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Hi - many thanks for your info - I'm sure John Wade will be pleased to read your comments

Thanks Edward, if you do manage to make your own you could certainly sell a few online - there's a big demand for them!

@@pccgbvideochannel8822 especially with VR headsets so readily available. I personally have a glasses-less 3D monitor from Acer that uses cameras to head track a single viewer and I'm dying to shoot some 3D content of the family as viewing it in years to come will only get easier.

Many thanks for your comments - one of the perils of a 'live' recording is that it includes the mispronunciations! But one huge benefit is being able to share the material online for those who couldn't attend!

@@pccgbvideochannel8822 Agreed

This is definitely not a projector lens. I have come across quite a few projector lenses in cataloguing the collection the Photographic Society of Ireland, which was founded as the Dublin Photographic Society in 1854. I have catalogued almost 200 items in that collection so far. Thomas Grubb was a founding member of that society. This mount was described by Grubb in his period advertisements as a 'Screw Adjusting Mount' which was offered as an option for camera lenses. The more common option was what Grubb called a 'Portable Mount' which did not have any focusing mechanism in the lens itself. The Screw Adjusting Mount is quite uncommon as very few people took that option. What I did not mention in this short talk was that the first commonly found reappearance of the helicoid was in the Goerz Anschutz camera which was available from the 1890s onwards.

Thanks, George. I am glad that you got an opportunity to see the video and found it interesting.

Thanks, Tony. I was delighted to do an article on this for TLS, which you chair. However, there was a lot more to say and the 'before and after' situation needed an extended presentation which is here now.

Thanks, Dan. The word at Leica might have been that 'The British are Coming' 😀. Paul Revere never actually said that and I doubt if the Leitz people were really concerned as they had a another plan up their sleeve. However, some of what happened back then has lasted, even until today.

hahaha so true. Your presentation has inspired me to look more deeply into our early Leica cameras!

@@TamarkinCameraChicago Dan, did you recognise the 1926 I model A which I bought from you in Chicago in 2017?

Yes! I recognized it immediately ! @@williamfagan7835

Hello, I also had to miss the presentation, so it's great to have this recording of it!

Thanks, Julian. I have only just become aware that this was posted. I now distributing it to friends around the world who were not able to attend the talk or visit the site of the darkroom.

Wow, thank you!

Thanks for this info DrJon - we'll pass it on to the video author.

We're glad you enjoyed the video!

How come I never find rare/valuable stuff at thrift stores?! These are hard to find - and certainly a lot more valuable than a typical 'BBB' (Boring Brown Box)

Hi - glad you enjoyed the DandyCam - it would be great to find an unopened box of disc/plates to have a go with!

From Steven Sargent: Hi Dan, it is great to have your comments. I am reposting my reply because it didn't seem to appear correctly before. Yes indeed, the pinhole spacing and number can be changed with the relative radii of the film and tin. I based mine on the original design from Prof Wilie Sanderson. If the difference in radii is reduced so the focal lenght is less then you could have more pinholes. The Pinhole Photography book I mention would be invaluable for data on the coverage and viewing-angle for different focal lenghts. In terms of a rotating shutter, that sounds interesting. I wanted to keep my design simple for starters so that I could get to see some results quickly. The slit scan panorama that you describe sounds similar to the Lomo Spinner (I have one of these). Spinner 360° (lomography.com). That camera is good fun. The book by Brain Polden has a wealth of information about that and everything panoramic. The Bardwell Press - Photography at Length by Brian Polden (bardwell-press.co.uk) Yes, we are still waiting for Photo Hippo to make that camera! My camera does create two images on a 120 roll. If you view the video at 14.10 to 14.20 mins, I aim to explain my film threading. As per the photo on screen, the other half of the film is rolled up and sits in the recess on the inner right hand side. You can just see the coil of film in the photo. Many thanks for your comments, it is really good to see you are interested in this unusual contruction.

Thanks Christopher. It is good to see your comment on here. The rack and pinion device of Petzvals was liable to damage, even when they were new. That is still the case today where you often find that a Grubb Petzval has a damaged rack and pinion, but any lenses with his helicoid designs are still perfect. If you look at Thomas Grubb's letter of 14th July 1858 to the Photographic Journal, he alluded to this issue with the rack and pinion design. He also mentioned that the main purpose of the helicoid focus was for fine tuning of the second lens in a stereo pair after the first lens had been focussed using sliding box or bellows. However, I have never seen a helicoid lens in a Grubb stereo pair, they are usually in his 'portable mount' with no internal focus. As for the quality of construction, yes, they are probably over-engineered. In fact, in a large collection of lenses I have nothing that even remotely compares with the engineering quality of the lenses made by Thomas Grubb and his son Howard in Dublin in the mid to late 19th Century. This also applies to the superbly polished glass in the lenses which have the serial numbers engraved on the rims to discourage counterfeiting. In his 'day job' as Chief Engineer of the Bank of Ireland, Grubb had invented a method of printing banknotes which could not be counterfeited. I still have not found any helicoid lens designs from the period between Grubb's design and Berek's design for Leitz around 1920.

Hello MacGuy - glad you enjoyed the video. I've just checked the article in Photographica World #165 - the f3.5 was apparently classed as 'good', whereas the f2 and the f1.5 were superb... my advice is to shoot with what you have, then decide if you want to fork out a lot of cash for either of those 2 lenses! Better to shoot with what you have, than miss opportunities because you are waiting to track down a dream lens to work with!

Thanks, George. I know where a few Grubb lenses are supposed to be in institutions in Ireland and I am in the process of following up on leads. So far there are less here than there are in my collection. Outside of Ireland, a friend and I have traced about 120 -30 Grubb lenses. They are of astonishing build quality and the optics are superb for their era. I have been to many leading experts about the helicoid question and, so far, we have not come up with any between Grubb's design and Berek's 1920 Anastigmat design.

Hi - glad you enjoyed the video! Part of the 'pleasure' of cameras is trying to track down the accessories - often a lot harder than finding the camera in the first place! One of our club members did a multi part feature about these Voiglander cameras, including all the lenses and accessories, in our club publication 'Photographica World' - these are available to view to members via the online digital archive - for more info please visit pccgb.net

@@pccgbvideochannel8822 Thank you!

Hello David - many thanks for your comments - personally I struggle to see 3D even with the glasses on, never mind the 'no-glasses'required' approach! I'll checkout your links for examples.

It’s The red colour

@@Heisenberg_Aka_itsme So much depends on the condition - most of these tiny cameras have chips in the plastic bodies - especially around the clip. They are generally about £100, although some of the colours can fetch a lot more if in mint condition.

We're glad you enjoyed the video. You are quite right, photography isn't only about cameras!

Thanks Tim, I'll make sure Tim G and various other PCCGB members who are into the Reid see you comments - it is a fascinating bit of British camera manufacturing...

Thanks Tim, we're glad you enjoyed it. That's an interesting story about the MOD sale of these cameras. The nearest I ever got to buying one was when I saw one in a dealers 2nd hand selection window sometime in the early 1990's - it was about £200. Instead I bought a Mikroma subminiature and a very clean Olympus Pen W - the latter is almost as rare as the Reid... although not nearly as valuable these days. Still, I've put a lot of film through both of the cameras, which I doubt would be the case with the Reid...

@@pccgbvideochannel8822 I remember a nice clean example for sale in Sherwoods in Birminham for £200 in the mid-80's but I was saving for a medium format camera at the time so I couldn't stretch to that much. In retrospect it would have been a good investment as well as a very useful camera. I joined the PCCGB around the same time (1062). I suspect the Stafford Cripps story is correct as he was an extremely perceptive and intelligent politician and a successful former Minister for Aircraft Production, as you mentioned. There was considerable focus in the post war Labour government on developing products for export as the war had left the UK with huge debts and many export markets had been lost due to the total concentration on the war effort. I assume AGI were probably encouraged to produce the Agiflex for simuilar reasons.

Great to know you enjoyed the talks - camera collecting doesn't start and end with Leica nd Kodak, after all 😀

Hi Steve, glad you enjoyed the talk, part two is in post production at the moment and should be available within the next week or so.

Easy and fun. Read my other comments.

Hello John - glad you enjoyed the video - when doing stereo pairs you keep the focus point the same, but just move the camera 2" to one side, that replicates how your eyes see any scene in real life, when you view the pairs your brain maps the two images as a single stereo view. Let us know how you get on!

Hello Neil - glad you enjoyed the video, the TP reflexes are indeed very interesting cameras. Do you shoot film with yours, or maybe paper negatives?

@@pccgbvideochannel8822 I have a Rollex roll film back that fits into the quarter plate slot. Results are good from the Taylor Hobson Cooke 4.5 lens. I have found some very outdated Ilford quarter plate glass plates that I want to try. I have several single dark slides I can load I haven't tried paper. I have a darkroom but can only print up to 6x9 negatives on my old Gnome rangefinder Alpha enlarger. I can contact print using the enlarger. I am 76 and am based in Stroud, Gloucestershire. I sometimes have an indoor market stall on Stroud Market offering old vintage film cameras for sale!

@@neilpiper9889 Hello Neil, it's great to know that people are using 'classic' (and not so classic!) cameras - although I'm not a fan of using seriously out of date films (esp if colour) but if I found a batch of unexposed mono glass plates I'd certainly give them a go. The beauty of the larger format is being able to do straight contact prints and the results can look very good - I'm jealous of that TH lens you mention! Next time I'm in Stroud I'll drop in!

@@pccgbvideochannel8822 I would like to get some 5x4 Ortho film and cut it down to quarter plate. I could dish develop that under a red safelight. How would I contact you to let you know when I am on the market? Would be great to see you