Glad to have the info about the number zero lens I wasn't quite sure what to make of it and I couldn't find a mention of it in the standard manual I had to look online and find one that went with filter manual specifically. I inherited this camera for my grandfather and it came with the UV lens on it. As well as the number 0 number 1 and 2 and a yellow lens
One thing to remember when comparing stills negative sizes to motion picture film sizes, is that, movies shot on film has a different grain structure for each frame. So as you flash the frames on the screen, we can look past the grain and focus on the details they capture that aren't moving around. Building up a spatial resolution temporally that is greater than what any one of the individual frames capture by themselves. It's kind of pseudoscience wordsallad what I just wrote. But I just mean that a still image from a 35mm movie is usually remarkably rough in its detail. While in motion, its detail feels almost infinite. Because you usually aren't looking at the grain itself.
I've had these cameras in my cart but I haven't purchased one. I didn't know you could use 16mm film like you used in these cameras. Really cool! I think after watching your video, I'm finally going to get one. It's going to be so much. Groovy.
I also like how you use the 70s funky sound track... which was a feature of all those 16mm films we had to watch back in school (70s & 80s) Channeling the 16mm vibes...
@@viktormadman unfortunately the only way to use film in this camera is to bulk load 16mm into a cartridge. The filmphotographyproject store sells 3d printed reloadable cartridges that you spool 16mm film onto. I shot orwo un54 with this camera. Beware however, Spooling the film onto the cartridge is a nightmare.
It is a fun camera to use. I got mine last winter and have shot 3 cassettes. I got a 3D printed cassette because I was unable to locate an original. So, the first time using it, I took the cassette out in daylight and got basically nothing. The second time I removed it in a dark bag and usable images. Now the third is still waiting to be removed from the camera. I also got the cheaply made Yankee dev tank and reel. Not great but it has worked just fine and gets the job done.
I got my first Minolta 16 cameras (a 16 II and an MG) in 1981. Back then, I could buy film over the counter, though I never did succeed in getting a lab to preserve and return my cartridges. I still own those two cameras, as well as Kiev 30 and 303 (Soviet knock-offs with focusing f/2.8 lens and 13x17 frame, plus reduced cassette spool diameter to allow longer film), Minolta MGs and QT cameras. I've fed them with Kodak and Fuji microfilm stocks, Copex Rapid, and strips recut from 120. IMO, the QT is the nicest camera (focusing lens and some level of exposure control) but it uses a mercury battery that's impossible to find (there is a lithium cell that fits and works, approximately, if you have one with working meter circuit), but the Kiev 30 is the one I'll carry if I want a 16 mm camera -- 30 frames instead of 20 (and I can fit a longer strip in the cassette if I want to push things a little, up to 40 or so), and the focusing lens, adjustable shutter and aperture make it a decent camera that just happens to use tiny film. If, like me, you're mainly a Paterson user, there are fairly easy instructions around for modifying a Paterson or Arista reel to take 16 mm film (it's a permanent mod; the reel can't take larger film after modification, but it works well). There are also 3D printed reels that fit Paterson tanks and cores, and you can find the old Yankee and FR adjustable tanks still on the used market; the later ones (from the 1960s and on) take 16 mm up to 116 (earlier ones went from 35 mm to 116 or even 122). My recommendation would be to either get a Minolta QT (don't worry if the meter circuits are dead, you can still control exposure manually) or a Kiev 30 or 303 -- the Kievs especially often come with one or two cassettes, even today (and buying from a Ukrainian seller helps those people). The larger frame makes a significant difference, and the focusing lens is a HUGE improvement. You can still load them with single perf film (perfs toward the cassette bridge) without perfs getting into your frames, and 16 mm single perf is easy to get (Kodak sells Vision3 films in 100 foot rolls of 16 mm single perf, enough for about 50 cassette loads for under $100). You can also get Kodak, Ilford, and Foma B&W films in the same format.
You might like to play around with a Kiev 30, it seems to be a copy of the Minolta, but has a focusing adjustment it does however have less shutter speeds to use. The film cassette is slightly different, same size but a narrower film advance sprocket hole.
Minolta made numerous versions of its 16mm cameras from the 1950s into the 1970s, when 110 format overtook subminature interests. All but the last model mounted non-focusing lenses, which got better with newer models. The last model had a very nice focusing lens, but lost all but two shutter speeds, which made no sense at all. My favorite: the MGS. Smaller, lighter, meter, very good lens. I picked up both chrome and black venisons for peanuts. Hunting down all the little accessory focus lenses, close up lenses with their measuring chains, ND and color correcting filters, elc., was satisfying. The biggest sharpness problem after using the correct focus lens and aperture/depth of field is camera shake. The small size and light weight makes the camera very difficult to hold steady, even with the nearly pressureless shutter release. Over the years, Minolta made two enlarging lenses for this format. The first lens is okay but nothing special. The later 30mm 2.8 lens is unquestionable the finest subminature enlarging lens ever made, and it now commands an appropriate price premium. Finding real film cassettes has been a problem, as there was at one time, someone selling homemade fakes of very poor quality on eBay. Easiest way to get film: Use a cigar cutter to cut up a roll of 120 into appropriate 16mm rolls. I am motivated to dig out my "submin box" and maybe set up a roll or two. Processing note: A 110 format reel and a 16mm reel are the same size. (He may have mentioned that.) Nice "blast from the past" video.
@@TheNakedPhotographer if you are a low volume user, or if you want to use emulsions other than the few available in short length 16mm packaging, the marginal extra expense (and inconvenience of cutting down 120 rolls) is quite acceptable for most users. In my case, I occasionally use a very nice 127 format TLR (Kalloflex). You can cut a 120 roll down to 127, and the left over is 16mm, practically free film.
I have a Soviet clone of this camera, once I decided to try cutting modern 35mm film, and as a result I got much more difficult rewinding, and a lot of scratches in the frame.
I learnt about exposure on my father's Minolta 16, back in the very early 1970's, which I now have. It also has a series coloured filters for B&W. He purchased it when working in the Middle East in the 1960's for street photography as it is smaller than his 35mm camera. As for tanks I have an old Johnson of Hendon, a sorely missed company, tank so I am OK still, but here in the UK it may be difficult to find a reel. As for cassettes, I fortunately have one, but to purchase, again here in the UK it's about £30 and comes loaded in. Having recently moved I still have some boxes tucked away that need dealing with, including some photographic stuff that I know what's in them, including the Minolta 16, so this has inspired me to take it out, find some film, load up and get shooting.
The Minox EC has fixed focus at 6’ (2metres) and it has a Waterhouse stop at f5.6 (fixed aperture). It has a 15mm lens, so it has very good depth of field. I took most of my holiday snaps (ADOX HR-50) on mine this year and I am very happy with the results. I have other Minox cameras, but the EC is really fast and easy to use. It’s also very inconspicuous too!
This is very informational. I have a Minolta MG16 that has been sitting on it's throne as a shelf-king for 15 years. I bought all sorts of accessories for this camera back then including flash units and filters. Unfortunately I never used it since I thought that would mean cutting my own 35mm film to size. With the cost of film these days it's not a very easy decision. The other day I Googled '16m film' to see what was out there, and sure enough they are still selling it. A few years ago If I remember correctly, you could only get Kodak expired film on ebay, however I'm not sure about that either. In any case, I laso purchased a JOBO 16mm developing reel that will fit into one of their 35mm developing tanks and a Schneider 28mm lens. Beseler recomends 24mm for miniature film, but I guess 28mm is not too far off. It would be great to have a hands-on demonstration on how to develop this type of film since that information is NO longer available, but thanks for the review. At least I'm not the only guy on the planet trying to do this.
If you’ve ever processed 35mm film the chemical process is the same essentially. For color negative film you can develop in c41 chemistry. For b&w any brand of developer and fixer should do you good. The only difference working with 16mm film is that it’s really tiny and kind of finicky to work with sometimes 😅 I have personally shot 16mm cinema film in my Minolta 16ii and although it was highly aggravating to hand spool the proper length of film into the canister; actually shooting the little guy was so fun. Pick and choose your subjects wisely and you can create some great photos!
I’ve shot some old Eastman 5231 (Plus X) through my Minolta 16 ii today. I have the “No. 0” filter, so it’s sharp at infinity with an aperture of f2.8. I’ll develop and scan the film tomorrow and see how it goes. I used a slitter to cut the 35mm film down to 16mm.
Lovely and fun camera. But don’t get your expectations too high when it comes to the technical quality of the pictures. I was disappointed at first, but realised that lo-fi is just the way it is supposed to be on these type of cameras. Great video! 😊👍🏻
I have used one of these cameras a bit, with film I cut to 16mm width, the cheapest solution for developing is the yankee clipper ii film tank. It’s like $25 new
TH-cam has instructions on adapting a Patterson reel for 16mm. I have done it and it works. I wonder if the Minolta 16 lens is focused at 10ft/3m for taking pictures of people? Enjoyed the video.
I have one of these and do not have the extra lenses. I just have a UV filter lens. Buy default its a 22mm lense and thats a very wide DOF. Put it at f16 and anything from 4-5ft out to infinity should be in focus.
There is no speed boost with cross processing ECN2 film in C41 if you’re in a C41 post workflow. The C41 processing get the film to normal gamma for RA4 printing or labs scanning but not beyond that. The speed increase is only relative to a ECN2 print/scanning pipeline.
The one over the focal length is only for 35mm so at 16mm you would need 60th for the standard lens. Also with 50D you maybe shooting too wide open? Faster film smaller aperture would help focus but then you're soft with grain and diffraction. You can't win!! You can also destructively cut down Patterson reels, that is what I did. There are descriptions out there on how to do it but you can just work it out. I ended up using hot glue but it works OK. In the end I decided it wasn't for me. I just use a £13 plastic 35mm camera for the same low fi appeal. Maybe one day I'll get them out again... Maybe not!
The earlier Minolta 16's have a frame that is smaller than 110. The last couple of models from the early 70's used a single perf film with a negative size about the same as 110. These were an attempt to compete with 110 but it didn't work. People did not like loading the cassettes, despite them giving more film choices than 110 had. For example, they shot 50 to 400ISO film, while the early 110's only offered 100ASA. Sadly, by 1974, just two years after the introduction of 110 format, Minolta discontinued its 16mm line of cameras, and put all their efforts into their first 110 cameras which were selling like hotcakes. I like the 16mm film choices, but I have to admit I prefer the Zoom 110 SLR mark II as a camera.
I've recently started shooting half frame (pen fv), any thoughts on enlargement? I'm using FP4 and HP5, mostly using d76 1+3 (though I did recently pick up a bottle of 510 Pyro to try a staining developer, and have heard good things about HP5 with it). From mucking around with my scans I reckon 8x10 prints should be fine, at least from the FP4. (I'll be starting building up kit for my home darkroom next month).
David Hancock has a video on the Minolta 16II and he mentions that there is a splitter for splitting 35mm film down to 16mm, so if you cannot get 16mm film or only with sprocket holes, you can split 35mm down
There's also a STL on Thingiverse for a splitter meant for Minox, by leaving the middle blade out it will make one 16 mm film instead of 2 8mm. Mine scratches the film though, maybe needs a felt or something glued to the top part to prevent that.
Very interesting video. Can you provide details on the "Kodak pb2 pre-bath formula"? Specifically, the quantities of each ingredient. Or a link to it on the internet. My search could not find it. Thanks for your help.
It was pre-110. Same sized film but it came with a reloadable cassette with the expectation that the user loaded their own film. 110 cassettes are a little different in size
Glad to have the info about the number zero lens I wasn't quite sure what to make of it and I couldn't find a mention of it in the standard manual I had to look online and find one that went with filter manual specifically. I inherited this camera for my grandfather and it came with the UV lens on it. As well as the number 0 number 1 and 2 and a yellow lens
Honestly this is already one of the best made videos about this camera.. please make more
One thing to remember when comparing stills negative sizes to motion picture film sizes, is that, movies shot on film has a different grain structure for each frame. So as you flash the frames on the screen, we can look past the grain and focus on the details they capture that aren't moving around. Building up a spatial resolution temporally that is greater than what any one of the individual frames capture by themselves. It's kind of pseudoscience wordsallad what I just wrote. But I just mean that a still image from a 35mm movie is usually remarkably rough in its detail. While in motion, its detail feels almost infinite. Because you usually aren't looking at the grain itself.
I've had these cameras in my cart but I haven't purchased one. I didn't know you could use 16mm film like you used in these cameras. Really cool! I think after watching your video, I'm finally going to get one. It's going to be so much. Groovy.
I also like how you use the 70s funky sound track... which was a feature of all those 16mm films we had to watch back in school (70s & 80s) Channeling the 16mm vibes...
Super cool that you covered this camera. I love using my Minolta 16ii! Whether or not I like the photos is another matter… regardless, great video!
@@viktormadman unfortunately the only way to use film in this camera is to bulk load 16mm into a cartridge. The filmphotographyproject store sells 3d printed reloadable cartridges that you spool 16mm film onto. I shot orwo un54 with this camera. Beware however, Spooling the film onto the cartridge is a nightmare.
It is a fun camera to use. I got mine last winter and have shot 3 cassettes. I got a 3D printed cassette because I was unable to locate an original. So, the first time using it, I took the cassette out in daylight and got basically nothing. The second time I removed it in a dark bag and usable images. Now the third is still waiting to be removed from the camera.
I also got the cheaply made Yankee dev tank and reel. Not great but it has worked just fine and gets the job done.
I got my first Minolta 16 cameras (a 16 II and an MG) in 1981. Back then, I could buy film over the counter, though I never did succeed in getting a lab to preserve and return my cartridges. I still own those two cameras, as well as Kiev 30 and 303 (Soviet knock-offs with focusing f/2.8 lens and 13x17 frame, plus reduced cassette spool diameter to allow longer film), Minolta MGs and QT cameras. I've fed them with Kodak and Fuji microfilm stocks, Copex Rapid, and strips recut from 120. IMO, the QT is the nicest camera (focusing lens and some level of exposure control) but it uses a mercury battery that's impossible to find (there is a lithium cell that fits and works, approximately, if you have one with working meter circuit), but the Kiev 30 is the one I'll carry if I want a 16 mm camera -- 30 frames instead of 20 (and I can fit a longer strip in the cassette if I want to push things a little, up to 40 or so), and the focusing lens, adjustable shutter and aperture make it a decent camera that just happens to use tiny film.
If, like me, you're mainly a Paterson user, there are fairly easy instructions around for modifying a Paterson or Arista reel to take 16 mm film (it's a permanent mod; the reel can't take larger film after modification, but it works well). There are also 3D printed reels that fit Paterson tanks and cores, and you can find the old Yankee and FR adjustable tanks still on the used market; the later ones (from the 1960s and on) take 16 mm up to 116 (earlier ones went from 35 mm to 116 or even 122).
My recommendation would be to either get a Minolta QT (don't worry if the meter circuits are dead, you can still control exposure manually) or a Kiev 30 or 303 -- the Kievs especially often come with one or two cassettes, even today (and buying from a Ukrainian seller helps those people). The larger frame makes a significant difference, and the focusing lens is a HUGE improvement. You can still load them with single perf film (perfs toward the cassette bridge) without perfs getting into your frames, and 16 mm single perf is easy to get (Kodak sells Vision3 films in 100 foot rolls of 16 mm single perf, enough for about 50 cassette loads for under $100). You can also get Kodak, Ilford, and Foma B&W films in the same format.
You might like to play around with a Kiev 30, it seems to be a copy of the Minolta, but has a focusing adjustment it does however have less shutter speeds to use. The film cassette is slightly different, same size but a narrower film advance sprocket hole.
Minolta made numerous versions of its 16mm cameras from the 1950s into the 1970s, when 110 format overtook subminature interests. All but the last model mounted non-focusing lenses, which got better with newer models. The last model had a very nice focusing lens, but lost all but two shutter speeds, which made no sense at all. My favorite: the MGS. Smaller, lighter, meter, very good lens. I picked up both chrome and black venisons for peanuts. Hunting down all the little accessory focus lenses, close up lenses with their measuring chains, ND and color correcting filters, elc., was satisfying. The biggest sharpness problem after using the correct focus lens and aperture/depth of field is camera shake. The small size and light weight makes the camera very difficult to hold steady, even with the nearly pressureless shutter release. Over the years, Minolta made two enlarging lenses for this format. The first lens is okay but nothing special. The later 30mm 2.8 lens is unquestionable the finest subminature enlarging lens ever made, and it now commands an appropriate price premium. Finding real film cassettes has been a problem, as there was at one time, someone selling homemade fakes of very poor quality on eBay. Easiest way to get film: Use a cigar cutter to cut up a roll of 120 into appropriate 16mm rolls. I am motivated to dig out my "submin box" and maybe set up a roll or two. Processing note: A 110 format reel and a 16mm reel are the same size. (He may have mentioned that.) Nice "blast from the past" video.
Cutting up a roll of 35mm or 120 film into 16mm is far more expensive than getting 16mm film.
@@TheNakedPhotographer if you are a low volume user, or if you want to use emulsions other than the few available in short length 16mm packaging, the marginal extra expense (and inconvenience of cutting down 120 rolls) is quite acceptable for most users. In my case, I occasionally use a very nice 127 format TLR (Kalloflex). You can cut a 120 roll down to 127, and the left over is 16mm, practically free film.
I have a Soviet clone of this camera, once I decided to try cutting modern 35mm film, and as a result I got much more difficult rewinding, and a lot of scratches in the frame.
The base is thicker than 16mm film
I drive by that dress store from the second example shot everyday on my day to work!!!!
I learnt about exposure on my father's Minolta 16, back in the very early 1970's, which I now have. It also has a series coloured filters for B&W. He purchased it when working in the Middle East in the 1960's for street photography as it is smaller than his 35mm camera. As for tanks I have an old Johnson of Hendon, a sorely missed company, tank so I am OK still, but here in the UK it may be difficult to find a reel. As for cassettes, I fortunately have one, but to purchase, again here in the UK it's about £30 and comes loaded in. Having recently moved I still have some boxes tucked away that need dealing with, including some photographic stuff that I know what's in them, including the Minolta 16, so this has inspired me to take it out, find some film, load up and get shooting.
The Minox EC has fixed focus at 6’ (2metres) and it has a Waterhouse stop at f5.6 (fixed aperture). It has a 15mm lens, so it has very good depth of field. I took most of my holiday snaps (ADOX HR-50) on mine this year and I am very happy with the results. I have other Minox cameras, but the EC is really fast and easy to use. It’s also very inconspicuous too!
This is very informational. I have a Minolta MG16 that has been sitting on it's throne as a shelf-king for 15 years. I bought all sorts of accessories for this camera back then including flash units and filters. Unfortunately I never used it since I thought that would mean cutting my own 35mm film to size. With the cost of film these days it's not a very easy decision. The other day I Googled '16m film' to see what was out there, and sure enough they are still selling it. A few years ago If I remember correctly, you could only get Kodak expired film on ebay, however I'm not sure about that either. In any case, I laso purchased a JOBO 16mm developing reel that will fit into one of their 35mm developing tanks and a Schneider 28mm lens. Beseler recomends 24mm for miniature film, but I guess 28mm is not too far off. It would be great to have a hands-on demonstration on how to develop this type of film since that information is NO longer available, but thanks for the review. At least I'm not the only guy on the planet trying to do this.
If you’ve ever processed 35mm film the chemical process is the same essentially. For color negative film you can develop in c41 chemistry. For b&w any brand of developer and fixer should do you good. The only difference working with 16mm film is that it’s really tiny and kind of finicky to work with sometimes 😅 I have personally shot 16mm cinema film in my Minolta 16ii and although it was highly aggravating to hand spool the proper length of film into the canister; actually shooting the little guy was so fun. Pick and choose your subjects wisely and you can create some great photos!
I’ve shot some old Eastman 5231 (Plus X) through my Minolta 16 ii today. I have the “No. 0” filter, so it’s sharp at infinity with an aperture of f2.8. I’ll develop and scan the film tomorrow and see how it goes. I used a slitter to cut the 35mm film down to 16mm.
Lovely and fun camera. But don’t get your expectations too high when it comes to the technical quality of the pictures. I was disappointed at first, but realised that lo-fi is just the way it is supposed to be on these type of cameras. Great video! 😊👍🏻
I have used one of these cameras a bit, with film I cut to 16mm width, the cheapest solution for developing is the yankee clipper ii film tank. It’s like $25 new
TH-cam has instructions on adapting a Patterson reel for 16mm. I have done it and it works.
I wonder if the Minolta 16 lens is focused at 10ft/3m for taking pictures of people?
Enjoyed the video.
I have one of these and do not have the extra lenses. I just have a UV filter lens. Buy default its a 22mm lense and thats a very wide DOF. Put it at f16 and anything from 4-5ft out to infinity should be in focus.
I always liked those. Thanks for the video.
There is no speed boost with cross processing ECN2 film in C41 if you’re in a C41 post workflow. The C41 processing get the film to normal gamma for RA4 printing or labs scanning but not beyond that. The speed increase is only relative to a ECN2 print/scanning pipeline.
The one over the focal length is only for 35mm so at 16mm you would need 60th for the standard lens. Also with 50D you maybe shooting too wide open? Faster film smaller aperture would help focus but then you're soft with grain and diffraction. You can't win!!
You can also destructively cut down Patterson reels, that is what I did. There are descriptions out there on how to do it but you can just work it out. I ended up using hot glue but it works OK.
In the end I decided it wasn't for me. I just use a £13 plastic 35mm camera for the same low fi appeal. Maybe one day I'll get them out again... Maybe not!
I used to have Minolta 16 and Minolta 16 QT. I got good 5x7 prints from them.
The earlier Minolta 16's have a frame that is smaller than 110. The last couple of models from the early 70's used a single perf film with a negative size about the same as 110. These were an attempt to compete with 110 but it didn't work. People did not like loading the cassettes, despite them giving more film choices than 110 had. For example, they shot 50 to 400ISO film, while the early 110's only offered 100ASA. Sadly, by 1974, just two years after the introduction of 110 format, Minolta discontinued its 16mm line of cameras, and put all their efforts into their first 110 cameras which were selling like hotcakes.
I like the 16mm film choices, but I have to admit I prefer the Zoom 110 SLR mark II as a camera.
I've recently started shooting half frame (pen fv), any thoughts on enlargement? I'm using FP4 and HP5, mostly using d76 1+3 (though I did recently pick up a bottle of 510 Pyro to try a staining developer, and have heard good things about HP5 with it). From mucking around with my scans I reckon 8x10 prints should be fine, at least from the FP4. (I'll be starting building up kit for my home darkroom next month).
David Hancock has a video on the Minolta 16II and he mentions that there is a splitter for splitting 35mm film down to 16mm, so if you cannot get 16mm film or only with sprocket holes, you can split 35mm down
There's also a STL on Thingiverse for a splitter meant for Minox, by leaving the middle blade out it will make one 16 mm film instead of 2 8mm. Mine scratches the film though, maybe needs a felt or something glued to the top part to prevent that.
Be careful with 35mm cut down. It has a thicker base and may be difficult to roll up for loading in the cassette
The Hurtlocker is another one shot on 16mm
The world really wants me to get one of these Minolta 16s. 😅😅
Very interesting video. Can you provide details on the "Kodak pb2 pre-bath formula"? Specifically, the quantities of each ingredient. Or a link to it on the internet. My search could not find it. Thanks for your help.
The formula is in this document www.kodak.com/content/products-brochures/Film/Processing-KODAK-Motion-Picture-Films-Module-7.pdf
Thanks very much
Does 110 film work in this camera? With the cartridge and all
The cartridge is a different size.
Is that a 110 camera or did it use a different cartridge?
It was pre-110. Same sized film but it came with a reloadable cassette with the expectation that the user loaded their own film. 110 cassettes are a little different in size
have you made a print from these yet?
Not yet