kirt_carter

<p>In my personal experience, having owned both cameras, I would say, without reservation, the 80mm lens on the Mamiya 7II produces (to my eye) a sharper and more contrasty image. Additionally, I have generally found japanese lenses in my large format work (Nikon vs. Schneider, for example) to be quite a bit more contrasty than their german counterparts. All a matter of personal taste.</p>

<p>As noted in previous posts, the Olympus RC. Very small, light, ruggedly constructed, and a five element lens that some have dared to compare with Leica optics. I love mine. <a href="http://www.kenrockwell.com/olympus/35rc.htm">http://www.kenrockwell.com/olympus/35rc.htm</a></p>

<p>In medium format, I currently use both Hasselblad (503) and Rolleiflex (2.8f-TLR). I have also owned the Mamiya 7II. I find that I use the 50 year old Rolleiflex the most, in that it is light, has an exceptionally sharp 2.8 Planar lens, and in general, is just fun to shoot with. While the Mamiya lenses were superb, I did not find them better than the aforementioned, nor was the Mamiya fun to carry, so I sold it (and don't miss it). Good luck.</p>

<p>I have never owned the 60CFI, but have owned the 60CB for the last two years. It is sharp, contrasty, and feels and looks the same as all my CFI lenses. It is optically the same lens at the CFI so I feel it was a bargain.</p>

<p>I recently purchased a nice Rolleiflex 2.8f at auction. Other than needing a brighter focusing screen (I ordered the Maxwell), I have had no issues. Yesterday I was looking up the serial number in the Evan's text and online and noticed that it really does not match the model exactly. The serial number is 2478xxx, which would indicate a Type II model with 220 frame counter. My body does not have the 220 capacity or counter so I was always under the assumption it was a Type I. Has anyone else experienced this oddity in serial numbers. Thanks</p>

<p>You might find the part you need here:<br>

<a href="http://www.zuiko.com/">http://www.zuiko.com/</a></p>

<p>I found both filters and original lens hood from this gentleman in the U.K. (shipping was reasonable and fast). <a href="http://www.tripman.co.uk/">http://www.tripman.co.uk/</a></p>

<p>Congratulations August. The RC is my favorite classic 35, hands down. Portability and wonderfully sharp lens make it a frequent carry along, even when I am shooting larger formats-in fact, it is in the jeep nearly always. Enjoy.</p>

<p>The Olympus 35RC, as others have already noted, is a superb camera with a tack sharp lens. Small, light, and sturdy. My meter performs flawlessy with readily available Wein cells (that replace the PX625).</p>

<p>3.5 Solinar on my Afga Isolette III-Sharp as a tack.</p>

I purchased a near mint Olympus RC earlier in the summer and have been quite pleased with sharp and contrasty

images. My only complaint is that the rangefinder patch is a tad difficult to sight in on under some lighting

conditions. I compared it to a friend's RC today and hers is much brighter. I have cleaned everything externally

spotless. As I would like to keep this camera as part of my classic collection for years to come, I would not mind

sending it for a CLA. As such, I have two questions for the experienced folk here:

1. Would a CLA help brighten the rangefinder patch or is this something I should just live with?

2. If yes to the question above, can you suggest a most reputable repair person I can send the RC to?

Thank you very much. I enjoy reading this forum on a daily basis and have learned a lot from all of you.

Kirt.

Excellent choice-should expand our discussions and ability to learn.

Here is a forum which is olympus specific and has lots of folks with RC's-you will be likely to find a part here:

http://www.rangefinderforum.com/forums/forumdisplay.php?forumid=77

Agfa Isolette III with 3.5/75 Solinar

Ilford HP5 Plus in PMK Pyro<div></div>

Agfa Isolette III w/ 3.5 Solinar. Ilford HP5 in PMK Pyro.<div></div>

I have used Ilford Pan F (ASA 50) and Ilford FP-4 (ASA125) and prefer the FP-4 under a variety of light conditions.

Third vote for Pentax Digital Spot Meter. I have used the Zone VI modified version for the past 15 years-ultralight, dead on accurate, fast, and has survived numerous drops.

I would agree with Bruce-the Ebony RW45. Rigid as can be, as well as beautiful to look at in Mahogony and Titanium. I have used one for the last 5 years without any issues, using Nikkor lenses from 90-300. The camera sets up and takes down in seconds, once you are familiar with the process.

Soak you paper in HOT water for at least ten minutes. Arches 140lb. Hot press works very well. I then take a squeegie and wipe off the paper and SLIGHTLY dry it with a hair dryer. Peel the film apart after 10-15 seconds (the more color you see on your positive, the less you will have on your transfer). Place the Polaroid material on the paper and brayer in one direction for only thirty seconds, with moderate to light pressure. Lightly peel back the paper after about 1 to 2 minutes. Want it lighter, expose more in the camera. Remember that dark backgrounds, black especially, tend to lift off. The book that has been recommended is a piece of stellar advice. Good luck and enjoy.

http://home.comcast.net/~kec51

Terssa: I have both the Epson V700 and the Nikon Coolscan 9000. I print my large format negatives on the V700 and everything else on the Nikon. I print using the Espon 3800. I was unhappy with medium format scans on the Epson, after using a dedicated film scanner. 35mm scans on the Epson were always awful. I will be blunt and say, in my opinion, there is no way one will get the quality to "show" work, as you mention, scanning 35mm on a flatbed. Others may have different experiences. Good luck and enjoy your artistic endeavors.

Ordered mine late summer from Digital Art Supplies in San Diego (online) and got it before Xmas. I upgraded from the 2200. I use Hahnemule Fine Art Pearl, and Crane Museo Silver Rag. I print exclusively in Black and White from 6x6 and 6x7 negatives, scanned on a Nikon Coolscan 9000. I am very pleased with the results and have now abandoned the wet darkroom, other than to develop film.

I have been looking for the 120/220 Strip Film Holder With Glass (FH-869G) for

my recently acquired Nikon 9000 supercoolscan with no luck. Everyplace I have

queried reports "out of stock." Does anyone know of a "reputable" online source

for this holder that would have one in stock? Thanks much.

I have been using my 3800 for the past week, with a number of years prior experience on the 2200. My preference thus far has been Crane Museo Silver Rag and Hahnemuhle Fine Art Pearl. Expensive, but the look and feel of what I was used to producing in the traditional darkroom. Enjoy your printer-it is awesome.

I have been happily using an Epson Perfection 3200 with Photoshop CS for some

time without issues. This afternoon, when I attempted to import the scanner

through Photoshop (which has always worked without issue), I get the following

message"

"Could not complete the Import command because of a problem with the

acquisition module interface"

I have reinstalled both Photoshop CS as well as the Epson software, including

updating the Epson driver. Still no luck. Does anyone have any stellar advice?

Thanks much for any help.

I have not had trouble with ANY cable release in my 7II. While they do not thread in very far,,,they do not strip. You do not need much for them to work,,,just be careful when you turn them in that you do not cross thread. You will be fine. You have a great camera.