d_purdy

<p>I have used my newest version several times as a studio portrait lens. If you don't use the in camera meter you need to remember to open the fstop up some as you get to closer focus. As to image quality I have seen the test results that say it is a bit less sharp than others but in my experience it is sharp as a tack.</p>

<p>Nearly impossible?! If that is your experience with it then perhaps it depends on the film type. I never had a problem with creating a bulge and needing to re tape. I only have done it with Acros because my sensor roller senses everything else. Not only not impossible, not even terribly difficult.<br> Dennis</p>

<p>It is a lot like needing to re roll a roll of film that the sensor roller didn't detect and you wind the roll all the way through without an exposure. That has happened a lot to me when using Fuji Acros because the tape is so thin. Rather than throw the roll away I go into a dark room and by hand re roll the film. You have to keep it tight when you are rolling and you have to watch out for the untaped end of the film and be certain to tuck it in so it rolls on correctly. I have done it several times and it really isn't that difficult, more tedious than anything.</p>

<p>Light leaks don't cause dark areas, they cause light areas. You have a lack of density in the dark band on the right. Might be caused by insufficient developer in the tank to cover the film on the reel. Otherwise it is caused by something blocking the light in the camera.</p>

<p>That is interesting to know. Although Harry Fleenor did service my FX I understand now that he won't work on the FX/GX anymore because of the electronics. I will make a note of your place. Be interested to hear what they had to say to you and what you think of the service once it is done.</p>

<p>Seems like a very rare problem. The battery shouldn't be staying on. Must be some sort of short or something keeping it on. You could always take the battery out when you are done shooting for the day.</p>

<p>The lighter stuff in the sky is lens flare and the lighter band across the bottom is double exposure due to the film not advancing far enough.</p>

<p>I need reading glasses to see close. I got a plus 1 diopter for the WLF on my Rolleiflex. I can see the image nice and sharp through that +1 magnifier without my glasses however I need my glasses to view the image normally in the WLF. So with the + diopter in I have to take my glasses off to fine focus because the + of my glasses combined with the + of the diopter makes the image blurry. So I ended up putting the normal stock magnifier back in so I can leave my glasses on for viewing and for focusing. I also discovered that I don't need to put my eye right down on the magnifier to focus. In fact I don't need to raise the camera to my eye at all, I can just pop up the magnifier at waist level and though I can't see whole image I can select to see what I want to focus on. If that makes sense. Mostly I use a prism instead of the WLF because I have the + diopter in it and I don't need to use my reading glasses at all.</p>

<p>Yes I wouldn't be so quick to return to the seller if the camera is in beautiful condition. Especially since I know that Harry Fleenor takes great pride in his work and puts that sticker in there for a reason. </p> <p>Does the crank only turn backward and not forward? Or does it not turn either direction? I can't remember for sure but it might be that you have accidentally set the double exposure button... I used to do that all the time.<br> If after clicking the shutter it starts to work again then that seems likely the problem.</p>

<p>What is your budget. There are a lot of good MF systems out there.. and every type has it's fan base. SLR or TLR are probably better in studio than range finder but you could even get that to work. </p>

<p>If you are using the WLF and can put a strap on the camera perhaps you can use a trick that is recommended for rollei users, hold the camera down so the strap is tight around the back of your neck. Bit like using a monopod.</p>

<p>Everybody takes their favorite hand holdable camera. Mine is a Rolleiflex because I like the lens and I can carry it all day long in a bag and never feel the weight. Fits under the seat in front of me on an airplane too.</p>

<p>Sounds like it is need of a proper cleaning CLA/Overhaul. There are a lot of camera repair people who have no parts and no real knowledge of working on an old Rollei and they put a little lighter fluid here and there and warm the camera up so old glue gets softer and they can make it seem to work fine. Then a short while later all the problems will return. I have had that sort of thing happen to me multiple times with old LF shutters and Rolleis. You need to send it to a proper Rollei repairman like Harry Fleenor or Krikor. It will probably cost a few hundred dollars. Perhaps send it back and better luck next time.</p>

<p>I develop sheet film in trays with the shuffle method. For the 2.5x3.5 sheets I bought a glass butter dish to use as a developer tray. It is perfect size and keeps multiple sheets in a stack.<br> Dennis</p>

<p>Yes if you have a darkroom and a paper cutter. I use a chopper type cutter with tape to mark the sizes.<br> From a 4x5 sheet you first cut a half inch off the long side so the film is 3.5X5. Then you chop it in half the other way so you are left with 2 sheets 2.5X3.5 which will fit in the holders. Or you can start with 5x7 film and and cut them in half both ways so you are left with 4 sheets 2.5x3.5 and no waste.</p> <p>If you buy Arista EDU Ultra film from Freestyle Photo it is pretty cheap. The problem is that you lose the code notch to help identify the emulsion side in the dark... So you need to make a working method that always keeps it one way or the other. I always keep emulsion side up when I am cutting and when in the box so I always know.</p> <p>The other thing to remember is that on that rectangle sheet of film you will only get a 6x6cm image. The way it works is that the image is all the way to one end of the rectangle so that you have the other end to use for handling the film.</p>

<p>I agree with Rollei Joe in that the plate back is probably not worth the trouble. However I did spend quite a bit of time trying to learn to use it. The little black sheet should remain in the holder if you are using film. It is a spacer as Joe says. One of the problems I encountered using the plate back (and I own 4 or 5 of them) is the old velvet light shields are worn out and leak light. Another problem I encountered is remembering to turn the key and push the film up to the film gate before taking a photo. </p> <p>You don't mention it but there is another back made to fit in that has a ground glass for viewing the image through the taking lens. Originally not all kits had it and it was an accessory. However in my experience it is necessary to see what you are actually photographing and it is useful for checking the focus agreement between the taking lens and the viewing lens. </p> <p>The other useful thing about the plate adapter and film holder is that it allows you to use sheet film which is very flat and it pushes the film right up to the film gate so it gives you the maximum sharpness much like the optical glass back for the Rollei.<br> Dennis</p>

<p>The front element of the Xenotar is not cemented, so it could be taken out and cleaned. </p>

<p>I don't have the 6008 but I do have the FX. I have bought 2 new 2.8FXs (the first one I returned due to shipping company damage). Both of them came out of the box with infinity focus set wrong. They both focused through infinity as you describe. To repair a TLR you get the lens adjusted in the mount so it is correct when you have it all the way in. With a SLR that adjustment doesn't exist so first I would test infinity on film or if possible with a separate focus screen temporarily put on the film gate. With the lens focus set all the way in it should be in focus at infinity regardless of whether it looks like it on the focus screen. Once you verify that you know the focus screen must need adjustment. My SLR is a Pentax 67 and I personally replaced my focus screen with a brighter Beattie. When I did that I found that there is adjustment possible and I had to be careful I set it right. My guess is there is a way to adjust the 6008 screen as well. That would be the most likely fix to the problem.<br> Dennis</p>

<p>Looks to me like you got a great deal. I am sure either Harry Fleenor in California or Krikor in New Jersey could fix it up.<br> The corrosion bits here and there don't necessarily mean the camera is full of corrosion and or fungus. Corrosion on the screws under the leather is very common with camera, enough so that they are nick named Zeiss Bumps. They can easily be cleaned. I once bought a Rollei 2.8F with the same kind of logo on top and mine was covered in orange rust. The camera and lens were otherwise perfect.</p>

<p>It is subjective of course. But to me 6x7 is just enough rectangle to allow a sense of movement in the composition either up and down or side to side. I go back and forth between my Rolleiflex (6x6) and Pentax 67. The 6x6 is so powerfully centric that it is hard to create any sense of motion from the center. The 6x7 is enough to let you work off center and feel the sense of the other side of the frame, causing the sense of reading or motion from one side to the other.<br> Dennis</p>

<p>Generally it is called lens separation. The old glue between the elements is failing. You won't see anything from it. However it is progressive and will eventually get worse. It might take years. There are people who can repair it by taking it apart and regluing it. Kind of spendy but I had it done to a 2.8F Planar some years ago. I had a nice schneider enlarging lens with separation that I used for about 12 years till the separation made it's way to the center of the lens.</p>

<p>sounds like bubble marks from not quite enough developer in your tank.. not likely a camera problem.</p>

<p>http://www.collectcamera.com/products/products.php?lang=eng</p> <p>You could try here.</p>