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Rolleiflex Guide Reference guide
Reference guide for Rolleiflex Guide. 61 pages in English. Read the original PDF, download or print a copy without registration.
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- Rollei
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- Rolleiflex Guide
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- Reference guide
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- English
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- 61
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Page 2 · Read text
ROLLEIFLEX ORIGINAL ROLLEIFLEX 4 X 4
ROLLEIFLEX BABY ROLLEI 3.5E, E2, E3, F
ROLLEIFLEX SPORTS ROLLEI 2.8E, E2, E3, F
ROLLEIFLEX STANDARD ROLLEIFLEX T
ROLLEIFLEX STANDARD NEW TELE.ROLLEIFLEX
ROLLEIFLEX AUTOMATS WIDE ANGLE ROLLEIFLEX
ROLLETFLEX 2.8 - 2.8C - 2.8D ROLLEIMAGIC I, II
Special edition by A PHOTOGRAPHERS PIACEView original page 2Page 5 · Read text
TIIE ROLLEIFLEX CAMERA exposure meter which in most cases is coupled to the
The Rolleiflex is the original rollfilm, twin-lens reflex aperture- setting.
camera design, from which virtually all other cameras of A film type indicator is built into the film transport knob.
this tlpe are derived. It takes 12 exposures 2| x2l in. Film transport is effected by a crank situated on the side
(6x6 cm.) on standard 120 rollfilm or 24 exposures on of the camera. It locks when the correct amount of film has220 film with specially adapted models. A "baby" Rolleiflex been wound on to bring each new frame of film into
4 x4 cm. for 12 exposures on 127 rollfilm is also available. position.- A counter registers the number of exposures madc. Two lenses-matched for focal lenglh-are mounted A tripod bush is located in the centre of the camera base.
one above the other on a common panel. The upper lens pro- The back of the camera hinges open for the insertion and
jects an image of the subject via a mirror to a focusing removal of films and can also be removed. It carries a sub-
screen in the top of the camera, while the lower one projects stantial spring-loaded pressure plate.
a similar image on to the fihn. The focusing screen image, Transporting the film automatically tensions the shutter.
therefore, shows at all times the full size picture-upright but The shuiter is released by a body release knob on the front
reversed left to right-as it will appear on the film. To com- of the camera. When not in use, it can be locked to prevent
pensate for any parallax between the viewing and taking accidental release. The shutter cannot be released until the
lens a mask is built into the viewing camera below the film has been wound on, thus preventing double exposures.
focusing sereen. To avoid blank frames, the film cannot be wound on until
the previous frame has been exposed. The focusing screen on top of the camera is protected in The shutter on most current models is a Synchro-Compurthe closed position by the folded-down finder hood. When with speeds from I sec. to l/500 sec. as well as B. It has built-openeci, this forms a light excluding hood 2l in. high; it in delayed action and is flash synchronised.carries a magnifier for critical focusing. A frame finder for Both the taking and finder lenses together with theeye-level direct vision use is built into the hood. shutter are enclosed in a dustproof casing, which has peep The hood on current models is removable and can be windows at the top showing shutter speeds and apertures.
replaced by a pentaprism, which permits eye-level focusing, A wide range of accessories is available for the Rolleiflex.showing the image upright and right-way-round. Both finder and taking lens carry bayonet rings for fitting
The finder lens in all models is faster than the taking lens filters, close-up lenses and similar attachments.
and cannot be stopped down. This ensures a bright focusing The Rolleiflex is about 5| in. high, 3f in. wide and 3f in.
screen image and, having rather less depth of field than the deep. Its weight is about 341ozs. The body is an aluminium
taking lens, allows for very critical focusing. alloy casting.
The interior of the camera body is fitted with light baffies The Rollei Magic models have a few different features
which effectively avoid scatter of light and enhance the which are detailed in the green pages.
brilliance of the picture.
The Rolleiflex is focused by a large focusing knob on the RolleiJle* Euolution
side of the camera. This is geared to the front panel and The original Rolleiffex was introduced in 1928. It took six exposures
smoothly and simultaneously controls both lenses. A depth 2tx2l in- on I l7 film, which is now discontinued. It can be converted knob transport size 620 A film film. on exposures to tate l2 2[x2l in.of field indicator is incorporated. window. a red are counted It is fitted in the advances film, exposures Current models are available with a built-in photo-electric with a 70 mm. Tessar /4.5 lens in a Compur shutter (l to t/300 sec. www.butkus.usView original page 5Page 11 · Read text
But if we photograph anything at close quarters-take a portrait for The frame finder cannot be used for focusing, apart from
example-the parallax may show. The image as seen through the the quick change arrangement of the models since 1950 frame finder may say, include a hat the all of, by worn subject of your (not on Rollei Magic, T and 4x4). quite portrait, picture be while a portion the of taken. it may cut off in So do not use the frame finder at close quarters. If you must use it, This procedure is unsuitable for photographing moving
make allowances by incltrding in the frame finder view a strip on the subjects. Tha frame finder is, however, more-effeCtive with
top you can do without in the picture. That strip must be the wider zone focusing methods (p. 58). These ensure that all
the closer you are to the subject. subjects within a certain depth of field will be recorded
Focusing sharp. This last method of focusing is, in fact, preferable
to any other when dealing with rapidly moving subjects in The second purpose of the reflex finder-obtaining the front of a reflex camera. It is almost impossible to catch best possible definitibn-is at the same time one of the and shoot fast motion when you are looking down withmost important means to ensure good results. your attention fixed on the mirror that shows directions The less experienced user of the reflex screen is apt to
accept, all too hastily, a seemingly sharp impression of and movement the wrong way round. With a frame finder, it is quite easy to follow everything and keep the other eyethe image for satisfactory definition. There are, however,
different degrees of sharpness and you can make use of on the subject before it comes into the field of the finder. Alternatively for action shots you can pre-focus thethese very differences to find the best possible setting. camera at a distance at which the subject will be at a given Turn the focusing knob to and fro while observing how
moment, or focus on a spot which the subject has to pass.-(e.g.the main object to be focused becomes more and more sharp With subjects liable to react self-consciouslyup to a point beyond which it will again lose definition. children), focus on some object which is the same distance At this "beyond" stage reverse the movement of the focus- from the camera as your real subject, but in a differenting knob. Slowly narrow down the degree of to and fro direction. When the range is found, swing the camera roundmovement of the focusing knob until you unmistakably
arrive at the point of the very best definition. and shoot.
You encircle, as it were, the point which you want abso- Shooting a
lutely sharp by going over and over again its neighbourhood, Practise the following operations first with an empty
all of which will appear reasonably sharp. Before or beyond camera until you can do them practically automatically.
the point of maximum definition the irnage still appears l. Work the film transport. This advances the film counter
sufficiently sharp, but do not be deceived by this fact-the and tensions the shutter.
image is not good enough for enlarging. 2. Set the exposure. Adjust the shutter for the right amount
When watching the screen at waist-level, swing the built-in of light for the subject conditions (p. 3l). On Rolleiflex
magnifying glass into position; this will help to check models with built-in photo-electric exposure meter, the
critical sharpness. The camera is best raised near to the eye meter indicates the setting or even sets the controls.
when using the magnifier. When you have finished with it 3. Select the aperture-speed combination you want to use;lower it again, otherwise-with the rnagnifier in front of smaller aperture for greater depth of field (p. 3 l) or faster
the screen-you may get excellent definition, but may lose speed to arrest movement (p. 39).
sight of the picture as a whole. The magnifying lens can be 4, Focus and determine the picture area to obtain a sharpchanged and users with defective eyesight can obtainwww.butkus.uspicture and the view you want.
alternative lenses with correction of * 3 to-3 diopters, 5. Release the shutter gently.
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These FILMS AI\.ID FILTERS light, night photography and ill-lit stage pictures. films are specialist types for conditions where normal
r^aterials are totally inadequate. They should not be used There are two kinds of films available for the Rolleiflex: for general photography. The high speed is achieved at someblack-and-white and colour. cost in definition and graininess. Speed ratings range from
500-1600 ASA or 28-33 DIN.
Black.antd-White Film The above speed figures are based on the latest ASA Standard for film speeds (and on the BS and DIN Standards under revision).
This produces a negative in which the colours and bright- These figures, when used on the exposure meter, give minimum
ness range of the subject are translated into black and white. correct exposures, to make the most of the versatility of the film and
From it, prints or enlargements on paper (or, in special of the image quality. They are also the figures quoted by most film manufacturers. Sometimes films are, however, still rated according tocases, black-and-white transparencies) can be made. earlier standards which in effect incorporated a generous safety factor
The black-anGwhite film used normally is panchromatic, against underexposure-by the simple process of overexposing films
that means that it is sensitive to all colours. There is a choice about 100 per cent (well within the exposure latitude of most black-
of several types differing mainly in sensitivity as well as and-white films). So you may conre across films apparently only half as fast as others of similar type, because of this difference in ratings.certain other characteristics. "\, The table on p. 70 indicates the current film speeds to be used
SLOW FILMS are of low sensitivity, requiring compara- with the exposure meter, even if the film packing gives a lower rating.
tively great exposurg. Their main advantage is the extremely This applies to black-and-white negative materials only; speed rating methods have not changed for colour films.fine grain, permitting a high degree of enlargement without
its granular structure becoming unpleasantly visible. Such There is a wide range of different makes of films in all
films also yield images of the greatest sharpness. On the speeds on the market. Their characteristics, apart from
other hand, these slow films are not very suitable for cciping speed, vary slightly from make to make. It is safe to say that
with fast movement in other than exceptionally good light- all well-known brands are reliable and good. The best film
iog, nor for general work in poor light. Such films are rated is the one you are used to. Professional photographers and
at 32-80 ASA or 16-20 DIN. advanced amateurs may find one or the other characteristics
MEDIUM SPEED FILMS still yield a, reasonably fine of a particular make-i.e., its gradation, granular structure,
grain with good gradation. They are the most suitable acutance, etc.-of particular value for specific jobs.
material for all-round photography, other than in poor
light. These films are rated at 8f 160 ASA or 2V23 DIN. Colour Film
FAST FILMS with somewhat coarser grain (still accept- These films produce an image in colour after appropriate
able for reasonable degrees of enlargement) will cope with processing, corresponding directly or indirectly to themost light conditions including poor light and interiors in natural colours of the subject. From the practical point offavourable conditions. This is the right film for the photo- view, colour film is as easy to use as black-and-white filmgrapher who wants to be prepared for the unusual, to arrest but needs a little more care in exposure. Processing is morefast movement with high shutter speeds, as well as shots in complex and is often carried out by the film-maker orpoor light. The speeds are 20G400 ASA or 2L27 DIN. specially appointed processing laboratories.
ULTRA FAST FILMS are primarily intended for high- There are two basic types of colour film: reversal and
speed sports shots in dull weather, interior snapshots in poor negative.
23 24View original page 14Page 16 · Read text
much a matter of personal taste, and you can only bc The Choice of Colour Filrn
recommended to try various makes to find the one which Making your choice between colour reversal or negative
suits you best. fi.lm (in spite of the various uses that can be made of either
type of material) remains an individual question.
First there is the way you want to see thc result, as a
Colour Negatioe Filrn colour print or as a colour transparency. The print has no
On processiog, this produces a colour negative which doubt much to commend itself. It is easily shown, stored
shows a negative image of the subject in its complementary and carried about. The transparency calls for the aid of a
colours€.g., blue appears yellow, red appears blue-green, viewer or projector.
and so on. These colours may sometimes be hidden under Next, the cost of a colour print is about three times that
an overall orange or reddish tint. of the transparency. This may at times be mitigated by the
The main purpose of the colour negative is the production fact that from unsuitable negatives no colour prints need
of colour piints on paper. The quality is generally higher or can be made. The transparency user, however, has
than that obtained from a positive transparency. additional outlay in the form of a viewer or projector with
From the colour negative you can make: screen (in most cases both).
(a) any number of colour prints in varying sizes, Rolleiflex transparencies made on size 120 film need
(D) direct black-and-white prints or enlargements, in the projecting in a large-size projector which takes 2t x2l in.
same way as from a black-and-white negative. slides. Alternatively, you can cut down the transparency to
(c) positive colour transparencies for viewing or projection. fit 2x2 in. miniature slide frames (18 x l$ in. super slides).
Most colour negative films are suitable for exposure by Certain Rollei models (r) can yield l8 x I $ in. transparen-
any type of light-r.g., daylight, flash or photofloods. The cies directly. With the Rolleikin outfit and 35 mm. film
ne@ssary adjustment of the colour rendering is carried out you get 24 x 36 mm. transparencies for mounting in 2 X 2 in.
during the printing stage. Manufacturers sometimes recom- standard frames.
mend conversion filters even with colour negative films. A final point to consider is the quality. The transparency il1lvThese mainly serve to simplify the subsequent correction will record each colour and its brilliance in full. Held to the ,k ,w,
needed in printing. light or projected on a screen, the brightness range, which q-
may be 100:1, is fully or almost fully retained. It shows "ff't'
colours brilliant with great depth and realism. The colourColour Filrn Spee& print can at its best only reflect four-fifths of the light falling afi
The majority of colour fihns, reversal and negative, are on it and even the darkest tones reflect about one-twentieth
rated between 25 and 80 ASA or l5-20 DIN, corresponding to one-tenth, so that the full range is no more than 16 : 1.
to a slow to medium speed for black-and-white material. A While the colour print is, by necessity, duller than the
few films go up to 160 ASA or more for poor light con- transparency, it is only fair to say that the eye soon adjusts
ditions. itself to the reduced brightness range, and subjects without
As with black-and-white films, the slower types tend to great contrasts will be very satisfying.
yield improved image detail, especially with negative colour From the point of view of convenience, reversal film has
film, while the fastest emulsions may show slightly reduced the advantage that it directly gives finished colour pictures
colour saturation and image sharpness. of high quality and is still capable of producing colour prints
27 28View original page 16Page 18 · Read text
EXPOSURE much" and "how long". A large amount of light striking
the film for a short time may produce an image similar to Exposure means-to expose the film in your camera to that produced by a small amount of light striking the film light. The dose of light any film needs to produce the right for a lbn$ time. *Ience the free choice from a series of sort of image depends on how sensitive that film is to light. balanced aperture-shutter combinations offered by yourA fast film is more sensitive than a slow film. exposure meter: more or less open apertures paired with Once yo.ur choice of film is se_ttled, the basic condition of more or less quick shutter speeds, and more or less stoppedexposure is settled with it. You are now left with the down apertures paired with more or less slow shutter speeds.problem of scaling the light you find in front of your camera Cameras of recent vintage combine these pairs, made upto the amount your film needs.
Your job is to jud.ge the light reflected from the subject of aperture stops and shutter speeds, into single figures which are then called exposure values or light values. Once youyou are about to photograph. Your grandfather as an set the exposure value suggested by the exposure meter bothamateur photographer used to take into account his geo- the aperture and the shutter speed move up and down ingraphical position, the time of the year, the hour of the duy, step against each other, and so keep the resulting exposurethe state of the sky, as weltr as the tone of the subject itself, right at every combination.and by so adding one thing to another size up- the lighi With exposure meters built into the camera and coupledreflected from the subject. The experienced professional, of to cross-linked aperture-speed controls you set the rightcourse, hardly ever worked that way. He just had a look exposure without looking up the number either on theand he knew. meter or the camera. You set the exposure visually by fol- Today a light meter or exposure meter does the same for lowing the swing of the needle in the meter and matchingany photographer. It takes a look, it measures the light and it with a pointer or a circle on the spot where the needleit lets you know.
In fact, it does more than that. It translates the light comes to rest. Certain shutters (e.9. Prontormat) are linked to the ex-measured straight into terms of photographic exposure. It posure meter in such a way that the meter automaticallydoes so by presenting you with the choice of aperture selects and sets a correct aperture-speed combination annumbers and shutter speeds, sorting them out in pairs. instant before release. In that case, no choice of alternative
settings is available; simpler operation is obtained at someAperture otd Speed sacrifice of versatility. This applies to Rollei-Magic I but
The aperture nurnber or f stop controls the amount of not the Model II.light allowed to enter thrgqgq These numbers run lh9 ]e$. Choosing the Combinotionin a series: 2-2.8+5.G8-l l-16-22. Each higher stop But whether you work out the rigbt exposure from annumber lets through half the light of the next lower number elaborate table or chart;(next larger stop). whether you are presented with a series of exposure The shutter speed controls the length of time for which values or pairs of aperture figures and shutter speeds;the lens is kept open to light. Shutter speed figures represent whether you just set the exposure to the point shown byfractions of a second:2: * second,4 : L second . . . the needle in your meter;500 : l/500 second. you still have one decision to face: which aperture-shutter The actual exposure is a product of these two: "how combination to choose for any given shot. Paradoxically
3l 32View original page 18Page 20 · Read text
Time Erpotttrct Meters are scaled to suit typically average subjects- i.e.,
When the light is very weak, especially when you have to subjects with average areas of light, dark and middle tones.
use a small stop, even the slowest shutter speed may be too So if you point the meter at a subject of this ,kind, the
short. In that case, you need time exposures. Set the shutter exposure reading will be correct.
to B and press the release button. The shutter now remains But if the subject is not average-if there are large high-
open for any length of time until you let go of the release light areas and little shadow, or large shadow areas with
button. few highlights-then you have to modify the exposure
For such time exposures, the camera must be mounted reading to obtain the best results.
on a firm support such as a tripod. So there is more to using a meter than just pointing it at
It is safest to release the shutter with the help of a cable the subject and accepting without que3tion the reading
release to avoid shaking the camera. This release screws into indicated.
the release button. The usual method of using a meter is to point it directly
For long time exposures, where the shutter is to rem ain at the subject. This gives the correct exposure reading pro-
open for longer than you can conveniently keep the release vided the subject has an average mixture of highlights,
depressed, use a cable release with a lock. To make the shadows and middle tones. But if there is a large bright area,
exposure set the shutter to B, press the cable release plunger or a large dark area, the best method is to go near to the
with the locking plate lifted. The shutter will now remain main subject and take a close-up reading. For example, if
open until the locking plate is depressed. On cable releases the subject is a figure against a white or dark background,
with locking screws, tighten the screw on pressing the by going closer you will reduce the amount of background
plunger and undo the screw to close the shutter. affecting the meter and therefore get a reading in terms of a
more average subject, which is what you want.
The Self-tirner For some subjects you can take a reading from really
The Rolleiflex carries a delayed-action release or self- close up, aiming the meter at the part of the subject that you sure has optimum exposure. For instance,timer. This is controlled by the same lever as the flash want to make
synchronization. When you press the release button with many photographers take a close-up reading of the sitter's
the self-timer in operation, the shutter only goes off after a face in portraiture; out of doors you can take the reading
thedelay of 8-10 seconds and you have time to ta\e your plage from the back of your hand instead of going up to
in your own picture. The camera must, of course, be subject. a close-upmounted on a tripod. If you cannot go close up to a subject that needs reading, then try to find something near at hand that is
similar in tone to the subject and take a reading from this.
Using on Erpotu?e Meter When taking readings of general scenes including a good
To get the best results an exposure meter has to be used deal of sky, you have to tilt the meter down slightly to
intelligently. This may look like a contradiction, since we reduce the area of sky "seen" by the meter. The sky is a
have already said that it is an accurate light-measuring in- bright highlight, and by tipping the meter down to exclude
strument. But light from all parts of the subject-highlights, some of it, the subject becomes "average" in tone range.
shadows and middle tones-falls on the meter, so the reading Open views, such as distant landscapes, usually have very
it gives us is an average one for the whole subject area. light shadows, so you can give a shorter exposure ttran the
35 36View original page 20Page 22 · Read text
camera position and glve four to eight times the exposure thgy are approaching or receding.
indicated. The most convenient way of ailowing for all these factors
col-ouR FILMS have little exposure latitude, so parti- is wirh the aid of a simple table (p. 49).
cularly careful reading is advisable. The meter is used in the Aperture ond Depth of Fieldsame way as for black-and-white films.
Il Because of the importance of the highlights, if you are you focus the camera on a given object, the image lilllsing a meter from the camera position for an against-the- of^w-henthat object will be lga,lly sharp on th; fiim. Thinlslight shot, it is best only to double the reading, -forand not nearer or farther away- yill- be gradually less and less sharf, fl$)multiply it four to eight times as recommended black- until they- are noticeably bluried. Th6 range of distancii rrltrl
and-white negative films. over which objects-are ltlll acceptably sharp, before you do notice the loss of definition, is linown as tlie depth df field. #lShutter Spee& ord Mbaernent . .. You can control the extent of this sharp zon€ by the lens
I The actual shutter speed you need within a series of aperture. As-yog stop down the lens, the zone of iharpness .ll4t
available aperture combinations is governed by-subjectcon- grows in both directions; as you open up the lens, its aepthsiderations of camera steadiness as well as of decreases.
movement. You can obtain the actual zone of sharpness at various *l
*l An unsteady camera hold results in camera shake. Even apertures and distances from depth tables, but in practice
the slightest shake will result in inferior definition of the the most convenient way is to use the depth of fieid indi-
negative. Practical experience goes to show that I ll25 sec. cator. This exists in two types. On some Rolleiflex models
special scale of aperture numbers marked oppositeis safe, while you have to hold the camera particularly it it .q
steady when using I lffi or l/30 sec. Where lighting conditions the distance scale. There are two sets of such numbers
make even longer exposure times essential and-there is no from the largest stop ("f 2.8) to the smalles t (f 22) on each
subject movement, either support the camera on a tripod side of the focusing index (the mark that'-indicates the
or look round for extra support for your elbows and hands distance to which you have set the lens).
figures opposite each-e.9. a wall, lgiling, etc. St qoy distance setting, the distance The shutter speed required to arrest movement depends pair of aperture nunrbers on the depth of field sbite give the
of course primarily on the speed with which the subject near and far limits of sharpness. For example, at I dft. you
moves. Remember, however, that parts of the subject (e.g. Tay find the-two stop values 5.6 on the scalit tt5.6) oppositethe legs of a runner) may move faster than the subject as a about 8 and l1 ft.-so you have a sharp zone froii g towhole; you may sometimes have to compromise and show I I fl Al _.f 2.9, the distances opposite the stop values z.gsuch parts slightly unsharp. Often that is not a serious fault, respectively ; at .f I I you might get a Tay be 9| and l0_| ft.as sligbt blurring-provided the main part of the subject is sharp zone frorn 7 ft. to l5 ft.
sharp-helps to emphasize the impression of movement. You will also notice that the depth of field is greater at
Other factors to consider are the distance of the subject- far distances than at near ones. At 5 ft. and -f s.6-the sharpthe farther away, the less noticeable the movement blur; the zone olly covers from about 4l to 5fr ft.-l-ess than l| fi.focal length of the lens-a long-focus lens in effect brings altog.ethel nearly : ft.-at the l0 ft. setting. -19?nsrthe subject nearer; and the direction of the movement. Other Rolleiflex models have an automatic dept[ of field
Objects moving across your field of view blur more than if indicator consisting simply of an extending rinite strip.
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DEPTH OF FIELD This is coupled to the aperture control and directly shows
the near anO far limits of sharpness without reference to
aperture numbers.
Two more points on dePth of field.
First, the dipth obtained depends also on the fr"rcal length
of the lens. Short focus lenses yield nlore depth and tele
lenses less depth. As the lens of the Rolleifler is fixecl we can
ignore this point. - Secondly, the sharp zones obtained by the indicator or
tables are based on a somewhat arbitrary assum ption of
how much blurring is acceptable. So depth of field data for
different cameras with the same lens rna)' not always agree,
and you are also quite safe in rounding off figures ohtained
from such data. And if you intend to make really. big
enlargements from your negatives, yoq caq usc strtcter
stand?rds of sharpniss by simply stopping down tl:* lens
by one stop.
Zone Focasing
With action subjects and similar occasions where ypy
want to shoot quickly, determinirlg siiarp zones. evell with
the depth of field indicator rryastes too much time. There
you ne^ed prepared settings coverlng given near and mecliunr
distaure ranges that ycu can easily rnernorize and s*t on th*
camera. ThJfocusing zone tabie (p. a7) gives such settings;
then you only have to worry ai:out keeping the sr.rbject
rvithin that zone while you slaoot" | /.-5\ | you sometimes need deptltrw15 20 30 60.* With landscapes ancl views
f rorn infinity to ilie nearest possible point. Thrus by stopp:ng
down to -f l-l and focilsing on 25 ft. you get a really extenelecl zone fiom infinity do.,rn'n to about 12 ft" tsut don't use this
setting if you want the maximutn sharpness in the f*r
distanq:e ; in that case focus on infinity ( co).
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4l 42View original page 23Page 24 · Read text
FLASH PHOTOGRAPHY How to use Flo,sh
The Rolleiflex shutters are internally synchronized for use Flash is an efficient light source where no or insufficient with flash bulbs and electronic flash. The cable from the daylight is available such as at night, indoors, etc. In the flash gun is plugged into the flash socket of the camera. t flashlight you carry your own private "sun" with which you On releasing the shutter, an electric circuit is automatically can illuminate your subject or scene at any time and place. closed through the flash socket, setting off the flash at this THE FLASH BULB is similar to a small electric bulb. However, when current passes through it, it lights up in an moment. il
Rolleiflex intense flash lasting usually about ll40 to l/60 sec. Each The shutters of the Rollei-Magic II, earlier 197 | have a non-adjustable bulb will flash only once and has to be discarded afterwards. models and Rolleiflex T since
The flash bulb is inserted in a flash gun and the current of flash contact which has the characteristics of the X-syn- 1 the battery fires the bulb,.while a reflector fixed behind the chronization described below. On all other shutters the
I bulb makes sure that all the light is directed towards the synchronizing lever can be set to X or M
subject. Most flash guns incorporate a capacitor unit which The Rolleiflex models prior to 1950 are not synchronized
increases the reliability of firing, even when the battery is for flash but they can be fitted with an internal flash contact I
n^arly exhausted. The shutter speed, provided it is slower and are then handled as explained for X synchronization.
trran I /50 sec., has no erfect on exposure, since the flash is WITH THE SYNCHRONIZING LEVER SET TO X
shorter than the exposuie time. the shutter closes the flash circuit at the moment when the l
Popular-size flash bulbs are now being made only in the blades are fully open. Therefore, electronic flash is syn- Iblue-tinted variety. These can be used for black-and-white chronized at any shutter speed to I /300 or I i 500 sec. This i#4
or colour (negative or reversal) photography. either as the setting may also be used with flash bulbs with short firingsole light source or as fill-in lighting by daylight. Clear delay (i.e. bulbs which require only 4-6 milliseconds- -l
glass bulbs used to be recommended for negative colour thousands of a second) to reach the peak of their light
fiLms but this is no longer the case. output with the shutter set to I /60 sec. With other bulbs, -1 ELECTRONIC FLASH UNITS utilize the discharge of the fastest usable speed is I /30 sec.
a high-tension capacitor through a flash tube. The power is WITH THE SYNCHRONIZING LEVER SET TO Mderived from an accumulator or battery (there are also the shutter closes the flash circuit I G l8 milliseconds before
models working from the mains electricity supply). The the shutter blades open to allow for the firing delay of most
electronic flash outfit is rather bigger and heavier than the average flash bulbs. This setting is suitable for normal flash
flash bulb outfit, its comparative light output equals a small bulbs at all speeds up to I /300 or I /500 sec. The M-settingflash bulb and its initial cost higher. On the other hand, will not synchronize electronic flash or short-delay bulbs.anything from 10,000 to 25,000 flashes are obtained from WITH THE SYNCHRONIZING LEVER SET TO Vone tube. The flash duration is extremely short.(l/700 to (not on Rollei-Magic II and early Rolleiflex models) the I /2000 sec.) and will arrest the fastest movements. The cost delayed action release for self-portraits is brought intoof an individual exposure is negligible. action. At the same time the shutter works with X-synchro- Electronic flash is suitable for black-and-white and nization. This means that you can work with delayed actionnegative colour film and also for daylight type, reversal and flash at X-synchronization; delayed action withcolour films. It can also be used for fill-in lighting by M-synchronization is not possible. (Many earlier Rolleiflexdaylight.
43 44View original page 24Page 36 · Read text
On the Rolleiflex 2.8E remove the upper magnifier by pulling backthe ring mount against the retaining spring and tift out. To insert, p-ut TTM ROTLEIFLEX T
the maenifier into position with its back first, pull back against the This is a comparatively simplified Rolleiflex with a 3 in. (75 mm.)
spring and snap down. Zeiss Tessar f 3.5 lens or, since 1972, a Schneider Xenar "f 3.5 lens in To remove the rear magnifier push in slightly at top and lift out. To Synchro-Compur shutter, and is available with or without dual range
insert, slip the magnifier with its white dot uppermost between the exposure meter. The model without meter is pre-wired for subsequent
retaining springs and push down until it snaps into place. installation of the meter. The focusing hood is removable (for replace-
USING THE GLASS FILM PLANE. While the film is normally ment by the pentaprism), but no eye-level mirror is fitted. A single lever
kept flat by the accurate machining of the film channel combined with controls exposure values and aperture-speed selection, with facility for
th6 pressrre plate,-whenthe optical glass film plane ensures plate-like flatness individual adjustment. The self-adjusting film counter is suitable forof fhe film extremely critically sharp negatives for extreme 12 exposures or for 16 pictures with a special masking set. A back for
enlnrgements are required. It is a standard fitting of the Tefe and Wide- single exposures on plates or cut film can be fitted. Cameras with serial
anglCRolleiflex andis also available for Rolleiflex models 3.5F, 2.8F Nos. above 2,151,000 are fitted with the dual-size camera back and can
and 2.8812 in conjunction with'a special back. be used also with the 24 x 36 mm. Rolleikin. Models of lower serial Nos.
To insert the glass plate, open the camera back and tilt forward. can be converted together with the ever-ready case. The modelsSlide the glass wlth bevelled edge under the upper retaining bar of the produced since l97l have X flash synchronization only. The camerafilm gate.-Let the glass plate snap into position and secure by- p-ress_Lng takes all optical accessories with size I bayonet mount; filters, hood,
the b=ar. The bevelled edges are held by the retaining bars of the film close-up, soft focus and attachment lenses for tele and wide-angle
gate. To remove, turn the camera upside down, press the retaining bar effect, etc., may be used. Other accessories include the Rolleiflex tripod
and let the glass drop into your hand. head, Rollei pistol grip, panorarna head, extension hood, flash guns,
Handle the glass by the edges onty. Keep it absolutely ctean, in and micro attachment.
particular keep both sides free from dust and lint. Store the plate,
when not in uie, in the compartment provided in the ever-ready case. Loading
Remember to adjust the pressure plate (see Loadind. I, Open the camera back.
2. Insert the fiLn. First transfer the empty spool in the bottom chamber
to the top chamber. Pull out the film retaining knob, remove the
empty spool and insert it in the top chamber after pulling out the
corresponding retaining knob. The grooved end of the spool should
engage the cross bar of the film transport peg.
Insert the film roll into the bottom chamber after breaking the
seal. Draw the pointed paper end over the two glide rollers into the
wide slot of the top spool. Tighten the paper on this spool. Now
wind the transport crank until the triangular marks (or arrows)
on the backing paper are opposite the red dots on either side near
the base of the film aperture.
3. Close the camera.
4. Get the film ready for the first exposure by turning the transport
lever crank till it comes to a definite stop. Then turn it back and
fold over to the rest position. The exposure counter sets itself
automatically to No. l.
5. Set the film speed and type . On the Rolleiflex T without exposure meter,
set the film speed indicator by turning the bar in centre of focusing
knob to the right until the DIN or ASA speed appears in the
appropriate cut cut. Set the film type to ortho, Patr, artificial light
colour or daylight colour, by turning the same bar to the left.
On the Rolleiflex T with built-in exposure meter, set the speed by
turning the serrated outer rim of the meter beyond the left or rigbt
67 68View original page 36Page 41 · Read text
(c) Select speed/aperture combination. On turning the wheel to the CFIANGING THE FOCUSING MAGNIFIER. On the Rollei-
shutter speed required, it clicks into position in the middle of the Magic, both the upper magnifier and the rear magnifier can be changed
top of the three lower windows; the corresponding aperture sets itself to correct faulty vision.
at the same time to give correct exposure. The procedure can be To change th€ upper magnifier, open the hood and griP the le_ns reversed by setting with the wheel the aperture required and the from above and below. Pull it back and then lift it up and out. To
shutter speed will set itself automatically for correct exposure. insert, push the magnifier forward against the retaining springs and let
The range of combinations ls exhausted when you go to l/30 sec. it snap into place. To clean it, hold down the magnifier with the direct
open. flap viewfinder 22. beyond or f magnifier, remove and open the focusing hogd. lhe-rear To change scale The top in the window below the distance to which the lens
has been set indicates the depth of field for the aperture selected. Grip the two retaining clips on either side of the rear pegp window with
5. Release the shutter gently by pressing the release lever on the lower both thumbs from the inside of the rear and pull back the retaining
right-hand side of the camera. On Rollei Magic I, and Rollei lever. After changing the magnifier, push the retaining spring forward Magic II when set to "Auto", this also sets the correct aperture and until it snaps into place.
shutter speed immediately before the exposure.
Special Controls
TIME EXPOSURES. For time exposures on Rollei Magic I, press
the short protruding button on the left side of the camera front, near the
base. At the same time turn the right-hand wheel on the camera front
until the green coloured band with aperture numbers appears in the
window in the side above the release. In this position, the automatic
control is disengaged and the shutter will remain open as long as
the release lever is depressed. The aperture required is set opposite the
index mark in the green field. Use a cable release; this screws into the
socket in the grey rim near the release lever.
On Rollei Magic II set "8" (in geen) into the shutter speed window
by turning the setting wheel; select aperture by turning wheel with the
centre button depressed.
FLASH. A standard 3 mm. co-axial plug isr fitted into the centre of
the accessory shoe in the left-hand side of the camera. The camcra is
X-synchronized. To use flash on Rollei Magic I, press the button on
the left side of the camera front near the base and turn the right-hand
wheef on the camera front until the red coloured band with aperture
figures appears in the window above the release lever. In this position,
the automatic control is disengaged and the shutter works with a
fixed speed of l/30 sec. (suitable for ffash bulbs and electronic flash).
The aperture required is set in the red field against the irtdex mark.
On Rollei Magic II set shutter speed to l/30 sec. (with electronic
flash l/30 to l/500 sec. can be used) and set aperture by turning wheel
with centre button depressed.
FILTER FACTOR SETTING. The exposure increase requireC
when using filters can be set automatically. Mount the filter on the
taking lens and rotate it clockwise until the appropriate factor (in
minus exposure values-as engraved on the filter rim) appears in the
cut-out on the left of the lens mcunt. www.butkus.us
77View original page 41Page 42 · Read text
c€unera. THE ROLLEIFLEX 4x4 either an exposure meter, or the table on the back of the To set it, press back the small serrated lever at the left-hand side
O This is the l*x l* in. (+x4 cm.) model of 1957. (Earlier Rolleiflex of the lens and move it up or down until the required exposure value
4x4 models are described in the section on early models.) It has a is opposite the red dot on the right-hand side of the lens. If the
2t in. (60 mm.) Xenar f3.5 lens in a Synchro-Compur shutter. A exposure value cannot be reached, re-engage the lever and move single setting ring controls the cross-coupled aperture and shutter back a short distance; then repeat the original procedure.
speed setting and the self-locking exposure value scale. The shutter 3. Select the aperture/speed combination. Each exposure value repre-
release is locked while the hood is closed. The camera has a fine grain sents a range of shutter speed/aperture combinations covered by a
polished field lens type ground glass screen in the fixed (not removable) single setting. You can choose any shutter speed or aperture without
finder hood. changing the exposure.
This model accepts size I bayonet mounted optical accessories Press the aperture lever to the left of the taking lens firmly against
(filters, lens hood, close-up and soft focus lenses) and the Rolleifix the shutter speed ring, and turn the two together to bring the desired
tripod head, panorama. head, micro-attachment. and pistol grip. aperture/speed combination opposite the arrow head (top left of
the taking lens).
The Synchro-Compur shutter has speeds of l, t, L +, l/15, I/30, Loading l160, lll25, 11250, 1/500 sec. and B. The values l, 2,4, 8, etc., to
l. Open the camera back. 500, are fractions of seconds and stand, therefore, for l, L, L |, etc. 2. Insert the fiIm. Transfer the empty spool in the bottom chamber to to 1i 500 sec.
the top chamber. Press the red arrow on the tab in the lower To set the aperture and shutter speed independently, set first the
chamber and remove spool. Pull out the film wind knob of the top shutter speed (if necesS&ry, first move the aperture lever in the
chamber and insert the spool, with its slotted end towards the film opposite direction). Then disengage the aperture lever and move it knob. ' separately.
Insert the film roll into the bottom chamber and push the spool 4. Focus and determine the picture area. To open the reflex hood, lift
inwards. Break the seal and draw up the paper over the two rollers up the back edge of hood. To close, press the sides inwards, simul-
' unrollinginto the widewithslottheofthumb.the emptyTurnspool.the transportStop the fullknobfilmtwospoolto threefrom thetaneouslyhood ispullingclosed.down the top. The shutter release is locked when
times to anchor the paper leader securely. Bring the magnifier into position by pressing against the open rh 3. Close the camera. finder front panel. To close, fold down the magnifier. on
4. Get the fitn ready for the first exposure by turning the film knob Turn the focusing knob to get the image sharp on the screen. filn
until it locks. The film counter wili now show No. l. To use the hood as a direct viewfinder, press the front panel ol GXITh 5. Set the film speed indicator by pressing the milled button in the centre the open hood inwards as far as it will go. To close, gently press qa
of the focusing knob, and turning to bring the desired value into on the right-hand panel; the front panel will then spring back. on
the DIN or ASA cut-out. rul
Special Controls
Unloading opensTIMEon EXPOSURES.pressing the releaseWithbuttonthe shutterand stayssperdopenset tountilB, youthe shutterlet go.
1. Wind ofr the film end by turning the transport knob through five or The values in the green section of the shutter speed scale indicate the
six turns (more does no harm) after the last exposure. required time in full seconds if you change from a large aperture with a
2. Open the camera back. slow shutter speed to a small aperture at the same exposure value 3. Remove the exposed fiIm, then close the camera or reload. setting. These figures thus serve for calculation only and the actual Iil exposure must be made by setting the shutter to B and counting the ;:;:;:j
depressed. release keeping seconds while the Shooting Before adjusting FLASH SYNCI{RONIZATION. the synchroniz-
press 1. ing srnall lens. This I control, below in the button the taking Advance the ftlm by turning the film knob until it locks. This
operation tensions the shutter, advances the film to the next frame, unlocks the lever. For X synchronization set the flash control (to the Shor
and sets the film counter. right of the taking lens) to the electronic flash symbol (a zig-zag arrowView original page 42Page 43 · Read text
rHE ROLLEIFLEX 4x4 accept the standard 3 mm. co-axial plug, a special Rollciflex flash plug wittl lead is available to connect to the flash socket. T'his is just below
the lens on the lef,t of the camera front. The piug locks into position and
Hood can only be removed by turning the locking rim at the base of the
Distance scalc flash socket. THE SEI-F-TIMER. A self-timer (delayed action) is built-in, whictr
permits the photographer to appear in the picture. Place the camera
Transport knob on a rigid support, best a tripod. Unlock the synchronizing button as
for X or I\,{ synchronization (above) and move the control to "V'n.
Advance the Jtlrn .first" On pressing the shutter release, the shutter will
Focur knob open after a delay of approximately l0 seconds. CHANGING THE F-OCLJSING MAGNIFIER. C)pen the hood
and magnifier and push in the front flap. Grip the magnifier lens from
above and below, and pull it towards the rear of the hood, pressing
Filrn countcr down at the same time. To insert the lens, push it forward against the
Exposure lever spring and let it engage.
Aperture and shutte:
rcalec
Synchro.lcvcr
Rolease
Flash rocket
Flerh lock
Exporurc veluel
Thc focusing hood ls not rcmovablc, bug has to be opened before the retease ls free. The distoncc scolc
on the..focusinS- knob movei past a depth of fieid scale. The focusing knob irsetf incorporates I film lndicotor. Thc tronsport knob a.dvanier the film from franne'to fraine rnd automatically locks.
shows lcver selects the numb,:rThc film cou.nter of exposurer already The cxposure volue -.a".Gxposure valuer on The the appropriate scale combinatlon. chenge end can also the aperture/speed
synchronizing lever selectr X oi M riynchronlzation and tensl6nr thc ielGtimcr; lt can only be moved
on. releasfng tho flosh lock underneath the taking tcnr. The releose button Incorporatcs a cable
rclerse rockct.
Shootlng wlth tho Rollelflex 4 x4" Frun left to right.' Advencc the film; set the cxpos!,,re vrlue; rcloc3
thG rpprpprletc epcrture/tpc,ed comblnrtlon; focur the lmage on the rcrccn; press the rcleerc to
expose. www.butkus.us
8l 82View original page 43Page 51 · Read text
halo-tike effect, particularly with back lighting. Their particular field of filtcrs available together with thcir purposc and exposunc incrcarc
value, adjustmegts. exposurre also in expressedapplication--fitR;[eisoftis in portraitb is for stjghtphotography.softeniirg cffects and contrastine liehting. sizes for bayonet fitting_carneras Supplied in four is The Rolleipol
tt lJUest useO at full apertire. Full exposure increases the effect. (p. 30). For ine fix it-in front of the finder lens, rotatg the Rollcipol nr; Rolieisofl fii fot stronger soft-focus effects and for use in soft until fhe effect is right, and transfer it in the same position (note whitc
lighting.:hJioitedingStop down to f 5.6 foi decreased softness. markings) to the bayonet mount of the camera lens. The Bernotar is
effect ian be observed on the ground glass screcn by an earliEr version of the polarizing filtcr in push-on mount 28.5 mm.
mounting the Rolleisoft on the finder lens. to fit the early Rolleiflei models (except Original Rolleiflex).
The Lcns Hood The Rollei Nlicro Afupter
Exposures against the lieht give fascinating ligl,t effects. Use a lens This permits photography through the microscope wittl the Rolleiflex
hood to protec-t the lens fr-om the direct rays of the sun. Use it for all usili-in! the fuil circle <if ine 2lx2l in. and 4x4 cm.negative sizc. the brilliance of engance the because piclor"s, fact, in to thc the camera consists to clamp of a micro-tube .it- wi{ the attachmentF* ap. stray it prwents useful for night Furtherimagel it is eyepiege for obscrva' microscope micro prism with focusing and a -photograpby,side-light from reaching the lens rydcausing d.isturbing reflections. It tion of the object. Both altachments are fittCd with interchangeable
affords excellent protection of the lens from rain or snow. bayonet rings 1o connect to the bayonet mount of the camera len3.
The Rolleiflex l-ens hood is made in the four sizes of bayonet mount The micro-tube can be used by itself to photograph static subjects.
to fit the different Rollei models. The hood is mounted over the outer Fix the tube first to the finder lens for focusing and then transfer to the
iim ofttre bayonet socket of the taking lens and turned until it locks. taking lens. Adding the prism attachment permits photomicrographs
For earlier-models with push-on mount, a 28,5 mrn. push-on lens of moving subjecs as the micro-subject can be observed through thchobd-was available with an excenter clip io fix the hood securely to prism even during the exposure. In this casc the prism unit fits betwccn
tttitlni iim. On the inside of the hood a filter rim will accept the special ihe micro-tube and the camera. The latter must always remain focttscd
Rollei push-on filters which are held by a second clip. at infinity.
The Rolleilux
This is a lens hood with photo-electric exposure meter attached. It
fits all Rolleiflex models with series I bayonet mounts. The bayonet
mount can be rotated through 180 degfees to suit various camera
models. The tiny meter folds inside the hood when not in use. To
measure exposurl, it hinges out to the left and covers the same angular
field as the- Rolleiflex lei'ses. With the hood fitted over the lens, it is
reia iio* above, with the camera in the normal taking position. A
ni"gect translucent nap can be swulg up {r9m underneath for incidentiigtii measrr.ement. Tlie meter is ca[Sraied in ASA and DIN film speed
iitings inO reaOs in expos_ure values and speed-stop combinations. A
ie"tttE case with loop to fit the camera neck -stra-p is designed for uscas an ever-ready case-for the meter when not fitted on the carrleria.
Filters
Rolleiflex filters are available in the four bayonet sizes. Size I for
Tessai ind Xenar (except Rollei-Magic) f 3.5 lgnsr slze-Il for Planar
anO Xenotar f 3.5lenses-and also the Xenar f 3.|of the Rolt.ti-t![1Ec.Si"e llt for Pianar and Xenotar f2.S lenses and Sonnar f4. Size IV for
-Distagon-Tlrlire ar"/4 lenses.two groups of filters: for black and white and for colour
pnoioSraphy rcsfictivcly. Thc tablcs at the end of this guide lfut thcwww.butkus.usView original page 51Page 55 · Read text
THE ROLLEIFIX TRIPOD I{EAD The two separatc exposures must both bc made with the samo
shutter speed and as quickly as possible in succession. Persons in the
picture must not move during the exposur?s.
Stereo pictures are most effective when printed as transparencics
on lantern plates 6 x 13 or 4.5x 10.7 cm. For printing any printing
frams with a glass plate will do, as long as it is large enough.
Stereo viewers are needed for viewing the stereo pictures.
The Rolleirnarin Und,erwater Housing
This is a camera container for underwater photography with thc
Rolleiflex Automat.f3.5" It is pressure proof, and testedlo a depth of
130 ft. It is fitted with a prism and a viewing magnifier for ground
glass screen focusing and has in addition a paraUax compensated direct
vision viewfinder. The casing is finished in a corrosion resistant lacquer.
Transporting the film, setting shutter speed and aperture, and focus-
ing are possible under water on large earily readable scales, with the
lousing in shooting position. A built-in filter turret pennits change of filters. There is provision for fitting a flash unit.
Rolleiflex Automat cameras with serial Nos. up to 1,427,990 require .THE METAL EVER.READY CASE use of the Rolleimarin model l, while for Nos. above that up to
1,739"999 the Rolleimarin 2 is suitable. For Rolleiflex models fitted
with Planar f3.5 or Xenotar f3.5 lenses or those with nunrbers
1,740,000*1,870,000, Rolleimarin 3 should be used. Rolleimarin 4 is
designed for Rolleiflex 3.5 (above No. 2,250,000).
The Rolleimot
This is an electric reruote control release for the 2Ix2| Rolleiflex
and Rollei Magic cameras.It transports the film and releases the shutter
from distances up to 650 ft. and re-tensions it again via the transport
crank. It is suitable for single shots as well as for series of pictures.
The Rolleimot consists of a base for the camera which contains the
rnotor, accurnulater (or 4 UZ batteries) and transport mechanism, and
an electric cable with switch for remote release.
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Check the model and edition against your equipment.
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