October 2019

Rolleicord Review

Rollei made the classic TLR (twin lens reflex) cameras of the 50s and 60s, the 'cord being the budget sibling on the 'flex. Both boast the excellent build quality synonymous with the German manufacturers of the era and budget is perhaps a word that may give the wrong impression. There are some compromises with the 'Cord, such as having a knob to wind on the film rather than a lever and then having to manually cock the shutter rather than this being part of a wind on lever's operation. I also understand the lens to be different, mine Rolleicord has a 75mm f3.5 tessar-type Xenar lens, and if the internet is to be believed this is inferior to the lens on the Rolleiflex, although mainly visible wide open.

So why did I want one? Shooting 6x6 medium format has established itself as my favoured format over the last few years and I wanted something less bulky than my Bronica SQ to take on trips where I cannot justify the bulk of the Bronica. Another feature I was looking for was a fully mechanical camera that had a bulb mode as this was something lacking on the SQ and I want to be able to try some exposures of several minutes. So a TLR fit the bill nicely, and given that the Yashicamat 124G did not pan out for me previously, I decided to stick with the classic Rollei brand.

I must admit I was baffled when first trying to use the camera - I could not work out how to fire the shutter! On the Yashica the wind on lever cocked the shutter so that it could be fired with the shutter release button. The Rolleicord has a knob rather than a lever and no obvious (to me at least) shutter release button. So admitting defeat I found the manual online and realised my oversight - there is a lever just below the lens that you need to slide to cock the shutter and then tap the other way to fire the shutter. The ergonomics of this operation could be better in my opinion, flicking a lever feels quite weird to me rather than using a button when handheld, although most of the time I ended up using a tripod and shutter release so this wasn't a big deal.

The focus knob has good travel and loading the film is easy so no issues there. Using filters was a necessary feature for me and as it doesn't use standard thread mounted filters I had to also consult the manual to find out it uses Bay I mount filters. Whilst you can get old original Rollei ones off eBay you can also get some new ones from B&H it turns out. For $15 I got a red filter made in India by a company called Nisha although I didn't end up using it. Instead I managed to find an adapter for Bay 1 to 52mm thread meaning that I could use my full set of ND and coloured filters. What's really great about a TLR over an SLR for using filters is that they only cover the taking lens and you can frame normally without the filter as the viewing lens has none. This is especially useful for a strong ND like a 10 stop filter which is such a pain on an SLR to screw on and off between shots. One downside of this camera though is the dim focusing screen, which is far worse than the Bronica SQ.

Before heading to the US on a family vacation I thought it would be prudent to check the cameras actually worked so I headed to my local park to get through a roll. I developed it myself and the photos came out reasonably well exposed (so as not to suggest shutter timing issues) and in focus (suggesting the viewing and taking lenses are in alignment, something I'm pretty sure was not the case for the Yashicamat). So confident it was working I ran 2 rolls of TMax 100 and 1 of Ektar with many long exposures on the former. Unfortunately I did not check the shutter speeds less than 1/60s and just as I was finishing my first roll I realised that the shutter had not closed on a 1/2s exposure whilst I was framing up for the next shot. Thats the downside of a leaf shutter I suppose, you can't hear it open and close to notice normal operation. So I reverted to using only bulb mode for some long (20s - 2min) exposures. Note to self: carry some cards with reciprocity failure corrections with you! I must admit forgetting to write these down and then realising your on a beach with no phone signal is annoying, although my best guesses did at least end up with some usable frames.

In conclusion this is a really fun camera to use and I'm glad to get a decent copy unlike my previous Yashicamat TLR where the lens misalignment led to focus woes that drove me mad. I will invest in a CLA I think because this is a camera I'll probably keep on to for many years to come. The form factor to shoot 6x6 medium format is great and such a nice change from the heft of the Bronica. Although it only has the option of the built in 75mm lens available it is somewhat liberating and restrictive. Liberating in that one can focus on getting the best angle with what you have availabe but restrictive that there are just shots you won't be able to get with this camera. Its telling that my most used lenses on the Bronica SQ are typically the wide 50mm and telephoto 150mm and 250mm and there were shots I would've liked to capture that I couldn't really with a fixed 75mm. Although my suitcase appreciated the reduced weight.

Abstract Photography

The EdgeZeiss Ikon Nettar 517

Photography, as I am appreciating more and more, is less about capturing reality and more about conveying an idea or emotion. In its most abstract form an image that enables you to see something that you would not appreciate through the frame of real life. Whilst going back over my photography library in an effort to sort the wheat from the chaff, I was inspired by some of the more abstract images I've captured over the years. I've never properly started a project to follow a theme of structure or colour and so each of these are collected together only with some hindsight.

The first image is the corner of a building near Kings College's library in London. I'm not sure what inspired me to take the shot, it was an anonymous building where an interesting angle caught my eye. The way the colours have rendered - simple brown, white and blue with a nice shadow emphasising the 3D effect has stuck with me. The final two are more muted in their palette and are captures of two famous landmarks - the Bullring in Birmingham and the Guggenheim in New York. The Guggenheim is not a shot that I took much notice of at the time, I marked it down as an idea I did not fully execute. However some 4 years later I saw some hope that cropping the image would make it more impactful, which with the relatively large 6x6 negative I had plenty of room to maneuver. The composition is now more pleasing but its the subtle details in the marks on the paintwork that draws me in as my eye lingers. As for the Bullring image, its a building hard not to get a good image from. What I like about this particular image is the grey nature of the day created conditions where the colour is so muted and subtle that it is these minor details that draws my interest every time I see it.

The GuggenheimBronica SQA + 80mm f2.8 + Fuji Reala
The BullringBronica SQA + 80mm f2.8 + Fuji 400H

Abstract themes is something I should try explore more in the future, especially living in a city, and I would do well to think of a theme to help create a series of images rather than images in isolation that I try to group together after the fact.

Olympic Peninsula

The Olympic Peninsula hold much rugged majesty for anyone interested in landscape to observe. I first visited in spring 2015 and had resolved to return one day. On that trip, unlike Yosemite the year before, I did not opt to take my Bronica. It had fallen somewhat out of favour and the heft it added to to my luggage certainly influenced my decision. Fast forward four years and I find myself increasingly drawn to using 120 film in 6x6 format to make the images I enjoy most; this time the heft did not phase my and my Bronica with every lens I own accompanied me (40mm, 50mm, 80mm, 150mm and 250mm).

Such a great volume of gear may seem extreme and in hindsight probably was. I tended towards using the wide lenses and the two telephotos to either compress or accentuate my perspective; in the past couple of years I havent found myself using the 80mm much. Its too bad that 95mm filters required are for the 40mm and will probably result in me opting for the 50mm in the future as all of my filters are 77mm.

For film I had some Ilford HP5 in my freezer that wanted using so I took this rather than buying in some new TMax 400 which would've been my preference. Colour I dug out my last Velvia 50 and a roll of Ektar. Wow I'd forgotten just how good Ektar is when well exposed.

The peninsula can easily be seen from the city of Seattle on a clear day but how long it takes to get there depends on wait times for a ferry or traffic around Tacoma. As it was a holiday weekend we took the latter and suffered traffic that I'm sure was to at its worst. We stayed at an holiday rental on the north coast down a private road with access to a restricted bay. The views to Canada's Victoria island were superb.

Day 2 saw us drive back to Port Angeles and up the road to Hurricane Ridge in the Olympic National Park. As you can see from the map the main attractions in the National Park are accessible via sparse inroads into the wilderness, leaving the majority only accessible with multi-day backpacking trips. The ridge itself has a large car park and a visitor centre. There are some short hikes around the meadows opposite, but carry on through the car park and you will go down a narrow winding road for a mile or so to another car park. This is the trailhead for the Hurricane Hill trail an accessible ~3 mile hike with outstanding views of the inner mountains and north to Canada. As we reached the top of the hill mist rolled in making for some great mysterious photographic conditions.

Hurricane Ridge ViewsBronica SQA + 250mm f5.6 + Red Filter + Ilford HP5. Washington USA (2019)
Hurricane HillBronica SQA + 250mm f5.6 + Ilford HP5. Washington USA (2019)

Sul Duc falls is another very popular short accessible hike in the park. I had done this on my previous trip and continued on to Deer Lake but today with kids we would only go as far as the falls today. To our surprise we were greeted at the trailhead by emergency services out in force; turns out someone had been standing on rocks on top of the falls, slipped and fallen down the falls. It's incredible the risks people take with their safety and I hope it was not driven by the quest for a photo. The trail had reopened but we were warned there would be the emergency services returning and we did pass the injured being brought back on a gurney. At the falls I got a few long exposures of the falls.

The far west side of the peninsula is a wild rugged coastline with deadwood washed up to line sand and stony beaches. There are large stacks left in the sea where the mainland had receded away leaving towering monoliths that conveniently make for attractive photographic subjects. There are many beaches, Ruby and Rialto being two of the most popular but unfortunately due to time we could only visit the latter. Next time I would base myself at the town of Forks to explore more of this coastline. We arrived at Rialto beach whilst it was thick in morning fog. Proceeding down the beach it was easy to lose track of distance and time with the view impaired to only metres in front of your feet. Before reaching the stacks it suddenly cleared leading me to regret not capturing some frames of the tree lined shore in the fog on my walk out there. I realised I'd been so set on getting to the stacks I'd missed some good potential of the treeline diminished by the fog. The images at the top of this post are from here and are some of my favourite from the trip.

The final image above is from the private access to Freshwater Bay from the holiday rental. Nearby is a public access point to the coastline called Salt Creek that has some good potential for photography. Whilst I captured some images sunset was not the optimal time. Sunrise would be better, as would not mistaking the film back with Velvia 50 for my HP5.