View allAll Photos Tagged Rollei_Retro_80S
Praktika FX-2, Rollei Retro 80s film
Image ©Philip Krayna, BoxxCarr
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Franka Solida III, Rollei Retro 80s
Studying the black & white photos of Morris Rosenfeld has paid dividends here.
Second race of the Merriconeag Yachting Association 2015 racing season.
Shot with this superb 1950s folding 120 camera: www.flickr.com/photos/jbaleica/8471688808/in/album-721576...
For my complete series of sailing photos or to purchase prints, go to www.jonathanbadams.com/Sailing
Preston Park walled garden
1932 Leica 11 and Rollei Retro 80S, stand developed in Rodinal 1+100 for 1 hour.
Rollei Retro 80s, sepia reversal processed
Development @20°C:
- 10min in Ilford Multigrade 1+5
- 10min in Fomatoner Sepia toner
- 15min in Fomatoner Sepia bleach
- Fixing
This is at EI 50/18°, next time I will try EI 40/17° and 9min first development time to reduce the contrast a little.
Digitised with a Pentax-M Macro 4/100 on a Pentax K-x.
Leica M2 + Voigtlander Nokton 35mm f1.4 + 35mm Rollei Retro 80S
My first roll of Rollei Retro 80S. It probably sounds obvious if you know this film but it has too much of the orange-red filter look for my taste I think, for my portraits anyway.
This was one of those occasions where I wish I had Kodak Ektar loaded!
1:3 Xtol + 1:400 Rodinal, 10mins, 20 deg, v800 scan, 6x6 crop
Zurich Model Photography Workshop - Anne-Marie
Rollei Retro 80s at 80 Stand Developed 1h in R09 1:100 in 20C (tank in cold bath), presoaked for 2 minutes, slow agitation for the 1st minute.
Leica M2
Leica Summilux 35mm f/1.4 II
Rollei Retro 80S
Rollei Supergrain (1+12)
8 min 20°C
Scan from negative film
Superb film !
Contax RX + Planar 50 f1.4
Rollei Retro80s dev in PyrocatHD
Epson scan 4200dpi
(kernilis Finistère)
The b&w version of my summer "model", same session as the colour ones. Edixa-Mat reflex mod. C-L, Helios 44M-6 58mm 2,0, Rollei Retro 80S in Rodinal.
Canon Prima Zoom F
Rollei Retro 80S developed with Kodak D76 1+1, 13 min.
More shots with this camera: www.flickr.com/photos/mattiacam/albums/72157650821703497
I diritti delle mie immagini sono riservati. E' vietato qualsiasi uso, senza il mio preventivo consenso.
mattia.camellini@alice.it
Rolleicord IV, Xenar 3,5/75. Rollei Retro 80S, Supergrain (1:10) 6' 20°C. Scan from negative film. © All rights reserved. This photograph is Copyright and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the photographer.
After long time I shot a roll with my Yashica Electro 35 CC. What a great lens it has..Rollei Retro 80S in Rodinal. Taken in Corniglio (PR) - Italy
Camera: Olympus OM2n
Lens: Olympus G Zuiko 50mm f3.5 Macro
Film: Rollei Retro 80s
Digitised/"Scanned" using a Sony A7iii with a Sony 90mm f2.8 G Macro Lens.
I happened upon this curiosity whilst walking through town back in June. I hoped that this shot would come out, curious about the results and I'm really happy with the result.
The curiosity had been painted Purple by whoever made it and left it there. I don’t know who made it or why they chose to leave it there but I found it fascinating.
Though I developed the film the same day, I have only just had the opportunity to digitise the negatives. This is from my second roll of Rollei Retro 400, my first on 35mm format (my first use off this film being on 120 format). This is a film I have enjoyed using and will hopefully shoot more of in the future.
Rollei retro 80s at ISO 80, developed in Rodinal 1+50 14mins.
Pentax MX, Vivitar 19mm f3.8 with cpl filter.
1sec at f5.6.
Swallow falls in North Wales.
From thedailylumenbox.com Rollei Retro 80S shot at ISO 50 with SMC Takumar 28mm f/4 and No. 2 close up lens on Pentax Spotmatic F. Developed for 5:30 at 72° F in Cinestill Df96 monobath.
As a second roll of black-and-white film with my new camera Pentax 17 (see below for the details about the camera), I loaded a 36- exposure Rollei Retro 80S cartridge and exposed the film for its nominal 80 ISO over several days from April 23 to 29, 2025 in Lyon city, France and surroundings.
The Pentax 17 was equipped with an Anti-UV or a Yellow x2 40.5mm Hoya HMC filter as indicated below . For the camera transportation, I used a small camera bag ThinkTank « Mirrorless Mover 5 » that was well protecting the camera from possibly damaging vibrations when using my bicycle.
The expositions were automatically metered by the camera system using the « P » program modes with, or without, flash. For very bright scenes the exposition was corrected by +0.3 to +1EV to compensate the biais induced (and reversely -0.3 to 0.7 EV for very dark scenes to objects). Since 80 ISO is not in the ISO scale of the Pentax 17 (we can select only 100 or 50), I used the 100 ISO value plus 0.3EV on the correction dial, giving the correct exposure value for the Rollei 80S. The Pentax 117 light sensors are being the filter and the filter is then automatically compensated.
The Rollei Retro 80S (that is an Agfa Aviphot film) black-and-white film is a super-panchromatic film further sensitized in the red up to the near infra-red (760nm) film for technical, industrial and aerial photography, giving in particular valuable contrasts differentiating many different varieties of vegetation and reducing the atmospheric haze as well. The red is however much more bright than a regular panchromatic film. The film is coated on a clear polyester teraphtalate (PET) base with anti-scratch and anti-halation layers that dissolve in the developer during the chemical processing of the film
Yellow x2 filter
A visit to the North observation spot of Saint-Exupéry Lyon's Intl Airport
April 26 2025
D 517 E route
69330 Pusignan
France.
After completion (74 frames), the film was processed using Adox Adonal developer at 1+50 dilution for 14min at 20°C.
Single-frame digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm at approximate reproduction ratio of 1:2. The diffuse light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.3) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.
About the camera :
Since last Christmas 2024, it was on display in the middle of « reusable » cheap camera’s in the window of my local photography store. But this camera is not cheap and sold at 10-times the price of those « reusable » film camera’s. The Pentax 17 is a novel film camera released by Pentax (a brand belonging to Ricoh Imaging, Japan) in June 2024.
The history of « Pentax » name is still something worth to mention. After the WWII, in Dresden (that was heavily destroyed by the bombing of Feb. 13-15, 1945), Germany, The Zeiss Ikon company could not produce anymore the legendary original Contax (a high-reputation professional range-finder 35mm released in 30’s) camera that was taken by Russia and transferred to Kiev, Ukraine, in the USSR. However the brand name Contax survived and the German engineers designed something completely new within several years : the Contax S (S for « Spiegel mirror reflex ») that integrated a pentaprism for a full redressed reflex viewer observation. Zeiss Ikon Dresden registered to new trademarks derived from the words « Pentaprism » and « Contax » that were « Pentax » and « Pentacon ». If Pentacon became the new name of the company in Dresden, the trademark Pentax was bought by Asahi Optical Company in Japan, and became a formidable industrial and commercial success. Asahi Pentax, then Pentax alone, produced amazing quality camera’s including the legendary « Spotmatic » (a 35mm SLR) and stunning medium-format camera’s heavily used by professional photographers. Many of these camera’s of the past century are still operative and appreciated by film photography enthusiast’s.
Production of film camera’s vanished progressively in the mid 2000’s, as digital camera’s became of better quality and finally of generalized appliances in photography. The Pentax 17 was introduced to the market in June 2024, it was a big surprise for all the film photography lovers. Seeing a newly engineered brand-new film camera was a sort of renaissance of the film photography today of a growing interest worldwide.
The camera is a « half-frame » format on the traditional double-perforated 35mm film giving 17x24mm photograms. This format was not as popular as to classical 24x36mm (full-frame) format of most of the 35mm camera’s. However famous and quality half-frame camera’s were produced in the past including, the long series of Olympus Pen for example. Then, the Pentax 17 immediately attracted the attention of experimented film photographers and camera collectors, probably more than the officially targeted customers of the younger generations. Less than a year after, the future of the Pentax 17 and the film photography project of Pentax is questioned today. The chef-engineer who conducted the project in Ricoh company recently left and the marketing of Pentax 17 is now a question.
This finally decided me to buy an exemplary from my local shop and to discover this strange machine. The camera is of course guaranteed, even with a there-year extension after the camera registration on the Pentax website. The whole ergonomic is clearly derived from classical past 35mm camera’s with a fully mechanical film advance and rewind, a collimated Albada viewer, no digital display at all, only levers, barrels, crank and wheels… However inside is a automatic electronic exposure system with flash, the focusing is manual but the electronic mechanism moves the whole optical group with a micro motor.
The lens is a Cooke triplet 1:3.5 f=25mm equivalent to a 37mm of a 24x36mm format. The Cooke triplet is a photographic lens designed and patented in 1893 by Dennis Taylor who was employed as chief engineer by T. Cooke & Sons of York. It was the first lens system that allowed the elimination of most of the optical distortion or aberration at the outer edge of the image. It likely for this reason that the lens is unscripted curiously « Traditional » on the front lens ring… It is known that a Cooke triplet lens could give surprisingly good results with only three separated optical elements. The Cooke Triplet is still widely used in inexpensive cameras, including variations using aspheric elements, particularly in cell-phone cameras. The Cooke triplet consists of three separated lenses positioned at the finite distance. It is often considered that the triplet is one of the most important discoveries in the field of photographic objectives
The lens receives 40.5mm diameter thread filters that I use for my Zorki / Leningrad lenses Jupiter-8 2/50mm, Jupiter-11 4/135mm and Jupiter-12 2.8/35mm. The metal shade hood Minolta D42KA could mounted on the filter but I have to check is there is vignette induced.
The camera size is close to the original dimensions of a thread-mount Leica (called also the original Barnack Leica) which are, in a way, a sort of « Gold » size in the 35mm camera’s. I compared with my Zorki 1D year 1954 that is a straight reproduction of the Leica Iic. The upper deck of Pentax 17 is designed very clearly as a classical 35mm and we even find the original logo of Asahi Optical Company. The rewind crank is also a revival of past design seen on old Pentax SLR as my year-1971 Spotmatic SP in this seres of pictures.
The Pentax 17 is very light (about 300g) compared to those old ancestors that weight easily the double or the triple. It is then an effortless camera to carry. The Pentax 17 fits in the small ThinkTank bag (called « Mirorless Mover 5 ») that I recently bought to safely carry a film back of my Hasselblad or my Bronica 6X6 camera’s. In this tiny bag, the camera is protected for the element and vibrations due to cycling for instance.
Reference
analoguewonderland.co.uk/blogs/film-photography-blog/pent...
Key features and specifications
* Half-frame image capture (17 x 24mm)
* 37mm (equiv.) FOV F3.5 lens
* Zone focusing system with 6 zones
* Circular leaf shutter (F3.5-16)
* Built-in flash (6m/20ft at ISO100)
* Optical tunnel viewfinder with frame lines
* Exposure from 1/350 sec to 4 sec (+ Bulb)
* Supports films from ISO 50 to ISO 3200
Specifically the lens has:
1. HD coating, which maintains high performance of the lens, by using this PENTAX multi-coating. This also enables high contrast and high definition right to the edges.
2. SP coating (Super Protect) which helps to repel water and oil from the lens.
The fact that the focusing on the Pentax 17 is electronic i.e. the lens only moves when you half-press the shutter gives me faith that autofocus was already considered in the R&D stage.
Plaubel Makina 67 • Nikkor 80mm F2.8
Rollei Retro 80S developed in Caffenol CLCS (Cold Start) stand 60min @ 20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Near Kirsch-lès-Sierck • Lorraine • France
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My last bulk loaded roll came off the spindle and the gaff tape I'd used - kindly stuck/dragged itself across the shutter blades during frame advance so now the blades are seriously dented.
For whatever reason they still function at fast and low shutter speeds {1/1000th left - 1/30th right} - though for how long I don't know :-(
So I've got to hand it to Nikon engineers/technical skills/quality control - this camera takes a lickin' and keeps on tickin'.
Unfortunately the body has quite a few cracks that I've taped up over the years and it just generally looks rough and very well used. 2021 is my 30th anniversary with it [from store bought/brand new] and up to this point it's never failed!
Maybe it's time for a CLA+shutter blade replacement!! After shooting the inside of it I'm embarrassed how dusty and dirty it is.
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Nikon F801s
Zeiss ZF 50mm/ƒ1.4
Rollei Retro 80s
Kodak HC-110_1:50_14min_very gentle agitation
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Plaubel Makina 67
Rollei Retro 80S developed in Caffenol CLCS (Cold Start) stand 60min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 59 minutes
Makina 67 • Nikkor 1:2.8/80
Rollei Retro 80S developed in Caffenol CLCS (Cold Start) stand 60min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Nyons • Drome • Provence • France
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 59 minutes
Leica CL • Voigtländer Nokton Classic 35mm F1.4 VM
Rollei Retro 80S developed in Caffenol CL stand 60min @ 19°C
Scanned with Plustek OpticFilm 120 at 3200dpi with Silverfast AI Studio
Ettelbruck • Luxembourg
Caffenol CL
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 59 minutes
While visiting family in Rozenburg (near Rotterdam, Euorpoort Harbor or port of Rotterdam) a few weeks ago we did go out for a short stroll.
Took Our Canon Eos 1V, a Canon EF 24-70 F2.8L mkII and the EF 70-200 F2.8L IS USM mkII and loaded it with some Rollei Retro 80S.
It's one of the few films I've used that doesn't like our Caffenol Developer, so I went for Ilord Ilfosol 3.(1:9) at 20c and developing for 5 minutes
Plaubel Makina 67 • Nikkor 1:2.8/80
Rollei Retro 80S developed in Caffenol CLCS (Cold Start) stand 60min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Nyons • Drome • Provence • France
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 59 minutes
Plaubel Makina 67 • Nikkor 1:2.8/80
Rollei Retro 80S developed in Caffenol CLCS (Cold Start) stand 60min @ 15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Nyons • Drome • Provence • France
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 59 minutes