lubos_soltes

<p>that's what camera manuals are for. you'd find the answer there right away ... btw there's a similar issue to yours just a few posts down (if not the exact same).</p>

<p>just to be sure ... the orange light is for film transport issues:</p> <p>1. cocking lever not fully advanced<br> 2. film holder not advanced when loading film</p> <p>so if it lights with back OFF the camera/M mode, then you did not wind the camera fully (in which case I'd expect you to be unable to remove the lens).</p> <p>anyway you can dry fire the lens when off camera ... there should be plenty of instructions on the net ... if it fires, then it's a body problem.</p>

<p>remove the back, set to M and try to fire ... if that does not work, then it's a body or lens problem ...</p>

<p>hmm ... I have a type A focusing screen on my RZ and I have no problem focusing on the off center part of the screen. anyway for critical focus, I use the loupe and the center spot, then I sidestep parallel to the desired plane of focus to change composition. given the usual subject (my kids) and handheld RZ, the results are good :-)</p> <p>I learned this with a Lubitel TLR, it did not have a fresnel type focusing screen, so you had to look THROUGH it on the subject. if you focused your eyes on the focusing screen, you could not focus since you saw norhing ...</p>

<p>for FRS, you never rotate the camera to achieve the final composition because that rotates the plane of focus away from your subject. you always move the camera parallel to the desired plane of focus and subject.</p> <p>especially on 6x7, even f8 has a very shallow depth of field with portrait lenses and typical portrait distances. for architecture, environmental portraits it's a wider margin of error but not that much.</p>

<p>take off the back, put the camera into multi-exposure mode and go through all the shutter speeds ... does the shutter sound/open for the expected time ?</p> <p>your description looks like you are on the emergency 1/400 speed all the time ...</p>

<p>From the options offered: ETRSi, Pentax 645 N or N II, then the Mamiya. At least that would be my order. I had an ETRSi and it's a wonderful small/light camera with excelent lenses. The Pentax and Mamiya I never had, but the Pentax has also good lenses and handles like a 35mm camera by all the reports. The M645E has the best lens selection but is the oldest of the bunch I think.<br> I have the RZ67 Pro II at the moment and use it as my main camera (complimented by a Samsung NX1000 for snaps). While it is heavy and bulky, I take it almost anywhere I can get enough light to use iso 400 film. It's the best camera I have owned so far with excellent handling and image quality.</p>

<p>AFAIK the RZ is compatible with a LOT of digital backs up to the latest ones. Even H and V backs can be used with proper adapter plates. However as Jochen already stated, the sensor real estate does not cover the frame so you'll have to adapt (either by changing distance or buying a new set of lenses) to the change of FOV.</p> <p>Also some of the backs require a dual cable release as the back is not woken up by the camera shutter press ...</p>

<p>Hello</p> <p>Afaik there are 2 backs for the AFD line ... one introduced with the AF and one with some of the later models. The later one supports faster frame advance (1.5 vs 2 fps or some such insignificant difference). However the darkslide is the same, so the handle color does not mean anything, they are interchangable.</p> <p>The number are HM401 for the older one and HM402 for the newer one. In the manual for AFD III or AFD II you can find a table with the differences.</p> <p>However I have no clue why it should result in double exposure.</p> <p> </p>

<p>don't forget lens shutter control ... RZ has no focal plane shutter...</p>

<p>You can use the RB lens on BOTH cameras, try to swap it from RB to RZ and see if the issue is still there.</p> <p>also remove the screen from the RZ and look directly onto the mirror ... does the view change ?</p>

<p>play with the aperture ring and see if the view changes, try the DOF preview lever on the lens ... also an actual photo would be helpful.</p>

<p>Adrian, the V600 is a good scanner for proofing and small sizes. I have printed a satisfactory 50x60cm BW from a V500 scan (I am using a 6x7 camera, so I am getting a bit more data from the scan), the main limit was my sloppy shooting technique. By satisfactory I mean it was not a complete disaster :-)<br> <br />However if you want to achieve top results (or large sizes) there's no going around a drum scan. But this is usually needed only for a few frames a year (depends on your needs of course) and using a mail-in scanning service is the usual practice there.<br> <br />Good luck with the testing and future gear so you don't have to face lens issues in the future :-)</p>

<p>what DPI are you scanning at ? V600 has a practical limit of around 1300dpi for medium format film.</p> <p>1. check the negative with a good loupe<br> 2. send one or two frames to somebody with a "proper" scanner (drum scan, Imacon, Nikon 8/9000)</p> <p>I have the previous model (V500) and I scan up to 3200dpi but only for experiments. 2400DPI is about the absolute limit that shows any gains (however small). And the resulting picture is ALWAYS SOFT on pixel level. You cannot get D800 level acuity from a flatbed film scan. never. simply not possible.</p>

<p>I seem to have made a lot of spelling mistakes and one factual one ... the closest focus extension was NOT the full belows extension, just to the closest focus point indicated on the side scale for the 110mm lens. Can still be focused closer (so more extension).</p>

<p>I only have the 100mm lens on mine and do not own the flash, so this might not help you but I did some measurements:<br> diameter at aperture ring aprox 9cm<br> tripod socket to aperture ring at infinity focus - 7cm<br> tripod socket to aperture ring at closest focus by focusing scale - 10cm (note this is fully extended bellows)</p> <p>I was not able to find the maximum rail extension for the flash, so you'd have to ask Elinchrom. But given that the 110mm is the shortest lens of the bund available, youd have touble with any portrait (150/180/210) one I guess.</p>

<p>since an RZ is no sports camera and the lens selection usuall is something like 3-4 lenses that are realy used, I'd get the high resolution Sony A7. Alternatively you can get a used 22mp digi back for the RZ, but that's a few generations behind current 35mm sensors.</p>

<p>Ilford rapid fixer and a mix of Ilford method and running water. I do 2-3x10 inversions and dump at start then forget about the film under running water for 10 minutes. probably overkill but it works.</p>

<p>maybe I am just lucky, but I don't use photoflo (or similar solution) and just hang the film to dry in the bathroom overnight. I tried the finger squeegee method to get most of the water off the film and also without, found no difference so I won't use it anymore to not accidentaly damage the film.</p>

<p>Bronica ETRSi, the next best thing for the money after na RZ67. I have no experience withe Mamiya 645 Pro/TL, but they can be get quite cheap in a full kit (body+back+prism+winder+lens) and for low volume shooting the reliability should be ok. There's plenty of them for sale if things break.</p>

<p>have a look into any other L-A lens (65mm f.e.), the principle is the same.</p>

<p>Excelent idea Glen, did not think about that :-)</p>

<p>Alan and Craig: Adding reels with one film into a vertical tank increases the liquid volume automaticaly to cover the reels and that (while keeping the dilution constant) also increases the volume of developer used and hence the time does not change. That is not my situation. Btw. I am doing one-shot, no replenishing.</p> <p>However I want to use 2 films in the SAME amount of liquid (500ml) as with one roll since the tank only has space for one reel however the reel can take 2 rolls.</p> <p>Charles: at lest 5ml of Adonal for my tank is 1+100 (well almost, 5+495) while 10ml will change that to 1+50 (10+490 again almost :-)). Does that mean I have to change the development time to a 1+50 dilution or do I treat the 2 films separately as a 1+100 situation so the dev time stays at 1+100 level ?</p> <p>Ok, looks like I'll start with 1+50 dev time and have to sacrifice the films.</p>

<p>Hello all</p> <p>I tried to research this on google but have not found any reasonable answer. My simple problem this time is this:</p> <p>I'd like to develop 2 rolls of 120 film in a Jobo 1520 at once. The reel allows to spool 2 films on it so that's not a problem. However I am at my wits end with developer concentration and/or development time. I am using Adonal and ID-11 (but that is not of importance I think).</p> <p>Example: I am using 1+50 Adonal solution for one film. If I use 2 films on one reel, do I increase the development time, or do I just add more Adonal (1+25) and keep the development time of 1+50 ?</p> <p>You see I am lost here :-) Ruining one film for an experiment is fine, but this will potentialy ruin 2 films for each try which is getting expensive.</p> <p>(As such I am fine with the current proces, I just want to spend less time developing so I'd like to utilize the full tank capacity)</p> <p>Thanks for any suggestions.</p>

<p>So I finaly had the time to do another film, this time with a 10 minute fix and you were all correct:</p> <p>1. The original fix time was not long enough<br> 2. However the drying effect is still there</p> <p>Now I am at 10 minutes fix an the negs look great after drying while they still look a bit better directly out of the tank. The difference between dry and wet is not that noticable now.</p>