I use a bulb release for most critical exposures, unless the camera has a self timer and an accurate programmable shutter. I shortened the hose on the bulb release down to two or three feet, which makes it most convenient.
Also look for a cloth covered cable release as opposed to a plastic covered one, they're much more flexible. Be aware that a longer cable release will transmit less force to the camera. My KO needs a fair amount of force, and my 60mm won't fire with some cable releases that will fire my 90mm.
1) the cable shutter release requires a long throw and a fairly high amount of pressure. For that reason, a longer cable release, with a long loop and lots of slack is necessary; and
2) the Koni-Omega's release is on the front of the body, and unlike most 35mm cameras requires a push straight back. When the camera is on a tripod, actuating the release will have a tendency to twist the camera slightly. Some tripods are much less effective at resisting that twist.
Also the Koni-Omega has a unique tensioning pressure plate which is activated by the shutter release and yours may be out of alignment or vibrating or some such... It's a beast of a camera and one of the reasons I hate digital, for taking away the pure mechanical joy of photography...
Yeah, totally agree David (or should I call you someone). I really like the way the camera just works with rods and linkages, ect. Flat battery? Thats something that happens with the car if you leave the lights on......
Maybe it's just not the kind of camera that's going to work in this particular fashion. You know -- square peg, round hole.
The Koni-Omegas are great for long exposures - you just have to understand the differences.
“Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”
Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2