jeffrey_krenzel5

I agree with the other poster regarding the usefulness of nooks and cranies in old houses. If you have sufficient room behind a wall, you can cut a hole in the wall between studs, place your camera stuff (and guns for that matter) in the vacant space, and place a large mirror (or framed photograph) over the hole. Best to do it oneself (or wall up one's workmen in the hole.)

I have a 1980's vintage large format Schneider lens (purchased new) which had a case of "Schneideritis." As previous posters note, it did not affect lens performance, but it really pissed me off as I was considering selling the lens. After a fair amount of hassle, Schneider lived up to its lifetime guarantee and cleaned out the flakes for free and reapplied the black "paint" or whatever else they use. You might contact the manufacturer and ask for a free repair/replacement.

I solved a similar relative weight/space issue by taking my Fuji GSW690III and leaving the "required" light meter at home -- and using sunny 16 -- which worked just fine for the outdoor shots (but is not as good an idea if you are planning alot of indoor shots). Have fun.

I seem to remember that my brand new 500 CM kit (body, back, and 80mm lens) was about $2200 in 1989.

Another vote for the Maxwell screen. In my opinion, it is much easier to focus than the Acute-Matte (the latest one) that came with my Hasselblad 501 C/M. They seem equally bright but the contrast of the Maxwell Hi-Lux makes it easier to use. Also, although Bill is a delight to deal with, he is a one-man shop and sometimes takes a while to fill orders.

I have used the Mamiya and have a Rolleicord. I second the suggestion that you rent/borrow before you buy as these two cameras handle very differently. The Mamiya is a rangefinder and some people who are accustomed to through the lens viewing have difficulty adjusting to it. Also, I find that there is a significant difference in raising a camera to my face and looking down at a waist level finder. If you like using a rangefinder, I also second the suggestion that you consider a Fuji. I have a 65mm 6x9 Fuji and it is truly a great camera (with some, to my mind, minor drawbacks). If you don't care about interchangable lenses, this may be the camera for you.

FWIW, two years ago Ken told me that he uses Ilford warm toned paper, toned in selenium. He would not reveal his method of attaining soft focus images, apart from noting that the original negatives were sharp.

Last month I flew Albuquerque-Dallas-Sao Paulo(Brazil)-Belo Horizante and back with rools of 120 film stuffed in my trousers. The foil wrapping did not set off the walk-through alarms. I usually ask for hand inspection, when, for instance, I am carrying too much to fit in my pockets.

 

I have always gotten hand inspection when I have requested it (in the US, France, Germany) and have never had to remove 120 film from its foil wrapping. My experience with the TSA people (in the States) has been uniformly positive and a great improvement over the bozos who performed this function before the federal government took it over.

Has anyone an idea of what the price is?

When I travel to Europe (I live in the US), I take one Hasselblad body and back, a 180 lens, an 80 lens and a 50 lens, plus filters, a carbon fiber tripod, etc. Although I have never been in Amsterdam, I have never had any problems in France -- outside of Paris. Outside of Paris, no one has ever bothered me wherever I have set up my tripod. Paris is unfortunately a different story -- it appears that one needs a pricey permit to use a tripod in public places in Paris (parks, churches, etc.)

 

In Paris I use a Fuji 6x9 rangefinder, which is less tripod dependent than a Hasselblad. I have never seen any reason to limit myself to 35mm while traveling. Of course, I haven't seen the need to do this while photographing in US cities either. Actually, I have always felt safer photographing in Europe than in the US, especially at night. The worst thing that ever happens in Europe is that I get asked questions regarding my equipment in a language that I have difficulty understanding.

Stephane,

 

Before going to Adorama you might wish to read comments posted regarding their used equipment. I second the favorable comments regarding KEH.

Another recommendation for Paul Ebel. Fast turnaround and reasonable price (about $95) for a CLA for my Rolleicord Vb. Pleasant guy to deal with.

No fall off visible with my lens either.

Michael,

 

Thanks alot for your hair raising story. I will definitely leave my beloved Fuji GSW690 at home and take the Rolleicord! (Although I feel a bit better now that I know that Brasil of today is comparable to Philadelphia of 1975 (I left Phila in 1974 for California).

 

My nephew's wedding will be in Ouro Preto and his Brasilian fiance (who is from Brasilia) tells us that Minas Gerais is much less "ify" than other parts of the country.

 

Good luck in Angola. Will you be taking the new Contax?

John,

 

Paul charged $85 for a CLA, plus $9.50 for shipping and insurance. I think that the whole process took three weeks or so (including shipping time). In the material he provided when he returned my camera, he notes that he tries for a turnaround time of three weeks of receipt. Good luck with your CLA and have fun with your Cord, it's a great camera!

Paul Ebel was fast and reasonably priced when he did a CLA on my Rolleicord Vb last year. I recommend him.

Michael,

 

I will be travelling to Brasil in May (for a wedding) and would very much like to know where and how this happened. Having heard horror stories about crime in Brasil, I had thought to take my Rolleicord (and a light cheap tripod) rather than something more expensive and difficult to replace. Perhaps I should take only a pinhole camera?

I replaced the AcuteMatt screeen that came with my 501CM with a matt screen with grid lines from Bill Maxwell and use it with my 50mm, 80mm and 180mm lenses. Although it is not any brighter than the AcuteMatte, I find that it has more contrast and focuses more easily. Objects snap into focus in a way that they do not with the factory supplied screen.

 

The only problem that I have had with Bill is one of timing. He is a one-man shop and sometimes overcommits to customers. I have had to wait as long as three months for each of the two screens that I have purchased from him over the years. But they were worth the wait.

I chose a Maxwell screen with grid lines over the entire focus screen for my Hasselblad and have never found the grid lines getting in my way. I have found the grid lines very useful in aligning my subject matter (mostly sculpture and architectural studies, but some landscapes, as well).

 

FWIW, I have found the Maxwell screen much easier to focus than the AcuteMatt (spelling?) screen that came with the camera. Just be prepared to wait a bit for Bill to get around to providing your screen. I suggest that you tell him now that you will need it in March. It took him three months or so to produce and send me my most recent screen.

I have travelled with my 501 since 9/11 throughout the US and France and Germany and no one has ever asked to examine the camera. I have never had a problem obtaining hand-inspection of my film in the US, or at DeGaulle or Frankfurt airports. In my experience, airport security personnel have been more helpful since 9/11 than before (at least in the US, where the federalized inspectors are much better trained than their rude and totally untrained private sector predecessors).

 

Although I don't shoot much 3200-speed film, I always have some in clear plastic bags (together with the Tri-X that I actually use) to convince any reluctant inspectors that an x-ray inspection would be inappropriate. Having this film has cut short several discussions regarding the safety of the x-ray machines.

 

I'm curious about the UK: do they insist on an x-ray inspection of Delta 3200?

Another vote for Bill Maxwell. But not if you are in a hurry. He promised to ship my last screen in a month -- it took about three.

Thank you both for your help. When I bought the camera about a year ago, I was told that what I now know to be the double exposure prevention lock was a self-timer device. As I have never needed a self-timer device, I did not try it out and (incorrectly, as it turned out) thought I knew what this lever did. Thanks again. Your advice will make operation of this camera much easier.

I would appreciate help in identifying the double exposure prevention

lock on my Rolleicord Vb (Type 1). I assume that it exists from

reading various posts -- but where is it? It's a simple camera and I

just don't see any switches or buttons unaccounted for. (I attempted

to download the Rollei manual in hope of finding a parts

identification drawing but there is something wrong with either the

site or my computer and I was unable to retrieve it.) TIA

Paul Ebel performed a CLA on my Rolleicord Vb last year for a reasonable amount and very fast turnaround. I recommend him highly.

Not all of the classics had the new Acute Matte focusing screen. I bought one new in 1989 that had the earlier, dimmer screen. I purchased the Acute Matte screen sometime in the early 90s, which was a mistake. The older screen (the one that came with the camera) was dimmer but was easier to focus. I finally replaced it with a screen made by Bill Maxwell -- and this was the best screen of the three. When my 500 c/m was stolen last year, I replaced it with a 501 c/m and have found that the camera is easier to focus with the Maxwell screen than with the current incarnation of the Acute Matte screen (the one that came with the 501 c/m).