Entries Tagged 'folding Cameras' ↓

I bought a Argus C3 or possibly a C2 at a garage sale.
It looks really cool, but i don't really know anything about it.
And is it worth much to resell?
Anything you know please inform me =]

It really isn't worth much but I thought you might like to have a copy of the manual. it should explain everything you need to know about it.

arguscg.tripod.com/id82.html

i have an old camera and i used to be creative with it, but i haven't touched it in the last several years. now the digital camera is my toy.
old cameras are like old typewriters, no editing capability, no digital image, sure beautiful machines but who would use them now?

I have a no.3, Model H, Autographic Folding Pocket Kodak Camera from 1915. I really would love to put it to use but am having trouble finding out where to purchase film.

It used to use A118 autographic film (which was discontinued in 1968). I know that others have used there autographic cameras with 120 film. But where can I find 118?

Any links are appreciated!

cgi.ebay.com/WOW-1940s-Dick-Tracy…

Your neighbors! Sneak around your neighborhood, wearing a black trench coat. Make your sneaking motions obvious. Carry a notepad with you. Look at it now and then, then at a house, like you're checking the address. Snap a picture or two and run like crazy, then hide in the bushes.

When the cops find you, laugh and tell them it was all a joke. Then use your phone call to call me and I'll send you the number for a good attorney.

Wow! What size film?

Looks like fun…some old buildings maybe.

COOL! I have just started collect old camaras and equipment and don't have one of them

Criminals for arrest.

Sorry…I know **** about them.

V2K1

By Ryan Kuo Rockstar GamesImage from L.a. Noire

This has happened to me in many Rockstar games, but it has never raised an eyebrow until now. I am speeding down a street in downtown Los Angeles. I’m in a hurry, so I weave in and out of traffic. I swerve onto the sidewalk, almost nicking a pedestrian, and thereafter lose control of the car and ram into a telephone pole. All the windows shatter. on the passenger seat, I see my partner whiplash, but he stays quiet. this is a surprise, because we are cops, driving to a crime scene; though we have just created one. We’re soon back on our way, oblivious to the minor injuries and broken glass on our seats.

L.a. Noire is the first Rockstar game in which I am compelled to drive carefully—obey the traffic signals, even. the makers of the crime epic Grand Theft Auto have made a daring conceptual leap, putting players behind the wheels of law and order. the protagonist of this period piece, set in a painstakingly recreated eight square miles of 1947 Los Angeles, is Cole Phelps, a World War II veteran looking for a fresh start in the LAPD. Phelps is played by Aaron Staton (“Mad Men”) as an upstart who, for a lawmaker in this city, is cloyingly earnest and far too righteous—at first. the foreshadowing and the game’s title make it obvious Phelps will later be neck-deep in trouble.

But L.a. Noire makes an ambiguous first impression, and not always in the best way. Rockstar’s “sandbox” games transport players into dense worlds filled with lifelike people and detailed encounters. Grand Theft Auto IV was not only a bombastic crime drama, but a functioning New York City in which one could peacefully ride cabs to the Outer Boroughs, go on dates, and receive cell phone calls. Red Dead Redemption gave us a Wild West landscape with sunlight so real we might have been looking out the window.

These are ambitious titles, and L.a. Noire developer Team Bondi wants to rise to the occasion. the game keeps stony-faced in its first few hours. in Rockstar fashion, it opens with a long title sequence that establishes some of its key themes (automobiles, glamorous Hollywood, and the finished war) and spiritual debt to cinema. You can even play in black-and-white. a voiceover narrator sets the stage in gravelly monotone, laying it on so thick you want to think it’s a cartoon dog in a trench coat paraphrasing Chandler, not an actor out of time and place. a few short introductory police cases train you in the basics of gameplay—inspecting a crime scene, interrogating witnesses, chasing and apprehending a perp—and are intercut with sepia flashbacks to Phelps’ military past. other Rockstar games have left protagonists’ histories open to speculation. here, there’s clearly a lot to be told.

The one joke is unintentional: for all his crime-fighting feats and sordid past, Phelps is a terrible driver. as much authentic humanity as Team Bondi has given him, Phelps’ other function is as a game character, whose body is ours to steer on a digital playground. Players will inadvertently cause dozens of car accidents throughout the game, and Phelps happens to get traffic duty as his first detective beat. this isn’t a joke L.a. Noire is eager to acknowledge. It’s like watching a preacher deliver a gut-wrenching sermon with a bird’s nest on his head.

L.a. Noire’s challenge is to portray an authentic and immersive world that can also be played with. the opening scene is at night, and you see Los Angeles in radiant pools of white light, like a movie set. the grand effort put into building the city streets is apparent—each storefront has a window with a believably arranged display of individual products, and most of them will simply serve to blur into the background as you drive around.

Afterward, you’ll inspect the scene of a crime. It’s a slow-moving pursuit that more closely resembles a detective novel, or last year’s interactive movie Heavy Rain, than Grand Theft Auto in vintage clothes. You control Phelps like a puppet, waving his flashlight around in the dark to look for evidence. when you find it, aided by musical and vibration cues, the camera cuts to a close-up, where you rotate the object in Phelps’ hands, as if they were an outgrowth of your fingers. Such a direct, physical interface with the world is new for Rockstar. At worst it’s about as exciting as folding a piece of paper is in real life. At best, holding and twisting hands with a corpse is a very uncanny dance with data.

The hallmark of L.a. Noire is the mind-blowing MotionScan technology that allowed over 400 live actors to perform the facial animations of each individual character in the game. Unlike computer-animated characters, the people here look, smile, scowl, gape, cry, and talk like real people—because fundamentally, they are. Glance at the bystanders and you’ll be struck with the feeling, just from their expressions, that they’re actual humans who have thoughts about the crime that just happened. these facial expressions underpin the game’s profoundly psychological—and visual—aspect, in which witnesses and detained suspects are interviewed and interrogated. the game’s best feature by a long mile, it means carefully looking at where someone’s eyes are pointing, the shape their mouth is making, and how their head and upper body are moving, in order to suss out lies and actual truths. You’ll compare their words with the hard facts, as in Nintendo’s popular Phoenix Wright courtroom games; and can even run your answers by the online player community with a lifeline option straight out of “who wants to be a Millionaire?”

With faces like these, even an old receipt in a dead man’s pocket takes an intensely personal meaning. as a cop you’re walking into their private lives. You get to see where they live, how much they paid for a pair of earrings ($52.50), how much they’ve put in the bank, and when. and when you face them, you really don’t know if you can trust them. in most games, the bit characters tell you what to do or what to kill; here, taking them at face value is the dumbest thing you can do.

A game could struggle with worse things than the question of “humanity.” But L.a. Noire does visibly struggle, sometimes when MotionScan colors a face outside the lines, so to speak; and often when the camera pulls back. while their faces are as a fluid as muscles can be, the characters’ bodies are not. they pull themselves, rigid as a coffin, through the air, virtual skins on wireframe skeletons. Sometimes you’ll have to trade punches with them. Imagine a stick figure with a photo cutout for a head. It’s a regrettable shoehorning of Rock ‘Em Sock ‘Em action into what could have been purely a mind game, and it breaks the illusion instantly.

But it’s a huge game, with dozens of cases whose sordid contents will probably overshadow these moments of dissonance. the broader question is whether gamers used to liberty and destruction—especially from this publisher’s best-known series—will stick around for a slow-burning, episodic game about retaining information, reading between the lines, and simply looking at stuff. Lots of it.

Recently bought a roll of
Ilford FP4 PLUS 125 ASA Black & White 120 film
Tried to load it to my Zeiss Ikonta 250/2 but it appears to be too small. Not long enough to reach both ends, and it looks as though it won't pass the lens correctly.
Can anyone help? what have I done wrong??

THANKYOU!!

Are you sure 120 is the correct size?

There are a handful of other(obsolete) formats which look similar to 120, but are wider. 116 and 117 are some of the more common ones.

If you don't have the Owner's Manual for this camera you really need to try and find one. Here are some possible sources:

photoethnography.com/equipmen…

butkus.org/chinon/

apug.org This site is dedicated to film hence the name: Analog Photography Users Group and you might find someone with a Manual or at least more direction in finding one.

Quite simply you are loading the film wrong. It doesn't pass the lens at all. the camera has the accordion design for focusing onto the film plane which is on the back of the camera body (where the film is loaded across the flat plate and back onto the take up spool).

This is the camera you are referring too: elekm.net/pages/cameras/ikonta520… not a 250-2 as you suggested.

Generally, with 120 film you should be able to get as many as 10 exposures from that camera. You can also use 220 film (longer) with it if you choose to do so.

It's hard to believe that the film is 'not long enough'.

The camera should have a winding device on the right bottom side this should move up and down. To insert an empty spool there you pull it out, insert the empty spool and push it in so that couples with the spool. You can find a picture of the open back as it should look like here:
kyphoto.com/classics/forum/me…
Scroll down a little.

An empty spool should have been in the camera.
The film goes into the left side of the camera and is not really fixed there.
When taking pictures the film is wound from the left side to the right side. You see the frame no. through the red window on the camera back. After the last picture (you can take 9 pictures in 6×9) you wind the film completely on the taking spool. Then you can open the back and take the spool out. there is a little flap at the end of the film which is gummed like a stamp which you moisten and use it for securing the film on the spool. It should read "exposed". on the left hand side you will see the empty spool which came with the film this is now put to the right hand side to serve as the new taking spool.
If there was no empty spool in the camera you need one. Ask at a photo dealer or a lab that develops 120 film – they should have plenty.

You cannot use 220 film with your camera. 220 film has no protective paper on the back like 120 film has and will be ruined by light entering through the red window. 120 film has the frame numbers printed on the paper backing of the film and you wind on until you see the next number. Normally there show some dots before the numbers so that you can wind slower to position the frame correctly. 220 film has no backing paper and no numbers printed on the back. It can only be used for newer MF cameras which have a different film transport mechanism.

Hope it helps
Martin

Do you mean that it is not wide enough? Is this the same roll of film you were asking about earlier that was marked 36 Exp.?

If so, then it is almost certainly 35mm film. Not 120.

This is a link to one of your earlier questions:
answers.yahoo.com/question/index;…