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  1. #41
    Ian Grant's Avatar
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    Quote Originally Posted by John Koehrer View Post
    Most 1/2 frame cameras were dropped before the era of mini labs. A couple of oddballs popped up for a while and they too, went away.
    It was the days of roll head printers that killed off half frame, the format was far more popular in Japan itself than the rest of the world and it needs to be remembered that equipment tended to be made in local markets. Durst manufactured their rollhead and higher lab end equipment in the UK (Durst Italy had bought Pavelle based in Church Road, Epsom). A friend who runs a lab used to be a service technician for Durst if I see him I'll ask what cappabilities there were with Durts roll head printers fo half frame, I do remember taht few labs would print from it here. So it's possible that Jpanese manufacturers of printers were more comitted to half frame.

    Ian

  2. #42
    Thomas Bertilsson's Avatar
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    Quote Originally Posted by Ian Grant View Post
    Well I suppose 645 is kind of half -frame as well Thomas compared to a 6x9 My little Zeiss Ikonta 531 is certainly very much smaller than my Ensign Selfix 820 and I'm looking forward to switching the lens cells so that it'll perform decently once again

    Ian
    I look forward to your results, Ian.

    You should get a Minox and go to town. Quarter frame, or whatever they are...
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  3. #43

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    I love half-frames and it's sad that there aren't that many cameras for it.
    I even modified a Canon EOS 30 to use only half the regular frame... just added a mask from thin black cardboard that leaves 18mm in the middle of the full frame. I mark the film when loading it, so I can first expose the even frames, rewind the film, load it again (with 18mm or 4 perforations offset) and then expose the odd frames. With a decent lens and modern film, the image quality is pretty good, only with a little coarser grain, which I prefer anyway. The biggest difficulty is imagining the new frame size in the viewfinder, but adding marks on the ground glass wouldn't be a big problem.
    For better quality, I can just take out the mask and everything's back to normal. This works for almost every 35mm camera. I'd still love to have a Pen-F, but those are affordable for me at the moment.

  4. #44
    PDH
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    I worked part time at mini lab in the late 90s and early 2000s, we started with a Fuji analog printer which came with a 1/2 frame carrier, when the owner upgrader to a Frontier, the 1/2 frame carrier is very expensive and the few 1/2 frames clients did warrent the expense. Prints were good up to 5X7, 8X10 was ok, but 11X14 not so much. These were color mostly ISO 400, a good quility low speed would have gone a long way to improve quility.

  5. #45

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    Yes they were cute little cameras, but not all ideas are good ones. I can't say I ever saw a 1/2 frame print that wasn't a lot grainier than I like. For me it's like running 35mm film through a 120 camera, why bother?

    Mike

  6. #46
    Thomas Bertilsson's Avatar
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    Quote Originally Posted by mikebarger View Post
    Yes they were cute little cameras, but not all ideas are good ones. I can't say I ever saw a 1/2 frame print that wasn't a lot grainier than I like. For me it's like running 35mm film through a 120 camera, why bother?

    Mike
    There are those who like grain. And those who don't care.
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  7. #47
    John Austin's Avatar
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    As I have already said I like the idea of single frame 35mm, and without wanting to digress too far, question the idea of sharpness as being the final determinant - My ideas are to use SF cameras in a fun way, with Ultrafine 35mm film being very cheap in bulk loads there is no reason not to go for it and have fun

    The aspect of grain and sharpness can be looked at from the other direction, that is to use a grainy film and print large - If I find one, or preferably a working Minox 35 (24x36 format, before someone makes a silly comment), I may well try it with some of my frozen stock of HIE (Kodak High Speed Infra Red) - If you want very high quality don't use 35mm at all and go for 120 at least and preferably LF

    One of my favourite pix is on HIE and looks best when enlarged to 24x36"

    Click image for larger version. 

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    Another way to work with single frame may be to use a whole roll of film in a fast and loose mode and load the processed film into a 10x8" enlarger and print the whole lot as a single 32x40" print - I have previously done this with an early morning finishing of a roll of BW 16mm before the roll went off to the lab' - A way I may play at with a single frame camera if I get one is to consciously make diptychs to be printed together in a standard 35mm enlarger - Pre-planning of pictures for the brain to keep old-timers-disease at bay

    Click image for larger version. 

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    This is a scan of a test print, to show the whole print at the scale possible on a computer screen would show very little
    Last edited by John Austin; 04-03-2012 at 07:27 PM. Click to view previous post history.

  8. #48

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    With TriX so bad, they did not have to bother to cut a frame in half to get grainy photographs.

  9. #49

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    Quote Originally Posted by Oren Grad View Post
    It gets better: at this very moment, Camera West has a half frame M4-P in stock, for a mere $22,995. Save those pennies...
    thanks oren!
    what a beautiful piece of art that is!
    but 3 million pennies is quite a few more than i can even dream about !

    hard to believe they destroyed a bunch of these M4-Ps ...

    thanks for posting this !
    john
    silver magnets, trickle tanks sold
    artwork often times sold for charity
    PM me for details

  10. #50
    Roger Cole's Avatar
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    Quote Originally Posted by wiltw View Post
    ^^^ Considering the fact that the smaller format APS film cartridge came out after emulsions had more chance to improve (1990s), yet the public turned its back of the APS format, just as it turned its back on the 110 format in the 1970's, the quality was not sufficient.
    APS did not fail due to lack of quality. It failed because the film was more expensive than 35mm, the processing using the special lab machines dramatically more expensive, and by the time it was on the market 35mm cameras were available with many of the same features for much lower film and processing costs.



 

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