That is interesting Donald. In my 25 years wandering Minolta 16 land I personally have never seen a tripod/cable release combo for the 16II. I’ve custom made a couple that attach to the tripod clamp, but never come across a factory setup.From time to time you see a Minolta "clamp" that fits the 16 and 16II (may be different clamps, I only have one) -- this provides a tripod socket as well as cable release mount. It's metal, so it's thin and compact -- a 3D printed part would have to be bulkier not to be too fragile.
Then again, with 3D printing, you could make a similar add-on for a Kiev 30 (which also has B, plus a focusing lens -- the 303 doesn't have B or PC sync).
I haven't looked closely at the wall thickness on the Minolta cartridge; it may or may not be thick enough to work with black PLA without additional light masking.
A vintage minolta cassette film chamber has a thickness of ~1.1mm and ~0.5mm around the cap area. The 3D printed, unfelted cassettes I got from FPP are marginally beefier at ~1.6mm and ~0.8mm. Otherwise light-tight, those tolerances leave very little room for felt in the mouths of the film chambers to squelch light leaks and potential scratches from the chamber lip's (rather prominent at this scale) ridge artifacts. I've used repurposed felt from a 35mm canister so maybe there are thinner options out there.
View attachment 279661
MG-s, Double-X, HC-110
I had no idea those Mamiya 16s were so small.16 mm is proving to be one of my craftsier photo projects: I found a Mamiya 16 Super II at an attractive price because it was sold "For parts / as-is". Fortunately, despite it's diminutive size, it wasn't too hard to service. Mamiya applied grease with a generous hand, but after 60 years, it was in dire need of a freshening up. Shutter speed escapement was bone-dry, focusing helicoid was frozen, and link to the focus control was bent, but the remedies were straightforward.
I 3D-printed a film slitter, and am currently in the process of printing film cassettes. I needed to slightly modify the latter as the designer had assumed single-spindle only, but the Super has a spindle on the supply side of the cassette too: It simply twirls a visual indicator which lets you know that film is advancing properly. The feature was removed from newer Mamiya-16 cameras for good reason: It makes loading the cassette into the camera a lot trickier! It took me awhile but I think I figured out a simple technique which lets me drop the cassette into place without undue frustration or film-wastage: Start with the supply spindle first, lining up the mating parts hand if necessary, and once that drops into place deal with the take-up spindle, which is lots easier. But it's no wonder that Mamiya went through a number of iterations of their film cassettes!
View attachment 279618
I thought I'd take a group photo of the slitter and film cassettes once I've completed them (one more cassette to go). Meanwhile, here's the Thingiverse page:I had no idea those Mamiya 16s were so small.
Got a picture of your printed slitter? I'm kinda looking for one.
I thought I'd take a group photo of the slitter and film cassettes once I've completed them (one more cassette to go). Meanwhile, here's the Thingiverse page:
https://www.thingiverse.com/thing:2103954
No real documentation to speak of, and unless double-edged shaving razor blades fit that bolt pattern, I have no idea what kind of blades the designer had in mind, and the only thing I found at my (USA) hardware store which came close were Stanley carpet blades #11-525 snapped in half lengthwise. Larger bolts are M6 size, and smaller one for hinge is M2.5.
Most ingenious film slitter that I've seen to date was made from nothing more than a matchbox and a couple of hobby knife blades! Wish I could remember where I saw that, think it was old-school Soviet resourcefulness.
3D printing is done. I used a small entry-level printer by Monoprice (Mini Delta), given to me as a secondhand gift a couple of years ago. I think the designer of the cassettes didn't anticipate using any light trap material at all, as the opening is only about 1 mm - too thick for light trap material recycled from an old Ilford 35mm cassette or craft-store felt, but still wide enough to admit stray light. I'll treat the cassettes as light-leaky for now (16 mm film scraps used for this photo).
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Kodak Fling single use/disposable camera reloaded with Fuji Superia.
Surprisingly good, all things considered. Best use (of course) in nice bright conditions as only one shutter speed/aperture. Optimal sharpness seems to be about 12 ft, but decent results from 6 ft to about 40 ft... Main cause of lack of sharpness is camera shake, as this thing is awkward to hold, the shutter button is in an awkward position, and the action is awkwardly long and stiff. Thassa awful lotta awkward!
But if you hold it steady, not bad especially seeing the camera looks like a couple of pieces of lego stuck together.
I got 10 Kodak Fling cameras for sale in the classified in my film ad. The 110 film in them is useless (I developed one) but the cameras can be reloaded and actually take decent pics in bright light!
I got 10 Kodak Fling cameras for sale in the classified in my film ad. The 110 film in them is useless (I developed one) but the cameras can be reloaded and actually take decent pics in bright light, as seen above.
But the film cartridges can be reloaded by those who know how, so if anyone needs 10 110 film cartridges to reload, with the bonus of coming with 10 cameras..
What do you like about Vision 3? I hadn't thought to try that or any other motion-picture film for stills.Some cameras don't like the Vision3 stocks. Too thick.
What do you like about Vision 3? I hadn't thought to try that or any other motion-picture film for stills.
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