Lol! You really want to know? Far more than my wife can stand! The main guns for film are a newly-acquired Crown Graphic, two Pentacon Six TLs, a Mamiya C33 and a Mamiya C220. The supporting cast includes a Leica R4s Mod P, a Pentax ME Super (that I've had for 30+ years), a Moskva 5, and Ensign Commando, a Nettar 516 a Nettar 516/2, a Super-Ikonta A, Welta Perle 645, Franka Solida IIL, Nettar 515, 517/2 and 518/2, Beier Beirax, Ensign Selfix 420 and Voigtlander Vito I.
I've got a few others but they don't work too well - a Welta Garant with a missing shutter release so it only works with a cable, a Selfix 220 that has an artistic light leak from the bellows etc.
I just got curious about what sort of results I could get from folders and how the different lenses and designs performed. Most of them cost between $10 and $50 so it is a cheap amusement.
Nice list. I still have a ME Super (bought new in 1982) with a non-functioning meter that I just can't part with. a 1948 Zeiss Ikonta a C33 and Minolta X-570.
The main differences you notice with a C220 are that it is far, far lighter, you have to cock it by hand and its pressure plate rotates to switch from 120 to 220 (which is irrelevant now, as 220 is pretty much history). The back door doesn't come off, so you can't use sheet film ... which is also pretty irrelevant.
The most significant difference is that the 220 lacks the parallax compensation indicator. There is a parallax compensation scale carved under the exposure compensation graph on the left-hand side of the bed which you use in co-ordination with a couple of lines engraved across the ground glass. It is a much cruder system than the flag and switch in the C33. There is no ISO reminder dial, either.
What you are left with is a box with a wind-on knob and markings to allow you to work out parallax corrections. It is as unsophisticated as it could possibly be and, of course, it works just as well as a C33.
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