victor_lioce

I agree with the first responder. I would get my money back as it wasn't any where close to "exellent condition." Additionally, the "chrome" lenses as you describe, are the older lenses with little or no multi-coatings on the lenses which means more flare, no color correction for the glass, etc. I would return the camera package if at all possible and look for a purchase with black lenses which also have the multi-coatings. If you can not return, I would ask the seller to pay for the CLA of the lenses and if he does not you should be able to arbitrate it with eBay. Get the lenses CLA'ed if you can't return anything and then see about trading the lenses in on some black lenses at a local shop, or sell them on eBay and buy some black lenses which are newer. Don't make the same mistake with additional purchases and make sure you get a 7-10 day trial period with a full refund if not satisfied for ANY reason. Anyone who won't do this for you isn't worth purchasing equipment from, whether on eBay, a camera store or a private purchase. Good luck!

I used WLF on my TLR's but never on my 645's. The whole idea for me is to have the through the lens metering and to have the prism to make the view the same as your eye see's it and not reversed like it is in a TLR! I always got stuck looking at the TLR hated the "move left to move the image right" thing. Also, the camera with the AE prism finder and a side grip functions more like a 35mm so I appreciate this functionality more. Of course, it means more weight, but hey, if I was concerned about weight, I would only use a Minox 35mm! LOL

 

-Victor Lioce

I am sure you will find that Mamiya users (I'm one of them) will tell you that the Mamiya is the only way to go, and the Bronica users will tell you the same thing. The choice is yours and is a personal one. I would try both by renting or getting a "loaner" if you can and see which you like better. Both have quality optics and have been durable workhorses in the professional workplace.

 

Though I haven't kept up with the Bronicas, I believe they changed their lens mount design so buying an older Bronica and then deciding to upgrade to a newwer model may pose a problem which you might not experience with its Mamiya counterpart (unless you go from a manual focus model to an autofocus model). Older Mamiya lenses still fit the newer bodies from what I have been told.

 

I like the way mine handles when hand-held, although both require extensive tripod usage due to weight. You also want to eliminate vibration by mounting on a tripod and locking up the mirror at lower shutter speeds.

 

Try them both if you can and good luck!

George is right. You press your thumb against the silver button on the back near the top, rotate clock-wise and then slide the button downward toward the bottom of the camera.

This is a great camera. Regardless of whether or not you plan to do digital imagry, you will get years of service out of it. I owned one of these and used it for years. It is a great back packing camera as long as you aren't carrying a lot of "extras" with it! It is very light weight for a 120 format camera. You can still get plenty of accessories for it and there are few draw backs to it. It does require you to manually cock the shutter as advancing the film does only that, advance the film. It does not have the parallex indicator that the C33 and C330 models have built in. It has a rotating pressure plate to allow you to switch from 120 to 220. It does not have a removable back like the 33 and 330 models. Other than that, the only question is the lenses. Those that are chrome are likely to have a bit more flare than their black counterparts because of differences or lack of multi-coating depending on their age. Also, open the lenses and hold them up to a bright light and check for fungus in between the lens elements. If they are still clean you should be fine. If they aren't, you can try placing the lenses, stopped wide open, in direct, bright sunlight to "burn" the fungus out. Check the felts that line the back and body to ensure they haven't shrunk and produce light leaks. A simple test with a roll of high Exposure Index transparency film (i.e. 400 or higher) loaded and placed in bright light and firing and advancing with the lens caps on will tell the tale on the status of these. Give some time between frame advances. I think you will be very happy with the camera if it is in as good shape as you suspect. $300-400 is probably the maximum I would pay as the camera is already more than 25 years old even though it has seen little use. If all of the lenses are black and not chrome then you would be getting a "very fair" deal at that price range. Good luck!

It could also be that your shutters don't fire at exactly the same speed as well. HP5, being a "faster" film will suffer more from variations in exposure than slower speed films.

 

You might also try water bathing your film so that you give more punch in the shadow and lower tone areas without blocking up the highlights. I divide the total development time by 4 and do a 2 minute water bath, without agitation, at each interval. This allows the shadows to develop for nearly 8 additional minutes without the highlights developing further and pushes the mid tones just a bit more too.

 

I would get your shutters tested. Maybe the Rollei needs a CLA?

If the flash is mounted on the camera, then when you turn it vertical the flash goes vertical! If you mount it on a grip, same thing. If your flash is one of the variable zoom types, just make sure it is set to the same or comparable focal length as your lens. There will always be enough coverage because the flash is designed to work with either a square or rectangular format. Are you somehow rotating the camera and not rotating the flash? Even still, I never had any problems with vertical cropped 6x6 negatives with the flash in the horizontal position. I just don't see the problem with what you're asking!

The original Pentax 645 or one of the Mamiya 645 units such as the 645M or 1000s would be good choices. Get a side grip for either one and it will handle much like a 35mm only heavier. They have great interchangable lenses, and if you decide to upgrade to a newer model, the lenses will be interchangable. You can get either on eBay if you are selective, for less than $500 with an 80mm lens, which is the equivalent to a 50mm in 35mm format. These cameras have LED match needle style meters if you get the AE prism for them. I recommend the prism highly. They are as accurate as my Luna Pro meter! I have used Mamiya products for 30 years and have had no complaints about any of mine. I also use Pentax K1000 and an ME as my 35mm shooters. If you don't want to spend that much money initially, go with an inexpensive TLR such as a used yashicamat. Then you can sell it for the same price you buy it when you are ready to move up! Cheers!

-Victor

You might try getting the formula for the K-14 developer. I know that the old processing prior to E-4 or E-6 required that you manually re-expose the film to white light to perform the reversal. Newer transparency chemistry has the reversal process built in chemically. You might be able to write Kodak or email them for the old K-14 formula. I wouldn't try processing the film in a B&W developer. The three layer emulsion isn't designed to work with the B&W chemistry. BTW, was this film frozen for a long time before shooting, or was it shot a long time ago and then forgotten to be processed? If its the latter, it is sure to suffer from image degradation by now! Good luck!

X mode is a syncronus mode which takes into consideration that an electronic flash fires very quickly. setting a focal plane shutter at speeds higher than 1/60 will generally have the shutter open for too short of a time for it to syncronize with the flash.

 

On older cameras you had both an X and an M setting for flash. The M setting had a built in delay to allow the flash bulbs to reach their brightest illumination before the shutter tripped. Flash bulbs tend to go through a slow burn to reach maximum brightness. If you use an old flash bulb instead of a modern electronic flash, you need to have an M setting for your shutter, or you need to be on a tripod and use the B (Bulb) setting to fire the shutter open, then trigger the flash bulb and then close the shutter after the bulb burns out.

 

The X setting on your camera also tells your meter that you are using an electronic flash. If you have a meter that is capable of balancing ambient light with your flash, then this is the setting you want to use.

I would send the finder to Mamiya or a reputable service facility and have it checked and get a written estimate. Maybe it just needs to be recalibrated? You didn't say what model Mamiya. Is it an older one like a 645J, M, or 1000s?

The answer is...Personal Preference.

 

How far are you going to be able to separate the subject from the background and how far away from the subject are you going to be?

 

Are you going to hand hold the camera, or leave it stationary on the tripod? Camera to subject distance has as much to do with it as focal length.

 

Don't stress so much. Use what you have. You can do it with an 80mm if it's all you have and then crop on the easel when printing, or use a mask when sending it to the lab. Same effect as increasing the focal length!

Well, Alan's answer is mostly correct. However, with the 645 format you are using, you will get 15 exposures from a 120 roll and 30 from a 220 roll, assuming there are no problems with uneven film advance. The Mamiyas do have a propensity to advance film more unevenly as they get older and eventually you may only end up getting 14 exposures out of a 120 roll and 29 or even 28 exposures out of a 220 roll, unless you have the camera serviced and this issue addressed. Just think of 12 & 220 the same way you would 20 and 36 exposure rolls in 35 mm. But, be just a bit more carefull to load the 220 in subdued light because of the lack of the paper backing.

I used the Hassy's in the past and currently use the Mamiyas for the same cost reasons. Here's the short and simple answer. Both brands of lenses have resolutions that exceed the films abilities to resolve, therefore, you really can't see an appreciable difference. You may notice differences from multi-coatings and color correction coatings on the lenses but that's really all the difference you will see visually IMHO. Others will argue otherwise, but to me, its usually making the justification for the expense. Not that I am knocking Zeiss optics, their great. The question that is more relevant is can a customer tell the difference. The answer is NO.

 

BTW I have the 80/1.9 and the 150mm and the 45mm. I would recommend the 45mm over the 55mm as it gives you more of that "wide angle" feel to it. The difference between the 80 and 55 is not as much as you would think. In 35mm format comparisons, it's like the difference between the 50mm and 35mm lenses while the 45 mm is more comparable to the 28mm in the 35mm format. I do find the weight of the 80mm/1.9 to be somewhat of a drag and the extra stop isn't always usable hand held. Get a good tripod and get used to using the mirror lock up. This will do more for maintaining high image resolution than anything else you can do for your camera. I have a 645M and a 645 1000s and enjoy them both emensely. I use one body for B&W and the other for color. The mirror slap gets worse as the cameras get older and its something that a CLA won't always address adequately.

 

Good luck and enjoy your new camera and lenses!

 

-Victor

I have shot these situations in color and B&W. For negative film, I recommend first that you use a Tungsten film and not a Daylight balanced film. At e.i. 100, I would bracket in 1/2 stop increments, around 4 seconds at f8. Shoot 2 stops under (i.e. 1 second) to 2 stops over (i.e. 8 seconds). This assumes that there isn't much stronger ambient light and your camera and meter are spot on, in normal daylight situations and that you have no problems with slow shutter speeds or your bulb setting. My Mamiyas give me electronic shutter speeds up to 8 seconds and I find they are very consistant. Using Daylight balanced film will give you very muddy redish-yellow coloration that you won't be able to effectively balance out. Your blues and greens will be almost non-existant, unless there are other light sources around you. Watch out for sodium vapor and mercury vapor lights as they will add very strong yellow and cyan/green casts respectively.

Any of these or similar will work well:

 

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http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=708&item=3860097926&rd=1

 

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=88670&item=3860480751&rd=1

 

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=708&item=3859808403&rd=1

 

 

They are all currently listed on EBAY. Just make sure you get a 10 day trial/money back guarantee, or I wouldn't consider that seller.

 

Cheers and good luck!

 

Victor Lioce

you can compensate by the filter factor. I also take a meter reading with the filter over the meter sensor and compare the stop difference to the filter factor. If it was TTL this is how the camera's meter would compensate. This assumes that you are metering the scene correctly for the proper exposure prior to the filtering. Try both. See if you get any difference in the exposures. use a common element (18% grey card works well) and read the card on both rolls after development on a densitometer if you can.

 

Victor

Chris:

 

I used tlr's for years with a hand-held meter. They are lightweight, lenses are small, and shutters are leaf, so they sync with flash at any speed.

 

Now I am older. I use Mamiya 645's and I have 2 older ones, with 3 lenses. I have metering prisms on both bodies. The backs for these aren't interchangeable so I use one for B&W and the other for color, or 1 for print and 1 for transparencies if shooting all color. Mainly i shoot B&W. Occasionally, I still shoot weddings. Most of my work is landscape, architecture and misc. stuff for just me. However, I still find myself double-checking my on board meters with my hand held, just for security or for when I need to move in on a specific area to meter.

 

Having the meter prisms are a convenience I prefer. With a good side grip they handle a lot like a larger 35mm camera, but you have to deal with the extra weight.

 

You will find that MF cameras will make you intentionally slow down, so you will still use your 35mm stuff for quick, on-the-move-type images. If you use for MF for more thoughtful work in a "slowed down" mode, then you will most likely use a tripod for most of it. It just makes more sense that way.

 

I haven't used the Pentax 645's or the Bronicas. Earlier (25+ years ago) I worked with Hassy's some. They are a bit expensive for my tastes. Others sware by them.

 

The good news is similar to their 35mm counter parts, when you upgrade on a good used MF system to something newer, for the most part, at least the lenses are usually interchangable. The biggest changes have been the interchangability of film backs, auto focus and auto exposure. So, if you buy a Hassy, Mamiya, Pentax, or other professional series older MF camera, you can upgrade later on without replacing the entire system.

 

Go to your local camera shops and rent a few different models on separate weekends and shoot them extensively. See what you like, what feels good to you and what's available in their line should you decide to start with an older used model and then desire to upgrade later.

 

Just my 2 cents! Good luck!

I would try Color Central, in Whichita, Kansas. I have been using them for over 25 years and never had a problem. They are a full service, professional lab and do everything. Here's their website:

http://www.colorcentral.com/main.html

 

Good luck!

 

-Victor

Well, I would get the 80mm 2.8. They make an 80mm 1.9 which I have, but it is very heavy and uses a much larger filter ring. I believe the 80mm 2.8 and the 150mm share the same filter ring size which would also be convenient. I have AE finders on both of my 645's. They are very useful and reasonably accurate.

 

You didn't say if you were going to shoot single, head & shoulders portraits, or if you were going to do full length, groups, weddings, landscapes, etc. If you are going to do all of the above, I would go with a 45mm as well as the 80mm and 150mm. I have all 3 of these lenses and they are great performers. Fast bayonet mounts make it quick and easy as 35mm to change lenses. Also, if you are going to hand hold a lot, get the Mamiya left side grip. It gives the camera a great balanced feel when hand holding as compared to the crumy balance without it, when hand holding.

 

If you are going to do a lot of extended poses in one sitting or do mulitple people on the same roll, then you may want to acquire some 220 inserts as well. Do not load 220 on a 120 back as it will roll off the last 15 exposures.

 

A hand held meter is a great alternative to the AE finder if you already have a good hand held meter. If so, you could go with just a prism finder. The waist-level finders are a bit awkward with this camera.

 

Just my 2 cents! Good luck!

 

-Victor

I have the 45mm, the 80mm 1.9 and the 150mm. You would be surprized how many times you actually reach for longer lenses doing landscape work! I still want a 300mm but they are hard to justify at the current prices! All of a sudden, about 2 years ago, they really jumped up in cost! You really need the 80 and the wide for weddings, as groups can get big, and you still need to do single and 2 up portraits of the bride and groom and the 80 works real well for that. I would, however, recommend the 80mm 2.8 as the 1.9 is really heavy and uses much larger filters. I currently have all my filters for the 45mm with step downs to the 80 and 150. I believe the 80mm 2.8 and the 150 may have the same filter ring size, but not 100% certain. Maybe someone else can input on that? 80mm lenses should be rather inexpensive on eBay, and I would probably get the other lenses there too if buying all at once. Go to a local camera shop and price and test, rent if necessary and try the lenses out for a few rolls. That will help you decide better.

 

Good Luck!

I have one on my 1000s and on my M645 bodies. I use them religiously. I also have a Luna Pro with which I do incident metering and compare. They are usually right on with each other. I find my color film and b&w film don't show significant differences so I know my processing doesn't provide a difference compared with that of a 3rd party lab. This would indicate the meter is pretty accurate.

 

For important images, I usually find that I bracket my exposures anyway. For weddings, I am using a flash, and don't have to worry about bracketing.

 

All in all,and IMHO, and for them both being more than 25 years old, they appear to work very, very well for me.

I can't tell you about most of the differences between the finders, except that I believe the PD is just a prism with no meter. I believe I have the PDS on both of mine. I believe the differences between the PDS and the CDS is one is a brighter finder, but since I don't have both, I can't tell you for sure which is brighter.

 

I have the 80mm f/1.9 lens. It is significantly faster than the 2.8 (a little more than 1 stop) but it is larger and heavier. If weight is a big consideration, the 80mm f/2.8 will be much lighter, and also uses smaller filters.

 

I have the 45mm, the 80mm 1.9 and the 150mm. I purchased my filters for the biggest lens, the 45 mm, with step down rings to the 80mm and then again to the 150mm which has the smallest ring diameter.

 

The lenses are great, the camera cranks like knew. I purchased from a pro shooter who was upgrading on eBay. Got 2 bodies, the 3 lenses, 5 film inserts (2,120 and 3, 200) two flashes, a flash meter and a hard tri-fold case. Since acquiring 4 years ago, the cameras have performed flawlessly and I have only had to change the batteries once.

 

I do think about not having interchangeable backs, but hey, I just load color in one body and B&W in the other, so there you go, that's enough interchangeability for me!

A simple answer might be since the 6x6 negative is approximately 4.16 times larger than a 35mm negative, that you could expect to go 4 times larger than you would with the equivalent film, exposed, processed and printed the same way in a 35mm format, and achieve the same results, if you print full frame in both cases. This would mean a square print in 6x6, however, you may find that you will want to use all of the negative and print square once you get used to it.

be VERY careful with nail polish remover as it can damage plastic and rubber parts in the camera. if you don't have alcohol, then use a pencil with a clean eraser and make sure to blow out any eraser shavings. that would be better than risking damage from polish remover! If no pencil eraser, then I would just clean it with a cotton swab and not worry about the alcohol. Check for corrosion or battery leakage on the contacts. If it is there, you should be able to see it. The cotton swab should be abrasive enough to clean the contacts unless there is really a heavy build up on it.