A camera – the Miranda Sensorex

Most discoveries happen more by means of luck than because of intuition. We also sometimes owe them to some will to wander out of established trails. It was in Samois-sur-Seine, a nearby village, that I pushed the walk a couple of streets further than the usual annual car boot sale, arms full of Django Reinhard vinyl records, up to a discreet porch where a humble man was managing his isolated stand.

Other than a funny Coronet Twelve whose rounded shape would enlighten the day of many a camera collector, I sensed that the cardboard box was still a bit too much taped to the floor and might contain more. It did indeed contain a SLR case, nicely crafted by the way, with its accessory pouch. I unclipped the case button and… Lucky draw!

The striking detail: a massive chromed four pointed star

I already had the chance to meet this particular camera in antique 60s magazines. No chance to miss it, because the Japanese designers of the Miranda Camera Company added the detail that makes their camera memorable: a massive four-pointed star decorates the camera prism. Difficult not to compare it to some vintage car radiator grill. Let me introduce the Miranda Sensorex.

Introduction

Built by the Miranda Camera Co. starting in 1967, the Sensorex is a really heavy 35mm SLR camera with interchangeable lens system. Its weight seems today inconceivable: 758g… body only! With the standard lens, it is rather 978g! The camera offers a good grip with lots of surface to lay your finger and firmly sustain the body weight. Nevertheless, beware of stiff muscles when you bring it, and its kilogram, on a full day walk.

The top cover is strangely simple. It is missing something. You can find the speed selection wheel. They go from 1 to 1/1000th of a second, pretty efficient in its time. It also provides a film sensibility selector, from 25 to 1600 ASA. Below the wheel, the film advance lever lets you cock the cloth shutter and get to the next frame in a quite short stroke. Other than these, you can find a cocking indicator, and the frame counter.

So, where is the shutter release? It is cunningly placed on the front, next to the lens, right above the self-timer lever, just like Zeiss Ikon/Pentacon was already doing on its Contax range. You use you middle finger to release the shutter while both your thumb and index finger firmly grip the top cover. This handling is natural and efficient.

Where is the shutter release? It is cunningly placed on the front. This handling is natural and efficient.

Left hand side is more crowded. The simple rewind lever tops the internal cell switch. The battery compartment is located on the rear of the cover, easily accessible above the back door. The battery used is a PX625 mercury, which you can replace with alkaline. I only shot black and white in this camera so pay attention to exposure errors with more sensible emulsions.

Still to the left, on the front, a manual selector lets you choose the widest aperture of the mounted lens, from f/1.4 to f/8. It then neutralises widest aperture in the TTL exposure measurements. Luxury, because this functionality only appeared 4 years earlier. Still better, the exposure is weighted from the lower part of the image, as per the markings on the mirror.

Sturdiness and quality

I have heard some concerns about the reliability of the Miranda cameras, and the quality of their optics. Forget these concerns, for they do not apply to the Sensorex.

The overall assembly shows production mastery. The buttons and levers do not suffer from any slack. Each manipulation sometimes needs one to apply a bit of force, but always stays formidably precise. The felted seals survived 50 years of storage and the camera does not let any interfering light in.

I have heard some concerns about the reliability of the Miranda cameras. Forget these concerns.

This set of observations and its massive look make this camera transpire sturdiness and precision. Only the lens that went with my specimen had spread a bit of grease on one optic. Not a problem since the lens is very well made, easy to dismantle, clean, reassemble and adjust.

In summary, the Sensorex had in its time all the equipments of manual SLR cameras that will still exist decades later. As an analogy, the Praktica MTL3 will be born 10 years later with the same range of functionality, only a couple of hundred grams lighter.

However, the Miranda Sensorex isn’t only a very good SLR for its time. It still had some tricks up its sleeve. What are its specifics that make it a unique object?

Ingenuity

The Japanese engineers of the Miranda Co. did not only create a very good SLR, they created a comprehensive modular system.

Starting with the interchangeable prism. A simple push-button loosens the whole top block that slides to the rear. Below the starred face there is only the ground glass left, with its multi-microprism focusing surface.

Miranda Sensorex – The standard prism removed

The standard prism enables eye-level focusing. Very bright, it only provides information about the exposure. With the Miranda Auto 50mm f/1.8 lens, the magnification factor of 0.92 lets you compose with both eyes open if you wish.  But there exist situations in which an alternative viewfinder system may be of help. So Miranda also offered two other optional prisms.

With the standard lens, the magnification factor of 0.92 lets you compose with both eyes open.

The first optional prism is a waist-level viewfinder, still commonplace when the camera appeared. Waist-level focusing is useful when it is difficult or impossible to get the eye at camera level. It also enables sometimes more discreet shooting situations.

The second optional prism offered two magnification levels: the image center could be magnified 15 times to obtain critical focus. Alternatively, the whole picture could be magnified 5 times. This prism proved very useful especially for macrophotography or microphotography (attached to a microscope).

More surprising is the lens mount. On the Sensorex, it is double! The outside mount is a specific Miranda bayonet. On the inside, the mount contains a 44mm thread. Its purpose was to enable backwards compatibility with the older Miranda lens, a clever idea to create customer loyalty.

The Miranda mount: a twice clever idea!

But the most astonishing is yet to come. The camera has been very carefully designed, the distance between the mount and the film plane has been reduced to the minimum, the widest mount diameter has been chosen. All of this in order to be technically able to provide the widest range of adapters for all kind of lenses from the 60s: M42 (42mm threaded mount like the Tair-11A), Exakta, Topcon, Leica, Canon, Contax, Nikon lenses! Using the corresponding Miranda adapter (the user manual lists seven of them), ability to focus to infinity is preserved without any additional optic. It’s like living a dream!

In the field

So the Sensorex is beautiful, although a bit heavy, it is well equipped and full of promises when it comes to adaptability. But does it perform in the field? Here it is mounted with the standard Auto Miranda 50mm f/1.8 lens. How does it perform?

Great. Although you can see a bit of vignetting to large apertures, the Miranda lens is very sharp even in the angles, as soon as it is closed below f/2.0. Largest apertures provide with a very soft bokeh that tends to whirl a bit (like in the waiter picture).

I went for a walk with the camera loaded with an Ilford FP4 roll, I earned a proper shoulder massage and those wonderful results.

Do not hesitate to ask in the comments if you have questions about the Miranda Sensorex, and please share your pictures shot using this camera with me on Instagram. Have fun !

More info

 

A lens – the KMZ Tair-11A 135mm f/2.8

It’s an occasion that does not occur every day, even if it is not the most rare item in photography: I’ve had the chance to hold and use the time of a sunny day this really nice lens, a Tair-11A 135mm f/2.8 from KMZ.

 

Made in the 1970s, this telephoto lens has a 42mm screw mount. The closest focus distance is 1.2 meters, and the aperture spans from f/2.8 down to f/22.

It is a pretty common focal length, 135mm is ideal for portraits that need to accurately render facial features. The maximum aperture is only high to average grade. The KMZ brand is popular, originating from U.S.S.R., and is known for its popular Zenit reflex cameras range, contemporary to the lens. Nothing amazing at first glance. To perceive the originality of this lens, you will need to look closer.

First, it is a heavy rock solid lens (600g/1.32lbs!). Its interior technology is extremely simple and as least as much less prone to mechanical defects. There is not a single automation: oviously no autofocus, but no automatic aperture control either. We’ll get back to this a bit later.

Then, when looking still closer, inside the beast, we count the aperture blades: one, two, three… nine, ten… fourteen, fifteen… eighteen, nineteen, TWENTY! From one end to the other on the aperture scale, the diaphragm forms a nearly perfect circle. This is the promise for really nice background blur.

We count the aperture blades: one, two, three… nine, ten… fourteen, fifteen… eighteen, nineteen, TWENTY!

Lacking automatic aperture control, the feature that maintains the widest aperture during composition and closes the diaphragm a fraction of a second during the shot, the Tair-11A offers manual aperture preset instead. One has to select the aperture using a first ring before composing the picture. Then only does the photograph set focus and composition. Then again, before shooting, he has to close the diaphragm using a second ring that stops at the aperture selected earlier. Then only: click, clack, and start again. Tedious!

After some time getting used to it, I managed to correctly handle it coupled to a nearly as robust Pentacon Praktica MTL3, its cousin from the other side of the iron curtain. Here are the results.

The Tair-11A lenses are found on eBay from around €100 to €150. Their sturdiness helps avoiding serious technical issues, and they are quite simple to service.

A big thank you to tatou_de_baudoin for letting me use this lens. Do not hesitate to ask in the comments if you have questions about the Tair-11A, and please share your pictures shot using this lens with me on Instagram. Have fun !

Restore paint on a Kodak Six-20 Brownie Target box camera

Found last year on a yard sale, this Kodak Six-20 Brownie Target box camera was in a very poor shape. At least the front face was, because everything else, mechanism, leatherette and handle, were still quite nice. Viewed from the front, multiple damages were visible: rust had gone through a great part of the metal frame, lifting almost all the black painting.

Initial state of the camera. – Avon – Ilford HP5

Was it reasonable to spend so much energy and time on a common box camera? Maybe not, but passion spoke. This has also been a good training exercise, without much at stake, that gave experience for next restorations to come on more valuable cameras.

Here is a step-by-step description of how I restored this Kodak box camera.

Disassembly

This box’s disassembly is limited to the removal of the front face plate, here covered with black leatherette. For your information, the manipulation will be similar on Kodak Six-20 Brownie Junior box cameras (with the art-deco faceplate). This plate is maintained in place by 4 screws, one in each corner (circled in red). It is also stuck in place by the time selection lever (circled in green).

Disassembly notes

For its removal, I had to remove the 4 screws, then flatten the lever using two pliers and a protective cloth to avoid any sratch. This is actually more easy than it seems, and this method will work on many other Kodak boxes (e.g. the Beau Brownie).

Scraping

I got access to the entrails of our camera!

First operation: I had to remove all the residual black paint. I could not paint over it, that would have looked awful. On top of that, the new paint would have peeled off again quickly.

On my camera, the paint fell under the simple pressure of a wooden tool. You need patience here, and you’ll get rid of the most stubborn residues later when sanding.

Note the edges of both viewfinders: I kept the original black paint here as it was still OK.

Sanding

Once the old paint removed, it’s rust that had to be suppressed. Here, the corrosion was general but quite thin. A simple sheet of sandpaper, with fine grit (P180), was enough to get the underlying iron to show up again. In narrow places, I had to slide a folded part of sandpaper using a thin tool: a small screwdriver or a toothpick.

On larger areas, one could also work with steel wool. Be careful to wear gloves during the operation.

Cleaning

Time to clean the insides of the camera, especially mirrors and viewfinders. My own camera had a detached mirror I had to glue back once the painting done.

All the dust created during the sanding needed to be properly wiped and blown off to avoid trapping it under the new paint.

Preparation for painting

That’s the vital step! All the parts that we do not want painted over must be shielded, especially lenses, mirrors and viewfinders, or the camera will become unusable.

Of course, I worked only with the metal body of the camera, leaving the cardboard box aside.

To protect the remaining parts, I used masking tape of good quality. I cut down custom shapes to cover the levers and the viewfinders (ground glass and metal frame).

To protect larger areas, I used paper as a shield. A piece of letter paper masked the whole internal parts of the Brownie Target: shutter mechanism, lens, mirrors, etc., and other sheets masked the outside of the metal body.

Finally, I chose to cover the tiny screw threads: I guessed it better not to have to apply force on almost hundred years old screws during reassembly.

The longest part eventually done, I placed the camera on a large cardboard protection that would avoid spraying paint on my walls. Now the fun begins.

Painting

I chose glossy black spray paint to get a smooth finish. Take the time to test your paint spray before doing anything else. This way you’ll pre-stir the paint, you’ll test the spraying distance, you’ll check if the colour is correct, and you’ll notice any issue (like a defect nozzle stuck on pressed position, speaking from experience here!).

Application is usually made in several passes: different angles, and several coats. It’s usually difficult to find a way to place the camera on the ground and still access every part to paint, but in my case I only had to put the camera down on its back, and I turned around it with the spray.

You have to hold you can around 20 to 30cm from the area to paint, doing quick and regular strokes. Never ever spray more than a second on a same spot! Else it’s the dripping disaster guaranteed. 😮

Do only the required strokes to apply a first coat of paint on the whole area. Visible lacks of paint will be covered during the next 2nd, 3rd or even 4th passes.

Drying time between to coats of paint is at least one hour for the one I applied on this camera. Check your own paint drying requirements. And do not put down your fingers before letting the paint cure for at least 24 to 48 hours. The surface may look dry, but underneath it is still soft and you’ll leave your mark (literally).

Reassembly

Once the paint had totally dried, I removed the masking tape by pulling at a 45° angle. This way it did not tear the paint work. You can use tweezers to remove small pieces. Avoid larger cutters that’d slip and scratch your nice new paint.

48 hours later, here are the tools to remove the masking tape. Be careful not to use cutters on fragile fresh paint or lenses.

Reassembly is easy, I followed the assembly steps backwards: inserted the timing lever back in its slit, put the faceplate in position and placed the screws, then gave the lever its original shape back using the same pliers. I closed the back of the camera. And I finally took a satisfied look at my near mint Kodak Six-20 Brownie Target camera!

Conclusion

Some feedback in conclusion:

  • This restoration happened several month ago already. I needed to check if the paint is resilient, and it is. I’m really happy with the result!
  • What I would not do again: put my fingers on the fresh paint! I’m the only one to see the defect, but it’s the first thing I see every time I look at my work… 🙁
  • What I would do again: spray paint is the right choice, and I’ll try a matte version for my next camera work.

If you have advice to complete this guide, or questions before doing your own restoration, do not hesitate and leave a comment or contact me directly on Twitter or Instagram.

A walk with an Olympus OM10

Spring is here, and yard sales season is on! Last month already brought home an Olympus OM10 SLR in excellent shape, mounted with a standard Zuiko 50mm f/1.8 lens.

A quick foam replacement and two PR44 batteries later (no introduction needed since you read the recent Polaroid and Ricoh articles), and let’s go! I unearthed a long time expired Kodak HD200 color film roll and went for a walk.

Until I write a proper review, please enjoy these satisfying results. I’ve got another Ilford FP4 roll awaiting development, and some DIY on a real gem found last Sunday (yes, I’m teasing).

A Camera – The Ricoh 500GX

One chilly morning of car boot sale in the region of Paris, I stumbled upon a small camera that turned out to be a really serious rangefinder: the Ricoh 500GX. And it’s been love ever since!

Introduction

Sold from 1976 to 1980, the 500GX is a really compact and robust camera, made out of metal. Its reasonable weight, 420g, makes it easy to handle, while its slim size makes it easy to carry away and even drop inside a large jacket pocket. My specimen is all black, but Ricoh also sold a more common silver version.

The lens is a Color Rikenon f/2.8 and focal length is a versatile 40mm, even if I would dream it a bit shorter for street photography. Focusing is done through a coupled rangefinder and goes as close as 90cm from subjects.

The default aperture priority mode is easily disabled to get the Ricoh 500GX into full manual mode.

Shutter speeds go from 1/8 s to a comfy 1/500 s that enables the use of the widest aperture. Long exposure is possible by using the Bulb position. Flash sync is supported at all speeds. Things are getting serious when you start looking at auto exposure: the default exposure mode is a very convenient aperture priority. The selected aperture is shown facing the meter needle inside the viewfinder. Note that the meter is located just above the lens, and is covered by whatever lens filter you may need. More importantly, this default mode is easily disabled to get the Ricoh 500GX into full manual mode.

The viewfinder displays a clear but tiny rangefinder patch. On the right side, the metering needle runs through the different possible apertures. A light press on the shutter release locks the selected aperture and lets you compose your frame with the desired exposure. Over and under-exposure do not prevent the camera from taking the picture, as would a New Canonet 28. It is too bad, though, that the lens barrel had to take so much space in the viewfinder!

Tormented ergonomics

Inside our viewfinder, a small capital “M” reminds us whenever the auto-exposure mode is disabled. However, nothing indicates the selected aperture in this situation. Actually, either in manual or auto-exposure modes, the 500GX does not display anything about the speed: be careful not to select slow speeds! This only foreshadows all the oddities this camera has with ergonomics.

In my previous post reviewing the Nikon F-501AF, I was unveiling the evolutions of modern autofocusing systems. While at the time Ricoh released its camera there already existed consumer grade rangefinders with advanced designs, such as the Canon P, the 500GX has hard times integrating the new accessories in a body still more compact. It actually shows how uncertain makers were when they integrated the new electronics and creative mechanisms in their cameras.

So, the 500GX is a small very regular black brick, on top of which a mad designer decided to put, here and there, wherever it pleased him, funny buttons and levers.

A mad designer decided to put, here and there, wherever it pleased him, funny buttons and levers

First, the shutter release is quite long. The button actually looks a lot like the end of a cable release transplanted on this small camera. OK, why not? But the lump it creates ensures accidental release whenever you’ll carry the camera with you!

In order to bypass this issue, that came up with the parent iteration of the small Ricoh, designers introduced a new shutter lock lever that users have to turn 45 degrees to get the camera ready. Unfortunately, without any reminder of this shutter lock in the viewfinder, you will undoubtedly curse as I did numerous times against this curious design.

Finally, filling the remaining space on the top cover, a small red blister acts as a battery checker. And in case you ever forget what this red thing does, there is a giant sign with big capital letters saying “BATT CHECKER”. Trust me, you’ll remember what this is.

Because not everything is all black, note the actual good idea: two red/green indicators that tell you quickly if there is film inside the camera (next to the rewind knob) and whether the shutter is cocked (next to the advance lever).

Another novelty since the parent iteration: the 500GX comes with a multi-exposure mechanism. It was fine to separate it from the main cocking system. But was it necessary to place it so far from all other commands, on the complete opposite? Oh, and since this slider button is already unreachable, was it a reasonable idea to pair it with still another type of button, round and flat and so not manipulable that you have to crush it with your finger in order to make it turn a few degrees? Well, at least rest assured, dear Mr. Designer, that no one will ever activate multi-exposure by mistake.

Yet I still love it

Despite all these design flaws, the tiny Ricoh knows how to make itself lovable.

It is very easy to get ready to shoot: use one PR44 battery to bring it to life, the exact same I was recommending in Type 100 Polaroid cameras. But even without battery, you can shoot in manual mode at all speeds, only the light meter won’t be available. If needed, the rangefinder is easily adjustable from outside, under a tiny rounded cap next to the accessory shoe. Do not hope to get your hands inside the beast so easily though, leave this arduous task to professionals.

All the issues mentioned above will only be avoided by the means of a complete and practical learning process using this camera. And the Ricoh 500GX, with the ability to carry it everywhere and anywhere, offers the keys for fulfilling this training. And eventually, this work will be rewarded with high quality pictures.

Some pictures

I’ve been walking around for about a year with the Ricoh 500GX. You will find below some pictures shot in various situations, various light conditions and on various film types: Kodak Ektar 100, Kodak Portra 400, Ilford HP5 Plus 400, and Ilford FP4 Plus 125.

Do not hesitate to ask in the comments if you have questions about the Ricoh 500GX, and please share your pictures shot using this camera with me on Instagram. Have fun !

More info

Check out the new releases on Collection-Appareils

You probably know the website, but what you may not know is that it is continuously improving: Sylvain Halgand’s collection-appareils.fr is fed about twice a year by volunteers who add their own cameras to those already listed. By the end of february 2017, there will be 11466 cameras registered and thoroughly documented. This year’s first shot of new content added more that 100 new cameras to the list!

You can browse all the new releases on the dedicated page.

I myself added two of mine: a Fujica 35-ML F/2 and a nice travel chamber Photo-Hall Perfect Pliant n°9.

Glisy event

I don’t know whether I’ll be able to go myself, but the association linked to the site Collection-Appareils organises an annual event in Glisy, near Amiens in France, where you’ll find a great second-hand market of cameras and photographs. Located in the north of France, its less than a two-hour ride from Calais once you’ve crossed the Channel. This year event will take place on March 4th, 2017.

Glisy 2017 poster

A Camera – The Nikon F-501 AF

That was Santa’s surprise present this Christmas: a really nice Nikon SLR, the F-501 AF.

Introduction

It is a thirty-year-old camera (1986, just like me) mixing vintage looks and a nostalgia bonus (just like me) in a body that is quite heavy (just like… nevermind) but is also offering a firm and steady grip.

More importantly: the F-501 AF is the first customer grade Nikon SLR to offer a modern TTL (Through The Lens) autofocus system. It was sold in the US under the N2020 AF denomination. Former systems in the same grade of cameras used specific lenses containing the focus motor. High prices led makers, first of them Minolta one year before the F-501, to build their motors inside the body of their SLR.

Twist of fate, modern DSLR would switch back to motorized lenses once prices go down, for efficiency and low volume requirements.

Good to know: the batteries required to run this camera are 4 simple AAA cells, located on a support in the shoe. Easy to find, including rechargeable models (planet Earth will thank you).

Another then-new feature, the F-501 has automatic film advance, thus the absence of winding lever. This also eases film loading, and sensibility is automatically set thanks to DX code reading on the roll. As always in photography, improvements come one at a time, and the advance motor does not provide rewind capability.

Along with the camera debuted the AF Nikkor lenses, still sold today! I’ve been spoiled with two of the standard lenses, the 50mm f/1.8 lens and the 35-70mm f/3.3-4.5 zoom. The latter seems to receive mixed reviews and I do not have tested it yet. I grabbed the 50mm first, and that was the best choice: it’s a renowned lens, bright and precise, producing a really nice bokeh.

Nikkor AF 50mm f/1.8 : it’s a renowned lens, bright and precise, producing a really nice bokeh.

It was really easy to get my hands on and use this camera. I grabbed it naturally on a couple of occasions for a test roll, without ever thinking about the light conditions or anything. On sunny days as well as evening light, it’s been really confortable to use. The firm grip and steady shutter even allowed some twilight shots without much motion blur.

Automatic exposure modes are CPU controlled with preference for high or low speeds. The aperture priority mode will be your best friend. Manual exposure will allow to shoot using compatible lens. Only speed priority mode may be missed by its admirers. Some ergonomic oddities can be forgiven: the power-on switch has a tendency to remain in-between two modes, the AF-L and AE-L buttons are unreachable.

The viewfinder is bright. On its right, the selected speed is displayed, along with an exposure guide when necessary. However, it is missing a reminder of the corresponding aperture, like on the Canon A-1 SLR. This is something you can be accustomed to. Below the image, there is a focusing guide, displaying the direction you should manoeuvre your lens barrel: useful when in manual focus!

In low light situations, the autofocus system performance is disappointing.

Because in low light situations, the autofocus performances is disappointing, and you can then sense the giant steps the makers have made to get to modern autofocus systems. When the autofocus system does not manage to focus properly, the focus guide is not of a big help, and the standard focusing screen does not offer any clue useful to manual focus. An optional focusing screen, Type J, is the only hope of getting support from microprisms.

Everything in balance, the F-501 is a very good SLR camera for making good use of the excellent compatible lenses.

Some pictures

Here is a galery of some shots from the test roll: Ilford HP5 Plus at 400 ASA. Every picture has been shot using the AF Nikkor 50mm f/1.8 lens.

Do not hesitate to ask in the comments if you have questions about the Nikon F-501 AF, and please share your pictures shot using this camera with me on Instagram. Have fun !

More info

  • The F-501 AF on collection-appareils.fr
  • Another deep review of the F-501, among other Nikon SLRs, that coincidentally was published on the same day as this blog post 🙂 on mikeeckman.com

Replace the battery in a Polaroid type 100 camera

Back in July, I made the near perfect discovery of a Polaroid 230. Brand new, in its box, with its original invoice dated from 1969 in djiboutian francs.

If you do not know this line of bellowed cameras (Polaroid 100, 200, 300…), think of them as massive devices shooting instant pictures the size of small postcards. Here is the beast, below, compared to a Canon SLR.

The challenge with this type of cameras consists in replacing a battery type that does not exist anymore in retail. The Eveready 531 or 532 was a quite large cylinder with snap connectors at both end. You can still find high priced substitutes, min. 10€, named A19PX.

Numerous times, I encountered tutorials on the web that demonstrated how to replace the 3 or 4.5V battery with respectively 2 or 3 AAA batteries. The idea is appealing, batteries found everywhere. But these specific mods require you to irreversibly destroy parts of your camera using cutting pliers and other instruments of torture.

Please be aware the following pictures show explicit content:

I’m now making a call: STOP! Do not butcher your cameras any more! Here is one solution, among others I’m sure, that will allow you to finally shoot packfilm for little money.

The required arsenal

Here starts the long list of the tools and items the substitution will require.

Batteries

You’ll have to find a substitute for a 3 or 4.5V battery. This requires 2 or 3 1.5V batteries. Among the smallest available, there are LR44 button cells.

Alcalines have major drawbacks when it comes to photography, we’ll probably address the issue in future posts. What is required here is an important capacity, much more than what standard LR44 can deliver. That’s what draws people to use AAA batteries instead.

The solution stands in zinc-air LR44 equivalents: PR44 coin cells. They can provide up to 6 times their sisters’ capacity. Voltage is a bit lower, 1.35V. It is not significant in our case.

The price? Hold on tight. In most cases, less than 1€ per unit. Even less if you catch a bundle, I paid 26 cents per unit for a 60 pack.

Connectors

The smartest of you will have already looked up the original Eveready battery with Google and they will have noticed that the snap connectors look the same as those from a 9-Volt battery. They are the same.

You’ll find these snap connectors for 25 cents max (e.g. at Selectronic). Pay attention to get a flexible connector, it will help with the camera’s large plastic connector holders.

Battery holder

That’s the tough part, you’ll have to use your imagination.

You can try to maintain the 2 or 3 batteries together using tape or strap band. It’s not optimum, it will probably fall apart at the wrong time. On the other hand it costs nothing.

If you want a more secure setup, you’ll have to find a dedicated support. They are available on the web, sometimes with high shipping costs. You can also try DIY. I’ve not tried it myselif but I like the idea!

Eventually, I used a 3D printed holder. Designs exist, by fellows on the web, and they can be ordered or downloaded if you’re the proud owner of a 3D printer. I’ve designed mine myself, and took advantage of another Sculpteo order to save on shipping costs. 6€, more expensive than scotch tape, but more secure.

The result

Tie your wires to the battery holder, place the batteries, snap the connectors in place. Et voilà !

Final setup

STOP MUTILATING POLAROID CAMERAS! I've found numerous tutorials online, describing horrible steps consisting in cutting, scrapping, even soldering in these vintage jewels. Enough! With a simple 9V battery clip, either a custom battery holder like mine or one you can find online, fitting inside the camera, no need to break anything anymore! Voltage is 4,5V in my camera. Some are 3V only. The batteries used are cheap Zinc-Air MR44 batteries, delivering 1.45V. The difference is of 0.15V here. It would be 0.1V in 3V cameras. It's insignificant because old original batteries were alkaline, with a constantly dropping voltage. Price should be around… € 4 max, including batteries. I'll see if I can post a tutorial soon. #vintage #camera #Polaroid #LandCamera #Polaroid100 #Polaroid250 #PolaroidLandCamera #PolaroidModel230 #PolaroidLand230 #PolaroidLand250 #LandCamera340 #LandCamera250 #LandCamera230 #polaroidlandcamera250 #polaroidlandcamera230 #polaroidlandcamera100 #polaroidlandcamera101 #film #packfilm #packfilmcamera #instantcamera #lomography #staybrokeshootfilm #ishootfilm #filmisnotdead #analogue #collectibles #diy #savepackfilm #fujifp100c

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If you’re clever enough, no need to solder, to cut or dismantle anything, let alone slash the interiors of a precious camera.

Have fun with your Polaroid type 100 and send me the pictures of your setups and scans of your photographs!

A Camera – The Kodak Beau Brownie

Hello English-speaking readers! I’ll showcase some of my favorite cameras in these articles, whether they are technically, esthetically or even historically worth of mentioning. First of them: the Kodak Beau Brownie. This is a (manual) translation of my original blog post in french.

Introduction

Most simple doublet lens optics, a large choice of two apertures around f/11 and f/16, a unique shutter speed approaching 1/50th of a second, plus timed exposure capability. These mind-blowing specs are those of the Kodak Beau Brownie series. Let’s be honest, I won’t write about technical revolution today.

On the contrary, the Beau Brownies were as simple as any box camera when they were released in 1930.

They were, however, part of a list of cameras conceived starting around 1927 by the american designer Walter D. Teague. One can have an idea of his work by browsing Teague’s patents list in this field.

Walter Teague had a challenge to take up: turn a big bloated soap box into a luxurious and attractive item. And he did! He drew a most appealing Art Déco front face. Geometry and colors, lined with chrome on an enameled faceplate. The leatherette covers a wood, cardboard and metal made body, and takes a similar tone as the facade.

Beau Brownie Patent
N°2A Beau Brownie design by W. Teague – click to access the original patent

The series consist in two models, N°2 & N°2A, corresponding to image formats 6x9cm and 6.5x11cm respectively. The two models thus differ by their size, N°2A being a bit taller.

But mainly, this camera wore magnificent colors, the most frequent association being black & burgundy.

Four other wonderful but more rare coats were blue turquoise, pastel pink, aqua or tanned brown.

Some pictures

I am the happy owner of a black & burgundy model in perfect shape, near mint, as well as a blue model showing more signs of wear. Here are some pictures.

More info