edward_giarusso1

<p>Make sure you get PQ/PQS. Read the descriptions as some gloss over the facts. Non PQ is cheap but not worth it to me. One lens I would recommend to you is the Zeiss Marco-Planar 120 F4. The earlier version has some flare issues. PhotoNet has some good info on the Rollei system. Do a search and you will find that a lot of questions you ask were covered back in 1998-2004 time frame. That was the heyday of the Rollei film camera experience. Kornelius J. Fleischer of Zeiss would answer questions about MF lenses back then on a regular basis. Check out his posts. . </p>

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<p>Dave, welcome back to film<br>

I do not use Hassy equipment but you may get some answers from the Zeiss Historical lenses home page.<a href="http://www.zeiss.com/camera-lenses/en_us/camera_lenses/classics/hasselblad.html">Hasselblad | ZEISS United States</a><br>

Years ago i sold a Minolta Spotmeter f and that was a mistake. The one degree can really tag the correct exposure. Lastly, there have to be some used books out there on Close-up Hassy photography. Check out Bookfinder. Good luck<br>

Ed</p>

<p>Who has one and can you compare it to the Makro-Planar F4/120? Having owned a Makro-Planar at one time it worked fine for product/close up shots. Does the Makro-Apogen function better at infinity to justify he cost. I have a 6008i 2 system and need a close-up lens. </p>

<p>You can contact Eric at: Eric Hiss who can help Eric@Rolleiflex.us<br>

or</p>

<h4><strong>Service of all products:</strong></h4>

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<p>Contact Mrs. Manilla Brauner at <a href="mailto:m.brauner@dhw-fototechnik.de">m.brauner@dhw-fototechnik.de</a></p>

Remember this is the apex of MF film photography. Live it.

<p>Thank you for the good responses. I have learned quite a bit about this scanning process and will look to cherry pick the slides I need in the future for lab work. The Lab Director responded to me and agreed that the frames were flat and he put his best lab tech on my job. He will redo the job when I send the frames back. In response to Dave Henderson (your work is very impressive) the landscape negative I was talking about was one of the first medium format slide I took about 15 years ago. The greens were flat and the sky was slightly gray when it should have shown details like to original print. My goal is to print a few under 20 inch prints and also build a book on Prudence Island, Rhode Island. Wonderful place to shoot in the middle of Narragansett Bay. Lastly, I will look into the Plustek but there is obviously no plug and play scanner so a good lab is the way to go for now.Thanks again for the help fro all, it is appreciated. </p><div></div>

<p>Years ago I scanned many of my slides to Kodak CD. What a wonderful process. This past week I sent out 40 frames of 120 (30 landscape slides/10 people negatives) I shot years ago and they all suck. The lab did enhanced scanning and the quality for resolution is just OK but they are all flat. The highlights are all blown out to be almost a gray sky for the slides. Researching scanning topics on this site does not address my concerns. Some of the better are 5/6 years old. So my question is where do I go from here. I want to shoot landscapes on my Rollei film camera and scan the good frames. Should I pop the money for a Coolscan or is there a lab that can help me out. Very much appreciate your kind response. </p>

<p>Luray is a bitch to shoot with the low light levels. In the summer the humidity is lower than outside in VA. If your camera has a problem with humidity you need to dump it for something you can depend on. All the best. </p>

<p>Mark, There are some very good responses here and you should do quite well listening to what has been said. I have had a lot of experience in film developing starting with graduating from the US Army Signal School, Ft. Monmouth as a Photo Darkroom spec. MOS 84G10 (check out my new member intro). So here is some advice: 1. I never went into a darkroom with out a Kodak Master Darkroom Guide. 2. Always try to use Kinderman Stainless Steel tanks with the plastic tops. I found them best for agitation and taping to release the air bubbles. 3. Biggest problem in any darkroom was dust. With the HEPA air filters now that can help. 4. Lastly, never try to cut corners. Follow the processing instructions and keep everything at 68 degrees. All the best.</p>

<p>After well over 50 years in photography my observation is that digital has made it easy but not better. This weekend I attended a show where the digital photographer had some wonderful prints for sale. This guy was good and at $200 - $400 a pop he was making money. However, when I asked him about the blue light in his snow pictures he had no clue what I was talking about. He never heard of a KR6 filter or knew its role in balancing blue light at altitude. About a year ago I saw an interview with a museum curator talking about digital photography. She said that digital only leaves the good shots and not the bad ones. In this we get to see an incomplete effort at photography. When we look at a film photographers negatives we see success and failure thus we know more about the problems and the photographers problem solving ability. From an art prospective that is important but it makes little difference to the business end of photography. Bottom line film works for me as an art endeavor. Your mileage may vary.</p>

<p>Very much would like to hear the opinions by Medium Format photographers on the indi film lab video "Long Live Film." It's a 46 minute You Tube video that really presents some interesting viewpoints by a number of photographers. Check it out and post responses. Thanks.</p>

<p>I am planning a photo trip to Snowy Range in Wyoming in the Spring which is 8 to 10K above sea level. The light intensity at that height can trick the best of light meters for mid day photographs. My 6008 i2 can multi zone but I am concerned it may not give me the kind of balanced results i'm looking for. Has anyone had this type of problem and what did you do to solve it? I will be shooting slide film through a bay 6 Polarizer. Any tips on filters and film would also be appreciated. Thanks.</p>

<p>I am a previous member of Photonet from 1999 to 2003 when I gave up photography for work and family. Now I'm retired and back. Here is a little bio info on me.<br>

I have had an interest in Photography since I was seven but never had the money to purchase a camera of any substance. My first camera was an Agfa Silette 35mm that my dad bought from an antique dealer in Providence for $7. It was a range finder, had a leaf shutter, and no meter. I got a Gossen Pilot light meter for $12 and started taking pictures when I had money for film. In 1969 I joined the Army and was sent to Fort Monmouth, New Jersey for training in Photo Lab Operations (MOS 84G10). After training I was deployed to Korea and served as the BW Film man in the largest photo lab in the Pacific. Between Signal School, Ft. Monmouth, and Korea I met some very capable photographers. Some graduates of Brooks, USC Film School, and Rochester who really knew there stuff. In 1971 I was stationed at Fort Mac Arthur, California where I eventually became the Post Photographer by default. I OJT'd as an MOS 84B20, still Photographer. While there I photographed a few Hollywood actors who visited post, Armed Forces Radio and TV station in Hollywood, and did the usual awards and promotions photos and news photos for the Post paper. The most moving experiences were the twice a month Posthumous Award Ceremonies for soldier's families killed in Viet Nam. After reading the Award Citation the last lines were always "killed in the Republic of Vietnam" on such a date. Just sucked for all involved but especially for the families. Some just broke down and cried, some went crazy, and the small kids there who had no idea what was going on were looking around for their dads. We sent copies of those photos to the National Archives but to this day I have never seen or heard anything about them. While at Fort Mac Arthur I worked a few weddings for soldiers and got quite good at it. After the Army i attended college and had some spending money from photography with the Leica M-2 i got from a guy who gave up photography as environmentally dangerous. He said it used up too much water for him to own a camera. My photography since then has been for personal enjoyment and have owned a lot of nice equipment over the years. I now shoot a Rollei 6008 i2 film and may yet get into digital. Would like to hear from any Army photographers that were stationed with me. Thanks.</p>