History of Rolleiflex
- 1920 Paul Franke and Reinhold Heidecke set up a little firm in Braunschweig, Germany. They start developing camera protoypes with Goerz lenses.
- 1921 Their first camera is launched, a stereo camera called the Stereo Heidoscop with Carl Zeiss lenses.
- 1923 The Heidoscop is re-designed into a rollfilm reflex camera for 117 roll film.
- 1926 The new camera is marketed as the Rolleidoscop.
- 1927 The first prototype for the twin lens reflex camera.
- 1928 Ten more prototypes are manufactured, nine of which have a Carl Zeiss Tessar F4.5 taking lens and the tenth a F3.8 Tessar. Decision is made to market both models simultaneously.
- 1929 The twin lens reflex camera, the Original Rolleiflex, is launched and an instant hit. The number of orders from all over the world is far above expectations.
- 1930 The great order stock and problems with sub-contractors force Franke & Heidecke to acquire a larger factory. This enables them to build 20,000 cameras annually. The Baby Rolleiflex prototype is finalized.
- 1931 The Baby Rolleiflex is manufactured. It has improvements that are later incorporated in the “full-grown” 6×6 Rolleiflex, such as a lever wind.
- 1932 The improved Rolleiflex model 620 is launched. It accepts 120 film and has a lever wind.
- 1933 The first Rolleicord – a less costly model, sold at less than half the price of the Rolleiflex.
- 1936 The Rolleicord production line has been improved and the Rolleicord 1a is launched. Work is started on a new Rolleiflex production line.
- 1937 The new Rolleiflex Automat wins a Grand Prix at the Paris World Fair.
- 1938 The Rolleicord II is re-designed with a Triotar finder lens and a double bayonet mount on the taking lens. The Sports Rolleiflex is launched.
- 1939 All Rolleis are now fitted with the bayonet mount on both the finder and the taking lenses.
- 1939-45 During the war no new cameras are designed. The factory is damaged during bombings in 1944.
- 1946 The factory is rebuilt, but with difficulties since material is in short supply.
- 1949 New Rolleiflex and ‘Cord production lines prepared.
- 1950 Rolleicord III is on sale with the Compur-rapid shutter, X synchronization, Schneider Xenar or Zeiss Triotar F3.5 coated lenses. The Rolleiflex Automat II is launched. Paul Franke dies on 18th March and is succeeded by his son, Horst Franke.
- 1951 The Synchro-Compur shutter replaces the Compur-Rapid on Rolleiflex. The Rolleiflex 2.8A is released. It has a Tessar F2.8 80 mm lens.
- 1952 Rolleiflex 2.8B is launched with a F2.8 Carl Zeiss Jena Biometar lens.
- 1953 Rolleiflex 2.8C is launched with a West German Schneider Xenotar lens. A range of accessories for the bayonet III is presented.
- 1954 The Rolleimarine under-water housing for the Rolleiflexes is designed. Rolleicord V and Rolleiflex MX-EVS are launched. For the first time a Zeiss Planar 2.8 is available for the Rolleiflex 2.8C.
- 1955 The Rolleiflex 2.8D with Planar or Xenotar and EVS system is launched.
- 1956 The Rolleiflex 3.5E and the 2.8E are available with built-in exposure meters.
- 1957 The Baby Rolleiflex is re-introduced. Rolleicord Va.
- 1958 Rolleiflex 3.5F with coupled exposure meter. Rolleiflex T.
- 1959 Tele Rolleiflex with Zeiss Sonnar F4 135 mm. Rolleiflex E2 (both 3.5 and 2.8) with removable hood.
- 1960 Reinhold Heidecke dies. Rollei Magic with automatic exposure.
- 1961 The Wide-Angle Rolleiflex with Zess Distagon F4 55mm.
- 1962 Company name changed to Rollei-Werke Franke & Heidecke. Rollei Magic II. Rolleicord Vb.
- 1963 Launch of the Rollei 16 for 12×17 mm.
- 1965 Rolleiscop home slide projector.
- 1966 Rolleiflex SL 66, Rollei’s first single-lens rollfilm reflex camera. The Rollei 35 is presented as the smallest full frame 35mm camera.
- 1967 Production of computer flash units begins with models E60 and E66.
- 1969 Four Super-Eight cameras are launched.
- 1970 Rolleiflex SL35, the first 35mm SLR camera from Rollei. New factories at Uelzen and in Singapore.
- 1972 Rollei takes over the Voigtländer brand following the collapse of Zeiss Ikon.
- 1973 The Rollei P 66A, the first automatic 6×6 slide projector, is launched.
- 1974 Rolleiflex SLX, the first electronic MF camera system is launched. 2½ million Rollei 35 were sold.
- 1979 Company is renamed Rollei-Werke Franke & Heidecke GmbH & Co KG. Rolleiflex SL35 E is a new popular SLR. Production of TLR stopped; orders are filled by old stock.
- 1980 Rolleiflex SL 2000F, the first 35mm SLR camera with interchangeable magazine, double viewfinder system and integrated motor drive.
- 1982 After a bankruptcy petition and following deal, the company is reorganized as Rollei Fototechnic GmbH.
- 1983 1000 Rolleiflex 2.8F Gold Aurum are made. Rolleiflex 6006 is released as the successor of SLX with interchangeable backs.
- 1984 Rolleiflex 3003 35mm SLR.
- 1985 Rolleiflex 3000 P and 6002.
- 1986 RolleiMetric, a digital 3D industrial measuring system, is launched.
- 1987 New name again: Rollei Fototechnic GmbH & Co KG. The TLR is back with the Rolleiflex 2.8GX with TTL exposure and flash metering.
- 1988 Introduction of the Rolleiflex 6008 with a range of new fine lenses.
- 1991 Rollei enters digital photography with the Rollei Digital Scan Pack for the Rolleiflex 6008. The Prego AF is the first modern Rollei compact 35mm camera.
- 1993 A new generation of dissolve projectors, Rolleivision twin MSC 300, is introduced.
- 1994 The Rolleiflex 6003 without interchangeable magazine is an export hit. The digital imaging system is extended with the high-speed Digital ChipPack back.
- 1995 Launch of the Rolleiflex 6008 integral.
- 1996 A new digital back, the DSP-104.
- 1998 Rollei presents the bellows camera system X-Act at Photokina. Rollei introduces APS cameras into its product range.
- 2000 Rollei celebrates its 80th anniversary.
- 2001 Launch of five new compact cameras, AFM 35, a new series of dissolve projectors, and two new digital cameras.
- 2002 Launch of six new compact cameras, the Rollei d530 flex digital SLR camera, the Rolleiflex 6008 AF (the first 6×6 medium format camera with auto focus) and a new digital 35mm camera (Rollei d330 motion). Rollei also presents at Photokina the Rollei 35 RF (range finder-camera) and the Rolleiflex 4.0 FW (new wide-angle TLR camera).
- 2006 Launch of the Rolleiflex Hy6, a medium-format camera for digital camera backs of Sinar, offered as Sinar Hy6, also produced by Jenoptik and Leaf for Leaf’s digital camera backs as Leaf AFi
- 2007 Launch of the Rolleiflex 4,0 FT, a re-design of the 1959 Tele Rolleiflex. RCP buys the right to use the brand Rollei for its digital cameras.
- 2009 (March) Franke&Heidecke announced that it was going into insolvency, saying it couldn’t pay its bills.
- 2010 DHW Fototechnik managed to relaunch the production of Rolleiflex, Rolleiflex Hy6, Rolleivision slide projectors and Rollei 35.
- 2012 DHW Fototechnik has announced two new Rolleiflex cameras and a new electronic shutter for Photokina.
Seagull 120 TLR – Introduction
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Introduction
I’ve been thinking about getting into medium format for a long time. I’ve owned 35mm Canon cameras for about twenty years, and a Calumet Cadetfor almost two, and I’m pleased with the results I get from both. The grain-free enlargements from 4×5 originals are great, and the convenience of autofocus 35mm cameras is really nice, but I kept longing for larger negatives than 35mm without the hassle of 4×5. Enter medium format.
After a few days of researching the subject, I found a few alternatives to$20,000 Rolleis and decided to try Calumet’s $120 offering: the Seagul WWSC 120 TLR.
Easy enough to use
These days, unpacking and using an autofocus 35mm camera for the first time can be daunting, even with entry-level bodies. The array of features is immense, and the manuals are often lacking. In contrast, the Seagull is Just Plain Simple:
- Open the camera, load film, close the camera
- Uncover the lens, unfold the viewfinder hood, compose, focus
- Adjust shutter speed, lens aperture
- Shoot, advance film
Lather, rinse, repeat.
Loading the film
There’s a rotating knob on the bottom of the camera, the exercise is to rotate it to the “O”pen position, and then opening the body. Load the film on the bottom, thread it, insert the leader in the take-up spool, remove the slack and advance it with the wind-up crank until the arrows on the paper backing align with the markings on the body. Close the camera. No surprises here.
Composing and focusing
The viewscreen is fairly bright, and there’s a built-in focusing loupe you can pop-up and help you focus. There’s also a split-prism focusing aid in the center of the screen.
Using a waist-level finder was a new experience for me. I got used to it fairly quickly, though I did have some surprise elements creep into the slide that I did not see while composing the shot. This is because of parallax: the viewing lens is slightly higher than the taking lens. With practice, however, you can learn to correct for this limitation. You can use an eye-level finder after focusing, basically, you put down the front side of the hood, and look through a square opening on the rear side of the hood. The focusing knob is well dampened, and it has the very useful DOF markings.
Taking the picture
The shutter goes from 1 second to 1/350, plus B, and since it’s a leaf shutter, sync is achieved at all speeds. There’s a self-timer, and you can screw-in a standard cable release. Neat feature: multiple exposures of the same frame are possible.
The camera does not have a built-in light meter. I’ve been using my Minolta Spotmeter F, and I shot a few frames following the Sunny/16 rule.
There’s a hot shoe on the side, above the focusing knob, and a PC connector on the front.
Unloading the film
Once you shot the last frame (you get twelve), you just keep on turning the crank until you hear the rollfilm leave the original spool. Crank a few more times, to be on the safe side, and open the camera. Moisten the paper leader, attach it to the roll, and pull the roll off the camera. Then take it or send it to one of the labsrecommended elsewhere in this website, or your favorite pro-lab.
Sharp lens, too bad the vignetting
I hope some day to have some sample scans online, meanwhile, you’ll have to take my word for it: the lens suffers from severe vignetting from f3.5 to f5.6, and moderate from f8.0 on. It’s tolerable, particularly with print film, past f16. However, I found the lens to be sharpest at f11, so if you like shooting slide film, you’ll have problems if your subject matter includes a lot of uniformly lit surfaces near the edges (say, the sky on a landscape).
Film choices
The camera only accepts 120 format film, contrary to what’s stated in the 1998 “Essentials” catalog from Calumet, which says it’ll take both 120 and 220. The number of available emulsions is higher in 120 format, but some people like having 24 exposures per roll.
Summary: a good value
If you’re looking for a new camera to get started in medium format, the Seagull WWSC is a great value, at around $100 or so. I’m not aware of cheaper MF cameras (I know about Holgas, but my definition of “camera” includes the term “light-tight box”…).
Seagull 4A-105 Review
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A twin-lens reflex (TLR) camera offers you an entry price point into medium-format photography. Instead of the usual SLR design of cameras such as Hasselblad and Mamiya, a TLR has two lenses. The top one provides an image on a ground-glass viewing screen and the bottom is used to record the photograph directly onto film.
| The 4A-105 is the latest in a succession of models from the Chinese twin-lens reflex manufacturer Shanghai Seagull. Each model that has appeared has had slight modifications to improve the handling and this one includes the following:
Features at a glance Other features:
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The Seagull costs 189 including VAT and is available from importer Kauser in Hertfordshire. It looks very much like a Yashica 124G or old Rolleiflex and is designed to be used as a waist-level camera. A hood flips up on the top and allows you too look down onto a shielded screen to focus and compose your photograph. The hood is easy to return to its flat storage position. You just squeeze the sides and give a gentle push and it all collapses into place. Raising is just as easy – gripping the sides and lifting so it springs into place.
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When you look down into the hood you see a reversed image. This is one of the disadvantages of this type of camera and does, if it’s your first time using one, take time to grasp. If the subject moves to your left it will appear to move to the right in the viewfinder and your instincts won’t follow.
To use the camera you cradle it in the left hand and use your right to wind the film on and press the shutter release. The plunger is threaded so a cable-release can be attached. |
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The viewing screen has a ground glass surface to help make the image easier to focus. It goes slightly darker into the corners, but overall the image is bright thanks to the f/2.8 viewing lens. In the centre is a horizontal split line surrounded by a microprism style circle. These are used to provide accurate focusing. The split image is a familiar item on single-lens reflex cameras and splits the subject’s vertical lines in two when the subject is out of focus. As you move to the correct focusing distance the lines gradually become closer until they meet and correct focus is obtained. The microprism shimmers when the subject is out of focus and appears clear when it’s in focus. You can use each or a combination to help you gain perfect focus or, at least, that’s what you hope! (see comments later) |
| If you rely on peering down into the finder you won’t be able to focus accurately and to assist the Seagull has a pop up magnifier that you reach by pressing in a plate on the face of the hood. The magnifier is used with your eye pressed up to it and still allows you to view the whole image area, but concentrate on the inner focusing aids. A large knurled wheel on the left of the camera is used to focus and the lens mount moves backwards or forwards to adjust the lens’ distance from the film.
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I found the focusing hard to determine. Despite having both options, neither seemed to be very accurate and it took too long to be sure I was happy.
Also look at the bright white vertical line to the right of the magnifier (pic above). This is the hinge of the hood and it lets light in. Although this will do no harm to the film it did cause stray light to hit the focusing screen in bright weather and made it difficult to focus, especially when the sun was in front of me.
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If you push the plate on the top of the hood fully in it locks down at both sides and allows you to view directly through the hood when raised. This is called a sports finder and is designed for fast action pics where focusing is at a predetermined distance, so you can have everything set up and use the camera like a direct vision model. Crude but quick.
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The latches that lock it down are not secure enough and it occasionally popped back up when I caught the hood, by accident. The advantage here though is it does always flip back up when you want it to. On some cameras I’ve used you really have to tug at the hood to make it spring out of the way.
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When loading a film you release the back using a dial on the base of the camera. This rotates to release a spring mounted catch and the back hinges open. Two plungers spring out to allow the film spool and take up spool to be positioned and locked in place. When the film’s loaded you shut the back and rotate the dial to the C position which pulls the catch inwards to secure the back. The gap at the bottom seems wider than the one at the top and it looks as though it’s ill-fitting. No light got in so this is just a cosmetic thing. I’d prefer to see it flush with less movement, I was initially conscious that the lock might release and the back would spring open while I was using the camera, but it proved solid enough. |
Four raised metal feet ensure the camera balances firmly when placed on a table, but these got in the way of the tripod platform I used and didn’t allow an even fixture.
| When a film has been loaded you use a large advance lever to wind on. The camera locks at frame 1(indicated in a small circular window above the wind on lever) Safety features ensure the lever will not advance until the shutter is fired and picture taken. The shutter will not fire until the film is advanced. There is no shutter lock so I would suggest you only wind on when ready to take a photograph to avoid accidental shots. The 4A-107, with its four element lens, does have a shutter lock. The lever is quick to advance film and has a good action. |
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There is no exposure meter built in to this camera instead you need a handheld meter or a good knowledge of exposure settings.
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When you know what the exposure is, you set it on the dials at either side of the lens. The left hand side has shutter speeds, the right hand side has apertures. These slide to adjust. The shutter speed is click stopped and the aperture is smooth, allowing infinite adjustment between settings. Both are positioned so you can adjust with the thumb of each hand as you cradle the camera. I’ve already picked up on several crude points of this camera and the worst is the shutter speed marker that doesn’t align correctly with the settings. It’s about half way in between so if you forget which way this appears you have to slide it to the extreme to see which setting it actually refers to. The aperture slider is a little coarse and appears to grate as it’s moved. |
On the picture above you can see a small lever with a red dot just below and to the right of the word REFLEX. This is the mechanical self-timer that allows a variable delay of between 8 and 14 seconds depending on where you move it to. It’s all guess work so you’ll need to get a feel for how far you need to pull it. Practice without a film in the camera.
We used this for some interior shots to prevent camera vibration when it was mounted on a tripod. Three shots later and it broke! The film advance still worked but the shutter release didn’t open the shutter or activate the timer, resulting in the third roll of film being blank and the camera inoperable.
Below the self timer is a standard flash sync terminal which is used to connect any electronic flash with a coaxial cable. There’s also a more convenient hot shoe on the side although this was slightly loose on our model so I wouldn’t trust it with a larger gun. The beauty with a camera like this, with its leaf shutter, is flash can be used at any speed – shame the top speed is only 1/300sec, but it’s still as good as the best SLR cameras and proves perfect for fill in flash in most conditions.
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The focusing wheel provides smooth adjustment and is easy to control. On the side is a depth-of-field scale indicating distances in meters with all the apertures. The red mark shows where you’ve focused and the alternate black and white marks show the depth-of-field at the various apertures. This is a well designed scale and very easy to use. |
Test pictures
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A straightforward shot of flowers. The subject was about 1.3metres away and overcast lighting ensured there was no complex metering involved.
There’s good detail in the plants and the background is subtly out of focus thanks to the selected f/3.5 wide aperture. This was taken on Fujichrome RDP100. |
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The lens shows no signs of vignetting into the edges which is something you may find on older TLRs, but the photos are not razor sharp. When magnifying the railings in the centre of the frame it was noticeable that details was starting to fall. Overall it the trannie would enlarge to about 12in without problem, but so would an image shot on a good 35mm SLR, |
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I deliberately ensure the bottom of the upper window was included in the frame to see how the lens responded to flare. There’s a fair degree of ghosting. This shot also shows the lens doesn’t suffer from distortion. |
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| To check my constant annoyance of the focusing accuracy I deliberately set the lens to f/3.5 and chose a subject with a variable distance background. I used the magnifier to focus on the wooden sculptures. The camera was mounted on a sturdy tripod and the delayed action used to prevent any movement. I didn’t focus accurately. And that’s a big problem. There’s no point in having all the benefits of a larger format camera if you end up with out of focus pictures. The camera definitely needs a better focusing screen! |
| Verdict Throughout the test I have been fairly harsh on this camera, particularly in construction. For background info I have owned or us  ed many medium-format cameras over the years. I admit I prefer the single-lens reflex type, but readies the TLR has a very useful place. One of the main benefits is the lack of a mirror clunking around causing vibration and noise. The shutter is almost silent on a TLR and there’s no vibration. The Seagull delivers in both these areas a great camera for candid photography and one that can be used in church for weddings without annoying the vicar. The other main benefit of a TLR is cost. Currently the Seagull is the only one you can buy new and I suspect that’s why it has a price of 189. When you could by the Yashicamat 124G, a better built camera with a built-in exposure meter, it sold for about 149. SLRs haven’t risen in price since then, so there’s no reason why this would have happened to TLRs either. If the Yashica was still available it would probably have cost no more than 160, in relative terms this makes the Seagull worth about 130 maximum. Overpriced but no alternative? Well yes, If you don’t mind buying a second-hand camera you can pick up a Yashicamat 124G for about 129 and in my view it’s a far better camera. You can also find Mamiya TLR cameras with interchangeable lenses for a similar price to the new Seagull and they have better build and much better close focus capability. You may even prefer an SLR and it’s possible to buy old Mamiya 645s or Bronica ETRs for not much more than the Seagull.
Having said all this, if you prefer the comfort of a new camera and don’t mind paying slightly over the odds, the Seagull will not disappoint in optical performance, providing you can get on with the focusing and can put up with the crude aspects of the build, oh and avoid that self timer! Test by Peter Bargh Update! Comment from supplier Volume determines price. The factories does not sell the numbers they used to. Competition is another factor. In the days of the Yashicamat there were several TLRs in the marketplace. Today, there is the Rollei and nothing else. The Seagull is not the tin box it used to be and Minolta’s input has improved the quality of components and build. It still has some way to go to match that of the German & Japanese but gradually it is getting there. Ali Kamruddin, Kauser International Also regarding price: Global Cameras sell the camera for 160 which makes it a better buy. |
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