tree

<p>I used to use Dorian Color in Arlington MA for my 120 C-41 and E6 processing. They were always a pleasure to work with. Since we've moved to the North Shore I only shoot B&W and process myself. <br>

http://www.doriancolor.com/</p>

<p>Yes, it's normal. As long as you're getting full coverage some bleed on the sides isn't anything to worry about. I can take a picture of one of my negatives when I get home from work if it would give you peace of mind. Once you put it in the film holder for printing that extra will be masked.</p>

<p>It's a bit more than that. See pages 23 and 25 of<br>

http://www.cameramanuals.org/mamiya_pdf/mamiya_rb67_pro-s-1.pdf<br>

You can use it to find the distance between the subject and the film plane, and you can use it to find exposure compensation values when doing macro photography.<br>

The RB is a fabulous camera: enjoy it.</p>

<p>It's Russian, made by the company that is currently LOMO, but was GOMZ (ГОМЗ, seen on the body) from 1930 to 1962 or so.</p>

 

<p>FWIW, while I've never done a side-by-side comparison in person (and I only have a Rolleicord), the Rolleicord is a much simpler camera than the Rolleiflexen, is quite light, and (IMHO) looks really nice.<br>

I have a Yashica D which is slightly bigger than the Rolleicord and still looks good. I think most fixed-lens TLRs are around the same form factor. When you toss the Mamiyas into the equation then you start getting big and "ugly".</p>

 

<p>FWIW the weight differences between various TLRs I've used is negligible to me: Rolleicord or Rolleiflex or Yashica D didn't make much difference. The Mamiya TLRs are beasts though. With that said, I'd go with the Rolleiflex if you can afford it.<br>

Disclaimer: My usual camera is an RB67 ProS so pretty much anything else feels light after lugging that around.</p>

<p>This is to show you the frame number on the film's backing paper.</p>

<p>With the 645E I wouldn't worry about the weight so much, rather it's not the most inconspicuous camera for doing street photography. Since it doesn't have a WLF you'll be holding it up in front of your face: not exactly discrete. However, if that doesn't bother you then the weight should be a non-issue. I've always used Op/Tech straps on my bodies and they distribute the weight really well.<br>

Of course I've been known to walk around with an RB67 with prism finder and grip hanging around my neck, so I'm probably not the best example.</p>

<p>I never bothered with the special release. I use a regular cable release on the lens and just manually fire the body release to raise the mirror.</p>

<p>Given that the RZ can use RB lenses, I suspect it can use the RB extension tubes with the same limitations (i.e., no electrical contacts.)</p>

 

<p>I have both, prefer the F100. The build quality on the F100 is definitely better than the N90, and given the choice I'd go with that. You can probably get an F5 for a similar cost at this point, if you wanted.<br>

I don't know about the SB400 compatibility: I suspect if I had to guess, it is more likely to be compatible with the F100.</p>

<p>The RZ doesn't give you any horizontal or vertical movement, so it isn't going to provide you with what you want.</p>

<p>Do what works for you.<br>

Ilford's XP2 is still available, if you want to use chromogenic "B&W" film. But if you have no way to process it locally, and you are happy with the results you get from your D70, then do it. Personally I don't use C-41 B&W and I develop myself.<br>

You might ask yourself as well whether you even need to upgrade to the D7000 if you're getting excellent results with your D70. Given the used prices for MF gear now, I'd be surprised if you got enough for your Mamiya anyway.</p>

 

<p>I have purchased hundreds of dollars of MF equipment from KEH over the years and have been very pleased with them. The service has always been prompt and professional. Others have reported poor experience with them, but I've never had an issue. Their rating system is very strict, and even items classified as "Bargain" are (for my purposes at least) high quality (for lenses BGN always refers to the condition of the lens barrel, for example: the optics are perfect.) I highly recommend them.<br>

I have not used Adorama at all: B&H is my source for new items, KEH for used.<br>

I suspect the biggest issue you will have, regardless of vendor, is the cost of shipping/customs/etc.</p>

 

<p>Assuming that this is not a 645AF: once you've manually focused you can reframe to your heart's content. The camera is not going to refocus for you.</p>

 

<p>My RB67 was built in the mid-1970s and the bellows are in fabulous shape. If you take care of them they'll last a long time.</p>

<p>Right, I've used them in 35mm as well. But the focus mechanism on the RB and RZ are bellows. On my RB67 I use the bellows with extension tubes and a macro lens to get huge magnification. Since the bellows are already part of the body, that may be why you're not having luck finding a second set.</p>

<p>Bellows on top of the bellows already on the body? I've never seen a second set of bellows for either the RB or RZ.</p>

<p>I don't have a Nettar, but there really isn't an "upside down" when it comes to 120. As long as the printed side of the backing is facing you when you insert the film and pull towards the take-up spool, you'll be fine.</p>

<p>The problem you will have with using the Polaroid back on your RB (I also have a Land 450) is that the image size is much smaller than what you get on the Land: it will not cover the full surface of the film. Will you get the DoF you're after? I've found the Fuji film to be very good, but I've never been able to get a picture with as much sharpness or DoF using instant film vs. a slow find-grained silver emulsion.<br>

And this has frustrated me, because I've seen the Polaroid shots that the pros have made with Polaroid film (Dorfman, Adams, Wegman) and am blown away by them. I've just never been able to recreate.</p>

 

<p>This happens with all of the backs on my RB: the expanded corners are a non-issue since when printing they'll be covered by the film holder.</p>

<p>I use KEH.com for this.</p>

<p>You only need to be in the dark to spool the film onto the developing reels and getting them into your tank. Once the tank is made light tight you can do everything else in the light. If you're just going to be developing the negatives, a changing bag is all you need.<br>

Good luck and have fun!</p>

<p>I use an f.64 MFX for my RB67 and associated gear. It can hold a lot of gear, is incredibly well built, and offers good protection. When I go on vacation I usually load it to the hilt, then just put what I need for a given excursion back into it. For example, on my last vacation I packed:</p>

<ul>

<li>RB67 body</li>

<li>Two lenses for the RB</li>

<li>WLF and prism finder for the RB</li>

<li>Two backs for the RB</li>

<li>Left-hand grip for the RB</li>

<li>Light meter</li>

<li>Cokin P series filter holder with rings and filter box</li>

<li>20 rolls of 110 film</li>

<li>Cable release for the RB</li>

<li>Nikon F100 with vertical grip</li>

<li>Extra batteries for the F100</li>

<li>Two prime lenses for the F100</li>

<li>10 rolls of 35mm film</li>

</ul>

<p>Obviously you wouldn't want to carry all that in the field, but the bag will get you where you need to go. </p>

<p>I have hand-held the RB out in the field, but I only do this with the prism finder and the left-hand grip. Unless you have big hands and strong forearms, using the WLF without the grip is very tiring.</p>