rollei R3

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jim kirk jr.

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If anyone is interested this is all the technical specs for Rollei R3 from Hans O
Mahn.just thought I'd share what they sent.
 

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Foto Ludens

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this film gets more and more interesting the more I hear about it.

I wonder how Rollei R3 (and for that matter, it's cousin Maco Cube) would perform in Diafine...
 

jandc

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jim kirk jr. said:
If anyone is interested this is all the technical specs for Rollei R3 from Hans O
Mahn.just thought I'd share what they sent.


Here is the pdf version
 

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jim kirk jr.

jim kirk jr.

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right above your post at jandc- they carry it now although you may want to check the site for film size/price.
 
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John,

JandC have it available in 35mm and 120. I think sheet film will be 'on the shelves' real soon.
http://www.jandcphoto.com

- Thomas
Saint Paul, MN
 

John Cook

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Thank-you kindly, gentlemen. I found it, just where you said.

In perfect time for winter film lab test hibernation. When it's too dark to shoot, you can always slosh.

Now I wonder if Rollei still makes a TLR in which to use it.

Did I ever tell you about the college student who did a scientific study of the navel height of 1940's photojournalists, based upon optical analysis of the pictures they made with their Rolleis?
 

TPPhotog

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Thank you Jim much obliged as always, another to add to my list :smile:
 

Helen B

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'...another to add to my list'

Another two? And one of them at a knockdown price.

Best,
Helen
 
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jim kirk jr.

jim kirk jr.

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Just got word that in the US market Rollei USA will be carrying the film also-which somehow makes sense.Although sheet film will be coming out after 35mm and roll film.
 

titrisol

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Good question, only one way to know :wink:

We'll have to sacrifice a roll to the gods of development and the altar of diafine



Andre R. de Avillez said:
this film gets more and more interesting the more I hear about it.

I wonder how Rollei R3 (and for that matter, it's cousin Maco Cube) would perform in Diafine...
 

Flotsam

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I get a bit nervous when I hear about "one speed fits all" films. Even with two developers, there must be an optimum exposure/dev time for the best shadow to highlight range and the rest is just under/over exposing and over/under developing.
I'm looking forward to a very interesting and informative R cubed thread on APUG when people start using and testing it in their own darkrooms.
 

jandc

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Flotsam said:
I get a bit nervous when I hear about "one speed fits all" films. Even with two developers, there must be an optimum exposure/dev time for the best shadow to highlight range and the rest is just under/over exposing and over/under developing.
I'm looking forward to a very interesting and informative R cubed thread on APUG when people start using and testing it in their own darkrooms.

EI 400 everything else is a push or pull.
 

titrisol

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reading between the lines...
This is a 3 emulsion film, but when using normal developers the speed will be between 200-400 (page8)
Speed from 25 to 100 using dpeth developers and 100-6400 using finr grain compensating developers (page 7)
 

Flotsam

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jandc said:
EI 400 everything else is a push or pull.

Do you have any info or opinions on how well it responds to N+ and N- development?
 

arigram

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It feels like a film made to survive a dying film & chemicals production, kinda like an "after the catastrophe" last resort.
It might be good for convenience, not unlike the multigrade papers.
I wonder about the image quality though.
After all, we stuck with film because of image quality. If we just wanted convenience we could have gone digital.
T-Max, Delta, Tri-X, HP5+, Bergger, Efke...
We choose based on image personallity, that's why we want them to survive not just to have something to throw in chemicals.

I also am not crazy about its loading/unloading requirements. Do we have to unload
in the darkroom in total darkness?
Should I buy three-four backs so I can shoot more than one 120 film or should I
stay with 12 images or should I shoot then run to the darkroom and back?
I don't get it.

First I thought it would be a good street/travelling/journalism film but the loading/unloading photo sensitivity made me think again.

A new film, with unique characteristics and new technology is always a very welcome surprise in this day and age, but what about image quality, grain, latitude, things that really matter?
 

Tom Duffy

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arigram said:
I wonder about the image quality though.
After all, we stuck with film because of image quality. If we just wanted convenience we could have gone digital.
T-Max, Delta, Tri-X, HP5+, Bergger, Efke...
We choose based on image personallity, that's why we want them to survive not just to have something to throw in chemicals.

A new film, with unique characteristics and new technology is always a very welcome surprise in this day and age, but what about image quality, grain, latitude, things that really matter?

As they close on the TV News stories, "Only time will tell..."
 

Foto Ludens

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I don't see why loading and unloading would be much different from Efke's R25 and R50, both of which have extended red sensitivity. In anycase, loading any 120 film in the sun is asking for trouble, and using your own shadow is common practice (at least for me).
 

rjr

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Andre,

It´s about the Polyester layer - just like the Kodak Estar base (or HIE). It works like a "light fibre pipe", taking the light in on the edges and leading it everywhere inside the film can, fogging the emulsion...

It might happen with rollfilm, too - Maco has had earlier problems with their backing papers, with a too light tension on the paper... sometimes it curled out and light could protude on the sides. Then the light pipe thing happens there...

The 35mm film comes in black cans, just like Agfa´s (Tura usually cuts Agfa-Film, so they might use the same cans and cartridges and the 120 film comes in a light tight box, too... a screw scap type, just like Agfa used to use many years ago.
 

Foto Ludens

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I see. That indeed complicates things a bit. Changing bags (or just a backpack that one could use to creat a shaded area) might become more popular with this film. Due to its price, I'm guessing that it will have a limited consumer base anyway, so this should be a minor inconviniece to whoever uses it.
 

Brac

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Andre R. de Avillez said:
I don't see why loading and unloading would be much different from Efke's R25 and R50, both of which have extended red sensitivity. In anycase, loading any 120 film in the sun is asking for trouble, and using your own shadow is common practice (at least for me).

I may be wrong but I thought these two films had reduced red sensitivity and that's why they are described as orthopanchromatic?

When I used to use B&W film in 120 frequently, usually 400ASA, I often had no choice but to change rolls in direct sunlight, and personally never had a roll fogged though I can see the sense of doing it in the shade if that's available.
 

TPPhotog

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Ok I'm on the edge on my technical knowledge here but my understanding of orthopanchromatic is that it's less sensitive to red like the Efke 25 & 50 films. I've not heard of anyone having problems changing those out of direct sunlight but might be wrong.

Using a film through a range of speeds I don't think will be a problem as I've been rating HP5+ from 200 to 1600 without any problems.

As mentioned earlier I think we will have to wait and test a couple of rolls to see how it works and if it comes up to scratch as an alternative.
 

Foto Ludens

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Brac said:
I may be wrong but I thought these two films had reduced red sensitivity and that's why they are described as orthopanchromatic?
In that case, replace Efke with Ilford SFX and re-ask the question...

Of course, since the issue is probably the base material, it doesn't matter :smile:
 
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