Differences Among Rolleiflex TLR Models
brian steinberger09-30-2011, 07:56 PM
I’m very interested in a Rolleiflex TLR. I’m somewhat familiar with the different models but wanted some insight from those who have used each kind, mainly the difference in lenses.My main options are:
The Rolleiflex 3.5 with either Xenotar, Tessar, or Planar
The Rolleiflex 2.8 with Planar and XenotarAm I missing any?
I’m leaning towards a 3.5 version since it will be cheaper. Can anyone please explain the differences between the Tessar, Xenotar, and Planar lenses?
Also, which models have an in camera meter?
Basically I think it’s just the difference in lenses I’m wondering about. I’m a sucker for sharp lenses, but a lens with character would be fun for what I want to do with this camera too. Which lens of the 3 has the most “character?”
I have a 3.5 F and a Rollei T with the Tessar and really can’t see any difference between the two at middling apertures. If the choice was between a really clean T and a very used 3.5F I would certainly go for the T.
As for the Planar versus Xenotar, don’t beleive all the hype around the Planar because the Xenotar is just as good. If you can find an affordable 3.5, don’t sweat on which lens it has. BTW, there seems to be more of the Xenotar equipped Rolleis in the US for some reason.
The 2.8 Rollei really just gives you an extra stop over the 3.5 and usually comes at a premium which is a bit hard to justify….it looks really great though!
http://haardt.net/rolleiflex.htm
http://www.apug.org/forums/forum51/91473-best-rolleiflex-version.html
http://www.freelists.org/post/rollei_list/xenotar-28f-vs-planar-28f,27
And my recommendation would be a clean 3.5F. Rollei’s rock!
One thing you really might want to think about is changing out the screen for a maxwell. Much brighter. Very nice. Expensive, but nice.
Another thing is the never-ready cases many flexes came in. I’ve never used mine. Don’t find them useful and they strike me as an invitation to fungus. Anyone else think this?
The 3.5s, either Tessar-type or Planar-type, are lighter than the 2.8 Planar-types.
The best bang for the buck is probably a meterless Planar/Xenotar 3.5E, ‘type 2’ (before the removable focus hood). $500-800 maybe in prime condition, and you will never look back. The rolleiflex T’s Tessar lens has a rep for being a step up from previous tessar versions, but the T has some design issues that bother some people.
I’ve noticed that this forum really doesn’t discuss TLRs much. A place with repeated discussions of Rolleiflexes is the TLR forum at Rangefinder Forum-
http://www.rangefinderforum.com/forums/forumdisplay.php?f=108
Between 1952 and 1960 or so, Rollei turned out constant variations of models with ever changing little tweaks and features. For example, the ‘E’ series has maybe 10 variations when you deal with the type 1, 2, and 3 (plus a sub-variation of 2, I think) with and without meters and with 2.8 Xenotars and Planars and 3.5 Planars and Xenotars.
I have a 2.8C Xenotar because it has a 10-bladed aperture, but I recognize that my interest in 10 blades means things to me that it doesn’t to others. I moved to this from a Xenar (and Minolta Autocord) because I was shooting wide open more and more and wanted better sharpness to the edges. For other people, this quality is either not important or counter to how they want their images to look.
The biggest potential problem I have heard of is the EV dials that cannot be uncoupled on some models (well, on some *variations* of some models). Beyond that, I would decide if you prefer Tessar/Xenar to Planar/Xenotar for basic look, especially at wider apertures. then how much you want to spend.
And remember, you are looking at cameras over 50 years old. Get something recently overhauled or be prepared to pay for an overhaul.
You know already that a TLR and you get along? Rolleis are nice but they aren’t magic; they are still TLRs with all the quirks and limitations.
for what it’s worth…. the sharpest medium format negatives I have ever made have been with my beloved “Rolleiflex T” that has a Ziess 75mm f3.5 Tessar Lens which I believe is single coated. I usually shoot it at f11 or f16. This is compared with negs made using Bronica SQ and Mamiya RB equipment ( I ALWAYS used the mirror up function with these so it should not be the SLR mirror factor). And I mean the best of the Rollei negatives are NOTICEABLY sharper using an 8x loupe.
I have a feeling you can’t go wrong with a Rolleiflex. =P Have fun!
The construction of the T is as sturdy as the others but are less expensive usually for camparable conditioned cameras and since most ‘Fexes today need a cleaing there is more in the budget for that or accessories.
As for the meter in camera, while it is sought after, I prefer not to have it. It is faster than a handheld meter when it is strung on your neck and taking snapshots. but I prefer the handheld meters leaving me an option of an averaging or spot, reflective or incident. I tend to use a tripod so metering, then mounting it on the tripod and hitting the shutter and then dismounting it for another reading, etc. is too time conuming. Also, most of the selenium meters today need either repair or at least calibration and there are few techs it seems to do this.
Some of the Tessar’s were CZJ as well, and that includes some of the Optons which had to pass West German quality controls.
Ian
Seagull 4A-103 Review
[If you like this blog, please take a few seconds to take a look of the ads at the end of the post. Thank you. TLRgraphy will continuously collect the best information about twin-lens reflex cameras]
TLR (twin-lens reflex) cameras are pleasantly different from compact and normal SLRs, both in the way they look as in the way they handle. If you need a new feeling taking photos, this review and the Seagull might be the right thing for you.
Upon holding a camera in front of your eyes, everybody in front of you knows that you are going to take a photo. Everybody smiles or strikes a pose, at worst, everybody flees. But what is the reaction to a TLR? When taking a photo with a Seagull or Lubitel for example, your face isn’t covered by a camera.

I find myself making eye to eye contact to my photo subject when I frame a picture with the Seagull. The reactions to the unfamiliar look of this camera often is curiosity.
TLRs once had their 15 minutes of fame but soon became a rarity. TLRs sport, hence the name, two lenses. The upper one is used to compose the photo, the lower one accommodates the shutter and aperture and is used to take the photo.
There are two things I find very special about the Seagull. The first is the impression you get when peering through the viewfinder: It´s like having the finished photo in front of you because the image is projected onto a ground glass.
The second one is the peculiarity the show everything mirror-inverted. It slows down the process of taking a photo and makes you take it with greater care.
The Seagull is fully manual, but the film is wound via a crank witch is a real improvement because you don´t have to read the film numbers through a red window.
The pictures turn out sharp, square an with a great bokeh. Have a look!
Some facts about the Seagull 4A-103:
6×6, 120 Film, 12 pictures, F/3,5 to F/22, 1 bis 1/300 second and „B“ setting
The Seagull is a quite cheap Chinese alternative over more expensive Rollei and Yashica TLRs. Change your photographic perspective: try aTLR!
Kalloflex
[If you like this blog, please take a few seconds to take a look of the ads at the end of the post. Thank you. TLRgraphy will continuously collect the best information about twin-lens reflex cameras]
As with lessor known Japanese rangefinders, I also have an interest in Japanese TLRs from the 1950′s. The Yashica and Minolta’s are the most common and famous, but there are scores of others, many somewhat obscure, and many of good quality. The Kalloflex is among these. It is a product of Kowa and appeared in about 1954 and was sold through about 1957. Kowa went on to make medium format history more than a decade later with the excellent Kowa 6, 66 SLR system, a competitor to the Hasselblad and Bronica systems.
This vintage Japanese TLR is distinguished from many of its fellows by a four element taking lens, crank wind, and very serious build quality (it’s a heavy little beast). Four elements is a good indicator of optical quality, as many of its brethren were three element astigmat designs – not necessarily poor optically, but not capable of a critical degree of correction at open apertures. The collectors have discovered this camera now, and good ones seem to sell for at least $200 on the old auction site.
With Google one can find some short articles on the Kalloflex and a manual on the Butkus site. The 75mm F3.5 Prominar lens is said to be very sharp and I concur. My copy is in great condition and the camera is a real pleasure to useand it feels very solid, unlike some other early Japanese TLR’s (although I still like most all of them). The Kalloflex uses Bay-1 accessories like many Rollei models, which is very handy.
We often think of cameras like the Kalloflex as being inexpensive these days, but in 1957 it listed for $120 USD, which is $920 in 2010. Thus quality is expected! By reference the Yashica Mat listed for $75, or about $575 USD in 2010. One would expect better performance and construction quality from a Kalloflex compared to a Yashica Mat, and I think this is the case. This is not to criticize the Yashica Mat (a worthy TLR if there ever was one), but more to emphasize the point that the Kalloflex as was a darn serious camera engineering effort for the time.
The Kalloflex has one interesting quirk, that was not obvious to me until I read the manual more carefully: If one is to use the 1/500′th shutter speed setting, it must be set before advancing the film. I have been told by others that this was a common trait on Seikosha-Citizen shutters at the time.
Shown here is my Kalloflex and some recent shots from the California desert. The film was Fuji ISO 100 color print film processed at Walmart and scanned on my Canonscan 8800F.
As with lessor known Japanese rangefinders, I also have an interest in Japanese TLRs from the 1950’s. The Yashica and Minolta’s are the most common and famous, but there are scores of others, many somewhat obscure, and many of good quality. The Kalloflex is among these. It is a product of Kowa and appeared in about 1954 and was sold through about 1957. Kowa went on to make medium format history more than a decade later with the excellent Kowa 6, 66 SLR system, a competitor to the Hasselblad and Bronica systems.
This vintage Japanese TLR is distinguished from many of its fellows by a four element taking lens, crank wind, and very serious build quality (it’s a heavy little beast). Four elements is a good indicator of optical quality, as many of its brethren were three element astigmat designs – not necessarily poor optically, but not capable of a critical degree of…
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