Ciro-flex TLR Camera Repair/ restoration
The Ciro-flex is an American made TLR manufactured during the 1940s and ’50s. The Ciro camera company was purchased by Graflex and the Ciro-flex continued to be manufactured as the Graflex 22. Altogether, there were six different Ciro-flex models, A through F. The model A has a slightly different focusing mechanism, and is not quite as common. The B and C models have a non-synchronized shutter while the D, E, and F models have flash synchronization. The B and D models use the simple Alphax shutter while the C, E, and F models use the high-quality Rapax shutter. Early versions of these cameras have a parallax correction frame under the ground glass. In later models, the frame was replaced with a fresnel lens in order to help brighten the focussing screen. Overall, these are no-frills cameras with only a simple knob winder, no double exposure prevention or automatic film counter. However, they are sturdy cameras with good lenses and shutters. The model F has an excellent four-element lens that is quite sharp. All of these cameras are capable of taking very nice pictures and are still very usable for low-budget medium format photography.
Unfortunately, you will almost always find these cameras in terrible condition. The lenses, reflex mirror and ground glass are usually hazy and the shutter sticky or inoperative. In addition, the steel body will rust anywhere the paint has chipped off, and, often these cameras look like they are well beyond repair. However, as long as the lens isn’t damaged from fungus, a Ciro-flex can almost always be brought back to life. The rust on the body doesn’t really affect the performance of the camera; it just looks bad. These are easy cameras to work on and make an excellent first project if you are interested in learing how to repair a TLR. In addition, these cameras can be bought for very little money (often $20-30) and so if you are willing to put in a little work, you can have a nice medium-format camera for a very low price.
In this article, I show disassembly of the focus mechanism. Usually, this isn’t necessary. The focus cam can be cleaned using cotton swabs dampened with cigartte lighter fluid by reaching in from the back of the camera. On this camera, there was some dried out grease and I needed to soak the parts in solvent to get everything clean. As you can see, there isn’t much else to disassemble on the Ciro-flex.
A very good book on the Ciro-flex camera, and TLR usage in general, is PHOTOGRAPHY with the Ciro-flex by Bruce Downes. I have uploaded a 300dpi scan of the information in a Ciro-flex brochure.This describes the features of models B through F and shows the original prices.
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To clean the focusing screen and/or reflex mirror, remove the four screws around the top cover and lift the cover off.
NOTE: on early versions of the Ciro-flex, with the parallax correction frame, you will not be able to lift the viewing hood off until the frame’s connecting lever is disconnected. In order to disconnect the lever, you need to remove the front panel, rotate the focus to the shortest distance and then remove the screw located on the right side of the lens standard. |
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The focusing screen and fresnel lens are held in place by two spring clips. Turn the hood over and remove the two clips. You will need to then slightly spread the frame to allow the screen and lens to fall out.
There are also four tabs on the frame that may be bent inward slightly to help hold everything in place. On cameras with the parallax frame, these tabs hold the frame together. Bend the tabs straight to allow the frame to separate. |
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With the hood off, you can reach the rear element of the viewing lens for cleaning. However, these lenses seem to get a coating of haze on the inner surfaces, and may need to be disassembled to get them clean. In addition, if you need to disassemble the focus, you will need to remove this lens in order to get the front panel off.
To remove the viewing lens, loosen the retaining ring at the base of the lens, then unscrew the lens assembly from the body. This ring is often tight. You can use a soft-jaw plier to remove it. It is easier to remove this lens after the shutter is removed from the camera. If you are going to remove the shutter, wait until the shutter has been removed before removing the viewing lens. The outer lens elements are held in place by screw-in retaining rings that have no slots for a spanner. Use a rubber furniture leg cup to unscrew the rings. These rings may be stuck from oxidation. A small amount of solvent, such as alcohol or laquer thinner, will help loosen the rings. To adjust the focus on the viewing lens, just loosen the retaining ring and rotate the lens until the image on the focusing screen matches the taking lens focus. Retighten the retaining ring when done. |
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The shutter is held in place by a retaining ring accessible through the back. On models without a flash connector, just unscrew the retaining ring and the shutter will lift out.
On models with flash, you need to disconnect the flash wiring before removing the shutter. Open the back and unsolder the flash connector you find there. There is another flash wire under the front panel that will need to be unsoldered as well. Remove the front panel to gain access to the second wire. |
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To remove the front panel, first peel off the leatherette from the front. The leatherette is made of paper and you should not use any liquid to try and loosen the glue. It is quite common for the leatherette to disintegrate when you try to remove it, so take that into consideration before deciding the remove the front panel. Remove the four screws and the front panel can then be lifted off. On the model F, you may need to loosen the shutter retaining ring slightly in order to work the panel around the shutter.
On flash models, you can now reach the body connecting wire to unsolder it. |
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To remove the focus for cleaning, first remove the front cover, shutter and viewing lens. Unscrew the hex nut and the lens mounting plate will lift off. |
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The next panel rarely needs to be removed. You can remove it for cleaning if needed, or if you want to remove all the old leatherette. Remove the four screws and the plate will lift off. There is a felt washer underneath the panel that goes around the hole that the guide post for the lens plate moves in. |
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The focus bracket is held to the body with four screws located underneath the leatherette. You need to cut into the leatherette to expose the screws and then remove them. It usually isn’t necessary to remove this bracket since it can be cleaned once the forcus shaft is pulled out from the back. (See next picture.) However, if you need to remove the focus cam, this bracket has to come out first.
In the previous picture, note the four holes for the screws that hold the focus bracket. These screws can be removed without removing this panel. |
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Remove the screw in the end of the focus shaft and lift the guide and shaft out.
Note that the guide that sits against the focus cam is not exactly perpendicular to the camera body. It must be positioned so that the guide does not bind against the cam when the cam is rotated to the short focus position. This is usually when the guide is at an angle of about five degrees to the camera body. To reinstall the focus shaft, insert the shaft and guide but don’t tighten the hex nut on the front panel. Rotate the focus to the short position and allow the guide to rotate to where it doesn’t bind. Hold the guide in place while tightening the hex nut on the front.
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To remove the focus cam, loosen the screw in the center of the focus knob and lift the knob off. The cam can be removed from the inside of the camera.
The focus cam needs considerable lubrication on both the inside and outside surfaces. To adjust the focus, set the focus so that the image at the film plane is sharp at infinity, then loosen the screw in the middle of the knob and turn the knob against the infinity stop. |
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This picture shows the parts of the focus shaft and guide. There is a spring tensioner in the guide that puts pressure on the guide to prevent slap-back of the focus.
Lightly lubricate the shaft where it goes through the mounting bracket |
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To remove the wind knob, push out the tapered pin in the spool shaft and then pull the collar off, then reach in and pull the coiled spring out.. The knob and shaft come out together. There is a spring inside the knob that prevents the winder from being turned backwards. One end of this spring is bent so that it fits into the slot in the tube the winder goes through.
You will need to put a liberal coating of grease on the inside of the knob. This will give the knob a nice smooth feel and will also stop the winder from squeaking. |
Notes
If you need to remove the back, push out the steel rod in the hinge and the back will separate.
The two film guide rollers may have rust on them and need to be removed for cleaning. Slightly bend the bracket that holds the ends of rollers and then pop the rollers out.
Mamiya TLR Restoration/ Repair Lessons
For the older photographers in our forum, that use or plan to use Mamiya TLR cameras and lenses. Here are my lessons learned from repairing a couple of used “chrome” Mamiya TLR lenses. The usual disclaimer, use the lessons learned at your own risk.
Zero, before you start handling the lenses wash your hands. Use a clean white towel on a well lighted table as your work area. Should a part or screw fall out it will not go far and can be seen.
First, do not remove the lens from the back plane frame, there is no need to access the lens from that side. Front and rear optical assemblies unscrew. There is no need to use a spanner wrench on the retaining clamps that secure the lens to the supporting frame.
Second, if the shutter will not cock the chances are a single screw has come loose within the shutter assembly that can be restored. This screw is located at the two O’clock position viewing the exposed taking lens shutter assembly straight on with upper rings and cam plate removed, viewing lens at 12 o’clock.
Third, if the shutter cocks but does not operate the blades when released a different screw is loose or has fallen out, that can be restored. This is located just south of the release lever mechanism. Check all screws for tightness.
Fourth, never use oil on any part of the shutter mechanism or ring assemblies or aperture assemblies.
Fifth, if the aperture blades mechanism is stuck or sticky, this can be cured using small amounts of 91% isopropyl rubbing alcohol applied with a damp Q-tip. To access the aperture internal assembly, This will require unscrewing the rear optical assembly. Work the mechanism manually using the aperture selector arm, do not touch the blades with your fingers and use another Q-tip to remove excess and any grime. Do not use oil. Be sure to remove any lint left behind by the Q-tips prior to reassembly.
Sixth, if the shutter ring is sticky or the clicks indents are not “sharp”, disassemble the two rings and clean them with isopropyl alcohol. Slightly bend the metal finger on the cam plate that engages the indents on the shutter selection ring.
Seventh, screws are tiny, and can be lost in a flash. For most repairs I have done only one screw has to be removed.
Eighth, acquire the proper tools, i.e. jewelers screwdrivers, needle nose tweezers, etc. A spanner wrench designed for lenses is required (see lesson 10) to remove the optical retaining rings that hold the individual elements. If you do this be sure to note on paper which side is up, in or out facing. Do not rely on your memory.
Ninth, use ROR per the instructions to clean the optics, and do not use canned air.
Tenth, use rubbing alcohol mentioned above with your finger tips (no fingernails, just skin) in a circular motion to remove fungus clouds from optical surfaces. It may require several times to completely remove the fungus. Do not allow excess to drip anywhere. Clean with a lint free, chemical free (no anti static chemicals used in the dryer), white cotton t-shirt. Then use ROR with a t-shirt to remove any residues.
So far, I have restored two Mamiya TLR chrome shutter lenses and both are working fine now. They were a lost cause when I started. They are simple in design and easy to restore.
If you have any second thoughts I recommend taking your lens to a repair facility. But if you are a risk taker and have some common mechanical sense, my lessons learned may prove useful. Search the web for other information sources, and photographs of the lens assembly.
Good luck,
d2f
Why I love Mamiya C220?
I absolutely love my Mamiya C220 medium format film camera. This camera was made between 1968 and 1982 and still takes professional quality images almost a half century later. Now that is amazing! The fact that the camera is still relevant is a testament to the survivability and pervasiveness of medium format film and film cameras in general. The Mamiya C220 is a twin lens reflex (TLR) type of camera that takes interchangeable lenses. The C220f is the next generation of this camera and was manufactured from 1982 to 1995. I bought my C220 with a 55mm lens because of quality of the optics and it is suited for my type of wide angle photography. I also love this lens because I can focus as close as 9″ which affords me some incredible angles and perspectives not normally possible. If you want to try medium format film then this is an inexpensive way to explore this medium. On a side note the black lenses are newer than the chrome ones in case you are interested.
Top 3 Reasons Why I Love the Mamiya C220 TLR
- The C220 may be from the 1960′s, but it still produces professional quality prints nearly 50 years later making it timeless and a great investment.
- The C220 is fully mechanical and does not require a battery.
- The C220 is a medium format camera that produces those big 6×6 negatives.
There is something magical and beautiful about the 6×6 format to me. I just love that square look. A standard roll of medium format 120 allows 12 exposures. My RZ67 Pro II and Mamiya 7 Rangefinder are both 6×7 formats so I get 10 exposures per roll.
The C220 is known as the simplified version of the C330. One is not “better” than the other, just a few minor differences. The C220 requires you to cock the shutter separately. In regards to the shutter cocking, I actually prefer this method. It is probably because of my large format experience. The C220 is solid built and I use it with the traditional waist level viewfinder. As you might of guessed there is no meter in the camera and it is fully manual and no batteries are required! I also love being able to flash sync at all shutter speeds (through 1/500th). I prefer the lighter weight of the C220 over the C330 in most cases because I do a lot of hiking and climbing. I think the difference is a little less than a pound. The C330 (f/s) cocks the shutter when the film is advanced and it has a larger crank for advancing the film. Besides the auto shutter cocking and the parallax/exposure compensation arm in the finder, that is about it for feature differences. They both take the same lenses so you could have one of each if you prefer and share your lenses between them. For more detailed information on all of the various models go here.
If you are not familiar with TLR cameras, they are actually very simple to operate. You look through the waist level viewfinder (in my case) at the ground glass. There is a pop-up magnifier for critical focus. There are other viewfinders available for the C220 and C330, I just prefer the standard waist level viewfinder. You look through the top lens and you are taking your photo with the bottom one. The aperture and shutter are part of the bottom lens too. TLR’s eliminate the need for a big mirror which is a source of vibration and poor image quality in some cases.
You will find the C220 to be extremely quiet to operate and you can hand-hold slow shutter speeds (e.g., 1/8th, 1/15th, etc) otherwise not possible with a SLR type camera. Plus this camera is fully mechanical. Did I mention there are no batteries!
You may have to deal with the parallax issue from time to time, but this is not an issue for me typically. You will notice this in your closeup/macro photos the most. Basically, what you are looking at through your top lens does not exactly match what you are photographing with the bottom lens. To help address this issue you can simply look at the scale on the left side of the camera to determine your degree of error (e.g. 1, 1.5. 2) then refer to the lines in the top of your viewfinder to ensure you have all of the critical information in your scene. It sounds more difficult than it is in reality. There are accessories like the Parallax Paramender that you can find on eBay to address this but I don’t personally use this because I am not always shooting on a tripod with this camera. In regards to exposure compensation you can refer to this same scale for a range of correction from .25 stops to 2 full stops. For more detailed information on exposure compensation, go here.
I love to use this camera for street photography too. Be sure to read the tips I have below for using the C220 for street photography without a light meter. Depending on the exact C220 you have it could be over 40 years old and it is as relevant today as it was in 1968. A great place to view over 20,000 photographs made with the Mamiya TLR cameras is on the Flickr TLR photostream and their is an active discussion group here too. If you want to narrow in on just the C220 then there is a a Flickr photostream for this too.
Sample Photos
The square 6×6 format of the Mamiya C220 is part of the reason why I love making prints with this camera. Plus I get a lot of enjoyment using film and developing it myself. Shooting black and white film in this special camera is not only a lot of fun but don’t forget it still produces professional quality prints that will compete with almost any camera made today. For these photos I used Tri-X rated at EI1250 and developed in Diafine. Keep in mind this is a fully manual camera so there is no need to set the ASA (ISO) and you will probably need a light meter for most shots. I used a light meter for all of these photos but you can estimate your exposure on a normal sunny day using the Sunny 16 Rule and F/8 technique discussed below.
Fallen Trees – f/5.6 at 1/30th EI 1250
Woods Ave Trees – f/8 at 1/60th EI 1250
Tree Roots – f/8 at 1/30th EI 1250
Lime Kiln – f/8 at 1/30th EI 1250
Big Trees – f/8 at 1/30th EI 1250
Sunny 16 & F/8 Rules for Street Photography
When using a fully manual camera like the C220 or RZ67 Pro II there might be times when you don’t have the time to use a light meter. Street photography is a good example of a situation when you won’t likely have time to meter your scene because things happen too quickly. You can employ some old school rules to help you get the shot. If you haven’t tried these techniques go out around your city or town and have some fun with it. Leave your light meter at home!
The Sunny 16 Rule is an old fashioned method used to estimate exposures for daylight photography without a light meter. On a sunny day when your subject is in the sunlight you can set your aperture to f/16. Then you would set your shutter to the reciprocal of your film speed. For example if you were using Tri-X 400 your shutter speed would be 1/400 or the closest setting you have for your manual camera.
If you don’t want f/16 as your aperture for creative reasons then you can simply use the basic relationship rule between ISO, aperture and shutter speed to make changes. In general if you use a larger aperture (smaller number) you would increase your shutter speed. This is known an inverse relationship between the aperture and shutter. If you want to step down your aperture by two stops from f/16 to f/8 then you would increase your shutter speed by two stops in order to keep the exposure the same. If you think about it, it is logical. If you make the aperture opening smaller (bigger f/stop number) you have more depth of field and require more light for your exposure. On the other hand if you make your aperture open bigger (smaller f/stop) then you need less light for your exposure.
Photojournalists “back in the day” used a neat little trick that you can still use today. By setting your aperture to f/8 and pre-focusing they would typically get the shot. Use the Sunny 16 rule that I described above and you should be able to get a high percentage of keepers that should grab everything from about 6 feet to infinity.
Resources for TLR
Graham Patterson has compiled a lot of very useful information on the C220 that you may want to check out if you are interested.
Mike Rosenlof posted a review on Mamiya TLR on photo.net that is worth reviewing if you are interested in getting one of these cameras. You’ll learn more from the readers comments than you will via the article, but I would suggest reading both.
The TLR forum at photo.net is a good place to ask questions and learn.
Flickr has a Mamiya TLR discussion forum that is good two good general TLR groups with the first here and the other one here.
Be sure to leave your comments or suggestions at the bottom of this article. If you like my articles be sure to use the “Like” or “Share” buttons located at the bottom of each article so we can get more feedback from other photographers.
You can view more of my large and medium format images on my Flickr stream.
You can read more articles on large format photography by clicking here or on medium format here.
Source: http://blog.blackandwhitefineart.net/2011/01/mamiya-c220/
TLRgraphy 