Could I really trust almost half a century of unadulterated worship? Or would the Rolleiflex prove to be another over-hyped relic unfit for modern hands?įrom the first moment one holds a Rolleiflex, it’s clear from outset that it’s a camera that belongs to a completely different time and place. The Rolleiflex became more than a camera, it became a cultural icon, a symbol of early and mid-twentieth century style and function.īut no matter how famous a camera is, or how amazing a camera is said to be, there’s no overcoming the paranoid skepticism of a jaded camera reviewer. Sure, loads of cameras can claim their share of famous users, but not many cameras can claim to have their own lyric in a Brazilian Bossa Nova classic or have a spot on the back of the Filipino one hundred peso bill. The Rolleiflex is also one of those rare cameras whose fame stretched beyond the realm of photography.
#Rolleiflex 2.8 photography professional#
These cameras were considered the king of medium format photography in their day (and by some accounts, still are), and were seen as the perfect camera for professional reportage and studio work. Show one to any older photographer and they’re likely to either wax poetic about their perfect old Rolleiflex or lament their unfulfilled dreams of owning one. The reputation of the Rolleiflex precedes it in a big way. So when I got ahold of a Rolleiflex 2.8D, one of the most famous cameras in the history of photography, I held my excitement in check. It’s not anybody’s fault some cameras just fit certain people, and others not so much.
All of us here at CP have stories of disappointment with well-regarded cameras. After reviewing vintage cameras for a while, you tend to become distrustful of any camera or lens with a legendary reputation.
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