Shuttle launches from Space Launch Complex-6 at Vandenberg Air Force Base could have not only launched reconnaissance satellites, but also carried out reconnaissance missions themselves. US Air Force Black ops and the shuttle part 2: Although not exactly sleepy little towns, nobody would mistake them for bustling communities: Not only would the base have gained a lot of work processing shuttles and the sophisticated payloads that used them, but tens of thousands of tourists would have flooded into the area to watch the launches, giving a shot of adrenaline to the local economies each time. Many of the launches would have been classified, but notices would have gone out that they were occurring, and tourists would have shown up. That certainly would have happened if ZEUS had ever appeared.
The telescope, complete with the original wood packing crates for the optical tube assembly and German Mount Head, arrived on 18 August from a collector in Belgium. After nearly four weeks of work we completed our illustrated article explaining these telescopes, and now this 4 inch telescope joins our other Unitron telescopes at our on-line virtual museum.
The article Unitron Model – 4. Click on image to see enlarged view 64, bytes In time we hope to add some optional accessories for the 4 inch telescope including the Unitron mechanical clock drive, a weight-driven motor based on the mechanics of a clock but geared to rotate the telescope Right Ascension axis about once every 24 hours. We already have some offers of help to add some other hard-to-find accessories for this telescope, these will be acquired over time for our exhibits.
The camera back opens down instead of out.
Now members of the public could load their own cameras with no risk of fogging the film. The Kodapak cartridge featured automatic film-speed sensing, a feature possibly first seen on the Agfa Rapid system, and now common-place, with the introduction of DX-coding of 35mm cassettes. The concept was an immediate success, with more than 50 million Instamatic Cameras produced by Kodak produced these cameras until in Europe with the X, until in the USA, the last model there being the X F, according to Kodak’s on-line Customer Service Pamphlet AA , though it would appear that Instamatic cameras were still being produced by Kodak in Brazil in the mid ‘s.
The term Instamatic went into general usage to describe any easy-to-use basic camera, which rather detracts from a range that included an interchangeable-lens SLR, several range-finder cameras, and many with top-quality lenses from the likes of Rodenstock and Schneider-Kreuznach, as well as Kodak’s own renowned Ektar. Whilst the bulk of production was no doubt from Rochester in the USA, and Germany and England in Europe, cameras were also manufactured or assembled in Spain, Brazil, Argentina, Australia and Canada, mostly for domestic sales.
In Brazil, the Kodak Instamatic was apparently considered to be something of a luxury item, consequently a local manufacturer came up with the Tekinha Camaras, a minimalist option. Many cartridge cameras have a four-character “camerosity” date-code, usually inside the film compartment under the film gate.
The Camera Site
WonderHowTo When the camera has trouble auto focusing the first step to take is to clean the contacts on the lens. If it continues then the contacts on the camera may need cleaning. When you clean the contacts in the camera you have to be extremely careful because they are inside the shutter chamber and there are a lot of small parts that can be easily broken in there. Face the camera down at all times during the cleaning procedure. Take the battery out of the camera and remove the lens.
Put the rear cap on the lens to keep it clean and the body cap on the camera.
A Retinette IA with Vero shutter, my
They had simpler lenses, generally three-element Schneider Reomars featuring front-cell focussing. The first four Retinettes were folding Retinettes, all following models were non-folding or rigid Retinettes. Most models were very popular and produced in large numbers, at least one million Retinettes were made. Their abundance makes them a common sight on the second-hand market and they are amongst the best value for money if one is looking for a camera to actually use. Only the French versions still demand high prices.
Retinette type The Retinette type from was the first Retinette model and rather unusual as it is the only folding Retina or Retinette of which the door flips downwards instead of sideways. The trim is also unusual, in particular the corrugated top housing. Also the lens base is corrugated, this was only seen again in the Retina and Retinette All in all a very interesting start to the Retinette series.
Retinette II type The Kodak Retinette II type followed not long after and was a much more traditional looking model, similar to the Retina type but with a black top housing. However, it did have front cell focusing, not helical focussing like the Retinas, and a distinct corrugated lens board.
Essilor Acquires Signet Armorlite, Exclusive Manufacturer Of KODAK Lenses
I was experimenting with some stuff called Kodak Linagraph paper today. I really can’t find much about it on the web, but it seems rather wacky Paper negatives My favourite quick-and-cheerful method for testing new equipment, especially lenses, is to use paper instead of film in the camera. This can be done with any size camera – you need to cut photographic paper to size and perhaps tape it in place inside the camera.
Of course this has to be done in the dark, but the advantage of paper is that everything can be done with an orange safelight, so there’s no fiddling in the dark. For large format cameras it’s especially easy to load film holders with paper.
Four things effect the depth of field in your photographs.
The camera body is made of mahogany wood and has the shape of a flat box somewhat like a brick with the dimensions of x 45 x 85 mm. The camera weighs grams. It accepts a maximun of 20 m of perforated 35 mm film, enough for apprximately exposures. The format is 24 x 60 mm. Courtesy for text and picture Mr. Made in Denmark Ambrosio Torino 35 mm camera – The Ambrosio camera would not hold much interest if it was probably the first camera to use 35 mm film, the body is cast aluminium with an oxidized silver plated brass cover.
The lens is removable. It is a 50 mm Zeiss-Kraus anastigmat with an iris diaphragm. The guillotine shutter is tensioned on the front and has only one speed and B. The camera is designed for frames 45mm x 30mm on unperforated cine film with a sensor counter. At that time the makers of film left it to the user to perforate his own film according to his own preference, Lumiere or Edison.
A very original mechanism monitors the progress of the film.
‘Film Dating’ online quiz offers film recommendations based on your tastes
The quality of the lens means that this should probably be considered as a Special, but this form with shutter surround or Index Plate with number Type S in Jay Kay’s identification scheme  , was normally fitted with the basic meniscus lens. It is conceivable that the body was part of a batch sent to Kodak Ltd in Great Britain to be fitted with lenses by them or provided to other suppliers to fit their own lenses.
More likely perhaps is that this was an upgrade to the standard camera carried out by Beck. The advert shown on the left is taken from the BJPA p58 and shows the price of fitting the Neostigmar to various Kodak cameras. Last on the list is the cost of fitting the f6. The introductory page to the Beck advertisements in the BJPA states “We specialise in the fitting of lenses to customer’s own cameras, and have designed special lenses for vest pocket and other Kodak models”.
Dwayne’s Photo in Parsons, Kansas.
Voigtlander – Vitessa Introduction The Vitessa is a 35 mm. The original Vitessa was a fixed lens folding camera, the final version of which was known as the Vitessa L. There was also a rigid body version with interchangeable lenses which appeared in and was known as the Vitessa T. The first Vitessa design had the back attached to the body by a lanyard and manual adjustment of the viewfinder for parallax compensation.
After the camera was supplied with a completely removable back and automatic parallax compensation. From there were minor design changes which added a fixed accessory shoe, strap eyelets and a relocation of the synchronisation socket from an internal mount on the lens panel, to an external mounting on the front door panel. In a non-coupled photo-electric exposure meter was added to produced the Vitessa II later changed to Vitessa L.
Kodak Lens by Dr. Tavel
Shamir Autograph variable Originally Posted by Craig I have been using free form lenses for many years with great success and wanted to see if a patient could tell the difference between a Unique in trivex and an Autograph II in trivex transitions. History has taught us that people see better out of free form and it is enhanced by using trivex.
Upon dispensing she was asked a number of questions about her visual experience wearing either lens; she loved them both and could not really tell the difference. We spent a good 10 minutes trying to find any apsects of either product that were an advantage or noticeable to the wearer. She thought both products gave her the best vision she has ever had and either progressive design gave her a similiar feel and she could not tell the difference in any area.
I had done the same thing years ago with the Pentax Perfas and a Zeiss Individual; the patient response was the same, either pair gave him the best vision he has ever had and he could not pick one design over another.
Is the lens still a true 85mm on both?
September Kodachrome II – Film for color slides Kodachrome was the first color film that used a subtractive color method to be successfully mass-marketed. Previous materials, such as Autochrome and Dufaycolor , had used the additive screenplate methods. Until its discontinuation, Kodachrome was the oldest surviving brand of color film. Kodachrome is appreciated in the archival and professional market for its dark-storage longevity. Copies of the film for sale to the public were also produced using Kodachrome.
Using the subtractive method, these disadvantages could be avoided. It required two glass plate negatives , one made using a panchromatic emulsion and a red filter , the other made using an emulsion insensitive to red light. The two plates could be exposed as a “bipack” sandwiched emulsion to emulsion, with a very thin red filter layer between , which eliminated the need for multiple exposures or a special color camera. After development, the silver images were bleached out with chemistry that hardened the bleached portions of the gelatin.
Using dyes which were absorbed only by the unhardened gelatin, the negative that recorded the blue and green light was dyed red-orange and the red-exposed negative was dyed blue-green. The result was a pair of positive dye images. The plates were then assembled emulsion to emulsion, producing a transparency that was capable of surprisingly good for a two-color process color rendition of skin tones in portraits. Capstaff’s Kodachrome was made commercially available in Please help improve this article by adding citations to reliable sources.