View allAll Photos Tagged selenium
The reason this camera was only 99cents plus shipping was that when I got it, the shutter was both very sticky and fired with the advance lever. Finally took off the lens and fixed it. Now everything works fine - the meter is even accurate.
slavich bromportrait 80 grade 3, selenium 1+1+9
arista premium liquid lith 1+1+24+old brown,
hc-110, neopan ss ei200, voigtlander 90/3.5 apo-lanthar, bessa r.
Halina Paulette EE II ~1975
Halinar Anastigmat f=50, 1:2,8
Uncoupled Selenium photometer
You can see it on Camerapedia
Inspired by the fascinating test strips of Pierre Cordier in the shadow catchers show and using the denser of my Gum negs I contact printed on silverprint proof paper under the sunbed for about 25mins
Fixed, and toned in selenium 1:15
Lightmeter Parts Box 1
Some Selenium Lightmeter Cells.
One is produced June 24th 1938. Hardly fresh anymore !
Produced by the German company Electrocell in Berlin.
Agfa Optima 200 Sensor ~1969
Agfa Color-Apotar 42mm, 1:2.8 Paratic lens
Auto exposure controlled by a selenium cell, big window on the top left. The system is the needle catch type.
Zone focus on top of the focus ring. Scale focus, in meters and feet in the bottom of the ring.
The advance lever is located under the camera and doubles the function as rewind lever, when the small button, bottom left of the lens is pressed and pushed towards the lens.
Made in Germany.
This camera was a gift from Hugo Cardoso, with a bunch of others.
With some lighter fluid and elbow grease 's back to life.
Thank you Hugo.
Set of photos taken with this camera
I invite you to visit my camera site at Classic Cameras in english.
Convido-os a visitar o minha página Câmaras & Cia. em português
Fuji Neopan 400, dev Rodinal, split grade printed on Forte FB, cold tone print dev, selenium toned, scanned Print. MamiyaRB67, 80mm.
The IIIc's built-in selenium cells lightmeter under the metal flap works well in either closed position shown here with light entering through the center hole in bright conditions or with the flap open for low light metering. But the flash-shoe mounted Kodalux L lightmeter that works on the same principle is a neat little accessory with a built-in incident light diffusor that rolls in front of the cells like a blind. Neither lightmeter needs batteries and nor does the camera which is the best part of it all.
Taken with Canon S95 in automatic focus-bracketing mode and pieced together with the Helicon Focus stacking software.
Mamiya Elca with built-in selenium meter. The first Japanese camera with a match needle exposuremeter. On top of the camera provisions to connect a booster cell, originally made by Sekonic for their Sekonic L8 exposure meter. Lens Sekor 2.8/50mm. 1958
Scaling beck waterfall - Selenium quadtone.
Canon 5D Mk II & Sigma 12-24mm f/4.5 EX DG (@14mm).
1/4sec @ f/9
Koden Lightmeter.
Selenium lightmeter produced in Japan. My guess somewhere in the 1950's or 1960's.
Inside view.
Selenium cell dead :-(
Omega Lith onto a little known paper, Forte PW18
Holga, Delta 400 @800ASA in Finol,
Forte PW18
SE5 Lith 40/60/900/-/30 2,5mins
Lith Omega 1+200 2 mins
Toning:
MT1 Selenium 1+10 1 min
MT10 Gold 2 min
A selenium meter coupled directly to the lens aperture ring is an interesting, if ungainly-looking, solution. The Schneider version seems to be a twin of the one offered on Isco lenses (a sister company).
The "Stop-O-Matic" series are specific to Exakta SLRs, as can be seen by the shutter release to the left of the focus & aperture index. Internal stopdown coupling is clearly the way forward and Schneider is now also offering "automatic diaphragm" lenses with that feature.
An overview of the different silver painted faces of the Metrophot and Metraphot exposure meters that were produced by Metrawatt around 1933. The model in the middle of the bottom row, the Metraphot 16, has a larger body than the other ones because a stronger(=larger) magnet had been used. Side view.
Chrolon in its original box.
Selenium Cell Lightmeter.
Produced by the German company Bertram in c.1950.
Original Box.
Bought at the annual Doesburg International Open Air Camera Fair August 2026.
Nikon F90x, Nikkor AF 28-105mm. 1:3,5-4,5 D. Película Rollei ATP 1.1 32 ISO forzada a / Pushed to 100 ISO. Revelador Gago Tecniteixon III 1+24, 10 minutos, 25ºC. Papel Foma Fomatone 132 , revelador Gago KLDuro (1+1+5) + Gago Toque dulce + patapalo fastone(1+30). Virado al selenio / Selenium toned. Original 18x24.
Porto de Meloxo, O Grove, Pontevedra. Abril 2009.
Lith print Moersch SE5 1A+ 1B+ 20 Water 20° on Foma Classic MG 532 II. Selen toned in hot and strong Harman Selen 1+5 30° 2 min
Koden Lightmeter.
Selenium lightmeter produced in Japan. My guess somewhere in the 1950's or 1960's.
Inside view.
I took this photo of the Lafarge Canada Exshaw Cement Plant at Lac Des Arcs in the Canadian Rockies back in November with the intent of toning it. This is a scan of the toned print. I split toned in Kodak Rapid Selenium and Iron Blue toners. As usual, the print looks better than the scan.
Photographed using a Nikon F3 sung a Nikkor 43-86mm f/3.5 zoom lens on Fuji Neopan Acros 100. Developed in HC110 B.
LARRY CWIK – ARTIST STATEMENT – TOTEM SERIES – OCTOBER 2011
After working for 15+ years in both single image photography and in Super 8 film, I visited and was profoundly inspired by the beauty and power of the Totem Poles of the first peoples of the Pacific Northwest coast. The poles inspired me to begin arranging my photographic images in a stacked manner to allude to a story or theme. Some use symbols or archetypes. The arrangement is intuitive, from my subconscious, like the individual images themselves.
Most of the 13 works in the exhibit have images from the Pacific Northwest, my home since 1982. The northwest has directly inspired this series.
Most of the works have a narrative. Totem 28 (Memory) speaks of memory, with the hand of my mother, now 82, with Alzheimer’s, in the center, a “memory machine” in the Alzheimer’s wing of an assisted living facility in Hillsboro at the top, and an ancient tree in Beaverton at the bottom. Totem 44 (Bellflower) has two images in an ethereal fog, one of a house, one of a forest. In between is an image of a beautiful but poisonous flower. In Totem 47 (Page) the top image shows my hand holding pages of text about artist Leonora Carrington (1917-2011), one of the last two living original surrealists, who inspired me. I enjoyed talking by phone with her each year from 2001 to 2011. Above the page with the text is a cloud reminiscent of a flame. The center image shows a pastoral Oregon scene of grass and high clouds symbolizing peace/serenity. The lower image shows the light of the sun breaking through dense artistic clouds. Totem 24 (Glass) has symbols of travel (at the top), dining (in the center), and nightlife (at the bottom). Totem 27 (Liberty) alludes to privacy in our contemporary society. A symbol of liberty is at the top, a symbol of light and possible surveillance is in the center, and a symbol of government is at the bottom. Totem 6 (Family) has a young family on the beach in the center image, a family of driftwood arranged as an installation at the top, and what may be a vegetative family as the bottom image. Totem 26 (Empire) is a socio-economic commentary and shows a parking sign, a jumbo jet in flight, and a homeless person pushing a grocery cart piled high with bottles and cans. Totem 23 (Balloons) has three images that together comment on urban density and life. Totem 49 (Perch) shows a dog looking forward peacefully on a beach, a bin of fish destined to be food, and a fisherman on a jetty above a driftwood piece with the design of a face, with the three together commenting on life and transcendence. Totem 11 (Helmet), the only horizontal Totem in the exhibit, has three images obtained in Portland, united not only by a compositional sphere in each of the three images, but to me through its representations of land (the helmet), sky (the clouds), and water (a satellite dish atop a boat on the Willamette River).
In 2008, I visited Alert Bay, B.C., a major center of Totem Pole building, to do research for this series. Totem 45 (Boat) is comprised of three images taken there. The top image, part of a boat, looks like a smiling porpoise or dolphin. The bottom image, a life boat, seems like a large-eyed fish. The center image appears to have a spirit figure hovering near a ladder in the midst of boat rigging. The three are all nautical images, but can signify different things to different people.
While the works in the series often have a narrative, I keep the titles short. I want the works to be open to a viewer's own interpretation. Similarly, a Totem Pole's narrative is open to interpretation even if its creator had a specific narrative in mind when designing/carving/painting the Pole.
Basic selenium meter from, I guess, the 1970s. Still works well.
It's a slightly odd design choice to write 1/1000 & 1/2000 as 1M and 2M, which could be misinterpreted as minutes.
Made in Japan.
Rangefinder Kiev 4 (KNEB subtype 2a) (sn# 5922914)
with Jupiter-12 35mm f/2.8 (sn #6207012)
and KMZ Universal Finder 28-135mm ("turret finder") in symmetrically reversed design for Kiev cameras (sn #001374).
Manufactured in 1959-1962 by the Arsenal factory in Kiev (Ukraine)
The selenium light meter still works and is quite accurate!
Also, only small numbers of the symmetrically reversed design of the turret finder were produced.
© Dirk HR Spennemann 2011, All Rights Reserved
Fidalgo Bay. The site is currently vacant property with abandoned building remnants and debris. A sawmill and wood-box factory, and then a plywood mill, operated on the site for almost a century. Mill features included a hog-fuel boiler, drum storage tank area, transformer yard, above-ground storage tanks containing fuel oil, gasoline, diesel and/or propane, phenolic formaldehyde resin and caustic storage tanks (both used in making plywood glue), a machine shop, a metal shop, and an area for spraying paint and oil.
fortress.wa.gov/ecy/gsp/Sitepage.aspx?csid=4533
Work will focus on cleaning up about 6 upland acres this year. It will include removing pilings and other structures to allow excavation of about 33,600 tons of contaminated soil; off-site disposal of the soil, structures and pilings; and backfilling the site with about 39,000 tons of clean soil.
Site soil contains elevated concentrations of arsenic, cadmium, chromium, copper, lead, mercury, nickel, selenium, silver, zinc, oil-range petroleum hydrocarbons, dioxins, and furans. Groundwater beneath the site does not meet drinking water standards. The water also contains elevated concentrations of arsenic, copper and nickel. Dioxins and wood debris contaminate Marine sediments are found to be contaminated with dioxins and wood debris.
In 2013, Ecology plans to:
Remove old creosote dock pilings and other in-water concrete and metal structures.
Dig up and dredge about 10 acres of sediment contaminated with dioxins and wood waste.
Dispose of contaminated sediment off-site.
Improve the near-shore habitat by reshaping an existing spit and jetty.
Connect Fidalgo Bay with the wetland area that was created in 2011.
Made by Mamiya for Sears
©1960
Tower 10A has a Mamiya-Sekor f2.8 / 48mm lens
35mm Rangefinder with a selenium meter
This is an Agfa Agfamatic 126 camera. Dig that huge fake selenium lightmeter on the front! That's right, it's non-functional - but it sure looks big!
0043cf
3/4-front view of selenium* rectifier lamphouse power supply for the RCA Arc 400 carbon-arc 16mm movie projector, showing the current control. A fan located at the base of the power supply forces air upward to cool the transformer and rectifier stack.
This nearly-60 lb. (27 kg.) chunk of mostly iron and steel outputs 30 amperes at 28 volts, or about 840 watts, when carbons are properly aligned and the current control is adjusted to achieve the specified current.
*The specification plate on the back says "selenium" but it looks like it was retrofitted with a pair of high-current silicon diodes mounted in heat sinks along with a large electrolytic capacitor to smooth the DC output.
Selenium light-cell lens detail. Field of view about 1 inch wide. Reminds me of a honeycomb.
(CC BY-SA which means anyone can use any size of this image anywhere provided accompanied by the credit: Image: George Rex Photography)
I will be using this camera in week 140 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
This camera takes twelve 4x4cm negatives on a roll 127 film. This year, 2012 is the centenary of Kodak's introduction of the format. Once the mainstay of family photography, it is now obsolete, though not quite extinct.
To mark this centenary year, I plan to use as many 127 film cameras as I can, the project will be recorded on a new blog “127@100” which can be found here: 127centenary.blogspot.com
Visit my page.... www.facebook.com/SamIrvine.Photography for more of my work. Thanks for looking! :)