I bought the collection of my Friend's late Father-in-Law. The equipment was stored in a safe, that apparently had a high degree of moisture. Included in the collection is a Nikon S4 and Contax IIIa. As received- fungus had started between the cover glass and prisms.
The S4 was a 20 minute job: faceplate off with 4 screws, and the glass panes over the prims off with a few screws. I also removed the Mask over the RF window, making the RF Spot much easier to use.
That- and cleaning the camera up, a good user now.
The Contax IIIa- I have Rick Oleson's excellent CD on cameras.
3 Hour Job getting to the viewfinder and RF windows and getting it all back together again. It cleaned up well, much more usable. Does not look like Fog through the viewfinder and RF patch anymore.
Share stories of what should have been an easy repair that ended up requiring a lot more work than it should have- if the Engineers had given any thought to the technicians that maintain the cameras. In my career, I've sent many projects back for redesign to make the hardware easier to use and tear down. So- tinkering with camera equipment gives some real perspective on engineering projects. As in you don't want to be the engineer in "WHAT IDIOT CAME UP WITH THIS!" Which is what I was saying today.
The S4 was a 20 minute job: faceplate off with 4 screws, and the glass panes over the prims off with a few screws. I also removed the Mask over the RF window, making the RF Spot much easier to use.
That- and cleaning the camera up, a good user now.
The Contax IIIa- I have Rick Oleson's excellent CD on cameras.
3 Hour Job getting to the viewfinder and RF windows and getting it all back together again. It cleaned up well, much more usable. Does not look like Fog through the viewfinder and RF patch anymore.
Share stories of what should have been an easy repair that ended up requiring a lot more work than it should have- if the Engineers had given any thought to the technicians that maintain the cameras. In my career, I've sent many projects back for redesign to make the hardware easier to use and tear down. So- tinkering with camera equipment gives some real perspective on engineering projects. As in you don't want to be the engineer in "WHAT IDIOT CAME UP WITH THIS!" Which is what I was saying today.
santino
FSU gear head
When I read the title immediately „german engineering“ came to my mind. Wonderful pieces of art but way to complex. The Leica II was ingenious and so were early nikon cameras.
dexdog
Mentor
How about replacing the shutter tapes on a Contax III? A real PITA, could not have done it with Rick Oleson's tech notes and the Zeiss Contax repair manual by Peter Tooke. I actually built a wooden jig to help tension the rewind spool. Cleaning the RF and viewfinder windows on a Contax II or III was relatively easy, or at least easier than the IIIa. The tech notes were also invaluable for cleaning and lubing the high speed escapement on the Contax IIa and IIIa.
Somehow I've ended up with Four Contax IIIa's. One- had the late and great Eddy Smolov rebuild. Like clockwork. Two picked up cheap, just about for the price of the lens on them. One- lucked out and hit just the right spot with light oil with a long needle, reached down deep into the mechanism. This one and the one prior- just needed a good cleaning after popping the top. The meters work on all four of them. Also have a Contax IIa and a pair of Contax II and a Contax III. The latter- also bought for the price of the Sonnars on them. I'd be lost without Rick Oleson.
farlymac
PF McFarland
I felt the same way about the Contaflex II. But I made it work again after someone else had "repaired" it. Not an exercise I would look forward to repeating.
PF
PF
raid
Dad Photographer
Eddy Smolov was proud of his knowledge on checking 2000 parts in a Contax camera. We used to chat about cameras.
Eddy did great work rebuilding a MIOJ Nicca for me. RIP.
I love Sonnars, but have to use them on other cameras...the bodies are just too complicated and too much trouble for me.
I love Sonnars, but have to use them on other cameras...the bodies are just too complicated and too much trouble for me.
I persuaded a rare Rittreck Six SLR to work perfectly again for a friend recently. It's the precursor to the better known Norita SLRs manufactured by Musashino Kōki. A lovely camera capable of good results when it 's working. But the architecture of the mechanism is frankly, a bit silly. Instead of integrating the shutter cocking and film transport, the wind gear is on the advance lever side of the body under the top cover. The film counter which controls the frame spacing and engages the film transport, is on the opposite side of the body, also at the top. The counter mechanism connects to the wind lever via linkages which run down one side of the body (via the counter reset lever in the door), across the bottom of the body, and up the wind side—via a clutched film roller, and then another roller clutch under the wind lever.
Yes, it all works, when adjusted properly. But Musashino Kōki quality control was not to JCII standard. The nearly new, barely used example I worked on had haphazard frame spacing due to incorrect adjustment of the various linkages and levers they rotate. At various points during repair, I had the shutter cocking, without any film advance—or film advancing, but no cocking. It's such a Goldilocks mechanism. Everything has to be just right or she won't go. You only have to look to Eg the way a Rolleiflex has film advance, spacing and cocking, all (with the exception of sensor rollers) integrated in one location at the right side of the body—to realise, how much more logical keeping these interdependent systems proximate, is.
The Rittreck's 80mm Rittron f/2 is a fine performer but as it left the factory focussed substantially past infinity. I calculated a 0.25mm shim was needed to push the optics out far enough to stop it at infinity. After hand making a suitable shim from a sheet of 0.25mm steel focus at all distances was verified correct. On arrival the shutter curtains were badly adjusted, too. Massive tapering across the gate at higher speeds due to the second curtain being drastically under tensioned. I adjusted this to moderate the slit increase until it was commensurate only with the curtain acceleration. The Noritas have a patchy reputation for reliability. If Norita quality control was anything like Musashino Kōki's, little wonder.
https://www.flickr.com/photos/tasman...77720295371192
A few other honourable mentions
Timing the shutter and aperture differential of a first model Contaflex Super to the setting wheel correctly is somewhat of a PITA. Particularly getting it all spot on with the meter correctly coupled and accurate, as well. You can drop the parts in almost any way—and some of the exposure combinations will be available—but not all of them. Any time I find one that's been worked on since Zeiss originally assembled it, I routinely assume the tooth mesh is incorrect. I'm yet to be mistaken. Other Contaflex models are generally not quite as annoying to re-assemble. However the silly way Zeiss hid the screws for the focus grip underneath its distance scale in the first two models deserves a mention.
Voigtländer's Bessamatic is a delightful and effective SLR with good lenses. Arguably the most ergonomic of all the lens shutter SLRs. But needing to pull most of the camera apart, just to reach the Synchro-Compur shutter for servicing, is onerous. Even a Contaflex is much much less involved.
The Minolta SRT101 is a superb, well made and generally reliable 35mm SLR. I have several examples and rate them highly. But those pulley strings that control the tell tale circle in the viewfinder for the meter. Yes, it works, but does not match the quality of the rest of the design and is a pain in the fundament to replace.
The Ace is one of the less well-known rangefinders made by Olympus (and the only one they ever produced with interchangeable lenses). Gorgeous viewfinder with parallax corrected framelines for its three focal lengths, and such a compact design. Horizontal rangefinder patch adjustment is achieved via a simple screw adjuster connected to the push rod from a cam behind the lens. Which...is located underneath the optic module. Necessitating the removal of the whole viewfinder/rangefinder assembly, every time you make a fine adjustment to the patch.
Of course, the module has just enough play in its mounting screws that it can alter its seat, fractionally, whenever it's removed and refitted. Good stuff.
(By the way, you'll never get the adjustment perfect—just get it as close as you can—then jink the whole module around in its screws, until it's spot on. Not ideal, but, after removing and refitting one 30 times or so—no exaggeration—it's the only way you'll ever get the patch bang on, and, yes, I'm fussy when it comes to patch calibration).
Yes, it all works, when adjusted properly. But Musashino Kōki quality control was not to JCII standard. The nearly new, barely used example I worked on had haphazard frame spacing due to incorrect adjustment of the various linkages and levers they rotate. At various points during repair, I had the shutter cocking, without any film advance—or film advancing, but no cocking. It's such a Goldilocks mechanism. Everything has to be just right or she won't go. You only have to look to Eg the way a Rolleiflex has film advance, spacing and cocking, all (with the exception of sensor rollers) integrated in one location at the right side of the body—to realise, how much more logical keeping these interdependent systems proximate, is.
The Rittreck's 80mm Rittron f/2 is a fine performer but as it left the factory focussed substantially past infinity. I calculated a 0.25mm shim was needed to push the optics out far enough to stop it at infinity. After hand making a suitable shim from a sheet of 0.25mm steel focus at all distances was verified correct. On arrival the shutter curtains were badly adjusted, too. Massive tapering across the gate at higher speeds due to the second curtain being drastically under tensioned. I adjusted this to moderate the slit increase until it was commensurate only with the curtain acceleration. The Noritas have a patchy reputation for reliability. If Norita quality control was anything like Musashino Kōki's, little wonder.
https://www.flickr.com/photos/tasman...77720295371192
A few other honourable mentions
Timing the shutter and aperture differential of a first model Contaflex Super to the setting wheel correctly is somewhat of a PITA. Particularly getting it all spot on with the meter correctly coupled and accurate, as well. You can drop the parts in almost any way—and some of the exposure combinations will be available—but not all of them. Any time I find one that's been worked on since Zeiss originally assembled it, I routinely assume the tooth mesh is incorrect. I'm yet to be mistaken. Other Contaflex models are generally not quite as annoying to re-assemble. However the silly way Zeiss hid the screws for the focus grip underneath its distance scale in the first two models deserves a mention.
Voigtländer's Bessamatic is a delightful and effective SLR with good lenses. Arguably the most ergonomic of all the lens shutter SLRs. But needing to pull most of the camera apart, just to reach the Synchro-Compur shutter for servicing, is onerous. Even a Contaflex is much much less involved.
The Minolta SRT101 is a superb, well made and generally reliable 35mm SLR. I have several examples and rate them highly. But those pulley strings that control the tell tale circle in the viewfinder for the meter. Yes, it works, but does not match the quality of the rest of the design and is a pain in the fundament to replace.
The Ace is one of the less well-known rangefinders made by Olympus (and the only one they ever produced with interchangeable lenses). Gorgeous viewfinder with parallax corrected framelines for its three focal lengths, and such a compact design. Horizontal rangefinder patch adjustment is achieved via a simple screw adjuster connected to the push rod from a cam behind the lens. Which...is located underneath the optic module. Necessitating the removal of the whole viewfinder/rangefinder assembly, every time you make a fine adjustment to the patch.
Of course, the module has just enough play in its mounting screws that it can alter its seat, fractionally, whenever it's removed and refitted. Good stuff.
(By the way, you'll never get the adjustment perfect—just get it as close as you can—then jink the whole module around in its screws, until it's spot on. Not ideal, but, after removing and refitting one 30 times or so—no exaggeration—it's the only way you'll ever get the patch bang on, and, yes, I'm fussy when it comes to patch calibration).
raydm6
Yay! Cameras! 🙈🙉🙊┌( ಠ_ಠ)┘ [◉"]
These are like watches with lenses! Beautiful complexity though.
I was watching a YouTube video just the other day (https://www.youtube.com/watch?v=KY8nU7BOM34) of a gentleman taking apart an Omega 120 watch for restoration. The deeper he went into the movement, the more parts this thing seemed to have. It was like an unfolding fractal! What amazed me the most was his ability to re-assemble the whole thing back together.
I was watching a YouTube video just the other day (https://www.youtube.com/watch?v=KY8nU7BOM34) of a gentleman taking apart an Omega 120 watch for restoration. The deeper he went into the movement, the more parts this thing seemed to have. It was like an unfolding fractal! What amazed me the most was his ability to re-assemble the whole thing back together.
Coldkennels
Barnack-toting Brit.
I once heard someone say about cars that there are two schools of design: one designs something with the assumption that it can go wrong and builds it in a way that'll be easy to fix. The other designs something presuming that nothing can ever go wrong with absolutely no thought to how repairs will be done in the future.
I've never heard another single statement that so accurately summed up the Leitz and Zeiss mentalities.
I've never heard another single statement that so accurately summed up the Leitz and Zeiss mentalities.
I'm a big believer in "If anything can go wrong, It Will". Way back 40+ years ago my Operations Research Instructor taught us that 90% of all code that we write is to handle 1% of the possible events. That's about right!
Coldkennels
Barnack-toting Brit.
Yeah, this has been a lesson I've had to learn the hard way over the years. Assume that whatever you do or want to do, despite all the best of intentions, is going to go wrong, be abused, or be purposely mis-used in some way; rather than build something for the expected use, look at how it can be broken and design for that.
Some of the best cameras I've ever used have been the simplest. For all its "agricultural" charms, I'm pretty sure that the FED 2 I bought as a teenager is probably going to outlive me; damn thing just keeps on truckin'.
Some of the best cameras I've ever used have been the simplest. For all its "agricultural" charms, I'm pretty sure that the FED 2 I bought as a teenager is probably going to outlive me; damn thing just keeps on truckin'.
hilltime
Well-known
Hi Brett,
Good to see you back to posting as your "hands on" knowledge of camera repair is first rate. I wish I had such skill as all of my repair successes have been quite easy.
I have a very early Bessamatic, labelled a UR by the gentleman named "Klinterklatter", as the very first models of the Bessamatic series, late 1958.early 1959 in Germany right now, with hopes of a repair. It has a sticky shutter blades and a very slow moving aperture coupling in the shutter housing. I'm hoping they can get it going as it is of the 4XXX, serial #'s. It would be nice to use this early version alongside my Bessamatic CS, which is my fave. Got most of the lenses other than the 4CM/F2 Skopagon which has always been out of my price range. The Septon has always been one of my favorite 50's in my collection and have even adapted it to use on the Pentacon Super. Kind of blasphemous using a W. German optic on a East German body, but
not having a decent 50mm lens for the Super made me try it. Now, I have a Carl Zeiss Pancolar 50/1.8 with Thorium element, so it is a much less expensive version of the outlandishly priced 55/1.4 Pancolar.
Regards,
KoNickon
Nick Merritt
"Other Contaflex models are generally not quite as annoying to re-assemble. However the silly way Zeiss hid the screws for the focus grip underneath its distance scale in the first two models deserves a mention." YES!
I haven't worked on these myself, but from reading comments here at RFF I understand the following are worth mentioning -- adjusting the rangefinder in a Vitessa (you have to completely reinstall the top cover to check each adjustment of the RF mechanism); anything internal in the Leicaflex Standard (not modular at all -- too much disassembly needed).
I would have also said the Contax shutter assembly (prewar or postwar) is the epitome of overengineering, though I know lots of folks here are familiar with them.
I haven't worked on these myself, but from reading comments here at RFF I understand the following are worth mentioning -- adjusting the rangefinder in a Vitessa (you have to completely reinstall the top cover to check each adjustment of the RF mechanism); anything internal in the Leicaflex Standard (not modular at all -- too much disassembly needed).
I would have also said the Contax shutter assembly (prewar or postwar) is the epitome of overengineering, though I know lots of folks here are familiar with them.
The Vitessa RF adjustment: There was probably a special toolkit for repairman that included a special top covering with the eyepiece. I bought an extra top cover, if I ever get sucked into that again- will cut it up.
Muggins
Junk magnet
The Prestor shutter in the Werra is worthy of mention - great when working, speeds up to 1/750th in a leaf shutter, but an absolute pain in the nethers if it stops working owing to the double-ended shutter baldes needing a further shutter behind them to keep the light out.
The Voigtlander Prominent and Polaroid 180 also have double sets of shutters. The Polaroid- first set opens as you start to press the release.
The Prominent- I flood cleaned one with sticky shutter about 15 years ago. Still works. Remember to set 1/500th second shutter speed after winding the film. It engages an extra set of springs that are too string for the auto-cocking system.
The Prominent- I flood cleaned one with sticky shutter about 15 years ago. Still works. Remember to set 1/500th second shutter speed after winding the film. It engages an extra set of springs that are too string for the auto-cocking system.
JeffS7444
Well-known
I'm currently rebuilding a Praktisix II, and for the most part, it looks like a tidy design in which mirror box and shutter are contained on a single module which simply lifts out of the main body casting. But the peculiar part of the design are the shutter curtains themselves, as the curtains and ribbons are all cut from the same piece of cloth. And I feel none too confident about using thin strips or rubberized silk as ribbons:
Shafovaloff1
Well-known
Just found on line a repair guide for Contax I, II and III, mostly oriented to Contax II. The short, but detailed, manual was written by Edward H. Romney. Also, I found at "kosmophoto.com" pictures of the shutter development from Contax I through Contax II and Super, which has similar shutter. The repair manual was at BSEU.INFO. Mr. Romney was able to explain how each of three escapements work on the Contax II and III. After reading the Romney repair manual for Contax section on shutter operation and incorporation of the escapements I was able to reset the shutter, after installing the 2nd curtain top blind roller precisely. I used the "B" setting, rotating counter- clockwise the shutter speed setting gear which fully turned counter-clockwise after releasing the shutter,[but without tension from the springs of bottom roller unit] having the large gear set with the half gearing at the very bottom of the crate- the flat part to the left and the raised part to the right just before it clicks rotating it clockwise, one tooth before near the 6 o'clock position. It was very important to hold the large gear in position as well as the speed setting gear while inserting the 2nd gear roller. The proper set up can be verified by checking the escapement disc position before attempting a wind. After verifiying "B" operation I checked 1/1250 position of the second curtain and the width of the "slit" at the top...it was just right. TYG! I had read some of the resources mentioned above, none of which had photographs of the gears, timing disc and instructions on assembling the 2nd curtain roller,, in one post. Though Mr. Romney did not have photographs of the "set up" his detailed description of shutter escapement operation made that easy. Thanks to all contributors here and Mr. Romney. I hope this post provides a little in the way of a contribution too.
markjwyatt
Well-known
I think the Contax and the Graflex are two ends of the specturm. The Contax was somewhat first of its kind, very small and compact but capable. This made it very complicated. The Ukranians/Soviets (and some Germans and probably Russians too) were able to simplify the Contax II and III and greatly multiply output of cameras (the Kiev 4a). But this was starting from the initial design.
The Graflexes were designed to be maintained, modified, etc. They are big, less precise, but quite accessible. To generalize- German engineering vs. American engineering (at least first half to 3/4s of the 20th century- look at cars).
Both cameras were used for press photography, and both produced good results. If a Contax broke in the field, you had better have another. If a Graflex did, you have a chance to keep it working- interchangeable backs, multi-format, multiple framing methods (Contax also had a couple), two shutter choices (Speed Graphic and RBD at least potentially), etc. I am not saying this from repair experiences, but just from observations.
I love the Contax because it is such a jewel to shoot and has great optics available. I love the Graflex for the larger formats, approaching a view camera in capability (I do not have a working one, but have seen them work, and hope to have a couple working eventually), and actually being hand holdable under some circumstances.
The Graflexes were designed to be maintained, modified, etc. They are big, less precise, but quite accessible. To generalize- German engineering vs. American engineering (at least first half to 3/4s of the 20th century- look at cars).
Both cameras were used for press photography, and both produced good results. If a Contax broke in the field, you had better have another. If a Graflex did, you have a chance to keep it working- interchangeable backs, multi-format, multiple framing methods (Contax also had a couple), two shutter choices (Speed Graphic and RBD at least potentially), etc. I am not saying this from repair experiences, but just from observations.
I love the Contax because it is such a jewel to shoot and has great optics available. I love the Graflex for the larger formats, approaching a view camera in capability (I do not have a working one, but have seen them work, and hope to have a couple working eventually), and actually being hand holdable under some circumstances.