I was showing my son the 6008's I have collected on my desk. I told him I'd pay to service the broken 6008i and it can be his in exchange for his good schoolwork if he helps me package it and sent it. We downloaded the PDF file to fill out and likely will send it to http://paepke-fototechnik.de.
Looks like they just re-did their website in the last week or so. I hope this is a sign of life.That might be worth it. I hate packing stuff up to ship.
I must be doing something wrong. I can't make the downloads work.
Looks like they just re-did their website in the last week or so. I hope this is a sign of life.
That is a good idea, when the tape roll stays in the bag with the pen, I’ll have to try that. What I liked with the 6008 film insert was that I could take the piece of paper that wrapped the film and had the film name on it (at least for Agfa and Fuji, the Kodak ones often just have the brand name on them and not the film type), fold it and slide it into the insert. I wish the new magazine at least gave the possibility to save the film type (slide/negative, BW/color, natural light/tungsten) as a reminder, the way old cameras had a dial for that (in the focusing knob for the Rollei TLRs, IIRC).I have resorted to a small strip of black artist's tape (it comes off easily and doesn't leave any residue) with the film type written on it with a silver sharpie. I put that on the handle so it is very obvious what is in the camera. When I change film type that tape goes on the film insert carrying case.
If I am not mistaken, Eric can help with organizing shipments to DW and/or Päpke in Germany. It all depends on how quickly you need the repairs done. Both DW and Päpke have been rather quick. Dave Feely (I never know how to spell his name so it may not be the right spelling) at Key Camera is a good choice when the repair requires easily-available parts and you don’t need the camera quickly, as he can take quite a bit of time to finish the work. A 3003 I sent him and was supposed to have back within 3 months took longer and longer (had to email him every few months to get some news, he rarely gave updates without being asked first) and I eventually asked to get it back unrepaired after something like 15 months.How about servicing them? I think I read somewhere that there is at least one place in the US that can service 6008 series cameras. I would consider that a plus.
The good thing about artist tape is you can remove and place it a number of times and it still adheres. I have been keeping tape with the usual film types marked stuck to a plastic film holder where I put exposed rolls.That is a good idea, when the tape roll stays in the bag with the pen, I’ll have to try that. What I liked with the 6008 film insert was that I could take the piece of paper that wrapped the film and had the film name on it (at least for Agfa and Fuji, the Kodak ones often just have the brand name on them and not the film type), fold it and slide it into the insert. I wish the new magazine at least gave the possibility to save the film type (slide/negative, BW/color, natural light/tungsten) as a reminder, the way old cameras had a dial for that (in the focusing knob for the Rollei TLRs, IIRC).
If I am not mistaken, Eric can help with organizing shipments to DW and/or Päpke in Germany. It all depends on how quickly you need the repairs done. Both DW and Päpke have been rather quick. Dave Feely (I never know how to spell his name so it may not be the right spelling) at Key Camera is a good choice when the repair requires easily-available parts and you don’t need the camera quickly, as he can take quite a bit of time to finish the work. A 3003 I sent him and was supposed to have back within 3 months took longer and longer (had to email him every few months to get some news, he rarely gave updates without being asked first) and I eventually asked to get it back unrepaired after something like 15 months.
Dave Feely is convenient and if there are no hard-to-find parts to be replaced, he can turn around a repair in reasonable time. He has done work on 4 of my lenses and I feel confident in the repairs. The repairs took about 4-8 weeks. A minor adjustment was turned around in a week. So something like an infinity-focus adjustment should not take long at all. Of course, COVID could affect all of that.I was on the Päpke website a couple days ago. I like that they spell everything out. I don't like surprises. I think Eric mentioned Feely when he was talking about adjusting the infinity focus on lenses, although 15 months would be out of the question for me. I could be dead in less time than that (or just too frail to do anything anymore). It's possible I'm exaggerating a little, here.
Dave Feely is convenient and if there are no hard-to-find parts to be replaced, he can turn around a repair in reasonable time. He has done work on 4 of my lenses and I feel confident in the repairs. The repairs took about 4-8 weeks. A minor adjustment was turned around in a week. So something like an infinity-focus adjustment should not take long at all. Of course, COVID could affect all of that.
Finally starting to get some negatives coming through that are worthy of printing. This is from my 8th roll through the Hy6 and my second roll with the 80AFD.
View attachment 259277
Since I used the 80mm I wondered if I would have the same image carrying my 2.8F? I used the Hy6 with the Metz TTL flash and the waist-level finder, held at waist level, and Auto Focus pretty much like a point and shoot camera. Not sure I would have had the same results with the 2.8F.
Another shout out for the amazing film flatness of the 6060 film magazine. I'm up to ten rolls through this camera and cannot detect ANY loss of sharpness or focus from the film bulging forward away from the pressure plate.
This is in stark contrast to my worst days with the SLX. I have a roll of Tmax film from the early 1980s where I identified seven of the 12 images with severe film bulge. That is the edges of the frame are in focus but the center is focused way back, even beyond infinity.
As I'm printing more I'm finding out a very obvious problem. With TTL fill flash, the flash does NOT help with low-light hand-holding. I guess somehow I thought it would help. Of course a FULL FLASH in low light certainly helps with hand holding, but when doing a FILL FLASH, the base exposure is the main exposure, and that requires either careful hand-holding or a tripod.
So, that under-the-bridge pictures was TTL FILL flash at about 1/30 second f5.6 and I used the convenient mirror lock up function to help with the hand-holding.
In that shot I have the TTL fill on the Hy6 set to about -1EV, so a little weak. The major evidence is in the bottom of the bridge. Also, in the foreground but most of the evidence of flash is burned away during printing, to disguise the flash. The intent is to not have it look like a fill flash image.
There is a lot of work in that image with the fill flash, exposure determination, hand-holding slow speed, mirror lockup, autofocus, dodging, 5 burns and some bleach!
The mystery of film makes it exciting. Since getting the Metz and TTL adapter and they Hy6, I have processed more 120 film than in the last 2 years. Also, It has been quite a few years since I processed 120 film the day I exposed it out of excitement to see the images.
One thing I am very bad at: using tripod with 120 cameras. It is because, if I'm lugging the tripod, I'm going to shoot LF.
Case in point, today I'm packing up to shoot, but the bag to carry the Hy6 is about the same size as my folded Shen-Hao plus single lens. So, I'm taking the 8x10.
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