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Reinhold Heidecke, with huge talent and future vision, managed to reduce the parallax error to the utmost, using the empty spaces inside the camera body for the progressive advance of the medium format 120 film rolls after each exposure and besides, he lowered the reflex mirror up to a position located in the non used space of the taking lens, in such a way that both lenses could be made being nearer each other. It doesn´t cease being surprising that this camera (whose basical design has remained unaltered for nearly eighty years, with the exception of a few updates essentially tied to the exposure metering system) goes on being currently -in spite of its lack of interchangeable lenses- a top-notch photographic tool, virtually unbeatable within its domain of thorough and methodic medium format photography.įrom the end of XIX century, the concept of TLR camera – with an upper viewing lens and a lower one for real image taking- was well known, though exclusively reduced to the realm of big format cameras with sublime brass lenses.īut in 1929, the Braunschweig (Germany) sited firm Franke & Heidecke put on worldly market a design by the German photographic pundit Reinhold Heidecke (1881-1960), consisting of the already known TLR (Twin Lens Reflex) system, but applied to a much smaller, compact and handeable camera in 6 x 6 cm medium format.
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Rolleiflex 2.8 photographer professional#
Not in vain, it´s one of the still alive maximum testimonies of a fable era of photography (approximately between 19) in which the essential premises for a professional camera were the almost integral absence of budget restrictions, the use of the best possible manufacturing materials (specially very high quality noble metals), the utter mechanical reliability and an absolutely exceptional optical quality, attained in this case thanks to the synergy between the fabulous Carl Zeiss or Schneider Kreuznach lenses usually sported by the Rolleiflex 2.8 as a standard lens and the big surface of medium format negative 6 x 6 cm, four times bigger than the 24 x 36 universal format. With its unmistakable binocular TLR ( Twin Lens Reflex) look and its vintage appearance, the Rolleiflex 2.8 follows a very classical concept, from both the mechanical and optical standpoint.