fwstutterheim

<p>Assuming you are located in the USA:<br> <a href="http://www.laflexcamera.com">http://www.laflexcamera.com</a> <br> is a good address for service and repair of Rolleiflex System 6000 cameras and lenses.<br> Ferdi</p>

<p>According to the Adobe website you need Lightroom 6.5 or later and Camera Raw 9.5 or later for D500 support. Present versions are 6.8 and 9.8.</p>

<blockquote> <p>So are you saying that it should be Ok with the automatic film loading of the Rolleiflex?</p> </blockquote> <p>In theory, yes. In a Hasselblad and others the starting point is set at a mark on the backing paper. In a classic Rolleiflex the starting point is at the actual beginning of the film. The mechanism is triggered by the adhesive tape and film passing through the rollers. Marks on the backing paper have no part in it. <br> <br> In my first message I had things mixed up because I mainly use a 2.8 GX, without the automatic film transport. Good luck with the experiment.</p>

<blockquote> <p>The result is that the start position of the second exposure run will not be exactly the same as the start of the first run. In the Rolleiflex film-loading is automatic and that makes it impossible to compensate for this effect. In less sophisticated cameras that use an in camera reference point for hand loading a film - no need to ruffle any feathers and name an example [grin] - you can try to compensate for the different start position.</p> </blockquote> <p>I made a mistake! The automatic film loading of the Rolleiflex will automatically compensate. The counter mechanism is started by the adhesive tape wherever it is, regardless of the position of the backing paper. I am sorry for any confusion.</p>

<p>When rewinding, the film will shift with respect to the backing paper. When reaching the beginning of the film it will be necessary to loosen the tape and re-stick it onto the film and the backing paper in a new position to even out. That is the experience of most people who rewind after advancing the entire film in one run as result of wrongly loading a film and bypassing the two rollers that trigger the counter. The result is that the start position of the second exposure run will not be exactly the same as the start of the first run. In the Rolleiflex film-loading is automatic and that makes it impossible to compensate for this effect. In less sophisticated cameras that use an in camera reference point for hand loading a film - no need to ruffle any feathers and name an example [grin] - you can try to compensate for the different start position.</p> <p>Ferdi.</p>

<p>Tower Bridge, London.</p><div></div>

<p><a href="http://www.stereoscopy.com/cameras/re-stitching.html">http://www.stereoscopy.com/cameras/re-stitching.html</a> </p>

<p>Shortly after sunrise.</p><div></div>

<p>This is where I have doubts. I have never seen an ME 1. The ME 1 was clearly meant for technical and scientific purposes not for art. Like photographing an experiment from a fixed position. One aspect is that I assume that the mirror stays up. The system is designed to meter through the mirror. That would imply that the metering system will not work for following exposures. All multiple exposures are made with the same exposure settings I assume. </p> <p>That is why I wrote that a later model with SE/ME switch will be a better solution. It will give you complete freedom when making multiple exposures. The camera will fully work as usual except that the film transport is disengaged.</p> <p>Best regards,<br> Ferdi.</p>

<p>Yes, I the MRC-120 can be used on the SLX/SLX-2. The MRC-120 will operate both the mirror and the shutter. By the way the MRC-120 cannot be used with the 6008i. For that camera use the RC-120.<br> Yes, the ME 1 is for both SLX and SLX-2 and following cameras that do not have the SE/ME switch. As I understand the manual the ME 1 keeps the mirror raised and only operates the shutter when making multiple exposures.<br> Well, I do not see myself as an archive but I do own one. :-)<br> Ferdi.</p>

<p>Hi Giorgio,</p> <p>I understand that you lost track. The situation is as follows, to the best of my knowledge. I own a 60008i.</p> <p>On later models of the SLX/System 6000 like the 6008i you will find a switch (marked with ME and SE) that mechanically disconnects the gears in the film transport system. When you have switched to ME you can make an exposure and the transport motor will run normally, only just the shutter will be cocked but the film will not be transported. You can make as many exposures on the same frame as you want as long as the switch stays in the ME position. Before your last multiple exposure reconnect film transport by switching back to SE. Make your last multiple exposure and the transport motor will cock the shutter and transport the film to the next frame.</p> <p>On the earlier SLX this mechanical SE/ME switch is not present. For multiple exposures you will need the Multiple Exposure Control Unit ME 1. It permits "multiple exposures (without moving the mirror and transporting the film) for sequence photographs of technical processes and operational cycles, sport scenes, animal photographs etc. The unit is connected with the universal plug connection. The interval between exposures can be set either to any arbitrary duration or over a range from 0.1 to 1.5 sec and the number of exposures per frame can be selected between 1 and 10" (text copied from manual).</p> <p>The special cable releases are just what the name indicates: an electric release. They have no function with respect to multiple exposures except for releasing the shutter. The first special cabe release for the SLX was made until 1981. The later MRC-120 release was introduced in 1982 while your SLX-2 was made until 1985. That makes me believe that both cable releases can be used on the SLX. The MRC-120 has separate buttons for 'mirror up' and 'shutter release'.</p> <p>So for the SLX you will need the ME 1. It has limited use for present multiple exposures. A later camera with the SE/ME switch is more suitable. When present the SE/ME switch is clearly visible next to the battery compartment.</p> <p>Ferdi.</p>

<p>Derbyshire, England</p><div></div>

<p>Paul,<br> I have had a similar problem now and then. In my case it was caused by myself when I was a bit careless with feeding the backing paper onto the take up spool. It was not positioned right in the middle but shifted to one side. That leaves some open space at the other end of the spool and it caused a light leak. It often evened out after a few frames. Could this have happened to you?<br> Ferdi.</p>

<p>Paul,<br> In that case there are just the two little pins to attach the strap to. Stephen Lewis' solution may work. I have no other solution to offer. I feel that a proper working original strap still will be the best solution. The SL66 has a metal loop that you can feed a strap through. <br> Ferdi.</p>

<p>Paul,</p> <p>Your question is complicated by the fact the two series of the 2.8GX had different straps. The GX used the strap of the Rolleiflex SLR cameras of the day. The first series had the same strap as the SL66; the second series used the same strap as the System 6000 cameras. Do you know which one fits yours? Or can you post an image? </p> <p>For the later FX cameras the factory used the classic alligator style strap.</p> <p>Ferdi.</p>

<p>In my case the set is a Rolleifix with a B6 (Bi-directional plate with 1/4"-20 screw) from Really Right Stuff.</p>

<p>Assuming just like Brian S. that you want to mount a Rolleiflex TLR I feel that the only reliable way to mount this camera is a Rolleifix. The combination of a Rolleifix permanently srewed on a plate that fits your Hasselblad head would be a good solution if it can be realised.</p> <p>I use a similar combo of a Rolleifix with an Arca Swiss-style plate permanently screwed to its bottom to mount my Rolleiflex into an Arca Swiss-style clamp. My other cameras have dedicated A.S.-style plates. </p>

<p>Will, <br> 4 Frames left when the counter reaches 12 means that the film was not advanced far enough when the first exposure was made. It also means that your first frames were exposed on the backing paper, not the film. I suppose that manually resetting the counter makes it difficult to load the film correctly because the counter is always engaged and starts counting too early. Is it possible to manually disengage the counter mechanism when you load the film and advance it to the correct position? I am thinking of pushing the axis in the film take-up chamber down so that the "counting wheel" is kept clear of the backing paper on the spool. I realise this can only be done so long as the roll is loose.<br> On either side of the film gate are two marks. From one of your pictures it looks like the red paint has faded and I see just two small indents (Picture showing a yellow sticker). After putting the film in the camera pull the backing paper by hand until the double arrow shows. This arrow has to be aligned with the marks. More or less aligned is OK. Now feed the film into the take-up spool and wind while manually disengaging the counter. Try to keep the "counting wheel" in the take-up chamber clear of the backing paper while winding until tight. If this can be done you will hopefully get 12 exposures when the counter proceeds from 1 - 12. Good luck!</p> <p>Ferdi.</p>

<p>Your camera has "COMPUR" printed under the taking lens en both lenses have a bayonet in size 1. That is OK for a Rolleicord IIc (II type 4). Earlier ones had none or just one bayonet and later ones had "Franke & Heidecke" printed under the taking lens. It is wonderful to own a camera that has been in the family for so long time. </p>

<p>Hello Will,</p> <p>This morning I took a better look at the picture of your camera and checked it against a few reference images. First of all you were right about the (lack of the) reset button. Cords I and II have a reset button. The automatic reset David and I described was introduced with model III.</p> <p>The serial number of your camera is that of a model IIc (or II type 4). The picture shows the side wall of a later camera. The black aperture scale for DOF and the focusing knob with ASA and DIN settings are of a later camera, probably a V. The transport knob and the strap hinge look right for a II. A model V side wall would explain the missing of the reset button. The DOF scale of a II is chrome.</p> <p>The lever I described is hard to miss. Looking at the back it is just below the take-up spool, near the film transport knob. Near the upper right corner of the square opening. That lever missing brings me to the preliminary conclusion that you may have a hybrid II/V camera without any counter reset option. At some time someone may have exchanged the side wall for one of a later model. That would have made the camera unusable as you have found out. If you have purchased it recently a good reason to send it back.</p> <p>If you want me and others to look into it any further we would need more pictures of all sides.</p> <p>Best regards,<br> Ferdi.</p> <p> </p>

<p>My Rolleicords are of a later date (III and Va). When the back is opened, a spring loaded lever is released that resets the counter. It is located between the film gate and the side of the camera. The rim of the camera back pushes the lever in when the back is closed. That starts the counter. See if this lever is present and check it for free movement. You can push it by hand. If not try to free it by pushing repeatedly. The lever may be chrome (III) or black (Va).</p>

<p>The one on youtube is a Rollei 35, not a XF 35.</p>

<p>I have successfully used wide-angle legacy lenses on a Fuji X-E1. The Nikkor 24 mm for instance. I stop down to 8 or 11 and set the hyper-focal distance and leave it that way. I found focusing too troublesome except when using a tripod and the back screen.</p> <p>http://rolleigraphy.org/frames/sloten0042.php</p>

Please find links to Rolleiflex repairshops here: http:rolleigraphy.org/repair.php

Sadly Mr. Kuschnik died a number of years ago.