Seikosha shutter

Seikosha shutter

This remote switch, with a 2-ft. Digital Mirrorless Cameras. Digital Medium Format. Film Cameras. Large Format Lenses. Lens Accessories. Filter Accessories. Underwater Mirrorless Camera Housings. Underwater Camcorder Housings. Underwater Waterproof Cases. Underwater Lens Ports. Underwater Accessories. Cleaning Supplies.

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Hasselblad C Lenses. Zeiss Contax RF Lens. Olympus Stylus Epic. Photo History Antique Wood Cameras. Photographers Harrison Globe Lens. Join our E-Mail List. Site Search via Google. Ricoh manufactured a series of Twin Lens Reflex Cameras in the 's.

There were two basic lines, the first was a series of low cost TLR's that were made out of component pieces of stamped metal. These cameras are easily recognized by their geared focusing rings. These was sold in huge numbers by Ricoh. The Diamond series was also referred to as "Dia" and "Diacord" cameras.Discussion in ' Large Format ' started by todd l.

I have a Seikosha Rapid shutter for my old Mamiya 6 folder I know it's not large format, but the shutter is very much the same as any other LF shutter that I cannot get apart for the life of me to clean.

Either I go in from the front and there's some sort of locking ring I'm missing or I go from the back in which there are 3 screws I cannot budge. I have the rear and front lens elements off, the only left is a middle element in front of the shutter. It is in a threaded ring which may or may not unscrew I tried really hard. The rear screws, I tried everything from putting it in the oven, to nail polish remover to remove any glue to screwing in both directions.

Anyone know a good way to get into this shutter? I've heard of soaking the whole thing in water overnight, but I kind of want to avoid that. I have an repair manual of my Super Speed Graphic shutter at home, maybe I should look at that and compare.

Thanks for any help you can provide. Soaking a shutter in water sounds to me like a sure-fire way to ruin a shutter. If you want to try soaking, use some petroleum derived fluid. Maybe you should pay to have a pro work on it. The vast majority of leaf shutters are opened via the front. You probably need to make or buy a ring wrench to remove that last lens element, it's almost certainly holding the front of the shutter in place.

When the Shellite evaporates it leaves only the CRC behind. Operate the shutter many times whilst submerged. You may be surprised by the amount of rubbish that will flush out of older shutters.

Clean the elements with window cleaner and a lens cloth, not lens tissuethen refit. I feel soaking in water may be an 'old wives tale'. You must log in or sign up to reply here. Show Ignored Content. Share This Page Tweet.

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Your name or email address: Password: Forgot your password?Aires Camera Co. They differ slightly as to dates, although the essential story is the same. The Yallu had a more stylised detailed design than the Contaflex, but the relationship is obvious in the picture at right. The Yallu was well-specified and regarded as a quality product, but failed to sell, possibly because of its price or because less cumbersome 35mm models were more in vogue.

Whatever the reason, the company changed its name by mid to Aires and switched to producing 6x6 TLRs and cheaper 35mm cameras. The picture at right of a user manual actually supplied with an Airesflex Z illustrates one interesting aspect; in the heyday of TLR production aroundAires produced several camera models simultaneously with minor variations under different model names, but close enough in style to permit a single version manual.

The Aires Automat was rated one of the better Japanese TLR cameras, although it is rather crude in operation compared to the best German competition. InAires diversified and then switched fully into 35mm rangefinders. The company hit financial difficulties in the late 'fifties and closed in Sugiyama and McKeown both have some suspect dates in my opinion.

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The U models are shown aswith the Z ones from This seems improbable, since the latter adopted the Rollei-style bayonet I filter mounts, normally a later development in Japanese TLR ranges, and which Aires continued to use in its late-model Automats. I think the dates might be reversed? This indicates to me that it's a late one in the run, close to the transition to the YIII. Taking lens Aires Excelsior 75mm F3. It is particularly unusual in having an Olympus Zuiko lens, which Sugiyama records as only available on the Z model bay 1 filter mount - see below.

Aires TLRs with Olympus lenses aren't quite as sought-after by collectors as the Nikkor ones, for reasons I'm not entirely clear on. Taking lens Olympus Zuiko 75mm F3. Interestingly, both the lenses on this are misspelt - as Aires "Excellsior" - presumably an operator error.

I have some doubts about Sugiyama's dating of the U series, which I think must precede the Z's - see my notes above. Taking lens Coral AC 75mm F3. This one has the basic Showa Koki Coral lens. Taking lens is Coral 75mm f3.

To what extent the difference in lens really affects performance is a question, but Nikkor collectors prize them. Taking lens is Nikkor QC 75mm f3. Airesflex IV This is one easily identifiable camera - it has "Model IV" in tiny letters below the name on the top plate.In photographya shutter is a device that allows light to pass for a determined period, exposing photographic film or a photosensitive digital sensor to light in order to capture a permanent image of a scene.

A shutter can also be used to allow pulses of light to pass outwards, as seen in a movie projector or a signal lamp. A shutter of variable speed is used to control exposure time of the film. The shutter is constructed so that it automatically closes after a certain required time interval.

The speed of the shutter is controlled by a ring outside the camera, on which various timings are marked. Behind-the-lens shutters were used in some cameras with limited lens interchangeability. Shutters in front of the lens, sometimes simply a lens cap that is removed and replaced for the long exposures required, were used in the early days of photography.

Other mechanisms than the dilating aperture and the sliding curtains have been used; anything which exposes the film to light for a specified time will suffice. The time for which a shutter remains open exposure time, often called "shutter speed" is determined by a timing mechanism. These were originally pneumatic Compound shutter or clockworkbut since the late twentieth century are mostly electronic. The reciprocal of exposure time in seconds is often used for engraving shutter settings. This does not cause confusion in practice.


The exposure time and the effective aperture of the lens must together be such as to allow the right amount of light to reach the film or sensor. Additionally, the exposure time must be suitable to handle any motion of the subject. Usually it must be fast enough to "freeze" rapid motion, unless a controlled degree of motion blur is desired, for example to give a sensation of movement.

Most shutters have a flash synchronization switch to trigger a flashif connected. This was quite a complicated matter with mechanical shutters and flashbulbs which took an appreciable time to reach full brightness, focal-plane shutters making this even more difficult. Special flashbulbs were designed which had a prolonged burn, illuminating the scene for the whole time taken by a focal plane shutter slit to move across the film.

These problems were essentially solved for non-focal-plane shutters with the advent of electronic flash units which fire virtually instantaneously and emit a very short flash. When using a focal-plane shutter with a flash, if the shutter is set at its X-sync speed or slower the whole frame will be exposed when the flash fires otherwise only a band of the film will be exposed. Some electronic flashes can produce a longer pulse compatible with a focal-plane shutter operated at much higher shutter speeds.

The focal-plane shutter will still impart focal-plane shutter distortions to a rapidly moving subject. Cinematography uses a rotary disc shutter in movie camerasa continuously spinning disc which conceals the image with a reflex mirror during the intermittent motion between frame exposure.

The disc then spins to an open section that exposes the next frame of film while it is held by the registration pin. A focal-plane shutter is positioned just in front of the film, in the focal planeand moves an aperture across the film until the full frame has been exposed.

Focal-plane shutters are usually implemented as a pair of light-tight cloth, metal, or plastic curtains. For shutter speeds slower than a certain point known as the X-sync speed of the shutterwhich depends on the camera, one curtain of the shutter opens, and the other closes after the correct exposure time. At shutter speeds faster than the X-sync speed, the top curtain of the shutter travels across the focal plane, with the second curtain following behind, effectively moving a slit across the focal plane until each part of the film or sensor has been exposed for the correct time.

The effective exposure time can be much shorter than for central shutters, at the cost of some distortion of fast-moving subjects. Focal plane shutters have the advantage over central leaf shutters of allowing the use of interchangeable lenses without requiring a separate shutter for each lens.

Leaf shutters behind the lens also allow interchanging the lens using a single shutter. A simple leaf shutter is a type of camera shutter consisting of a mechanism with one or more pivoting metal leaves which normally does not allow light through the lens onto the film, but which when triggered opens the shutter by moving the leaves to uncover the lens for the required time to make an exposure, then shuts.Film was advanced by a rapid-throw "trigger" mechanism on the bottom, and focus was controlled by two buttons, at the 3 o'clock and 9 o'clock positions that permitted very rapid shifts of focus when needed for basketball and other such sporting events.

Flash could be fired from a "hot shoe" on the top and from a regular socket connection. The photograph above shows the external flash connection socket in the upper right corner.

The red lever selects among M, F, and X flash synchronizations. The shutter button is barely visible over the letter "h" of "Ricoh. The wired mount for an external flash unit is shown in the center of the top view of the camera. The rapid film advance lever shown in the bottom view pivots on its right end and is pulled by the extension shown folded out of the way near the lens barrel.

The bottom view also shows a reminder ring for noting the speed of the film currently in use. The Riken Ricomat lens had a focal length of 4. The Seikosha shutter had provision for "m," "x," and "l" synchronization.

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Add links. This camera-related article is a stub. You can help Wikipedia by expanding it.Mamiya TLRs Mamiya started out with a fairly low-end conventional TLR infollowing up with a number of quite classy Rollei-type models, most using its own Sekor lenses, sometimes Olympus Zuiko ones. Then in it went for the professional market in a big way, with the giant "C" series of folding models with interchangeable lens sets different series, chrome and black, all Sekor, copied in concept from the unsuccessful French Rex Reflex interchangeable-lens model of the early fiftieseventually ranging from 55mm to mm.

seikosha shutter

The three photos immediately below are from a photoshoot which Ivor Matanle organised with my cameras for his April article in Amateur Photographer.

They show four of my early pre-C-series cameras, the three earlier C's, and then the C and C, the late models. Following these pictures is the key section listing each camera individually - click on the thumbnail pic in each case to see larger versions.

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The tables and other information provided are a vital resource if you're researching these unique cameras. In MayIvor Matanle published an article on Mamiyaflexes in Amateur Photographer, in which he used my cameras for all the photos.

seikosha shutter

Mamiyaflex Junior The first of the line - fairly basic. This one is the second of three main variants, all front-geared focussing. Lens Towa Koki Neocon 75mm f3. Mamiyaflex I Continuation of the front-geared line from The Mamiyaflex I and II are superficially very similar, but this one has no underline on nameplate. Lens Setagaya Koki Sekor 75mm f3. Mamiyaflex II Very similar to Mamiyaflex I of previous year, but has sports finder, self-timer and cocking by film wind-on.

Mamiya was starting to move up-market. Lens Setagaya Sekor 75mm f3. Well made feel. Lens Olympus Zuiko 75mm f3.

seikosha shutter

Mamiyaflex Automat B Dating fromthis dates from close to the end of the period when Mamiya still preferred Olympus Zuiko lenses for their top-end model the A and used Sekors for the B.

C Series Mamiyaflexes Bellows Models The C series early ones badged "Mamiyaflex", later ones just "Mamiya" were a major departure in TLR development, using bellows for close focusing dowwn to 7" and a wide range of interchangeable paired lenses.

It is distinguished by having only one focus knob usually on the right, although I believe some left-handed ones were made. Lens here is Sekor 80mm f2. Mamiyaflex C2 The C2 was launched inimproved mainly by two focus knobs rather than one, by a removable hood and the Seikosha-S shutter on the standard lens. SHutters were also improved. Auto exposure prevention. This is the first of the long-lived series, made c Lens here Sekor 80mm f3.

Mamiya C33 The C33 series succeeded the C3 c Film-advance crank now tensioned the shutter.

seikosha shutter

Automatic parallax compensation. Lens here Sekor mm f4.

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