irvkatz

<p>The problem of creating interchangeable lenses for leaf-shutter SLR cameras confronted the manufactures of all such cameras, as the position of the shutter and the size of the throat dictates what can or can't be done. Zeiss Ikon approached the problem by creating these Pro-Tessar lenses; there is a 35mm lens of either f/3.2 or f/4. and two telephoto lens of 85mm and 115mm, both f/4. I'm lacking the 85mm example; it seems to be a little harder to find than the 115mm. Sadly, there is a problem with all these lenses with the front elements separating as the early optical cement that Zeiss used deteriorates, resulting in a sort of "rainbow" appearance behind the front element. Mind you, the balsam that was traditionally used can do the same thing, but these Pro-Tessars are somewhat infamous in this respect. I've looked at many 85mm Pro-Tessars but most show quite severe separation, while the two I feature here are relatively free of the condition.</p>

<p>At first glance the Pro-Tessars resemble the "attachment" or "auxiliary" lenses that were screwed into a standard lens to provide wide-angle or telephoto capability, but they're much more sophisticated than these. The front element of the standard 50mm f/2.8 Tessar detaches, leaving behind the remaining elements, shutter and diaphragm, and the pro-Tessar mounts into the recess. Obviously, the Pro-Tessars do not have diaphragms, the aperture being controlled by the camera. I like to think of the system as one lens that changes it's configuration.</p><div>[ATTACH=full]806031[/ATTACH]</div>

Hi

Can these Pro Tessar lenses be used with a Leica M mount?

- Yes. But I don't think 15 seconds is long enough to ensure removal of the hard water minerals. I'd recommend a soak in plain distilled water for at least 2 to 3 minutes, followed by the photoflo+distilled water. Try not to get a foam on the photoflo solution, because this can cause drying marks too.

 

That grain looks far too obvious for any 100 ISO film. Was the film stale or badly stored? Did you keep all the processing solutions at the right temperature? Did you 'shock' the film by plunging it from warm to cold water or vice-versa?

 

Because something seems to have gone amiss apart from the drying marks.

I agree, the grain doesn't look right ..

Yes, to the solutions being 20 degrees C ..

But, I did a presoak in the cool tap water which was probably too cold ..

They're drying marks, caused by letting water droplets dry slowly on the film surface. Usually made worse by using hard tap water for the final rinse.

 

They can be eliminated by using distilled water and a 'wetting agent' as a final bath. A wetting agent can be a purpose-made product like Photo-flo, or it can just be a tiny amount of liquid detergent - washing-up liquid.

 

BTW, that's some grain! What film did you use?

Thanks rodeo_joe .. I did the final 10 minute rinse in Southern California tap water, which is hard water ..

I then added a few drops of Photoflo, agitated for about 15 seconds, then hung the roll up to dry ..

Should I use distilled water to mix the Photoflo into?

ps - The film is Neopan Acros 100

Can someone explain to me what these stains/blotches are?

Thanks in advance!

Isn't modern Agfa APX100 rebadged Kentmere 100? I give Kentmere 100 15 minutes in Rodinal 1+50.

Not sure John, but thank you ..

Hi All

I’m getting ready to develop a roll of Agfa APX 100 in Rodinal 1+50 for 10 minutes. I also have a roll of Arista Edu 100 to develop that apparently needs 7 minutes in Rodinal.

Can/should I combine the two in one tank, and if so, what development time should I use?

You don't say exactly what you're unhappy with. The exposure looks as though you may have forgotten to allow for your filter.

R80s is an odd film. It gives over-bright highlights with many developers, and I'd be surprised if a lab developed it right, unless you warned them what the film's like.

I'm unhappy with the washed out look, and the super high contrast black and white on the others ..

I didn't make any adjustments for the filter as I was using aperature priority with the shutter speed on 'auto'

Are your posted examples Lab Scans or pictures of the negatives.

What grade (Wratten equivalent) is the Series 7 yellow filter?

 

Lens contrast + filter = high contrast negative = hard to scan negatives.

They are lab scans ..

The filter is an 022 2x MRC ..

Recently tried some Rollei Retro 80s with my Leica M7, 35 Summilux pre-asph and a B&W Series 7 yellow filter ..

I had the film processed in a lab in Israel that I had never used before ..

The results were not what I expected ..

Can anyone tell me what went wrong?

Trying to upload a few examples ..

Thanks in advance ..