A 1939 Rolleiflex Automat and a roll of Fuji NPH 400

[Swift1]

A really nice set of pix.
The colors very muted.
The lens is definitely prone to flare!
I have a later Automat (54 about)
Use a lens hood! I do, makes a difference.
I find most TLR shots esp. mine all look like taken long ago.
Guess that's the style.
Enjoy, make more images.

Thanks for the comments. So far I haven't seen much flare from this lens, but I haven't used it a lot. The one photo of the Medford Mailbox building was shooting straight into the sun, but most of the sun was behind the building. Still, I expected more flare in that one.

Love the shots.

Uncoated lenses rule. The muted colors are an oasis of calm in an oversaturated, HDR kinda world. It's why I hang on to my Super Ikonta B with uncoated Tessar 480mm 2.8.
And flare? Sometimes life itself blinds us so why shouldn't it blind a shot every now and then? 😉

Thank you 🙂 This is the first camera that I have bought with an uncoated lens. I'm impressed with it so far.

I agree with the others. Very fine work.

Thank you, Richard.

 

[Swift1]

I have an Automat from 1938. Same uncoated Tesaar. I haven't used it for any color work in 20 yrs, just BW. I may have to go get some color film to run through it after seeing your photos.

I primarily shoot color film and I bought this camera with the intention of using it for color, but I will likely shoot some B&W with it to see how it comes out. I'm thinking that this camera and Fuji Acros would make a great combo.

Same here. I have a beater 1933 Art Deco Rolleicord and need to shoot some color. I think it has a Triotar but can't remember.

Sounds like a cool camera. One of my favorite photos I took using a Zeiss 6x6 folder with a Novar triplet lens. I think the old triplets are often underrated.

Lovely work Colton. I've been following it on Flickr. You have a very good eye for composition and colour. Looking forward to seeing more 🙂

Thank you, Lynn.

 

[gnuyork]

Colton, These are great!

I recently acquired a 50s Rolleiflex Automat with a coated Tessar. Having fun with it. About to process a couple more rolls from it today. I think it's challenging to compose in the square format. I need practice!

 

[Swift1]

Love the Automat, it is my fav. Rolleiflex.
I usually would go for B&W but the color tones in your images really look great. Thanks for sharing them.

This is my third Rolleiflex. I also have a 2.8C with Planar, and a 3.5F with Xenotar. I really couldn't pick a favorite. They each have their own charms.}
This Automat weighs about 65% of the 2.8C or 3.5F, so it feels smaller and more compact. I always tell people, you really can't get a bad Rolleiflex TLR, assuming it's working properly.

Hey Colton,
That pre- war Rollei may become a constant companion. The results, IMO, are just about perfect. Fits your style to a "T". 😉

Thanks Gerry 🙂
I am really quite impressed with this old camera. I certainly hope to do lots of shooting with it.

Automat with Tessar was my first Rolleiflex... I don't know why I sold it...

Better find another 😀😀😀

 

[Swift1]

My Automat took a dive off the workbench one day, caving in the lens standard, so I traded it for parts. Then I got a K4a which I really like, and a 'Cord V to go with it. They all had/have S-K lenses, but give the same performance wise.

PF

That's sad about the Automat dying 🙁 Good thing you were able to replace it.
The Schneider Xenotar in my 3.5F is probably the sharpest lens I own. A friend has an old Automat with an uncoated Xenar and that thing is wicked sharp too.

Colton, These are great!

I recently acquired a 50s Rolleiflex Automat with a coated Tessar. Having fun with it. About to process a couple more rolls from it today. I think it's challenging to compose in the square format. I need practice!

Thank you. Ya, composing with square takes some getting used. At first it always feels like you have too much foreground, and never enough space on the sides 🙂

 

[Hiho Cracker]

Very nice

Very nice

I enjoy Colton's work quite a bit. Have become hooked on his Flickr.

 

[Darthfeeble]

Your pictures with this camera have a gentleness about them. Like they are very polite scenes as opposed to the vivid screamers that I take. I really like them.

 

[Swift1]

I enjoy Colton's work quite a bit. Have become hooked on his Flickr.

Thank you 🙂

Here's a photo of the camera, and the period correct lens cap that I found on ebay for $12. I also have the original Rolleiflex leather case that came with the camera.

 

[Chriscrawfordphoto]

Thanks for the comments. So far I haven't seen much flare from this lens, but I haven't used it a lot.

Actually, all of your photos have flare. Uncoated lenses exhibit what's called 'veiling flare,' which is an overall slight addition of density to the entire frame. It opens the shadows without affecting the midtones and highlights much. It is why your photos have that unique look with such open, detailed dark tones without looking flat.

The look can be simulated with modern lenses by a technique called "pre-exposure." Using a camera that allows double exposures, you first cover the front of the lens with a translucent white glass or plastic. An Expodisc works perfectly. Then you make an exposure through it that is underexposed several stops. Usually Zone I is used (four stops underexposed). You meter through the plastic to determine this exposure.

After that, you remove the plastic, recock the shutter without winding the film, and take your picture normally. The slight fogging of the film from the pre-exposure opens deep shadows without affecting higher tones much. Like your camera's uncoated lens does, but in a more controlled manner.

 

[Swift1]

Actually, all of your photos have flare. Uncoated lenses exhibit what's called 'veiling flare,' which is an overall slight addition of density to the entire frame. It opens the shadows without affecting the midtones and highlights much. It is why your photos have that unique look with such open, detailed dark tones without looking flat.

The look can be simulated with modern lenses by a technique called "pre-exposure." Using a camera that allows double exposures, you first cover the front of the lens with a translucent white glass or plastic. An Expodisc works perfectly. Then you make an exposure through it that is underexposed several stops. Usually Zone I is used (four stops underexposed). You meter through the plastic to determine this exposure.

After that, you remove the plastic, recock the shutter without winding the film, and take your picture normally. The slight fogging of the film from the pre-exposure opens deep shadows without affecting higher tones much. Like your camera's uncoated lens does, but in a more controlled manner.

Ahh... that makes sense.