资料-俄机kiev-4 维修资料-国外网站

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The Basics� Film Plane Casting Removal

Rev.1

If you need to remove the back Film Plane Casting to access the shutter curtains or to repair the shutter curtain ribbons, here is the procedure. For the novice this is the basic of the basics. Pull out the Yak hair twine used as a light seal. It probably will be in poor shape after all these years. Remove the four screws as indicated by the Yellow Arrows. Make note that one or more of the screws will be shorter depending on year model. This 1963 Kiev 4 has one short screw indicated by the Yellow Circle. The one inset screw at the bottom of the Film Advance Sprocket Spindle shown by the Blue Arrow. Here抯 a close-up of the screw at the bottom of the Film Advance Sprocket Spindle. A slightly magnetized screwdriver will aid in taking this screw out and in placing it back for reassembly. Removing this screw will allow the Film Advance Sprocket Spindle to move with the Back Casting. . Pull down on Back Casting indicated by Blue Arrow to clear along the top at the body as indicated by the Red Arrows. Lift off the casting starting from the viewfinder side and lift clear away.    Depending on what you wish to accomplish or maybe you are just sight seeing, here抯 what you will find underneath. For reassembly just reverse the steps. You may wish to update the Yak hair twine used as a light seal at this time.    If you are like me, I replace the light seals with more modern synthetic materials. This urethane foam made by Rogers Corporation under the Poron product name has an adhesive back and comes in many thicknesses, densities and cell structures. The top-most one I find most appropriate for replacing light seals. More information on Poron Urethane Foam can be found on Rogers Corporation web site. 来源：http://www3.telus.net/public/rpn ... 0and%20repairs.html

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Need to remove a top casting on a Kiev to access something? Perhaps you need to remove the shutter assembly or to fix some leaking light baffles.

First thing you have to get yourself is one of these multi-cavity parts bins. The idea is to keep each disassembly step in a discrete compartment. Some chocolates, such as Ferrero Rocher, come in a beautiful 24 cavity plastic tray. You can treat yourself to a chocolate for each step along the way.

  

Before proceeding further, wind the camera and set the shutter to 1/1250 or 1/1000 and fire it. We want to have the shutter at some known speed so that we can reassemble it back into the same state. OK, lets start, remove these three screws�.

Lift off the Shutter Button and Inner Knob Face. Place the Spring with the rest of the parts in a parts compartment. Good work so far, eat a chocolate to make room for more removed parts!

If you have a later model Kiev 4AM or M then you need to unscrew the Shutter Button Plate to get access.

Remove these three screws and lift off the Winding Knob.

Remove these two screws and�

Lift off the Shutter Speed Bezel. Notice the two Wavy Spacers under the bezel.

Depending on which year of Kiev you have the removal of the Winding Knob may be slightly different. In this example, a 1962 Kiev 4A, you brace the Winding Fork and turn the Winding Knob counterclockwise to unthread the fork off of the shaft.

On this 1964 Kiev 4, there is a screw inset in the Winding Fork. Later model Kiev 4AM and M抯 are similar.

As always, make note of any parts stacked up on a shaft and the order the came out. Make ** diagrams on a small piece of paper and stick it with the parts in the compartment of the parts bin.

Pull out the Yak hair twine used for a light seal as shown by Blue Arrows. It probably is in poor shape by now anyway. Remove three screws shown by Yellow Arrows.

Remove this one big screw and�

  

Lift off the top casting as a whole unit. The Exposure Counter Dial and its adjoining Drive Gear will probably come along for the ride. You are now done this step.

For reassembly, replace Exposure Counter Dial and Drive Gear in the following fashion. You may not have noticed exactly where they sat when they fell out when the top casting was removed.

Other things to watch for are any extra bits of Yak string used for light sealing as shown under the viewfinder. Make sure to replace any light sealing material with new yarn or string.

  

Or, if you are like me, I replace the light seals with more modern synthetic materials. This urethane foam made by Rogers Corporation under the Poron product name has an adhesive back and comes in many thicknesses, densities and cell structures. The top-most one I find most appropriate for replacing light seals.

More information on Poron Urethane Foam can be found on Rogers Corporation web site.

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he Basics� Base Swivel Locking Latches

Rev.1

Most of the disassembly is pretty self-explanatory, where there are any items to keep an eye on I抣l detail it. I have the lock levers in the locked position for the following images. First take off the cap screw any spacer. On my earlier Kiev抯 there is a cylinder spacer under the cap screw. When you take off the lock plate notice the position of the notch highlighted in blue and see how it corresponds with a notch on the base of the swivel lever assembly in red. This is really the main area to keep an eye on when you tighten the cap screw. Notice the wavy spring washer, blue arrow, this pulls the lock levers in flush to the camera body. Here抯 another place to watch. The wavy spring washer has two flat areas in red and when mated to the lock lever base, should align with two flat cuts shown by blue arrows. Clean up the parts and reassemble in reverse order ** note of any alignment and you should be good.

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Shutter Assembly Removal

Rev.3

If you need to remove a Kiev shutter assembly for cleaning or some other repair, refer to previous procedural document on Top Casting Removal to prepare access to the shutter assembly for removal.    First the Film Plane Back Casting must be removed. The four screws shown by Yellow Arrows, then the one inset screw at the bottom of the Film Advance Sprocket Spindle shown by the Blue Arrow. Here抯 a close-up of the screw at the bottom of the Film Advance Sprocket Spindle. A slightly magnetized screwdriver will aid in taking this screw out and in placing it back for reassembly. Keep track of any screws that are shorter as shown at position by Yellow Circle. Kiev 3抯 may have two shorter screws. Pull down on back casting indicated by Blue Arrow to disengage along the top and remove starting from the viewfinder side.    Expose Flash Synch wire by removing two screws that hold the cover plate on. Peel back insulating material and unsolder the wire from the socket base. Remove three screws on the top of the shutter assembly as shown by Yellow Arrows. It抯 a good idea at this time to replace the Shutter Advance Knob as it acts as a good handle to grasp on to when the shutter assembly is actually lifted out. Remove the two screws and the one long shaft screw as shown by Yellow Arrows. The shaft screw is actually a support shaft for the upper shutter casting. Note the size and shapes of all the screws that hold the shutter assembly in place in these detailed images, they are all slightly different from each other.    Gently lift out the shutter assembly by starting at the side of the Advance Knob and towards the bottom. The following images will help make this clearer. Some gentle wiggling may be required to get the shutter out. Something to watch for, on most Kiev抯 there is a spacer washer that rests between the shutter assembly and the body casting shown at position by Yellow Arrow. When you remove the shutter assembly this washer may fall out and you will wonder where it actually came from. The spacer washer rests just on top of the hole at the position indicated by the Blue Arrow. A little dab of thick grease will hold this washer in place during re-attachment of the shutter at time of reassembly. Just a note before you get too far, the upper curtain rod indicated by Yellow Arrow can fall out easily. Place a small piece of masking tape over this to make sure it does not fall out. If it does then you will have to learn all about synchronizing the curtain shutter gears. Admire the intricate beauty of the Kiev camera and its mechanism. Spend some time examining the shutter assembly as it truly is a work of art! A word or two regarding reassembly of the shutter back into the body, follow the steps in the reverse order. Reinsert the flash synch wire through the hole prior to fitting the shutter in place. Before you seat the shutter assembly all the way in, pull the Selftimer Arm, as indicated by the Yellow Arrow, such that the screw head will clear the notch in the Shutter Actuation Arm, as shown by the Blue Arrow. When reseating the assembly install it to put the shutter casting lug over the spring retaining strap at the Yellow Arrow position and the casting under the spring retaining strap at the Blue Arrow position.

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Checking and Adjusting Camera Working Distance  

Rev.1

The foundation to good image clarity is a precise Lens Flange to Film Plane distance or Camera Working Distance. All of our further tests for lens and rangefinder precision will be based upon knowing that this critical Camera Working Distance is set to perfection.

To verify the camera working distance we will need a depth gauge or a slightly modified Vernier Caliper. I added this base to help stabilize the vernier and to make a larger working envelope for the depth measurements. Actually if I had to make this part again I'd make it bigger.

There may be some uncertainty with a Contax/Kiev lens mount just what exactly is referred to as the Lens Flange. The front su**ce of the outer mounting flange circled in blue is the reference for the lens flange. We'll make measurements at the four corners of the negative window indicated by the yellow X.

All measurements will be done with film in the camera and not to the pressure plate. The pressure plate does not ride at the same distance as the film plane. There is a little gap between the pressure plate su**ce and the film plane as the pressure plate rides on the two outermost rails. You will be sacrificing a roll of film for this measurement but it's good to have a test roll of film on hand to check things out with from time to time.

Start a measurement by referencing one of the outer mounting flanges and zeroing out to that su**ce.

Move your depth gauge to measure at or near to the reference flange you set zero at. Re-measure a couple times to make sure you didn't misalign something when you took your reading. Just a note regarding the top right corner, the inner lens mount latch will make it difficult to directly make this measurement. I have some inclination to be doubtful about accuracy of the top right corner reading. I am leaning towards using an alternate method to measure working distance. As well, measuring by this method entrusts that the very front su**ce is exactly flat and true.

Make a little diagram and record your values. The camera working distance value should be 35mm +0.01/-0.03 as per Peter Tooke's book, Zeiss Contax Repair Manual. How does it look? Within tolerance? From my example here I have one corner that is a little out of spec. If your method is suspect there is another way to gain these measurements.

Alternate Method:
If you have a boned Jupiter-12 then you can use the lens mount collar as an aid if you find it difficult to hit the rather small outer lens flange.


This method will require you measure this distance accurately. You might need the assistance of a machine shop to help you measure this. I measured at many intervals using a Mitutoyo Granite Block su**ce and a Digital Height Gauge. I am very certain of these measurement values.


You may even need to true up the mating su**ce to be nice and exact. If you can hold your tolerance to +/-.01mm then all the better because if you remember, our overall flange to plane tolerance is only +0.01/-0.03mm.


Once you've discerned the precise thickness of the lens mount collar you can make your depth measurement to the film plane easier. How does this compare to the initial method?


From the results I logged, it would appear that the two methods are not in agreement with each other. I have even constructed a bigger sturdier base and get similar values for the Alternate Method. I am tending to agree with the Alternate Method as a better way to gain measurements as it affords an unobstructed su**ce all around the lens opening to reference.
I think no matter which method is adopted repeatable results are necessary for any further tests and adjustments especially when it comes to shimming the lenses to match the camera working distance.
Adjustments
Now that you know how much the lens mount is out from the specified 35.00mm +.01/-.03, all that is required is to shim to correct.

You can use any material to shim with as long as you have a broad selection of the right thickness available. I have used negative film base, paper, even aluminum cooking foil for very slight shimming changes. One good source for shims is the hobby shop. I have some etched brass frets of washers made by Athabasca Scale Models that are .008" (.20mm) and .004" (.10mm) thick.


Once you have determined the amount of shim you need, just slip it under the mount base.


Tighten all the screws and re-measure all four corners again. Even if you change just one corner's shim you should measure all four corners.

An Interesting Discussion
I had an interesting discussion recently regarding the correct Lens Flange to Film Plane distance. The following are excerpts from the thread:

I think the distance you want is 34.85 mm. There is a
table of flange-to-film distances on this website:

"http://www.kineoptics.com/index.html"

Look under buttons for "useful info" and then under
"camera info"

Upon which I asked a noted expert, Henry Scherer, what he thought.

The correct answer is that there isn't any correct answer. The value cited in Peter Tooke's book which is the Zeiss factory specification is an ideal which, in practice, was almost never achieved.

The reason for this is that back in those good old days there was no such thing as any modern method of quality control practiced by anyone in Germany or Russia. In actual practice the actual dimensions of the lens mount as well as the camera body would vary by such a large degree it is my experience that even if one has a camera where the lens flange to film plane measurement is within 35.00mm +0.01/-.03 it is highly unlikely that the rear lens su**ce will be within the optimal distance from the film plane when it is mounted on the camera.

Zeiss lenses have considerable range of adjustment for the lens cartridge within the lens barrel. And there were a great number of lenses, perhaps most of them, set incorrectly at the factory.

The mounting of the lenses in the rangefinder is also something with a lot of variation. So the rangefinder result has a fair amount of variation in it.

So my overall answer is that it doesn't matter much. There's no point in trying to adjust the position of a lens mount on a camera body when it's likely that the inner machining that sets the position of the lens has a lot of variation.

I think it would have been better for Zeiss to have specified the position of the flanges that are inside the lens mount and to which the lens tabs couple than it was for them to specify the distance from the external tabs. But even if they had done this the variation of everything around the lens mount and which affects the focus is so great this is also rendered relatively meaningless.

There is much truth to be told with this statement. Consider even that if the Film Plane to Outer Flange distance could be held with some remarkable tolerance, the Inner Flange is part of a moving object, the helical itself. Our Jupiter-8 lenses mount to this Inner Flange. The helical cut groove would have to be cut with unimaginable precision to position the Inner Flange at a controlled distance from the film plane. From many measurement I have made it would appear that the difference in distance between the Outer Flange and the Inner Flange is 3.00mm. If 35.00mm is chosen as the Outer Flange to Film Plane distance, then that would make the Inner Flange to Film Plane distance 32.00mm.

To remove the lens mount helical for cleaning or to adjust something follow along.

To get the lens mount assembly off, some disassembly is required. The front chrome plate will need to come off first. Remove the six obvious screws indicated by Blue and Red Arrows. Note, the two screws at the Red Arrows are shorter. Peel back a bit of the leather as indicated by Yellow Circle to reveal the secret seventh screw. This one is always the bane of every first timer that attempts this.

Lift the chrome plate up from the bottom. You may have to use a bit of force to clear the rangefinder bezel circled in Blue. Usually the chrome plate hangs up on the bottom edge of the bezel.

Push down on the focus infinity lock and keep lifting the chrome plate away.

Once you have the chrome plate removed you will find a viewfinder bezel frame.

Over on the rangefinder side you'll find the front glass plate.

Followed by a spring metal frame under the glass.

Before you proceed further set the focus to infinity and either draw with a fine tip permanent marker or scribe a line on the focus drive gear adjacent to the body. This will be a reference point so that when we remove the lens mount and mate it up later we will be able to set the focus wheel at infinity and match it up.

Remove the four screws indicated by Blue Arrows. There will be some shim washers between the lens mount base and the camera body casting. Keep each shim(s) separate and mark which ones go to which corner. These shims set the crucial Camera Working Distance.

Make note that the top-left screw is shorter than the other three.

Remove the whole lens/focus mount assembly. Sometimes it may hang up on the inner light baffle but a little wiggling and jiggling will free it.

Once you have the lens mount/helical removed, please try and resist the urge to turn the focus wheel. I know from experience that curiosity will cost you in time later as you will loose the precious infinity reference mark indicated by Blue Arrow and you will be forced whether you want to or not into learning how to adjust the rangefinder.

Follow the reverse steps for re-assembly.

Cleaning Lens Mount Helical

Rev.1

You want a nice silky smooth focus movement? Then a good cleaning followed by an adjust are just what's needed. First, a little "how it works". When you turn the focus wheel as indicated by Red Arrows, a gear underneath the wheel engages an idler gear highlighted by Blue Circle which then meshes with the cogs on the inner helical race indicated by Blue Arrow. Over years the grease used to initially lubricate this will have congealed into a semi-hardened paste. Remove inner helical race by unthreading. When the infinity lock position is met, push down as indicated by Red Arrow to disengage and continue unthreading the helical race in direction indicted by Blue Arrow. Keep a close watch while unthreading the inner race to notice when it comes clear of the helical. This will be the re-entry engagement point when the helical is mated back again. You have decades of dried grease to cut through so you'll will have to used an appropriately strong solvent agent. I have a vented paint booth so I use Acetone or Lacquer Thinner as my degreasing and cleaning solvent. What ever solvent you use proper ventilation, handling and eyewear precautions are a must. Enough said on that. Scrub, scrape and clean with what you have. I find that these retractable brass brushes really help get the job done. Usually cleaning will have removed any of the black paint on the internal su**ces and will have to be reapplied. I use an acrylic flat black hobby paint as it dries very quickly and is robust to handling immediately. Hobby shops that cater to Model Railroading or even Military Modeling are good sources for these paints. Just a word on lubrication. I conducted a test using several different greases. Use a grease that will not “creep” or flow. I did this test several months ago where I placed a dollop of grease on a sheet of glass and left it. Here are the results. No slumping or running of the grease. Re-grease the helical and reassemble in the reverse order. When mating the inner helical race recall that relative position where the first thread engages. The outer helical race has three entry points so even at the worst you have a 1 in 3 chance of hitting the right groove. One way to tell you have mated to the right helical groove is to look at the infinity lock arm and you should see the machined flat that the lock arm rides in.

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If your rangefinder is not accurate how do you know you are focusing correctly? This is where the rubber hits the pavement, so to speak. All the focusing systems take their cue from what is indicated by the rangefinder system.

  

For this procedure you'll check the accuracy of your rangefinder against a known distance. The first one, infinity is easy, just take your camera outside or if you don't have too many trees in your neighborhood just point it out the window at a very distant object that has distinct vertical lines. Does the moving image line up with the fixed image in the rangefinder window? If it doesn't, make note of whether the moving image did not travel enough to line up with or it went too far past the fixed image. Keeping track of this detail will help later when we need to make a decision on the right corrective action.

For .9m or closest distance I set up a little apparatus that exactly positions the film plane .9m from a focus test target. This focus test target was created by John Wilton and can be downloaded from his web site at: http://www.ragarecords.com/photo/index.html. Make sure you take pains to ensure everything is perpendicular and true to the test target. As you see, you don't have to make an overly complex set up. I have a stick that has every distance position that is on the camera helical marked out along the sticks length. (.9m, 1.0m, 1.15m,... etc. out to 3m) Keep this stick around, it will come in handy for other tests.

When you are sure everything is set, dial in .9m and...

Have a look through the finder. What do you see? Again, does the moving image line up with the fixed image in the rangefinder window? Make note of how it far and which direction it is out of agreement. As we see with my example, this Kiev needs some work to its rangefinder as the moving image did not travel far enough to align with the fixed image.

If your rangefinder is out at both ends of the scale, it might make good sense to do another test at some intermediate distance like 3 or 4 metres to see if it confirms the other two findings. For the most part though, if Infinity and .9m are accurate then all the other values will fall in line.

Adjusting the Rangefinder

Rev.1

You've checked your Rangefinder and found it to be not accurate at one end or at both ends of the focus scale. Get ready for an all out complicated adventure. Have a look at, How It Works - Rangefinder Operation to see a very simplistic view of the rangefinder in operation. Consider this, that at infinity or any other exact lens barrel helical position, the moving plano-convex lens (1) has to be perfectly aligned to a setting at the very same distance that the lens barrel is set to. Meaning that when one focuses at something at 4 metres away for example the lens barrel marking should indicate the exact same distance. This maddening quest to have both the lens barrel distance marking agree with the viewed image is what will make this particular task one that will try your patience. If the rotational alignment is out proceed first to Vertical and Rotational Adjustmentsfurther down this same page and do that procedure before horizontal adjustments are made. The ** Fix Before you get all crazy and start taking everything apart you might try "The ** Fix" first. Sometimes you get lucky and a small adjustment is all that is needed. Take the front chrome cover off first to reveal the rangefinder compensator mount screws as indicated. Loosen these two screws just enough to allow the compensator assembly to move. You are attempting to make very small displacements of the compensator assembly and you will need some controlled method to do so. Take a small bladed screwdriver and insert it as shown. Pushing against the screw by rotating the screwdriver, you can make minute movements as in this example I am moving the compensator in the direction indicated by the Yellow Arrow. Keep a close eye on particular features such as the small gap to the left of the one screw indicated by the Blue Arrow to tell how much you moved the compensator. Re-check the rangefinder distance accuracy again at .9m and infinity. Did you move the compensator enough and in the correct direction? If not, try again. If you can get the rangefinder adjusted with this method then you are very lucky. It would make good sense once you have the rangefinder properly adjusted to lock it in place to guard against it from coming out of alignment from vibration or knocks. Here we see my daily shooter which was adjusted well over a year ago and then last week when I loaded it up to shoot for the day the rangefinder was out of adjustment. This camera rumbles around in my backpack every day or gets knocked about when hiking or biking. Take a drop of ACC glue (Crazy Glue) and apply it around the head of the rangefinder compensator mount screws. To do this, dispense a drop of glue onto a plastic su**ce like a plastic bag and using the head of a needle or a piece of wire you can pick up a very minute amount of glue and precisely place that drop where you need it. If this previous method didn't work, then proceed on to: The Not So ** Method First you will need to remove the Top Casting and the Shutter Assembly to gain complete access to the rangefinder compensator mechanism from the inside of the body casting as shown. Remove the two screws that hold the rangefinder beam splitter glass in place. Lift out the rangefinder glass carefully and set it aside in a VERY safe place. Cleaning Since you will have the rangefinder mechanism open and you will be ** some wholesale changes to the rangefinder compensator it might make good sense to clean it at this time. Take the rangefinder shield off by removing the three screws indicated. This will afford easier access for complete removal of the rangefinder compensator unit. Remove these two screws and now the rangefinder compensator unit is free. Lift the whole rangefinder compensator out of the camera body being careful not to knock it about with it's unprotected lens elements. Remove the pivot screw and... The two halves of the compensator come apart. Before you go any further read the following warning: Do not disturb the front Plano-Concave lens from it's mount if vertical and rotational alignment of the rangefinder is good. Put a dab of semi-permanent glue over the existing glue at the positions indicated to reinforce it as the old glue is likely to be dried out and if left un-reinforced it doesn't take much handling to have this lens fall out on it's own. If it does, then you are in for a whole lot more work setting up vertical and rotational alignment. I use a glue that can readily be dissolved by acetone just in case I need to remove the lens from it's frame at any time. The Plano-Convex lens is more robust but a couple dabs of semi-permanent glue at the following spots will ensure it does not move while cleaning and handling. When the glue is dry you now have complete access to clean the rangefinder lens elements. Re-assembly is the reverse with the only particular item to watch is the spring that loads the compensator lever. Some Preamble A little discussion on what we are effecting at a macro level is needed to better understand the implications of each step in the following adjusting procedure. Here we find the rangefinder at the infinity setting. Notice how the pin on worm gear arm (4) contacts the cam su**ce of compensator lever (3) at the toe end. At .9m setting notice how the same pin is now contacting the cam su**ce at the heel end. Proper adjustment is required to have the full su**ce area from toe to heel of the cam contacted by the pin of the worm gear arm (4). All of the adjustments we make change the point at which the pin contacts the cam su**ce during the range of movement of the lens helical. The compensator lever (3) is spring loaded and will always press against the worm gear arm pin (4). The Horizontal Adjustments There are three independent adjustments that can be made that affect the horizontal setting of the moving image in the rangefinder. As we saw earlier with the ** Fix, displacing the whole compensator in either of two directions as shown by Red Arrows will change where the worm gear arm pin contacts the compensator lever cam su**ce. A movement of the whole compensator to the right and the Plano-Convex lens rotates a little in the same direction. Conversely displacing the compensator to the left rotates the Plano-Convex lens to the left a little. Loosen the screw as shown by Blue Arrow will allow a rotational adjustment of the Plano-Convex lens without changing the worm gear arm pin/cam su**ce relationship. The range of rotation of the worm gear arm more broadly influences the contact position relationship of the worm gear arm pin with the compensator lever cam su**ce. Back during the Remove Lens Mount Helicaldocument we stressed that the focus drive gear had to mesh with the lens barrel helical at a specific point. Changing the meshing of this focus drive gear by a tooth or more, with the helical will change the rotation range of the worm gear arm. Mount the camera back into your test apparatus that you used to check the rangefinder at precisely .9m, from focus test chart to the film plane and carefully slip the rangefinder glass back into place. This focus test target was created by John Wilton and can be downloaded from his web site at: http://www.ragarecords.com/photo/index.html. As during the actual testing of the rangefinder accuracy you may have noted that the moving image didn't line up at .9m but which way was the moving image displaced from the fixed view image? Determining which way the moving image is out from the fix view image will indicate what your course of action is. At infinity the moving and fixed images were aligned. This will be our reference position to work from. On my example in Checking Rangefinder Accuracy the moving image was to the left of the fixed view image at .9m, or in other words, it did not travel far enough to meet up with the fixed image. A consistent methodology should be adopted rather than just haphazardly ** adjustments in a random fashion. We will first get infinity to align and then adjust to get the .9m setting. Since the worm gear arm is at full rotation the compensator arm can not be made to rotate the Plano-Convex lens any more. Therefore we need to loosen the screw by about 1 turn and rotate the Plano-Convex lens in the direction indicated. If you keep your camera in your test apparatus at .9m with the rangefinder glass in place you do have access to this screw and you can move the Plano-Convex lens while watching the result in the viewfinder window. Got the images to align? OK, tighten the screw. It would probably be a good idea to make sure the two spring clips that hold the rangefinder glass are in place as we will be heading outside to check the infinity setting. How does infinity look? Probably it is out of alignment now. Make a mental note of where the moving image is in relation to the fixed image. In my example the moving image did not travel enough to meet with the fixed image at infinity. This means the compensator lever needs to be deflected further in the direction indicated by the Yellow Arrow. To do this the whole compensator unit needs to be moved in the direction indicated by the Blue Arrow. Doing this will change the contact position of the worm gear arm pin on the compensator lever cam su**ce thus allowing the compensator lever to move. With a small screwdriver in hand you can work outside viewing an object at infinity and ** small adjustments to the position of the compensator. Can you get the moving and fixed images to align? If you could not then we need to look at the rotational position of the worm gear arm at the infinity setting. If the whole compensator unit is displaced all the way in the direction of the Blue Arrow and the moving image still won't align then the worm gear arm needs to rotate to allow the compensator lever to move further in the Yellow Arrow direction. Notice how the pin on worm gear arm (4) does not contact the cam su**ce of compensator lever (3) at the toe end. Check the rotational position of the worm gear arm at the .9m setting. There should be about 1mm between the worm gear arm edge and the metal bracket edge as shown. In my example I had less than 1mm. To effect a rotational change to the position of the worm gear arm at infinity, we need to move the meshing of the focus drive gear with the lens barrel helical by one tooth as shown. Loosen the lens mount screws and lift the whole helical assembly up to free it from the focus drive gear. See our original reference mark on the focus drive gear? Here's where things start to get repetitious and actually form part of procedure. (1) Go back outside and set the compensator such that we get alignment at infinity. (2) Back inside to the .9m test apparatus to see how that looks. The images probably don't align. Use the method to rotate the Plano-Convex lens to get alignment at .9m. (3) Go back outside and see what infinity looks like. If it is not spot on then make a rotational change to the position of the worm gear arm at infinity. Go back to step (1) and cycle through again. You may already start seeing a relational trend by doing this repetition. Each cycle I took I started to realize that the moving image was getting closer and closer to being aligned at either end of the scale. The cycle again is: (1) Set and align for infinity with compensator, (2) adjust Plano-Convex lens rotation for .9m, (3) determine if more rotational changes are needed in the worm gear arm and then repeat the cycle. I found that by going through the cycle of checks and adjusts I had to change the meshing of the focus drive gear by four teeth from the original reference mark before I got the moving image to align at both ends of the scale. It's picky repetitive work that will try your patience but hopefully you'll get it fall into place. Vertical and Rotational Adjustments The ** Vertical Fix As with any procedure there is always a certain amount of cheating you can get away with. If you rotate the rangefinder glass to point down slightly you can shift the moving image down and the converse works to shift the moving image up. How can you effect this "cheat"? Simply grab the rearmost rangefinder glass support and bend it back to raise it or forward to lower. Its kind of crude and barbaric but it works. Just make sure that after bending it won't interfere with the full movement of the compensator lever. If you want to be more eloquent about this adjustment you could glue some shims to the bottom of the rangefinder glass either at the front or rear to coincide with one of these support pads. Rotation Adjustment If you were unlucky and the front Plano-Concave lens came loose or fell out while cleaning, or the rotation of the moving image does not align with the fixed image, then you will need a little patience for the following procedure. Undo these two screws to get complete access to the front lens element. Damn, would you look at that, the old dried glue just cracked apart allowing the front lens to fall free... Clean the front  lens and the frame to remove any remnants of the old glue. Any old glue left here will weaken the glue joint. As mentioned earlier, a semi-permanent glue is used to cement the lens into the front frame. If you place the Plano-Concave lens into the frame you will find there is a certain amount of play and movement the lens has. We need some method to temporarily hold the lens in place while we check the vertical and rotational alignment before we commit to gluing it in place. Using dimensional strip styrene found at most good hobby shops serves well as a friction shim to hold the lens in place. Here we see some .005" and .010" styrene used to hold this lens into the frame by friction. With some luck this will be a good rotational alignment on the first try. Re-assemble the rangefinder compensator unit and put it back into the camera body with the rangefinder glass. Don't worry about horizontal alignment at this time as we will just be viewing to discern rotational alignment only. Viewing at the cross on the focus test chart in our test apparatus we can tell easily whether vertically everything is in alignment. Probably not on the first try. By using the same styrene shims of differing thickness a rotational displacement can be made in the position of the front lens. Rotating the lens right (or clockwise) will rotate the moving image down on the left side (or counterclockwise). So in a word, the moving image rotates in the opposite direction you rotate the lens. If satisfied with the rotation adjustment just use the same semi-permanent glue to fix the lens in place and reassemble the rangefinder compensator. Rear Plano-Convex Lens Just a quick mention about the rear Plano-Convex lens. There is not too much that can go wrong with the alignment of this lens. All of the adjustments are done to the front lens. If for what ever reason it comes loose just clean up any old glue and slide the lens back into place under the two small tabs at the sides until the lens abuts against the two tabs at the top indicated by Red Arrows. Apply semi-permanent glue to affix in place. Replacing Shutter Ribbons The shutter ribbons on the Kiev/Contax have been described as the bane of this camera system and are likely to break at any moment. Well, if it does who cares, we have the means to fix it. I won't try to reinvent the wheel with this procedure and to tell you the truth I refer to Rick Oleson's brilliant web site when I do this fix myself. http://rick_oleson.tripod.com/index-29.html What I will do is offer a few thoughts and extra images on the process. First to consider is the ribbon material itself. The ribbons have a special job and thus have special material properties. You may be tempted to go out to a craft store and purchase some sort of ribbon that dimensionally meets the specification as shown above. I did, but there is more to it. When you compare the craft store ribbon to the real stuff you notice a big difference in the weave and even the feel. It is more robust. The top sample is real Arsenal ribbon, the bottom is craft store stuff. I can assure you the craft store stuff does not stand up to the rigors of use. The individual filaments of the weave tend to breakdown and fray as shown. This test example was repeated twice with only a couple hundred exposures until severe wear on the ribbon was evident. It would not take long before failure at this rate. Real ribbon material can be acquired from Oleg Khalyavin at OK Photocameras.http://www.okvintagecamera.com/ It is easiest to work on the ribbons with no tension on the shutter springs but there is something to be aware of. You need to carefully keep track of how many turns are made to release spring tension all the way. To do so, you do the following: Loosen the screw that holds the tension latch by 1-1� turns. Using a fine point or a small screwdriver make sure the tension latch does not fall down when the screw is loosened. If this happens the shutter tension will instantly be lost and you won't know how many turns were on the tension spindle screw. Place your screwdriver on the Shutter Tension Spindle Screw and hold it from spinning. Using another object, be it a fine point tweezers or screwdriver, move the Tension Latch down to clear the Shutter Tension Spindle Screw. You now have to be really careful that your screwdriver does not slip from the Shutter Tension Spindle Screw. Using slow deliberate turns count how many revolutions of tension are in the shutter. Write this number down as you will tension the shutter by this same amount to restore proper shutter tension and speed. Here's another view with the shutter removed from the camera body for clarification. You may well want to remove the shutter mechanism to work on it even. I find it easiest to work on both ribbons at once and starting at the lower curtain drum take up. Here we see an old Craft Store ribbon being replaced with the good Arsenal stuff. As per Rick Oleson's web site instructions, I choose to cut my ribbon to the median value of 4�" of the total range listed. I then use a pencil and mark at each end the fold lines at the distances: 1/8" at from end and 1/4" from the other end leaving 4 3/8" between fold marks. A word on thread before we get too far. You can use just about anything you like but the task is made easier if you select a thread that is robust and is woven to resist fraying while worked. I suggest a synthetic material. Face it, none of us are any good at sewing so we need all the help we can get. Again, borrowing from other hobbies, I use a thread that is specific to make Fly Fishing Rods. This stuff is really tough and ties a really tight and neat knot. OK, time to get started, the hardest part is fishing the ribbon underneath the milled slot in the take up drum and getting it past the spring lying inside. I find it difficult to control the ribbon while one is trying to stitch the ends up. I find it useful to employ one of these little clamps to hold the loose end of the ribbon down to the body of the ribbon while stitching. I picked these little gems up at Radio Shack. They are rather inexpensive and will find themselves useful at other times. I can not profess to being very good at sewing the ribbons and I find it hard to emulate Rick Oleson's diagrammatic method with any exact similarity but I try to end up with a nice, tight and neat stitched ribbon. Moving to the two top ribbon connections, again striving to achieve tight and neat stitching. Any lumpy knots sticking out is sure to foul up and prevent the lower curtain latch from engaging the slot in the upper curtain adjacent to our stitch work. For re-tensioning the spring on the lower drum, turn the tension setting screw to the magic number of turns that you took note of earlier. For a sanity check on curtain spring tension I find that if I suspend a 160g weight and it hangs statically then that is about right to set up the correct shutter speeds. Note though, if the shutter mechanism is slightly dirty or hasn't been cleaned in recent decades then hanging 200g of weight would better do the trick. I find that once I start mucking about with shutter tensions and worrying about the shutter speeds I feel compelled to do a complete shutter speed test. See:Shutter Speed Tester and Adjusting Shutter Speeds Ribbons Revisited I had the good fortune lately to do some traveling and checked in on a sewing accessories shop and found some ribbon that looked too good to be true. It had the same weave pattern as the Arsenal material. So, I bought the entire roll and brought it home with the hopes that I had found a cheap ribbon alternative that I could share with everyone. As luck would have it, when I laid down a strip of this new ribbon beside the Arsenal stuff, the funky new ribbon started to look suspiciously wide, 3.65mm wide in fact. Not one to give up easily, I threaded both ribbons through the slots in the bottom curtain to see if it would remotely work. Not a chance! The new ribbon is clearly too wide and binds up in the slots thus when the ribbon slides through the slots there is too much friction. The Arsenal ribbon has a little extra clearance on each side of the slot. Back to searching for easily available and cheap ribbon

hainuo

Fixing Light Leaks

Is all your darkness spilling out? You may need to revitalize the light seals and do some upgrades to ensure you have a light proof enclosure that will hold all the darkness inside. There are a series of black paper baffles which over time may have been displaced or have creased and are ineffective. As well, the Yak hair yarn use against the body is probably not doing a very good job either. Depending on which year Kiev you have there may be subtle different applications of light baffles. The main top casting will have to come off to reveal the following. See: The Basics - Top Casting Removal. Again, depending on year you may find a paper baffle shown by Yellow Arrow. Note the little bit of Yak hair yarn just below the viewfinder window indicated by Blue Arrow. I usually replace this small paper baffle with something a little more substantial. Black paper or plastic bag material from photographic paper is useful for this application. I glue it down or use tape along the edge to make sure it seals. To replace the light baffle inside the rangefinder window you must remove the rangefinder glass. Remove the four screws indicated by Yellow Arrows. To get to the one screw on the right side lift off the exposure indicator gear circled in Red. To get access to the rangefinder window baffle you can sneak the rangefinder glass out as shown above. The rangefinder window light baffle is shown above with a few assemblies moved out of the way to make it clear. Check the condition of this paper baffle, it may need replacement. Here's a couple views to show the black plastic material I use. It is cut a little larger than the original paper and has a couple folds and cuts to help it lay down against adjacent assemblies. Other areas to have a look at, does anything interfere with the back film plane casting from seating down flush against the camera body casting? Here we see the shutter delay timing assembly interfering enough to cause a gap. By the way, how flush is the su**ce of the back film plane casting and the mating camera body casting su**ces? If I at the very least sand the back film plane casting with 400 grit sand paper on a smooth glass su**ce. If I have the shutter removed, I do the same to the mating camera body casting su**ce as well. Note, that if you do anything to these su**ces you are changing the film plane to lens flange distance and will have to be adjusted. This area is always a problem and is the number one place for light to show on your negative radiating from the sprocket on your negative. Remove the film plane back casting and check, there is a thin flat metal washer acting as a light baffle as shown, and depending on year there may be an extra light baffle bent into a funky stepped shape just behind that. These may be bent and probably need some extra help. To augment the feeble light baffle at this location add a piece of closed cell foam as show by Red Arrow. As well, depending on the gap size between the shutter assembly and the body casting you may need some light sealing as indicated by Yellow Arrow as well. The original Yak hair twine that was used for a light seal at the location shown by Yellow Line was an interesting application but it probably is the main source of light leaks. We can do better with modern materials that perform better. I replace the light seals with more modern synthetic materials. This urethane foam made by Rogers Corporation under the Poron product name has an adhesive back and comes in many thicknesses, densities and cell structures. The top-most one I find most appropriate for replacing light seals. Samples may be acquired from Rogers that will last a lifetime. More information on Poron Urethane Foam can be found on Rogers Corporation web site. Fixing Light Leaks Is all your darkness spilling out? You may need to revitalize the light seals and do some upgrades to ensure you have a light proof enclosure that will hold all the darkness inside. There are a series of black paper baffles which over time may have been displaced or have creased and are ineffective. As well, the Yak hair yarn use against the body is probably not doing a very good job either. Depending on which year Kiev you have there may be subtle different applications of light baffles. The main top casting will have to come off to reveal the following. See: The Basics - Top Casting Removal. Again, depending on year you may find a paper baffle shown by Yellow Arrow. Note the little bit of Yak hair yarn just below the viewfinder window indicated by Blue Arrow. I usually replace this small paper baffle with something a little more substantial. Black paper or plastic bag material from photographic paper is useful for this application. I glue it down or use tape along the edge to make sure it seals. To replace the light baffle inside the rangefinder window you must remove the rangefinder glass. Remove the four screws indicated by Yellow Arrows. To get to the one screw on the right side lift off the exposure indicator gear circled in Red. To get access to the rangefinder window baffle you can sneak the rangefinder glass out as shown above. The rangefinder window light baffle is shown above with a few assemblies moved out of the way to make it clear. Check the condition of this paper baffle, it may need replacement. Here's a couple views to show the black plastic material I use. It is cut a little larger than the original paper and has a couple folds and cuts to help it lay down against adjacent assemblies. Other areas to have a look at, does anything interfere with the back film plane casting from seating down flush against the camera body casting? Here we see the shutter delay timing assembly interfering enough to cause a gap. By the way, how flush is the su**ce of the back film plane casting and the mating camera body casting su**ces? If I at the very least sand the back film plane casting with 400 grit sand paper on a smooth glass su**ce. If I have the shutter removed, I do the same to the mating camera body casting su**ce as well. Note, that if you do anything to these su**ces you are changing the film plane to lens flange distance and will have to be adjusted. This area is always a problem and is the number one place for light to show on your negative radiating from the sprocket on your negative. Remove the film plane back casting and check, there is a thin flat metal washer acting as a light baffle as shown, and depending on year there may be an extra light baffle bent into a funky stepped shape just behind that. These may be bent and probably need some extra help. To augment the feeble light baffle at this location add a piece of closed cell foam as show by Red Arrow. As well, depending on the gap size between the shutter assembly and the body casting you may need some light sealing as indicated by Yellow Arrow as well. The original Yak hair twine that was used for a light seal at the location shown by Yellow Line was an interesting application but it probably is the main source of light leaks. We can do better with modern materials that perform better. I replace the light seals with more modern synthetic materials. This urethane foam made by Rogers Corporation under the Poron product name has an adhesive back and comes in many thicknesses, densities and cell structures. The top-most one I find most appropriate for replacing light seals. Samples may be acquired from Rogers that will last a lifetime. Shutter Speed Tester Rev.1 OK, so you got yourself a Kiev but want to know for certain how close to exact the shutter speeds are.    The whole deal works around this Sharp PT510 Phototransistor. Unlike the Phototransistor found at Radio Shack, this one really kicks. It has a very fast response time for both the Rise and Fall Time. Meaning, it turns on and off really quickly, which decreases the likelihood of erroneous data. The other end of the deal is a bright collimated light source, ie. a laser pointer. Here is the schematic describing the circuit. It's pretty **. Feed 3-5 Volts in for power, when the light hits the phototransistor a signal level change can be observed at connector J1 output. The basic configuration is to mount this circuit into a small box with jacks to hook up power and a connector to a device to read the signal level change. The phototransistor is mounted such that a very small hole is in front of the device and the laser pointer shines through the small hole casting it's intense light onto the phototransistor. Interrupt the light and a corresponding signal level change is seen.    Here is the actual output as read on an oscilloscope. When the shutter is fired the opening curtain allows the laser beam to fall on the phototransistor as seen by the event of a signal change shown by Yellow Arrow. When the closing curtain passes in front of the laser beam another signal change is seen. The duration between the two arrows is measured for the actual time the shutter has remained open. As seen in this example a 956 micro second event is recorded, or in layman's terms, a little faster than 1/1000 second. As you can see, very accurate readings can be made. As well multiple readings can be recorded and average shutter speeds with overall variations plotted on a graph against values of perfect shutter speeds for any given setting. OK, great, how do I build one? Start with one of these handy Radio Shack experimenter boxes that measures 3x2 inches. Notice I've mounted my power jacks and coax connector for oscilloscope output. Knock off any protruding bumps to make a nice flat su**ce. This su**ce will be the front face or the su**ce that contacts the film rails. You'll want to determine where the phototransistor will be placed. Measuring on the front su**ce these numbers make a nice placement. With these numbers it positions nicely in the center of the exposure window. Spot a modest hole. I used a .063" or 1/16" drill. Chamfer the inside su**ce with a drill roughly the same diameter as the phototransistor. What you are trying to get is a bevelled hole that will receive the dome shaped lens of the phototransistor. If the phototransistor is placed into this bevelled hole is should center itself. Take some material of the same outside diameter as the phototransistor (4.7mm) and cut a little cylinder. Oddly enough I used the barrel of a 1cc syringe used for insulin injections. If you know anyone who has diabetes these are very handy for things such as this and applying very precise amounts of lubricants, but that's another story. Tack the cylinder in place with some ACC (Krazy Glue) while pressing down to seat the phototransistor into the bevelled hole. If you are satisfied with the results, make it more permanent with some epoxy glue. Now you have a receptacle that will receive the phototransistor and it will be centered every time. Build up the circuit on some perforated circuit board. Note, I've added a second output connector for an audio level signal to input into a computer sound card, but it will remain unconnected for now. With the phototransistor mounted on the other side, you can remove the circuit for upgrades or what ever and it will insert and re-center exactly to the bevelled hole. Now to fine tune the light entrant part. Scribe X-lines through the center of the pilot hole. Take some shim material, it can be made of anything, and drill a really small hole in it. This will act as an aperture to reduce the acceptance angle of the light beam. A #80 or .012" drill will do the trick. Draw a similar X mark on the shim and align to the scribe marks on the box temporarily with some tape. Do a quick test by shining a laser straight into the front and if need be make adjustments to the position of the shim aperture. If satisfied with the position of the front aperture shim, fasten it down. I use black electrical tape buy anything can be used. Pretty much you are done. If you want to get fancy, you can even build one that has two detectors for use on your other cameras that have a focal plane shutter that travels horizontally. I've placed my detectors 25mm apart so that I may measure the shutter speed at both sides of a horizontal focal plane shutter. Here's my test apparatus. With laser pointer mounted in a clamp in front of camera and it held by another clamp system, I hold the shutter tester in place with elastic bands. Now you can test with some assurance that the shutter is performing to factory specifications. And, if anyone makes mention that "those old crappy Russian cameras can't possibly work at the speeds on the dial because they are made poorly", I offer to you an example of an honest 1/1250 second shutter speed. For those with good eyes the reading on the scope is 811 micro-seconds which is nearly spot on perfect. Exposure Meter You may have tried to use your exposure meter on your Kiev 4a and found the situation to be pretty hopeless. Maybe you are one of the lucky ones that has a meter that is pretty good. If so then skip this, otherwise for the rest of you there is a rebuild solution at hand. Let's break it down for you... Remove this screw here but watch out! There's a little ball that you don't want to loose. It may pop out on its own. It's a bugger to find when it is on the floor. Don't loose this stupid little spring either. Also hard to find when it bounces away on the floor. We're going to peel the layers back like an onion. I can assure you there will be no tears. Pull the inner most ring off and keep going until I say stop Some washers... Note the position of the riveted stops on this next part. You could put it back in rotated 180 and things just won't be right. Wavy washer under this one. Lift the Exposure Compensator dial to reveal part of the business, the Carbon Resistor element. Flip over the Exposure Compensator dial you'll see the wiper that contacts the Carbon Resistor Element. Chances are the wiper on the Exposure Compensator has worn a groove down to the substrate over the years. This is one key area where things can go wrong as the wiper is not ** good contact with resistance material any more. What one can do is bend the wiper so that it contacts a fresh part of the Carbon Resistance Element. To go further you'll need to remove the top casting. If you want to remove the Carbon Resistance Element then flip over the top casting to remove these three screws. Remove the base part that the exposure assembly mounts to. Undo the screw that connects the wires and the Carbon Resistance Element if free to exchange with another one or for what ever purposes. You'll see that this one is pretty worn out. There are some potential solutions to rebuild this carbon resistor but first some observations. I've taken some resistance measurements from a Carbon Resistance Element that was not too worn. At each f-stop setting a resistance measurement was made with the resultant plotted curves for two example shutter speeds. You'll see that the curve for 1/500 shutter speed when compared to an Exponential Curve, things match pretty good until after f2 then at f1.5 it departs from the exponential curve and this maybe due to error or the trend doesn't behave at these values. The trend in the most usable f-stop range indicates that the Carbon Resistance Element is not linear but exponential. Interesting... Here's the readings for the actual Carbon Resistance Element that was removed in the above images for 4 different shutter speeds. It looks pretty messed up if you ask me. After changing the Carbon Resistance Element with a better one and bending the Exposure Compensator Wiper so that it contacts a fresh area of carbon I get the following curves for 1/50 to 1/500 shutter speeds. Looks much better, possibly usable but still not perfect. Discussion to consider: It may be possible to use the resistance element from a potentiometer used for audio applications as those have exponential curves. I've not taken the concept further other than a brief look and found some rotary audio potentiometers that may house some potentially useful parts as replacements. Next to get at the Selenium Cell. This is the other part that can fail due to age. They break down with exposure to moisture and age. Fortunately new Selenium Cells can be acquired fairly easily that are used in the FED 5b camera. First the tricky part, the bezel for the exposure adjustment needs to be removed. You can make a fancy little tool by grinding used Exacto knife blades with a Dremel rotary tool, or you can use a very small set of piers but you'll probably make a mess and scratch things up. Remove these four screws. Remove the top stamped metal housing. Remove the two screws that hold the front meter panel. You don't need to but you can remove the whole top stamped metal part at this time. Four screws hold the shoe mount in place. Make note of that little springy thingy left behind. Remove the one screw left at the right side to remove the top casting to get inside revealing the meter movement and such. Here's where fun starts. The front sensor diffuser with the selenium cell slides up as indicated. Here's showing it from the other side. There is a flat friction spring that makes contact with the back substrate of the selenium cell. Keep sliding the selenium cell out while pulling the wire back. Here's the selenium cell in all it's glory. Unsolder the green wire to remove the cell completely. This is the new FED 5b selenium cell inserted into the diffuser. You will note the new cell is smaller than the stock one. To work around this I've applied some shim material to make a nice friction fit centered in the diffuser. You can use any thing for shim material, toothpicks, coffee stir sticks, what ever you have on hand. Ready to be inserted back into the housing. See the flat spring that contacts the back of the selenium cell. Make sure what ever you use for shim material does not interfere with the flat spring ** good contact. Solder wires together. Put the friction spring back into the shoe as such. Finish assembly and ready for calibrating. Comparing the new selenium cell with an old stock one we find there is a slight difference in values. The old cell has a larger area which probably explains the difference. You can adjust out any resistance differences by loosening these two screws and moving the position of the wiper until you get similar values. I don't have good data to suggest what these should be but the above graph my help get you in the range. Remember this part? The screw also is for adjustment of the meter movement where you can fine tune your system.

hainuo

Rangefinder Operation

Rev.1

The Rangefinder is a rather ** operating object. Somehow when you turn the focus wheel on top, something magical happens to make two images converge in the viewfinder. As with every magical trick there's always a slight of hand and here's a couple here to consider. First, there is the glass prism/beam splitter, which in this example with a laser pointer shows it doing the job. The other part to the assembly is the rangefinder compensator which redirects the moving image or as in this example the right most beam path. The rangefinder compensator consists of a moving plano-convex lens (1), a  fixed front plano-concave lens (2) and compensator lever (3) Turning the focus wheel (10) activates a series of gears (9&8) that meshes with the lens barrel helical at (7). Gear (8) has a worm spiral (6) on its shaft that meshes with a worm gear (5) that is connected on a common shaft to actuate worm gear arm (4). Arm (4) contacts a cam su**ce on compensator lever (3), to move the segment-shaped plano-convex lens element (1). The positioning of the plano-convex lens element (1) in relation to the fix front plano-concave lens (2) is what redirects the moving image as seen in the viewfinder. Here's the rangefinder compensator in operation with a bunch of stuff removed to show the movement starting from infinity through to .9m setting. The infinity position is when the plano-convex lens is rotated all the way to the right and conversely .9m has the lens rotated all the way to the left. Pretty ** eh? Except here's the rub, the position of the plano-convex lens is directly related to the rotational position of the lens barrel helical. To see how complicated this concept gets, visit Adjusting the Rangefinder. Shutter Winding Mechanism Rev.1 Here's the take-up spool assembly. Not much to it. The gear engages the advance gear train and the spring on the shaft is the business end of things that drives the fork. The pronged fork slips on the shaft between the spring and the washer/screw on the end of the shaft. Starting at the winding knob working our way down, #1 There is a gear under where the winding knob attaches, trust me it's really there. #2 and #3 idler gears. #4 gear is on a shaft #5 which has a pin that engages through to the advance sprocket. Turn the assembly over and we see shaft #5 sticking through with gear #6 attached to the same shaft. This engages #7 gear which actually is the brake which prevents the reversal of direction of winding. You can't really see it but there is a couple of tabs #7a which rotates freely when the winding direction is the right way but when you try to reverse one of the tabs jams between the gear teeth. Kind of barbaric but it works. Gear #7 then mates with the take-up spool gear head #8 in next image. Hear the take-up spool gear #8 in position on the casting body. Here's a side view of the complete assembly in place that offers a different perspective. Again the same sequential numbering from the winding knob #1 to through to the take-up fork #8. Don't mind the tweezers with the washer in this image. I was using this to remind myself that this washer goes under the brake gear #7. Pretty ** huh? Yes, but seemingly complicated when one has issues with spacing problems of images on a negative. What can go wrong? Referring to the above image we find a whole lot of gears that have a certain amount of backlash. Added to this the spring and the washer/screw tension that allows the pronged fork in the first image at the top to slip is very critical. What should the proper spring tension or pronged fork torque slip be? Good question, but it does influence whether the pronged fork is pulling the film off of the advance sprocket or the film is being pushe

sdkb24

很不错支持!
网址一并发上来呀?

Yvonne!

顶一个，很不错的资料。那个英文网站也值得收藏o(^▽^)o