TLR Review: The Unique Yashica 635
Yashica 635
by Kar Yan Mak
In 1958, Yashica manufactured a one and only dual format TLR, the Yashica 635. It takes 6×6 on 120 rollfilm and 24x36mm on 35mm film (with a special adapter kit). It has a Copal MVX shutter and a Yashikor 80mm f/3.5 lens. The 635 looks similar to the Yashica D, except for the additional knobs for 35mm film operation.
The 35mm adapter kit consists of six items: 35mm sportsfinder mask, mask assembly, pressure plate, spool, adapter ring, and supporter shaft. For 35mm framing, a mask goes on the sportsfinder and red line marks are shown in the viewfinder. There are seperate frame counters for 120 and 35mm films. The counter for 120 film is above the focusing knob and for 35mm, it surrounds the 35mm film advancing knob (where marked “35mm Film Only”). I’ve heard mixed opinions about the 35mm kit. Some say it’s a waste of time due to the mediocre quality and the all vertical shots but some are paying way over $40 for the kit only. MY opinion is, how many cameras out there have dual formats? I will cherish this camera. I have yet to find out the results from 35mm film, if I do I’ll keep you posted.
I’ve heard that the 635 also came with a version that has a Yashinon lens (see below). It’s supposedly superior to the Yashikor due to the 3-element glass versus the Yashinon’s 4-element. Many people are going after the Yashica 124G, which I also happen to own, because of the Yashinon lens and a couple of interesting features. The 124G is the last of the Yashica TLR line. You ask, how do the 124G and 635 compare? For starters, I doubt you could tell the difference between a 635 and 124G’s quality. The pluses of a 124G are the crank handle advance which automatically charges the shutter for the next frame, the built-in coupled meter, and being able to use a standard cable release. The 635 requires a special adapter (called the Leica nipple) for cable releases.
 |
| Yashica-635 with 35mm kitimage by Yi-tao “Timo” Lee (Image rights)
Here is a nice set on flickr produced using yashica 635 http://www.flickr.com/photos/slimjim/sets/72157622962737783/with/4234548674/                                                                         |
How to clean antique/ vintage camera
For the retro photographer, stumbling upon a vintage camera at a garage sale or thrift store is like finding buried treasure. The old mechanical cameras that are so prevalent at swap meets and secondhand stores are hailed for their reliability, even after decades of use and abuse. Even the cosmetic issues that plague old cameras–grimy leatherette, dusty lenses and sticky mechanisms–are easily resolved with a few household products and a bit of gentle cleaning.
- 1
Blow away surface dust from the entire camera. Point the tip of the air blower away from the camera to avoid blowing dust into the body.
- 2
Remove the lens from the camera and blow away dust from the barrel and optics. Moisten a lens tissue with a small amount of cleaning solution and swab the front and rear glass with a gentle circular motion. Wipe the lens barrel clean with a microfiber cloth.
-
3
Hold the air blower 4 inches from the inside of the camera body and blow away any internal dust. If you are cleaning a single-lens-reflex (SLR) camera, blow the retractable mirror and focusing screen clean.
- 4
Dampen a microfiber cloth with warm water. Wipe the entire camera body clean, including the viewfinder window, and allow it to air-dry. Use cotton swabs to clean in between grooves and crevices. For tough grime or a sticky leatherette, douse the cloth with a small amount of solvent, such as mineral spirits or isopropyl alcohol. Rub the dirty area with a gentle circular motion.
- 5
Place the camera and lens on a warm windowsill for several hours to loosen sticky mechanisms, such as a focus ring or wind lever. Exercise the camera’s shutter and wind lever in addition to the lens’s aperture and focus rings to redistribute the lubricant.
- 6
Reattach any frayed or loose pieces of the leatherette to the camera body with a small drop of white glue. Allow the glue to dry overnight before use.
Tips & Warnings
-
Ensure that no flammable items are near the lens while it is in the windowsill. Depending on how the lens is positioned, its optics can focus sun rays and cause a fire hazard.
-
Avoid cleaning your camera with harsh chemicals, rich soaps or degreasers. These will seep into the camera body and disturb delicate mechanisms.
Read more: How to Clean Old Cameras | eHow.com http://www.ehow.com/how_8180995_clean-old-cameras.html#ixzz22xUxPkSP
Sources of Photographic Lighting
Source
Ambient
Ambient light is existing natural or artifi cial light present in any environment. Ambient light can be subdivided into four major categories:
~ Daylight
~ Tungsten
~ Fluorescent
~ Firelight.
Daylight
Daylight is a mixture of sunlight and skylight. Sunlight is the dominant or main light. It is warm in colour and creates highlights and shadows. Skylight is the secondary light. It is cool in colour and fi lls the entire scene with soft diffused light. Without the action of skylight, shadows would be black and detail would not be visible. Most colour fi lms are calibrated to daylight at noon (5500K). When images are recorded at this time of the day the colours and tones reproduce with neutral values, i.e. neither warm nor cool.
Tungsten
A common type of electric light such as household bulbs/globes and photographic lamps. A tungsten element heats up and emits light. Tungsten light produces very warm tones when used as the primary light source with daylight fi lm. Underexposure occurs due to the lack of blue light in the spectrum emitted. The orange colour cast can be corrected with a blue fi lter if neutral tones are desired; however, correct colour can be achieved without fi ltration if used with tungsten fi lm. Digital cameras neutralise colour casts introduced by light sources other than daylight by adjustment of the white balance to the dominant light source or by capturing as RAW format and correcting in post production.
Fluorescent
Phosphors inside fl uorescent tubes radiate light after fi rst absorbing ultraviolet light from mercury vapour emission. The resulting light produces a strong green cast not apparent to the human vision. If used as a primary light source the results are often unacceptable due to the broad fl at light and the strong colour cast. Underexposure is again experienced when using this light source and the cast can be diffi cult to correct. Fluorescent light fl ickers and causes uneven exposure with
focal plane shutters. To avoid this shutter speeds slower than 1/30 second should be used.
Firelight
Light from naked fl ames can be very low in intensity. With very long exposures it can be used to create atmosphere and mood with its rich red tones.
TLRgraphy 