j._patric_dahl_n

...and the pre war Rolleiflex Standard takes 28,5mm push on filters. The original Rolleiflex takes 24mm push ons. :-)

 

On the bayonet filters (Rolleifilters) it says R I, R II or R III, and that stands for the bayonet sizes.

It's true that artists choose their equipmets to get the _feeling_ that they want. The Voigtländer Heliar isn't sharper than the Zeiss Tessar, but have other qualities like a smooth bokéh and a slight softness. Zeiss Triotar aren't as sharp as the Tessar or Planar, but sometimes this lens is very useful when you want a sharp picture with soft corners. It's like when artist painters use "their" special brushes instead of the cheaper ones told to have the same quality, or more highly regarded ones. However, one has to be rich to try all the cameras and lenses available on the market. :)

I got the news that the extremely fine grained Efke 25 film now is

available in Sheet Film! It's only sold under the German name Wephota

NP 25 by http://banse-grohmann.de/wephota/sortimix.htm

 

Agfa APX 25 disapered in Sheet Film, and after that compleatly from

the market. Wephota NP 25 will fill in needs for an extremely fine

grained film in larger sizes.

 

At the moment, Wephota is building their homepage, and will update

the information in the near future. Bookmark their page!

 

They also sells Glass Plates, but I don't know in what emulsions they

come. But it sure is interesting!

 

/Patric

 

(If my email address that shows is jenspatric@mail.bip.net, it

doesn't work anymore. Got to change that to

jenspatricdahlen@hotmail.com)

I have used the Rolleinar close-up lenses with Rollei TLR's with the Tessar, Xenar, Planar and Xenotar, and as Andrew, used smaller apertures for maximal sharpness due to the limited depth of field, and have't noticed any differences between the results. These lenses are excellent.

 

I have also used the Rolleinars, and the Zeiss Proxar lenses (plus the Rolleiparkeil parallax corrector) on Rolleicords with Triotar. Works great here too, but the lenses mentioned above are better.

If the spot is small, one or two millimeters in diameter, I don't think it will affect the performance of the lens so much. If it's larger than that you may notice a softening result of it. Take a test roll and see for your self. Maybe it can be cleaned by a repairman?

Agfa APX 100, Efke PL 100, Maco ORT 25, Ilford Orto Plus are available in 6,5 x 9 cm. I'm sure there are more films in this size out there.

I love Efke films! R25, R50 and R100. Extremely fine grain and the

conversion of colors into greyscale is great. The slow speed films

are ortopan-chromatic. R100 has a little larger grain than APX100 and

Plus-X, but I like it. It's hard to go wrong with R100, it's so

forgiving. Much more so than the APX and PXP.

Brown Tone Paper Developer Agfa 120

 

<p>

 

Stock Solution

 

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Warm Water (125 F or 52 C) - 750.0 ml

 

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Sodium Sulfite, desiccated - 60.0 grams

 

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Hydroquinone - 24.0 grams

 

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Potassium Carbonate - 80.0 grams

 

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Add cold water to make - 1.0 liter

 

<p>

 

This developer will produce a variety of brown to warm black tones on

various papers depending on dilution and exposure time. The following

table lists the dilution and exposure for various tones on Agfa

papers.

 

<p>

 

 

Development Conditions for Agfa Developer 120

Development

Paper Type: Brovira

Image Tone: warm black

Exposure Time: normal*

Dilution: 1:5

Development time @ 68 deg F (20 C): 4-5 minutes

Paper Type: Portriga Rapid

Image Tone: brown-black

Exposure Time: 1 « x longer than normal*

Dilution: 1:4

Development time @ 68 deg F (20 C): 3 minutes

 

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*By normal exposure is to be understood the exposure required to

produce the best possible print when developed for 1 « minutes in

Agfa 100.

 

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<p>

 

Brown Tone Paper Developer Agfa 123

For Portrait Paper

Stock Solution

 

<p>

 

Warm Water (125 F or 52 C) - 750.0 ml

 

<p>

 

Sodium Sulfite, desiccated - 60.0 grams

 

<p>

 

Hydroquinone - 24.0 grams

 

<p>

 

Potassium Carbonate - 80.0 grams

 

<p>

 

Potassium Bromide - 25.0 grams

 

<p>

 

Add cold water to make - 1.0 liter

 

<p>

 

This developer produces tones ranging from brown black to olive brown

on Portriga Rapid paper depending on dilution and exposure. The table

below gives the typical development conditions for the various tones.

 

<p>

 

Development Conditions for Agfa Developer 123

Paper Type: Portriga Rapid

Image Tone: brown-black

Exposure Time: 2 « x longer than normal*

Dilution: 1:1

Development time @ 68 deg F (20 C): 2 minutes

Paper Type: Portriga Rapid

Image Tone: neutral to sepia brown

Exposure Time: 2 x longer than normal*

Dilution: 1:4

Development time @ 68 deg F (20 C): 5-6 minutes

The term "normal exposure" means the exposure required to produce the

best possible print when developed for 1-1/2 minutes in Agfa 100.

 

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Paper Developer Agfa 124

for olive-brown tones

 

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0,8g Metol

 

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4g hydroquinone

 

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15g sodium sulfite

 

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9g sodium carbonate

 

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8g potassium bromide

 

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Exp. times and development times 2x

There are other paper developers for a brown tone containing

Hydroquinone and/or Glycin.

I'm going to buy copper sulfate soon and use it in a toner. If you

are mixing your own chemicals I suggest that you buy a digital scale.

I'm sooo glad I did! It's now one of my best friends. :-)

I have no problems with dissolving glycin when I mix Agfa 8.

I bought Glycin from Photographers Formulary in march, and it's still

ok with no change in color (light golden brown). When I get potassium

carbonate next week I will mix up most of the glycin to a highly

concentrated Agfa 8 and fill small 30 ml bottles with it. Each bottle

will make 500 ml working solution.

Volker, I tried a catechol developer with Efke op12 lith film and the

result was not high contrast, not medium contrast, but LOW contrast!

I really got scared! :-O

 

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I think the trick is to expose the lith film at a low speed rating (I

used 3 Asa) and develope the film in a real compensating developer,

and highly diluted catechol must be the best developing agent for

this purpose.

 

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I will try Macophot Ort25 too soon, and it will be very interesting.

Especially when one can use a red safelight in the darkroom and cut

the 120-film to be spooled on 127-rolls just with a sharp knife and a

ruler. Yeah, an extremely fine grain film in my Rolleiflex 4x4!

 

<p>

 

Keep on experimenting folks!

Yeah! I love Efke films! R14/KB14 is nowadays called R25/KB25 and R17/KB17 is R50/KB50. R21/KB21 is R100/KB100. R50 is now my standard film. R100 is great too! Very forgiving! It's hard to go wrong with this film! :-)

Of course you can! Someone would suggest highly diluted Rodinal

(1+200, 1+300), however, I think you will get the best results with a

low contrast catechol developer like the "Modified Windisch Catechol

Film developer". Check www.photoformulary.com for more information

about this developer.

The latest 127 news is that Macophot is planning to make their new b/w 400 "cubic" film in 127. :-)

 

I own and use a Rolleiflex Sport 4x4 from 1938, and it's superb. It has a 2,8 Tessar instead of the 3,5 Xenar on the post-war 4x4's.

Oh, forgot to mention that Macophot is thinking about selling their

"400 cube" film in 127 size too. :-))

Yes, that paper at the end of the roll on Efke films always irritates

me. :-)

 

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I love Efke films though, and the R50 must be my favorite film at the

moment, and I use the R100 all the time in my 4x4 Rolleiflex Sport.

 

<p>

 

The Ort 25 is a little mystery, but very interesting. Haven't tried

it yet though, but will in the future.

Volker, do you know who the maker(s) of the Macophot films is/are? I

suspect the 64c and UP 25 are the Efke R50 and R25, and one guy told

me that their 400 film absolutely is a Foma film. Do you have any

information on this?

Hello!

 

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I will try this film too later this fall/winter! It seems interesting

and should give you results looking like the photos taken in the late

1800's.

 

<p>

 

Please let us know your results with this film.

 

<p>

 

Since it's a film for hard contrast I wonder if Rodinal 1:25 will

work for pictoral photography. A developer with catechol could be

better. I used a highly diluted catechol developer with lith-film and

got negs with a long tonal range.

 

<p>

 

I can post the recipe for the developer I used if anyone is

interested.

Doesn't D-76 change color when it's gone bad? Both the powder and the

solution changes color to orange/brown.

 

<p>

 

Yesterday I used Kodak Selenium toner that I mixed 1+9 in 1999 and

it's still good. :-)

I think all Rollei focus knobs that are in feet are marked "feet". There are no markings if they are in meters, unless it's a newer model from the late 60's. They have scales for both meter and feet.

 

We used the old fashioned feet and inch system here in Sweden too some hundred years ago. :-P

I use 24% acetic acid bought from the grocery store and mix my stop

baths with it. Never had any problems, and I never keep the used bath.

I have seen recommendations for using glass marbles in german photo

books that are 70 years old. So this is nothing new. :-)

Yes, Protectan is the same gas as used in the blow lamps. If you can

get a very slow flow of butane/propane gas from the gas bottle, you

can use the gas over powder chemicals too. ;-)

 

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VERY SLOW FLOW! No one wants to get the chemicals snowing around in

the room and in the eyes and nose. :-(