Rolleicord or Rolleiflex?

This is not so much a test as guide. Chatting to Russell about the results of the Rolleiflex test it struck me that, while undoubtedly a stunning camera, it is not cheap, and yet the Rolleicords are much less well known. When I returned to film I wanted something different, and settled on a Rolleicord Va, which I bought without knowing from a great film photographer who taught me all I know about developing and is now a good friend – check out https://www.keithmossphotography.co.uk/

The Rolleicord was the consumer version of the professionals Rolleiflex, and went through an iteration of triplet lenses until it was finally equipped post war with a 5 element Xenar, the Schneider version of the Tessar. They are lighter, smaller, but with the same 6x6 format and screen and came without meters. If I recall correctly my ‘Cord weighed about half that of my 2.8F, a lot less glass and metal, and could fit into my coat pocket, something my ‘Flexes have never been able to do.

These photos come from my archives so some colour will be featured – as Russell’s not paying for the film! All of these pre-date my own film developing, as I bought a 3.5F I was offered at a good price soon after I began so doing. Going back through them recently I am amazed by the quality of the Xenar lens. It handles black and white and colour with a very attractive rendering, sharp at all apertures.

The Rolleicord has no exposure meter, but as most meters of this period are long since dead, it’s hardly an issue. The focussing screen is the same as a Rolleiflex, as is the mirror. Many will deteriorate with age, so I replaced the mirror on mine and the light increase really made focussing straightforward. You can get replacement bright screens if yours is too dark – I can heartily recommend Rick Oleson’s brightscreens.

My used a linked EV system – you took the light reading in EVs then set it on the camera, so an adjustment to the aperture would automatically move the shutter speed (or vice versa). Over-riding it was easy – no sharp teeth to deal with, and most of the time mine didn’t work anyway (so operated exactly the same as the Rolleiflex.

Unlike the Rolleiflex, the shutter was cocked by pushing a small lever under the taking lens to the right, and fired by pushing the same lever to the left. No fast film advance lever like the Rolleiflex, you have to advance the film by turning a film advance knob. The shutter sound is near silent, it is a little disappointing but as a street camera, Keith Moss still uses his as one, it is so much more inconspicuous than any medium format.

Apart from the lightness, the huge advantage of the Rolleicord is the cheap and easy availability of extras. The lenses use the Bayonet 1 (also called 30 on Japanese TLRs), so you can get cheap filters, close up lenses and hoods in super abundance. Try doing the same with a bayonet 2 or 3 Rolleiflex and watch the cash fly out!

There are so many good TLRs out there, yet the Rolleicord seems forever to be live in the shadow of its brothers or off the Yashica. Yet it is the original consumer TLR – many copies were made post war* when German patents were nullified, but it really is a proper Rollei, with beautiful build quality and lenses that are superb with their own character. If I were starting today with a limited budget, it would still be the TLR to buy. * some even took the cord name – I’m looking at you Minolta Autocord and MPP Microcord!

The photos shown were shot either on HP5 at box speed, motor boat, in ID11 by Keith, HP5 pushed to 1600, classic car workshop, and processed by FilmDev in Xtol, or Portra 400 in standard C41 by FilmDev.