![]() ![]() Using a large panel also gives a nice smooth reflection across the top of the camera. Behind the subject camera (on my right is a large white diffusion panel to soften hard light that is hitting the camera. Silver cameras need a large diffused white source if you want to get a smooth and even reflection in the metal. The technical description is this: to the left of the subject camera (and my left) is a 20 foot x 15 foot white reflector which is great to make both silver and the black cameras look good. Hope this helps, good luck with your project, I’d love to see a pic when it’s completed. I’ve been able to cut the cap down in height without ruining the threads that are still needed to screw into the front on the helical. The m42 filter stackers aren’t made but you can find a metal m42 screw in cap nit it’s super deep. I ended up using a m52 to m42 as a 52mm Cokin P flange was available. For the 6×9 cameras the helical had to fit inside the height of the camera (for the 47mm to achieve infinity focus) so I needed to find a smaller helical. You can then use a 58mm Cokin P flang for the camera side and a 58mm filter filter stacker for the other side. You have the option for brass or ‘not brass’ but the price is only a couple dollars more for the brass so I’d go with the brass one. I think we have the telescope world to thank because before these popped up helicals were $300-$400 bucks! My normal combo that most cameras use is a M58 to M58, 17mm-31mm helical, from eBay. The cool thing is in the last couple years some affordable helical options became available. ![]() Thanks for reading, you can see additional imagery on Instagram Shooting film is in my dna, I’ll always shoot it in some capacity. ![]() I kinda wish the prices of older film cameras wasn’t going up along with the interest. I’m so happy to see a refreshed interest in film cameras. Some of my other medium and large format cameras can be seen here. Of course, it holds its own in the driver’s seat as well! I shoot film alongside digital and work to make my film cameras as simple to use as possible. It’s a terrific little camera designed to be shot alongside a modern digital system. Instead of painting the lens board I covered it with with black leather so it would match the camera even better.Ĭustom 6×9 camera test shot Traveling 9/11 memorial Photographed with custom built 6×9 camera. After a quick search (and ordering a 40.5 to 49mm step up ring on Amazon which is SO much faster than waiting for one from eBay to show up) the chrome shade on the chrome lens with everything else on the camera blacked out looks really good. The spring accessory shoe holds the viewfinder much tighter and more secure than a flash shoe.Īs a finishing touch, I remembered picking up a 49mm Linhof branded chrome lens shade. Because of the red window advance, 220 film cannot be used.Īll of my recent custom cameras use the same low profile accessory shoe for the finder. Film advance is via a red window on the back door. The camera gives you eight frames on a roll of 120 film. It keeps the camera body flat when sitting on a flat surface but equally important, it keeps pressure off of the helical when the camera is stuffed in a camera bag. I’ve mounted an Arca plate perpendicular to the camera body which serves two purposes. Both cameras are ‘scale’ or ‘zone focused’ with helical focusing mounts between the Super Angulon and the body. Using my camera as a template, I emerged from my shop with a shadow of its shiny chrome brother. Liking my personal chrome camera so much that when a clean f/8 Super Angulon presented itself, I had to buy it. The John Robert Dam in Albuquerque Bridge Underpass in Carmel Indiana photographed with a custom built 6×9 camera. Some better looking than others, this one is a rare looker! In addition, it fits in a camera bag beside its modern digital counterparts perfectly. Not all custom cameras come together looking this good. After almost six months a super clean 47mm f/5.6 Super Angulon surfaced and I was in business. Clean 65mm f/8 Super Angulon are quite plentiful. When I build the 6×12 conversions, the donor camera bodies are hard to find. With paint striper, the leather and 80 year old paint and an all silver conversion became an idea.įinding a clean and usable 47mm lens proved to be a bigger challenge than I was expecting. The 6×9 fits in a digital camera bag easier than a similar 6×12. Once I complete and delivered the camera, I realized how much I really liked the Zeiss 6×9 body. Here is the camera I came up with for him. The client wanted a 65mm to get the feel of his 28mm lens on a 35mm camera. It wasn’t until I was commissioned to build a similar 6×9 camera that the format caught my attention. Most of these 6×12 cameras end up with a 65mm f/8 lens. I’ve built a bunch of conversions out of a vintage folding Zeiss 520/15.
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