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If One side of the negative is free (usually the last frame of a strip if this is shorter than the opening of the holder) (I mean not kept between the magnetic holder) it can not be held flat by the flexible holder. You should always put the first and the last frames near the edge of the holder

I have a Flextight 646 but the principale is the same. Unfortunatly I am not sure if I understand your question correctly. I suppose I have the problem you are describing only in the last frame of the strip if this is shorter than the opening in the holder (this happens sometimes with medium format film). I solve the problem placing it near the edge of the holder. If you post a picture may Be I can understand better tour problem

Nikon still produce the F6 thoug is Not easy to find new. Apparently they produce and sell about 50 F6 a month. If you want to buy used film cameras I recommend nikon FM family (FM, FM2, FM2N, and the exceptional FM3A)

Hello all, I want to replace the tripod shoe on my Hasselblad 203 fe (bit I suppose the question and the answer apply to any model) and I need to know if this is a DIY work (assuming you have the spate part) or I need to have it replaced by a tecnician. I see those little screw that held the tripode shoe but I wonder if they take in place only the tripod shoe or also some other parts (i.e. the hooks that catch the film back) or may be eventi the outer body shell. I hope the question is clear. Thank you in advance

Hi all, I would have your opinion ont he following: I started a project in wich I take picture of street art. I wanted the picture to be the more homogeneous as possible so I started using just one lens and just one film (provia 100F). Now I have discovered that the amount of pictures I have yet to take is bigger than I have expected and buying new rolls of provia 100 F is becoming quite expensive. I have taken about 65% of the total pictures. So I thought to switch to provia 400X because I have plenty of it and do not use it (bought for a different project now abandoned). I do not particularly like the grain (more intrusive) of the provia 400X but I do not think these pictures will be enlarged very much (probably will end on a self publishing book, like blurb, or something similar, and on a big picture mademof many diferent little pictures of all the subject shot) and take into accohnt that all the pictures will be shot in 6 x 6 cm (Hasselblad and CF 50 FLE lens). Probably I could keep using Provia 100F with a little economic sacrifice, but I would like to use some of the Provia 400X I have that otherwise will remain unused (I keep it refrigerated but I can't keep it forever). So the question: how the colors of the provia 400 X compares to provia 100F? I know they are a bit different, as I know that I stated I wanted to have all the pictures the more homogeneus as possible, but now I am considering that the light is very different on the different pictures (different days, different hours, different weather...), do you think this changes in the light is more influential than the film difference? I have used provia 400X only few times so I do not have the knowledge I have for provia 100F, how would you rate the ISO of the Provia 400X considering that I rate Provia 100F at 100 ISO? Unfortunatly I do not have the time to test provia 400X and compare it to Provia 100F so I have to go for one or the other without further comparison. I hope I have been quite clear with the questions, and I hope you can help me in taking this decision. Thank you very much for your help. Diego

Do not waste time and money on consumer low quality scanner; you will never know how big the difference is untill you have your negative or slide scanned on a professional scanner. After years of using epson flatbed I bought an used hasselblad Flextight 646. The quality diference is astonishing as is the simplicity innusing it and the fig advantage of the 3f file format (sort of raw file). The qulity delivered is the same as the newer models (X1 and X5),?only slower (and no folding light table where you put th film, only for more compacteness when not in use). They are not so easy to find on the used market but with a bit of patience and research you will find one soon or later. The price range is 3000 - 3500 Euro. The Pro Centre in London (no connection of any sort) had one for 1995 £. http://www.procentre.co.uk/sales-secondhand-medium-format-digital.php

The full resolution of an Hasselblad scanner for 120 or 220 film format is not 3200 dpi; it is dependant from the frame dimension and orientation, so for a 6x6 and bigger it is 3200 dpi (but we see later that it is actually more) but for 6x4,5 is 4000 dpi. Regarding the stated max scan capability for 6 x 6 film (and 6x7, 6x9, and so on) it is not just 3200; due to the fact that the scan resolution increase at the diminishing of the film format (8000 dpi with 35mm film) it can be more if you create a custom film holder (only virtual, in fact you still use the standard holder but, in flexcolor software, disenable "auto recogniction of the film holder"). On my flextight i have custom (as already said, just virtual) holder with an aperture of 56 x 56 mm and it allows me to scan at 3625dpi. I could get even more if I create a 55 x 55 mm but I prefer to scan the black border too so I limit myself to 56 x 56 mm. Obsiously you can go far beyond if you scan 6x4,5 and even more if you scan "panoramic" pictures like 6x3cm and so on (I go beyond 5000 dpi with these format).

I always ask to hand inspect my films, sometime with sucess, sometimes not. In many years only one time happened to have the film damaged (and it was carried as cabin lugguage), I can't say for sure which airport was responsible (sometimes the same roll if not used during a trip is used inthe next one) but certainly in Europe (milan, paris, dublin). The films was rollei IR400 and show the classic wavy lines caused by xray machine. If I have time I will scan it in the next few days. Anyway the printer (classic darkroom printer) say it wil not show in the print. my advice: ask always hand inspection and if they say the machine is safe explain them that the effect (now I am talking about fogging, not the wavy lines) is cumulative.

"But before you spend any money on it, where are you getting 70mm double perf film?" here: http://www.ilfordphoto.com/products/page.asp?n=137

Very practical and accurate, I have used for many years untill I bought a 203 FE, at that time I used almost exclusively chrome (notoriously not forgiving in terms of exposition error) and that knob has been up to the task.

To me it seems a processing problem. It happened to me a couple of time in the past few years but on slide film and on two distinct lab. I never been able to discover the cause and abandoned those labs.

Dave, what do you mean with "full sized sensor"? Iif you mean full frame, the HD3-39 it is not (talking of medium format cameras): it is only 36 x 48 mm compared to 41 x 54 mm (with some little variation by different manufacturer: 40 x 56, etc.) of a full frame sensor.

C lenser are bay 50, except: 50 and 60 mm that are 63 mm drop-in filter held in place by lens shade or proper retaining ring; 40mm is a 105mm screv filter. CF and CFE lenser are most bay 60 except 40mm and 350 mm wich are 93mm drop in filter (may be tp 140-280 zoom has a 93 drop in filter). Cfi 50mm is bay 70 as most of of F and FE lens. 60-120 FE zoom lens is a 93mm drop in filter. the polarizer for 40mm is 83mm screw filter (is smaller than the normalmfilter becaus the pola is attached to the lens, instead the other filters are keptmbetween the two halves of the lens shade). The zoom 60-120 and 350mm use the same pola as the 40mm but via an adapter that is now discontinued and near impossible to findmon the used market (I managed to get mine custom made by a precision mechanics company owned by a friend of mine).

The 50 Cf has bay 60 filter. The 50 CFi has bay 70 (and was supplied with a step down ring bay 70-> bay 60. If you use this adapter ring in conjuction with the Lee adapter and the Lee filter system I am pretty sure you will have vignetting in the corner of the picture.

The full resolution of a Flextight is not 3200 dpi; it is dependant from the film format, on a 35mm in portrait orientation it is 8000 dpi. Even the supposed max scan capability for 6 x 6 film it is not just 3200 but it is more if you create a custom film holder (only virtual, in fact you can still use the standard holder but disenable auto recogniction of the film holder). On my flextight i have custom (as already said, just virtual) holder with an aperture of 56 x 56 mm and it allows me to scan at something more than 3600 dpi. I could get even more if I create a 55 x 55 mm but I prefer to scan the black border too so I limit myself to 56 x 56 mm. Obsiously you can go far beyond if you scat 6x4,5, even more if you scan "panoramic" pictures like 6x3cm and so on.

Lot of people (even those working at photo lab) still does not know what really is resolution scan and they think the 300 dpi is the resolution scan where instead it is the density of the print. I incurred many times in lab operator that are confusing the two parameter. To know exactly the resolution used to scan your film see what is the real dimension of the file (suppose 2592 pixel each side) and divide it by the original dimension of the frame (that is 2,16 inch for your hasselblad). The result is the scan resolution (assuming no interpolation was applyed). 2592/2,16 = 1200 (in this example the scan resolution is 1200 dpi, o, better ppi, although the two acronyms are used with the same meaning). Let us know the scan resolution you obtain from the above described calculation. sorry, english is not my language, I hope it is quite clear what I wrote. In any case the lab delivered the worst job I have ever seen.

In facti it is not a standard practice jot returning the film, it happen only on low cost non professional lab. Give your film only to pro lab, you will get cleaner undamaged film other than more consistent result and durable negatives.