View allAll Photos Tagged koki
Taiyodo Koki Co. Reflex Beauty • Carl Zeiss Jena 1:2.8 F=8cm Tessar
Rollei RPX 400 developed in Caffenol CLCS 70min cold stand @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Gipsweier
Steinsel • Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 69 minutes
From the left ,
Koki , tom and snow =D
really it's difficult to take a pic for cats -__-
i catch one !!
then the others run away ="(
hope u like them ^_^
Taiyodo Koki Co. Reflex Beauty • Carl Zeiss Jena 1:2.8 F=8cm Tessar
Rollei R3 @ 100 ISO expired developed in Caffenol CLCS (Cold Start) stand 80min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
10 slow inversions then let stand for 80 minutes
Taiyodo Koki Co. Reflex Beauty • Canter TKK 1:3.5 F=75mm
Bergger Pancro 400 film developed in Caffenol CLCS 80min stand @15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Bereldange • Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 79 minutes
Taiyodo Koki Co. Reflex Beauty • Canter TKK 1:3.5 F=75mm
Bergger Pancro 400 film developed in Caffenol CL 75min stand @20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Walferdange • Luxembourg
Caffenol CL
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 74 minutes
collaboration
A2 poster for
antalis: paper loves design
We were asked to do the illustration poster with theme:
"celebration / wedding / cake"
The poster will be printed on metallic white paper traditionally used for wedding invites
Taiyodo Koki Co. Reflex Beauty • Carl Zeiss Jena 1:2.8 F=8cm Tessar
Rollei R3 @ 100 ISO expired developed in Caffenol CLCS (Cold Start) stand 80min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
10 slow inversions then let stand for 80 minutes
Under Mount Fuji's peaceful watch, vibrant maple leaves create a stunning autumn display, beautifully captured on film. The red leaves frame the snowy peak, a striking contrast of fiery colors against the mountain's calmness. The sunlight reflects off Lake Kawaguchi's waters, adding to the scene's beauty.
Nikon TW Zoom 35-80
Kodak Ultra Max 400
Taiyodo Koki Co. Reflex Beauty • Canter TKK 1:3.5 F=75mm
Bergger Pancro 400 film developed in Caffenol CLCS 80min stand @15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Bereldange • Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 79 minutes
Taiyodo Koki Co. Reflex Beauty • Canter TKK 1:3.5 F=75mm
Bergger Pancro 400 film developed in Caffenol CL 75min stand @20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Walferdange • Luxembourg
Caffenol CL
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 74 minutes
Taiyodo Koki Co. Reflex Beauty • Carl Zeiss Jena 1:2.8 F=8cm Tessar
FujiFilm Neopan Acros II @200 ISO developed in Caffenol CLCS 80min stand @ 15-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
10 slow inversions then let stand for 80 minutes
Taiyodo Koki Co. Reflex Beauty • Canter TKK 1:3.5 F=75mm
Bergger Pancro 400 film developed in Caffenol CLCS 80min stand @15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Bereldange • Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 79 minutes
A KöKi gyalogos felüljárón, Budapest X. kerület, 2025.okt.07. 13.57 CEST // at KöKi pedestrian overpass, Budapest District 10, 7th Oct 2025 13.57 CEST -- (C) Gimesi András Gime @x3DGime @Gimephoto #x3DGime #Gimephoto Gime.photo 20251007tu1357 #Budapest #KöKi- #SooC #StraightOutOfCamera - #BnW #BlackAndWhite #BW #FFF #monochrome #NeB #NoirEtBlanc #noir - #utca #street #utcafotó #streetphoto #streetphotography
Koki'o ke'oke'o or Hawaiian white hibiscus. Photo taken at the Greenwell Kona Coffee plantation on the Big Island of Hawaii.
Press "L".
Rittreck 5x7", Fujinon SWD 90mm f5.6 @ f64, Kodak Tri-X 320 Pan Professional (320TXP) developed in Ethol UFG 3 minutes, wet-mounted drumscan.
Taiyodo Koki Co. Reflex Beauty • Carl Zeiss Jena 1:2.8 F=8cm Tessar
Rollei R3 @ 100 ISO expired developed in Caffenol CLCS (Cold Start) stand 80min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
10 slow inversions then let stand for 80 minutes
**NEW**
*Fonet Store* Lelutka shape Eon Head 3.1 Koki evoX*
You can buy it in the market store or in the sl store.
The rest of the information on Facebook.
You can see old shapes on facebook
Taiyodo Koki Co. Reflex Beauty • Carl Zeiss Jena 1:2.8 F=8cm Tessar
Rollei R3 @ 100 ISO expired developed in Caffenol CLCS (Cold Start) stand 80min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
10 slow inversions then let stand for 80 minutes
Taiyodo Koki Co. Reflex Beauty • Carl Zeiss Jena 1:2.8 F=8cm Tessar
FujiFilm Neopan Acros II @200 ISO developed in Caffenol CLCS 80min stand @ 15-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
10 slow inversions then let stand for 80 minutes
Rittreck Six 6x6 SLR. 12 frames per 120 roll/24 per 220.
Fitted with 80mm Rittron f/2 lens.
The Rittreck Six was the progenitor of the better known Norita SLR, but was manufactured by Musashino Kōki.
See here for more information about the Rittreck/Norita series. camera-wiki.org/wiki/Rittreck_6×6_and_Norita_66
By all accounts this one is virtually unused. I find this easy to believe, because it's become fairly obvious to me that, at the time of its assembly, Musashino Kōki's quality control left a bit to be desired, unfortunately. So its proud owner's first roll of film through this camera would have been a profound disappointment.
This Rittreck was sent to me to by its owner in order to get it to actually work properly. On arrival, it had any number of faults. Frame spacing was inconsistent, and the shutter curtains were poorly adjusted because there was considerable tapering across the gate at the faster speeds.
The back closure was a little on the loose side (causing other issues with the counter reset and frame spacing), and its Rittron lens would focus beyond infinity by an unacceptable amount (subsequent checks confirmed it had been assembled with the back focus out of spec).
It's an unusual mechanism in as much that it relies on the correct amount of friction in a few places in order to achieve satisfactory frame spacing or indeed, to get the shutter cocking and advance working together at all. I can't help thinking a Rollei type approach to integrating wind release and lock into the counter dial, so that the lever (or knob in the case of a Rolleicord) is either free, or blocked, depending on the counter position, is a much more elegant (and reliable) solution.
The back door closure is a key part of getting the plot to come together correctly. A reset tab inside the top door slot not only resets the counter to "S" but also kicks the film roller into action when you begin advancing to the first frame. If the tab is not firmly depressed by a snug door, or the linkages inside the bottom cover of the body which are driven by the tab's lever are incorrectly adjusted with the wrong play or orientation, the framing may be haphazard or even non-existent (the shutter may not get cocked at all).
At various points of problem solving the mechanism I had the frame advancing without cocking the shutter, and the shutter cocking without winding on the film. It's a Goldilocks mechanism. Has to be just right, in order to function sweetly. Nevertheless I got there eventually and it now produces 12 beautifully even frames on a roll of 120.
The shutter is now exposing the gate consistently even at its 1/500 maximum speed. After first cleaning and lubricating the mechanism, this was achieved by increasing the second curtain tension to reduce the tapering across the gate. The alternative would have been reducing the first curtain tension (or I suppose a combination of both). But the first curtain must activate the timing levers, and as medium and slow speeds were still OK, I judged it better to speed up the second curtain to get them balanced across the gate.
It's not a particularly well understood point—but you do actually need a slight amount of widening of the slit across the gate if the fastest speeds of a focal plane shutter are going to be really good. This is because the curtains are still gathering speed as they travel across the film gate. Because the far end of the gate is thus, exposed for a shorter amount of time, the width of the slit between the curtain ends needs to enlarge fractionally during the run, in order to negate the underexposure that will occur from the curtains accelerating.
I had to estimate the amount of taper needed to achieve consistent exposure by eye using a CRT screen. On receipt it was clearly grossly excessive with the slit tripling in size from side to side, or more. I moderated this to around a 1/3 increase from right side to left side of the gate (as viewed from the rear). A test roll with several 1/500 & 1/250 images featuring lots of clear sky indicates that exposure is very even across an entire negative, so my adjustments were fairly reasonable.
The 80mm Rittron f/2 lens seems reasonably sharp and after the addition of a 0.25mm shim behind the optic module, is now focusing only to infinity at its stop.
Whilst I am in no hurry to work on another it was an interesting job, and a learning exercise. But also a reminder of why I mostly stick with classic German cameras, I seem to relate to those better...
WORDS AND IMAGES COPYRIGHT TASMANIA FILM PHOTOGRAPHY 2022
ALL RIGHTS RESERVED
Taiyodo Koki Co. Reflex Beauty • Canter TKK 1:3.5 F=75mm
Bergger Pancro 400 film developed in Caffenol CLCS 80min stand @15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Panorama 2 photos stitched together with Microsoft ICE 2.0
Bereldange • Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 79 minutes
Hiroshima Electric Railway Co., Ltd. (Hiroden): the city of Hiroshima has the largest tram network in Japan, with 35.1 km of standard gauge tracks, electrified at 600 V DC. This network can be divided into two parts: the urban one, with 19.0 km o tracks, and the suburban light rail line of Miyajima (16.1 km). The rolling stock consists of almost 300 vehicles and, unlike most Japanese tram networks, there are a large number of long articulated trams.
The old tram 1912 at Kamiyacho stop, working a service in the line 3 to Nishi-Hiroshima.
This tram is part of a series of 35 built between 1955 and 1957 for the Kyoto tram network by Aruna Koki, Toyo Koki and Nippon Sharyo. In Kyoto they formed the series 901-935. In 1970, fifteen of them were transformed for the single agent operation (numbers 916-931), being renumbered as 1916-1931. After the closure of the Kyoto network, these 15 trams were transferred to Hiroshima between 1977 and 1980, where they were renumbered as 1901-1915.
Taiyodo Koki Co. Reflex Beauty • Canter TKK 1:3.5 F=75mm
Bergger Pancro 400 film developed in Caffenol CL 75min stand @20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Walferdange Forest • Luxembourg
Caffenol CL
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 74 minutes
LENS MANIA: SANKYO KOKI TOKYO Komura- 105 m.m. f2.8 (M44)
Here they are... my “Three little pigs” with me hoffing and puffing...!
Just an anticipation of a very unusual new-entry that brings the count of my little Komura 105mm pigs to the number of three (of the second one - the lowermost in the picture - I already mentioned something in a previous lens test). They are all the same lens model: Komura 105mm f2.8 with only manufacturing differences depending on the age.
The most interesting is of course the oldest one (top right piggy). Not properly minty. I took a chance with it: when I stumbled on the auction package it included it, the lens was not described properly, and it was not well visible in the images either. Eventually I got a lucky: it would seem to be indeed the oldest Komura 105mm f2.8 for SRL camera I have ever come across so far.
Everything about it screams ‘I am old!”: early Leitz Hecktor- or Thambar-likr paint finish; millimeter indication weirdly marked as ‘m.m.’e brand name still in the form of Sankyou Kohki Tokyo and lens name as ‘Komura-‘ (with that mysterious final hyphen); Zaiss Biotar 58 (exakta mount) reminiscent architecture (you need to unlock an internal ring from the back, to split open the lens and accessing the helicoid and the lenses groups); different architecture for the head structure as well.
The lenses design is the same. The front element has some faint but visible cleaning marks, while the rear group has the external element with some haze, as well as an incipient fungus formation in two spots of its edges, that also could not be cleaned. In fact the structure of the rear element, is unusual: it can not be opened up, like the later ones. You can only remove the outermost metal protection of the glass. Or, possibly, you could, but you need special tools I do not have. I saw something similar in an early Mamiya 55mm f1.4 model: rear group with the outermost lens of the encased group, affected by a fungus that would have required taking out the glass from its shell. I had no way of getting a hold of it.
Another surprise (bad one) I have had here, is that the lens is missing(!) one of its 16 precious blades. Really! Initially I hoped it was just lose/mislplaced under the others. Instead, I had to realize it was really missing! So, or the lens had been repaired, or used as donor, in the past; or - less likely - one blade was forgotten when assembled. Nonetheless, even as such, the lens performs perfectly, since the number of the others is sufficient to maintaining the circle almost perfect anyway.
As noted, the lens comes in M44 mount, the so-called Miranda mount. And that is really a bottleneck: to use it, you necessarily must mount it on a… Miranda camera or on a mirrorless. Miranda camera had indeed a very short flange distance from the film plane, that makes very difficult adapting it to other DSRL cameras. I was able to do a couple of test-shots with K1, only keeping it attached to the camera by hand and renouncing to infinity. Therefore, nothing really enjoyable. I need some time and inspiration to grab a film roll and test it with the Miranda S in its original environment.
"everything-is-nothing"
marker on canvas
For "nothing is everything" at a-word-of-art gallery
a new gallery space in Woodstock industrial centre
Taiyodo Koki Co. Reflex Beauty • Carl Zeiss Jena 1:2.8 F=8cm Tessar
Rollei R3 @ 100 ISO expired developed in Caffenol CLCS (Cold Start) stand 80min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
10 slow inversions then let stand for 80 minutes
Taiyodo Koki Co. Reflex Beauty • Carl Zeiss Jena 1:2.8 F=8cm Tessar
FujiFilm Neopan Acros II @200 ISO developed in Caffenol CLCS 80min stand @ 15-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Kirchberg • Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
10 slow inversions then let stand for 80 minutes
Taiyodo Koki Co. Reflex Beauty • Canter TKK 1:3.5 F=75mm
Bergger Pancro 400 film developed in Caffenol CL 75min stand @20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Walferdange Forest • Luxembourg
Caffenol CL
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 74 minutes