西德“禄来弗来”双反相机介绍

西德“禄来弗来”双反相机介绍

禄来系列双镜头反光相机,在四五十年代乃至七十年代初,曾风靡世界一时.在五六十年代，曾经是专业的象征.当时能背着“禄来”双反在街上走的人,不是专业摄影记者,就是公安人员,对 价格昂贵的“禄来”平民百姓,爱好者只能“望机兴叹”.

禄来厂生产的多种双反相机,其中禄来康特[即Rollekonter], 禄来可得[Rolleicord]是作为 普及简易型供应市场,但也具备了相当水准的机械及光学素质.而禄来弗来克斯[Rolleiflex]的市 场定位是高级专业型，追求的是“百年有形”一直按照高级专业水准而设计制造。几经改进后的 “禄来弗来”双反，生产在五十年代中叶，六.七十年代。其中：E ，F ，T ， 等机种型号，在 机械结构，生产工艺，制造技术，产品配套及性能上均达到较高水平，在国际市场上曾经畅销一 时.

一般说，“禄来弗来”双反其特色在于两个镜头，上镜头取景，下镜头摄影，摇把卷片，微传感滚筒式自动停片，与上弦连动并可多次曝光，也可防止重拍。采用结构，性能及用材方面均非常优良的同步康盘快门并有M，X，V 装置，采用强度较好的铝合金模铸机身，外围部件多为铝合金或黄铜，卷片机构等传动齿轮和有运动摩擦，藕合等部件零件，多采用优质黄铜或合金钢材，快门主力簧则采用优质钴基不锈钢，所以只要使用保管得当，“禄来”有较长的使用寿命。

关于“禄来”配套的摄影镜头，一般说，2.8D，E，F 各型相机使用多为蔡司，普兰那，五片四组变高斯结构，F2.8/80mm使用优质光学玻璃材料，其优秀的成象素质被摄影界推崇备至,有口皆碑，后期生产的2.8F，采用了七片五组结构[变高斯型普兰那]被誉为蔡司的顶级极品头.2.8双反中也有部分装有F2.8/80mm五片四组变高斯结构的施耐得，仙侬塔头，其本质同样优秀,只不过实拍感觉反差稍嫌柔和。

3.5双反，A，B，O，T 等型多使用著名的蔡司,天塞F3.5/75mm四片三组头,该头具有结构简单，成熟,素质优良的特点，成象质量备受摄影人员赞赏,与普兰那相比，除了最高分辨率稍次和大光圈时边缘像质有所下降和不便于作到2.8口径外,并无明显差异,用F3.5/75mm天塞头拍出的高倍放大照片.极具德国风采,韵味独特，E，F,等型所用的F3.5/75mm五片四组变高斯结构普兰那头或施耐得,仙侬塔头,也具有同F2.8/80mm蔡司,普兰那头,施耐得,仙侬塔头一样优异卓著的光学质量.

“禄来可得”普及双反装用的镜头,多为四片三组F3.5/75mm的施耐得,仙娜镜头,该头与天塞头相比,除了反差较柔以外,并无太大差异,早期的“禄来可得”二型,有装用蔡司,吹奥塔F3.5/75mm三片三组头,与天塞比,边缘像质稍差,但优于海鸥双反头,仍可作高倍放大.

以上材料,配合了本人一些心得,仅供参考。

影友 关秀峰2000年3月24日 晚草

再谈禄来双反相机.

禄来双反相机从20年代起生产至今, 经历了大约10几种机型, 但是其基本的样式没有太大的改变. 它的生产阶段大体分为两个阶段, 即大战前的前期和终战后的到80年代末期. 在前期阶段, 机型的变化比较大, 但推出的机种不太多. 在后期阶段, 推出的机型比较多, 但是在机构方面的变化不是那么大, 这种特征尤其是表现在50年代.

在进入战后阶段, 来卡M系列, 日本的135相机的多种规格相机的面世, 特别是哈苏相机带来的冲击, 那种给人以绅士风度的禄来相机一时失去了往日的宠爱. 这因为此, 也刺激了禄来双反相机的机型变更和改进, 可以说, 50年代是禄来的黄金时代, 它给我们提供了双反相机的精品.

在禄来的最初政策来看它不生产自己的镜头, 而由菜斯和斯奈德两大镜头巨人提供配套镜头, 自己则专心发展相机机身功能和机械机构的完善. 在它每每推出新型相机时, 往往都同时配有这两家镜头的机身提供给用户. 总的说来, 禄来机身所配的几乎是标准镜头, 焦距不外乎75mm和80mm两种, 最大光圈为f2.8和f3.5两种. 配合的菜斯镜头结构为Tessar和Planar, 斯奈德镜头为Xenar和Xenotar. 相对比较而言,Tessar和Xenar的结构较为简单.

正是禄来相机的这种采用不同镜头的做法也是它倍受大家喜爱的原因之一. 很多的禄来用户深深地陶醉于不同镜头风格之中. 这也是禄来高明的做法. 比如著名的Tessar的结构风格硬朗, 立体感较强, 但是相对于Planar而言色彩较为清淡. 而Planar的表现较为细腻而柔和, 影调的再现和空气感的传递之美妙可以说是一代镜头的典范. 斯奈德的Xenar结构也较为简洁, 价廉物美. 而它的Xenotar结构镜片数较多, 是斯奈德较高档的镜头, 比如为禄来6008相机配置的标准镜头80mm/2.0就是采用了这种结构.

禄来的66双反相机主要分为Rolleiflex和Rolleicord两个系列. 分别刻印在相机前面版的顶部. 前者是反映禄来相机真正水平的高档系列, 而后者为Rollei相机的廉价版本,在现在的二手市场价格非常低廉. 以下列举了战后到现在的各阶段生产的Rolleiflex系列的主要机型.

Rolleiflex系列:

2.8A, 配合菜斯耶拿, Tessar 80/2.8, 1949年.

2.8B, 配合菜斯耶拿, 比奥美塔镜头80/2.8 1952年.

2.8C, 配合Zeiss Planar 80/2.8

配合Schneider Xenotar 80/2.8, 1953年.

Automat MXV, 配合Zeiss Jena,Tessar 75/3.5;

及配合Zeiss Opeton, Tessar 75/3.5;

及配合Schneider, Xenar 75/3.5. 1951年.

2.8D, 配合Zeiss, Planar 80/2.8;

及配合Schneider,Xenar 80/2.8. 1955年.

3.5E, 配合Zeiss, Planar 75/3.5;

及配合Schneider,Xenar 75/3.5. 1956年.

2.8E, 配合Zeiss, Planar 80/2.8;

及配合Schneider,Xenotar 80/2.8. 1956年.

2.8E2, 配合Zeiss, Planar 80/2.8;

及配合Schneider,Xenotar 80/2.8. 1959年.

3.5F, 配合Zeiss, Planar 75/3.5;

及配合Schneider,Xenotar 75/3.5. 1956年.

T型, 配合Zeiss, Tessar 75/3.5;

及配合Schneider, Xenar 75/3.5. 1958年.

3.5E2, 配合Zeiss, Planar 75/3.5;

及配合Schneider,Xenotar 75/3.5. 1959年.

Rollei玛基克, 配合Schneider, Xenar 75/2.8. 1960年.

2.8F, 配合Zeiss, Planar 80/2.8;

及配合Schneider,Xenotar 80/2.8. 1960年.

从以上的列举可以明显地看出, 50年代禄来推出了很多机型上市, 也是禄来公司的黄金时代. 其中, 2.8F型是集禄来相机精华之大成的一代精品! 它是在经历了多次改进, 试行, 顾客评价之后的完美产物. 这一种型号从1960年一直到生产1981年, 持续了21年,可以看出Rollei公司对它的性能和完善度是多么的自豪! 它一直是众多禄来爱好者所追求的对象, 在二手市场上一般不容易见到它的身影. 尤其是配合Planar80/2.8的2.8F型更受人们的欢迎, 一台品相好的它可以很容易售到USD2500.

另外, 禄来除了采用标准镜头配合其机身以外, 还有两款分别配合广角镜头和望远镜头的机身推出, 它们都是仅仅采用菜斯的Distagon55/4和Sonnar 135/4, 而没有依照惯例推出采用斯奈德镜头的型号, 它们是:

Wide Angle Rolleiflex, 配合Zeiss, Distagon55/4. 1961年.

Tele Rolleiflex, 配合Zeiss, Sonnar 135/4. 1959年.

可以说这两款都是禄来相机的"异类".

虽然说2.8F型为禄来公司赢得了荣光, 可是面对其他各类相机的兴起, 它并没有改善禄来公司的经济状况. Rollei公司终于在2.8F型停产后的1984年宣布倒闭关门!

经过从新组合新生的新Rollei公司重整旗鼓, 于1987年向市场推出Rolleiflex 2.8G,配合Planar 80/2.8(Rollei HFT). 但是为了迎合时代的需要, 同时也为了降低生产成本, 新Rollei也避免不了随波逐流, 它在新型相机上增加了一些过去没有的功能,比如闪光调光功能等等, 在相机用料上也尽力使用低成本部件和材料, 特别大的变化在于终止一贯做法, 没有再同时平行推出采用菜斯和斯奈德镜头的机身, 甚至于采用了Rollei自己的镜头. 我们毫不怀疑Rollei已经具有一定的制造镜头的能力, 但是,在如此具有传统魅力的禄来, 菜斯, 斯奈德金三角的观念面前, 实在是令以往的禄来迷无法接受! 并且, 如今的Rolleiflex 2.8G在做工精美程度已经不如从前的前提下,

它的售价却被设置的很高, 实际上, 如今的Rolleiflex 2.8G已经魅力大打折扣.

对于生活在美好回忆里的人们, 那些已经失去传统的东西还有什么价值呢?

罗来双反是双反相机里的极品, 带Zeiss镜头2.8F则是极品中的极品.

它的机身在档次上有差异, 但是不是很大, 更多人是在意配合它的不同镜头的不同表现.而且不同时代的镜头更有一些特殊的风格. 这些都是针对于真正的罗来相机爱好者的而言的. 那些真正的罗来的狂热着是不太在意那个好, 那个不好. 每一种机身都由它们的生命. 但是, 也正因为各自镜头的不同表现,他们往往都拥有不止一台的罗来相机, 在他们看来, 仅仅拥有1台机身还是不足以充分领会罗来的乐趣.

但是, 话又说回来, 对于他们, 没有领会Zeiss镜头2.8F的妙处是不可以原谅的, 那毕竟是罗来的精美的机身和精致影调再现的菜斯镜头的叠加. 对于他们而言, 可以少拥有1, 2台其他罗来机身, 但是不能没有Zeiss镜头2.8F. 所以, 它的价格高涨而且流通很少. 比如说,好的品像的它可以容易地标上25万日币以上的价格, 可是一般的一些罗来相机, 7万日币可以买到.

玩罗来相机最好是在经历过追求高解像度镜头之后为佳. 因为配合罗来的镜头都是一些影调再现非常细腻, 非常人性化的表现.没有那些该死的高解像度镜头做陪称, 大多数的人们不会"深刻"地感受到罗来的妙处.不会对罗来带来的那种"异类"的美所感动

Source: http://www.oldcake.com/forum/viewtopic.php?f=6&t=15476&start=60

http://venivision.blog.163.com/blog/static/1739904122010421112316224/

My Rolleiflex 2.8F camera

After many years of break, I am finally coming back to photography with my vintage flim camera as I would like to develop a hobby that Keith loves.  The search for the vintage camera was an interesting one as I first saw 2 Rollieflex T camera during a business trip to Geneve. One of the key question asked is that since there are so many Rollieflex models, which one should I get? This has prompted me to do some research from the internet and below are the summary for your quick reference.

A major appeal of vintage Rolleiflex TLR (Twin Lens Reflex) cameras is that they are so well made being constructed primarily of metal and glass and covered with a luxurious leather skin, Rolleiflex cameras are solid, and feel good in the hands and has an ever-lasting look in appearance. There are numerous concerns and things to look for when buying a used Rolleiflex TLR. Because the first Rolleiflex was introduced in 1929, and the popular 2.8f and 3.5f models were made more than 50 years ago.

For the Rollieflex series, there are Rollieflex A to F and even with the F series, there are  2.8 or the 3.5. Most models have a f3.5 75mm lens, a standard lens for the format. The f2.8 models have the slightly longer 80mm focal length. The wide uses a 55mm f4 Distagon lens which gives you that broader angle of view. The TLR Rolleiflex is the 3.5F is slightly cheaper and it doesn’t carry the premium of the 2.8F. The slight disadvantage of the slower lens is only an issue in low light and even then only makes a 2/3 of a stop of a difference. The 3.5F is the slightly wider lens (75mm vs 80mm) but the main advantage is that it is lighter and smaller than the 2.8F.

First-time Rolleiflex buyers frequently ask for advice on internet forums about which Rolleiflex model they should prefer, or which lens would be the best choice. These questions invariably draw a large number of different answers, as well as a lively debate. There is one interesting fact that emerges from them. Choice does not matter. While some advise that a Rolleiflex F a with Planar lens is clearly the best choice, as many recommend a different model and a different lens. In short, there is no unanimous or even majority opinion on which model or lens is the best choice. Even owners of pre-war Rolleiflex models with an uncoated Tessar or Xenar lens affirm the excellence of their cameras and claim complete satisfaction with them. One is left with the strong impression from these comments that choice of Rolleiflex model or lens does not really matter in terms of photographic performance or owner satisfaction. So long as the camera is working as it should, any model or lens is likely to leave the new owner feeling very satisfied with his or her purchase. This is a testament to the quality of Rolleiflex cameras.

There are some models that are very collectable and carry a price premium including :

• the white face versions – because they are the newest of 5 models (T, 2.8F, 3.5F, tele and Vb Rolleicord)

• the Rolleiflex-wide because of the limited numbers made

• Late 2.8Fs and 3.5Fs – because they were the last models and the pinnacle of the design (especially among the Japanese collectors)

• The Vb Rolleicord, the last of the Rolleicords.

When buying a Rolleiflex TLR: make sure there are no cleaning marks, dust, haze, separation, fungus etc. As such, the most important consideration is the condition of the lenses, especially the lower taking lens. include the presence of oil on the aperture blades, transport mechanism gearing problems, alignment of metal bellows, shutter speed accuracy, and more. Camera after a cleaning, lubrication, and adjustment (CLA) will be slightly more expensive but it ensures reliability.

Most Rolleiflex TLR owners will indicate a firm preference for a particular model or lens type when asked to make a recommendation, but the thing is that there is no unanimity among their recommendations or even a majority recommendation when the recommendations are viewed overall. An illustration can be seen in the recommendations offered to first-time Rolleiflex TLR buyers by Rolleiflex owners or users posting replies on the photo.net or rangefinderforum.com website forums. They are replying to questions about which Rolleiflex TLR model or lens type represent the best choice. The following recommendations on model types are given in separate replies, and in about equal proportion: 2.8F, 2.8C, GX, 2.8D, 2.8 E, 3.5MX EVS, 3.5F, 3.5D, 3.5F, and the Rolleiflex T. The recommendations are similarly divided when it comes to lens preference, with the Planar, Xenotar, Tessar, and Xenar all being recommended separately and, again, in about equal proportions. The Rolleiflex T, whose total production was second only to the 3.5F model (according to Rollei Club figures), is often mentioned as a camera to avoid, but at least as many replies describe it as an excellent camera that offers better value for money than E or F models. What these replies show overall, in my opinion, is that (apart from the deficient 2.8A tessar, which was withdrawn by Rollei) there has been no bad Rolleiflex TLR model ever made. There are no duds or lemons, and Rolleiflex owners appear to be very happy with whatever model or lens they happen to own or use. In this respect, the first-time Rolleiflex TLR buyer will very likely be happy with whatever model or lens is finally chosen.

If one really wants to split hair, the following are comments from collectors. The Rollieflex T may not be very interesting to some because of  the field of view and with the optical quality. For the 3.5F with Planar, there are those who has commented the field of view was not what some wanted. There are some who commented that the view finder things were farther away than in reality. The distant objects were smaller than expected. It is because the 75mm lens is a little bit wide angle. Switching to the 880mm lens solved that distant perspective problem for some and the image quality was great. So to some the Rolleiflex with a 2.8 lens was the best. In addition, there was comment that the 2.8 is best for taking human portrait while the 3.5 is good for taking scenery.

What is best for me?

In the end, choosing a camera is like choosing a girlfriend as the preferences are personal. For me, the Rolleiflex 2.8F is widely regarded as the ‘Rolls-Royce’ of TLRs, with a build, finish and image quality that is hard to beat, let alone match (except, with a Rolleiflex 3.5F? or the limited editions?). The 2.8F was announced in 1960 and came with the now legendary 80mm f/2.8 Zeiss Planar lens. Post-1966, 220 roll film could be used in addition to 120, and from 1973 a Schneider Xenotar lens of similar specification was fitted to most models.

It’s worth noting that although the performance is considered equal (that is, outstanding), a 2.8F with a Schneider lens is usually less expensive than a Zeiss-equipped version. Aside from its bitingly sharp lens, the vast majority of 2.8F cameras are fitted with a coupled, built-in lightmeter and all feature a depth-of-field indicator, filter compensation, multiple exposure facility, film detection that aligns the first frame automatically, and built-in parallax correction that ensures that what you see is what you get. In short, the Rolleiflex 2.8F is everything a TLR camera could – and should – be, although this is reflected in the price. 

For me, the ultimate decision making considerations are the Zeiss lens, built in light meter in working order, which make taking photograph with the 2.8F an ease by just aligning the hands of the meter. In addition, as a collector of vintage watches and pens, my key learning is to keep something that can be used and appreciate in values over the year,

For those who would love a view with a list, please visit: 

http://imagesandcameras.com/buying-rolleiflex-tlr

Start S/N

End S/N

Prochnow

Parker

Evans

2.400.000

2.479.999

Rolleiflex 2,8 F

Rolleiflex 2.8F

Rolleiflex 2.8F (type 1/2)

Interesting reads:

https://www.lomography.com/magazine/319470-8-tlr-cameras-for-the-creative-photographer

http://www.japancamerahunter.com/2012/02/medium-format-cameras-a-buyers-guide-part-1/

型号Models	配备镜头 lens	推出年代Year
2.8A	菜斯耶拿，Tessar 80/2.8；	1949
2.8B	菜斯耶拿，比奥美塔镜头80/2.8；	1952
2.8C	Zeiss Planar 80/2.8； Schneider Xenotar 80/2.8；	1953
Automat MXV	Zeiss Jena，Tessar 75/3.5； Zeiss Opeton，Tessar 75/3.5； Schneider，Xenar 75/3.5；	1951
2.8D	Zeiss，Planar 80/2.8； Schneider，Xenar 80/2.8；	1955
3.5E	Zeiss，Planar 75/3.5； Schneider，Xenar 75/3.5；	1956
2.8E	Zeiss，Planar 80/2.8； Schneider，Xenotar 80/2.8；	1956
2.8E2	Zeiss，Planar 80/2.8； Schneider，Xenotar 80/2.8；	1959
3.5F	Zeiss，Planar 75/3.5； Schneider，Xenotar 75/3.5；	1956
T	Zeiss，Tessar 75/3.5； Schneider， Xenar 75/3.5；	1958
3.5E2	Zeiss，Planar 75/3.5； Schneider，Xenotar 75/3.5	1959
Rollei玛基克	Schneider，Xenar 75/2.8；	1960
2.8F	Zeiss，Planar 80/2.8； Schneider，Xenotar 80/2.8	1960

Interesting comparison
http://www5d.biglobe.ne.jp/~rolleian/k01-p28f-x28f.htm

Rolleiflex 2.8F

Rolleiflex 2.8F

2,8F image by Alex Luyckx (Image rights)

The 2.8F model K7F of 1960^[1] was available for the longest. Available for 20 years with four minor revisions up to the K7F4 of at the end of 1981. The F versions removes the EVS system. The first revision K7F uses Planar lens and uses 120 film and has the 12 frame counter. K7F2 was released in 1965, like most 120 film camera revisions released that year it was because of 220 film and provided a new 12/24 frame counter. K7F3 is nearly the same but simplifies the back and no longer takes the flat glass adapter. The K7F4 typically has the Xenotar lens. Later limited production camera runs became available such as the Aurum(1983, c.1500 units) and K7FP Platinum edition (1984 till 1985, c.500 units) and the K4FPA till about 1989. In about 1988 the 2,8GXseries was released.

Specifications :
Only differences with Rolleiflex 2.8E shown.

• Production : from 1960 to 1981, about 82.200 units.
• Format : 12 exposures of 6 x 6 cm on 120 type rollfilm.
  From the end of 1965 onwards with format switch to 24 exposures of 6 x 6 cm on 220 type rollfilm
  Furthermore a Plate adapter for sheet film and a Rolleikin adapter for 35mm film cartridges can be used.
• Rollei differential gear for coupling with the lightmeter
• Lighmeter system (when present): coupled, Selenium photo element, meter in the Focus knob
• Coupled Depth of Field indicator.
• Removable finder hood
• Prepared for an after-sales modification with a Flat Glass (to improve film flatness) in the filmgate (K7F and K7F2 only)

Rolleiflex 2.8F white face image by Glauco França (Image rights)

Changes during the production period :

• From halfway 1964 : Meter- and Feet-scales alongside each other.
• From End of 1965 : Now also 220 film possible, giving 24 exposures 6x6cm
• From Nov. 1965 : No preparation for Flat Glass anymore
• From halfway 1971 : Smooth pressure plate
• From halfway 1971 : Plain Frontplate, with text "Rollei-Werke, Franke & Heidecke", the so called White Face

Source: http://camera-wiki.org/wiki/Rolleiflex_2.8_series