martin_reekie

I've had my SL66SE for 21 years now, been all round the world and has survived pretty well. I bought a SL66E a few years ago as a back up. The lenses are great, I've a 40, 50, 80, 150 and 250 - all great. I can't think of a reason not to buy, they hold their value, are probably on the increase these days and will last a lifetime.

You are right! The Rollei recommendation is to carry the camera back down, lens up. The reason, as I understand it, is that is that the load of the camera and back are placed on the focusing rail which is off to one side, apparently this is the case even when the camera is focused to infinity and the lens panel is right up against the camera with the bellows fully closed.

 

That said my SL66 sits in a Billingham bag lens down with the focus on infinity. Makes it easier to get the camera in and out - you just pull up on the neck strap. It's been in the bag like that for over 21 years, been all over the world and I've never had a problem with the lens, panel, bellows or focusing mechanism.

 

Regards,

Martin

Agree with the comments about there being no real difference between the Rollie lens and a Zeiss equivalent.

 

I've had my SL66SE for 20 years now and really love the thing! The tilt was only ever intended to give you greater depth of field, not as a view camera substitute. You very quickly get used to the movement and framing is no problem.

 

I use 40, 50, 80, 150 and 250mm lenses and all are great. I've a SL66E as a back up, good camera too.

 

They are getting on but with care they should last for years. Being fully mechanical (the electronics for the metering don't effect the camera) you can usually find someone to fix them.

 

I'd agree that getting a good example is key, preferably one not used professionally as it may well be worn! There are still "as new" examples to be bought. The desire to own and the reluctance to sell only push up the prices.

 

All the best,

Martin

I can�t think for the life of me why you�d want a Hasselblad in the first place! However, it�s good to see that taste, logic, style and common sense are filtering through! I�m not so sure that prices are falling though � certainly not in the UK.

 

It has to be a SL66, best camera ever made! They did make a 60mm for the camera; I�ve never seen one and would guess they are hard to come by. The 50mm is a great lens as an alternative. All information you could ever need at www.sl66.com.

Other than the two suggetions above, which are the first two things I would consider, make sure the film is tight on the spools before you install the insert into the back. As suggested mesh the gears and prove that they are running before closing the back.

 

You should keep a closer note of which film runs through the backs. Remember too that the inserts on the SL66 magazines are not interchangable.

 

A long shot is that you might be touching the double exposure release when you are winding on. This disengages the gears and would limit the film travel.

The SL66 will win every time. You have the added advantage over all the other cameras of dropping or raising the front panel. The 80mm lens has the coverage to cope with this. So huge depth of field, no contest!

Floyd,

 

Missed your last reponse while I was typing. You need a SE back - you'll see the connections on the back of the camera that read the ASA setting from the SE backs. That's your problem!

 

Martin

Floyd,

 

The meter will not work when the shutter is set at B or T - only will work between 1 sec and 1/1000 sec. The battery should be a 6V PX-28 as stated above (silver oxide or lithium should work).

 

The meter should come on and stay on for about 30 seconds after the shutter release is partly depressed.

 

If it doesn't do this then there could be something wrong with the meter or connections. As it's a mechinical camera this only effects the meter.

 

Martin

I've not seen this problem with either the SE or E that I have. They've been used at far lower temperatures here in Scotland. Might be worth trying the camera in the cold and locking the mirror up first - this may remove the mirror from the problem.

 

I have in the past had shutter problems which have caused unequal negative exposure. As my cameras are used at slower speeds than 1/30th they don't like the faster shutter speeds and the odd occassion I've used faster then a 1/30th I get this uneven exposure. Is the shadow sharp edged (if so the mirror isn't the issue)? Is the shadow complete (no information on the negative)? The darkslide is out of the film back completely and stored in the back? You haven't used rise or fall with a long lens? You could check the operation with the back off the camera and lens removed on a slow shutter speed.

 

Hope you solve the problem as it is the greatest 6x6 camera ever!

I have to go with Ray on this one. I've owned a 3003 for over ten years without a problem. I bought it to use my SL66 lenses on 35mm with the clever adaptor - then you have no problem with image quality using the centre of a 6x6 Zeiss lens.

 

It is so unique in design that it can't be compared to anything. There are so many upsides, three releases, two methods of viewing, interchangable backs (no need for two or more bodies), etc.. One downside, for me, is it needs electricity to operate. How many cameras now don't!

 

Any questions, drop me an e-mail.

 

Martin

I would guess that there is something not right with the camera. With my 66E and 66SE there is no difference in operating the shutter with the mirror locked up or not. 66's don't like cable releases (I use one all the time and it has caused problems). Does the camera shutter release with cable whe the mirror isn't locked up?

 

I would say that even at the slowest shutter speeds I've never had a problem with camera movement. That is on a very stable tripod and with a cable release. It makes a load of noise but little vibration!

 

You have a great camera there but it might be worth getting a check over.

 

Martin

Russell and Andrew,

 

Agree that Brian is THE man but is he still in business?

About 99% of the images on my site are mostly my SL66SE and E with a few with the MX-EVS.

 

www.m-reekie.com

Ryan,

 

Like Richard I use the 120mm SW Nikkor on my Zone VI, great lens with the coverage - just and little noticeable light fall off in the corners. You don't get any movements 312mm at f22 vs 312.5 for the 8x10 format. I'm sure this is the widest lens on sale these days for 8x10.

 

I'm not sure about George?s comments about the 120mm Super-Angulon as it only has an image circle of 288mm and certainly the 75mm won't have a larger image circle.

 

Best information is at http://www.largeformatphotography.info/lenses/LF8x10in.html

 

Attached a photo taken with the 120mm in a confined space.

 

Martin<div></div>

The screen on the SL66 is the same as the 600x series and the newer TLR Rollei's, this opens up a huge number of options.

 

Good details at http://www.sl66.com/sl66_accessories/screens.htm

 

Grid screens are a great advantage in getting your verticals vertical and horizons level.

Update on the workshops, we have two places left on the first workshop and three on the second.

 

This is a fantastic opportunity for those in the UK to meet and work with Kim Weston and Randy Efros and to learn about photography and the Weston family contribution to the art.

The coating tool is inside each bottle. It's a varnish, the only good advice is not to use too much, wipe from top to bottom and leave to dry. The varnish does smell so use in well ventilated area.

 

If you want a print and not the negative, why use 55? You would be better with 54 and then you don't need to coat.

 

2nd question. You just take the photo with the holder. When you process and peel there is a print and negative. As you state the negative clears in sodium sulfite solution. To get a good negative you will have a slightly light, over exposed print.

 

You have the guide at http://www.polaroid.com/service/userguides/photographic/4x5filmguide.pdf page 13 shows the coating of prints.

For close up work there is only one camera to consider! The Rollei SL66.

Totally agree with James! Contact Brian Mickleburgh or Dennis Banks at Studio Workshops. The phone number is 0870 443 7988. Be quick as they are finishing with Studio Workshops when they restructure at the end of April.

 

I've used them over a number of years (and number of moves) to keep my SL66's on the road. They are then only place to go to get a Rollei repaired in the UK.

James,

 

I've had very good experiences with Ffordes https://secure.ffordes.com/index.htm I bought my TLR Rollei from there and MXV http://www.mxv.co.uk

 

The one to avoid is Nicolas Photographic, 15 Camden High Street, London. They may appear to have a long and varied list but are expensive and not very helpful. See the discussion at http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=006uss

 

Good luck!

I�m arranging two workshops in Scotland with Kim Weston and Randy

Efros. They will be from Monday evening 23rd to Friday afternoon 27th

August, 2004 and from Sunday evening 29th August to Thursday

afternoon 2nd September, 2004 at Hospitalfield House in Arbroath on

the east coast of Scotland. Although there is a cost to attend these

events we are running them on a �at cost� basis, i.e. neither Kim,

Randy of myself will make any money out of this!

 

Details of the events are at http://www.m-reekie.com/Kim.htm. This is

the first time Kim and Randy have taught outside the US and is a

fantastic chance for anyone in the UK or Europe to meet these great

photographers without the expense of travelling to California.

 

We have sponsorship from Agfa, ARCA-SWISS (both Kim and Randy use

these cameras), Calumet and Ilford. You will get the chance to see

the whole process; from making the image, development by inspection

in ABC Pyro, Kim printing from one of his grandfathers negatives to

print mounting and presentation.

 

We have 3 places left on the first workshop, 6 on the second.

Final note! The lens is back in my possession. To cut a very long story short, I failed to comply with Nicolas�s requirement for the equipment to be returned within 7 days. The cost and hassle in trying to get my money back would be excessive with little or no chance of an acceptable result. At the end of the day the lens is optically acceptable and aesthetically reasonable.

 

They sent an exceptionally long letter, apparently copied to my credit card company and the photo magazine where the advert had originally appeared. They came out with a load of inaccuracies, for example the lens was on commission (which at no time they told me and legally is irrelevant as my contract was with them), they�d paid the person so couldn�t reimburse me in any case. The lens had been modified for me hence the cost � this I was not told! They had avenues covered that I hadn�t even thought of, which goes to show they�ve been in this situation many times. Wonder why?

 

Companies like Ffordes describe the item well, you know the price is acceptable. The item arrives well packed and on opening you find the condition to be even better than you thought � result one happy client. With Nicolas critical information is omitted (economical with the truth), the condition is not in the advert; the item arrives in a disintegrating shoebox. Once you�ve satisfied yourself that there has been no damage in posting you see the item isn�t as good as you thought it would be � result, my experience on two times out of two. My advice � avoid them!

Thanks for everyone's comments. They only support my feelings about the company. I've returned the lens and - hopefully - will get a full refund. I have had only good service from MXV and Ffordes, so there is no need to use Nicolas.

I use the drop on the front a fair amount � one of the reasons for owning a SL66 over any other camera. Makes the standard lens look like a wider lens. This is very useful with landscapes as you get fantastic clarity and depth of field. With the camera mounted on a tripod with the Rollei quick release coupling the drop is easy to use, you don�t need more hands than the average human has.

 

The Rollei�s are getting old but they are all mechanical and easy (if you know the right person) to keep on the road. The price, unfortunately, only reflects the value of the camera � good old supply and demand.

 

They are great cameras and will not disappoint.

Nicolas Photographic, 15 Camden High Street, London. Has anyone used

these people and had a similar story? A few years ago I had a poor

experience in buying a back for my Rollei 3003. Foolishly I�ve just

tried them again to purchase a lens for my SL66. Basically I paid way

over the odds for a lens that isn�t HFT and isn�t even E- in quality,

the price just about justifies a mint HFT. They don�t rate their

second hand equipment and seem happy to charge you whatever they

think you�ll pay. I�ve been unable to contact them (probably due to

the holidays).