SUBJECT new Rollei 35RF. DATE January 2003 REPORTER Jonathan Eastland. Reprinted as reviewed in Freelance Photographer magazine; April-May 2003, with some extra illustrations.
ROLLEI 35RF; FRONT VIEW, BODY FITTED WITH SONNAR F/2.8, 40MM AND SPECIAL TRIGGER WINDER.

ROLLEI 35RF

Cosina's apparently relentless push into the 35mm 'classic' camera market was bound, sooner or later, to persuade others in the business that perhaps, after all, the market was not as washed up as the many digital pundits would have the world believe. Rollei Fototechnic of Braunschweig in Germany, for long the manufacturer and purveyor of one of the worlds best known and arguably, best loved, cameras, the twin lens Rolleiflex, recently struck a deal with Cosina, the result of which enables Rollei to market the Voigtlander Bessa R in alternative attire. Launched at photokina 2002 as the Rollei 35RF complete with 40mm f/2.8 Zeiss Sonnar HFT standard lens, the kit retails at 1395.00. Not as much as the thumping two grand being asked for a new Leica MP body, but an amount substantially more than the cost of a standard Bessa R fitted with a Voigtlander 35mm f/2.5 'Pancake'. A glance is enough to confirm the origins of the Rollei 35RF body. With few exceptions - the Leica-M bayonet lens mount being the most prominent - it has all the hallmarks of a Bessa R body. Only the decor, a tough, sprayed and baked-on silver paint for the die cast alumnium top, bottom and front plates in addition to its comfortable to-the-touch-non-slip grey rubber composite panel grips and Rollei 35RF bright metallic polished name, differentiate it from Mr Kobayashi's regular babes.
ROLLEI 35RF FITTED WITH SPECIAL TRIGGER WINDER.
The 35RF also differs from the Voigtlander version in having fitted to its rangefinder viewing system a set of bright line frames covering the initial objectve selection offered by Rollei of 40mm, 50mm and 80mm. The frames are activated by turning a click-stopped lever on the top plate, there being no linkage in the lens mount to automatically project the required frame as a lens is mounted. The camera is fitted with the standard Voigtlander Bessa-R vertical run laminar multi bladed focal plane shutter speeded from 1s through to 1/2000ths + brief time setting 'B' and flash synch via hot-shoe or pc socket at 1/125ths or slower. There is a definate 'clack', much like the sound of a Nikon FM2 without the mirror noise, as the shutter is released. During the review period of several weeks, I found my reluctance to use the camera for the kind of street and people photography I use my Leica's for, was based more or less on the one factor of a higher noise level than I am used to. After an initial enthusiastic start, I was soon aware of heads turning in my direction whenever the camera was used, and often, not even in the close proximity of others.
ABOVE; ROLLEI 35RF -THE CLEAN TOP PLATE LAYOUT.
I tried to maintain a pragmatic view on this, arguing silently for those who cannot afford the engineering quality of a Leica, but who want a 35mm rangefinder camera with a bult-in light meter and trigger wind facility, there are not many options. It's this, a Konica Hexar RF or something older. The combined view/rangefinder of the Rollie 35RF/Bessa-R works well, giving a bright and contrasty image, though the lozenge shaped bright patch for the distance measuring is too small and not really contrasty enough for a lot of scenes affected by strong side and back lighting. The viewfinder also suffers from flaring in strong point source light conditions such as may be encountered in a theatre and this may have the effect of momentarily nullifying effective use of the rangefinder bright spot. Setting the film ISO employs a lift-and-turn collar on the shutter speed dial; easily accomplished once the film advance lever is moved out of the way. However, I found setting the film speed accurately a minor bind, even with good reading glasses. The window and the film speed markers on the secondary dial are just a wee bit on the small side. Center-weighted TTL average metering with an EV range of 1-19 is activated by lightly pressing the shutter, a function which also checks battery power. Correct-exposure display and warnings against over or underexposure are user-friendly employing +/- triangles and a circular red LEDs. Somewhat oddly perhaps, these LEDs glow red through the range/viewfinder light gathering window on the camera front when the meter is activated. Cosina's design philosophy for the Rollei 35RF, like their Bessa bodies, appears to borrow some features from older mechanical cameras, incorporating them into a neat and practical package. The focal length frame selector bears a vague resemblance to the same feature on old Kristall 35 cameras; the rapid film rewind lever crank looks very old Canon. The film advance and shutter arming lever is similar to a design first seen on 1970s Olympus OM cameras and Cosina has used Yoshihisa Maitani's clever visual device featured on the OM1 to lower the apparent height of the camera by adding a break in the contour line of the top plate. In the Rollei/Bessa-R, the break features only on half the top plate, but it nonetheless assists in effecting apparent smallness. My overall impression of the 35RF is that it works well, does the task required of it competently but lacks the engineering refinement of more expensive brands and some older 1950s and 60s cameras. It may be knit picking, but the lever component of the rapid film rewind of the Rollei looks as if it has been pressed from a metal flat in a not very accurate die. So what is it that warrants the considerably higher retail price of this model compared with the few hundred pounds necessary to purchase a bog standard Bessa R and screw threaded 35mm Voigtlander Panacake lens, both of which have been very well received in just about every photographic journal? The fitted-as-standard Rollei Sonnar f/2.8 40mm HFT lens is what makes the substantial difference, allowing that is, for a reasonable increase in manufacturing customising cost of the 35RF body over the Bessa R. The outward appearance of the 40mm Sonnar objective is certainly finely engineered and finished, as one might expect from a company of Rollei's calibre. There has been some internet debate as to who actually makes the lenses for this camera. The 40mm is a five element, four group Zeiss design, manufactured and assembled under licence at Rollei's Braunschweig facility using German Schott glass, according to a statement from Maike Otto at the factory. Both the 50mm and the 80mm will be made in the same plant. 4

All three objective designs are based on models used for other older Rollei products but as I was only able to review the 40mm, a little history may be useful at this juncture.
ABOVE; ROLLEI 35RF 40MM SONNAR - 2/3RDS CROP FROM WHOLE FRAME. KODAK EBX 100 ISO, 1/125TH SEC @ F8, CENTRE WEIGHTED UNADJUSTED METERING.
The 40mm f/2.8 Rollei HFT Sonnar first appeared on the Rollei 35S and SE miniature 35mm cameras from 1974. An f/2.3 version appeared on the Rollei XF 35 model. But this camera was no where near as successful as the 35S type that was later reissued under the Rollei 'Classic'guise. The original Sonnar 40mm was without doubt, a superb example of optical design, having the capacity to produce sharp and contrasty prints up to 16 X 20 inches. I used a 35SE for several years and always rued the day I sold it. Almost thirty years later, the same design using current glass and coating technology, held the promise of similar expectation in its ability to produce crisp, snappy and well resolved images. I was not disappointed. Today, 40mm would not normally be my focal length of first choice; I do prefer the slightly wider angle offered by a 35mm. But, this is perhaps just a visual notion; I used the old Rollei 35SE for countless Parisian night shots over a couple of winters and when Olympus produced their dimunitive 40mm f/2 pancake lens, it became a regular companion on street forays for several more years. There is something about the 40mm angle of view; perhaps comparitively, its ability to manifest a visual effect with a different spatial perspective closer to that obtained with a 75mm on a 6X6cm medium format than the more normal 80 - 100mm.
RAIL TRACK PICTURE NEXT PAGE; ROLLEI 35RF/40MM SONNAR. RAW SCAN ADJUSTED FOR LEVELS AND COLOUR CORRECTION AS BOTH WERE WAY OUT FROM THE ORIGINAL KODAK EBX TRANSPARENCY. FOCUS POINT AT END OF VERTICAL SLEEPERS.
By the end of a cold bright day in the northern French village of Cassel and its environs, I had quite got back into the swing of seeing the 40mm vista. So much so that I switched the Sonnar over to a Leica MP-6. Using almost all of the window in which the bright line frame for the 50mm was projected, permitted fairly accurate framing. Rollei intend to offer this lens independently at 649.95 which is little more than the current list price of the chrome Leica 50mm f/2.8 Elmar collapsible. Indeed, breaking into the Leica market is clearly the strategy; all three lenses have Leica L39 screw threads fitted with M bayonet adapters, enabling use on any M camera as well of course, without the adapter, on any L39 screw camera. This may work for the 50mm and the 21mm when it comes, but the other two really need accessory veiwfinders if they are to be used with any accuracy on anything other than the Rollei 35RF body.

ABOVE; ROLLEI 35RF/ 40MM SONNAR 2.8 HFT. FILM; KODAK EBX. FULL FRAME SCAN ON NIKON 4000ED TO 18MB. THIS FRAME CROPPED TO APPROX 2/3RDS ORIGINAL IMAGE. RAW SCAN. NO LEVELS APPLIED. NO U/S MASK. SPECULAR HIGHLIGHTS ARE WELL HANDLED BY THIS LENS WITH NO APPARENT FLARING. GOOD COLOUR DETAIL IN SHADOW AREAS. SLIGHT MAGENTA CAST IN NEUTRAL AREAS. VERY SHARP. ALL FRAMES METERED WITH ROLLEI 35RF CENTRE WEIGHTED TTL METER SET AT 100ISO AND BALANCED FOR VIEWFINDER 'CORRECT' DISPLAY. RESULT IN MOST CASES IS ABOUT 1/3RD STOP UNDER.
The 40mm Sonnar sample is well made. There is an aesthetic difference between this and say a chrome finished Leica 50mm Summicron, but the engineering of the Sonnar is, from an outward perspective at least, just as accomplished as the latter. The aperture ring is click stopped at full and half values; it is serrated for about 75% of its circumference allowing rapid and positive finger tip control. The focus ring is fitted with a finger grip and operates very sweetly; and the lens is heavy, which indicates Rollei have not spared on the use of fine metals for the barrel manufacture. It comes fitted with a natty screw-over lens hood and velvet rim lined metal cap. In the past, Rollei have produced several superb professional level cameras, both highly specified and highly regarded medium format and 35mm tools. The current Rollei 6000 series, much underrated in this country, is a prime example of a superbly manufactured camera. Earlier attempts with the smaller but similar 2000 and 3000 series of the 1980s were equally well engineered, but somehow lacked wide appeal. Only the 35S cameras took off with more than two million of the different models manufactured. Will the 35RF do as well? I somehow doubt it. But this opinion ought to be qualified. The Cosina body provides a relatively inexpensive means for the company to dip a toe in the apparently burgeoning 35mm rangefinder market place while adding time proven and first class objective alternatives to the existing Voigtlander, Konica and Leica choice. If these are successful, which I am hedging they will be if competetively priced, look out for a 21mm or something wider. For now, Rollei Fototechnic has no plans to design and build its own 35mm rangefinder body. For the image quality appraisal, I used the 40mm Rollei Sonnar with its factory supplied adapter ring mounted on a Leica M6TTL camera which enabled comparisons to be made between a much earlier screw thread 35mm f/3.5 Leitz Summaron and a late 1980s 35mm f/2 Summicron, this length being probably an alternative choice for users and closer to the straightforward Sonnar design - no modern aspherical (and much more expensive) elements included, than the longer 50mm. 7
ABOVE; WHOLE 35MM FRAME AREA OF OBJECT FOR SHARPNESS/DETAIL RESOLUTION APPRAISAL. KODAK 400 PORTRA UC SAMPLE SCANNED AT 4000ppi ON NIKON 4000ED FILM SCANNER PRODUCED A FILE OF 65.3MB FROM WHICH DETAIL IS SHOWN ENLARGED BELOW.

ABOVE.; LENS: 1959 LEICA-L SCREW 35MM F/3.5 SUMMARON WITH LEITZ ADAPTER ON M6TTL 1/1000th S @ f/4.5. SMALL SECTION FROM WHOLE FRAME SCANNED AT 4000ppi. RE-SIZED TO 8.5CMS @ 300ppi. LIGHTENED 20%. 400 PORTRA GRAIN STRUCTURE CLEARLY VISIBLE, RESOLVED DETAIL AND SHARPNESS V.GOOD, CONTRAST LOW. 8
ABOVE;; LENS: 1988 E.LEITZ/WETZLAR SUMMICRON-M 35MM F/2 SUMMICRON ON M6TTL. 1/1000TH S. @ F/5.6. SAME SCANNING DETAILS AS PREVIOUS IMAGE. NO U/S FILTER APPLIED TO ALL THREE. THIS IMAGE SHOWS MORE DETAIL THAN (1) BUT STILL LESS THAN FOR THE ROLLEI 40MM SONNAR. EDGE ACUTANCE IS SOFT COMPARED WITH HARDER EDGED SONNAR. SUMMICRON CONTRAST IS ALSO LOWER.
ABOVE; LENS: NEW 2002 ROLLEI 40MM F/2.8 SONNAR HFT MADE BY ROLLEI IN GERMANY WITH SCHOTT GLASS FITTED TO M6TTL WITH ROLLEI SUPPLIED NON LEICA ADAPTER.1/1000TH S @ F/4.5. SCANNING DETAIL SAME AS FOR THE LEITZ SUMMARON ABOVE. DENOTES A SIGNIFICANT IMPROVEMENT IN RESOLVING ABILITY WITH DETAILS OF THE RIGHT HAND DISC CLEARLY VISIBLE. MUCH SHARPER OVERALL, HIGHER OVERALL CONTRAST.
The results were interesting, if a little predictable in the case of the 1950s vintage Summaron. The 35 f/2 Summicron provides the benefit of an extra stop in its maximum aperture - compared with the 40mm Sonnar, and a quite different, slightly softer image. There was no doubting the Sonnar's ability to resolve fine detail crisply and clearly, even when using Kodak's new Portra 400 UC at the larger apertures. Slower speed emulsions such as the Kodak EBX I used in France rendered a typically cold neutral Zeiss effect but clearly, the images contained stacks of minute detail over a wide tonal range. 9
Current Rollei 35RF lenses: (from Rollei press release.) Sonnar 40mm f/2.8 HFT The famous candid lens of the legendary Rollei 35, with its ideal focal length for outdoor and indoor photography. A lens ideally suited for news photography. Its initial aperture of f/2.8 gives it a wide margin for shooting in low light with excellent focusing results. (5 elements in 4 group design.) Price 649.95.
ABOVE; ROLLEI 35RF - 40MM SONNAR F/2.8. CONTRE JOUR. THE LENS HANDLES BACK AND SIDELIGHTING VERY WELL WITH NO OBVIOUS FLARING OR CHROMATIC ABERRATIONS. DYNAMIC RANGE IS EXCELLENT.

RAIL BARRIER ILLUSTRATION, NEXT PAGE; ROLLEI 35RF/40MM SONNAR. AUTO LEVELS APPLIED, NO OTHER ADJUSTMENTS. FILM; KODAK EBX 100 ISO. 1/125TH S @ F/8-11. EXCELLENT ACROSS THE FRAME SHARPNESS AND TYPICAL ZEISS COOL COLOURING. RATHER MORE MAGENTA THAN I LIKE BUT THIS IS A COMBINATION OF LENS COATING, FILM CHOICE AND IN WINTER WHEN THIS SHOT WAS MADE, A NATURALLY HIGH LEVEL OF MAGENTA LIGHT IN THE NORTHERN HEMISPHERE. 10
Planar 50mm f/1.8 HFT The typical standard lens, with outstanding correction and sharpness, light in weight and very compact. A focal length well adapted to available-light photography. Well-suited for a wide range of subjects, from interiors up to half-length portraits, with or without artificial lighting or flashlight, even in unfavorable lighting conditions. (in preparation for the first half of 2003) (7 elements in 6 group design.) (No price yet.) Planar 80mm f/2.8 HFT A medium focal length for portraiture, also well-suited for landscape details and candid shots from a certain distance. In medium-format photography, it became famous for its excellent flatness as the standard focal length of the well-known twin-lens Rolleiflex. Experts consider it one of the best available lenses for creative photography. (5 elements in 4 group design.) (No price yet.) Technical specifications Rollei 35 RF Negative size: 24 x 36 mm on size 135 film Lens mount: M bayonet Shutter: Vertical-travel laminar metal focal-plane shutter; 1 s - 1/2000 s and B Camera body: Made of die-cast aluminium Focusing: With coupled coincidence-type rangefinder Exposure display: Overexposure warning, correct exposure, underexposure warning Metering system: Center-weighted TTL average metering upon light depression of shutter release Metering range: EV 1 - 19 (ISO 100/21; 1 s at f/1.4; 1/2000 s at f/16) Flash synchronization: PC terminal and hot-shoe contact; sync speed 1/125 s and slower Film advance: By one or several turns of advance lever; double-exposure lock; optional T Winder can be attached to bottom plate Film rewind: By crank in rewind knob Frame counter: Additive, with automatic reset when camera back is opened Film-speed setting range: ISO 25/15 - 3200/36 in one-third increments Exposure-meter power supply: Two 1.5V alkaline-manganese (LR44) or silver-oxide button cells (SR44) Dimensions (mm/w x h x d): 135,5 x 81,0 x 25,5 Finish: Metal cover plates silver-finished Copyright:Jonathan Eastland, February 2003.
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LIST OF CONTENTS

Getting ready Camera body Attaching the camera strap Changing lenses Loading batteries Checking the batteries Loading lm Picture taking Setting the lm speed Setting the shutter speed Setting the aperture Selecting the bright-line frame Focusing Holding your camera properly Rewinding the lm Bulb setting (B) Flash photography
Miscellaneous Camera care Technical data

42 43

CAMERA BODY
Shutter-speed index Shutter-speed dial ISO display Shutter release with cable-release socket Rapid wind lever Frame counter Strap lug Lens release button Hot accessory shoe Bright-line selector 6 Rewind shaft Rewind crank Rangender window Viewnder bright-line window 7 Viewnder window Camera bayonet ange
PC terminal (X sync) Viewnder Viewnder eyepiece 1/4 tripod socket Battery-compartment cover Film guides Rewind fork Film-cartridge chamber
Pressure plate Film aperture Camera back Winder coupling Rewind release button Take-up spool Sprocket wheel
ATTACHING THE CAMERA STRAP
Attaching the camera strap Attach the strap as illustrated.
The end of the strap should be on the inside of the strap.

CHANGING LENSES

Changing lenses Hold the lens at its rear ring and attach it with its red index opposite the lens-release button (8). Insert the lens straight in this position, then turn it clockwise until it clicks into place.
To remove the lens, press the release button (8),
disengage the lens by slight counterclockwise rotation and pull it straight out.

LOADING BATTERIES

Loading batteries The camera is powered by two type LR44 or SR44 batteries. Use a coin to open the battery-compartment cover (21), turning it counterclockwise. Insert the button cells one above the other, their positive poles (marked +) facing down. Replace the cover and turn it clockwise to engage.
Note: Be sure to observe local regulations regarding the disposal of batteries.

CHECKING THE BATTERIES

Checking the batteries With the shutter cocked, lightly depress the shutter release (4) without triggering an exposure. Power is sufcient if one of the three LEDs lights up. Should none of the LEDs light, replace the two batteries.
If the batteries provide sufcient power, the LED
display will come on for about 12 seconds after light depression of the shutter release. After an exposure, the metering system will automatically be disabled until the shutter release is once more depressed lightly with the shutter cocked.

LOADING FILM

Loading lm Open the camera back (27) by pulling up the rewind crank (12). As the camera back swings open, the frame counter (6) will automatically reset to S. Insert the lm cartridge into the empty cartridge compartment with the lm leader facing the take-up spool. Press the rewind crank down into its seat. Pull out a sufcient length of lm and thread it into the slot of the take-up spool.
Stroke the wind lever and press the shutter
release until the sprocket wheel engages the lm perforation on both sides. Close the camera back so that it snaps shut. Wind the lm and press the shutter release repeatedly until the frame counter reads 1, watching the rewind shaft. This should turn during the process, indicating that the lm is being wound.

SETTING THE FILM SPEED

Setting the lm speed Lift up the rim of the shutter-speed dial (2) and turn it until the desired ISO number appears in the window of the ISO display.
The speed of your lm can be found on the lm box or the instructions coming with it.
SETTING THE SHUTTER SPEED
Setting the shutter speed Turn the shutter-speed dial (2) until the shutterspeed index is opposite the desired speed. The dial must be in one of its click-stop positions. Intermediate settings cannot be used! For fast-moving subjects or when using highspeed film, it is advisable to select a fast shutter speed.
To activate the metering system, slightly depress
the shutter release (4). Turn the aperture ring until the light balance in the viewnder reads. If <+ is displayed, there is a risk of overexposure. In this case, turn the aperture ring towards a smaller aperture. Conversely, -> is a warning against underexposure, and you should turn the aperture ring towards a wider aperture. If your shutter speed drops to less than about 1/30 s, screw a cable release into the socket of the shutter release (4) and use a tripod.

SETTING THE APERTURE

Setting the aperture Turn the aperture ring until the lens index is opposite the desired f-stop. The proper aperture is a function of subject brightness, the desired depth of eld and the speed of your lm.
To activate the metering system, lightly depress
the shutter release (4). Should the display <+ warn against overexposure, turn the shutter-speed dial towards a faster shutter speed. If -> warns against underexposure, turn the shutter-speed dial towards a slower shutter speed. Then use the aperture ring to balance the setting until is displayed.
Note: Proper metering is impossible beyond the limits of the metering range (EV 1 to EV 19).
SELECTING THE BRIGHT-LINE FRAME
Selecting the bright-line frame Set the focal length of your lens with the aid of the selector lever (10). A matching bright-line frame will appear in the viewnder. Parallax will be corrected automatically to suit your lens.

FOCUSING

Focusing Your Rollei 35 RF has a highly precise coincidencetype rangender for pin-point focusing. The brilliant focusing area is in the center of the viewnder. As long as the lens is not focused on your subject, this will appear with double contours in the focusing area. Turn the focusing ring until only one sharp image remains. Your lens is now focused on your subject.

focusing eld blurred

focusing eld sharp
HOLDING YOUR CAMERA PROPERLY
Holding your camera properly Wrap your right hand around the camera body so that your index nger rests comfortably on the shutter release, your thumb inserted between the camera body and the wind lever. Hold the camera with your left hand so that your left thumb and index nger can turn the focusing ring of the lens.
To shoot in vertical format, turn the camera through 90.

REWINDING THE FILM

Rewinding the lm Once the last frame of your lm has been exposed, the latter cannot be wound any further and will have to be rewound into its cartridge. Press the rewind release button (29) in the bottom plate of the camera to disengage the sprocket wheel. Swing out the rewind crank (12) and rewind the lm in the direction of the arrow.
When there is a noticeable drop in tension, make
a few additional turns to be sure that all of the lm has been rewound into the cartridge. Open the camera back and remove the cartridge, taking care to avoid direct sunlight.

BULB SETTING (B)

Bulb setting (B) With the shutter-speed dial (2) set to B, the shutter will remain open for as long as you keep the shutter release fully depressed. It is thus possible to attain long or very long exposures. However, be sure to use a tripod and a cable release to avoid camera shake.
Since the metering system is active while the shutter release is being depressed, it is advisable to remove the batteries from the camera if you are planning to make very long exposures.

FLASH PHOTOGRAPHY

Flash photography All commercial ash units can be used on your Rollei 35 RF. They can be synchronized via the X contact in the hot shoe (9). Studio ash units or other ash units can be triggered via the PC terminal (17). Set the shutter-speed dial (2) to the sync speed (1/125 s) engraved in red. Faster speeds cannot be used!

Select the f-stop to be set according to the
instructions of your ash unit and set it on the lens.

CAMERA CARE

Your camera is a precision instrument and deserves careful treatment. 1. Cleaning the camera body Never use organic solvents, such as thinner or alcohol! Use a soft, ufess cloth to clean the camera body. Dust accumulating in the lm compartment may scratch your lm. To avoid this, clean the interior of the camera with a blower brush. 2. Cleaning glass surfaces Scratches on the front lens will degrade image sharpness. If your pictures seem low in contrast and slightly blurred, scratches on the lens may be the cause. It is therefore recommended that you regularly clean the front lens as described below. Remove dust with the aid of a blower brush. To remove obstinate marks, carefully wipe the lens in circles from the center outwards using cleaning tissue moistened with cleaning uid. 42
Never try to clean a dirty front lens by breathing on
it or using a silicon cloth. This would unavoidably result in scratches. Clean the viewnder in the same way as the lens. Dust and smudges on the viewfinder window will degrade the clearness of your viewnder image.
Optional accessories Rollei QW 35 Rapid Manual Wind, recommended for shooting fast-breaking action.

SPECIFICATIONS

Camera type: 35mm rangender camera with die-cast aluminum body, focal-plane shutter and TTL metering Film type: Size 135, negative size 24 mm x 36 mm Lens mount: M-type bayonet Shutter: Vertical-travel laminar metal focal-plane shutter, 1 1/2000 s plus B (bulb) Focusing: Coincidence-type rangender Exposure-metering display: LED light balance Metering range: EV (ISO 100/21, f/1.4, 1 s f/16, 1/2000 s) Metering mode: Center-weighted TTL average metering Flash synchronization: X-contact, sync speed 1/125 s or slower
Film advance: By full stroke or several partial strokes of wind lever; double-exposure lock; Rollei QW 35 Rapid Manual Wind (optional accessory) Film rewind: By folding crank; rewind release button in bottom plate Frame counter: Additive (even without lm); resets automatically as camera back is opened Film-speed range: ISO 25/15 to 3200/36 Power supply: Two 1.5V batteries (LR44 or SR44) Dimensions (mm): 135.5 (w) x 81.0 (h) x 33.5 (d) Weight: 440 g (body without batteries)
Subject to change without notice. 43