joel_sackett

<p>Can't answer the question, but I too have a 50+ year old Rolleiflex. About every two years I send it to a good technician for adjustment and parts if needed. I've shot hundreds of roll in the camera and I can only suggest a CLE if you want to seriously use this camera. Just do it.</p>

<p>I just extended the bellows of my Master Technika after lending it to a friend for several months. The bellows have some fine white lines throughout that I don't remember having before. The bellows seems to be fine otherwise. Is this something familiar to anyone? Should I be doing anything about this, or just carry on?</p>

<p>I thought the original post was intended as humor. But all these serious responses? The only factors I can think of that would affect price are time, travel, assistants, and elaborate lighting. Oh, and film, if a couple wants a black and white film reportage with contact sheets and fiber prints, that's another pricing for sure, but that's getting rare. I know some top photojournalists that shoot with the best glass on the cheaper bodies 'cause those bodies are disposable.</p>

<p>Wide open it shall be. With Neopan 1600 at 1/30 or so, that's about as low as I ever need to go. Then its dark and past my bedtime. Thanks all.</p>

<p>Thank you all for your responses. I am now quite psyched about this lens. I'll probably just avoid shooting it wide open. Yes, absolutely Francisco, I would really like to have that hood. That's very generous. Back-ups are my obsession. What can I offer you in exchange, a fiber print perhaps? </p>

<p>I have this lens on loan, possibly purchase. Its clean and smooth. How is this version as compared to others, especially in the corners? Good for film and digital? My goal is large prints and need to know if this version will hold up with tight grain and smooth gradations. Thanks for your experiences. Also, the shade is in good condition but is missing thr small metal wire that fits into the grooves inside the hood, This created a sprint for the bayonet mount. I need these small wire peices, Anybody have spares, or suggect who might have?</p>

<p>Bob, thanks for your response. Right, I can't have an inexpensive, fast, multicoated 75mm lens. So, regardless of price, what woud be a good 75 for interior work? BTW, are parts and service still no problem with the MT?</p>

<p>I have a Linhof Technika with two cammed lenses: 90mm Rodenstock Grandagon 6.8 and 150mm 5.6 Schneider Symmar. I need a 75mm lens for a particular project of architecural interiors. I don't want to spend alot on the lens ($200-$400) or have it cammed. The interiors may be dark so a faster lens would be better, and color rendition should be good, so a multi-coated lens is preferred. Also, will I be able to get a small amount of shift with the 75mm on a Master Tech? </p>

<p>I use a pair of 40Ds for weddings with a Rolleiflex TLR and Leica M6 on the side, so I'm covered. I would really like to switch to dual card bodies but don't want to spend for 2 Mark III bodies. What about the Olympus E3? Dual cards for much less money. Even if the image quality is slightly less than the 40D or other cameras in the high asa department, most clients would never see the difference and a good photographer could expose and process accordingly. Any happy E3 shooters making it work?</p>

<p>I had a flashing #11. Sent to Weber Repair but he couldn't get parts for that fix. Eventually sent it to Sony in Tokyo. I was charged 20,000 yen, about $200, standard repair charge for most problems I was told. No problems since then but have not used it much since the repair. Good luck.</p>

I need some help putting a value on this camera system for sale before I list it on photo.net

 

Master Technika body with box in excellent plus shape. With the Linhof grip and the latest variable auxillary

finder. Two cammed lenses: 150mm Schneider 5.6 and a 90mm Grandagon 6.8. Both lenses have accurate shutters

and look very good. The 150 has some Scheideritis, those common white flecks inside those lenses that have no

effect on image quality. Also, a very clean Horseman 6X12 back with box, and the Linhof mask for 6X12 that goes

on the finder. The rangefinder and lenses were adjusted by Marflex a few years back and its been in storage ever

since. Any guidance on this would be appreciated.

Again, thanks all for your responses. I'm undecided, but fortunately I can test the lens for a few weeks, see if I can make some portraits and still lifes with it.

Thanks for quick responses. Now I'm waffling. If indeed this lens is not that great until 2.8, plus the hood problem and weight of the lens, I might pass on it? Any samples out there wide open or a half stop down from there?

I could possibly buy this lens from a friend at a very fair price, but it lacks a lens hood. Questions: Is this

a great lens and what's it worth in ex condition? Is it impossible to find a hood? Are there any substitute

hoods? Can it be used without any hood? Thanks in advance for your responses.

Yes, David, thanks for the good detail photo. It is an M lens I am talking about. And now that I know other samples have more positive

click stops, I'll send mine in for an overhaul. This lens was used hard by a pj friend of mine all over the world for a few years so its

probably just worn out.

Thanks for your feedback. I think I'll send it DAG who has always been good for me. Leica service is unpredictably long, not to mention the priciest. Its a great lens, but the soft click stops bug me and I tend to leave it at home in favor of a summicron.

I have a 35mm summilux asphi (the 2nd more common version). It is quite used but great glass and the mechanic

are fine except I wonder about the aperature click stops. There is not a distinctive click at half or full

stops. It is a rather soft click stop and would be easy to move without knowing it. Is this characteristic of

this lens? Or, can it be worked on to have more definite stops? Thanks all.

Does anyone know how to adapt the H'blad chimney finder to a Rolleiflex TLR E2?

What about the Olympus E3 option for dual card capability? Does anyone use two of these for weddings? I'm using 40D's but would

consider the E3 mainly for this reason. Not ready or willing to get two Mark 3's.

I'm late to this thread but if anyone returns: I've used the MT handheld, shooting comfortably at 1/60. Sometimes I'll sit in a folding chair

on location, use my legs plus a Ries wooden monopod to create a "tripod". I'm tall so this helps getting the right height in relation to my

average height subject. Add a battery operated light on a stand next to you and you'll have it all.

My RF stopped working with the #11 flashing in the LCD. Sent it to Greg Weber who held onto it for a long time trying to locate parts. That didn't happen so he sent the camera back to me. I sent it to Sony in Japan and they repaired it for $200. That was facilitated by a friend in Tokyo and I'm not even sure if they deal with outside Japan repairs? My experience with Nippon Camera was a dozen years ago with an M6 and I wasn't pleased with that repair, but sorry can't remember the details.

I've tried and then put away a monopod for my E2. Its redundant. The strap around your neck, pulled down a bit+camera weight, should provide stability down to a 1/15, give or take. Hold your breath, lean on a something inanimate, if you got it. Besides, the Rollei TLR wants to be held....like the H'blad wants to be on a tripod. My 2 cents.

Just tried to send you a message through your website but not sure if it transmitted. I

could be available that day. Can you please send more details? I shoot a mix of

weddings, editorial and portraits. Thanks. Joel Sackett

I inherited my MT from a photographer who used it hand-held for journalistic work. He shot at least one cover for TIME magazine, a hand-held portrait in Vietnam. I use it infrequently but have a particular system that works for me. I shoot portraits, hand-held, of families and children. 400 asa. I often sit in a chair or prone on the ground for smaller children or families that are posed on ground level. These positions give me stability and don't tire me out. I've also used a monopod with a slightly loosened Arca B1 ball head to take the weight off the camera. Typical exposures in the shade are 1/60 at about f8. Rocky steady with a 150 mm lens. The polaroid holder does make using the range-finder difficult but it works. I've added strobes at times, a Lumidyne 400 watt second. Check out the classic East 100th Street by Bruce Davidson for bounced strobe with the MT. Also, I recently saw an 11X14 print by Mary Ellen Mark at a friend's house. The image presence was strong. It doesn't have to be a huge print to feel the presence of the large negative print.

I shoot with a 80mm Rollei TLR professionally for years. I've had the SWC and used it as well, but finally traded it for a 40mm CFT. I would definately go for the Rolleiwide. It would be a great camera for the way I work. Until then, I'll use the 60 distagon on the H'blad.