The Essentials – A Guide to the Best of Rollei’s Camera Systems

The Essentials – A Guide to the Best of Rollei’s Camera Systems

2800 1575 Aaron Stennett

Having produced professional cameras long before Nikon’s and Canon’s 35mm systems were even a glint in their makers’ eyes, Rollei is often heralded as the grandfather of camera manufacturers. With their extremely high quality Twin Lens Reflex cameras, Rollei succeeded in cornering the professional photography market by the mid-20th century. Their eye for innovation would never leave them, with a number of novel products rolling out of Braunschweig over the decades. 

Despite being one of the oldest camera manufacturers in the world, Rollei never shied away from taking left-field approaches with their camera systems. If you’re bored of two-a-penny SLRs and crave something a bit different, Rollei might just be your best bet.

A failure to quickly master the dark arts of electronics from the 1970s onwards, an ill-fated arrangement with Hasselblad and a lack of price competitiveness compared to their new Japanese competitors stymied the company badly. Rollei barely limped into the 21st century. It did not have the resources left to sustain the promotion of its advanced Hy6 film-digital medium format camera, and the famous company finally closed its doors in 2015.

Today, professionals, enthusiasts and beginners alike can use equipment designed by a manufacturer that was not afraid to stand out from the crowd. Don’t be put off by the crappy GoPro clones and accessories put out under the Rollei name these days. If anything, these only serve as an acknowledgment of enduring affection many still feel for the storied brand.

So let’s jump right into the classics, oddities, and rarities that you should look out for at the beginning, middle and end of your dive into the Rollei wormhole.

Best Professionals’ Camera – Rolleiflex 6008 Models

Rollei released the SLX camera in the mid-1970s, a fully electronic medium format SLR to compete with Hasselblad’s famous machines. With a built-in light meter, automatic motor advance, and shutter-priority auto-exposure, it was in many ways a far more advanced camera than the ones being produced by Rollei’s Swedish rivals.

Then in 1984 they released a totally new series of Rollei medium format SLRs; the 6000 series. These cameras are simply stunning. Advancements in electronics throughout the 1980s meant that Rollei’s newest SLRs could be smarter, more durable, and more feature-dense than any medium format SLR that came before them. For the next thirty years the brand would continue to push the range forward, resulting in some of the best medium format SLRs in the world.

The 6008 Professional, 6008 Professional SRC 1000, and 6008 Integral all pack the greatest combination of features, highest modularity, and best build quality of any camera in the 6000 series. While other cameras in the lineup forego certain features (the 6003 loses its interchangeable backs and the 6001 lacks a light meter, for example) the 6008 models do everything (and often much more) than any shooter could ask of a camera. There’s even the intelligently named 6008 AF, for those who want to own the world’s first autofocus 6 x 6 camera.

The 6008 Professional or 6008 Integral are the models to keep an eye out for. Square negatives emerge from its interchangeable film backs, which could be swapped mid-roll. A waist-level viewfinder provides a glorious view down onto the scene, though this could be swapped for a prism finder of choice if necessary.

A full range of accessories including extension tubes and film inserts for different formats meant the system could tackle any photographic challenge it was pitted against. Modernized electronics provided the full gamut of shooting options to a user. Various metering modes and autoexposure settings are possible, and the cameras could even shoot up to 2FPS, should you have the desire or money available to burn through 120 film so quickly. Flash sync up to 1/1000th of a second completes the specs of a system that almost feels like the final evolution of Hasselblad’s 500 C/M and EL/M medium format cameras

The lenses for the system are top of the line, perhaps unmatched in by any other medium format camera system. As well as matching the Carl Zeiss glass of its Hasselblad counterpart punch-for-punch, 6000-series users also had access to lenses manufactured by Schneider-Kreuznach which were a full stop faster than the Zeiss glass. Lenses like the Schneider Apo Tele-Xenar 180mm f2.8 and the hyper rare Xenotar 80mm f2 provided the system with shock and awe comparable to Pentax’s SMC Takumar 105mm f2.4, or the Contax Zeiss 80mm f2 Planar. 

If you can find one, a Rolleiflex 6000 series camera will still hold its own against the very best professional systems, film or digital, without a shadow of a doubt. For complete information on this sensational camera, including potential troubles to look out for, be sure to check James’ review of the 6008 Professional.

Best Enthusiasts’ Camera – Rolleiflex Twins Lens Reflex Camera

If you hold more than a passing interest in the history of the photographic medium (and as visitors to this website, you most likely do), you owe it to yourself to use a classic Rolleiflex TLR at least once in your life. Featured proudly on banknotes of certain sovereign states and crooned over in airy bossa nova tunes (yes, really), the twin-lens reflex camera invented by Franke & Heidecke in the 1920s succeeded in breaking into the public eye as no other camera had done before it.

From jobbing photogs recording the iconic sports events of the day to jet-setters capturing the first commercial transatlantic flights, the Rolleiflex was a sensation as soon as the first cameras left the factory.

So what makes the Rolleiflex stand out in the modern era? Well, you don’t have to stare at it for a long time to realize the camera does not feature the traditional configuration we’re used to today. On a Twin Lens Reflex camera, the duties of composing a photograph and capturing the image are split between two different lenses. You look into the viewing lens via a waist-level finder and magnifier. Aperture and shutter settings then fall neatly under your thumbs via wheels, making the camera a model of good ergonomics. The Rolleiflex is fitted with Carl Zeiss or Schneider taking lens, providing impressively sharp results for a camera of this vintage.

For a shooter picking up a Rolleiflex in 2019, you will be surprised how refreshing the experience of using this quirky machine is. The square negative and the top-down viewfinder will recalibrate your brain if you are stepping up from a 35mm system. The perfect ergonomics mean that you will be able to do so in minutes, not weeks.

As competition emerged from ever-improving SLR cameras, the company erred. Then, as Victor Hasselblad introduced his medium format SLR, a gentleman’s agreement in which Rollei would not compete with Hasselblad’s SLR system meant that Rollei sat back and watched as the Swedes pulled in oceans of cash and former former TLR users.

But that’s history now. Shooters today can find out for themselves why Rollei’s TLR cameras were so beloved. Different models produced over the span of fifty years are are available at all price points, depending on age, condition and the ability to swap out the viewfinder.

Best Entry Level Camera – Rollei 35

After the famed TLR cameras, Rollei is probably best known for its Rollei 35 compact, a camera that once again made virtue out of the unusual. The camera was designed by Heinz Waaske, whose genius went unrecognized at his former employer Wirgin and whose prototypes went unclaimed when offered to Leica and Kodak. 

The tiny camera’s winding lever is operated with the left hand. It possesses a viewfinder, but this can only be zone focused. Many of the controls were mere millimeters apart from each other. And yet, with over 2 million cameras produced and the Queen of England amongst its users, it is fair to say that the Rollei 35 was a meteoric success.

This success stems from two considerable advantages that the camera holds over its competitors then and even now. Firstly, the camera is truly pocketable. I’m not talking about ‘pocketable’ in the way that Contax T2 shooters use the word (see my review here). The Rollei 35 is back of jeans certifiable. It allows enthusiasts to capture the in-between moments when a full-sized camera is impractical.

And then there’s the lens. Over the years many would swear fielty to the Carl Zeiss-designed 40mm Sonnar lens that comes with many of the Rollei 35 models. It allows users to capture moments with beautiful sharpness and colors reminiscent of all of the best vintage glass.

If you can cope with the camera’s scale focusing and quirky ergonomics, it still represents an exceptional choice as a carry-everywhere camera in 2019. Not all Rollei 35 models were born equally, however. There are the basic models, the normal models, and the later advanced models with high end electronic metering systems. These newer SE and TE versions command quite a premium over the lower-end models. As James noted in his 2017 review of the SE, “the differences between the SE (Sonnar Electric) 35 and the B35 are less Mercedes versus Volkwagen, more Mercedes versus one-wheeled skateboard.”

The Rollei 35 T is probably the best middle of the road model. It’s priced perfectly for the average hobbyist, packs a well regarded four-element Tessar lens, and retains build quality that is more Mercedes than “one-wheeled skateboard…”

Waaske’s most famous invention

Some Essential Lenses and Collectible Oddities

Sadly for Rollei, some of their more out-there systems proved to be too far ahead of their time to achieve commercial success (or simply too expensive). That means that there are a couple of martyr systems which may offer interest to (risk-taking) connoisseurs today.

In the 1970s, Rollei attempted to keep up with the staggering pace being set by Japanese SLR manufacturers. This led to the creation of the Rolleiflex SL35, a traditional 35mm SLR. The system boasted a fine range of Carl Zeiss manufactured lenses, which shared a design lineage with the Contarex SLR and Super Speed cine lenses from Zeiss. These same designs would later be refined and re-released for the Contax/Yashica cameras. Lenses such as the Zeiss 35mm f1.4 Distagon and 85mm f1.4 Planar even share the same unique triangular bokeh that the Super Speeds famously displayed in The Shining

Although the system was not lacking in the optics departments, the bodies were a letdown. They represented some of Rollei’s first efforts at electronics, and you can really tell on some models like the Rolleiflex SL35 ME. The cameras are simply unreliable.

If you’re feeling truly adventurous, the Rolleiflex 3003 is worth the risk for its uniqueness and interest. Using these same Zeiss lenses, the 3003 is the 35mm shooter’s answer to the medium format 6008 system (or a Hasselblad). With a waist-level viewfinder and changeable film magazines, the 3003 is a truly unique 35mm camera system. Despite not being a commercial success, many in the camera industry took notice. Many of the camcorders of the late-90s and early 2000s were based on the handgrip concept pioneered by Rollei in the 3003.

If you are after an exotic TLR, Rollei created a telephoto and wide-angle version of their classic ‘Flex cameras, which featured a 135 F/4 Sonnar and 55mm F4 Distagon respectively. These special models go for quite a premium compared to the normal versions. They were meant for professionals as well, meaning the examples that come on sale have probably been used hard.

Feel that we’ve left a must-have Rollei off the list? Let us know in the comments.

Search for your own Rollei camera on eBay using our affiliate link here

Or shop from our own F Stop Cameras

Follow Casual Photophile on Facebook and Instagram

[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

Aaron Stennett

Aaron Stennett is a writer and photographer from London, England. He caught the film bug after discovering his father's SLR in the attic and hasn't looked back since. You can find more of his photography on his Instagram ( and his personal blog (

All stories by:Aaron Stennett
  • Here’s my Rollei story. My wife was a nurse in a medical office. Although I’m sure she treated all the patients with kindness and professionalism, one gentleman in his 90’s was her favorite. He always had stories of his adventures, some as a professional photographer, across many continents and decades. He often invited her to drop by his home and to bring her husband (me) whom he knew was interested in photography. She finally took him up on his offer. We arrived on a Saturday morning and he was a gracious host. At some point he pulled out his Rolleicord III, which he said was his personal camera (he used a Leica for work). He handed it to me and explained the buttons and knobs and answered all of my questions. When I tried to give it back he said “no, you keep it”. I told him I couldn’t possibly do that – we had just met. He insisted and I ended up leaving with the camera. He was an avid sailor (still, at that age) so the only way I could think of to repay him was to make a nautical photograph with his camera and then present it to him. That’s the only roll I’ve put through the Rollei, but whenever I notice it on the shelf it reminds me of a life well-lived (he’s no longer with us) and I think I really need to shoot it again (dim viewfinder and all). I know the ‘flex has more prestige than the ‘cord, but I wouldn’t make that trade.

  • Great article about the best of Rollei’s camera. Another little gem in the Rollei line up is the Rollei Rolleimatic, a compact 35mm camera designed by Heinz Waaske (father of the Rollei 35) and which was intended to be the successor of the Rollei 35. It’s truly a little camera that I love for it’s compactness, the quality of the lens and the exposure system that works very well. The door flap that covers the lens is also used as film advance lever in a very intuitive way. This little camera from the end of the 70’s (1978) is really worth to have! For more informations, I wrote a little review here

    • Thanks Stephane! I had never heard of the Rolleimatic before. It certainly looks like a typical Rollei camera, quirky and innovative with fantastic image quality. I’ll keep my eye out for one!

    • Yes,this is a very nice camera if you find a good working one,most of them are not working reliable,light meter is off or shutter is not working correct.
      If you find a good working one ,be happy! It took me some years to find a reliable working one,
      with greetings from Holland,W.Pinxten

  • I’ve always wanted a 3003. It doesn’t seem to be the sort of camera that would suit me, it’s more of a studio rig. But still, I’d love to have one. One day I’ll drop the cash for one, probably.

    • I have no clue how heavy they are, but I could imagine it would be quite a fun camera to take on holiday with a wider lens. That said I’m sure it would be pretty handy in the studio as well! It’s just a question of finding one with good electronics, they aren’t too pricey when they appear online.

  • You HAVE to do an article on the SL66! It’s Rollei’s attempt at getting into Hasselblad’s share of the medium format SLR!

  • Your article is “The best of..” but taking up your offer to submit some other Rolleis, under the “Collectable Oddities” section I’d offer the following and which show just how broad Rollei was in its camera catalogue.

    For 110, there is the exquisite, and tiny A110. For those interested in 16mm sub-miniature photography Rollei produced the Rollei 16 and 16S (snakeskin). These were serious 16mm cameras for which Rollei produced a range of accessories including two Mutar auxiliary lenses, a wide angle and tele. If you want to see how seriously 16mm was taken by Rollei, you only have to have one in the hand to appreciate its build quality.

    126 users were catered for with the A26 and the lovely SL26, an slr with interchangeable lenses.

    An oft overlooked gem, and much derided in its day because it was seen as not being a “proper” Rollei by Rollei snobs, is the Rollei Magic TLR. Forget the Model 1 as this is auto only, but the Model II is auto + full manual. The Rollei Magic shows areas where Rollei tried to keep production costs down, but kitted out with Schneider Xenar lenses, for BOTH viewing and taking, produced negatives every bit as good as other Rolleis except those fitted with the Planar. The reason for having both taking and viewing lenses identical is the Rollei Magic doesn’t focus using a common front panel, so the lenses are cross coupled. This necessitates the lenses being identical. The shutter covered the most practical range for hand-held shooting of 1/30 to 1/500, +B.

    Screens and viewfinders are fully compatible with the Rollei range as are BII attachments. There are areas where one can see Rollei tried to save on production costs, such as small plastic sprung film spool retainers instead of the elegant metal knobs, but in other respects it is very much a ‘Flex with lever wind.

  • Rolleis are my faorite4x4 cameras because they produce such sharp, well-graded images. Besides a 2.8F, I now have a TeleRollei,,which is not very expensive to find (less than some of the 2,8s). The Rolleiwide is more rare but a great camera. Now I want an SL66, their first non-electronic rival to the Hasselblad. Good luck finding a Rolleimagic that works properly; a simpler 3.5 Rollei is a much better buy. Too bad Rollei has not survived; they were the classic medium-format German camera, matching the classic German cars of their day.

  • Thanks for your very interesting camera articles. Although I have digital cameras I still love the heft and feel of my film cameras – and I have many. After leaving school (in Cape Town, South Africa) I wanted to enter the film industry but at that moment in time, it didn’t exist! – so I did an apprenticeship in photolithography (shows my age!) to get a qualification and in my training operated the most basic of cameras – from a Littlejohn on rails to a large German Klimsch process camera – this certainly gave me a feel for film and photography I could not have experienced elsewhere. But my real interest was all about small film cameras. My first Rollei was a 127 (4×4) Baby Rollei, bought from a colleague – it came complete with two close-up lenses and lens hood – all in leather cases. It took great, sharp images. Being a diver my next Rollei was a twin lens one housed in a Rolleimarin housing – also bought second hand. I still have the camera, the original canvas cases and flash bulb unit. The workmanship and beautifully, intricate mechanical geared system designed and used by Hans Hass are something to behold. I used the camera on a dive trip to the Seychelles one year and took some good u/w pics. Unfortunately a bit big to travel with, I then acquired a Nikonos 35mm u/w camera. I still have my Nikon F2s and a Pentax 6×7 and am now, after reading your articles, dying to get going using my old film cameras and taking some shots again. Once again, thanks, I’m inspired.

  • Enjoyed the article. A few things to add:
    The 6003 would use the same interchangeable backs as the 6008 (there may be a need for a particular insert tho); it just came without the larger back – I got mine c. 1993 and preferred it as it was slimmer and lighter.
    You didn’t mention the Hy6 – perhaps a bit too exotic, but its the next generation of the 6008AF, which was a bit long in the tooth for the heavier electronic loads (preferred the earlier 6003/8 instead). The Hy6 has a slightly awkward handle, but shares batteries with commonly available, can take (if you can find it) a digital back for the AFI type cameras, has adjustable focal tuning for each lens, a gazzilion possible ways to use it – my favorite was mirror lock up and 8 second delay, which allowed me to shoot 5 sec long exposures on a slender tripod in the jungles of Ecuador. Mirror lock up is great for walking around – put it on a monopod and shoot easily 1/40, even 1/20 sec. Less vibration from the mirror for handholding.

  • You are a little too hard on the SL35. The first ones were made in Germany and are extremely well-constructed. I have owned several made in the later Singapore factory which suffered from quality control issues. But the early German-made SL35 is a real treasure. I use mine still, with three original and reliable Carl Zeiss lenses, 18mm, 25mm and 50mm.

  • I agree with adding in the SL66 series. Awesome cameras

Leave a Reply

Aaron Stennett

Aaron Stennett is a writer and photographer from London, England. He caught the film bug after discovering his father's SLR in the attic and hasn't looked back since. You can find more of his photography on his Instagram ( and his personal blog (

All stories by:Aaron Stennett