jim_rhoades

"before the glaciers have disappeared" This is an April fool goof.

Unless you believe an ex Vp that scoots around in private jets and spends $1200. a month in electric bills then wants the rest of us to drive Yugo's.

I have a favorite lens. It's a Schneider 150mm Xenar f/5.6. Single coated and not much coverage. It's best around f/8 but holds it's sharpness through all f/stops. I have other "better" lenses, multi- coated Plasmats. They are nice shot at their sweet spot but then defraction kicks in.

 

The answer is not what works for me or anyone else. The answer is to test each lens, find where it's sharpest and use it as such. Sometimes you find that a beater is a jewel and the brand new XLCH is just OK.

Ole, gave you the run down on it. I have one that's a bit newer with the black dial. It's now my favorite 150. Limited movements but very sharp. Never miss the multi coating.

 

So tiny and light it has to be about the best backpack/field lens made.

 

Who knows about a hand written label. I think my lens is sharpest at f/8. Could it mean that?

Ronald writes about the 12" wide angle Calumet, "Good luck finding a decent one of these".

 

Hoo-wee. I bought a brand new, never used one last year for a hundred bucks. It will handle up to a 190 Wollensak. Just.

 

They can be found at a good price. You do have to check every day.

Bryan, Do some research here, the Large Format Forum and Apug before sending the $475. You might change your mind.

I used a Omega D-2 for years and it will make as nice a print as any other brand. I replaced it with the Durst Laborator 138s last year. This was because I started to enlarge 5x7. But if you can find one and fit it into your darkroom it's a dream machine.

 

When you want to make really large prints it's the only way to go.

The best for what you want would be a Durst S-45 special. (IMHO)With two 240 condensers it's a 138 S for 5x7. Or just buy the 138.

I like to shoot street scenes at night in the rain. The best L/F camera ever made for this type work is a Crown Graphic. Just ask 50 years of dead newspaper photographers. But...

 

When shooting a standard field camera in bad weather I use a darkcloth made of waterproofed nylon. Theres sticky velcro on the camera and velcro on both sides on the darkcloth. I then have an extra piece of waterproof cover that goes over the camera and extends enough to create a lenshood. A couple of more pieces of velcro hold it together on the bottom, up front. It's kind of a two piece darkcloth that sticks together. One for me, the other for the camera.

All those cameras listed above are real nice. Also expensive. I bought a 400 series Calumet wide view, never used for $100. That leaves a lot left over for lenses, film and learning.

Hasselblad people have told me that the gears in the 500 CM were not designed for winder service so the new winder was not set up to be retro fit. I was advised not to use the aftermarket winder. Your camera, your risk.

I'm another fan of the Mini-Trekker. Mine's older I have used it for a Hasselblad with 3 lenses, two backs, finder, spotmeter and a bunch of film and filters. Still had room left over. I also have used it for a Linhof 612 with two lenses, fiters, film etc. With room left. The interior adjusts to fit both just fine and will carry a small 4x5 to boot.

 

Mark's RB is about as big as M/F gets and he says it fits. Just how much equipment are you or can you carry?

To touch a bit on what Pico said above. I went to a Technical/Photography school in the late 60's. All the instructors were working or retired pros. No MA's here. They belived 95 percent of the work could be done with a Speed Graphic. In the class room/studios we worked with 5x7 monorails. One instructor was always assigned to go around to the still lifes we were setting up and untie and zero out the cameras. A little goes a long way. I have two monorails and two Deardorff's. A Horseman HD with no back movements and 9 inch bellows is my most used camera. It has even done (some) still lifes. If a Linhof IV,V or Master can't do it, it can't be done. Are movements easyer with a mono? Sure. Needed? No.

I always wanted a Hasselblad, could not afford one. Then many years ago I had a Mamiya 645 1,000s. I humped that thing over 13,000 feet one winter. The cold sucked the life out of the new batteries in the shutter. Everything was about three stops overexposed. I swore then that I could not afford not to have a Hasselblad. Dumped that %&(*$&* and bought a 500CM. BTW if you drop a Mamiya don't be suprised if you end up with a major dent in a corner. Like by the shutter release, thereby locking the shutter.

 

The Blad frame is much tougher and does not need batteries. Very important for high altitude winter shooting.

 

The price of Hasselblad equipment these days make it a bargain. Go for the best.

The truth is I have been in deep depression since the death of Panatomic X.

That's a long time and Agfa 25's death was no help. Pan F is nice but I'm

hoping that the Rollei 25 will pump some CPR into the TLR.

 

Any reports on it's use? True speed? Starting times with Rodinal? D-76 1+1?

I use a Gitzo QR for M/F and a light 4x5.(Horseman) For 5x7 and 8x10 I use a Ries tripod and head. I would never trust something as heavy or expensive as a 8x10 Ebony to a QR. Yeah, I know all about the high end brand QR's out there. My Dorff's get nothing smaller than a 3/8 screw on a solid platform.

 

You know that some times when you least expect it a quick release, does.

I've been to two in Maine, Michael & Paula's and at least 6 in Peters Valley. Peters Valley has a lot of the same instructors as Maine at less than half the cost. Also met Louie and Brian at the Valley. Woodstock has 2 day classes for the price of 4 days at PV.

 

I think the "Large format in the field" course by John Kierston Sept 2-4 would work very well for you. Don't be mis-led by the intermediate to advanced rating. That just means that you know what a f/stop, shuter speed is. You should know how to take a meter reading and put on a lens.

 

The living conditions are, uh, primitive. Think very dusty frat house. I'll be there again this summer, I love it.

The sale ended so I could not see the model or condition. But, do not trust an old leather strap. If the camera uses the scissors clip strap mount and you have the clips PM me and I'll tell you how to make up a good strap on the cheap. Check that the back is not twisted out of shape. Open it, then close it and it should meet even. A twisted back can happen by using it on a tripod without a Rolleifix.(tripod QR)The Rolleifix engages the pins on the front of the camera for a secure mount. You can install you own screen on the later models but there are different sizes out there. A careful cleaning of the screen and mirror will improve things until you can afford a Maxwell screen.

 

Rollei's don't wear out from use. They stop working from not using.

Shoe polish might spiff up the leather and paint the trim but using it will make the camera happy.

As long as Robert brought it up, Krikor is the guy I use. Three weeks ago he overhauled my 3.5F. The turn around time was two days.

Even a mint condition Rollei could need a CLA or even a shutter and transport overhaul. What does the $210 job include and is the guy a really good Rollei tech? There's only two guys that I would let touch my camera. One one each coast.

 

Yeah, I know somebody said to DIY. Sounds like you already know about hack jobs.

David, A couple of problems. One is that Ron is either out of business or at best in limbo. No new updates in months.

 

A two lens outfit with a 120 is nice for the landscape. If your interest leans more toward architecture you might want to test a 110.

 

In any case it's a lot of money, try to rent or borrow that size lens before buying. The wider the lens the darker the view. The slower lenses are nice if you have to work a great distance from the car. Lot's of trade-offs. Good luck.

Carol is really 1/3 that and the turn around time can't be beat. Good communication too.

I've been using a Domke F-2 with my Hasselblad a long time. I switched out the 4 cell insert for two 2 cell inserts, one on each side. I also pulled out the plastic bottom and keep a microfiber towel under the camera. Rain happens you know. Nice to have.

 

'Blad w/80mm & mag goes in the center,150mm rear cell on one side 50mm on the other side rear. Front cells hold extra magazine and prism. Filters in top and lots more room in the pockets for film etc.

 

The other bags mentioned have a lot more padding which means more weight. If you think you or the camera needs all that extra padding and other doo-dads check the bags at any major news event. The Domke F-2 has been "The Bag" for a very good reason.

Mine's in the Mount 370 so I don't know how old it is, nor do I care. It kick's @$$ and takes names. Some very big names. Don't worry, be happy.

Michael, Thanks for the link to the Upstrap. I checked it out, but it's not for how I use my Rollei. I like the Domke because it folds rather easy into my small bag. Folding even tighter than the Rollei leather and more comfortable with less slip. The clips are nice for instant removel on a tripod and I use a tripod a lot. It looks like it would be the answer to those who carry their camera in the eveready case and hand hold.

 

Andy how do you carry and use your camera? It seems like a minor thing but your level of comfort and ease of removel can mean alot. Hand holding vs. tripod use can change your equipment. Maybe you don't need to remove the strap.

Oh, as a side note, I "drilled" the holes for the rivets in the nylon strap with a hot nail. The epoxy is just a guarantee.