Film cameras
Rolleiflex SL66 User manual
User manual for Rolleiflex SL66. 34 pages in English. Read the original PDF, download or print a copy without registration.
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Document details
- Brand
- Rollei
- Model / document
- Rolleiflex SL66
- Document type
- User manual
- Language
- English
- Pages
- 34
- File size
- 3.1 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 4 · Read text
Lens locating mark Lens panel Catch of magazine back Cover of focusing hood Focusing hood release Strap holder Depth of field scale Distance scale Focal length indication for distance scale Focusing knob Accessory shoe (for flash gun) Flash plug release Flash sockets Locking knob for lens tilt from 0o to 80 Release lever for lens tilt at 0o and 80 Scales for extension, image scale and lens tilt Stopping down control Double bayonet ring for optical attachmentsView original page 4
Page 6 · Read text
Your First F|ule Shooting Practice
Before you load or unload a film,
Before you remove or fit the magazine,
pressBefore you release the
always check the that crank -is unfolded and
blocked.
For this purpose swing the crank fully for-
ward as far as it will go (1) and back again
to its stop (2).
This tensions the shutter. lt also sets up the You will f ind everything on the next four
automatic safety interlocks to prevent film pages: from loading the fresh film to unload-
waste during f ilm changing or magazine ing the exposed film.
changing. Accidental double exposures, blank You can also practice the individual steps on
frames and overlapping pictures are impos- a camera without film. For this the camera
sible. must be in its standard shooting state with - pulledOnce the crank locks, you know immediately the magazine attached and the slide
that the camera is ready for correct opera- out (push it into the storage compartnrent in
tion. the back).
EView original page 6Page 7 · Read text
Loading tlre Magazine
Setting the film counter lo 12 or 24 exposures:
The procedure for loading the magazine is Switch over the setting lever (7). The film
the sanre wether it is on the camera or off counter (5) shows by its number -- 12 or 24
the camera. When only one magazine is in use, whether the magazine is set for No. 120 - or 22O roll film.there is no need to remove it from the ca-
mera. ln this case the magazine slide remains You can switch over even when the magazine
permanently in the storage compartment in is closed, as long as the film counter still
the rear of the magazine. shows No. 1.
Loading a roll film: Swing open the spool
Basic rule: Unfold the crank (1) and turn it holder (8). Remove the seal of the roll film (9)
forward and backward until it locks. and fit the spool between the fixed and the
To open the magazine: Unlock the back (2) hinged shaft pins so that the black inside
and swing open (3). This also makes the surface of the backing paper (10) faces out-
magazine knob (4) jumb out; the exposure wards. Run the backing paper round the film
counter (5) now indicates No. 1. Grip the insert and thread it into the slot (11) of the
film insert by the central bar (6) and swing empty spool. Tighten the paper leader by one
it out of the magazine. or two turns of the gear wheel (12) www.butkus.us
6View original page 7Page 8 · Read text
Ghecking for Readiness
to shoot
Grip the film insert by its centre bar and slide lf in doubt, it is possible to check with theit into the magazine with the take-up spool crank lock even after loading the film whether
first, so that the gear wheels on the insert the camera is correctly set: push the lever
and inside the magazine engage (13). Check (18) in the direction of the crank handle and
the film advance by a short turn of the maga- at the same time try to turn the crank. lf the
zine knob (14). Then swing the magazine crank is not locked, swing it down, let go
back closed and check that it locks. of the lever (18) and complete the crank
Advancing the film to exposure No. 1: Turn movement forward and back again. The ca-
the magazine knob until it locks and then mera is now ready to shoot.
push in (16). The backing paper is now spool- lf you notice that you forgot to wind the crank
ed up and the film feeler mechanism has only when pressure on the release has no
locked any further film transport: the"film is effect, the same procedure still avoids wast-
ready for the first exposure. For subsequent ing a film frame.
exposures the crank advances the film. You can lose the first picture and in fact - only ifThe loading indicator (17) in the underside wind the film through completelyof the magazine shows a dot and a dash in the cranking movement was not complete- and
line like an exclamation mark: "The magazine the crank is not pointing forward. While this
is loaded!". When the magazine is empty, the in no way harms the camera, you can avoid
dash is at right angles to the dot. it by making a habit of checking the locking
The Rolleiflex SL 66 is now ready to shoot. of the crank before loading the camera.View original page 8Page 10 · Read text
Ij rilrn Transport ancl Unloading the Magazine
Shutter Tensioning
After the last exposure the magazine knob
springs out when you turn the crank an audible and visible sign that the fitm is finish--
ed.
Always complete the forward and back swing
of the crank (9).
Turn the magazine knob (10) until the remain-
der of the backing paper is spooled up and
After every exposure unfold the crank and the knob turns freely without resistance.
turn it fully forward and back again until it Open the magazine (11) remove the insert.
Iocks (8). The forward swing tensions the Swing away the spool pin and take out the
shutter while the return swing to its final exposed roll.
position advances the film. The camera is Transfer the now empty feed spool to the
then ready for the next exposure. During take-up end from which the exposed spool
shooting the crank may remain unfolded for was removed. This now becomes the take-up
immediate operation. spool for the next film.View original page 10Page 12 · Read text
Scale of Reprocluction Deptlr of Fleld
In close-up work the scale of reproduction
is more important than the subject distance.
With the aid of the scalds (for three focal
lengths) on the bellows rail you can set the You can check the extent of the depth of field
camera directly to the required scale of directly on the focusing screen or indirectly
reproduction. ln this case the best way of on the focusing knob.
getting the subject sharp is to bring the 1. For lenses with spring Ioaded iris dia-
camera nearer to or farther away from it. phragm press the stopping-down key (4). This
can be locked by inclining it and released in
The scale (1) gives the following data: the same way. The lens then stops down to
Alongside the focal length f igure (left) a the pre-selected value. The ground glass screen
triangular mark indicates the position of the is particularly suitable for this check on the
aperture setting index to signify normal (2) final image appearance.
and ,,retro" (3) mounting of the lens. (The 2. Opposite the distance scale index lines
bottom row thus applies to the B0 mm lens with appropriate aperture figures show the
mounted back-to-front.) extent of the depth of field (for a circle of
The scale of reproduction is the ratio of the confusion of 56 microns or 0.0022 inch). Either
image size on the film to the size of the estimate the actual subject distances or
originai object. For example 0.2: 115 natural measure by accurate focusing of the screen
size. Every figure applies to the bar next to image.
it. Beyond the first full turn of the focusing knob
The figures are set and read off along the or when using the depth tilt the figures act as
common scale limit (the degree scale). index values for the measured distances.
The centre line indicates the length of the At increased extensions the effective aperture
bellows extension in millimetres. For the of the lens changes. When the bellows ex-
scales of reproduction with different bellows tension is more than half the focal length, the
extensions for all focal lengths, including the effective aperture (which is what matters for
use of extension tubes, see page 21. the exposure and the depth of field) no longer
The centre line also acts as the index for corresponds to the f-number engraved on the
the degree scale when tilting the lens (depth lens scale. For actual depths of field under
tilt: see page 12). these conditions see page 25.
11View original page 12Page 13 · Read text
Pre-releasing the rnirrorExtended DePth
You can gain extended depth by tilting the
lens axis according to ,,scheimpflug condi-
tion" when the subject is confined to one plane
at an angle to the camera. By tilting the camera
and in addition tilting the lens axis it becomes
possible to extend the zone of sharp repro-
duction over a large distance range even at
fulf aperture. You can increase this zone
further by the depth of fieid gained on stop-
ping down.
Tilting the lens: Release the locking knob (1)
by turning to the left. Press down the lever
(2) and raise or lower the lens to set the
centre line of the scale (3) to the required
value on the degree scale. Then tighten the
locking knob (1) again.
The lever (2) engages at the two maximum The movement of the instant return mirror is
tilt positions as well as in the centre position mechanically and pneumatically braked during
of 0o. The locking knob should however also releasing. The mirror starts to swing slowly,
be tightened when the ,camera is used nor- accelerates and then slows down again. The movementmally with zero tilt. gentle conclusion of the swing
When the lens is tilted the infinity limit of the helps to keeP the camera steadier.
bellows movement is also displaced. Never In addition you can pre-release the mirror,
try lo force the focusing knob beyond this for example when using a not very rigid tripod, the limit. for shots with long focal lengths or in
extreme close-uP range.
"scheimpflug Indicator". Extended depth by
tilting depends on three parameters: To pre-retease the mirror: Press down the the 1. The distance setting to the centre of the sliding key (4). Release the shutter in
f ield; usual way. After the exposure the mirror
2. The vertical height of the camera above returns into its viewing position.
the object plane, and To bring the mirror back again without taking
3. The angle of tilt of the lens. a picture, cover the lens with the lens cap,
ln practice you can determine these three release the shutter and retension it with the
values in every case with the aid of the indi- film transport disengaged (see Multiple Expo-
cator (see page 26). www.butkus.us sures, page 13).
t2View original page 13Page 15 · Read text
Exposures with Filters Tripocl Quick Coupling
The 50 mm, 80 mm, 120 mm, 150 mm and
250 mm lenses have the same size Vl front
bayonet mount and use the same filters.
To fit the filter: lnsert the filter in the inner
bayonet ring of the lens and secure by turn-
ing fully to the right.
The 500 mm Tele-Tessar uses its own screw-
in filters.
The 1000 mm Mirotar requires special filters
which are inserted from the side in the optical
path of the lens.
The filter mounts carry, where applicable, a
correction value for the exposure value (for
example for the medium yellow filter).This correction-1.5 value is deducted from the
measured exposure value.
The camera can be mounted on a tripod
either via the tripod bush or still more conveniently with the tripod quick- coupling.
This utilises the- dovetail guide in the camera
base.
To prepare the quick coupling: Screw the
Exposures rrvith the coupling(1) fully tounitthetoleft.theThetripodlockingandlatchturn (2)theisknobnow
swung out of the way and the dovetail guideLens Hood unobstructed.
Mounting the camera: Place the camera in
The same lens hood fits lenses of 80, 120, the dovetail guide, push forward and then
150 and 250 mm. Only the wide-angle Distagon tighten the knob (3) by turning to the right.
requires a shorter lens hood. This swings up the locking latch and presses
the camera firmly into the dovetail guide.
To fit the hood: Place the lens hood in any To remove the camera proceed in the reverse
position over the outer bayonet ring and order, first turning the knob (1) fully to the
secure by turning to the right. www.butkus.us left.
14View original page 15Page 16 · Read text
Neck Strap lnterchangealrle
Gornponents
To hang the camera round the neck, hook
the broad snap hooks of the neck strap
(4) into the two strap eyelets at the side of
the camera.
The eyelets rotate freely, so that the camera
can swing in any shooting direction and also
hangs down naturally when carried over the
sh ou I der.
To release the neck strap press the spring
lock and push obliquely underneath the eyelet.
The snap hook comes free on pressing against
the camera side.
Filrn Type lnclicator
To mark the film type loaded in the magazine,
tear off the tab of the film box, fold it in half
and push sideways into the window handle of
the magazine slide (6). This direct indication
of the film packing, featuring both its lettering
and characteristic colour, avoids mix-ups when
switching between several magazines.View original page 16Page 17 · Read text
Lens Changing Ghanging the Focusing
Hood
The instructions for lens changing apply
equally to lenses mounted normally and
reversed, and also for the'Luminar adapter
and the extension tubes.
To rernove the lens: Press the key (1) and at
the same time turn the lens to unlock it from
its bayonet mount and lift off. When using
extension tubes, press the corresponding key
on the extension tube.
To fit a lens: Line up the red marks on the lens
and on the lens panel opposite each other (2),
insert the lens in the bayonet mount and turn
to secure until it engages with an audible
click.
When fitting the lens in "retro" position The focusing hood and focusing screen can
(reversed, the front element facing the film) always be changed irrespective of the operat-
use the red mark on the front bayonet mount. ing state of the camera.
With the lens mounted in this way, and also
when using extension tubes, the automatic To remove the focusing hood: Press the two
diaphragm control is disengaged and you have buttons (4) at the side with the thumb and
to set the apertures by hand. second finger of the hand while holding the
When using the Mirotar mirror lens follow the latter over the closed hood from the front' At
instructions enclosed with this lens. the same time lift the rear edge of the hood
To change the distance scale: Fully pull out with the index finger. thethe focusing knob and turn it in this position To fit the hood: lnsert the hood (with
(3) until the required focal length appears in magnifier release at the back) and engage it
the cut-out window (50, 80, 150 and 250 mm). by pressing home.
The easiest way of changing the focal length The folding focusing hood can be changed
is to turn the pulled-out knob to the right when against other special hoods. These are fitted
set to the infinity stop. and removed in the same way. www.butkus.us
r6View original page 17Page 20 · Read text
T Loading the Spare Tables and Data
I Magazine Surnrnaries >
I
I
i'{
I
li
Separate magazines are supplied with a
protective cover. This is always used on the
free magazine. To fit the magazine to the
protective cover or to detach it, proceed as
with the camera (6).
When the magazine is off the camera it is
closed lighttight by the slide; you can load it
in the same way as a magazine on the
camera.
lf you have pulled out the slide of a spare 'empty magazine and accidentally moved the
outer cog wheel of the magazine, the slide
will not go in fully. Remedy: Half pull out the
slide (7), turn the cog wheel in the direction
of the arrow (8) until it locks, and push back
the slide.
t9View original page 20Page 30 · Read text
/__{\}_-..r
Depth of Field
with the lens simultaneously set to a number
of subject distances we get an equal number
of different depth of field zones. when using
the depth tilt these zones cannot therefore be shows \tabulated. However, the indicator
visually the depth of f ield at one selected IBapertu re. \
lnstead of the line A, use the centre line c
to represent the subject plane. Place it over C
the indicator in such a way that the. D "il9l:tilt lcovers the point representing the required Xin degrees. The lines B and D then show the
limit of the depth of field in front of and behind
the subject plane. The aperture for which this
is valid is shown bY the small star.
Third example (5): The conditions are the same
as for example No. 1, i. e. the 80 mm lens f rom 1'3 tocovers a subject extending
5 metres.
Atigning and reading off the line c gives the
values already obtained. The circle covers the '/
point for a 4d lens tilt. The small star touches l'/
in" curve for an aperture of t111. The lines B
and D therefore show the limit of the depth ;-$ of fiefd attl11.
As shown by the location of these lines, the
depth of field zone is also inclined together
with the sharply focused subject plane. The
depth of field limit encloses the subject plane
increasing in space and increases with
distance. The direction and distance at which
this depth of field gain is most useful will
depend on the subject.
Depth of field gain along the camera direc' \l
tion (5): The different increases in the depth I of field for the upper edge, centre and lower
edge of the image can be read off directly, 6
for example along line X: 3.5 to 8 metres' I
28 IView original page 30Page 31 · Read text
Depth of field gain at right angles to the When using the depth tilt, the lens is always
subject plane (6): More significant in practice tilted towards the subject plane. Also be sure
is the maximum height of a subject (i. e. stand- to use the correct value for the vertical
ing at right angles to the object plane) which distance of the camera from the subject ptane.
will be reproduced sharply. Exact values are When photographing a table top this distance
here obtained with a ruler, utilising the scale is the camera height above the surface of the
of reduction of the indicator: table; when photographing a ceiling it is the
Look up the base point of the object on the vertical distance from the camera to the
blue line C (for example for the centre of the ceiling. The camera height becomes equal to
field). Place the ruler at this point at right the height of the tripod on which it is mounted
angles to the subject and read off the distance only when shooting obliquely down on to the
to the point of intersection with the line B f loor.
(approximately 1.6 mm in the example). To get an idea of the use of the indicator,
Multiplied with the reduction factor of 100 of practice first finding the correct settings for
the indicator this gives an admissible height imaginary subject conditions. This will also
of 16 cm for sharp reproduction. (With the g ive an idea of the scope of th is procedu re.
indicator for the 250 mm lens the factor is You will find for instance that with the 80 mm
200.) lens, maximum lens tilt and a vertical distance
of about 0.6 metres, the sharpness at full
aperture can extend from infinity down to as
Depth of field at other apertures: The lines B near as 1 metre.
and D of each indicator always define the zone After some practice with actual subjects you
of sharpness for one aperture (shown by the Practical Appf ications will soon gain sufficient experience to control
small star). To estimate the zone of sharpness the coverage in depth even without the
at other apertures, double the angle between Th is proced u re of extend ing the depth of indicator. For example:
the lines B and D for double the tlnumber (for sharpness is applicable to suitable subjects
example when using t/22 instead of tl11). irrespective of their location in space: the Focusing with the depth tilt: Select the subject
floor, a table top, ceiling decorations, looking field to be covered on the focusing screen.
up or down at vertical house fronts, or a row Focus the lens sharply on the subject in the
Determining other distances: Since the visual of houses taken obliquely from the side. In centre of the image. Keep this distance setting
arrangement of the indicator shows all this last case the camera is held sideways and fixed. Slowly tilt the lens and adjust the camera
distances reduced to the same scale, you can the screen image observed from the side. position so that the sharpiy focused centre of
work out any other distance of the camera The ideal case is a completely flat plane. The the subject remains in the centre of the screen.
set-up by measuring with a ruler and multi- (imaginary) subject plane can also be de- When the subject appears fully sharp also at
plying by the reduction factor. (For example termined by individual significant points of a the upper and lower edges of the screen, you
you get 4 metres for the overall length of the three-dimensional subject. Parts of the subject have the correct lens tilt. Now turn the focusing
subject plane covered.) For every job the to either side of this plane are reproduced with knob slightly to and fro to check whether you
indicator therefore facilitates the choice of the acceptable sharpness as long as they lie really have the entire image focused for
of field zone. maximum sharpness.best camera set-up. within the depthwww.butkus.us
29View original page 31Page 32 · Read text
The Ro!leif!e>< SL 66Gare of tlre GarTrera and Accessories
We reserve the right to make any technical
changes in the camera and its accessories.The Rolleiflex SL 66 calls for the same care
as any camera of which you expect long-term
reliability. For cleaning use the following well-
tried methods:
Remove dust with a soft camel hair brush or
a rubber blower bulb. To clean lens surfaces,
breathe on them and remove persistent dirt
with a soft, dry and fluffless (frequentlywashed)
rdg; As an anti-static protection breathe on
the g Iass su rf ace but then let the deposited
mistiness evaporate on its own.
Use special care in cleaning the Rolleiclear
focusing screen: the embossed underside must
only be treated with a soft brush or air blower. Order No.
Protect this side especially against soiling and 560 014 Rolleiflex SL 66 with 80 mm Carl g7g 210 50 mm Carl Zeiss Distagon tl4
finger marks. Zeiss Planar t12.8, lens Gap, 979 220 80 mm Carl Zeiss Planar t12.8 1201220 magazine, Rolleiclear 979 230 120 mm Carl Zeiss S-Planar f/5.6Protect the camera against the constant No. 150 mm Carl Zeiss Sonnar fl4inf luence of harmful vapours or moisture. with central micro prism, neck strap 979 240
The increased atmospheric humidity in tropical 560 010 Rolleiflex SL 66 bodY 979 250 250 mm Carl Zeiss Sonnar f/5.6 1201220 979 260 500 mm Carl Zeiss Tele-Tessarand sub-tropical areas represents a corrosion 560 012 Rolleif lex SL 66 body with No.
risk to metal parts, and can give rise to mould magazine t15.6 (in PreParation) 1201220 with 979 270 1000 mm Carl Zeiss Mirotar f/5.6on leather surfaces and to fungus growth on 560 020 Rollei mag azine No.
g lass su rf aces. lf at all possible, d ry the protective cover 206 010 Lens hood for Distagon lens
camera frequently by fresh air and bright sun. 560 030 Ground glass focusing screen with 206 O2O Lens hood for Planar, S-Planar and
Keep the magazine and surfaces in contact case Sonnar lenses f ilter size Vlwith the emulsion specially clean (gelatine 560 040 Rolleiclear with case 206 030 Medium yellow f ilter size Vlfragments rubbed off the film are particularly 560 050 Rolleiclear with prism rangef inder, 206 040 Green f ilter size Vllikely to breed fungus).When not in use for in case 206 050 Orange f ilter size Vlfonger periods keep the camera in a light- 560 060 Spare Rolleiclear with central micro 206 060 Light red Inf ra-red f ilter size Vltight container together with silica gel car- prism, in case 206 070 R 1 .5 colour conversion f ilter size Vltridges. Store the leather eveready case 560 070 Spare neck straP 206 080
separately. Particularly protect the camera 950 407 Eveready case 208700 TriPod quick couPling
against every kind of dirt. 970 480 Outf it case for the Rolleiflex SL 66 Further accessories in preparation
30View original page 32Page 33 · Read text
Handling Faults and Rerneclies
Fau lt Cause Remedy
The sf ide of the magazine off the camera Gear wheel (on the front of the magazine) Half pull out the slide, and turn the gear wheel
will not push in fully moved with the slide pulled out in the direction of the arrow until it locks
The magazine back will not close Film insert wrong;y located Swing the insert into the mag azine so that
the two gear wheels match (see illustration
on page 7)
The magazine will not attach'to the camera Crank not tensioned Remove the magazine, and swing the
crank fully forward and back
The magazine will not release from the camera Slide not fully pushed in Push the slide home to its f ull extent
The release button blocks 1. Release lock engaged 1. Turn the lock to free the release button
2. Magazine slide pushed in 2. Pull out the slide
3. Shutter not tensioned 3. Move the crank forward and back
After attaching the magazine: 4. Swing movement of crank only partially 4. Remove the magazine (with the slide pushed
completed in) and complete the crank operation
5. Crank not tensioned before f ilm loading 5. Press the lever near the crank base towards
After advancing the loaded film to No. 1 : the crank handle and swing the crank
fully forward and back
With the mag azine on the camera the crank Incomplete forward movement of the crank Remove the mag azine (with the slide pushed
movement blocks before it is complete before attaching the mag azine (result is in) and complete the crank movement
loss of f ilm f rame)
The magazine knob will not turn after Mag azine knob pressed in too soon Slightly open the magazine back (the knob
loading the film springs out)
The to-and-f ro crank movement cannot Magazine knob not pushed in after Push in the magazine knob and complete
be completed tu rn ing to stop the crank movement
The screen image is not visible Mirror pre-released Either release to take the shot or return
the mirror (page 12)
Lens will not swing up to the full Bo Focusing screen f rame protrudes forward Rernove focusing hood, push down the screen
frame and slide it to its rear stop
Flash does not fire from the X outlet Too fast shutter speed Note the recommended shutter speeds
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Check the model and edition against your equipment.
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