martin_reekie

Ian,

 

Just done a bit more digging! Looks like the Studio Workshop is now part of the Sangers Group who also own Prisma who are the UK importers of Rollei. However, the in house repairs at Brunswick Centre seem to be Bromley Camera Repairs! The phone numbers they give are different -

 

The Studio Workshop, 20/22 Brunswick Centre, Bernard Street, LONDON, C1N 1AE

 

Tel: 0207 278 7633

 

Fax: 0207 278 7340

 

So now I'm confused, let me know how you get on.

Ian,

 

I've used the folk at The Studio Workshop in London, they are the former Classic Repairs people. All ex Rollei UK technicians. Used them for years to keep my SL66's on the road. Very good and very professional.

 

Now I know that most of the Leeds group were taken over by Calumet when they bought (merged!) with HA West. I understand that the Studio Workshop was not included in that deal. Not sure what the status is, try calling them.

 

Leeds Photovisual Ltd

 

20/26 Brunswick Centre,

Bernard Street,

LONDON, WC1N 1AE

 

Tel 020 7833 1661

 

Fax 020 7833 1570

Beyond Words in Edinburgh, Scotland. www.beyondwords.co.uk

Zwemmers in London, England. www.zwemmer.com

 

As well as buying direct from some of the better known publishers like Lodima Press, Aperture, Little Brown and Co., Bulfinch Press, Thames and Hudson, Taschen, Phaidon, Twin Palms, etc.

Then Amazon.com and Barnes and Noble do their bit.

Richard,

 

The Rollei Quick Release Adapter covers the SL66, SLX as well as the 6000 Series Cameras. I have one for my SL66's as you need it to use the camera's drop front. It provides a rock solid connection to the tripod - I use mine on a Benbo. I use it with anything up to a 250mm lens, most of my work is landscape with exposures of more than 1/4 sec, it is a very stable platform.

 

Down side is it can be a little tight to get off. Other downside is with time (I've used mine for over 20 years) they can fail, once you know how they are put together it is very easy to repair as long as you have the tools (small Allen key and watch makers screw driver).

 

As the 6000 series don't need the drop front I'm not sure of any great advantage over any other form of quick release. 6000 users may prove me wrong.

 

Regards,

Martin

Sam,

 

You'll find the entire manual here;

 

http://medfmt.8k.com/mf/rollei/cord5_5410_991004.pdf

 

Regards,

Martin

Don't know about the Durst but on my old Philips you have to change the lens in the condensor to go from 35mm to 2 1/4" square. The enlarging lens should cover, I use a 80 mm but that's not so far from the 75mm.

 

I'm not sure exactly your problem but I also had to file out the mask to get the whole negative.

 

As said - check with Durst, it could be the condensor set up or the mask.

Famous Grouse! None of this blended stuff.

You should get a bottle of an excellent Orkney Single Malt Whisky. They have a fine drink especially for large format photographers called �Highland Park�, named after Edward Weston�s birthplace!

http://www.highlandpark.co.uk/

Playing the bagpipes! What else can a red haired Scotsman do!

Amazing how much discussion can be promoted from a single innocent question.

 

I�ll put in my thoughts on the wet versus dry into the debate. I print all my own work, both in silver and platinum. This is an extremely satisfying process.

 

I also produce digital prints, not for sale or show. The computer and printer are there for other things. Most of the time I download the contents of my wee digital camera or scan the negative or paper copy and without any manipulation print it off on my Epson 2100 (think it�s a 2200 in the US). The results are spectacular, I recently scanned in a platinum print and printed off a copy on watercolour paper � the end result was great. You can still tell the difference but the digital print is pretty good.

 

I could argue about longevity, archival permanence, etc., lets just say inkjet printing has come a long way and is improving all the time. I don�t think it�s there yet, may never be � especially compared to platinum. That aside the process is not very satisfying; I�m relying on the talents of some software programmer and some wonderful technology. There is little or no mental input from me, I dare say I could play with a few of the settings but what is the point when the default settings are so good. I�m pressing a couple of buttons and, hey presto, an acceptable result. A few minutes and it�s there.

 

For me the difference is mental, physical and aesthetic. OK, the negative is mass-produced; I rely on Ilford for that part. After that I�m mixing the raw chemicals, I�m coating the paper, I�m exposing and I�m processing, I�m the one having the fun! For me this long drawn out process is all.

WOW! Jim what a thread to start! It�s made some fantastic reading.

 

We are not really comparing apples with apples here. Indeed Andreas Gursky sells for huge amounts, as do Damian Hurst, Tracy Emin, et al. This is an all-together different market; it�s driven by hype fuelled by money, the desire to be famous and probably a few other things. The concept is the �thing� not the content or technique � it�s the packaging not the present.

 

What the majority of us here work to is the opposite, if nobody took an interest or purchased anything we would still work away and produce images. Many artists have worked this way and only become famous (and expensive) long after death. We don�t do it for the money, if someone likes what we do and wants to purchase, great.

 

The other side of this equation is the collector; again you can choose to compare apples with oranges. There are collectors like Charles Saatchi, lots of money and keen to promote whose �in�, to be �in� themselves. I�m not sure they purchase entirely out of love for the item. Art as an investment is possibly a higher motivation for some.

 

There are the institutional (like the Getty) and wealthy (like Elton John) collectors that just distort the market, they pay as much as it takes to get their Pepper #30.

 

There are also those who buy what they like and what they can afford. If it is �worthless� on the art market then that�s not a problem because the individual is happy and content living with the image on their wall. If it makes money, great but they probably wouldn�t sell anyway.

 

I�ll avoid the inkjet vs fine art print argument, the market will decide - no matter what we do!

I�ll go with Joe and try and answer the original question. The variables are;

 

The medium (apart from those in the art market stratosphere who could probably sell toilet paper for $0.5M) � all aesthetic things being equal, a platinum print will sell for more than a silver print, will sell for more than an inkjet. If you print the work yourself that is a bonus, some (myself included) might say a given.

 

The photographer, or at least the name, the reputation the photographer has (even if it�s only locally), the better known you are the more you can charge. A great deal of that is track record, how many exhibitions have you had, etc.

 

Then there is the market and that�s just simple supply and demand. If you don�t sell anything your priced too high, if you can�t get out of the darkroom (or in Geoffrey�s case the light jet printer is running hot) then you�ve priced too low.

 

The content, the vision, the style and technical quality, you would like to think, makes a difference, unfortunately it doesn�t necessarily work that way.

 

I do totally agree with Edward, don�t under price yourself. I would say look at the actual cost of a print for you � materials and chemicals, think of the time you take to produce the image and that is a good starting point for pricing, maybe $100 or $200 depending on how precious your own time might be. Below that value you know it�s not worth your while printing the image and be content not selling at this stage.

 

Good luck with the print sales!

I�ve not been involved in this forum for long but in the past few

weeks there seems to have been a number of threads, and more

disturbingly replies, that have little or nothing to do with large

format photography. In many cases some of the replies have been

pretty embarrassing, bitter and twisted personal comments. In the

main they are not funny, not intelligent and not beneficial.

 

I enjoy visiting to see what being talked about, ignore what doesn�t

interest me, learn from what does and contribute where I think I can.

Be nice to keep it that way.

Jim,

 

Totally agree with Russell, Brian at the Studio Workshop is the person you need. He's looked after my SL66's for years. They have an extensive knowledge of all things Rollei, are very helpful and professional.

Martin Reekie, Ballater, Scotland

Yep,

 

I checked the same in the UK, indeed no more black and white sheet film. I did ask about all sheet film and for the time being they are still producing Agfachrome reversal film, RSX II in 100 ASA but only up to 4x5.

Just checked with Pieter Janse Van Rensburg at Agfa in the UK and they confirm that they are no longer supplying black and white sheet film. The only large format film they still have is the RSX colour reversal film! Even then only up to 4x5.

Agfa have a lot to learn about reputation management, what you do and how you do it has a knock on effect to all aspects of your business.

 

If you, as a customer, have been burned by, say, changing the specification of Record Rapid (remember how wonderful that was), by dropping Agfapan 25 or sheet film AXP 100, how will you see the company when it comes to purchasing digital products for example? There is a big market out there and the customer has a huge choice.

 

Hopefully Ilford will carry on for a while, if they don�t Bergger, Forte and Maco might. If not, anyone know how to hand coat acetate?

I've had a SL66SE for 20 years now, it works well with care and attention. Only weakness in my machine (and the same applies for my SL66E) is the shutter release if you use a cable. For some reason the camera doesn't like this. Other than that it is fantastic.

Repairs here in the UK are good too with the guys down at The Studio Workshop (used to be Classic Repairs) keep my two going with no problems.

Go buy one - you won't regret it!

Ralph, correct me if I'm wrong but I think the Schneider 110mm Super Symmar XL has an image circle at f22 of 288mm, not enough for 8x10 (312.5mm)? It'll cover 5x7".

I think the widest 8x10 lens is the Nikon Nikkor 120mm f8, it'll just cover 312mm at f22.

Agree with James Turner, in the UK the only place to consider is Brian at The Studio Workshop. I've had my SL66's to him in his various locations for years. Good service and knowledge of Rollei's.

How could you talk about Point Lobos without reference to Edward Weston! Although there are some areas where you are free to roam, like Weston Beach (formally Pebble Beach), the majority of the interesting bits are off limits - you can't leave the walks. It is a wonderful place, the whole coast from Carmel down to Oceano is quite something.<div></div>

You could go wider with the Nikkor 120mm?<div></div>

Silverprint (www.silverprint.co.uk) in the UK do a RH designs paperflasher! It sells for £65 including tax.

I've just had the same problem with my SL66SE. If the film continues to advance without firing the shutter then one of the springs (I'm sure it was the mirror return - don't ask me why) has failed. I send my SL66's to London for repair - don't know of any place in Holland. Might, as suggested, be as quick to send it back to Rollei in Germany and get the camera serviced at the same time.

 

Normally when the shutter is cocked you can't re-cock it unless you use the multiple expose button (the little slide that is in the centre of the crank). When the darkslide is in place - it will only go in when the shutter is cocked, the camera prevents you from releasing the shutter.

 

Indeed the backs can be a weakness but if you don't force anything they will last. If it needs force you've probably not done something. Where there is a weakness is in the release if you use a cable a lot of the time.

 

It is a great camera and, once fixed, will be a joy to use and produce quality results.

 

Best wishes,

Martin Reekie,

Scotland

Ron,

 

I've just bought the L-608 Zoom Master Sekonic, used it during Easter with great results. 1 - 4 degree spot, incident and reflected, you can set it up to read out in 1/3 stops (ideal for my Nikkor large format lenses), goes to f128 (great for my one lens that goes there! the 450mm), goes to 30 seconds and memory mode to compare the range of tones in the image.

 

Works well for me!

Indeed a sad time, but what a life! Like so many I met Cole at Garrapata on one of his workshops in 2000. He talked a great deal about photography but you could tell that his other major passions for the theatre and sailing were still in his mind. He pulled out his wallet and rather than an image of his wife it was a photo of his yacht! I have such fond memories of that workshop, sitting on the beach in glorious sunshine listening to Cole talk about so many things. There were so many highlights but being with the man, seeing his fathers and brothers negatives and seeing all their work (real prints - not pages in a book) was such a buzz.<div></div>