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  #61  
Old 21st May 2020, 08:30 AM
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  #62  
Old 21st May 2020, 08:54 AM
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Quote:
Originally Posted by John King View Post
The only thing I don't like about 6x6 is the way the negatives are projected onto the baseboard sideways on. That is a problem when you are trying to compose an oblong image.

I had the use of a Pentacon 6 some years ago and of course that winds film on like a 35mm so it was much easier. The wind-on like a lot of the Eastern Bloc medium format was to be kind - unreliable.

The Zeiss lenses on the other hand, were as sweet as the best, especially
the 50mm.
I must admit I also find it off putting but have become so used it that your mentioning of it has reminded me.
If I had the space I would place my enlarger at the end of the table top so I could stand beside it. I have considered turning the enlarger side ways but it is to much trouble.
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  #63  
Old 21st May 2020, 03:32 PM
John King John King is offline
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I got around this problem, or I thought I had by cutting each individual frame and putting them into 3"x3" individual glassine sleeves Yes it made focussing and composing easier and more natural but finding individual frames was a time consuming business.

My only roll film camera is my Minolta Autocord and I will be leaving the negs in a 3 frame strip.
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  #64  
Old 21st May 2020, 06:35 PM
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It's all swings and roundabouts.
A 35mm portrait photographer has the same problems enlarging their negatives. Vertical portrait, projected horizontally.
The problem may be that a few of us, me included, will never see 21 again and are getting a little stiff, and achey painey as we mature.
Cheers.
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  #65  
Old 22nd May 2020, 08:32 PM
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My Mamiyas run the film bottom-to-top whilst my folders run it side to side, so I have 6x6 negs in both orientations. I actually can't say I find any difference viewing them on the baseboard.
The only camera where it matters is the Horizon. To make a big print from a vertical neg means turning the easel round, and then the column gets in the way. Pain.
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