Best products from r/analog

We found 92 comments on r/analog discussing the most recommended products. We ran sentiment analysis on each of these comments to determine how redditors feel about different products. We found 437 products and ranked them based on the amount of positive reactions they received. Here are the top 20.

Top comments mentioning products on r/analog:

u/snuflswasmyslavename · 4 pointsr/analog

First things first, film scanners are specialized scanners, do not confuse them with regular office flatbed scanners. In a regular office scanner the light comes from under the glass, bounces back off the paper and is recorded on the same side. In a film scanner the light has to pass through the film and is recorded on the other side.

A scanner is easier to get into. You basically buy the scanner, and it has its own software that does very good processing on the resulting pictures. Put negatives in, you get very decent scans out, for a flat entry fee of about $200.

DSLR scanning is more flexible, but it has a lot of variables because of this, it's more finicky, and can potentially end up costing more.

  • You will get whatever resolution your DSLR is capable of, but on the other hand you'll get an upgrade whenever you upgrade the DSLR.
  • Like with a scanner, you will need a light on the other side of the film. There are several ways in which you can do this: a specialized light table; a sketching light pad; you can sometimes substitute a regular tablet or smartphone (but you have to adjust depth of field to not catch the pixel grid inside the screen; some light pads also have a support grid); you can shine a flash from the other side, or natural light, but you need a matte support background. You will need to temperature and hue-correct the light later; flash and light-tables are neutral, but other sources (including daylight) are not.
  • The DSLR needs a macro lens, which can resolve maximum detail off the film frame. An actual macro lens is ideal, because they're built differently from regular lenses, in that they minimize geometrical distortions, corner softness, vignetting, and they can focus much closer.
    • You can also try using a regular lens with a macro extender, which will allow it to focus as close as a macro lens, but you still have to deal with the distortions/softness/vignetting etc.
    • You can (probably) adapt a vintage manual focus macro lens to your DSLR with an adapter ring, which will take the cost down quite a bit. This depends on the flange distance of the DSLR; some mounts (mirrorless, Canon) have more tolerance than others (Nikon).
    • You can use an enlarger lens. These lenses are usually made in only a few focal lengths (typically 50mm). They are used to transfer the image from a negative to photographic paper to create physical photos. Pro: they make outstanding macro lenses, with zero distortion/vignetting/softness, and they are dirt cheap. Con: they don't have a focus mechanism, their focus distance is preset and you need to move them back and forth to focus; but since you're creating a setup where you will work with fixed distances that should not be a problem.
  • You need to figure out a way to place the DSLR, the film and the back-light in a stable position. The distance between these three, particularly the lens and the film, is crucial (we're talking mm-precision), so you usually want some kind of contraption that will help you achieve a stable position. You can adjust the sharpness by focusing on the writing on the film edge.
    1. If you're using a horizontal light surface (light table, pad, tablet/smartphone) you will most likely need a tripod with a 3-way column or ball head, so it can aim the lens straight down. If the light surface has unwanted elements (pixel or support grid) you will additionally need the film to be a distance away from it, and to adjust the depth of field to catch the film but blur out the unwanted stuff. This setup will let you scan arbitrary film sizes, so it lends itself well to medium/large format and any other format. Some anti-newton glass is often used to prevent Newton ring artifacts, and some people also use the mount supports from scanners.
    2. If you indend to use a flash or daylight you want a contraption that will mount at the end of the lens and provide a support for the film and a steady distance. Probably the best-known are the Nikon ES-1 and ES-2. Your lens' ring diameter will probably be different from these, so you'll need a step-up or step-down ring. And in order to achieve the distance you need you will require several spacer rings (the fewer the better, ideally you should not need any and mount the ES-1/2 directly to the step ring; shorter focal lengths will help you achieve this). You can mount the resulting setup on a tripod and also mount the flash on an accessory arm to shine from the other side into the lens, but you can also mount the flash on the camera and shoot in a mirror, or simply shoot the camera handheld into clear bright sky, no flash.
  • Once you have your raw shots from the DSLR, it's time to process them. There's a fair amount of processing that goes into taking a raw film "scan" to a usable state, and scanner software does a huge amount of work. Long story short, no, it's not as simple as "invert". If you want flexibility in processing, this is your moment, load up the raw in the processing software and have at it. But most people want some help, which is where a plugin like Negative Lab Pro for Lightroom comes into play.

    As you can see, lots of options, but also a lot of factors to account for. Personally I like DSLR scanning because it's made up mostly of gear that you use all the time for other purposes anyway, unlike a scanner which only has one job and will sit there taking up space whenever you're not using it (which is most of the time). But if you don't already have this stuff, then a macro lens, tripod and flash can add up to a fair chunk of change.

    I'll give you an example from my own setup, based around a Fuji X-T20 mirrorless, with a vintage Tamron 90mm 72E macro lens. It's a Nikon F mount, so I also added a Nikon-F-to-Fuji-X adapter. I got the classic choice, the Nikon ES-1 film adapter (but keep in mind it can only scan 135 film, not larger formats). Needed a 55mm (Tamron) to 52mm (ES-1) step-down ring. Also, 90mm is a fairly long focal length, so I also needed no less than 3x 2" 52-52mm spacer rings, which added to the ES-1's built-in extension ring allowed me to get an entire frame into the shot. You can get the ES-1, spacer rings and step rings from eBay from Japan sellers, it's all metal, new, and in excellent condition.

    The ES-1 has some clever metal prongs will allow you to scan a mounted single frame as well as hold a 6-strip of film securely, so you don't need any additional mount or support.

    If you need a flash, Godox makes excellent ones for little money. The TT350 and TT685 are probably all you need, plus some accessories if you want remote trigger.

    If you want an accessory arm to mount the flash on, make sure the tripod can do that. Most tripods should have the ability to mount accessories like softboxes, umbrellas etc., but don't take it for granted.

    I won't recommend a tripod because it's not important, any cheap one will do as long as it can mount the lens pointing straight down, can support the camera, and it stays put without wobbling. It doesn't even have to be a tripod, there are all kinds of contraptions that can be used to vertical-mount a camera off a standard 1/4" tripod socket.

    Speaking of which, there are such contraptions that combine a vertical stand with a light table, or horizontal setups with rails, or macro bellows (which are basically variable macro rings). I only mention them for completeness, it's unlikely you'll find them practical.
u/pale_blue_is · 1 pointr/analog

https://www.amazon.com/Ultrafine-Unicolor-Powder-Developer-Liter/dp/B00OU6LXUGn - you can probably get 8 - 12 rolls out of this before it's used up. You'll need a lot misc supplies for at home dev; the more you do it the more items you "realize" you need. My current list:

  • patterson tank (obviously) with reels

  • high temperature accurate (105+ degrees) thermostat

  • 3 1 liter amber bottles (for color dev, B&W requires different chems/bottles)

  • graduated cylinders

  • distilled water (not required, but strongly recommended to keep film clean as possible and without watermarks)

  • rubber gloves (keeps hands safe. I have sensitive hand skin so for C-41 these are required personally, but if you're careful and have strong and healthy hands this might not be required)

  • clothes hangers to hang film to dry

  • can/bottle opener to open film

  • timer

  • film sleeves to store negatives

  • (recommended) a jug to store used chemicals to dispose of at a chemical plant. I don't recommend dumping them down the sink. If you're gonna use old processes in a new world, best to do it responsibly.

    I probably missed something but that's all I can think of. Watch Ted Forbes' video on at - home C-41 dev to get a better idea of the routine. Hope this helps. I estimate I spent somwhere between 30-70 on the whole thing, but it's definitely worth it versus the 10 dollars per roll I have to pay at a lab.

    You also have to, though, factor in scanning. I have a scanner at my College's film lab that they let me use, but if you don't have access to one that's something else to consider. If you don't care too much about quality, most libraries have printers with decent scanners.

    Good luck!
u/jeffk42 · 3 pointsr/analog

> When you get your negatives developed at a local lab, if they have the option to scan the negatives and send it you as jpeg or tiff do you get both or one or the other?

If they have the option, it's generally going to be one or the other.

> Do you think it's worth the extra cost to get a tiff and post process the image more through Lightroom/Photoshop or do you already like how the labs develop the photos and just go for jpeg?

I've done tests comparing images scanned with both of my own scanners, scanning as jpeg and as tiff (at the same resolution) and then testing to see if there's any difference in the amount of data available. In those tests, the images came out exactly the same. I manipulated them, moving slides into crazy positions in Photoshop, and the results were always equivalent.

Maybe that's not 100% definitive, but in my experience a scanned jpeg vs tiff is not the same as digital jpeg vs raw. The latter makes a huge difference. The former makes none. Of course, those are with my scanners and not with lab scanners.

> Can you ask local labs to push/pull your negatives?

You have to ask your lab. They're all different.

> Does that cost extra?

Yes., usually a couple of dollars per stop.

> What are reasons for wanting to push/pull your film? What is the major difference?

Pushing film means you're leaving it in the developing solution for longer than the normal amount of time. Pulling means you're taking it out sooner. It's usually (though not always) done in connection with overrating or underrating the film (setting the camera's EI to a value other than the ISO printed on the box). There are a number of reasons why you'd want to do this. If you're in a position where you need an ISO 1600 film because of the light levels and all you have is ISO 400 film, you can overrate it to 1600, and later ask the lab to push process 2 stops. It's also useful for contrast control when you have a difficult scene. Exposing for the shadow areas and then developing for the highlights allows you to set the "boundaries"of your tone and allow the middle tones to fall into place between them, increasing or decreasing the contrast as the case may be.

The side effects depend on which way you're going. Overrating and pushing increases contrast and grain, can kill shadow detail, and in C-41 films may result in color shifts. Underrating and pulling film reduces grain and contrast, but is hardly ever done with C-41 film because you can overexpose it a lot without changing the development and still get perfect results.

My advice? Don't get ahead of yourself. Be comfortable with an emulsion before you start changing variables. People love to jump on the bandwagon and start push processing before they know what they're doing, and it's really easy to be disappointed in the results.

> I mostly shoot portraiture so any film for portraits would be great! Both black and white and color. Or any 35mm films in general that are just spectacular?

It seems obvious, but the Portra films (160, 400, 800) are designed for that kind of work. Fuji 400H is also nice. These are all professional grade films, so they cost more. If you want to make cheaper decisions for messing around and learning, look into Agfa Vista Plus 200, Kodak ColorPlus 200, or Fuji Superia 400.

For B&W, Ilford HP5+ and FP4+ are my primary films, but I also use Pan F+ and Delta 3200 when appropriate. Fuji Acros is also a great film.

u/mcarterphoto · 2 pointsr/analog

The sunshield will work, but it's pretty small - for softening light, it's the bigger and closer the source, the softer the light. Those 4x8' foam insulation panels cut in half are popular, or a frame with fabric stretched on it, or the round popups. Thing is, you need someone to hold them -they look more natural when held up and angled a bit upward - look at youtube videos. And when you're shooting, you can grab one and lift and angle it and watch the subject to find the sweet spot. You can also use a stand and something like a grip head to angle them, but if it's breezy they can be a problem, especially popups.

Scrim used as overheads are harder - you need someone to hold them WAY up or a pair of stands, they can slow you down. Look at these pics for ideas:

overhead

larger

when the sun is lower

stands

For fill flash, it often looks more natural off-camera - you can get a cheap bracket that attaches the flash to the stands and has an umbrella mount - then you just need a way to synch the flash, either a cable or a cheap chinese radio synch (like $30). Those are cool because you can leave it somewhat assembled as you move around. You won't have TTL with that, though I think there are some wireless TTL solutions out there.

I have this $15 cheapie and it's actually pretty good a reliable, but it won't fire with some of my vintage stuff, mainly big RB lenses.

u/crespire · 2 pointsr/analog

That's a great deal if the camera works. The SRT 102 has a match needle meter system, but you can operate the camera fully manually without a battery in it, as it is a fully mechanical shutter and aperture system.

In terms of what to check for for the SRT-102 specifically.

  1. About half way through the production (or early on, I'm not sure of the details), Minolta stopped making them with the mirror lockup option. If that's important for you, make sure the one you're looking at has it.

  2. Check to see if the mirror is stuck. As mentioned, if your model has a lockup, make sure that isn't engaged. If the mirror sticks after shooting, it may be that the bumper is degraded.

  3. Shutter issues - the SRT102 has a cloth shutter, so make sure it's in good condition. If you have access to the camera before buying it, I'd highly recommend you shoot blanks (without film with the back open) to verify the magnitude of the shutter speeds (ie, 1/8 isn't the same sound as 1/250 isn't the same as 1/1000). Also look to see if the entire shutter curtain operates properly.

  4. Check the light sealing, as it may need to be replaced.

  5. Check the depth of field preview to make sure it's smooth and functioning. The SRT-102's works on a toggle. Push the tab in, and it will preview the DoF and button remains depressed. Press it again to release it (kind of like a ball point pen).

  6. If the camera is mechanically sound (shutter is fine, film advance is smooth and not grindy, DoF preview is good) then I'd say 90$ is a great price for it, especially with that Rokkor-X f/1.4 nifty fifty. Is the glass clean?

  7. If you care about the meter, verify its function both by using/bringing a mercury replacement cell and using the "B.C." function on the bottom of the camera. Also look through the glass to see if your exposure is approximately right (use sunny 16 or an external meter to verify). Also, this is a good opportunity to check if the battery terminals are mucky and shitty.
u/NH4ClO4 · 5 pointsr/analog

Awesome!

Film development is a little intimidating at first, but very rewarding (plus it saves you a few bucks!). I’d start with black+white chemistry, that’s the simplest process and it works at room temperature.

You’ll need:

  • A developing tank (I like Patterson tanks)
  • 2 lightproof 1 liter bottles
  • Developer (HC-110 or Ilfosol might be a good choice for you, but my fav is D-76)
  • Fixer (I like Ilford Rapid Fix)
  • Foto-flo (this makes washing the film easier, but is optional)

    Scanning is only done after you’ve developed everything and got the negatives dry. You can start a holy war here discussing scanners, but if you have a light box and a DSLR (or an iPhone and a jig to align it!) you can get very good scans on the cheap. Lomography sells such a jig for phones:

    https://www.amazon.com/Lomography-Smartphone-Film-Photo-Scanner/dp/B00BZSZL64
u/av1cenna · 2 pointsr/analog

The best way to attach a strap is to get an original set of lugs and an original strap. There are also good aftermarket straps such as a number of OP/TECH straps that come with lugs.

I actually like the RZ67 and 645AF straps the best for my 1000S, and you can still get them new. I got a new-in-plastic black RZ strap, with a gold embroidered "Mamiya" logo and lugs, on eBay for ~$25.

I've never heard that there are different lug sizes out there, but that wouldn't surprise me -- Mamiya made the 1000S for like 15 years. Most of the changes happened in the first few years though, such as the shift from the "Mamiya" logo to the "Mamiya 645" logo, the introduction of the "S" accessories (updates to the originals, like the WLF S, PD Prism S, Extension tube #3 S, the 55/2.8 S and the 45/2.8 S), and the replacement of the original 105-210 with the updated one, for example. After about 1980 the system was pretty stable.

u/SC-Viper · 2 pointsr/analog

I just bought a Powder C-41 Processing Kit and I have first-time developing questions:

  1. The instructions that came with the developing kit require that the temperature of the chemicals to be at 102°F. Is there a benefit to keeping the chemicals at a certain temperature?

  2. After each chemical process, do I just pour the previous chemical back into it's respective bottle and then pour the next chemical process in?

    Any help and advice is very much appreciated! If there is also anyone who can who has experience with developing with this kit, I would love to get in touch!
u/TheOnly10EyeC · 4 pointsr/analog

Hi everyone- long time reader, first time caller.

B&W Development

I'll be using HC-110 (liquid concentrate), tap water for a quick "stop" bath, and Ilford Rapid Fixer. I bought my current liter of HC-110 concentrate back in 2017 and I've maybe used ~5% of the bottle. If I only ever use Dilution B, some quick math says it's good for a total of 64 rolls of film (35mmx36 or 120). Some Googling tells me that it'll last forever in concentrate form, even if it isn't airtight. My bottle has some dark brown spots and streaks in the air portion of it and for the time being, I've squeezed the air out.

Question 1: What do y'all think about the HC-110? It should be fine, right? I'm going to get one of those accordion bottles and transfer the concentrate I have out of the original bottle and into one of those. (Unless anyone has an alternate suggestion?) I leave all my chemistry in a fairly dark cabinet in a relatively dry part of the house, but given that I shoot so little film, I'd prefer not to have to rebuy chemistry every year if I can avoid it.

Ilford's documentation for the Ilford Rapid Fixer is that a single batch diluted to 1+4 is good for 600 rolls, but if it's stored AIRTIGHT, it should be replaced after 12mo. Knowing that 12mo will always elapse long before I get through 600 rolls and because I couldn't think of a way to keep it airtight before stumbling across those accordion bottles, I basically use it as a single shot liquid, just like developer.

Question 2: Does fixer last longer in concentrate form? Should I leave it as a concentrate and dilute as needed? Does anyone have any suggestions other than those "accordion" bottles for fixer? It's been a full calendar year since I used what I have on hand and, frankly, I just don't trust it anymore so I want to be smart about how I use the next set that I buy.

Question 3: I've heard that developer and fixer shouldn't be put down the drain. I've been collecting spent developer and "spent" fixer in additional jugs; can anyone tell me how I could go about figuring out where I can take this stuff?


Color Development

Full disclosure: I've never done color development before. BUT we got a sous vide recently and some Googling confirmed that it can be used to get chemistry up to temp reliably for C41 processing, so I want to give it a shot. Now, I see these C41 "kits" that include developer, blix, and stabilizer and they say that the developer is good for 8 rolls.

Question 4: Since it all comes in a kit, am I correct in assuming that all three fluids should be replaced after 8 rolls? Also, they specifically say 8 rolls of 35mmx36, which according to my back-of-the-envelope math, is the same as 8 rolls of 120. Do I have this right? And since its only 8 rolls, I plan on just putting this stuff in some amber 1L bottles I have laying around from back when I attempted to make Kombucha. Do y'all have any thoughts on this?

Thanks everyone!!

u/badluckjohnson · 2 pointsr/analog

Wein Cell makes a great replacement for the original mercury battery. I'll provide the link below. The battery is the only one that is accurate, and is not too costly. I don't know how long the battery lasts, I hear it usually goes for 3 months before the battery wains. The camera can also shoot fully manual, with no battery in the camera at all. It's very handy for learning to shoot film, and also if the battery runs out you're not completely out of luck. I'd highly recommend the camera, I found it for $70 on eBay in very good condition, only needed new light seals. I love my camera, definitely look into it. http://www.amazon.com/WeinCell-MRB625-Replacement-Battery-PX625/dp/B00009VQJ7

u/guberburger · 1 pointr/analog

I can’t speak to the F3, but I love my Canonet. I have an earlier model QL17 with a 45mm lens. I have only used the wein cell battery and my light meter has been very accurate. I usually point towards the ground to meter for shadows and then manually set my exposure.

Previously, I have only shot on canon DSLRs. I have really enjoyed working with a rangefinder. I did a first impressions post in the rangefinders subreddit and all of my posts on analog have been from my Canonet.

Just my 2 cents!

u/JZA_Tog · 2 pointsr/analog

All of the comments sound like good advice to me too. Standardising the processing is a good plan also - to my mind there are far more interesting parameters to experiment with. I'd also endorse looking at Adams' zone system - The Negative, it's mainly intended for sheet film, but he's an easy read and it gives a really thorough grounding in what can be achieved with film - I'll bet it improves your digital work too

u/nimajneb · 1 pointr/analog

Make sure it's not in A mode when testing. If you don't have a battery it and it's in A it won't fire the shutter. It should when in manual mode though. If it works $50 is a nice price. It's a great camera. I like mine a lot. I stopped putting a battery in mine though, it's not really worth it and the meter probably need calibration. You can get a Wein cell from Amazon though.

u/tach · 1 pointr/analog

> Ah okok, so what you mean is I am just compensating for the exposure with the ISO. Therefore it doesn’t matter in the developing right?

Yes, exactly.

> Does that also mean that I can change the ISO in a tricky situation and then set it back to box speed in a normal one?

Yes, the camera does not have a register of what the ISO was the previous frame. You can put ISO 50 for a three stop light boost (assuming a 400 speed film) in one frame, and ISO 1600 for two steps underexposure in the next frame (if you are trying to photograph a glowing lamp, for example).

> Also lastly what would you deem as a ‘tricky’ situation? Thank you so much for taken your time to answer me though!


An object directly under the sun, and the same object in an open shadow (for example, under a cloud shadow) has a three stop difference.

If the same object is under 'closed' shadow, like under the arches of your bridge, there's a 5 stop difference.

Imagine a car under the sun, and in the same frame, another car under the bridge. If the camera exposes for the sun, you will have a perfectly exposed car, and another 5 stops underexposed. Which is pitch black, and no detail.

Now, your meter averages the scene to a medium gray, so it's not as bad. A perfect average would be your sunny car 2.5 stops overexposed, and your shadow car 2.5 stops underexposed.

That can be good enough, but your scenes typically have vast expanses of 'light' sky in the sun, and smaller expanses of important detail, of a blacker tone, in the shadow. Your meter will try to average everything to a medium gray, and the sky will make it underexpose everything - especially the parts that were already in the shadow, and lacking light, and the ones you're most interested in.

So in your particular case, I'd have fooled your meter by setting an ISO some three stops lower.

All been said, it's one of the reasons small, compact cameras are nice and carryable, but ultimately can be difficult to use. A more featured camera can give your more tools to manage these kind of situations, like AE lock (you meter the ground, lock exposure, and then shoot normally), or be fully manual, letting you decide what the exposure should be.

If you want to delve deeper this is an excellent book and is not expensive. You may want to get an older used copy which deals specifically with film cameras.

u/Aksalon · 1 pointr/analog

I've been using a Gossen Digisix for years and have been happy with it. It's tiny, weighs almost nothing, has done a fine job as far as I can tell with giving accurate readings, and has survived a few falls onto concrete. I could have sworn when I bought it I got it for only ~$100, so maybe it's cheaper elsewhere?

I also used this light meter through my school, but I've never owned one. I recall not liking something about the design quite as much (no idea what since it's been years), but it worked well for me.

I have no idea if those are the best on the market for that price range, but those are the ones I've personally used.

u/woobie1196 · 1 pointr/analog

Is this the Superia you are talking about?

Seems pretty cheap; worth a shot!

Thanks for the recommendation!

u/mikeciv · 1 pointr/analog

So more about taking better photos than a film camera thing specifically. Here is a great book for learning the basics.

u/old_graag · 2 pointsr/analog

https://www.amazon.com/gp/aw/d/B000KZBRG6/ref=mp_s_a_1_11?ie=UTF8&qid=1506528168&sr=8-11&pi=AC_SX236_SY340_QL65&keywords=sekonic+light+meter one of these little guys and a lot of luck.

Edit: I'm guessing you're also asking what kind of metering I used. I used incident light up close to the plant, the sand was so bright in the midday sun that the sky came out too.

Edit 2: I mean it when I say I was lucky. This was my first serious outing with the big boxy camera and 60% of the shots were so overexposed as to be unusable.

u/cruzweb · 1 pointr/analog

You just won't be able to use the light metering. I have the same camera, and this is the battery I use. Works like a charm

http://www.amazon.com/gp/product/B00009VQJ7/ref=oh_details_o03_s00_i00

u/AlexanderFabian · 1 pointr/analog

I've been using this strap. It's pretty comfortable with the padding and for $15 it's hard to beat even though it doesn't look amazing.

I also use a tripod 75% of the time but find no issue with hand holding with speeds of 125th and up. It isn't a camera you get for quick street shooting imo.

u/keightdee · 1 pointr/analog

This little light meter is great if you're new to film. Mine has been so accurate and durable that I haven't bothered to replace it. That said, it's not great for low-light or very unusual lighting conditions.

u/not28 · 1 pointr/analog

Any suggestions for replacing an old mercury px625 battery for a Canonet QL17? So far the best I can find is a Weincell but they're expensive and I hear don't last very long.

u/MjoLniRXx · 1 pointr/analog

Right off the bat it sounds like your meter may be broken. However, there are a few things to check first before declaring that.

  1. Make sure you use the correct battery. As /u/iamthejeff_ pointed out, the OM-1 natively takes a battery that is no longer available. A weincell or a hearing aid battery will give you the proper voltage. You don't 100% need an o-ring to center the hearing aid battery. The cap should do a good job keeping it on the contact tab.

    Once you've gotten a battery of the correct voltage you can test the meter again. One thing of note is that the meter movement itself is mechanical. It will respond to the aperture ring and shutter speed movement even if the meter itself is dead. The meter only reads from around 2EV to 17EV so make sure you test this in sunlight to see if the meter is actually functional. If you're in a lit room it's possible that the meter simply isn't sensitive enough for the light in the room.

  2. If you have a regular OM-1 not the n or MD variant (though I think this MAY apply to some MD variants, I can't recall) then you can also take off the bottom plate by removing the 4 bottom screws and check the battery contact screw. On early models this was made of nylon and is easily broken. This can cause improper electrical contact and make the meter appear inoperable. If you have an n model they all used metal screws so this wouldn't be the case.

    If all of this checks out and the meter is inoperable then I'd say it's pretty safe to call your meter dead. If you have an interest in reviving the meter you can send it to John Hermanson to do a CLA on the camera. I'm pretty sure he can replace the meter cells.

    His website is here.

    However, given your circumstances that's probably too slow and too expensive.


    You can also simply use the camera without a meter. It's a mechanical camera and doesn't need the meter to take photos. You will simply need to employ an external light meter or use Sunny16 or similar exposure rules.

    If a light meter in-camera is a must then buying another OM-1 is quite cheap on eBay.
u/keithb · 3 pointsr/analog

All exposure meters are built to work with reference to a certain reflectivity—specifically 18%, hence the grey cards of that tone—with the idea that with the indicated exposure and “normal” processing of film and “normal” printing in the darkroom the area of the print corresponding to the metered area will have the same reflectivity.

For an averaging meter it's the whole scene that's measured. With a spot meter it is a small area. So, spot meter off a shadow and, without adjustment, it will come up at 18% grey and the highlights will be blown. Spot meter off a bright area and the shadows will block up.

Meter off a shadow area and then reduce the exposure by a few stops, and we can get the shadow to not quite block up and still show detail. The full explanation of this is in Ansel Adam's book The Negative, and the technique is known as the Zone System.

u/notquitenovelty · 1 pointr/analog

There are adapters. And if you don't like buying extra stuff, you could just compare it to a known good camera and compensate with the ISO dial.

u/chulajuana · 11 pointsr/analog

I actually just bought the whole kit and started to develop at home again since I am no longer able to access the college darkroom facilities.

I will link you everything I bought (which was on B&H/amazon/walmart) in USD.

FOR B/W:

  • Large Changing Bag $23.95
  • Kodak D-76 Developer $6.95
  • TF-4 Fixer $13.95
  • [Delta 1 Chemical Storage Bottle] (https://www.bhphotovideo.com/c/product/70862-REG/Delta_11140_Datatainer_Chemical_Storage_Bottle.html) $7.95
  • Two measuring cups $0.88 x2
  • Paterson Tank $26.75
  • Can opener $5.22 (but you can find these at thrift stores/good will for 50 cents or your parents might have one)
  • scissors (you have this)
  • additionally you can get a thermometer, PhotoFLO, and clips to hang your negatives.

  • Total cost: $81.81 put aside $100 for everything.
  • Cost for just chemicals: $20.90

    You can get around 20 rolls of film per 1 liter dev of D76 1:1 & TF-4 Fixer. This means you'll be spending 1 dollar per developed roll

  • ps. TF-4 Fixer is amazing. It takes 3-4 minutes to fix, no need for stop bath (use water), no need for hypo clear. Just two chemicals and you're done!

    FOR C-41 COLOR:

  • C-41 $29.95
  • 32 oz Bottles $11.98 for 2 pack (you need 3)
  • thermometer; very important to have for constant temp when developing


    Check out the side bar for how to develop B/W & C-41. Or check out youtube videos.
u/scubachris · 1 pointr/analog

This [battery adapter] (https://www.amazon.com/Battery-Adapter-Camera-Exposure-Mercury/dp/B00CTNZ9H0) will allow you to use modern batteries so your meter will work.

u/xnedski · 1 pointr/analog

The old F-1 and F-1n take a PX625 mercury battery which is no longer produced. This is the modern replacement, but it's a zinc-air battery with a shorter lifespan. There are battery adapters that allow the use of common silver batteries.

The new F-1 with a battery compartment on the front takes a 6V lithium (Duracell 28L) or alkaline (Energizer A544).

u/edwa6040 · 3 pointsr/analog

The Ansel Adams series

Camera

Negative

Print

Learn how to use the camera at your own pace then learn about processing at your own pace. And finally printing if you want to do that at your own pace.

u/microphylum · 2 pointsr/analog

There's basically a whole chapter devoted to this in the classic Ansel Adams book, The Negative.

Basically you take the meter reading and add a few stops. But I don't live in a place with snow either, so my personal experience isn't the best.

u/ratatek · 3 pointsr/analog

I'm under $6 a roll doing this:

u/dixonbotts · 1 pointr/analog

So would this battery suffice as a replacement or no?
WeinCell MRB625 Replacement Battery for PX625/PX13 https://www.amazon.com/dp/B00009VQJ7/ref=cm_sw_r_cp_api_q3BLBbJ8ED3SD