Rolleiflex E ~ (Carl Zeiss) Planar F/2.8
Equipment show-off. Then actually using the old tool.
Equipment show-off. Then actually using the old tool.
A photo of the viewfinder showing the projection of the top lens onto the focusing screen.
One thing i really love is capturing light on Film. Another thing i love is the the tools to do so. The complex and skillfully crafted mechanics for this in essence simple process fascinates me. So naturally i started collecting them not too long ago. Some rare and unique, and some bargains from early mass production. In this collection a rather old one. Quite large and heavy too.
Below, A portrait of the Rolleiflex in good cosmetic condition and fully working order. However the shutter knob sticks a little with bulk exposures, but hey it was build in the 50s. So that's ok. Amazingly even the battery-less light meter still works accurate. If you aren't familiar; A camera like this is called a TLR (Twin Lens Reflex) with one lens for viewing and one for the final exposure. A mirror behind the top lens is angled at 45 degrees to project the light upwards onto a square piece of white matte glass. The focusing screen. Like the screen build in a regular SLR's viewfinder, but this one is really big and bare naked. One of the things that makes using a TLR such a unique experience. The bottom lens is used for the actual exposure. The cherry on the cake. Behind the lens is the aperture and lots of empty space. The film travels flattened over the back plate. Ready to be exposed. Note the size of the taking lens, free of scratches and fungus. Branded with the legendary Carl Zeiss Planar name, and with its F/2.8 aperture the fastest available. Also even the top lens (Heidosmat) is of wonderful quality. Assuring accuracy and a visually pleasing projection to compose and focus with.
Below, A portrait of the Rolleiflex in good cosmetic condition and fully working order. However the shutter knob sticks a little with bulk exposures, but hey it was build in the 50s. So that's ok. Amazingly even the battery-less light meter still works accurate. If you aren't familiar; A camera like this is called a TLR (Twin Lens Reflex) with one lens for viewing and one for the final exposure. A mirror behind the top lens is angled at 45 degrees to project the light upwards onto a square piece of white matte glass. The focusing screen. Like the screen build in a regular SLR's viewfinder, but this one is really big and bare naked. One of the things that makes using a TLR such a unique experience. The bottom lens is used for the actual exposure. The cherry on the cake. Behind the lens is the aperture and lots of empty space. The film travels flattened over the back plate. Ready to be exposed. Note the size of the taking lens, free of scratches and fungus. Branded with the legendary Carl Zeiss Planar name, and with its F/2.8 aperture the fastest available. Also even the top lens (Heidosmat) is of wonderful quality. Assuring accuracy and a visually pleasing projection to compose and focus with.
Front view.
The Rolleiflex face down with the standard film back opened for loading. After more than half a century (yes really) still shines like new inside. And not so bad either on the outside.
It's one thing collecting the camera's. It's another finding the accessories that only few people have bought, and even fever have managed to keep intact. Much like this Plate Adapter shown above with its original box. In this photo the camera's back cover has been replaced by the adapter. Ready for the plate to be mounted by sliding it down from the top.
A total of 3 plates can be equipped with a single sheet of film when in a darkroom. One of the plates shown above with a 6x9 cm film sheet inserted. Only a 6x6 area at the bottom of the sheet will be exposed as you can tell from the square shaped light tunnel behind the bottom lens, seen in the photo above this one. A lid on the plates prevents the film from being exposed when moved outside the darkroom.
After sliding the plate down in the adapter it will be in complete darkness. The plate cover now can be removed safely by sliding it out upwards. And last but not least, a turn of the key allows the film sheet to be pushed in place at the lens its focusing point. The photo on the right shows the Plate Adapter next to the regular film back.
A single plate is shown with the key turned and the film sheet holder extracted, as it would be when mounted ready for exposure. The spring pushes and holds it at the right distance from lens to film. This allows it to be in focus when the projected image seen through the viewfinder is exactly that.
Plate nr 3, closed and ready for use.
And finally: Some photos.
Random shots with 12 exp. 120 film (6x6cm Medium-Format).
Random shots with 12 exp. 120 film (6x6cm Medium-Format).
I have only one successful shot with the Plate Adapter for now, but hey at least i know it works. As i was experimenting with photographic paper at that moment, i simply cut a few pieces of that to size in the darkroom and went outside to expose them, mounted in the plates. It took a few tries to find the right exposure time, but finally i got a nice mirrored negative on photographic paper. All the other photos you see below are from regular 120 medium-format films. Mostly just experimental, but they do show what the Rolleiflex can do quite well. I wish i had more to show, but at the same price of regular films and only 12 exposures. It adds up.
Shot on photographic paper with the Plate Adapter. Scanned, mirrored and inversed in Photoshop.
The DoF with the fastest aperture of F/2.8. Placed on the ground for a perfect horizon and a 50/50 divided top and bottom. A large amount of open space calms the photo with a clean and pleasing color palette.
Fireworks at new years eve burning its colorful light onto the film for one or a few seconds. Without a tripod.
The OOF (Out of Focus) areas of the Zeiss Planar lenses are some of the most pleasing available in optics. Especially with the extra narrow depth from medium-format film due to the large surface area. Rotterdam, The Netherlands
Railroads bring you all over the country with stunning views and plenty architecturally pleasing stations along the way.
The natural, but strong and vivid colors of Fuji Provia 100 slide film. Rotterdam, The Netherlands
Minimalism is the best with a taste of film and a classic lens. A cloudy but clear evening after the rain on Fuji Provia.
Grandpa the watch-repairman's attic. Has since passed away.
Alone with her thoughts.
Incredibly clear day after ice cold fog the day before. Captured vividly with Fuji Provia slide film.
Abandoned snack camper fallen apart through seasons.
And finally, i end this collection with some beauty in the mundane.
