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post #301 of 365 Old 02-16-2020, 11:39 AM
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On their FAQ it says to just take them to your local lab and tell them to develop as half frame. Now, I have a film lab near me. I was going to call them tomorrow and ask on stereo developing for my Kodak. They should be able to process them right? I know they'll cut them into 6 prints so normally that would cut into a frame for stereo I would think, so I wanted to ask them first. How exactly does that work for stereo developing? I plan on scanning them myself, I just need them developed.

On these stereo cameras, so it must slide every 3rd picture an extra frame is that how it works? Because it takes two frames, then slide over for second two then I think it would double expose on the third frame so it must slide over an extra slot or something. I loaded some film other day and fired off a couple shots blank, the exposed bit so it's ready to go. Might take the Kodak out here and get some shots with it.

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post #302 of 365 Old 02-16-2020, 11:49 AM
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Maybe they just mean the printing, as only place that can handle those cameras. Snap-3D still does lenticulars but only from digital source not film.

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post #303 of 365 Old 02-17-2020, 09:46 PM
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Yeah, mine has a few dead pixels. I think that was a thing with CCD sensors. I think if you have enough color and detail in your shots the dead pixels don't turn up so much, least that's what I've noticed. I like it more than the 3D1 because it's 10mp over 8mp, makes a difference and of course the 75mm stereo base makes for great outdoor depth. I was asking Bob, because he has W3 and has shot stereo with the Realist too, and still does I guess. I'm just getting into stereo with film, just wanted to know how they compare. My focus on my W3, yeah just depends. Probably most annoying thing about that camera. Have to check every shot.
Sorry, was assuming you didn't have a Fuji W3 as they take a bit of getting used to. I did crack mine out the other day to have a look at some photos I took, I think the images would be fine scaling to say 1024px across which helps hide any dead pixels and is good enough for Internet use. 1:1 you can tell they're pretty noisy even on ISO 100. Overall still a nice camera to experiment with I think, but probably not worth excessively inflated prices for them. Be interesting to see how your 3D film work goes?
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post #304 of 365 Old 02-18-2020, 05:51 AM - Thread Starter
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On their FAQ it says to just take them to your local lab and tell them to develop as half frame. Now, I have a film lab near me. I was going to call them tomorrow and ask on stereo developing for my Kodak. They should be able to process them right? I know they'll cut them into 6 prints so normally that would cut into a frame for stereo I would think, so I wanted to ask them first. How exactly does that work for stereo developing? I plan on scanning them myself, I just need them developed.

On these stereo cameras, so it must slide every 3rd picture an extra frame is that how it works? Because it takes two frames, then slide over for second two then I think it would double expose on the third frame so it must slide over an extra slot or something. I loaded some film other day and fired off a couple shots blank, the exposed bit so it's ready to go. Might take the Kodak out here and get some shots with it.
The film skips through several frames and the winding mechanism adjusts for the blank frames, and no frames will be blank in the final roll.

I would do this all time--tell the lab to develop only, and don't cut. You will/should get a roll of film back. Keep the plastic canister to hold the film. Roll the film backwards for a day, then you simply cut them into manageable slices to scan them. I would mount myself into stereo slide mounts--which you can still get is you want to look through an old stereo viewer. I also got a film cutter, which gives you a nice straight cut.

Here is a website that is still active and has all the stereo stuff you will ever need: http://www.3dstereo.com/ .
They have mounts and mount accessories, plus booklets for cameras--I see they have Kodak camera booklets.

I think the Darkroom still scans 3D format slide film to digital: https://thedarkroom.com/scans/
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post #305 of 365 Old 02-18-2020, 07:39 AM - Thread Starter
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Regarding the W3, I took it to Tanzania, Africa in 2016 and got some great shots with it. It is especially good for closeups. I have no dead pixels. I mostly used a gopro 3+ stereo system, though for video. In some ways, I like the Panasonic 3D1 better, though, even if it has closer lens separation.

Here are a few from Africa. Some are zoomed in. I had to compress these to upload. I have a lot more.
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post #306 of 365 Old 02-18-2020, 11:20 AM
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Cool those are nice. Don't you mean the 3D1 is nice for closeups? The W3 is 75mm stereo base. I'm still using this RED phone which has really close stereo base of 12.5mm, I can get less than 1 foot to subjects. And if that's not enough the front lens are only 8mm apart, but they shoot in vertical on the font cameras so portrait shots or crop.

My phone has replaced the 3D1. I still have it but don't use it that much. I find the image quality noticeably less detailed, accept for video. The W3 is just for stills. For close up video, I use my phone too. It records into full side by side video @40mbps which is pretty good. And they added AE/AF lock so it no longer does that annoying popping in and out thing.

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post #307 of 365 Old 02-18-2020, 11:42 AM
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The film skips through several frames and the winding mechanism adjusts for the blank frames, and no frames will be blank in the final roll.

I would do this all time--tell the lab to develop only, and don't cut. You will/should get a roll of film back. Keep the plastic canister to hold the film. Roll the film backwards for a day, then you simply cut them into manageable slices to scan them. I would mount myself into stereo slide mounts--which you can still get is you want to look through an old stereo viewer. I also got a film cutter, which gives you a nice straight cut.

Here is a website that is still active and has all the stereo stuff you will ever need: http://www.3dstereo.com/ .
They have mounts and mount accessories, plus booklets for cameras--I see they have Kodak camera booklets.

I think the Darkroom still scans 3D format slide film to digital: https://thedarkroom.com/scans/
Yeah, I was going to tell them they're stereo shots and just write do not cut on the order. I plan on scanning or maybe using a camera and light box which would be much quicker. I don't know yet. There's a place near me that does developing in house.

I have tried to visualize how these stereo cameras advance the frames and it's difficult to say the least to try to see it in your head. It starts with two blank frames in the middle. Two images are taken with two blank frames between them, then it advances I think it just advances one full frame at a time. I read there is one blank frame left at the beginning and end of each roll of film. The left eye frames have one notch of image up in the sprocket holes, the right images have two notches. So it's easy to pair them up. But that's if I scan in the sprocket holes. The film holders would cover those.

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post #308 of 365 Old 02-24-2020, 10:39 AM
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Put about 4 rolls of film thru the Kodak so far. Dropped off two rolls last week at local developer. Yep, we just put do not cut on order. No problem.

So I got the right combination for wide angle lenses finally. I ordered the wrong size first. It has removable rings for series V filters, didn't realize those came off so I thought it was 30mm but that's not right. So after taking those off and measuring, found it uses 33mm, couldn't find that info anywhere on the web. Not a common size. There's one brand Sonia that makes a 33-37mm step up adapter but can't find them in stock anywhere. I found 33-43mm step up rings for now also from Sonia. Already had a pair of 43-37mm step down rings and 37mm .43x wide angle lenses that I bought for the 3DA1 that I wasn't using so that's my current combination, 33-43, 43-37, vivitar 37mm .43x wide angle. As soon as the 33-37mm step up's are in stock I'll get those and loose the step down rings. The viewfinder is partially obscured but you can still see what's in the frame well enough.

I also have direct 43mm wide angle lenses, they are much bigger though and would probably block most of the viewfinder, not to mention they are heavier. I'll stick with the 37mm. Have a few shots left on the current roll I will do some test shots and the next roll. Won't be able to see how any of this turns out for awhile. I need to get a scanner ordered and then all that work digitizing. Will be awhile.
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post #309 of 365 Old 02-25-2020, 06:34 AM
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Put about 4 rolls of film thru the Kodak so far. Dropped off two rolls last week at local developer. Yep, we just put do not cut on order. No problem.
I don't want to be the rain cloud on a sunny day, but I have to say I have twice had experience with film developers "losing" my film handling instructions and then cutting/mounting my View-Master Personal Stereo photos into standard 35mm slide mounts. So I hope your local developer is capable and trustworthy. I am eager to hear the results of your 3-D photography experience.

I somewhat miss the days that my VMPS camera was my go-to photo buddy. I had fewer distractions back then, and I enjoyed cutting and inserting my photos into the reels. It was a fun hobby that produced satisfying memories, and I still dig out my personal reels occasionally for my own enjoyment or even stereo projection for friends.

But digital photography is so ubiquitous, and quality film and processing so increasingly rare, I decided to order a Fujifilm W3 from Japan and get back into stereo photography that way. I own two 65" passive 3D TVs, so group showings would be even easier than in the VM days. The camera is supposed to arrive today, and I'll post my first impressions soon.

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post #310 of 365 Old 02-25-2020, 12:19 PM
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You don't realize how spoiled we are with digital until you pick up a film camera. I think the last time I shot anything film was in '94. I know we had a film camera, I think a cheap Vivitar 35mm up to about 2004, I never used it though, my wife did. And there's a big tub of 35mm film down in basement from pre 2004 that I will need to scan as well. We went digital about 2003 and never looked back.

I don't think I'm going to mount anything I shoot on film. I will just digitize. Now I say that but I also swore I'd never get into film either. But I'm making an exception for stereo 3D. I have ordered a few other cameras, not all of them have arrived.

I think the Kodak will be my workhorse and with the threaded rings it opens up more range, not all of the stereo cameras then had threaded rings. I also got in a Nimslo other day. So after doing some research, the Nimslo was really the first of the lenticular print cameras. Then came Nishika and they had a 4 lens and also some 3 lens cameras. Currently there is Reto3D which I posted on previous page. It's a 100.00 camera with plastic f11 lenses. The Nishika was also plastic lenses and I came close to buying that one but I'm glad I didn't. So the Nishika took over in the late 80's from Nimslo, bought the rights to it, they put out a very cheapened camera compared to the Nimslo. It had what looked like an LCD panel which was merely a sticker, used 2 AA batteries that did nothing other than determine if you needed a flash. It was made bigger than the Nimslo for no reason but to make it bigger and heavier with lead weights in the bottom. And on top of all that it had plastic f8 lenses.

The Nimslo has real glass lenses, they aren't super fast but decent f5.6. It has an electronic shutter powered by 3 button cell batteries. I checked to see if everything was working but I haven't run any film thru it. The Nimslo will be a very specific camera. I just plan on making wiggle gifs with it, you could of course pair up any of the frames in the quad print for stereo too if they turn out decent, like Bob mentioned.

There's nothing coming out for digital 3D in way of cameras so I thought it'd be a good time to delve into the past a little, see what springs forth. Film is interesting too as they keep discontinuing more and more products, like Kodachrome. I picked up some now discontinued Fuji 200 Superia, it's been cold stored apparently by seller but it was axed back in '17 and pretty much gone from shelves in '18 so we'll see if it's any good.

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post #311 of 365 Old 03-02-2020, 10:51 AM
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Hey, Bob. I got a Realist 2.8 in but I don't think the shutter advance is working, probably going to send it back. Do you know on the film chamber if that center area sits loose in there? I see 4 holes which look like screw holes, but they're empty no screws. The manual shutter trigger in front works, all shutter speeds work. But usually I've noticed you should be able to manually turn that sprocket inside and it will stop after it advances the film and auto-trigger the shutter. But this one is not. It just spins and spins. Of course there's no film inside. If it's not working, I suppose one could manually advance the film and use the manual trigger on front, but where to stop advancing the film? It'd be a risky. Or am I not doing something right on this Realist model?

Thanks!

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post #312 of 365 Old 03-02-2020, 11:12 AM
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Ok, I figured out it was set to film rewind. So I reset that and now it doesn't free-spin. But it still doesn't auto-trigger the shutter once it stops after film advancing. Have to use the manual trigger in front.

Maybe that film chamber isn't supposed to be locked down? I can pick it up and move it slightly, like it's held by springs only. the film chamber is not sealed on the sides, that worries me. It's all open in there, is it supposed to be like that? I had another 2.8 model last week I had to send back because the shutters were stuck open and I don't remember on that one. Can't seem to get a functional 2.8 Realist.

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post #313 of 365 Old 03-02-2020, 01:07 PM - Thread Starter
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Ok, I figured out it was set to film rewind. So I reset that and now it doesn't free-spin. But it still doesn't auto-trigger the shutter once it stops after film advancing. Have to use the manual trigger in front.

Maybe that film chamber isn't supposed to be locked down? I can pick it up and move it slightly, like it's held by springs only. the film chamber is not sealed on the sides, that worries me. It's all open in there, is it supposed to be like that? I had another 2.8 model last week I had to send back because the shutters were stuck open and I don't remember on that one. Can't seem to get a functional 2.8 Realist.
Oh, @Tomtastic, be careful! Watch this video:
Not the greatest, but should help. The center chamber is your focus chamber. The lenses are stationary and the focus chamber moves. The film cover has the flexible back that pushes the film tight against the focus chamber. Here's another video:

Old film used to have a longer leader, so back then you would shift the film advance sprocket to a white dot that would show up in the little notch above the film guide. Then load the film and advance it through the guide. I believe this used to set the film advance. You can cut the film leader so that the top of the film is just before the guide slot in the middle of the camera.

The shutter must always be cocked manually. It is purposely done this way for double exposures. The double exposure button is on the left side and you pull it out--see the end of the video. This causes the film not to be advanced and you can do a double exposure. This was done so people could take a picture through each lens separately if they wanted to. You would put a cap over one side take a pic, then move the cap to the other lens and take a pic. It also can be used to create 3D ghosts in your images. Try this: take a normal outside picture with both lens then do the double exposure switch and take an inside pic of someone with a flashlight on them in the dark. You will have cool ghost in your picture.

Always leave the film shutter speed in lowest setting when done shooting to relieve pressure on the shutter spring, which is how the spring gets stretched over the years.

For more on maintaining the Realist. Go to youtube and enter "Realist Maintenance" without quotes. There are 10 parts, some hard to see, though. Also on the same page you should see: David White Stereo Realist Shutter Test

Also, get an old flash with a floating ball on the bottom that does flash sync, then sand down the bottom the flash (assuming it's plastic) so it fits in the flash socket and the ball is floating over the round metal spot on the flash bracket. Now your flash will fire. Typically at 1/25th shutter I think. You can set the f/stop to around 5.6 - f/8 and see how that works. Might have to set it higher, or maybe the shutter speed higher, can't remember--depends on the distance to the subject. I have taken lots of family pics with the flash and they come out great.

Actually, the W3 and 3D1 don't often do this good because then tend to flash against floating dust spots creating a weird ghost spots issue. See Realist with auto flash example from below from 1988.

Your adventure continues...
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post #314 of 365 Old 03-02-2020, 02:30 PM
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Cool, thanks. Lots of info. I'll give those links a watch. So the shutter is just manually triggered each time, not by film advance, that's different. And interesting on leaving the shutter in lowest setting when done so it doesn't wear out. So that would be the bulb setting correct? Least tension?

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post #315 of 365 Old 03-02-2020, 02:49 PM
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Yeah, the film loading is different too. Has to go under that metal tab, glad I watched that first video. This is very different from other stereo cameras.

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post #316 of 365 Old 03-02-2020, 02:57 PM - Thread Starter
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So that would be the bulb setting correct? Least tension?
No leave it on 1/25th.
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post #317 of 365 Old 03-02-2020, 03:14 PM
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Ok. It came with a little light meter. I don't know if it works, has a cold shoe mount. Got another light meter with another camera. Of course I downloaded one to my phone, probably easier to just use that and put in your film iso and go from there.

What settings are you shooting with it in say bright sunlight with bright subject? 1/50, f11? I see that's where it has the red dot's placed.

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post #318 of 365 Old 03-02-2020, 03:26 PM
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Ok, I adjusted focus with the back off. Yes I see the chamber moving in and out. The Realist is much different overall than other models made. I've got several different brands. Also got a Realist 45 in today. Very clean, it's basically a German Iloca Stereo Rapid.

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post #319 of 365 Old 03-02-2020, 03:34 PM - Thread Starter
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Ok. It came with a little light meter. I don't know if it works, has a cold shoe mount. Got another light meter with another camera. Of course I downloaded one to my phone, probably easier to just use that and put in your film iso and go from there.

What settings are you shooting with it in say bright sunlight with bright subject? 1/50, f11? I see that's where it has the red dot's placed.
The original cameras were set to Kodachrome 25, so I will have to look at it and get back. Consider 25 as the ISO for a meter and see what you get. Or get out an older 35mm camera set it to 25 and see what it reads ( if you have one.) Normal ISO 100 is f/16 at 1/100 shutter for bright daylight, so ISO 50 should be f/16 at 1/50 and ISO 25 would be f/11 at 1/50 if my math is right.
Here is the sunny f/16 chart for ISO 100
Aperture
Shutter Speed
f/22
1/50 second
f/16
1/100 second
f/11
1/200 second
f/8
1/400 second
f/5.6
1/800 second
f/4
1/1600 second
f/2.8
1/3200 second
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post #320 of 365 Old 03-02-2020, 06:03 PM
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I've got Fuji 200 film right now and some Kodak 400. So that's basically the sunny 16 rule I guess. I don't think 400 will work since these only go up to 200 shutter and you need 400 shutter option for 400 iso, at least in bright daylight. Could use the 400 in the evening.

So bright daylight with 200 iso film would be f16 1/200

I probably shot with too much light on the Kodak last week. I think I was at 1/100 shutter and between 3.5-8, it was party cloudy with some dark subjects though but probably will be too much light in those shots.

Got scanner ordered, I'll pick up my film and see. Oh well, got a bunch of film for cheap, it was expired but cold stored.

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post #321 of 365 Old 03-03-2020, 06:05 AM - Thread Starter
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@tomtastic : you should be correct on ISO 200. All film used to come with sunny 16 chart. Here is the rest of it:

f/16 in the sun, f/11 overcast, f/8 if it’s more overcast, f/6 is heavy overcast, f/4 in the shade.

Wow, you got a Realist 45 as well. You are really getting into it. Once you get the "metering" down, you can guess it right most of the time, and typically, if you are one stop off, that's fine anyway. In all the years I've shot with the Realist, I rarely had a bad shot, and that was with Kodachrome 25 and 64. Most slide film has a good dynamic range these days. I found that Fuji film tends to push greens and Ektachrome tends to push blues. One stop down will give you more intense colors, but lose some detail in the shadows. One stop up will get more shadow detail and usually compensate for backlit sun or combination of bright sun and shadows. If you take different exposures of the same subject, you will learn what is best for that film. You will find that overexposing by one stop might be the best. Typically, in the digital world we set the exposure about -1/3 stop or a full stop down, but film isn't the same.
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post #322 of 365 Old 03-03-2020, 12:13 PM
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Well, I see what I did. I shot with the info and guide settings that were on the Kodak, which is of course set to Kodachrome 25 of the time, oops, I'm at 200 iso film so that changes things alot. So I used the bright settings on the shutter selector, actually used 1/100 instead of 1/50 like it said so that probably helped some but I was still way off on aperture. I think they'll come out bleached, oh well. It was a test run anyway, not much greenery out yet and cheap expired film.

Oh, I got a number of cameras to play with. Kodak Stereo of course, I like how simple it is to use, now that I have the settings figured out I think I'll get along great with this camera and the filter rings are nice, not all cameras had it. The Realist models had a wide angle kit but it attached to the 1/4 jack on bottom, I guess they were just held in place by that.

Have to get some pics up. The Realist 45 is real clean, it's bigger than I thought it would be, it looked smaller in pics. A few TDC models, Vivid (bad shutter) has rust on shutters, it's fairly rare I thought it looked cool, make a good shelf piece. I asked my camera guy he said those are pretty tricky to fix. Complete teardown and the shutters are hard to get flat again. And both the Colorist and Colorist II, the Colorist II has a bad 1/10 shutter but all other speeds work fine. Colorist I works great no issues.

Also a Revere Stereo 33, this thing is pretty cool. It's looks nickel plated like a Colt revolver. Makes a cool shutter click. This one also has the moving film chamber for focus like the Realist I noticed. The lenses don't turn accept for aperture and shutter. Also has the dual rangefinder/viewfinder windows. The TDC Vivid and Colorist II also have the dual windows.

Let's see what else. Oh the Nimslo, I haven't ran any film though it yet. I'll probably use Kodak 400 on that one since it's pretty slow, only 5.6 lenses. There's no shutter settings, I think it's all auto focus auto shutter, need good light.

I think the stereo cameras from this generation are simply works of art.

Oh, and last but not least: The Sputnik! Oh yes, medium format. I found it had a bad left shutter, it doesn't open all the way on slower shutter 1/10 and B setting so can't do any long burns with it. But it opens enough I can use it over f11, so about f14-f22 it's fine. The faster shutters for normal daylight or fine 1/25, 1/50 and 1/100 work fine. I used my phone and filmed each shutter speed at 60 fps so I could see if they both opened all the way. The right is fine and the left also opens all the way, just only get half open shutter with left shutter on 1/10 and B but as I said, it should be fine in those settings as long as the aperture is smaller than f11 where the shutter is out of the aperture.

Can't wait to get some shots with it, the glass is a little slower only 4.5 but I think with decent lighting it should make for some fantastic resolution in 6x6 squares. And it has threaded lenses which I discovered are 27mm, so a 27mm to 37mm step up ring and I can use my 37mm wide angles on it. The lenses are 75mm which is about 41mm in 35mm equiv. wide angle should put it at roughly 28mm.

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post #323 of 365 Old 03-03-2020, 02:09 PM
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Here's a few pics of my new old gear.
Realist 2.8
Realist 45
TDC Vivid
TDC Colorist
TDC Colorist II
Nimslo
Revere 33
Sputnik
And Kodak previously posted that one.
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post #324 of 365 Old 03-04-2020, 06:26 AM - Thread Starter
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The Revere is based on the original Wollensak 10, which was regarded as the best 3D camera ever made and from what I understand was used to make Viewmaster pictures in the 1950s. If you can find one, they will cost you, but well worth it. It has to be the Wollensak 10 model, though, not the Revere 33 that is sometimes sold as the Wollensak 10 with the f2.7 lens like this one: https://www.worthpoint.com/worthoped...ete-1867509985

This quote was taken off the 3Dstereo.com website:
"Regarded as one of the Premier 1950s Stereo Cameras, the Wollensak Stereo 10 Camera had an interesting beginning.

Wollensak Optical of Chicago made the matched stereo lenses for the Revere Stereo 33 Camera, also made in Chicago. The idea was for Revere to produce an identical camera body to the Revere 33 Stereo camera and Wollensak would put on features such as the fastest lens, f2.7, the fastest shutter speeds, 1/300 plus special leatherette, and market the camera under the Wollensak name. From the start, the camera was special, and today, it is held as the top quality 1950s stereo camera, rivaling the best that Realist could make.

Because the Wollensak was produced in lower quantities than its sister camera, the Revere, and because it sported such superior features, the Wollensak has always commanded a premium in price as well as demand.
"

If you want to have fun with the kids, you can make Viewmaster slides from the Viewmaster Personal Camera. I had one for a while, it was a real hoot to use, develop and then cut and mount the images. If you do find one, try to get a cutter as well. I also had the Viewmaster Stereomatic Projector, which I also sold years ago. https://en.wikipedia.org/wiki/View-M..._Stereo_Camera .
3Dstereo.com has accessories, such as a cutter, lens options and slide reel holders. http://www.3dstereo.com/Merchant2/me...egory_Code=VMA They are the premiere provider for all kinds of 3D stuff, mounts, viewers etc. The one downside of the Viewmaster is the small slide images don't hold up well because of film grain. You have to use the film with the best resolution you can find. Back in the day Kodachrome worked great, but Ektachrome, etc. all had too much grain. Still, I found it to be a hit with the kids when we visited places like zoos, etc. I still have the original Viewmaster model C viewer made in late 40s-early 50s. I also have slide reels from back then that my parents bought me for Christmas that still look good.

And the journey continues.
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Quote:
Originally Posted by 3DBob View Post
If you want to have fun with the kids, you can make Viewmaster slides from the Viewmaster Personal Camera. I had one for a while, it was a real hoot to use, develop and then cut and mount the images. If you do find one, try to get a cutter as well. I also had the Viewmaster Stereomatic Projector, which I also sold years ago. https://en.wikipedia.org/wiki/View-M..._Stereo_Camera .
3Dstereo.com has accessories, such as a cutter, lens options and slide reel holders. http://www.3dstereo.com/Merchant2/me...egory_Code=VMA They are the premiere provider for all kinds of 3D stuff, mounts, viewers etc. The one downside of the Viewmaster is the small slide images don't hold up well because of film grain. You have to use the film with the best resolution you can find. Back in the day Kodachrome worked great, but Ektachrome, etc. all had too much grain. Still, I found it to be a hit with the kids when we visited places like zoos, etc. I still have the original Viewmaster model C viewer made in late 40s-early 50s. I also have slide reels from back then that my parents bought me for Christmas that still look good.

And the journey continues.
I can verify that the View-Master Personal Stereo Camera and matching paraphernalia makes for a superb hobby. I still own a roomful of VM reels, displays, viewers, projectors, and personal photo equipment, though not as impressive a collection as the one put together by Wolfgang and Mary Ann Sell. I don't believe anyone will ever touch the number and quality of theirs.

Nothing beat Kodachrome for fine-grain images from my V-M Personal, though AGFA did pretty well, even projected. I don't know what I would recommend today. I haven't used the camera in over 10 years, and likely never will again. I do have a nice supply of reel mounts should I ever mess with the camera and cutter again -- the reels themselves average about $3 each on the open market since the last original Sawyer's machine that stamped them out finally died.

--
Dan Shane
LG 65EF9500 & LG 65UH8500

God gave us two eyes for a reason.
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post #326 of 365 Old 03-04-2020, 12:04 PM
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Yes, Wollensak 10 f2.7 lenses, there's one on eBay now but it's untested for 500.00. Nope. Might as well be 500.00 wall art. If they're not going to test them then they shouldn't ask for working condition money.

Basically the same as the Revere 33, just with faster lenses and 1/300 shutter.

The Contura is pretty rare, estimated only 130 models were ever made and it is quite a beautiful stereo camera. I attached some pics I stole from eBay. But it's basically a collector's camera, you couldn't shoot with it much in case it got lost, dropped or stolen. I'm not sure there's anything else special about it other than rare and beautiful. I guess it has 2.7 lenses too. One on eBay now for 2100.00 buy it now.
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post #327 of 365 Old 03-04-2020, 02:53 PM - Thread Starter
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Don't you find it amazing how many 3D cameras were made in the late 1940s and 50s. The Realist was made up until 1971. I bought mine in 1962. The Contura, I never heard of.

Oh, I was wrong on the Wollensak 10 being used by Viewmaster, it was the Verascope F40, which had a different, wider format. I had one, but it had a faulty shutter, so never used it. I forgot about that. Search for Verascope F40 on Google, then look at the images. Check this out on ebay. They have an open back shot of the format. https://www.ebay.com/itm/RICHARD-BUS...wAAOSw5nJeGFJb It too, was a prized camera back in the day, because of the 40mm lens and wider format. Made in France. Here's another view of it: http://leathercameracase.org/bush-ve...ris-france.htm . Has a 24mmx30mm image, closer to the 35mm image of 24mmx36mm.

Edit: Check these guys out of Ohio, they always have lots of 3D camera stuff. http://www.igorcamera.com/3D_stereo_cameras.htm . I forgot, I also had a Meopta Stereo-Mikroma 16mm camera, that also took Viewmaster sized shots. They also had a 35mm version that also took Viewmaster format shots. https://www.pinterest.ch/pin/543809723747089702/ scroll through this page for some awesome old 3D camera images.

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post #328 of 365 Old 03-04-2020, 03:33 PM
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Yeah, there were so many. Some were just really impressive builds, works of art, not just in function but in form too. Several brands here in US, most seem to be made in Chicago. Many more in Europe.

There's the Iloca Stereo II, German, they sold it here as the Tower Stereo from Sears. And another one they had was sold here as the Realist 45, it's a really nice looking camera. I think the nicest one I have, the Colorist I and II look really nice too. Yeah, just a long list of stereo cameras made back then. It's a shame they don't make digital stereo cameras now. The best we got were the Fuji and Panasonic 3D1 and then nothing. Oh well. What's great is 35mm should hold up pretty good to digital if everything goes right. And these cameras were built pretty well, as long as they're functional, should get lots of use out of them still.

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post #329 of 365 Old 03-06-2020, 11:45 AM
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So got my film back 2 rolls. I mentioned how I likely over exposed them and we looked at them on a light board there at studio, the lady thought they looked ok, but after scanning them in, yeah, I was way over. I should have been at f16. A couple shots aren't too bad but not great either. Not going to develop other 2 rolls I have, I know they're with the same settings and sunlight. And focus is off in some because of the larger depth of field. Going to scan in a few more shots on one roll and see but I think they're mostly toast.

And one other thing, the film sometimes doesn't leave a border, I'm not sure if that's because I'm winding too far or not enough. Basically every so many frames it leaves two images right against each other. I can scan them together and crop, no biggie but better with a border gap.

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post #330 of 365 Old 03-06-2020, 02:03 PM - Thread Starter
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Re: the image gap. I think what is happening is, if you shoot an image that is focused close to the camera, against one that is way out, you will get a gap change since the film is being stretched in and out a little. To avoid this make sure you set the depth-of-field in the middle. It is very important during focusing, that you focus on the subject, then look at the depth-of-field indicator for the f/stop you have and back off the focus to the center of the focus field or in the middle of the closest and furthest object. This should make both near and far objects in focus. It's a common mistake and takes some getting used to. If there is nothing between you and objects that are, let's say, over 20 feet away, then set the farthest to infinity, not the middle. That way you will get the sharpest image possible, especially for scenic landscapes. Of course, try to always get the highest f/stop you can by adjusting the shutter. Unless something is moving in your image, even 1/25th can be fast enough. For moving subjects, you have to set shutter at least at 1/100 or higher.

Here is a good instruction manual for the Realist: https://www.butkus.org/chinon/stereo...ist/stereo.htm

If you have a faulty shutter or an iris sticks on one lens versus the other you will get an issue like this image below of the wood carver. This is from an old 3.5 Realist that I didn't realize until too late that had an issue. I chose some other pics that have a very wide depth-of-field and capturing action. Plus, once you get a flash working, you can get some great indoor pics as well. Also, the outdoor pic of Christmas lights was done with the Bulb shutter. You'll note that I also cropped these to capture the best part of the image closer to 16:9 for viewing on my 3D TV and projector. The farm picture is interesting as you get great sharpness near and far. You can actually see the telephone pole and wires about a mile away.
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