The RolleiFlex 3.5F, with its classic Schneider lens, holds a special place in film photography—when it works. Reliability can be tough, but photographers keep coming back because when it's good, it’s outstanding.
Coming to you from Kyle McDougall, this insightful video explores McDougall’s fourth experience with the RolleiFlex, diving into both its challenges and the project it inspired. After multiple past attempts marred by defects—everything from warped lens boards to stripped lens groups—this particular unit seemed pristine at first glance. Initial test shots appeared promising, yet closer inspection revealed an unexpected softness issue, throwing a frustrating twist into McDougall’s plans. Despite this setback, the camera reignited McDougall’s enthusiasm, prompting a spontaneous project.
The video notably emphasizes the appeal and challenges of typology photography—a genre characterized by repetitive, systematic shooting of similar subjects to highlight their nuances. McDougall cites classic examples, from Ed Ruscha’s minimalist gasoline stations to Christopher Herwig’s quirky Soviet bus stops, demonstrating typology’s potential for both personal exploration and deeper cultural commentary. The takeaway isn’t just academic; typology projects can reinvigorate your creativity and break routine. It’s about learning to see the familiar through new eyes. The RolleiFlex’s fixed focal length and square format encourage disciplined, thoughtful framing—ideal for typology. If you’ve been feeling stagnant in your work, experimenting with a typological series might refresh your perspective and rekindle your passion.
McDougall also reflects candidly on the practicalities of capturing storefronts in urban environments, noting how even minor elements—like parked cars or reflections—can significantly affect composition. This realism adds depth to the video, making it relatable if you've ever dealt with frustrating, real-world variables during shoots. Additionally, the video briefly touches on McDougall's film choice, Kodak Ektar, a decision driven by the desire for vivid colors to complement the bold aesthetics of the restaurants.
In sharing his experiences, McDougall balances inspiration with honest frustration—especially with yet another problematic RolleiFlex. His ongoing issues underscore the realities of vintage gear, highlighting the necessity of thorough testing or professional servicing, no matter how pristine a camera appears. Despite this, McDougall maintains his commitment, hinting at a fifth attempt with this beloved camera model—a testament to its enduring allure and exceptional photographic capabilities. Check out the video above for the full rundown from McDougall.
At two different times, I had both the Rolleiflex with the Zeiss Planar f2.8 lens and the Rolleicord with the Schneider f3.5 lens back in the 80's. Used to do weddings with them, also landscapes. Loved them both but from memory I favoured the 'Cord. Don't know why, long time ago, just did.
Ken in NZ