Kiev, and the Contax cameras they were patterned after, were great cameras.  Overengineered to give a certain amount of precision that you and your mum would love.  But the complex mechanism, so full of parts and movements, made it prone for more opportunities for failure.  For instance, the shutter.  The metal focal plane shutter used in Kiev had some distinct advantages over the Leica style double cloth type.  It will never burn pinholes.  It will likely to keep its timing better too.  But it had a serious weak point- the shutter run on fibre straps.  Brass slats running, pressing, and bearing on silk ribbons would soon wear the latter out, causing it to break.  Breakage is inevitable- wear, age, and even the climate will eventually kill the ribbons.  And often this breakage happens without warning.  The ribbons aren’t visible, so their state cannot be assessed easily.

It happens quickly too.  One moment the shutter winds and fires ok.  Then suddenly, the winding knob will turn heavier than it did just a few shots ago.  The shutter will fire with a different sound.  The ‘click’ no longer sounds complete- the closing sound that completes the cycle seems to be missing.  All indicators of shutter breakage.  And when you take off the camera’s back, this is what you’ll see- an empty gaping hole where the shutter once was:

The shutter can be wound. But instead of seeing an opening and closing blind, only one set seems to be moving.  Or none at all if the two ribbons broke.

Taking off the shutter cover/film gate plate will reveal what happened.  Expect to find one ribbon- usually the one on the right (next to the large gears), and its break approximately 1 – 3mm from its stitched end.  Sometimes two ribbons break.  Same place too.

In this camera, the two ribbons snapped.  The original material used by the factory – “Арсенал” in the Ukraine- was woven acetate. The two main concerns in ribbon replacement are, 1- the mechanical aspects of repair; and 2- getting the suitable material to replace the broken ribbons.  The latter involves using substitutes such as tailoring or ornamental ribbons, or camera straps from camera repair suppliers.  Many people have reported success with ordinary acetate ribbons.  However, getting one in the right width (3mm) and thickness is not easy.  The wrong size- such as being slightly over 3mm or thicker than what the shutter eyelets can let pass – can result in shutter failure.

The repair can be done without removing anything more than the shutter cover/film gate.  This camera was taken apart more extensively to allow other repairs like Rangefinder calibration.  In Kiev and Contax, the entire shutter assembly has to be removed for simple rangefinder adjustments like vertical or horizontal/infinity alignment.

Closer examination shows that the Ribbons in this shutter failed because of age and wear.

Note and memorise the positions of the original ribbons- where they were attached, and how.  Measure the distance between the folded ends attached to the spring loaded roller at the bottom and the upper shutter blind.  With broken ribbons, this might not be possible.   This is about 11 cms long.

The ribbon material chosen for this repair is a Japanese made material sourced from a camera repair supplier.  It is made of real habutae silk. Not acetate or rayon since the fibres don’t melt and fuse when put to a flame.  It is exactly 3mm wide, just what Kiev or Contax needs.  Real silk is smooth and strong, so it has the strength needed to withstand the shutter’s strain for some years. Silk is one of the strongest natural fibres.  It’s thinner though, but the eyelets on the shutter blinds which ride on the ribbons can be crimped a bit for the grip.

I have read somewhere that the ribbons used by Zeiss for the Contax was made in Japan.  This was before WWII.  The ribbon shown in the picture is described to be suitable for Contax shutters too.  So I added one to the other and tried to see if the ribbon would work. It did.  In my initial test, I actually fired the shutter 200 times.  At around 800, there was no frilling or any signs of deterioration, even when observed at 5X magnification.  Rick Oleson suggested  to me to test a possible material for suitability by firing (the shutter it’s on) at least a hundred times.  This one went through 800 cycles without showing any changes.  Two years later, the Kiev I put it in still works.

(I also used a locally sourced acetate ribbon for some of the Kiev shutters.  This also worked.  But it’s harder to insert it into the numerous shutter parts it has to snake through.  I’m also down to my last 2 metres and I can no longer find the same thing in the tailoring suppliers.)

Cut the ribbon to suitable length.   11 cm is the distance between the shutter blind and the roller, and a bit of extra length is needed for the folded ends.   I cut a small strip of card to serve as the measuring template.  This makes the cutting of this precious material efficient with minimal or no loss.

After cutting, the 10,8 span is marked.  Folds are made on these positions.

The ends of the ribbon strips should be treated with a dopey material like nailpolish or cyanoacrylate glue to seal the ends and make them stiffer for insertion.  The end which will be used for insertion should be tapered a bit.

Once the dope sets, trim to taper one end.  Then bend on the marks.  The folds should be 10.8 – 11 cms apart.  The folds will hook on the roller and the spring blinds at their respective ends.

Insert the ribbons through the rollers, then through the eyelets of the lower shutter blind, and pull out end for attachment to the upper shutter blind.  Make sure that both ribbons have the same length between the roller and the upper shutter blind.

The ribbons need to be glued, and then sewn to keep them in place. Use a figure-8 stitch for all four ends.

Turn the lower roller to reel in the lower shutter curtain and the newly attached ribbons.  The ribbons will wrap around the lower shutter blind.  Use the tensioning screw to turn the lower roller.

Once reeled in, begin tensioning the shutter.  Tensioning is going to be very very fiddly.  The location of the tensioning screw, its size, and the procedure needed can be taxing to your patience and sanity.   On top of that, the camera must be on its side, where there is nothing to keep it in that position.   The tensioning screw is held in place by a locking plate, which in turn is locked by a smaller setscrew.

Once you are able to pass through the hurdle of tensioning the shutter spring properly, you should be able to cock and fire the shutter.   There are actually a lot of parts involved- such as the synch switch actuating lever found on the lower left side (this can detain the lower shutter blind from going up), the catches and the long spring on the lower blind, the curtain separating ramps on the upper part of the film gate, and the large retaining hook on top.

The ribbon should look tight and should pull the lower curtain evenly.  The lower curtain shouldn’t just fall down when the shutter is fired. Instead it should glide on the ribbon downwards.  If it falls too quickly, the eyelets which hold on the ribbons are too loose and need to be crimped a bit.

There is actually more work involved in making the Kiev shutter work properly after the new ribbons are installed.  A lot of procedures in disassembly and reassembly, as well as accessing camera parts have been omitted here.  Such are not discussed in this article.  Refer to the links given above for more information.

I suspected broken ribbons.  It could however be something else, so the camera had to be stripped to see what really happened..  Getting the Canon P out of its shell was surprisingly easy

Removing the four main screws on the outer shell, the selftimer lever assembly, the lens mount, and a couple more screws under it, will take the shell off.

One of the ribbons which pulled the second blind home had snapped.

Titanium foil was used by Canon for their model “P” and “7″ RFs, in place of the usual rubber-coated cloth.  The titanium foil can wrinkle from fatigue.  Or in this case, stress from being stuck and then being pulled out to be mended.

The top of the camera is very complicated.  This scary looking part has the shutter speed controls, the wind/rewind clutch, frame counter, shutter release, and film advance/transport.

And this is the part which gives the floating framelines.  It’s semi-silvered inside.

The broken ribbon was replaced with a new one.  The intact upper ribbon was unglued so that a new one can be patterned after it.  The shutter was no longer disassembled.  The ribbons were threaded through the rollers, attached to the lath, and the other end reglued to the outer roller. Stitched in red:

Under the camera is the complicated Canon RF flash sync circuit.  Disassembly not recommended!

The lens has the standard Leica M39 thread (LTM39) mount,  but the working distance (the focal plane to lens mount flange distance the lens is positioned which allows infinity focus) is not the the same.  Leica’s is 28,8mm.  Chaika used something like 29 or so mm.  This extra millimetre or so prevents infinity focusing when the I-69 28mm lens is mounted on the Leica.

the “Индустар-69″ 2,8/28mm mounted on a Leica IIIc

As the reader will note later, infinity focus is not the only, nor is it the greatest concern here.  Coverage, or the ability to focus an image large enough to fill the frame.  “Frame” here is relative- the standard 24 X 36mm, ‘half-frame’(a.k.a. “single frame”) 18 X 24mm, and the 23.7 x 15.6 mm APS-C size CCD of the Epson whose 1,5X factor makes it ’see’ like a 42mm on standard 35.

The lens was modified by altering its focus movement.  Portions of the inner barrel were filed away to make the lens move further in to allow infinity focus.  The focusing scale on the barrel was also reset to synchronise it with the lens’ focus.  The aperture mark no longer coincided at the new positions, so a new mark was made by putting a drop of red paint on the aperture adjusting ring.

The lens too, being originally meant for a non-RF coupled camera, will focus only by scale since it has no means of engaging with the RF cams of the camera.  Scale focusing with a 28mm isn’t that hard- its greater DOF more than compensates for focusing errors.  Plus, the I-69 has three “snapshot” focus settings on its barrel: “Portrait”, “Group”, and Landscape”.  How is this used?  Look through the finder and set the focus against the figure which resembles closest what was seen through the finder:

]]> http://www.zorkikat.com/industar-69-28mm/265/feed/ 0 http://www.zorkikat.com/my-newest-fed-1/255/ http://www.zorkikat.com/my-newest-fed-1/255/#comments Wed, 28 Oct 2009 11:42:11 +0000 admin http://www.zorkikat.com/my-newest-fed-1/255/ My Latest FED camera.  Not like my other FED.  And not quite what many would like.

It cost about the same, perhaps even more, than the usual, working similar FED model from a later time.  At that cost, those FED even come with a lens.  This one doesn’t even have its lens mount.  Missing just about every exterior fastening screw, and without its pressure plate and pressure plate springs.

This FED has a 5-digit serial number which puts its production year to 1937.  Marked NKVD (НКВД), “Peoples Commissariat for Internal Affairs” the KGB’s predecessor in Stalin’s time.  This does not mean that the camera was  made for the Secret Police.  It only meant that the camera was made by a factory which was managed by the NKVD.  “FED” after all stood for F E Dzerzhinskij, the founder of the NKVD.

The shutter crate bottom is bent and distorted.  The crate isn’t a single cast part, like in later cameras.  In this one, it’s made of several stamped plates joined together.  The crate looks to have been hand stamped and assembled.

At least the parts involved in the shutter and range-finding operations seem to be complete.  Dirty, but intact.  No broken gear teeth.  Gear trains still meshed.

And despite its damage, the viewfinder is very bright and contrasty.  The rangefinder window is also clear, with a very clear patch showing a snappy moving image.  Better than what I’ve seen in better graded old Leicas!.   The Soviets must have used a different, more corrosion-resistant reflective coating on their RF beam-splitters.

The shutter blinds, made of highly perishable cloth and rubber are totally gone.  The fabric tapes which pulled the blinds to and fro appear to still be doing their work.  In fact the long tapes ( looped on brown coloured brass roller on the right) can be seen still tight, reeling in what remains of the long shutter blind.    The shutter blinds and tapes (ribbons) can be easily replaced.

The Rangefinder Coupling “sensor” (the silver coloured part at the top part of the shutter crate) is oblong shaped, not the small tear-dropped shape found in later FED-1 cameras.  Some references say that cameras of this type should have the tear drop-shaped focus follower.  This one still has the oblong version of the first type.

Somewhere on the shutter crate (in the part next to the film cassette) is engraved “II/11/XII” and “5.42″.  Both sets of figures appear to correspond to date marks.  “5.42″, i.e, May 1942 may refer to a later servicing date since the camera’s serial number dates it from 1937.  Russian date notations use a mixture of hindu-arabic and roman numerals:  roman for months and hindu-arabic for month and year.  The usual order is day-month-year; so 28 October 2009 would be inscribed as “28/X/09″.  “II/11/XII does not seem to refer to a proper date.  Is “II” the second year of manufacture?  11/XII may refer to December 11.  But again, the serial number of this camera, starting with “31″ puts it at an earlier date in 1937 since the number range covered by that year goes to “53xxx”.

Restoration will be done soon.  The works can be cleaned, and the shutter blinds replaced and new fastening screws attached.  However, this FED won’t be functional until it gets a pressure plate and a lens mount.   Something with a standard Leica flange would be great to have, and have this camera calibrated to the correct Leica Standard.   This FED originally had a non-standard lens mount and lens working distance.  Only the original lens which the factory issued with the camera would properly work.   Having neither lens or lens mount means more flexibility in restoring this camera.