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Graflex Series B RB is… fun. And finicky. But, mostly fun.
I never thought that the biggest issue with a Graflex SLR—the large focal-plane shutter variety—would be the size of my hands, which are not small.
Oh. And the issue of sequence, as in the steps from focus to cocking the shutter on these old focal-plane shutter cameras. I was a bit rusty at the process of large-format photography, having not used my Pacemaker Speed Graphic—once in regular rotation—in about a year. Fortunately, sequence gets corrected, as I would hope getting one’s ape thumbs out of the way of a particular moving part on this particular camera, a Graflex Series B 2×3, also gets corrected.
If my thumb is in the wrong spot while triggering the shutter on this Graflex Series B (the little sibling to the Super D), the wingnut used to crank the shutter will hit it, and cause delay. Or, complete stoppage. On my first roll (with a 23 Graflex 120 roll-film holder) it happened at least three times.
Also, the cranking chart for that curtain shutter. It’s not complicated, but one needs to take the time to correlate spring tension and shutter slit size. It’s a similar mechanism Graflex used for its focal plane shutters since its initial design. There’s a metal knob one clicks to adjust spring tension (1-6), and a dial to select from four curtain slits (A-D), for a total of 24 speeds from 1/10 to 1/1000. Then there’s the wingnut to cock the shutter. This particular Series B, going by the serial number on the lens (another serial number, located on the body of the camera, yielded no results), was made in 1947, late in camera’s manufacturing run. My Pacemaker Speed Graphic, only a year older, has the “updated” focal plane shutter system with six speeds, 1/30 to 1/1000. There’s a switch to choose between two spring tensions, and one turns the wingnut.
(On the Series B, do a test fire before actually attempting an exposure. It will do you well, as shifting between spring tensions sometimes doesn’t give you an accurate wind—with use, one gets familiar with the tension “feel” when turning the wingnut.)
The lens is a nice, standard Kodak Ektar 127mm f4.5—a nearly identical lens to the standard one on my Pacemaker, the difference being its ever-so-slightly wider aperture capability (the one on the Pacemaker is f4.7). I’ve also noted that the lens has a slightly softer focus. That could be that I haven’t pulled the lens for a good cleaning—something I usually would do, but this camera does not have a removable lens board. Some work is involved. Still, the portraits I took (which will be posted later) look great.
I never thought I’d have any interest in one of these “chimney”-style Graflex SLRs, especially the smaller formats. When equipped with that 6×9 roll film back, however, one takes advantage of the full exposure capability (compared to the film holder for the camera) and the rotating back. For me, there is no point shooting square 120 with this thing if one already owns a good-quality TLR, Hasselblad SLR or competing brand.
And, damn, this thing is super clean—whoever owned it kept it well. The shutter sounded a bit hinky at the shop, and the fella there knocked off a few bucks, so I thought I’d take a chance on it loosening up with some regular use (thankfully, it did).
I used regularly that Pacemaker Speed Graphic mentioned above with its functional focal-plane shutter, but it’s in need of a CLA. It has a distinct sound, to be sure. But this lil’ Series B? Slick as can be, just a gentle “whoosh, whoosh, whoosh” with each exposure, no matter the speed.
One reason this thing was in my price range, I suppose, was that it’s equipped with the standard back (read, not Graflok) that most Graflex’s manufactured prior to 1948 had. Thus, given the scarcity of 2×3 sheet film, one is saddled either with cutting down film to use in an aging, wooden film holder, or, finding a particular roll film back that does not have the two ridges on the plate that snug into a Graflok-type back. The latter is a bit of a problem—while 2×3 Graflok backs can be found easily, the “standard” mounting/exposure plate are not common at all.
Fortunately, this Series B came with that particular, older-model standard roll-film back. And I’m enjoying the heck out of it. I’ve adapted a Series VI drop-in filter adaptor for the lens, motored through a second roll, and started a third. Results, as I’ve gotten used to it, are improving.
Perhaps the most difficult item of note is, like other old ground-glass-focus rigs, one needs to focus with a wide open aperture, then close it up accordingly for your exposure. This being a waist-level focusing SLR adds an element of difficulty to that. Reframing at f16 requires a little faith, especially with a filter tacked on. But, so far so good (mostly). “Use a tripod!” I hear you shout. Agreed. But, part of the fun of this rig is its relative utility—like using a TLR—something a tripod eliminates. With the relatively small size of this thing, however, a monopod would suffice. I will be doing that.
So, before plunking down an exorbitant sum on a Super D, consider what you need. These little (comparatively) Series Bs are good fun, and provide some great results.
