View allAll Photos Tagged Rollei_Retro_80S
Yashica Mat 124G
Rollei Retro 80S
Rodinal 1:100 1 hora desatendido
Escaneado con cámara digital
Procesado con NPL y Lightroom
Micksmossen at night. Flexaret V, tripod, strong headlamp, degraded Rollei Retro 80S film (backing paper ink affects structure of grain), Neofin blue.
Ved opretning manglede en stump, som er rekonstrueret i ps.
Et ghettoområde under forandring mod en mere blandet beboersammensætning og omdannelse af bygningsstrukturer til en mere human skala.
Film: Rollei retro 80s eksponeret som 50 iso
9 min. ved 21 º i Xtol replenished
Taken using a Thornton Pickard Junior Special Reflex camera in week 365 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
This camera dates from the 1920s, and the focal plane shutter no longer works. I wedged the shutter open and took photos in artificial light, allowing exposures of several seconds, using a lens cap as a shutter.
The film is Rollei Retro 80S black and white negative film, developed in Rodinal 1:50 for 14 minutes at 20 degrees.
Konica FC-1 + Hexanon 40mm 1.8
Rollei Retro 80S (@ISO80 in Xtol)
Scanned with Epson V800, dust removal and cropping in LR.
Thanks a lot, Enam (a good friend since primary school days) for buying and bringing them for me from Germany.
Ilford HP5 Plus 400, Rollei RPX 25, SPUR HRX, Rollei Retro 80S, SPUR Acurol-N, Rodinal (from Compard, made by former Agfa employees) and Rollei RPX 400
A bit on SPUR and Moersch Fotochemie
I highly recommend everyone to try B&W chemicals of SPUR and Moersch Fotochemie, two of the most respectable photo chemistry (boutique) houses in the world.
SPUR: spur-photo.com/
Moersch: www.moersch-photochemie.de/content/lang:en
FYI, I bought them from Maco Direct. You can order from their own websites too. Next plan is to buy and try:
(1) SPUR's UFP universal developer , the latest developer, released in Photokina 2014 : spur-photo.com/kostenguenstige-profiqualitaet-der-univers...
(2) SPUR's Modular UR New developer: Made especially for those super high resolution B&W negatives like Adox CMS 20 II, Agfa Copex Rapid, Rollei ATP 1.1, etc. : spur-photo.com/datenblatt-spur-modular-ur-new/. From what I have seen so far, the results are outstanding.
Note: See SPUR's English section (spur-photo.com/some-information-in-english/) for information (datasheet and development tables) on 'UFP', 'Modular UR New', and other wonderful developers. SPUR's blog is worth reading as it contains lots of interesting information on B&W photography.
(3) Finol - the latest staining developer from Moersch. (www.moersch-photochemie.de/content/shop/negativ/93) I hope Moersch's will be equally impressive.
Taken with the Voigtlander Bessa-L that I previously used in week 23 of my 52 film cameras in 52 weeks project.
Rollei Retro 80S film developed in Rodinal 1:50 for 14mins 20 deg.
25mm Color Skopar lens.
Rollei Retro 80S - 1/4s - IR720 - Caffenol Delta STD
I had the idea for quite some time but lacked time and maybe adequate weather to realize it. After I had confirmed that Rollei Retro 80S does have a correct remaining sensitivity through the IR 720 filter, I got 2 nice and small 30mm filters for the Iloca. This is first try, first roll, a bit more than one hour before sunset. IR ecstasy…!
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J'avais l'idée depuis quelque temps mais je n'avais pas eu le temps et trop de mauvais temps aussi pour le réaliser. Dés que j'ai confirmé que le Rollei Retro 80S avait une bonne sensibilité résiduelle correcte à travers le filtre IR720, j'ai obtenu 2 mignons petits filtres de 30mm pour l'Iloca. C'est le premier essai, le premier rouleau, un peu plus d'une heure avant le coucher du soleil. Extase IR …!
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Tenía la idea desde algún tiempo tenía la idea pero me faltaba tiempo y hacía demasiado mal tiempo para realizarla. Desde que confirmé que el Rollei 80S tiene una buena sensibilidad residual a través del filtro IR720, conseguí dos monos y pequeños filtros de 30mm para la Iloca. Es el primer intento, elprimer carrete, un poco más de una hora antes de la puesta de sol. !Extasis IR…!
Leica M2
Leica Summilux 35mm f/1.4 II
Rollei Retro 80S
Rollei Supergrain (1+12)
8 min 20°C
Scan from negative film
While I'm usually a fan of HC-110, in this case, I think the timing is off just a smidge, maybe 15-30 seconds. But you still get the deep chrome feel of Retro 80s that we all know and enjoy.
You can read the full review online
www.alexluyckx.com/blog/index.php/2018/07/11/ccrfrb-revie...
Nikon F5 - AF Nikkor 35mm 1:2D (Orange-22) - Rollei Retro 80s @ ASA-80
Kodak HC-110 Dil. E 5:00 @ 20C
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
Pentax *ist • Soligor C/D Wide-Auto 20mm f:2.8
Rollei Retro 80S developed in Caffenol CL 50min stand @ 20°C
Scanned with Plustek OpticFilm 120 at 1600dpi with Silverfast AI Studio
Murbach • Haut-Rhin • Alsace • France
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 49 minutes
testing a Rollei retro 80s film is a nice oppertunity to show you the place i live.
negatives came out pretty thin, but i made a mistake with developing. Instead of dilluting 1:2 i dilluted 1:1.
low light one second exposure f5.6
Hasselblad 500 c/m
Carl zeiss distagon 50mm f4
the rollei film
xtol 1:1 11 min @ 20 degC
epson v700 @ 2400 dpi
Rollei Retro 80s overexposed 2/3 stop and developed in HC-110 dilution H for 15 minutes. One Einstein in a strip softbox to the left of the camera.
Pentax *ist • Soligor C/D Wide-Auto 20mm f:2.8
Rollei Retro 80S developed in Caffenol CL 50min stand @ 20°C
Scanned with Plustek OpticFilm 120 at 1600dpi with Silverfast AI Studio
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 49 minutes
While I'm usually a fan of HC-110, in this case, I think the timing is off just a smidge, maybe 15-30 seconds. But you still get the deep chrome feel of Retro 80s that we all know and enjoy.
You can read the full review online
www.alexluyckx.com/blog/index.php/2018/07/11/ccrfrb-revie...
Nikon F5 - AF Nikkor 35mm 1:2D (Orange-22) - Rollei Retro 80s @ ASA-80
Kodak HC-110 Dil. E 5:00 @ 20C
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
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
Parc de la Cerisaie - Villa Gillet, April 29 2025
69004 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.
Пушкино, 19 января 2014, река Уча, -23°С.
Pushkino, water baptism.
Olympus OM-1n, Zuiko 50/1.4, Rollei Retro 80S
No fence can hold back this Flying Tiger . . .
This photo was taken with a Asahi Pentax 6 X 7 medium format film camera and a Super-Multi-Coated Takumar/6X7 1:4.5/75mm lens with a Hoya HMC 82mm Y[K2] filter using Rollei Retro 80S film, scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
Outside of the shop, "Pure Milk Gelato Nagai Farm". Serves some not so ordinary flavours like tomato, basil, asparagus, etc.
Retro80S developed with Atomal 49 1+1.