$79.99, $112.00, $124.00, $229.42, $250.00, $250.00, $325.90, $346.66, $355.00, $380.00, $414.00, $537.00, $537.82, $578.29, $600.00, $700.00, $900.00

I sent e-mails to four separate repairs techs and only received responses from two. Of them, Youxin Ye was by far the easiest on the wallet. When all was said and done, the damages clocked in at ..... (drumroll)

$203.00

Very quick service, and a price that seems to be at odds with anything that has the term Leica in the mix. This is the second time I've sent a camera to him to work on. I highly recommend him if you need work on a Leica. Very, very fast, and it won't kill your bank account.

The Winner!

Original rules said "Closest guess without going over." Given the gamut of entries, that winner goes to Mr. $124.00. AKA: One of my recent portrait victims.

Winner Number Two!

The secret second place in this contest was simply the closest guess with going over. In this case, Mr. $229.42, AKA: Photography Wünderblogger, Blake Andrews.

Congratulation winners. And thanks for everyone else who played. Better luck next time I break a Leica.

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It finally happened — my Leica M6 stopped working. Sometime on Saturday night it just decided that when the film gets to about ten exposed frames, it just isn't going to advance anymore. There has been a few lesser issues with the camera sprouting up over the past few years, so it is due for this. I just fear what the repair cost may end up being.

I figure I might as well use this unfortunate turn of events to play a little game. You take your best guess at what the final repair cost is going to be, and whomever comes closest without going over, wins a prize.

What kind of prize? Right now I'm thinking a free print for the winner, though I may end up getting more creative with the prize. I might also offer different ways to win than just the final price as well. Make your guess and let the fun begin! There are no entry fees, so what do you have to lose? The simple entry form is at the bottom of this post.

Notice: If you are reading this via an RSS feed, make sure to click though to my actual site so that the form works properly. I think a few people had issues trying to submit it from their read the last time I did something like this.

Fundraising

Anticipating the cost of getting the camera repair as not being pretty, a little fund-raising is in order. I know you have something you've been meaning to buy. Just hit this banner to Amazon below and buy it. You get some fun new item you've always wanted, and I get a small slice of their profits to help repair my camera.

Not sure what to get? Let me plant some ideas in the form of music I enjoy.

This is the last album I've purchased by the Finnish Melodic Death Metal band Insomnium. They just announced today that the guitarist is leaving the band because it is getting to hard to juggle with his career as a surgeon. How metal is that? Awesome album.

Metal not your thing? Lets roll it back a bit.

Upcoming Minnesota band, with some strong Duluth ties who is making waves in the Midwest. The night the M6 gave up the ghost, I was taken to the floor by the lead singer after and amazing display of unexpected stage diving. Don't worry kids, that isn't what killed the camera, but it is a neat little fun fact.

And finally, lets take it down yet another notch.

One of my favorite Minnesota bands that you've probably never heard of. Music is a bit hard to describe, so just listen to them preview clips. Not many albums feature a bowed saw blade as a main instrument. Miles of Twine and To Answer Monotone would be my top picks from that album.

Alas...

The Contest Entry Form

Entry is open to anyone worldwide. But just remember that any value entered will be assumed to be US Dollars. Do a currency conversion if your brain works in something else.

And remember, you Fill out this form on my actual website if you are reading this post via an RSS reader.

Contest is over. Thanks for playing!

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I think partially the reason why I would go on long aimless bike rides is that I didn't have much else to do when I got bored with playing Super Nintendo. But after the Internet, there was always the curiosity of finding out who's balls Mr. T was eating next to keep me inside. When I did need to go elsewhere for whatever reason — a fresh driver's license and access to a 1984 Buick Land Yacht made sure that the bike didn't do much except gather dust.

I think the same wanderlust satisfaction I used to get as a child while cruising around town has now reshaped itself into whatever it is that now drives me to wander around and take photographs of what most people would probably consider to be unspectacular people & places. While I'm not opposed to walking at all, lately I've been thinking back to the good old days of my youth, and how much ground I could cover with ease. My gut instinct tells me that going back to a bike could do wonders for my photography.

Thus, the latest camera accessory I've pulled off of Craigslist. A 1970 Schwinn Collegiate.

I tend to like heavy, metal objects that can survive a bombing run.

Ultimate goal is to tune it up a bit—not that it isn't already in excellent condition—put a rear rack on it, and get some panniers that can hold my 4x5 Speed Graphic and a sack full of film holders. Then spend my days cruising around looking for strangers to do some Joel Sternfeld-esque large format photography with.

Until that day comes, I've been using it to tune myself up. Using a forty pound bicycle in a very hilly town has been letting me know exactly which muscles I haven't been using while driving my car or walking. Ooomf.

To wrap things up, here is a large format stranger photo I did a few months ago.

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Mismatched chrome lens on a black body. Fluorescent green tape. And yes, the worst Leica sin of them all — a flash!

This is actually the latest rendition of my ongoing infrared flash street photography endeavors. I have been using a 28mm Voigtlander Ultron with the rig, but decided to give my 25mm Snapshot Skopar a try. Since the camera only has one hot shoe, and I really like the external viewfinder for the 25mm lens, I figured I'd solve the problem with layers of tape until it got solid. If I ever get a special edition Leica made in my honor, I hope it looks like this.

I'll be giving the rig its breaking in/durability test tonight. In the meantime, here is an infrared photo from last night using the 28mm Ultron.

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1. Being more modern does not equate to being better.
2. Leave well enough alone.

Above is a night photograph I created in 2004. To create it I used my 4x5 Speed Graphic from the 1940s with a 135mm Wollensak Raptar lens of equal vintage. I use it as a sample because it contains one of my favorite night photography motifs: including point light sources in the frame.

All was fine and dandy with that setup, except that 4x5 isn't the cheapest stuff to shoot. One day I reasoned out that I could step down to a medium format camera, save money on film, and benefit from more modern optics. Eventually I came around to owning a Mamiya RB67 with the intention of it being my night photography camera.

The camera arrived and I eagerly took to the dark streets with it. It didn't take me long to realize that something had changed for the worse.

The aesthetic properties of that lens flare is absolutely disgusting. The beautiful blooming aura that I had previously taken for granted has now been replaced by a dozen or so dirty octagonal discs. I feel that any of you who reads this now hates me a little more for making you see that. I'm sorry!

But wait! My RB67 came with a 90mm Mamiya-Sekor lens, and not the better multi-coated Mamiya-Sekor C lens. Surely if I upgrade the more modern lens with additional lens coating to cut down on flare, it wouldn't look so disgusting! Cha-ching, keh.com gets more of my money.

90mm Sekor

90mm Sekor-C

The C lens definitely destroyed most of the ugly flare that was ruining my photos, but as you can see from the side-by-side, there still would often be a single flare ghost showing the shape of the aperture. I still find the look of it unacceptable.

While I have been enjoying the RB67, its day of reckoning has come. I dug out the 135mm Wolly and took it and the Speed Graphic back to the same place I made that last pair of photos.

Now that is lens flare I can live with! There is more general flare overall, but no unpleasing shapes appear anywhere. That is what really matters to me and my night photography. I now need to not care about cost, sharpness, camera kit weight, or any other strange superficial reason someone might tell me to stick with the RB67. It all comes down to making the images I see in my head, and I get those images with the Raptar & Speed Graphic.

Bonus time! An additional photo I made right after taking the test shot with the raptar. The flare coming from the lamps on the left is odd, but in a ghostly surreal way that I like. I'd have died inside if it would be shaped like an eight sided aperture blade.

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Great—if you are a digital photographer who shoots Canon brand equipment. But, what if you are a Nikon user? No fear, as there are also mugs made to look like Nikon lenses as well. The Nikon versions even have a functional zoom!

While these are nice novelties for the digital photographer, there aren't any options for us film photographers who like to drink stiffer liquids from a camera shaped containers—or are there?

Much like the cameras we use for our film photography, we need only look to the past. Welcome to the fun world of vintage ceramic twin lens reflex flasks!

The Schnapps-O-Flex

First up is the Schnapps-O-Flex, a ceramic flask from Japan.

The Schnapps-O-Flex features authentic looking, bayonet style filter mounts and a parabolic reflector pan which doubles as the stopper for the flask.

The Schnapps-O-Flex will look great on your bookshelf or mantle. Your photographer friends will greatly appreciate its elegant style as you entertain during evenings of drinks and discussion about Camera Lucida. The Schnapps-O-Flex will guarantee that you throw the best photography related social gatherings on the block.

But what about the alcoholic photographer on the go?

The Reflex Shot

Behold the Reflex Shot! This TLR flask is designed with utility first. Utility which will allow you to continue drinking wherever fine photography is permitted.

Unlike the Schnapps-O-Flex, the Reflex Shot also features functional strap lugs which will allow you to sport a sporty strap. While using a strap, the Reflex Shot can be kept conveniently around your neck guaranteeing that you'll never miss any opportunity for a perfectly timed shot.

Even though the strap permits the Reflex Shot photographer to carry his flask out in the field, there is no need for him to be any less social than a Schnapps-O-Flex owner. While not depicted in the above images, the lenses of the Reflex Shot double as portable shot glasses. The pleasure of the Reflex Shot can easily be shared with anyone, anywhere at anytime! No extra bags are required.

The Reflex Shot is truly the best Souvenir of Detroit you'll ever own. With its gold accented trim, The Reflex Shot is the pinnacle of fashion meeting function.

Pictures of the complete Reflex Shot kit with shot glass lenses can be seen at tlr-cameras.com. The shot glass lenses are missing from the one I own, so I wasn't able to include them in the photos.

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Traditional Techniques

The above still from Martin Scorsese's 1980 movie Raging Bull is a common depiction of how to hand hold a Speed Graphic camera. The photographer's left hand is under the strap while the right hand is on the shutter release button located at the back of flash handle.

The other common stance for using a Speed Graphic is as shown in this old US Signal Corp video. The photographer's right hand still releases the shutter except now the left hand is used as a platform to support the camera. Stable? Yes, but look how long it takes the guy to focus, stabilize, and then shoot. It isn't the most fluid method to using the camera.

For the press photographer of years past, these techniques have been tried and true. For crazy photographers such as myself who still like to walk around with large cameras while practicing street photography, I wanted something better for contemporary Speed Graphic photography.

The K. Praslowicz Ninja Speed Graphic Method

The press photographers of yore consumed a healthy amount of flash bulbs. To synchronize them with the shutter, many cameras used flash synchronizers attached the the flash handle. These synchronizers forced the use of the right hand to be the shutter release hand.

It is now 2010 and flashbulbs have long been replaced by electronic flashes which don't require the use of a synchronizer on the flash handle.  Realizing this one simple thing opened up a door for me which led to an evening of experimenting with how I held my Speed Graphic. To my surprise, I found a method which I feel makes using my Speed Graphic faster, while being more comfortable.

Turn that frown upside down.

By frown, I really mean the lens. The vintage press lenses I own for my speed graphic all have the same configuration. The cable release socket is on the top,  while the flash sync posts are on the bottom. What I've done with mine is remounted the lenses to the lens board upside down so that the cable release is now on the bottom, and the flash sync is now on the top. This allows me to work the cable release into a position where I can hold it in my left hand under the camera strap.  I can now pull the cable release like the trigger of a rifle.

Given the design of your lens and choice of cable release, rotating the lens may not be required. The important part here is just finding a way to comfortably get the cable release into your left hand.

This simple change greatly increases my reaction time when using my Speed Graphic. No longer am I required to bring my hand back to the shutter release if I need to make any setting changes on the camera.

Speed, and Mobility

Once my right hand was free of its shutter releasing duties, I quickly realized that it could be used to comfortably stabilize the camera during shooting. Instead of gripping the camera where the flash traditionally is located, I now curl it under the drop bed and grab the corner directly ahead of my left hand.

From this stance I can now easily pull the camera so that it locks tight into my right shoulder making it very stable. If you have ever shot a rifle before, this stance should feel very familiar. While being very stable, I can still easily move my torso to aim the camera at any subject which isn't directly in front of me.

If you are reading this and own a Speed Graphic, go pick it up and trying holding it hold it like this. Tell me what you think in the comments area below.

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I purchased my Mamiya RB67 for the purpose of night photography on a tripod. However, the masochist in me got excited as soon as I hefted the camera up for the first time. I believe that many photographers would balk at the notion of attempting street photography hand-held with a six pound camera. I, on the other hand, couldn't wait to give it a try. The wrong tool for the job is often the most fun tool for the job.

Accessorize!

Before taking the RB67 onto the street, I believed that a few accessories would make the experience much more pleasant.

The first accessory was a neck strap. The RB67 is a heavy camera. I didn't even want to know what kind of hell I'd experience by attempting to carrying the camera around all day without some sort of support. I ended up getting a neoprene strap for the RB67 on eBay. It worked well at reducing the apparent weight of the camera while it slung from my neck.

The second is the Mamiya L-Grip for the camera. The L-grip benefits are three-fold.

1. It adds a nice handle to grip the camera with.
2. It gives the camera a second shutter release for the left hand which I feel is easier to trip.
3. It adds a cold shoe for flash use.

Combining the strap and the grip actually made using the camera hand-held very manageable. And, as an added bonus, it also made me feel like I was using the XM214 Minigun that Jesse Ventura had in the movie Predator. Remember how awesome that weapon was? Now you too can experience the thrill in photographic form with a Mamiya RB67! (Except for the rate of fire.)

Shooting the RB67 Hand-held

For the next few months after getting the the RB67 rig set up for hand-held use, I periodically took it out into the street for a few street photography sessions. Here is my list of pros and cons from those outings.

Con: It is big and heavy.

The longest photography session I had with the RB67 was at the 2010 John Beargrease sled dog marathon. For that session, I was on foot with the RB67 for a little over three hours. I had a lot of fun shooting with the RB67 that day. It was an outing that proved to me that the RB67 is feasible as a street photography camera. However, I don't believe I'd ever take it to an event where I'd like to do anything other than photograph. The bulky, heavy camera doesn't store very well anywhere but in my hands. It also doesn't easily rest on my hip or sling around to my back like I can do with a TLR or 35mm Rangefinder camera.

One of the street photographs taken with the Mamiya RB67 at the 2010 John Beargrease sled dog marathon. View the full gallery.

Pro: It is big and heavy.

It's not to say I can't find any good in its weight and size.

I'm a pretty big introvert. Rarely am I ever the one who starts up a conversation with strangers. The big-bad RB67's size drew in a lot of people and forced them to strike up conversations. I think I've handed out more of my cards while wielding the RB67 then I have while out with any other camera in previous years.

I've also been asked if I was a professional at the most frequent rate that I've ever been asked. This also is a good thing. If a photographer can project a sense that they are suppose to be doing what they are doing, it takes the edge off of those who notice. If flashing a big honking camera takes that edge off them for me by making them think I'm a professional—great! I can then expect less strange looks if I were to aim it at people.

Pro: Art with Exercise

After every shooting session with the RB67 I felt like I had just completed a cardio workout. Thus, the RB67 is a nice multitasking, exercise machine. I get to keep my body healthy and in shape, all while making art!

Con: Shutter Lag

Once the shutter is tripped on the RB67, the big SLR mirror needs to get out of the way before the exposure can be made. The time it takes for the mirror to move adds a bit of lag between when the shutter is released, and when the exposure is actually made. I didn't feel that the delay would be much of a problem when I was dry firing the camera, but actually using it on the street was a different story.

Even though the lag time is only a fraction of a second—it still feels like an eternity in comparison to the nearly instantaneous shutter response time which I'm used to from my Leica or Yashica Mat. If anything fast moving happens, I don't expect to capture the moment how it looked when I tripped the shutter. Take for example this photo of a dog. It was looking at me when I hit the button.

Con: Viewfinder Blackout

The second downside about the mirror having to move out of the way is that the viewfinder goes black. This played a psychological game with me that I couldn't seem to get my head around. Instinctively, I would associate the blacking out of the viewfinder with the exposure being made. What would then happen is I'd quickly start moving the camera prematurely thinking the exposure was already done, when in reality the shutter was finally just opening up. This led to a good percentage of images with very noticeable camera shake.

Conclusion

Street photography is a low percentage game. A lot of photographs have to be taken in order to get a few keepers, and a camera must always be with you to ensure you can capture the best unpredictable moments of life. While I absolutely love the way that technically sound negatives look, the cons get too much in the way of the street photography odds. Odds which are hard enough to succeed with as it is.

I've since taken to my Yashica Mat 124G for heavy medium format street photography use. The negatives might be a little smaller and not as nice, but once I consume the 100 rolls of 220 sized Fuji 400H I bought for it, I'll have an additional 400 photos to edit from. And since I can easily take the 124G with me everywhere, I can reasonably expect to be able to consume all that film in the near future. I'll probably still occasionally use the RB67 on the street when I feel like doing something different.

Until next time...

One last street sample from the RB67. Peace out.

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As for myself, my XA2 received a beer bath the last time I took it out in January and it hasn't been the same since.

The hazy effect in that photo isn't what went wrong with the camera. What went wrong is that now the flash sync doesn't work anymore. Every photo is auto exposed for about two seconds, and then the flash goes off at the end. Not very useful for the split second shooting I'm used to doing with with infrared flash photography.

I've been meaning to buy a new XA2, but just end up never doing it. Recently though, I came across a few low profile flash units and had the brilliant idea of converting one of them into a infrared flash and using it with one of my Leicas. I ended up buying a cheap feeling flash head called the Achiever 1900M and got to work making my dream a reality.

It only took a little bit of surgery on the Achiever 1900M too successfully mount a piece of Ilford SFX Filter inside of the flash unit behind the transparent protective plastic bubble.

However, only a few test flashes with the Achiever were made before it was obvious more work was needed. The damn thing seemed to leak light from every seam on the flash unit. I painted the parts of the plastic bubble which sits inside the flash with black tempera paint, and added the black duct tape which is visible on the outside to stop the light leaks from the seams. Now all that the flash emits is subtle, beautiful, red pulse.

I'll report back on the combo after I do some shooting with it. I hope it kicks ass.

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There was something creeping into a lot of the frames which did nothing but kick dirt into the face of already bad photos. Fellow photographers, I know what you are thinking. I was shooting with a Twin Lens Reflex camera. I didn't have a lens hood on it. You are thinking that this unwanted element in my photographs is lens flare. Correct?

Wrong! It was my big dumb finger.

I don't like lens flare, but I can live with it when it happens. When lens flare rears its little head, it doesn't guarantee that the photograph is ruined. See my post about Wesly Ngetich if you need any evidence of that. However, if one of my big dumb fingers is positioned across half the frame, little hope remains. I would have kicked myself if Daddy, did u pee your pants?, or any of the other not-boring photographs I created that day with my twin lens reflex camera had one of my fingers blocking the subject.

Photographing with a twin lens reflex camera hand held is a lot of fun, but just remember that you aren't looking through the same lens which is taking the picture. It is easy to not realize you got a finger, or other unwanted object in front of it. You wouldn't want to find yourself in an embarrassing situation like Eric Clapton right?

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