cpj

The difference is 25.

That is, the Planar has 25% more lens elements.

Of course, if you are talking the difference in quality, sharpness, bokeh, resolving power,

edge to edge coverage and all the other usual measurements, the Planar is 2X to 4X better

than the Tessar, depending on who is doing the judging.

And that is saying a lot because the Tessar is a fine lens.

The Tessar is a 4-element lens while the Planar is a 5-element lens, but the formula is

quite different in terms of what each individual element (and element group) is designed

to do to the light passing through.

The Planar is one of the best lens formula ever developed and is still used today for the

highest grade Zeiss and Schneider lenses for Hasselblad and for view cameras.

You will pay double or more for a Planar over a Tessar, regardless of mounting, but you

will get more than that back in overall superiority IF MAKING BIG PRINTS, such as anything

greater than 11x14. Up to 11x14, color or b&w, the "average" person would be pleased

with both lenses.

NO, the E2 is an different, upgraded, stand alone model that came out in December 1959

some 10 months after the E-model production ended in February 1959. E2 numbers

started with 1,870,000 and ended with 1,872,999 for the first version or Type I, and then

a Type II came out starting with 2,480,000 in 1961 and ending with 2,482,999 in 1962.

The significant difference between the E and the E2 is that the E2 has a removeable lens

hood which makes it easy for the owner to change focusing screens--install a Maxwell

Micro bright screen as a drop in and get 5X more light, as well as slip the hood off to use

the Rollei eye level Prism.

Thus, E2's are more desireable than plain E's which require a serviceman to change the

screen and won't take the prism.

The E2's had some other variations and improvements but they were relatively minor.

How do americans say? "Three point five"?

That's an easy one. We say "Three point five." And, if it is obvious from the context that we

are talking about a maximum aperture of a camera lens, we'd say, for example, "It is a

Rolleiflex with a three five Planar lens.

I am surprised you haven't been deluged with a bunch of answers.

This is thoroughly discussed in the Archives.

YES, they are the same camera. The "C" designation was that used in Europe while in the

U.S. the model was called the "E."

For a lot of history and theories, check the archives. There is no difference at all between

the two designations and the cameras themselves do not carry a "C" or and "E." The only

identifying mark is just a serial number and they are all consecutive so that it just depends

what batch your camera was in when it was distributed form the factory sometime

between 1956 and 1958.

(PS: I have actually owned one that originally went to Italy and had the serial number

preceded by an IT but I don't know the reason, although it may have had something to do

with import regulations back in the 1950s. In fact, I bought it used from an Italian camera

shop.)

Go to the web site for The Regimental Quartermaster and order their Leather Canteen

Strap catalog number EA22 for $27.50. You will get a long leather strap 9/16ths of an

inch wide with a roller buckle with a tapered leather pad behind it about 3/4 inch wide,

and about 4 punched holes in the strap for adjustment.

Leaving the buckle and adjustment end intact, double up the strap and cut it into two

pieces and on these ends made by your cut, you will affix the Rollei sissor clips using a

little rivet attachment kit available at most hardware stores for about $10. (Before

attaching the clips, make sure the strap is of comfortable length, trimming both ends

equally--right where you made the cut.) Using the buckle and hole punched end for

adjustment the same way you adjust your waist belt after dinner, provides only a couple of

inches either way, so having the strap cut close to where you'll want it is important.

This leather strap is very strong and durable. You may want to treat it with Pecard or Lexol

or Black Rock leather dressing, any one of which will darken the leather a little bit and

keep it pliable. Do Not Use Neatsfoot Oil. That oil will weaken leather as thin as a small

strap like this.

The job is easy and will take less than an hour if you have the clips which are the essential

part of the whole thing.

On the other hand, if you don't like messing with stuff yourself and was a truly

professional job, send the sissor clips to Malcolm Addoms, Phone: 804-648-7616

Antique Optics

412 N. 23rd St.

Richmond, VA 23223

Tell him you want a high quality leather canteen strap with adjustment roller buckle for

use as a camera strap and that you will send him the Sissor Clips for the unique Rolleiflex

Strap. Tell him how long you want it and that it should be 9/16ths wide. Also mention

that I referred you and for him to call me if he has any questions because will know exactly

what you want.

I've known Malcolm for years and he deals primarily in Antique Optics such as telescopes

and binoculars. In that line he started repairing and then making binocular cases about 15

or 20 years ago, and for the last 10 years he has been doing custom leather work full time.

He can make just about anything and it is top quality. The strap might cost you $35 or

$40 but it will be a full professional job.

That's Malcolm Addoms, spelled a little quirky but pronounced "Adams."

Krikor Marlanian and one other guy used to be the "official Rollei repair department" in the

US for many years. He has a huge stock of parts and he also canabalizes Rolleis for parts as

does Fleenor. I've had work done by both and Fleenor really IS 3 months or more. Perhaps

he gives old customers quicker service but even when I sent him two "for sale" and one to

fix, he really squeezed me down on the prices of the two he bought and even then it was 8

to 10 weeks before I got my repaired camera back. Go with Krikor.

The 40mm is a very front heavy, retrofocus wide angle that is a pain to carry and use. By

all means GET AN SWC. First, you NEED an SWC. Everybody needs an SWC. It is the best

camera and lens you will find anywhere for any purpose. It can even be handheld and

produce excellent results. The lens is by far the best lens in the WORLD !

The finder is easy to use and as someone mentioned is not "precise." But the wide angle is

so wide that precise isn't necessary. AND, if you want to get a mirror reflex right angle

viewer and compose on a ground glass, you can do it inexpensively. New the whole set up

costs less than $500.

The 40mm weighs about 2X the whole SWC!

You can even carry the SWC on a shoulder strap under your jacket and nobody will see it

until you pull it out to shoot. It's like having an M-Leica always ready only it is in 6x6 and

has the greatest lens you will ever use.

By the way, for those who don't know it, Bogen, Manfrotto and Gitzo are all the same

ownership but they have plants in England, Italy and I think Germany. Basically, while the

lines or equipment have differences, it is all top quality stuff.

Go to the Really Right Stuff web site. Get all the stuff you need for tripods there. They

handle Gitzo carbon fiber tripods which are the best, but they make ball heads and all the

interchangeable attachments and stuff you'll every need.

You can build a whole system around their stuff. It's the ONLY way to go. They are an

independent, family owned company, and the choice of professionals. They've taken the

Arca Swiss limited line and created their own line of heads, brackets and everything you

need. If you need something they don't have, they will probably design it and produce it

for you if there is a large enough market. In the end, you save a lot of money by having to

buy stuff ONCE instead of always looking for something better . . .there isn't anything

better so if you pay $50 or $100 more for the BEST stuff, carefully designed to do a

specific job, you are way ahead of the game.

I took this advice about Really Right Stuff from people on this Bulletin Board back in 2003

and they were right. Although the company changed hands a couple of years ago, the new

owner has quadrupled the offerings and they machine all the stuff themselves.'

Do yourself a favor and look into it.

Yes, one to three small bubbles used to be considered a mark of quality glass back in the

1950s, but what you are showing in the photo looks like more than natural bubbles in the

glass. Perhaps it is something in between the lens elements. Send it to Krikor at

http://www.krimarphoto.com or to Harry Fleenor, Oceanside Camera Repair, in California.

Both are excellent, but turnaround time for Fleenor is very long so I'd suggest calling him

first and saying you just want an opinion on examining the lens problem. Krikor Marlanian

usually gets stuff out to you in two weeks unless it is a major job. He also will look at the

lens and give an opinion if you call first.

If you are talking about forward-backward movement a fraction of a millimeter when you tug

on the lensboard, all that is indicating is the cut of a gear tooth. As soon as it takes up that

slack, about 1/1000th of a inch, you may see the focus knob "tighten." But remember, that's

a movement that is so small you can only "feel" it and not see it.

A "reasonable" price is something less than $3500 and a "great" price is anything under

$3000 for a CFE 250 SA. I have one and I bought it new in Hong Kong just after it came out

and just before the price jumped up, perhaps 4 or 5 years ago now, and I paid $3500. It is

an absolutely super lens in my opinion. I use it a lot.

I guess the definition of "a little bit loose" needs to be more precise, but if when you move

the focus knob the lens board doesn't move correspondingly (and immediately) both in

and out, or if it doesn't return so that both sides of the board (left and right) are equal and

flush with the camera body when at infinity, then you have a problem. Probably a gear

tooth or the guide track. Also, note whether or not there is any "hop" or jumping spot

during the lens board travel when you turn the focus knob. That's another sign of

problems as is any movement that doesn't directly correlate to the movement of the focus

knob.

If any of these things seem to be taking place, it's time for a qualified repair shop to look

at the camera.

Excellent quality professional scans and prints on all types of media, contact West Coast

Imaging in California. Here is the website: http://www.westcoastimaging.com

Just remember, they are easily among the top 10 in the world. You may find many, many

acceptable companies that are less expensive but you would be hard pressed to find a better

one.

The absolute best source for ballheads and tripods and accessories is Really Right Stuff in

California. Their B-40 ballhead would probably be right for you. I have all three of their

heads and I learned about this company 3 or 4 years ago on Photo.net. They have since

been acquired by a new "individual owner" as opposed to a big company and this guy is

really on the ball (so to speak.) In the last 2 years they have more than tripled the stuff

they are making themselves and it is all absolutely top quality--the ultimate.

They recommend Gitzo tripods (and sell them) to go with their heads and accessories.

Check their web site and get their catalog and you'll never buy from anybody else. Also,

you won't keep trying "new" stuff looking for gimmicks and wasting money.

SEARCH THE ARCHIVES on Tripods. Everything that needs to be said has been. Generally,

you will find most pros agree you can't go wrong with a Gitzo carbon fiber tripod.

Here is what someone said way back in 2002 on Photo.net regarding the plastic Paterson

tank:

Dave Schneider, Dec 09, 2002; 10:18 a.m.

I have had tanks which the lid simply didn't fit right. Look at the tank and the lid, there

may be some flashing (the plastic left from the edges of the molds) that needs to be

trimmed. This has solved the poor fitting lids I've had. With regards to twirling the reels, I

have found that to result in very poor agitation if using the larger tanks that hold 3 35mm

reels or 2 120 size reels. It has worked OK on the smallest tank which holds only one

35mm reel but not on multiple reel tanks.

Here is the part of my note above in this thread that is the most important:

"Learn how to load the reel by practicing in daylight with a roll of outdated, unexposed

film. Practice until you can do it perfectly with your eyes closed."

RANDY has no problem with the Paterson tank because he's probably developed 200 or

more rolls over several years and is very experienced in loading it. However, if you ARE

having a problem, get a tank spool that is precision built and designed to AVOID common

problems.

Film that slips out of the track when agitating or film that isn't loaded perfectly will

produce the problems shown in the examples.

These streaks aren't just "agitation" problems otherwise they wouldn't appear as nice, neat

streaks, but rather random blotches. They are streaks because of the film slipping out of

the track and sitting against an adjacent piece of film between agitation periods. During

this 30 seconds (or 60 or 90 seconds) until the film position shifts again, development is

not taking place at the same rate as film that is "free" and surrounded only by liquid.

A $10 plastic tank and reel with flat film guides just doesn't have the same precision,

positioning clip, film feel, and track system of one made from tubular stainless steel

wound by machine to a close tolerance. Such a high quality of materials and workmanship

comes at a cost of $35 for the reel alone. If it did, the cheap, flat plastic ones

would have replaced the precision wound tubular stainless film tracks 40 years ago. (I

remember. I was there when the plastic ones came out.)

No professional lab uses plastic reels. That's not to say they won't work as Randy points

out. But it is clear that it takes a lot of practice and a refined loading technique to

absolutely KNOW that the film has not slipped off one track and is "sometimes" touching

another film frame on the next track during development and agitation.

When the problem is so well known among professionals, the answer to a problem

shouldn't be "it works for me so it should work for you." Obviously it ISN'T working,

perhaps because the plastic moulding machine on which the reel was produced was

getting old or the plastic was different than the one used 3 years or 10 years ago for

Randy's reel. Or perhaps the reel has been dropped and one of the little plastic spacer

pieces has cracked or broken. To continue ruining film because of stubboness isn't a very

wise choice of options. Hell, I've actually broken a stainless steel reel--and made it

useless-- by dropping it and just slighly crushing the symmetry of the tubular guides.

Again, this IS a common problem, especially with people who don't work in a darkroom for

days on end. Today, those that do usually have automatic film processors anyway.

STOP: This should not be a 'my guess is' response, because the answer is clear cut and

well known.

Here is the source of the problem: "I develop in Parkenson tank and keep getting these

dark and light lines that are visible on skys etc."

And here is the answer: Throw out that plastic tank and reel. Then go to B&H web site and

buy a Tundra or Kinderman stainless steel developing reel for 120 film (about $35) and a

stainless steel tank (about $12).

Learn how to load the reel by practicing in daylight with a roll of outdated, unexposed

film. Practice until you can do it perfectly with your eyes closed.

Voila. Problem solved.

Like most things in the world, you get what you pay for, and most equipment is worth

whatever it costs (or less.) The tank and reel you are using is worth zero or even less

because it is ruining your negatives.

The film is sticking together during development where the lines are (or during the fixer

bath) resulting in uneven development/fix. The only reason you see this in the sky is

because that is where it shows up rapidlly. Buy a good tank and reel, agitate according to

instructions about every 30 seconds, and your problems will disappear.

This is a no-brainer. Get the SWC. You can use the optical viewfinder which works fine for

most purposes. The reflex-mirror finder 99% of the time requires a tripod be used, negating

the advantages of the SWC. I have an SWC and both systems for it and also have a 503CW.

Think of the 40mm as a VERY front heavy 180-mm lens on the 503 and you get the idea of

what you will be dealing with when using the 40mm retrofocus lens. Hands down, the SWC,

even if shooting wide open the depth of field is such that you just "guess" and usually you'll

be fine. If shooting anything more than 10 feet distance, everything will be in focus so

focusing and SWC is a non-issue.

Now that you've had a bunch of very specific opinions, let me say you should remember

the following:

1. The LENS make the image, not the film size. Buy the best lens you can afford. Far and

away the Rolleiflex Planar and Xenotar lenses will outperform all other TLRs. Most of the

time you'll find them producing results similar to the Zeiss lenses on the Hasseblad.

2. You have the right idea in ignoring the built-in meter stuff and other extras. Just focus

on the lens--pun intended.

3. The Rolleicord you mentioned has excellent lenses but they don't compare wiht the five

or six element lens formulas used for the Xenotar of Planar found in the Rolleiflex. These

are "premium level, professonal quality lenses."

4. As alternatives to the Rolleicord, the Minolta and the Yashica have the best long term

reputations in terms of "best overall quality at that price level." each in its own class.

5. Look up the topic "Rolleiflex" in this Forum. There's a reason it is second only to

Hasselblad in discussion points on this BB. It clearly has the best lenses and most reliable

shutter combined with a very rugged body. (I've used them professionally as a news

photographer "on the street" in all types of weather, and I currently own five of them. (But I

have 3 Hasselblads and two Leicas and two Nikons. As I said, it all comes down to the

LENS.

Good luck.

Hi,

Get a new, modern focus screen and you will never regret it. Maxwell screens are best and

you can buy it directly from him (located near Atlanta, GA and address can be found in the

Rollei archives or via Google.)

With an F model you can easily change the screen yourself

since the new one drops right in after removing the hood and sliding back and pulling up

on the metal frame that surrounds the present screen. It is 10X better than the original

and equal to the Accute-Matte screen of the Hasselblad.

Discussion of mismatch between the viewing lens and the taking lens is way overblown.

Usually the problem is that someone dropped the camera and it landed on the lens hood

causing the whole lens standard to be out of whack. This can be noticed by slowly moving

the focus know and watching the front lens board from the side as it returns to the infinity

position. If at the end range of its travel the top of the lens board is not alligned with the

bottom then this is the problem.

Originally the lenses were precisely matched when the camera was built so any "mismatch"

is something that occurred after it left the factory. Abuse is the most likely problem as

stated above. Also, if someone took the camera apart and didn't reassemble it properly the

same thing would occur. Don't worry about it---99.999% are still perfect.

A Cleaning Lube & Adjustment is "nice' but usually not necessary unless something is

sticking or not working properly.

You have an excellent camera.

Your local police department is computer connected to (a) the state list of any stolen items

with value that have serial numbers and (b) the NCIC list--National Crime Information

Center which is an FBI operated network. If you walk into the police station--or

substation--you may have to ASK them to do an NCIC check because that isn't automatic.

However, if you are in a large city, ask them to check by "description" and provide the

description that you as a photographer would give. A lot of people have long ago forgot

where they put their serial number list--or it could have been in the bag with the camera

if it was stolen. DESCRIPTIONS can be traced statewide but not nationally (unless a capital

crime is involved.) Just describe the camera the way you would if it was yours and you

were reporting it stolen, then ask them to look for "recent" stolen property using the main

"keywords" that you give them. Like Hasselblad 500 cm or c/m or CM as well as the lens

info if it has a lens on it.

Hope this helps.

I think that you may have an "other" type screen and not a Maxwell because I own five Rolleis

right now with Maxwell screens and have no such problems with any of them. Maxwell WILL

make a screen in any configuration you want, but if it has the split image it usually has a

microprism surrounding it. You can order one from him with just the microprism without

the split image, but I don't think he makes it with the split image only. Call him and ask

him! Tell him the problem and he'll suggest a couple of alternative solutions. (He loves to

get phone calls from people with problems because he takes great pride in solving them.)

The calibration ring that moves the FLE is marked in various click stop settings for

anticipated lens to subject distances. You set this first, then just focus in the normal manner.

No need to focus two or three times. Example:Set the Ring for the 12-ft to 4 ft distance

which is most likely what you'll use for portraits, then just focus in the normal manner and

shoot. It's really a minor adjustment but provides a sharper image based on a "range" of

focus distances which go from infinity in the 1st position, down to 32 to 19 inch Range in

the 4th position. In practice, it's more like a "set it and forget it" situation.