carl_neilson

Just deleting multiple identical reply posts - it's just not my day with computers!

Well, I found a solution, so I'll post it here in case anyone else has the same problem... maybe even me down the track :) With the camera and cable connected, and the original installation CD in the computer's drive, I restarted the computer. It went through a "found new hardware" process and asked if I wanted Windows to look for software. I clicked "yes" and it reinstalled a driver (I think) from the CD, and after that it could detect my camera! I had previously tried to uninstall and reinstall the software without success, so the process I set out above might be the only fix. I'm happy again :)

Hi, I'm hoping someone else has had this problem and can help out. I've had the EOS-1v's data link cable and software for quite a few years, and it has always been a bit unstable when it comes to connecting the camera to my computer. At the moment I have a lot of data to transfer, but I just can't get the software to acknowledge that the camera is connected. It always just comes back with "Unable to communicate with camera. Check that the camera is in data-transfer mode and the cable is properly connected". The transfer mode is selected and the cable is connected properly. It's extremely frustrating. Does anyone have a fix or a work-around? Is there a particular sequence I need to be following regarding plugging in, putting the camera in transfer mode, and running the software? Any help would be much appreciated.

<p>Thanks for the reply Charles. I believe this film even pre-dates the older version of APX that's listed on the chart that you linked to. Unfortunately there are no details in the boxes. In the end I found an old guide for that film that only lists Agfa developers, which I don't have. As there was nothing on the film I couldn't reshoot at a later date I did a couple of experiments. I developed the first roll for 11 mins at 20 deg Celsius and the negs looked a little thin, so I did the second roll for 13 minutes and they looked better. I still have two more exposed rolls plus five more unexposed rolls in the freezer, so I'll use your advice to tweak the variables going forwards. By the time I'm on the last roll I should have it worked out perfectly haha :-)</p>

<p>Hi all, my online research has come up empty so I'm hoping some of the gurus here can help me out. I've been given a number of "Agfa Pan 400 Professional" 120 rolls, and have some D-76 on hand, but I can't find any development times for this combination. The film has an expiry date of July 1990, but I have been told that it has been frozen since new. As an experiment I shot it at box speed. Could anyone give any advice for development time please?</p>

<p>Thanks to all for the replies and advice. I passed on it in the end. It's a shame because local ones that have been serviced and have a bright-screen fitted are far and few between. This one was selling for a premium though so I'd rather just hold out for one that's exactly how I want it. Until then I'll "make do" with my lovely (if dim) Triotar-fitted Rolleicord III.</p>

<p>Thanks for the quick reply John. Much appreciated. I'm tossing up whether to get it or not if it doesn't come with the original counter. I guess I could shoot the smaller frames for a while and see if I can track down the counter eventually.</p>

<p>Hi,</p> <p>I may have the opportunity to purchase a Rolleicord VA that's recently had a service. I'm keen, but the seller says that it's got the optional 16-exposure kit fitted. I would like to return it to 6x6 format, but aside from removing the masks I believe the counter wheel has to be changed too. At this point it's unknown whether the original 12-exp counter wheel is available with this camera. I don't know much about the 16-exp kit, but I'm guessing that it's the counter wheel that determines the frame spacing as well as the actual counting? (That is, if I left the 16-exp counter wheel fitted but removed the rest of the kit would I just get overlapping frames?).</p> <p>Regards,<br> Carl</p>

<p>A bit late to the conversation, but I've been enjoying stereo photography for quite a few years now. I started off with a Stereo Realist and then moved on to a Wollensak Stereo 10. Here's a few tips and observations from my personal experience...</p> <p>Always keep the camera horizontally level, otherwise the two photos will be a little mismatched and difficult/uncomfortable to view. Some cameras came with an inbuilt bubble level to help with this. The Stereo Realist is not one of those unfortunately, but my Wollensak is, and it is an extremely useful tool for me.</p> <p>Back in the day camera labs would mount the stereo pairs into stereo mounts for you, but that service is long gone. You'll have to buy your own supplies and learn some DIY stereo mounting techniques.</p> <p>The left and right images must be very carefully positioned when mounting, otherwise the slides are very uncomfortable to view. They have to be exactly horizontal (not tilted at all), exactly level with each other, and positioned at a certain distance apart to achieve the correct "stereo window" (which is impossible to explain in a short paragraph like this).</p> <p>My Realist often had slightly overlapping frames and generally uneven frame spacing (a common issue for Realists from what I've read), a problem that my Wollensak doesn't have.</p> <p>I have a Sputnik too but have never used it due to a shutter problem. I have read that they have numerous issues with light leaks, internal reflections and other problems, and there are some good resources online on how to modify the camera to eliminate those problems.</p> <p>I've never tried a stereo projector, but I get beautiful results with a Realist hand held viewer. There are sellers on eBay selling LED bulbs to replace the dim yellow torch bulbs in these viewers, and they make a WORLD of difference.</p> <p>After getting my films developed I scan each frame before cutting and mounting them. This allows me to possibly make stereo cards from the scans (which I've never tried to do to be honest), view the scans in 3D in the crossview format on my computer, and create stereo photo files for viewing on my 3D TV.</p> <p>All up stereo photography is a world of fun and I'm sure you'll love seeing the results. My favourite purpose for my camera is family snapshots. Those photos will be sentimentally priceless in decades to come, as I'm sure childhood 3D slides will be almost unique in the future.</p> <p>On last amusing little comment... I showed some photos to my boss at work once through the hand-held Realist viewer, and the photos were so lifelike in 3D that I caught him more than once turning his head to see more of the scene, as if he was looking at the real world through binoculars :-)</p>

<p>I love "Old Wagon". These pics have inspired me to dig out the 'cord too. Although mine is a III with the Triotar it's still a tonne of fun and very capable of taking very pleasing pics</p>