I’ve added a few more things to the site today, notably:
Planned Soon:
For those lenses that have an Amazon Standard Identification Number (ASIN) the Show Lens and Show Lens Pricing pages will now display Amazon offers of new, used, and refurbished lenses. Due to the Amazon API, the shipping is not displayed in all situations, so make sure you check the details on the Amazon site (click through the prices to get there) before you make a decision.
Admittedly, I’ve never bought anything used on Amazon, so treat them like eBay buy-it-now auctions — there is a bit of risk involved. On the other hand, it never hurts to have other sources of pricing information and the addition of refurbished and new sources of lenses should be very useful.
If you have any comments or suggestions, let me know what you think!
Yashica-Mats are known for good image quality at a low price, but that does not mean that we can not improve on a good thing. One of the simplest improvements is to add flocking material inside the main chamber of the camera to reduce internal reflections. This post details my experience flocking my Yashica-Mat 124 based on information I found in Flickr Yashica TLR discussion groups, specifically Annoying glare in photos from my MAT-124, adding flocking: internal reflections, and Reflections Inside The Film Compartment.
Here is a shot of my film compartment:
The film compartment is painted with matte black paint, but the paint does not absorb all light. For instance, take a look at the back surface near the lens — see how it reflects the and has a much lighter color than the sides? Typically, black paint will tend to reflect light more at very large angles (perpendicular to the painted surface) and very shallow angles (glancing angles). Since any reflected light can bounce and hit the film at a location where it isn’t supposed to be, this can cause strange flares, or bright areas, on the image (see threads above for examples). Also, all that light bouncing around in the film compartment will decrease image contrast by increasing the general exposure of the film.
Newer cameras use baffles and ridges in the film compartment to reduce these reflections, but older cameras like the Yashica TLR series do not.
In my case, there’s even an area in my film compartment where the paint has worn away (see above). I’m not sure why that is, but I have to assume that it does not help my image quality!
Luckily, it turns out that there are felt-like materials called flocking that absorb light better than the stock paint. Flocking, by definition, is the application of many tiny black fibers that absorb light very well. While it is possible to flock by applying glue and shaking on the fibers, you can imagine that the glue and shake process would not be ideal for a precision instrument like a camera. Luckily for camera hobbyists like us, the home-brew telescope industry creates a market for self-adhesive flocking that is quite inexpensive.
The best source I know of for flocking is from a company called ProtoStar in Ohio. ProtoStar’s “Flocked Light Trap Material” costs only 50 cents per 30 square inches, includes a nice adhesive backing, and is very easy to use. If you are a resident of the United States, it is actually slightly less expensive to buy it in roll form instead of the die-cut sheet that they offer on their web-site (by a 30″ x 20″ roll). Either way, at about $17 including shipping, it is quite a deal, since one sheet will let you do a TON of cameras.
So, I went ahead and ordered a sheet of the material and set out to flock my Yashica-Mat 124. Here are the details of how I did it and the tricks I learned. My hope is that others can use these instructions to flock their own cameras. Honestly, it is an easy process that requires some household tools and a little patience, and it should only take about an hour to do it, maybe less.
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To start out, you’ll want to open up the back of your camera and look around. The goal is to cover, or flock, any exposed surface that might catch light, but you’ll want to keep the low against the walls of the chamber and out of the direct light path. Do not worry about cleaning the chamber before you flock because the flocking will cover everything up (unless there is oil or grease build-up that would mess up the adhesive, but if you have oil or grease in your film compartment your camera has more major issues than the flocking can fix!).
Then, gather your materials. The ones I used are above:
The basic procedure for installing the flocking is pretty simple:
Lens Cylinder. The first location I applied the flocking was in the cylinder by the lens. This was honestly the hardest part of the whole procedure, since it is a tight fit, deep in the camera, and the adhesive likes to stick before you want it to. It may help to rack the focus until the cylinder protrudes into the chamber as far as possible. Also, make sure you leave a gap between the flocking and the edge of the cylinder, since tolerances are tight and if you get too close you’ll block light from reaching the film.
I recommend using two pieces of material since the material can expand/contract slightly with temperature changes and it would be bad to have it bubble up. It took me a lot of fiddling to get it right, especially since I was positioning a black material in a black area and my hands often got in the way of my light. What finally worked was to pre-curve the flocking, position it with tweezers, and tack it down with the second probe (a knitting needle in my case).
Front and back of chamber. The next portion I did was the front and back of the main chamber. I used two strips for both the front and back, but it would probably be possible to do them in a single strip if you were careful. I started out by rough-cutting a piece of paper and marking the sides by squeezing it into the corners with my fingernails. Then, I cut it down, test-fitting as I went, until I had a decent template for the flocking. I ended up trimming the flocking a few times too before I stuck it down.
Oh, and an important note — before applying the front and back flocking make sure you rack the focus so that the lens cylinder projects all the way into the body. The front/back walls have concave portions that allow the cylinder to move forward and backward during focus. If you have the focus out and place flocking too far down, you’ll cover up the areas that the cylinder needs to move by, and you could get binding as you focus. I was lucky and just happened to have the focus in the right place, but I figured I should warn you.
I ended up with a gap between the two strips, but this flocking really does not have to be done perfectly. Since the goal is to cut down on overall light and reflections, and since the flocking has height to it already, gaps won’t reflect much light at all. Notice that I left the gap on the portion that curves away from the lighting frustrum — so I doubt any light would even hit it!
During this portion, I pulled off one of the strips to get it positioned better and the flocking separated from it’s backing (the adhesive portion from the fuzzy portion). So, it is possible to destroy the flocking when you remove it, and you need to be somewhat careful once you stick it down. On the other hand, you can always just grab a new piece and it will cover over any residue! Here’s a shot of the separated piece:
The portion on the left is what I am talking about. The portion on the right is just a piece of paper I stuck the broken flocking to.
Chamber Sides. Once the front and back were done, I did the sides. At first, these look really nasty because there are all sorts of strange shapes in the sides. Ultimately, though, that geometry doesn’t need to be preserved and the whole side can be covered with a full piece. Did I mention that this flocking process does not need to be perfect? You can see in the image above how I used a single piece to cover the whole side, just covering over the uneven portions.
Also, note that I didn’t bring the flocking all the way up to the film plane on the sides because it would get in the way of the image on the film. Note how the chamber opens up next to the film. On the front/back, you can go all the way up because there is a recessed portion, but you can not go all the way up on the sides without reducing the image area.
Lens Wall. At this point in the process, I had flocked the chamber as shown above, and I thought I was done. But, looking at it, it seems like the lens wall (the wall that the lens is mounted in) is still pretty reflective if it does not have flocking on it. I decided to go ahead and put some flocking on each side of it just in case.
My main reasoning for this extra bit of work was that film itself can be reflective, and light that reflects off the film could reflect off this back wall (the back wall is clearly not as dark as the flocked area) and decrease contrast. I’m not positive it’d even be an issue, but I figured I’d be easy to add some flocking and I might as well be safe.
I ended up cutting some strange looking pieces to fit in there (even using two on one side) but, again, it does not need to be perfect to do a good job. Just be careful that you keep all flocking away from the lens cylinder because you do not want to get it stuck in the focusing mechanism (lens cylinder).
Cleaning. At the point, the full chamber was flocked, but the flocking material sheds fibers a reasonable amount and there were tons of them on my lens. So, I used a blower to clean it off, then some lens tissue. This image is a bit misleading because I actually blew it out upside down to make sure the fibers didn’t fall back into the camera.
Then, I used scotch tape as a lint remover to get all the little bits of white fuzz off the flocking that had accumulated during installation. It is also good to get off any loose fibers so they don’t fall into the camera. Just roll a little circle, stick it on your finger, and roll it around the flocking. Once it gets dirty roll another piece of tape and continue until everything is nice and lint-free.
Finally, above is the completed flocking. As you can see, the flocking material reflects significantly less light (in fact, I had to adjust the image in photoshop to get any texture to show up!). I haven’t yet had a chance to run a roll of film through the camera, but I hope to today.
Overall, the process took me about two hours, but I was also doing a lot of fiddling with my digital camera and flash to document things.
Also, I added up the size of the flocking I used, and it came out to be only 6 inches by 4 inches, or only 24 square inches! Considering the 30″x20″ piece of flocking I bought, I have a TON left over.
Hopefully this post has encouraged you to flock your Yashica-Mat 124 (or any other TLR — the same process should work on almost any camera that needs flocking). It really is an easy process.
Feel free to leave a comment if you have any questions or tips!
Just a quick note to let you know that the lens search page has been improved with the ability to sort by any of the criteria on the page in either direction.
I know it doesn’t sound that important, but it makes it handy to be able to sort by specific criteria, such as decreasing prices.
There was also an issue with live eBay searches, but I was able to resolve it this morning.
This will be very brief because I’d like to sleep…
Average prices are back up — although some aspects are protected by a login and historical data does not go quite as far back.
I’ve also made a number of improvements to the splash screens, lens views (Amazon prices for Canon lenses!), and a few other places. Registered users can take advantage of the Lens Resale Chart again.
Take a look around and let me know what you think!
It has been brought to my attention that I may be in violation of the eBay Developers Program & API License Agreement in the way that I collect historical lens prices from eBay. So, until I’ve contacted eBay and clarified what I can and can’t do, I’m going to disable display of historical prices on UCDB. Live auction listings will still be available though.
Apologies for any inconvenience this causes!
Ever wonder which Canon lenses have the best resale values?
Well, wonder no longer with the UCDB Lens Resale Value page. It is computed automatically from the lens database.
While I was not surprised to see that so many “L” lenses were on the list or the strength of the Tamron 17-50mm f/2.8 , I was a little surprised to see how many EF-S lenses made the list.
Bleary-eyed, but functioning, I’ve just finished a once through of all the lenses in the database. I made a tool that helps me sort through the previous sales and hopefully that will help me keep prices more accurate.
The majority of the changes were to the back-end and to the FD lenses. I made the “new FD” (or FDn, or nFD) more restrictive, so in some cases you’ll want to check the FD lens listing even if you want the new-FD mount, mostly because the majority of sellers do not distinguish the lenses in their titles.
Also, lens averages might be a little odd for a couple of weeks while I integrate the historical prices (those past 60 days old) into the system.
Overall though, I think you’ll find the database much improved and less noisy. In the past couple of weeks I also made some cosmetic changes, and I’ll continue to do them as I have time. If you have any suggestions for functionality (or anything that just bugs you) leave a comment! My goal is to make the site as useful as possible for camera enthusiasts!
This afternoon I finished adding the FD series of Canon lenses to the database. If you are not aware, the FD series was the manual focus 35mm SLR series the predated the current EOS (autofocus) system. The FD lenses were made from 1971 to the late 80’s and contained two basic mount types (FD and “new FD”, or FDn). The FD cameras were also backwards compatible with the FL lenses. The Wikipedia page on the Canon FD mount has a lot of great historical background on the FD series of lenses — for now, I’ll just hit the high points as an introduction to the FD series.
Indexing camera lenses in an organized way is always difficult, and the FD series has lots of quirks. First, all FD lenses will fit FD mounts, but the FDn mount uses a rotating ring to emulate a bayonet-mount. To distinguish the mounts in the database, the new FD lenses are marked with the mount ‘FDn’. Within the specific mounts, there are many variations, especially in lens coatings. The main coatings are S.C. (Spectra Coating) and S.S.C (Super Spectra Coating). The new FD lenses, with the exception of the inexpensive 50mm lenses, all use an S.S.C coating but the old FD mount has multiple variations.
Another interesting quirk of the labeling is the ‘L’ series, that designates a lens with asphericaL elements (and other Luxury elements) . The L-series started in the FD line, but was predated by lenses marked ‘AL’ or ‘Aspherical’.
The FD series also included some experiments in autofocus, including the ‘AC’ series, and one ‘AF’ lens. All autofocus lenses will operate on an FD mount, although the AC series will not allow autofocus without a camera that supports it. If you are curious, here is a search for the autofocus FD lenses in the database.
While the FD lenses are added to the database, it will take me a little while to get the quirks out of the searches. Most eBay sellers do not distinguish between the lens mounts, although it can be relatively easy to distinguish them if a picture of the mount is listed. As a result, it will take me a while to tweak the search logic to present relevant results, especially since many of the lenses are quite rare. If you have recommendations, let me know!
For now, you can view the new lenses by using the search. For instance:
Since the FD line is a completely discontinued line of lenses and cameras (Canon completely revamped the mount for EOS) there is less competition for lenses and there are often many good deals out there. I’ve been toying with obtaining an FD camera and a few lenses myself for when I want to shoot on 35mm film.
If you’d like more information on the FD line, here are some great resources (many of which I pulled from for the list at UCDB):
As I mentioned earlier, I’ve been having trouble with my light seals on my Yashica-Mat 124. I tried replacing them with felt, but it did not really fix the problem. So, I searched around the internet and found everyone talking about John Goodman’s light seal kits (he goes by Interslice on eBay). Since the seal kits are only $10, I went ahead and got one.
The kit itself is very well thought out and includes everything you see in the picture above. Of course, John provides many kits for many cameras, all with the pieces you need pre-cut and ready to be applied with the provided instructions. But, if you look at the contents of the kit, you might feel a bit ripped off. $10 for a tiny bit of felt, a stick, and some photocopies?
John’s kits are a great deal, but you need to realize what you are paying for. The deal in the kit is not the raw materials — it is the experience embodied in the instructions and selection of materials. From what I read, John has recently limited the amount of materials he’ll provide because other sellers stole his instructions and started selling competing kits on eBay. So, the choice to limit the materials in the kit is just a sound business strategy.
John’s instructions are very detailed and clear with a ton of little tips that I never thought of when I used felt. Obviously, I can’t share all of them with you now because that’d undermine his business, but I will share one that is obvious yet I never thought of it: remove the back door of the Yashicamat 124 before trying to apply the seals! Of course, John gives great instructions on how to remove the door safely.
With the instructions and the pre-cut seals, the whole process went very smoothly. John includes a custom-cut bamboo tool that helps, especially with getting the new foam in. I didn’t find the tool that useful for removing the old goo though. The foam is top-notch and applies pretty easily if you take your time.
So, if you need to replace your seals, I highly recommend an Interslice kit (click on the link to see all of his listings — he covers a lot of camera models, including Canon AE-1, Mamiya C330, Olympus OM-1, etc). Remember though, you are paying for the experience and information, not necessarily the materials. And $10 is a worthy investment in the information he provides!
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FYI, the new seals did not fix my light leaks. This is no fault of the kit — I believe my Yashicamat back is bent and that is causing the leak. My current solution is to cover that side of the back with gaffer’s tape when I’m shooting with it, but more about that another time.
