View allAll Photos Tagged Rollei_Retro_80S
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
Grund • 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
Pine trees near Arcot Lake, taken with the Baby Rollei and Rollei Retro 80s 127 format film
My blog - kevinthephotographer.wordpress.com
St Peter's Church, Tandridge
Kiev 88CM, Carl Zeiss Jena Biometar 80mm 2.8 and Rollei Retro 80S stand developed in Rodinal 1 +100 for 1 hour.
(Fr) Voici une toute fraîche faite hier matin et développée hier après-midi.
D'avance merci et bonne semaine à vous tous.
(En) Here an image made just yesterday morning and developing yesterday afternoon.
In advance thanks for your visiting and good week.
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exifs: RZ67 pro ii - 250mm - f/32 - 1/8s - yellow filter - Rollei retro 80s @ 64 iso. developing with HC110 dilution H at 23°C for 11min.
All systems are a go . . .
This photo was taken by a Asahi Pentax 6 X 7 medium format film camera and Super-Multi-Coated Takumar/6X7 1:4.5/75mm lens with a Hoya HMC 82mm Y[K2] filter using Rollei Retro 80S film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
Nikon FM
Osawa 28mm f/2.8
Zomei IR 720 infrared filter
Rollei Retro 80S rated @6iso
Rodinal 1+100
Semistand development for 30', continous agitation for the first minute, then one slow inversion at the 10th and at the 20th minute.
While not my favourite look for this film, Kodak D-76 does a decent job, no need to worry about grain with the pull to ASA-20, and you even don't lose that rich chrome feel about the images.
You can read the full review online
www.alexluyckx.com/blog/index.php/2018/07/11/ccrfrb-revie...
Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Rollei Retro 80s @ ASA-20
Kodak D-76 (Stock) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
Location： Pei Ho Street, Sham Shui Po, Hong kong
Canon New-F1
Canon FD 17mm f/4
Rollei Retro 80s as ISO 50
Kodak HC-110 (E)
5 min at 20ºC
º
This emulsion is impressively sharp and contrasty - even on an overcast day.
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Nikon FM2n
Zeiss ZF 50mm/ƒ1.4
Rollei Retro 80s
Rodinal 1:50_14min
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Heather leading onwards further into the plant.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 (Red-25a) - Rollei Retro 80s @ ASA-80
Kodak HC-110 Dil. E 8:00 @ 20C
Scanner: Nikon Coolscan V ED
Editor: Adobe Photoshop CC
Location: Queen's Road C, Hong Kong
Canon EOS 1V HS
Canon EF 50mm f/1.4 USM
Rollei Retro 80s as ISO 50
Kodak D-76 (1+1)
12:30 min at 20ºC
Brighton
Olympus RC35 and Rollei Retro 80s film @ 200 iso, stand developed in Rodinal 1:100 for 1 hour.
Пушкино, 19 января 2014, река Уча, -23°С.
Pushkino, water baptism.
Olympus OM-1n, Zuiko 50/1.4, Rollei Retro 80S
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
Canon EOS 3000v / Industar 50-2 f3.5 / Rollei Retro 80s
As much as I like the Helios 44 wide open, I do love the Industar 50 stopped down to f11. I know that many (modern) lenses may be better in a test bench ,even at faster apertures, but the Industar 50 at f11 definitely's got something. I know many modern lenses may be better, but, think about it: lenses are made more and more to have their peak performances at apertures wider than f8... Don't you guys think that it would be great to have some, call them specialist, lenses that would perform better at smaller apertures?
Now, I must remark the fantastic qualities of the Rollei Retro 80s film. I know, I know, it is nothing else than rebadged Agfa aerial film... Aerial you said? Huh. This means that this film was made to be shot from VERY high altitudes directly to the ground, to map it and things like that. And this, in turn, means that this film is perfect for landscapes! Just look at the picture: this was taken near the peak of Mount Teide, at 3500m above the Ocean, and what you see at the center of the image is Chahorra Mountain, the Old Peak, which is several kilometers away, some 3100m over the sea level; its crater is 900m diameter. The day was not really clear, as you can see by the clouds behind. Can your DSLR do this? Don't think so, as mine is a 5d and the images taken with them are more hazy than the ones I took with my less than 50 bucks rig of cheapo SLR, Soviet lens and film.
Ah! Yes, just give me a couple days in a national park, a yellow filter and a film that sees through haze and you will make me the happiest man on Earth...
shot with an old Contax Aria SLR loaded with Rollei Retro 80S B&W film, home processed (using stock XTOL) and scanned using a Sony A7 with a Leica R Macro lens. Processed in Lightroom and downloaded here on Flickr.
Film: Rollei Retro 80S @ 80 ISO | Develop: HC-110B, 5:00 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Location: Yin Hing Street, San Po Kong, Hong kong
Canon EOS 1V HS
Carl Zeiss Jena DDR MC Flektogon 20mm f/2.8 (M42)
Rollei Retro 80s as ISO 50
Kodak HC-110 (E)
5 min at 20ºC
Nikon F100, Rollei Retro 80s, @iso 80.
Self developed in (pa)rodinal 1+50, 13mn, 20C.
Thanks to Martin Zimelka for useful tips on the use of Rollei Retro 80s.
His excellent website
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
AUV filter
Lyon-Perrache Station, April 23 2025
69002 Lyon
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.
Leica M2
Leica Summilux 35mm f/1.4 II
Rollei Retro 80S
Rollei Supergrain (1+12)
8 min 20°C
Scan from negative film
фужик • fujica ST-801 / fujinon 55/1.6 / rollei retro 80s / d-76 1+1 13min
Эдинбург, Великобритания
Собор святого Джайлса
55° 56' 58.55" N 3° 11' 32.28" W
3 vws
13-12-17-E6-038-www
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.
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 of this film being on 120 format). This is a film I have enjoyed using and will hopefully shoot more of in the future.
This is again from mid-June 2020.