Rollei Rolleiflex TLR Cameras And
Iconic Photographers Rolleiflex TLR Camera used and loved by many famous photographers in the world and it was a must-have item at the time with the celebrities of their stunning looks and ease of use can be found in the hands of James Dean, Grace Kelly, Elizabeth Taylor, Marilyn Monroe, Audrey Hepburn, The Rat Pack, George Harrison, etc. … today Rolleiflex has not lost its status in the new era of digital technology, but now more than ever searched for.
The Rolleiflex 2.8F
The Rolleiflex 2.8F was the last Franke and Heidecke Rolleiflex TLR (twin-lens reflex) with exposure meter coupled selenium cell, since its launch in 1960, when this star was born it was the most desired version and important professional camera in the market for 20 years, despite the impact of the Hasselblad 500C launched two years earlier, the Rolleiflex 2.8F was already second nature to a large number of professional photographers who provided their renowned reliability and quality to Clive Arrowsmith who had the honor of working with David Bailey, Helmut Newton, Richard Avedon, Robert Doisneau, Irving Penn, etc. .. to name a few who created iconic fashion, art and images from magazines, which has also been established with the names of great news, with optical quality of the Carl Zeiss 80mm f/2.8 Planar mechanical shutter and the last sheet, Synchro Compur. As a creative tool that was second to none, especially for photographing people.
The co-2.8F, which was less expensive and lighter, but just as good Rolleiflex 3.5F was launched two years earlier, in 1958, came with the election of two lenses Zeiss Planar f/3.5 or f/3.5 Schneider Xenotar where similar specification, build in 3.5F was great studio flash system continued in the 2.8F model that virtually guarantees that the shots were always taken with a small aperture.
Improved Near Perfection
The arrival of 220 films in the 1960s, giving 24 exposures approximately 6×6 cm instead of 120 film 12 shots, led the 2.8F Type 2, published in 1965, the improvement and the good thing was a switchable -exp/24-exp 12 bar and pressure plate could be set to 120 or 220 film. 220 As a film had no backing paper between the initial leader used to load and trailer for winding out, the more pressure is needed maintaining the film flat in the exposure plane. The first examples of type 2 still 2.8F Planar f/2.8 lens, while later after 1973 had a 80mm f/2.8 lens Xenotar Schneider, The facility had 220 3.5F Type 2 in 1960. Since the beginning The meter coupled selenium cells was not standard exposure on either the 3.5F 2.8F or. It was an extra option that most buyers have decided. Models originally sold without meter could have the meter factory equipped later.
The 3.5F and 2.8F following earlier after the Second World War Rolleiflexes professional market with roughly similar characteristics, but gradually improving the development of sophistication and performance. Rolleiflexes with f/3.5 lenses where Automata Rolleiflex known as before 1956 and went through many variations well documented in books and collectibles web sites here on the net. The final Automat was known as the Automat MX-EVS for its Synchro Compur shutter had both M (bulb) and X (e) flash sync value and exposure settings equipped with a 75mm f/3.5 Tessar. The advent of the Rolleiflex 3.5E for the professional market in 1956 and the market for Rolleiflex T amateur 1958clearly Rolleiflex separated the target in a way that had not happened before market. Franke and Heidecke had previously taken the view that those who could not afford one should buy a Rolleicord Rolleiflex, a sister and a production model for Rolleiflex.
The f/2.8 models defined by the letters of the alphabet started in 1949
- 2.8A Tessar f/2.8 that had a less than ideal optical performance, 2.8A was the only 6×6 Rolleiflex f/2.8 II have size filter and hood mounts, later used by all 3.5E and 3.5F Cameras.
- 2.8B Type 1, launched in 1952 with 80mm f/2.8 and Compur shutter Biometar fast, also in the same year 2.8B Type 2 was released with Synchro Compur (both very rare)
All 6×6 Rolleiflexes from 2.8b had the new size III filter assemblies BayNet bell, and by the way, if you ever met a Biometar acquired f/2.8 and cling to it for dear life, as they are very searched.
- 2.8c Type 1 in 1953-1954 made the first model with a Xenotar f/2.8 Schneider. Type 2 2.8c did in 1954-1955 had a broader focus knob and was generally equipped with first lens Rolleiflex Planar 80mm f/2.8.
- 2.8D did in 1955-1956 was essentially a 2.8c Type 2, but with a Syncro Compur shutter EVS with aperture and shutter conforming linked to exposure values.
- 3.5E and 2.8E made in 1956 have improved in many ways in minor respects from its predecessors, usually equipped with built-in exposure meters selenium cells were not coupled to the shutter and aperture.
Then came the 3.5 F 2.8fy already described.
Wide Angle / Wide Angle Tele Rolleiflex and Rolleiflex
The arrival of the Mamiyaflex Japanese twin lens reflex with interchangeable lenses in 1956 had a major impact on the Rolleiflex sales, particularly wedding photographers to be able to fit a TLR with a high quality wide angle made it possible for wedding photographers to be closer to a wedding party in front of photographers annoying fans who at that time were equipped mainly with wardrobes and wear glasses before professional protected. Rolleiflex got hit with another portrait photographers switching to Hasselblad, Hasselblad 1000F as might be equipped with lenses of 135 mm or 150 mm lens on a Hasselblad 500C. Rolleiflex Franke and Heidecke retaliation when did what Reinhold Heidecke considered the response to the Rollei and Hasselblad Mamiyaflex the Rolleiflex Tele made in 1959-1975 there was a 135mm f / 4 Carl Zeiss Sonnar Wide Angle Rolleiflex and conducted in 1961-1967 equipped with superb 55mm f / 4 Zeiss EF, these chambers were specification E2 or F-, optionally with or without incorporated exposure meter and with no interchangeable lenses and long focal lengths shorter than the standard camera. The Wide Angle Rolleiflex is probably the most valuable of all production Rolleiflex cameras with only 4000 ever made and now you can find in decent condition over $ 4000 in the collectors market.
During 1958-1976 Franke and Heidecke made a commitment to increasing complexity and sophistication launched Rollei and Rolleiflex T was made into a very recognizable gray finish but later was changed to a black finish in 1971, to maintain this economic model lacking the automatic detection of film Rolleiflexes highest and had to be carried using the system common to the TLR Rolleicord and most the’red bot ‘Japanese. It effectively replaced the Automat MX-EVS preceding the E series and kept the 75mm f/3.5 Tessar improved version with lanthanum glass, which improved resolution and features eruptions. The build quality was a bit more utilitarian than the top line of Rollei, but had that key features rapid wind crank Rolleiflex. The T series does not come with a gauge exposure to light installed selenium value, but was available to be factory fitted or installed as an extra, but considering the pros and cons Rolleiflex T series is a very effective camera use.
The increase in financial difficulties caused more by the cost of development and innovation in creating 6×6 SLR and lack of sales Rollei 35mm SLR to the market crash of TLR in the face of Japanese competition brought Franke and Heidecke bankrupt in 1981. The company emerged from chaos, Fototechnic Rollei GmbH, funded largely by a British company, seeking market shares during the 1980s with what they identify as most innovative products Rollei SLR. Producing better SL2000F Rollei 35mm SLR resumed, the Rollei SL66 and also applying the 2.8F elements to produce a new special edition 2.8F Aurum gold. In 1987 the final Rollei TLR and 2.8GX 2.8FX appeared.
buying a Rolleiflex
careful wear, 3.5F and 2.8F models saw more commercial, which required a lot of wear. Examples of mint has probably been around amateur use. but parts and repair are available. If you can see the camera before buying, wind and fire of a film through it, checking speeds and aperture settings, if the wind feels rough around the camera. If the shutter button is slow or irregular slow speed, the camera needs service. If you are new to TLR and curious and would like to have an idea before you decide to put serious money for a Rolleiflex, I personally recommend maybe looking at a Yashica 124G TLR camera as a starter, Since moving to I personally had some Rollei Yashica TLR’s in my time producing amazing results.
For more information on all models and prices: http://imagesandcameras.com/buying-rolleiflex-tlr/