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.
Rolleiflex Hy6...One of the last medium format cameras in production
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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.
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Looks like they just re-did their website in the last week or so. I hope this is a sign of life.
Thanks for posting the attachment. It looks reasonable and seems to cover everything. I particularly like the reasonable terms for assessing the cost of repairs in advance of actually doing the repairs. I hope it goes well and that you'll post about how it works out.
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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).
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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.
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.
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.
Thanks. I'm hoping I won't need to have the infinity focus adjusted on my lenses, but if it bothered me enough, I would certainly consider it.
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- ic-racer
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Very nice picture. Glad you managed to work through the focus issues on your own and come out the other side with a camera that works well.
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.
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.
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Don't get me wrong, I love the old Planar in my 2.8E. As I understand it, the Planar in the 2.8F should be the same, and the Xenotar has exactly the same image quality. The shadows open up a bit, classic rendering through and through, very sharp at 4.0 down. However the AFD Xenotar aka Apogon are in an entirely different class. Taste may vary for B&W, but the contrast and detail are perfect. As the digital people say I would not be surprised if the optics simply out-resolve most films. The difference at 2.8 is stark, but in a scene without a lot of flaring they may get similar around 5.6-11. The differences in color are much more obvious.
Using Ektachrome E100 and making pixel shifted scans up to and above 100mp, I only see that there is still more to pull out of the film. Of course for practicality it's unlikely that I will make a 24" print, let along go larger than that, so I consider my needs met. Frankly if I knew I was going to make some huge print then I would just use a larger format... Anyway that's a round about way of saying that I just think the lenses for this system are basically perfect.
If everyone and their mother were buying Hy6's I would hope they would introduce a modern AF 2.0 80mm, and finally release that 35mm they had planned. But I see that as ah...unlikely. However, if by some miracle they did release a 2.0 80 with AF, you'd see a lot of wedding and portrait people making the switch from their Contax 645s.
Since I have a 80mm PQ, I had not planned on getting an AF version, however, an 80mm AFD came with my 6008AF. So, I could compare the 80mm PQ to 80mm AFD to 2.8F TLR, they are all slightly different in optical design.
I had an older SLX 80mm but it optics and performance were identical to the 80mm PQ from what I could tell.
I had an older SLX 80mm but it optics and performance were identical to the 80mm PQ from what I could tell.
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.
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.
I had a 6008i at one point, bought new. Took great pictures but something about it (many things?) made me very nervous. Sold it before the price collapse and moved on to the Hasselblad V-system. At least they can still be fixed.
In retrospect of 30 years using the system, most of the quirks I encountered were probably related to the battery. With the advnent of the internet and the avaiilablilty of the Sanyo Cadnica KR600AE I began using my Rollei SLRs more in the late 1990s. Of course now the Cadnica is no longer available, seems like mostly generic replacement is the current norm .
My flash game is weak so i stand to be corrected and i only use manual flash but thats how fill works. You set the background exposure and the fill flash controls how much to balance the subject vs the background.
In your (beautifully done) bridge shot i cant even see any evidence of the flash in the shot. Maybe its picked out the ceiling beams a bit in foreground but id be expecting some very bright hightlights on those near pillars vs other pillars but they all look ambient light. It looks to me like its just discharged minimum power just because its been triggered.
If it was 400 iso film im guessing light was f8 or 5.6 in the open so 4 or 5 stops darker under the bridge might be about right without flash.
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!
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!
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Yes you can see a lot of work has gone into that print because of amount of detail in foreground roofstruts and the very delicate drop off on tones as your eye moves deeper into picture and further from the camera. That takes a lot of printing.
I dont think you could have done much more. 1/60th and youre making the furthers pillars darker with same flash power. 1/60th and turn flash up more and youre in danger of killing the natural side lighting and trying to balance foreground and background is going to be an absolute dog.
1/30th and mirror up and print looks sharp with great dof and plenty detail at back of the print and the ttl has given you a ton of detail in foreground to burn down to taste. You could probably have knocked flash down a little bit further even to make it easier to balance as id imagine those roof struts had more than ample exposure to bring out all the detail in them.
Great shot, great print.
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.
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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Yes 120 exists in that hinterland where gear vs size often equals just take something that shoots bigger.
The one time i think 120 can trump all other formats is in the wind. I use a heavy 120 shift camera and its got the weight not to be blown over on a tripod in the very windy hills i live in unlike a lot of my other gear has even with rocks hung from tripod. I can rapidly fine tune the shot with shift wheel, helical focus and a wide angle is ultra fast and i can be set up, have the shot while clouds/light are looking good before wind takes them away while i would still be arsing around setting up my walker sf.
But yes a nice calmer day might as well just bring the bigger guns out.
Lets hope Dave sorts his hy6 out and gets some shots along with other owners as its a rare treat to see this exotic camera in action and hear owners discussing it.
I own several 4x5 cameras, but never use them. They intimidate me too much. Load the holders before going out (or shooting inside, but that's less of an issue), set up, fiddle with the camera's controls and adjustments, remember to close the shutter, load the film holder and not get everything out of whack, etc. etc. I would much rather grab my medium format camera and concentrate on the image-making, much less on all the rest. I find medium-format film just fine for the size prints I make, and can use a camera like the Hy6 as a carry-along, quick-snap camera if the situation calls for it.
Here are some recent images I shot with my Hy6 Mod 2, all on Ektachrome. Endlessly impressed with this camera and it's lenses.
Shot all basically in aperture program, save for the long exposure at the end. It's a mix of 80mm and 50mm AFD lenses.
https://photos.app.goo.gl/m4rqX7aaWbDSZ6LcA
Shot all basically in aperture program, save for the long exposure at the end. It's a mix of 80mm and 50mm AFD lenses.
https://photos.app.goo.gl/m4rqX7aaWbDSZ6LcA
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