Ricohflex VIIs + Super Ricohflex

Got these cameras because I was fascinated by the twin focusing gears and found the pictures taken by the triplet lens appealing. Essentially these two models share the same specs, the VIIs just a tad older.

VIIs ready for action

Ricohflex VIIs + Foma 100 in Rodinal 1:100

Super Ricohflex + Fuji Acros in Rodinal 1:100

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Kodak Signet 35

Tiny but hefty rangefinder camera that exudes quality. Built on a cast alloy chassis, it is equipped with a premium four element Ektar 44mm, f3.5 lens that can focus (through a ball bearing driven helix) down to 22 inches. Set on a Synchro 300 leaf shutter with rather limited speeds B, 25, 50, 100 and 300, this shutter has a reputation for being unreliable. Perhaps I belong to the fortunate few who acquired a sample with a functioning shutter. ;) The camera has a double exposure prevention mechanism but the shutter has to be manually cocked. When I received the camera, the combined VF/RF was a bit cloudy. But this was easy to clean. Access is through the removal of the top plate - undo the set screws for the wind and rewind knobs and the top comes off. After cleaning, the bluish tinted VF offered bright contrast with the yellow tinged triangular split image RF.

ERA 100, 60 minutes in Rodinal 1:100

This Ektar lens seem capable of giving the Leitz Elmar 50/3.5 a run for the money. The simple handling of this camera reminded me of the Leica II + Elmar 50/3.5 combo with it's own set of pros and cons. Shooting with this camera was a time travel experience to 50s snap shot style photography!

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Found Film - Verichrome Pan 120

To the left is a sealed VP120 expired in Dec. 1967 - to be kept for posterity. On the right is an exposed roll I stand developed in Rodinal 1:100 for 60 minutes. These came in a box of old cameras and expired film.

The roll produced seven frames on a single subject. It seems like the person was bracketing exposure and this was the only one with a hand in the frame which I found, made it just a tad more interesting. It is still not as exciting as found film articles I've seen in the internet. However now I know why long time photo aficionados lament the demise of Verichrome Pan, I would have loved to shoot with this emulsion. It reminds me somewhat of Plus X, but with richer tonality.

Kodak Retina II

Late 40s type 014, the lens scale is metric so it is a European version  Made by Kodak AG in Stuttgart, equipped with a coated Schneider-Kreuznach Xenon 50mm, f2 lens in a Compur Rapid shutter - B, T 1-1/500. Knob wind and manual shutter cocking but equipped with double exposure prevention mechanism. Well designed, built to high standards and very compact. The combined VF/RF moves to compensate for parallax, just wish it was brighter.

Kodak TX400, 60 minutes in Rodinal 1:100

The look of this lens reminds me of an early 50s Leitz Summitar.

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Flexaret IIa

Made by Meopta in the early 50s in Czechoslovakia. Prontor SV shutter - T, B, 1-1/300, Mirar II 80mm, f3.5 lens, a four element Tessar formula.  Initially the 1-1/10 shutter speeds were not functioning but was brought back to life by a dose of Naphtha, judicious use of a blower + shutter exercise. Basic TLR - red window frame counter + manual shutter cocking = no double exposure prevention. The viewfinder is not as bright as the Fresnel equipped Yashica-Mat but comparable to the Rolleicord III. A very capable picture taker.

Foma 100, 60 minutes in Rodinal 1:100

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Agfa Isolette II

The Apotar 85mm, f4.5 is the middle range 3 element lens offering from Agfa. It fits between the cheaper Agnar and the deluxe 4 element Solinar.
Luckily the basic 4 speed + B Prontor shutter is working fine on my sample. But the focus ring was frozen by the dreaded green dried grease which practically cemented the front cell focusing element to the middle lens element ;(

I backed off the 3 set screws just enough and the front focusing ring unmounted without fuss. No need to remove the tiny screws, not easy to remount and there's a greater chance of losing them. Replacement screws of this kind are not easy to find.

Before attempting to remove the front lens assembly, I applied a few drops of Naphtha (lighter fluid) around where the middle element screws into the shutter lens mount and let it sit for 15-20 minutes.

Then I wrapped the front lens element ring with duct tape and then tightened a hose clamp around it. Note: judicious care should be observed in the tension of the clamp - just enough to grip and gain leverage! Beyond that, one runs the risk of cracking the lens elements.

Once the two fused elements were out of the the shutter assembly, I soaked them in Naphtha contained in a 35mm film canister and exposed under the sun for 1 hour. After an hour and a bit of coaxing by hand, the two elements dislodged from each other. As pictured above, all the dried green stuff have to be cleaned out and then the threads re lubricated with lithium grease.

Collimating the lens

Camera mounted on a tripod, shutter held at B, 

in lieu of ground glass at the film plane I used three strips of magic tape, targeted distant objects 500 meters and beyond, focused the front lens element for maximum sharpness magnified through a viewing loupe.
Next time I will try Rick Oleson's two camera method.

Remount the front focusing ring at the infinity mark.

So far, so good but was anxious to shoot and forgot to inspect the bellows extensively for light leaks.

Leaky bellows is another Isolette affliction ;(

After seeing frames with symptoms of light leaks, I went into a dark room at night and shined a flashlight through the back and bellows of the Isolette. Found a few pinholes at the corners of the folds and a missing tiny screw on the side of the lens assembly was letting light through also. A replacement screw was found in my junk box. I used textile paint to seal the light leaks as a temporary fix. I reckon that with constant folding and unfolding, the textile paint fix will not hold. So I contacted Sandeha Lynch for replacement bellows.

Stay tuned...