andreas_sigfridsson

<p>Thank you so much for the helpful hints. I had no idea it was from 1937. Makes me respect it even more.<br>

I couldn't find it at Paramount Cords, but I'll send them the image and see what they say. Even if it's not standard, they might have the tools to make a cord anyway. But it remains unknown if this is an M- or X-sync contact.</p>

<p>I have a Rolleiflex (unknown model) with a flash connector that I haven't seen before (or after extensive searching on Internet). Maybe you can help me identify the connector, so that I can find (or make) an adapter to connect a modern flash with a hot shoe connector to this baby.</p>

<p>I identified the flash connector on the image below. As you can see, it is some kind of bayonet connector, but I am surprised that it is female and not male. Also, the size is a bit bigger than I suspect the ASA/Kodak bayonet connector is, but I'm not sure. I have never seen this on any photo on the net. However, the Rolleiflex leather case that I got with the camera has a hole for it, so it does not seem to be added by a third party.</p>

<p>I also identified the shutter release cable connector and an unknown front screw. Has anybody seen such a screw before?</p>

<p>Best regards,<br>

Andreas</p>

<p> </p><div></div>

<p>Old thread, I know, and you probably solved it, but I'll put in a few words in case someone has a similar problem.<br>

I once had much difficulty getting adequate contrast in a printing session. It seemed as though even with very short (printing) exposure time, the whites were not really white. And with the short times, the shadows would never turn black. I first suspected some problem with the paper or developer, but the contact sheets printed earlier were all good.<br>

It turned out to be a problem of a very dirty elarging lens. With the negative in the carrier, the flare from the dirty lens added global exposure. But when doing contact printing, the flare was masked off by the negatives right above the paper.</p>