Eyes

 

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Asia Festival, DC - Rolleiflex SL2000F

Here are a couple of images I made at a festival over the memorial day weekend. I was shooting my Rolleiflex SL2000F, with the wonderful Sonnar 135mm f2.8 lens. I think it's the best lens I have for this outfit.

 

 

Don't know what a Rolleiflex SL2000F is? (Click Here).

 

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A Very Different Rolleiflex - SL2000F - My Latest Passion

So several weeks back, I went to meet my good friends Charlie and Alain for a photo outing. Charlie and I were discussing settings for his new Panasonic Lumix DMC-GX8 when Alain walked up with this beauty.

 

Rolleiflex SL2000F and Planar 50mm f1.8 Lens

 

Now, I admit that I'm pretty passionate about cameras. Passionate, but generally careful. When I realized that this was a 35mm Rolleiflex, with both eye-level and waist-level finders built in, interchangeable lenses (Rollei QBM mount), and interchangeable film backs, well, that was it. I had to have it. I'd never seen anything like it. No looking it up online, no research at all, had to have it. I bought it right then, in the parking lot. Alain was nice enough to part with it for the price he paid. Here it is with the matching Sonnar 135mm f2.8 lens.

 

 

Driving away after our day out shooting, I thought "What have I done?" A dead lens mount (the QBM is no longer made anywhere), electronic (not quiet) advance only (no manual override), maybe I should have been a little more cautious. But, just look at it. So, I smiled and drove on home.

 

Then, just as soon as I got home, I started looking for information on this beauty online. Oh, no! Everywhere I looked were warning signs - electronic failure, no spare parts, DO NOT BUY THIS CAMERA! Well, it gave me pause, but again, just look at it. I decided to take my chances and just plain use it.

 

This camera is a total blast to use. Something between a Rolleiflex TLR and a 35mm SLR system camera, it's just plain wonderful.

 

And then, I found out even more that I liked - a Rollei-made auto-aperture adapter to mount M42 lenses! This immediately expanded my lenses from the Planar 50 and Sonnar 135 to my wider set of Pentax M42 lenses, including a 28mm f2.8 no-namer, 35mm f3.5 Super Takumar, 50mm f1.4 Super Takumar(!), 200mm f4 Takumar, and even a Yashica 300mm f5.6 telephoto. Lots to play with.

 

So what about all of this concern for reliability? Well, I could either try to find someone to service the SL2000F if needed, or think about spares. I determined that a spare body was the best approach. So, I picked up a Rollei SL35 (earliest model SLR) for $35 on ebay. Yes, it needed a little exercise, but now it works fine. Here it is with the Pentax 35mm mounted via adapter.

 

Rollei SL35 and Pentax Super Takumar 35mm f3.5

 

Of course, I also started a followed search on ebay for a second SL2000F body. Pretty slim pickings, as these cameras are pretty rare. But, within a couple of weeks, I found a fully-functional SL2000F listed in Germany, with another M42 adapter, Zeiss Jena Tessar 50mm f2.8 M42 lens, two film backs, the very difficult to find electronic wired remote shutter release, and, even rarer, the dedicated Metz flash and Rollei flash adapter, built specifically for the SL2000F. And at a great price. I emailed the German seller with a few questions, and went for it. The second camera is now here and appears to be fully functional.

 

So, now I'm really deep into these cameras, but loving every minute of it. And, to calibrate it a little, still have less invested than the cost of a single high quality DSLR body.

 

So, how does it work? Like a dream. Here are a few images from the first SL2000F body, shot on a recent road trip down to Asheville, NC.

 

 

The lenses are plenty sharp. Everything seems to work very well. No electronic problems, even though I had a few scares at first. Based on reports online of AA batteries being too high voltage for the camera (they fit), I took others' advice and ordered some rechargables and they work perfectly. I chose Panasonic Eneloop batteries, and highly recommend them.

 

More importantly, this camera just fits me perfectly. It truly feels at home in my hands. I love being able to use the waist-level finder when I want, more often the eye-level finder, without changing any parts. I love that it's 35mm. I love the lenses, both Rollei and M42. I love a lot about this camera.

 

So, I'm glad that I didn't make time to be more rational about this purchase. If I had, I would not have bought it, based on all the warning signs online. I'm glad I bought it, and feel quite fine now with a spare body, just in case.

 

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Annoying Some Kids With My Rolleiflex

Get it Over With, Mister. By Reed A. George

Rolleiflex 2.8F Planar, Kodak TMax 400 Film

 

Every single time I use it, I am reminded why the Rolleiflex is such an important piece of photographic history, and my photographic present. I just love the expression on this little girl's face, as well as her posture. I also like that her shirt says "SMILE" on it...

 

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13 St NW - Washington, DC, Shot with Rolleiflex 2.8F Planar

 

13 St NW, by Reed A. George

Rolleiflex 2.8F Planar, Kodak TMax 400 Film

 

I know it looks like a simple shot, but I worked hard on this composition. I took a few other shots, but this one appeals to me the most. I believe that the two workers (one on a ladder on left, one on stairs at right), the bicyclist, and especially the open window at the top corner of the building are importnat compositional elements. The street sign at top left is as well. I see a compositional triangle of the ladder, window, and either bicyclist or worker on stairs that works well for me. The street sign sort of breaks up the scene in an interesting way.

 

Probably over-thought, but I like it.

 

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Visit to a Buddhist Temple - With My Rolleiflex 2.8F

Wat Lao Buddhavong, by Reed A. George

Rolleiflex 2.8F, Kodak TMax 400 Film

 

I made a visit to a local Buddhist temple that I'd never been to before - Wat Lao Buddhavong in Catlett, Virginia. Anticipating a festival that never materialized (I guess my information was wrong), I took the opportunity to walk around the grounds. These are a few of the things I saw there.

 

Shooting with TMax 400 in the bright sunlight and with snow still on the ground meant very fast shutter speeds (1/250-1/500) and small apertures. I did use a yellow filter, which reduced the sensitivity by about 1 - 1 1/2 stops, so really, I was shooting at an equivalent of about iso 150.

 

The square composition worked well for me here. The detail that the 2.8F's Carl Zeiss Planar bring out are just amazing.

 

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"My Little Town" Exhibit at Photoworks, Glen Echo

I've been participating and learning from a great group of photographers at Photoworks, Glen Echo Park, in Maryland. (Click Here) to read more about the group.

 

Photoworks is hosting a juried exhibit from February 27 - April 13, 2015.

 

I entered the following images, but did not get selected for the exhibit. I shot all of these in DC, with my Rolleiflex 2.8F. Though they weren't selected, I'm still proud of these images.

 

 

It's important to remember that we don't only learn from our successes. In fact, some would argue that we only learn from our failures. I am looking forward to seeing the work that was selected for the exhibit, to help me improve my own photographic skills.

 

There is a reception at the exhibit on Friday, February 27.

 

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A Recent Favorite - Georgetown Iceskating

Chilly Fun, by Reed A. George

Rolleiflex 2.8F, Kodak TMax 400

 

Just a shot that I really like. Made a couple of weeks back in Georgetown, DC.

 

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Vienna Group - Alain

Alain, by Reed A.George

Rolleiflex 2.8F, TMax 400 Film

 

A couple of years back, I started meeting up with a few fellow camera nuts, at least once per month. We meet in a coffee shop in Vienna, Virginia, and talk all things photographic.

 

We initially came together to talk Leica, which we still do. As you can see from the F3 around Alain's neck, we aren't exclusive in our tastes.

 

In fact, it was the Vienna Group that reignited my interest in Rolleiflex and TLRs. To the point that I purchased my lovely 2.8F from another member, Charlie.

 

It's really good to have a group of friends with like interests.

 

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Not All TLRs Are Rolleiflexes

 

Seafood Market, Super Ricohflex TLR

 

Well, of course not all twin lens reflex (TLR) cameras are Rolleiflexes. There are also Rolleicords! But, all jokes aside, there were many, many respectable TLR cameras by makers other than Rollei. I've owned a Yashica TLR that was quite capable. I still have a Minolta Autocord, which rivals any of my f3.5 Rolleis. I also have a couple of Ricoh TLRs, including the Super Ricohflex that I used to make the picture above.

 

Most of the other brands are less expensive than Rolleis, as well. My first TLR was a Chinese camera, made by Seagull. Not as robust as the Japanese or German makes, but it worked quite well.

 

(Click Here) to check out a post by Rick Schuster on the blog "shot on film." Rick uses a Super Ricohflex himself, and shares some nice color shots. However, Rick also mentions a strange phenomenon of the area of focus being somewhat unpredictable on his camera, toward the edges of the frame. I've never experienced anything like this with my Super Ricohflex. If forced to speculate, I'd say that Rick's camera has suffered an impact that misaligned the lens axis with the film plane. That said, Rick's still making great pictures with his camera, and by all appearances enjoying the process.

 

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The Rolleiflex and Attracting Photographic Subjects

 

My Rolleiflex 2.8F

 

Over the holiday break, I've spent a little time with my new Rolleiflex 2.8F, which I purchased a couple of months back from my close friend Charlie. Mine is a Model K7F2 with Zeiss Planar lens, manufactured in 1966.

 

Charlie, and another good friend, Alain, have recently taken up their twin lens reflex (TLR) Rolleis and done quite a lot of shooting. One of the things that excites them both about Rolleiflex is how warmly people welcome them shooting with them. So many people ask about the cameras, or remember someone who had a camera like that, etc.

 

I have certainly experienced the same phenomenon. In fact, Charlie and I were in DC over the weekend, when a lady at the table next to ours in a cafe said "Excuse me, I see you have a Rolleiflex." She then went on to tell us that she owns one herself, which she inherited from her brother. By the way, her brother fought in World War II, including Normandy, entering the military at age 14 with a made up birth date. This nice lady asked about our little photography group, which meets once monthly. She's invited to our next meeting, and I'm hoping she'll bring her camera along and let us help her start shooting it again.

 

In my opinion, this kind of camera recognizing is both blessing and curse. While I certainly enjoy welcoming photographic subjects, sometimes I want to go unnoticed. I find that a small 35mm camera, like a Leica rangefinder, is better for that. The truth is that subject reaction to the two types of cameras is just different. Neither is good or bad; they're just different.

 

I've written about this in the past, with regard to my Mamiya Universal Press camera. Very few people recognize the MUP, but it's so big, it's not going to go unnoticed. (Click Here) to see some of the "candids" I've taken with the MUP.

 

I recently found a post on the blog "TLRgraphy" about this automatic receptivity in photographic subjects when you're using a Rolleiflex. (Click Here) to read the post on TLRgraphy.

 

Anyway, I've now got two rolls of 120 film exposed with my 2.8F, ready to go off for processing at thedarkroom.com

 

Hopefully, I'll have a few good images to share with you in a week or so.

 

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More From My Leica IIIG

Here are a few more images from the roll I recently put through my Leica IIIG and collapsible Summicron 50mm f2 lens.

I really liked how the light was coming through the leaves at the top of the frame above, and lighting peoples' faces as they walked by against the darker background.

 

This is from a flea market in Georgetown, Washington, DC. I picked up a nice Canonet 1.9 rangefinder camera there for $15. It has a cracked glass over the focusing finder, but after a little lubrication, it's shooting as good as new. I don't think the crack will affect how it functions at all.

And here's my friend, Charlie, with his mint Rolleiflex 2.8F and a IIIG of his own. I believe that's his Cosina-Voigtlander 28mm f3.5 lens mounted up there.

 

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You Know How They Say The Camera Doesn't Matter?

Well, based on this morning's browsing of the Rolleiflex and Rolleicord group on flickr, I don't buy it.

Ada, by flickr user Traveling Darkroom

http://www.metaroundthecorner.wordpress.com/

 

Okay, I know, the photographer matters more than the camera. That is true. But there's an abnormally high frequency of great images in this particular group, if you ask me.

 

(Click Here) to judge for yourself.

 

Now, it could be the square image format that I happen to like. Or, it could be the different perspective that you can get with any twin lens reflex (TLR) or other camera that has a waist level finder. But, I think there may be more to it than that.

 

I went out with my Rolleiflex yesterday, and without seeing any results yet, feel more confident than usual that I got at least one or two great images. The film ships out to The Darkroom today, so we'll know in a couple of days.

 

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A Little Inspiration a la Richard Avedon

I absolutely love shooting film, especially black and white. I also love medium and large format, including the Rolleiflex, chosen instrument of my friends Charlie Arnhold and Alain Durand.

 

Richard Avedon is one of the most famous portrait photographers of any time. Avedon used a Rolleiflex f2.8 twin lens reflex (TLR) camera for many of his portraits.

Ingrid Bergman, by Avedon

Image Source: http://classiq.me/portraits-by-richard-avedon/ingrid-bergman-by-richard-avedon-new-york-1961

 

Always using plain backgrounds, Avedon's portraits seem to show a very direct connection between model and photographer. I love that about his work.

 

For more Avedon inspiration, check out this post on the blog Classiq.me.

 

Still plenty to learn!

 

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Planning My Next Theme - Maybe

Great Falls, VA, at About 17 Degrees Fahrenheit, by Reed A. George

Rolleiflex

 

Well, if you've followed the twists and turns of this blog for a few years, you've seen it change quite a lot. If not, I can tell you that my focus shifted from mainly Panasonic/Lumix/Micro 4/3 gear in the first year to a prolonged emphasis on Leica, and on old film cameras. Recently, I've been thinking more about the creative process and how it relates to gear and format.

 

I think all of this has been useful for me, and I don't plan to drop any of it. I still shoot Lumix when the mood strikes me, and have zero problem relying on a full Micro 4/3 kit for much of my travel. I'll never lose the love for my Leicas. However, lately, some friends and I have been leaning more toward medium format film cameras for our weekend outings.

 

In my Skeletons From The Closet series, I used several of my old medium format cameras. My friends Charlie and Alain are Rolleiflex users. I love my Rolleiflexes as well. I recently picked up (through the favor of another friend) a wondrous Mamiya Universal Press camera kit. I also really enjoy medium format folding cameras, and my Bronica ETR (6x4.5 format) kit has been sitting idle for far too long.

 

So, I may just have to start a new emphasis on medium format film shooting. In fact, my first couple of rolls through the Mamiya are on their way to The Darkroom as I write this.

 

Don't know about The Darkroom? (Click Here) for the best film processing I've ever found.

 

As I've learned that focusing on just one type of equipment is only satisfying for a finite period of time, I'll figure out how to make the best creative use of this type of gear. I won't limit myself to one camera or maker. I will commit to the "slow photography" movement, at least for this part of my shooting. With a Mamiya Universal, you don't have much choice but to commit to slow photography. :)

 

Anyway, that's my thought at this point in time. Again, this will not be an exclusive focus. I surely won't be traveling with just a Mamiya Universal very often. But, it could be a new dimension to add to my subjects.

 

Input always appreciated! Drop me a comment with your thoughts.

 

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More Rolleiflex Images from the Smithsonian Folklife Festival - Celebrating Kenya

Yesterday, I shared a couple of images from the China side of this year's Smithsonian Folklife Festival. Today, Kenya.

 

All of these were shot with my Rolleiflex T twin lens reflex (TLR) camera and Kodak Portra 160 film.

Smithsonian Folklife Festival 2014 - Kenya

 

It was a very bright, contrasty sunny day, as you can see in the second image. So, getting under the tent coverings helped to diffuse the light quite a bit, leading to better overall images. That said, it made getting a natural looking background more challenging.

 

In any case, people did seem to like being photographed with an old TLR camera. I've had this camera for several years. I used it quite a lot when I first bought it, less so recently. I've still got it in my bag, and plan to shoot more with it in the near future.

 

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Smithsonian Folklife Festival 2014 - With Rolleiflex T

Two of my photography buddies have taken a (re)new(ed) interest in shooting Rolleiflexes. Both of them now sport Rolleiflex f2.8 cameras, while I shoot a Rolleiflex T f3.5 model.

 

Together, we all went to check out the Smithsonian Folklife Festival, whose focus in 2014 was on the countries of Kenya and China.

 

(Click Here) to read about the festival.

 

One of the events in the China program was flower, drum, lantern dancing. I captured these images of one of the group's leaders, who I believe is named Yue Ying (I can't seem to confirm that).

 

 

Flower Drum Lantern Dancer, by Reed A. George

Rolleiflex T f3.5 Twin Lens Reflex (TLR) Camera, Kodak Portra 160 Color Print Film

 

I used my Rolleinar 1 closeup lenses on the T for these shots. Actually, I could have done them without the need for the Rolleinar, as I was at the long limit of focus with them installed. That said, I like how they reduce the depth of field for portraits like this. So, no harm done.

 

It was fun getting the old TLR out again. You'll be seeing more TLR images in the near future, including some from the Kenya portion of the festival.

 

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Rolleikin Installed - My Rolleicord is Now The Portrait Making Machine!

My Rolleicord

 

I recently picked up a Rolleikin 3.5 kit from KEH, for around $40, shipped. What's a Rolleikin, you may ask? It's a set of components (which comes in the nice zipper container on right), which allow you to load and shoot 35mm film in your medium format Rolleiflex or Rolleicord Twin Lens Reflex (TLR) camera. The neat thing is, the frame of the 35mm image will be oriented in portrait position, which should be a lot of fun.

 

(Click Here) to go to KEH, the best used camera store I know.

 

It took me a little while to figure out which Rolleikin kit I needed for my Rolleicord. The Rolleikin 3.5 fits Rolleicords with serial numbers higher than 1137000, and Rolleiflexes (with f3.5 lenses) with serial numbers above 1100000. My Rolleicord is number 1542806, so I'm in good shape.

 

Installation requires replacing one knob on the right side of the camera (while you're looking at the front of the camera), where you see the red check mark above. That's the only step that requires tools at all, a small screwdriver, to remove and replace three screws.

 

For complete installation instructions, (Click Here) to download the accessories manual from butkus.org. Be sure to donate a little something to Mr. Butkus (there's a simple Paypal "Donate" button on the site). I think $5 is appropriate for this manual, but that's up to you.

 

In any case, it took me about 20 minutes to get the kit full installed and working. It's really quite cool. Here's what the 35mm film guide looks like installed:

 

Rolleikin Installed

 

So, you can see that this should be an ideal setup for shooting portraits. I think for head shots, it'll require using the Rolleinar closeup lenses (simple screw-in filter type closeup lenses), which I have. The Rolleinar also makes the depth of field more shallow, which should be great for portraiture. Wider portraits won't need the Rolleinar.

 

So, I can't wait to get some film in this old beast and give it a try! I'll report back once I have some results to share.

 

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Rollei TLR and 35mm Film!

Image Source: http://www.elcreations.org/lipsengtan/photoblog/?p=38

 

 

This picture, taken by Tan Lip Seng, is an absolute classic. Taken with a Rolleiflex twin lens reflex (TLR) and 35mm Kodachrome film, it won Mr. Tan a silver medal in the 1964 Kodak International Picture Contest.

 

(Click Here) to read about it on Mr. Tan's website.

 

I found this lovely shot because I purchased a 35mm film attachment for my Rolleicord tonight. Just $37, in EX condition from my favorite used camera supplier, KEH, the Rolleikin allows your medium format Rollei TLR (Rolleicord with serial numbers over 1139900 or so, and Rolleiflex with numbers over 1100000) to shoot portrait orientation images on 35mm film.

 

(Click Here) to visit KEH.com

 

Interestingly, Mr. Tan's shot is landscape in orientation, meaning that he had to turn the TLR sideways, and use the "sports finder," as it's nearly impossible to use the ground glass with the camera in this orientation.

 

Since in the normal TLR "waist level" position, where you look down into the hood at the ground glass, the 35mm film will be in portrait orientation, this should make a great portrait camera out of the old TLR. The 75mm f3.5 Xenar lens on my Rolleicord should make an excellent portrait lens.

One challenge is that Rollei TLRs have a minimum focus of about three feet, making real closeup portraits, say headshots, a little difficult. No problem there, as I already have the Rolleinar close focus attachment for this camera. Here's a shot made with the Rolleinar, but on 120 (medium format) film.

 

Christine, Age 8, by Reed A. George

Rolleiflex T, Rolleinar Closeup Lens

 

So, I am really looking forward to receiving the Rolleikin kit. Shooting 35mm rectangular images won't only transform my Rolleicord into a gorgeous portrait maker, it will significantly reduce the cost per image, as compared to medium format film. I'll let you all know if/how it works out.

 

Happy New Year!

 

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"Terrified" Street Photographer? My Advice Is to Pick Another Hobby

 

Crabby, by Reed A. George

Rolleiflex T Twin Lens Reflex Camera

 

I'll admit that sometimes I'm not completely comfortable doing street photography - that is, photographing people I don't know in the street, at work, or really anywhere they're living their lives. Some days, it flows like water; other days, it seems everyone's angry to see you lift your camera. That's part of the attraction for me. What fun is an activity that's always easy?

 

Anyway, I read an interesting post by photographer Mridula Dwivedi on Digital Photography School, about ways to do street photography, even if you're "terrified" of it. Here are Dwivedi's tips (which I will say from the outset I largely disagree with):

 

• "Shoot Things" (not people)
• "Use a Zoom Lens"
• Frame wider
• Photograph busy people - I don't disagree with this one
• Position yourself at a corner - this can also work

 

In my opinion, shooting "things" is not street photography. It's a fine hobby, just not street photography. Using a zoom lens (which really means using a telephoto so you don't have to get close) is pretty close to spying. Framing your images wider can work. In fact many street photographers really like wide angle lenses, but they usually get extremely close to their subjects in order to use them. I don't think that's what Dwivedi means. The last two are good ideas, in my opinion.

 

(Click Here) to read Dwivedi's entire post.

 

I believe that if the photographer is truly terrified while shooting on the street, it shows in the images. It certainly shows if they stand on the sidelines and shoot with a long lens. I don't know of any great street photographs that were shot in this way. I also believe if you feel like a spy, look like a spy, and act like a spy, your street images will be about as intimate as a spy satellite image taken from space.

 

So, if I were truly terrified of street photography, I'd move to a different hobby. Just my $.02.

 

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