sound and visual reference.

Although the RF patch was usable it was not bright enough under most lighting conditions so the beam splitter mirror was replaced and the RF and VF cleaned.

After complete reassembly the horizontal and vertical RF alignment was calibrated.

Please note that I do not endorse repainting or even retouching a black enamel Leica II. Brassing adds character and mystique to the camera which is a testament to the history of pictures it has taken. Even the finest repaint job will not achieve record breaking prices at Christie's.

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Here are some details that show the Barnack heritage of FSU clones

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under the RF cover

Fed 1d - soldered eyepiece tunnels

Zorki 1d - eyepiece tunnels removable secured in place by RF cover back screw

Leica II - eyepiece tunnels threaded or secured by screws

Leica II shutter crate is made out of sheet metal [early Feds are similar] more fragile and can easily bend when detached but once assembled it is a rigid structure

Zorki 1d die cast shutter crate

Zorki 1d shutter body

The Fed and Zorki are undoubtedly reverse engineered versions of the Leica II without the close tolerance precision of Teutonic engineering. It is amazing how the Soviets kept the same basic Barnack design in production with touches of their ingenuity sprinkled almost contemporaneously in the early 1930s until the early 1990s, 30 years after Leica stopped LTM production.

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Leica II + Summar 50/2 lens test shots 

Agfa APX100 @ EI200 souped in Diafine

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