Rolleiflex SL35 – Why use an unloved camera?

By Nigel Gardner

Why would you use a rather geriatric camera that even when new was a bit of a dead beat and a little unloved? It’s a question I have been asked a few times in the last 4 months – not entirely in derision, but often with a scratching of the head of non-understanding. “But why not a Canon or a Nikon, they are much better aren’t they?” “Why not even a Pentax?” Of which I actually own a few and have so done since around 1980. Then from the aficionados of photography “Why not even a Contax they are German and at least reliable?”

But it’s question that I can’t say has never crossed my mind. Otherwise, I would not be writing this. However, it’s a question where the answer is more emotion than rationale – though there is actually some rationale – honest there really is!

The back story – sorry it is important but not exciting

Since June my film camera of choice has been a German made Rolleiflex SL35. A camera which by shear chance I happened on in a small eco-recycle-second-hand semi warehouse in the middle l’Aude in the South of France. A camera which was very unexpected. But which was possibly the gods shining down on me?

I admit it I am a Rollei 35mm SLR user, having used an SL2000 for over 2 decades. But sadly, my long term friend who had never been problematic – other than needing to have fresh cells – was stolen around 6 years ago. It was a camera that I had always wanted and a camera which worked flawlessly – for me. But it’s a camera which by 2023 I had still failed to replace – There are many perfectly working SL2000 which do not have any of the problems so often reported, but on the open market they are now few and far between and during Covid I could little justify paying around 600Euro for a good quality example. *** An aside – the electronics in Rollei cameras are no less reliable than say an AE-1 – its just millions of AE-1s were made so even if you take out the dead ones there are still millions. Rollei 35mm SLRs are from a much smaller cohort – the dead ones stand out more

My trusty Rollei SL2000f Stolen in 2018 and yet to be successfully replaced

Then in March 2023 I managed to get hold of one in working order for a very good price. Problem – I was in Asia and the camera in Europe. Anyway, I bought it, and had it delivered to my eldest who is in University in the Nederlands. In June when I was home in France – I charged the battery pack and hey presto the motor ran, and the shutter failed to fire. Sadly, three months of sitting waiting for me and the previous owner would accept no possibility that the camera was faulty when they sold it

So, I have a Kaput SL2000f waiting until I am home long enough to get it checked in Germany to see if it can be a costly repair!!!!!!

So again, between June 2023 and June 2024 I was sans Rollei ——arggghhh it is painful when you have so much Rollei Zeiss and Rolleinar glass sitting waiting to be used.

Then looking for “thrift” clothing for my daughter we walk into a large former agricultural steel and ash block unit and viola – a la Rolleiflex SL35 – AND GERMAN MADE.

But it had an obviously sticking shutter at 1/500 and 1/1000 – BUT it was also at a price that made it worth the risk – In the end an easy fix with a simple lube of the second curtain release and brake – but it did mean taking top and bottom plates off and the lens box after developing that first film confirmed my suspicions.

So lovingly I got exterior cleaned – it didn’t need much it had been loved – and a roll of basic fuji color 200 loaded.

As I got it from the eco recycle shop in Quillan, France. A pure luck find.

Finally why do I use this thing?

I will not bore you with the technical stuff about the Rolleiflex SL35, Recky did that job already and and Ibraar Hussain and even better job here – but if you want to understand the SL35, then start with Frank Mechelhoff – but it is an overlooked jewel.

So why use a camera that doesn’t have open aperture metering? Doesn’t have a split image focusing screen only a micro-prism. And doesn’t even have a cold shot – let alone a hot shoe? A camera that few people even know of and fewer still have ever held.

Well the first part is that it is an emotional connection – from the first time I took some images all the way back in around 1979 – I have been obsessed with Rollei / Voigtlander. An obsession that actually took another almost 20 years to full fill.

Emotions

Its an emotional connection with the side street that the German camera industry had become, by 1970, but also with the history of Zeiss and Rollei and especially Voigtlander, who had all in one way or another given us what photography is today. Most decent fast 50s owe a massive dept to Dr Tronnier’s Ultron more than the Double Glass Planar, but biotar, planar, sonar, ultron, multicoating, the pentaprism – the modern SLR and even the M mount range finder – without Contax, Leica would have sat on their laurels!!

It’s an emotional attachment with innovative engineering – not the innovation of something that stuck for ever and everyone else adopted but the innovation to get around problems in a way that meant Rollei didn’t pay licensing fees to Seiko, Pentax, Canon, Nikon etc – who had all perfected the SLR as we know it by then. An emotional attachment to the belief that German engineers could overcome anything – by entirely over engineering every single piece. It was the over engineering which was the downfall when production moved to Singapore.

Answers which Rollei over engineered!

But it’s much more than that:

Using a Rolleiflex SL35 does allow me to use some fabulous glass designed for film. However, it takes me to the root of making images.

In the same way that a medium format camera slows the process right down – so too does using a SL35. It’s a much more visceral, while also intellectual experience than even using my Pentax MX. It’s an experience where I have to think like a 1960s capturer of light not a 2004 digital image maker – there is no mud slung, I also use digital.

Focusing is slow with a micro prism – so you have to anticipate much more. You have to be conscious of the around, not just the in front of. Even for “street” you have to plan your shots more. And it doesn’t always come off – focus depends on Depth of Field when you work like this. It takes you back to using hyperlocal distances and knowing the feel of the lens you are using, because you slept with them at the end of your bed for 6 months.

You have to anticipate and prefocus more – It doesn’t always come off 100%

A different photography

This is photography as was – not chasing bokeh or resolution or “film look”. Bokeh doesn’t exist in this world – it’s not a device to bring separation of a single object from its world. It’s photography where the world has to be considered as well. Especially true if you stick to using films lower than 24DIN (I still think in German – 400ASA). TriX was as fast as it got…

With only stop down metering and mercury type batteries – you do what photographers did – you primarily use a handheld light meter (I have yet to use the meter even though it works). In my case a Vivitar 35 – a Sekonic Lumi clone -which meters for 18% grey. So, you take average readings as often as you can and then either change the aperture (rarely) or shutter speed  (its why the first automation was aperture priority – it aped what many photographers already did) to match the actually conditions you have infront of you. Seeing the scene in EV (Zone system) helps, but it becomes an intuitive hunt. Your images depend on the light – not on automation around averaging the light – that you have. You start to appreciate deep shadow as much as detail and blown out highlights too.

Its photography of an age of grain – even FP4 can have grain that in itself becomes part of image making.

Highlights shadow contrast even grain all start to become part of the image process much more consciously

Yes, it suits black and white, but the only reason I have not shot much colour is that right now I have no Fuji Velvia – colour stock for which the wonderful Rollei Zeiss glass was almost optimised (sadly Agfachrome no longer exists) – but the pursuit of the image would be analogous and would not change much.

It is photography where you can still shoot 36 shots in 30 minutes, but it needs a confidence in a success rate and a failure rate – an acceptance that not every image will be – “sharp in the edges” or even sharp in the middle and that sometimes it will be the happy accidents that work better.

It’s also photography where you become less conspicuous – even with a mirror slap from Donar (Thor). It’s a photography where you illicit more interest than irritation. There is something about a silver and black body, that does not intimidate in the way an all-black DSLR does – it is a size thing.

Exposure is often in the lap of the gods where your brain compensates often

It’s the image first

It’s a photography where you have to work for each image – where you are constantly thinking about distance- DoF – light changes – high key and low key (why have we stopped using both of these terms?) – contrast. It’s not better than greater automation or autofocus or anything – it’s just very different. It is very different.

Again, it’s the emotion – it’s a style of making images which I like. It’s nerdy photography yes, but also very liberating. You the photographer are in control – you can only blame you in the end.

A much gentler way of working, but often much more consciously intense.

Ultimately it’s about the image less than the camera – though lenses are very important and the Rollei Planar 50mm f1.8 (its actually an Extended Ultron design not a planar) which is the lens I have most used in the last 4 months is a wonderful bit of glass – on film where it was designed to be. Alongside some less use of the Rolleinar 21mm f4 – a lens that works the room – the whole room and a fittingly – sometimes overly – sharp Sigma 28mm mini wide (my 25 distagon was stolen along with my SL2000) it make a lovely all day carry set.

A carry set which I carry in a 1960s ROX camera box – with a lock and a hinge – again an emotional attachment, but again another thing which slows the process.

What has now become my daily carry kit: SL35, Rollei 50mm Planar, Rolleinar 21mm and Sigma mini wide 28mm. Everything I need 🙂

As we have had a return to slow food and slow travel and even slow sport – I think every photographer should at some time return a little to the 60s, not only in technology, but also in approach. A slow philosophy of image making.

The Rolleiflex SL35 doesn’t just call for you to slow down – it insists that you do. If you don’t you have missed the entire point of owning one.

You don’t always get it right, buts its interesting trying

Please come and visit me on IntsagramThreads and Youtube, where after almost 50 years of making images I am starting to put my personal thoughts down.

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About The Author

By Nigel Gardner
I have been playing with cameras for around 45 years. In that time I have used many but tend to always come back to Pentax, Rollei 35mm SLRs - yes I know- Voigtlander and Zeiss M mount rangefinders, Fuji X-pro, MPP 4x5 and Mamiya C330 and 645. I am also very lucky in that I live in France but have mainly worked in Asia in the last 2 decades. Korea, Vietnam, India, Malaysia, Indonesia and currently Cambodia.
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Comments

David Hill on Rolleiflex SL35 – Why use an unloved camera?

Comment posted: 04/11/2024

A very interesting article - thanks. I too have a Rollei SL35, and have faced the question you pose: I have Nikons, Canons, Contax, Pentax, Minolta etc. Why do I occasionally go back to a clunky anachronism? Well, as you say, one answer is Rollei glass, but a less well-defined answer is - I just find it a pleasant and satisfying camera to use. It does slow you down. It does remind you all the time that this is not a camera that will do any of the thinking for you. It makes you own the mistakes and the successes - and I just get a satisfaction from it that is missing at times from other cameras in my collection. I struggle to define my feelings better, but if I were to sell my camera collection this one would be one of the last.
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Nigel Gardner replied:

Comment posted: 04/11/2024

Hi David. Yes very much so. It really is a lovely camera to just use - no frivolities. Thanks for the comment.

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newhampton1966 on Rolleiflex SL35 – Why use an unloved camera?

Comment posted: 04/11/2024

Thank you for this review of an unfairly under-rated and overlooked camera. I have 4 of these "original" SL35s and have to say, they all work and I adore them all. The construction detail is exceptional (no light seals on these) and the chrome "shines" like the expensive Zeiss Ikons of the period. It feels like a luxury camera for Pentax Spotmatic money. Incidentally, I wear glasses and never have a problem focussing as the viewfinder, for the period, is huge on these. No one ever mentions that. The other reason for owning one is, of course, the lenses. My favourite portrait photos have been shot through Rollei (Zeiss) glass and the 50/1.8 gives the equivalent Zeiss Planar for the Contax Yashica of the period, quite a run for its money. It is an exceptional bargain in today's market. Despite having a minority view, I will keep praising my SL35s. After reading your review, I'm very happy to know I am not alone. Many thanks.
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Nigel Gardner replied:

Comment posted: 04/11/2024

Thnak for the comment. Yes and in many ways I am very glad few people know about them. I wear reading glasses and don't hav eto wear them to shoot (yet) but it nice just being able to put my eye straight to the viewfinder if I want to. :) this may be of interest: https://youtu.be/UuZHN4IeH_Y

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Paul Storer on Rolleiflex SL35 – Why use an unloved camera?

Comment posted: 05/11/2024

I switched from Canon to Leica about 10 years ago and have a Leica M3 circa 1958 which I dropped a couple of months ago and have dislodged the rangefinder.

I had started using film again with the M3 and wanted to maintain this practice and came across a Rolleiflex 35SL with a 50mm and 28mm Rolleiflex lenses at a good price on eBay.

After finding the right battery I have just put my first film through and the negatives came back last week.

I expected some issues, especially the light meter, but the images are superb. They improve over the roll and the final shot a portrait was fantastic ( even at a low res scan provided by the processing co )

When the Leica gets fixed the Rolleiflex won’t get sold or put to the back of a drawer and forgotten I will still use it.
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Nigel Gardner replied:

Comment posted: 05/11/2024

Hi Thanks for the comment. I have a working light meter but I don't use it as I work in Cambodia and getting wein type batteries is not easy. But I also actually like using my old handheld meter. Yes a great camera to use. :)

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Röd White on Rolleiflex SL35 – Why use an unloved camera?

Comment posted: 12/11/2024

An enjoyable read, Nigel. Thanks for sharing. Sometimes a camera just feels right and just delivers the right images, time after time along with an enjoyable experience.

I have many cameras to choose from, but get some of the most enjoyment from my slightly battered, 1966 Rollei 35 which goes all over the place with me and comes on more adventures than my more expensive kit. It also creates some of the nicest memories for me which makes me enjoy it even more.
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Nigel Gardner replied:

Comment posted: 12/11/2024

I have a B35 which has been dragged all over the world and just keeps working - yes very much so - certain cameras just feel right :)

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JC on Rolleiflex SL35 – Why use an unloved camera?

Comment posted: 12/11/2024

Nigel, you are right : It's important to slow down in amateur photography.
Very often i choose one of my manual SLR's to experience the process of photography : For the last roll i took the Canon FTb, at the moment i shoot a Praktica LTL3 with lots of joy. The next roll comes into a Minolta SR-T, i guess.
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Nigel Gardner replied:

Comment posted: 12/11/2024

Hi JC - thanks for the comments. Yes in a world now dominated by digital, I think we can easily forget that slowing down is actually productive

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Graham Line on Rolleiflex SL35 – Why use an unloved camera?

Comment posted: 13/11/2024

That phrase always bugs me. The phrase "slow down" in photography needs a little elaboration. Holding a Leica baseplate in your mouth while changing film will definitely show you down but it has not one iota or impact toward improving your images.
I prefer the phrase I was taught in pre-glass plate days, which was "consider all of your options before you shoot." Framing, light evaluation, focus selection, depth of image all need to be considered. Among other factors like "is this image going to vanish in an instant or do I have time to think about it."
Slowing down can pay benefits if you use the time wisely and productively but you have to know why you are choosing to slow down. The camera can't do it for you, no matter how unwieldy it may be.
https://www.flickr.com/photos/74312783@N00/18679349918/in/dateposted-public/
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Nigel Gardner replied:

Comment posted: 13/11/2024

Hi Graham - the SL35 certainly isn't unwieldy and luckily I never need to hold a baseplate in my mouth - such a nasty little answer to loading film, but thats my personal preference. However I do find that the act of using a camera which has very specific steps needed to accomplish an image, does "slow you down". I use a Xpro2 and I was talking to an Xpro2 photographer who gets paid for taking photographs. They took a wedding a couple of weeks ago and they shot over 3000 images. They make an extremely good living by not slowing down. As the musket changed warfare as did the Vickers and Maxim later, which killed more by not being slow. So with a SL35, I pre-meter often with a hand held meter, though generally as I live in Cambodia its f11 at 1/250 on 200ASA film. I then focus on a microprism, but if I have the wrong lens on I have to change lenses as well, If the light has changed or I am in an area which is darker or lighter I have to either re-meter or calculate in my head, luckily I am old enough to think in Deckel values, so its not a long process, but it all adds what could be described as awareness or as I am in a Buddhist country mindfulness. I then Press the shutter and wind on and its a long stroke wind. All add tiny amounts to the process. With my XPro2 if I wanted to I could just use RAW set it as auto ISO (DIN was such a much more sensible system), put the camera in programme and autofocus and use the 18-55 zoom (I rarely use lenses bigger than 75mm on 24x36) and with a card(s) that will hold at least a 1000 images just do nothing other than fire away and pick the better composed images from 100 similar and do all of the exposure adjustments in LR. Yes I can and I do use a slower approach - but thats me choosing, many many don't choose as is evident on social media. With a very well built but minimal technology camera, every part of the process has to be deliberate and slow. The SL35 is not a camera to use goal side at Anfield. Its a camera which excels taking pictures of people in their ecosystem and the wider world, but it never does it at pace - the camera couldn't even if I wanted too and that is not an unwieldiness its a joy.

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