| View previous topic :: View next topic |
| Author |
Message |
jamaeolus
Joined: 19 Mar 2014
Posts: 2971
Location: Eugene
Expire: 2015-08-20
|
|
| Back to top |
|
 |
visualopsins
Joined: 05 Mar 2009
Posts: 11061
Location: California
Expire: 2025-04-11
|
 Posted: Tue May 16, 2023 3:37 pm Post subject: |
 |
|
visualopsins wrote:
Click here to see on Ebay without being tracked.
_________________
☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮ like attracts like! ☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮
Cameras: Sony ILCE-7RM2, Spotmatics II, F, and ESII, Nikon P4
Lenses:
M42 Asahi Optical Co., Takumar 1:4 f=35mm, 1:2 f=58mm (Sonnar), 1:2.4 f=58mm (Heliar), 1:2.2 f=55mm (Gaussian), 1:2.8 f=105mm (Model I), 1:2.8/105 (Model II), 1:5.6/200, Tele-Takumar 1:5.6/200, 1:6.3/300, Macro-Takumar 1:4/50, Auto-Takumar 1:2.3 f=35, 1:1.8 f=55mm, 1:2.2 f=55mm, Super-TAKUMAR 1:3.5/28 (fat), 1:2/35 (Fat), 1:1.4/50 (8-element), Super-Multi-Coated Fisheye-TAKUMAR 1:4/17, Super-Multi-Coated TAKUMAR 1:4.5/20, 1:3.5/24, 1:3.5/28, 1:2/35, 1:3.5/35, 1:1.8/85, 1:1.9/85 1:2.8/105, 1:3.5/135, 1:2.5/135 (II), 1:4/150, 1:4/200, 1:4/300, 1:4.5/500, Super-Multi-Coated Macro-TAKUMAR 1:4/50, 1:4/100, Super-Multi-Coated Bellows-TAKUMAR 1:4/100, SMC TAKUMAR 1:1.4/50, 1:1.8/55
M42 Carl Zeiss Jena Flektogon 2.4/35
Contax Carl Zeiss Vario-Sonnar T* 28-70mm F3.5-4.5
Pentax K-mount SMC PENTAX-A ZOOM 1:3.5 35~105mm, SMC PENTAX ZOOM 1:4 45~125mm
Nikon Micro-NIKKOR-P-C Auto 1:3.5 f=55mm, NIKKOR-P Auto 105mm f/2.5 Pre-AI (Sonnar), Micro-NIKKOR 105mm 1:4 AI, NIKKOR AI-S 35-135mm f/3,5-4,5
Tamron SP 17mm f/3.5 (51B), Tamron SP 17mm f/3.5 (151B), SP 500mm f/8 (55BB), SP 70-210mm f/3.5 (19AH)
Vivitar 100mm 1:2.8 MC 1:1 Macro Telephoto (Kiron)
|
|
| Back to top |
|
|
calvin83
Joined: 12 Apr 2009
Posts: 7584
Location: Hong Kong
|
| Posted: Tue May 16, 2023 3:48 pm Post subject: |
|
|
calvin83 wrote:
That is a 1926 Quinar. 
_________________
The best lens is the one you have with you.
https://lensfever.com/
https://www.instagram.com/_lens_fever/ |
|
| Back to top |
|
|
visualopsins
Joined: 05 Mar 2009
Posts: 11061
Location: California
Expire: 2025-04-11
|
| Posted: Tue May 16, 2023 4:00 pm Post subject: |
|
|
visualopsins wrote:
Interesting camera body -- exposes 3 films at once through cmy filters(?) for combining into color image.
_________________
☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮ like attracts like! ☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮
Cameras: Sony ILCE-7RM2, Spotmatics II, F, and ESII, Nikon P4
Lenses:
M42 Asahi Optical Co., Takumar 1:4 f=35mm, 1:2 f=58mm (Sonnar), 1:2.4 f=58mm (Heliar), 1:2.2 f=55mm (Gaussian), 1:2.8 f=105mm (Model I), 1:2.8/105 (Model II), 1:5.6/200, Tele-Takumar 1:5.6/200, 1:6.3/300, Macro-Takumar 1:4/50, Auto-Takumar 1:2.3 f=35, 1:1.8 f=55mm, 1:2.2 f=55mm, Super-TAKUMAR 1:3.5/28 (fat), 1:2/35 (Fat), 1:1.4/50 (8-element), Super-Multi-Coated Fisheye-TAKUMAR 1:4/17, Super-Multi-Coated TAKUMAR 1:4.5/20, 1:3.5/24, 1:3.5/28, 1:2/35, 1:3.5/35, 1:1.8/85, 1:1.9/85 1:2.8/105, 1:3.5/135, 1:2.5/135 (II), 1:4/150, 1:4/200, 1:4/300, 1:4.5/500, Super-Multi-Coated Macro-TAKUMAR 1:4/50, 1:4/100, Super-Multi-Coated Bellows-TAKUMAR 1:4/100, SMC TAKUMAR 1:1.4/50, 1:1.8/55
M42 Carl Zeiss Jena Flektogon 2.4/35
Contax Carl Zeiss Vario-Sonnar T* 28-70mm F3.5-4.5
Pentax K-mount SMC PENTAX-A ZOOM 1:3.5 35~105mm, SMC PENTAX ZOOM 1:4 45~125mm
Nikon Micro-NIKKOR-P-C Auto 1:3.5 f=55mm, NIKKOR-P Auto 105mm f/2.5 Pre-AI (Sonnar), Micro-NIKKOR 105mm 1:4 AI, NIKKOR AI-S 35-135mm f/3,5-4,5
Tamron SP 17mm f/3.5 (51B), Tamron SP 17mm f/3.5 (151B), SP 500mm f/8 (55BB), SP 70-210mm f/3.5 (19AH)
Vivitar 100mm 1:2.8 MC 1:1 Macro Telephoto (Kiron)
|
|
| Back to top |
|
|
Ernst Dinkla
Joined: 30 Nov 2016
Posts: 410
|
| Posted: Tue May 16, 2023 5:32 pm Post subject: |
|
|
Ernst Dinkla wrote:
A good book on the subject of the early color photography and color printing developments is 'A half century of color' by Sipley. You will see some different designs of color separation cameras there. Some Ives designs, Bermpohl camera and more.
_________________
Met vriendelijke groet, Ernst
http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
March 2017 update, 750+ inkjet media white spectral plots |
|
| Back to top |
|
|
visualopsins
Joined: 05 Mar 2009
Posts: 11061
Location: California
Expire: 2025-04-11
|
| Posted: Tue May 16, 2023 6:14 pm Post subject: |
|
|
visualopsins wrote:
Thank you Ernst.
All smoke & mirrors lol
| Quote: |
| These one-shot three-color cameras use internal arrangements of half-silvered mirrors to divide the light from the lens into three parts, and direct each part |
http://camera-wiki.org/wiki/Three-color_camera
These are interesting too
https://en.m.wikipedia.org/wiki/Dichroic_prism
http://camera-wiki.org/wiki/Minolta_RD-175 -- "The camera has two green sensors, and one red/blue combination sensor, which is striped using microscopic filter elements."
_________________
☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮ like attracts like! ☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮
Cameras: Sony ILCE-7RM2, Spotmatics II, F, and ESII, Nikon P4
Lenses:
M42 Asahi Optical Co., Takumar 1:4 f=35mm, 1:2 f=58mm (Sonnar), 1:2.4 f=58mm (Heliar), 1:2.2 f=55mm (Gaussian), 1:2.8 f=105mm (Model I), 1:2.8/105 (Model II), 1:5.6/200, Tele-Takumar 1:5.6/200, 1:6.3/300, Macro-Takumar 1:4/50, Auto-Takumar 1:2.3 f=35, 1:1.8 f=55mm, 1:2.2 f=55mm, Super-TAKUMAR 1:3.5/28 (fat), 1:2/35 (Fat), 1:1.4/50 (8-element), Super-Multi-Coated Fisheye-TAKUMAR 1:4/17, Super-Multi-Coated TAKUMAR 1:4.5/20, 1:3.5/24, 1:3.5/28, 1:2/35, 1:3.5/35, 1:1.8/85, 1:1.9/85 1:2.8/105, 1:3.5/135, 1:2.5/135 (II), 1:4/150, 1:4/200, 1:4/300, 1:4.5/500, Super-Multi-Coated Macro-TAKUMAR 1:4/50, 1:4/100, Super-Multi-Coated Bellows-TAKUMAR 1:4/100, SMC TAKUMAR 1:1.4/50, 1:1.8/55
M42 Carl Zeiss Jena Flektogon 2.4/35
Contax Carl Zeiss Vario-Sonnar T* 28-70mm F3.5-4.5
Pentax K-mount SMC PENTAX-A ZOOM 1:3.5 35~105mm, SMC PENTAX ZOOM 1:4 45~125mm
Nikon Micro-NIKKOR-P-C Auto 1:3.5 f=55mm, NIKKOR-P Auto 105mm f/2.5 Pre-AI (Sonnar), Micro-NIKKOR 105mm 1:4 AI, NIKKOR AI-S 35-135mm f/3,5-4,5
Tamron SP 17mm f/3.5 (51B), Tamron SP 17mm f/3.5 (151B), SP 500mm f/8 (55BB), SP 70-210mm f/3.5 (19AH)
Vivitar 100mm 1:2.8 MC 1:1 Macro Telephoto (Kiron)
|
|
| Back to top |
|
|
philslizzy
Joined: 07 Aug 2012
Posts: 4745
Location: Cheshire, England
|
| Posted: Tue May 16, 2023 8:22 pm Post subject: |
|
|
philslizzy wrote:
its bad enough shooting with a single plate camera. It must have been a nightmare keeping up with which neg is which
_________________
Hero in the 'messin-with-cameras-for-the-hell-of-it department'. Official. |
|
| Back to top |
|
|
Ernst Dinkla
Joined: 30 Nov 2016
Posts: 410
|
| Posted: Wed May 17, 2023 11:38 am Post subject: |
|
|
Ernst Dinkla wrote:
I still recommend it. Way more information than I ever could write here and what your links show. You also experience how they struggled to get color photography and in general color reproduction working up to the 1950's.
Richly illustrated with reproductions of older color processes.  
_________________
Met vriendelijke groet, Ernst
http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
March 2017 update, 750+ inkjet media white spectral plots |
|
| Back to top |
|
|
jamaeolus
Joined: 19 Mar 2014
Posts: 2971
Location: Eugene
Expire: 2015-08-20
|
| Posted: Wed May 17, 2023 3:19 pm Post subject: |
|
|
jamaeolus wrote:
Ernst, I thank you for posting images of the interior diagram of the camera. Wondered how it worked. I had ideas but wasn't sure they were correct.
_________________
photos are moments frozen in time |
|
| Back to top |
|
|
stevemark
Joined: 29 Apr 2011
Posts: 4082
Location: Switzerland
|
| Posted: Thu May 18, 2023 12:54 pm Post subject: |
|
|
stevemark wrote:
One of the major hurdles in the development of these three-plate color cameras was the development of films sensitive not only for blue light (original emulsions around 1850), but also for green (1884 => "orthochromatic") and red (1902, "oanchromatic"). Only plates sensitive to all colors could (by using corresponding filters) generate red / green / blue partial images which later could be processed and printed to get color prints.
Producing books with color plates must have been tremendously difficult before 1936. That's why I occasionally collect such books when I happen to see one in local book- abd thrift stores. Publishing books myself, I have a lot of respect for those "ancient" techniques, and the people who were able to get useful results under such difficult circumstances.
S
_________________
www.artaphot.ch |
|
| Back to top |
|
|
Ernst Dinkla
Joined: 30 Nov 2016
Posts: 410
|
| Posted: Thu May 18, 2023 6:49 pm Post subject: |
|
|
Ernst Dinkla wrote:
| stevemark wrote: |
One of the major hurdles in the development of these three-plate color cameras was the development of films sensitive not only for blue light (original emulsions around 1850), but also for green (1884 => "orthochromatic") and red (1902, "oanchromatic"). Only plates sensitive to all colors could (by using corresponding filters) generate red / green / blue partial images which later could be processed and printed to get color prints.
Producing books with color plates must have been tremendously difficult before 1936. That's why I occasionally collect such books when I happen to see one in local book- abd thrift stores. Publishing books myself, I have a lot of respect for those "ancient" techniques, and the people who were able to get useful results under such difficult circumstances.
S |
Yes, the color sensitivity of B&W films was a major hurdle to overcome.
Halftone or continuous tone reproduction of photo's, a magical process in that period. Making screened halftone films after successive steps of masking (films, not layers) to compensate for color shifts that were bound to happen between not so perfect RGB filters and not so perfect CMY(K) dyes or pigments in the inks. Manual spot etching rotogravure cylinders as a last step retouch.
Collotype and heliogravure/rotogravure are my favorites when I buy secondhand books with B&W reproductions.
_________________
Met vriendelijke groet, Ernst
http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
March 2017 update, 750+ inkjet media white spectral plots |
|
| Back to top |
|
|
John Shriver
Joined: 24 Dec 2009
Posts: 199
|
| Posted: Wed May 24, 2023 10:27 pm Post subject: |
|
|
John Shriver wrote:
There's also a lot of light loss in the camera, so you either needed a stationary subject or fast film.
Three-strip Technicolor movie cameras used a similar dichroic mirror system. Super-X movie film was developed to make that feasible, as the shutter speed is fixed. Huge amounts of lighting were required for three-strip Technicolor.
For both cases, the prints were made by Dye Transfer process. |
|
| Back to top |
|
|
|
|
|
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum
|
Search
Memberlist
Register
Profile
Log in to check your private messages
Log in
