This model is very collectable now, as it had the option of a very decorative metal faceplate with an elaborate pattern etched onto it.
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The Rolleicord 1 Model 1, also dubbed the “Art Deco Rollei” was released in 1933. The Automat is important in context of this Rolleicord review as one of its models first introduced the Schneider Kreuznach Xenar lens which became a common lens on the various models of Rolleicords. In parallel, the Rolleiflex Automat was introduced in 1937 and with various models continuing this line until 1956 where the final one was the Automat B. In 1938 the New Standard was produced for three years until 1941. This model first introduced the hinged back. Soon afterwards in 1932, the Rolleiflex Standard (later to be known as the Old Standard) was released which was in production until 1939. Interestingly it used a very unpopular film type, 117. In 1929, after three years of development, the Rolleiflex was first introduced to the world. Today the Rollei name is used for many products including dash cams, action cams, tripods, photo filters and film. In 2015, Rollei as we knew it, closed manufacturing completely. In 2009 Rollei went into insolvency ending a long history for one of the finest photographic companies in history. The last one being a long way from the initial stereo cameras the company was created in 1920 to manufacture. Other than film cameras it produced optical products including projectors, surveying equipment and eventually some digital cameras. While the primary focus of the company through its history was mainly on medium format TLRs, it also produced the world’s smallest 35mm camera, 35mm SLRs, sub miniature cameras and the very sought after medium format SL studio camera. This included the company changing hands, owned by Samsung for half a decade in the ‘90s, a management buy back, and then an investment group who finally renamed it just Rollei GmbH. Quite a few name changes followed until 2009 showing how difficult survival of the company became after the decline in popularity of TLRs. The company kept that name until 1972 when it became Rollei-Werke Franke & Heidecke GmbH. In 1920 Paul Franke and Reinhold Heidecke established an optical company in Braunschweig, Germany called Werkstatt für Feinmechanik und Optik, Franke & Heidecke. Before finding out more about the Rolleicord Va Type 1, we’ll have a look at some information about where it came from and camera details. Why call it out to being the “middle twin”? Because there is also a Baby Rollei which shoots 127 film, so you could say this sits in the middle. One other TLR which has been reviewed here which may be of interest, is the Pigeonflex, which was a predecessor to the Yashicaflex. The limitations are not anything that will get in the way. It is something that comes out of the satisfaction that the tool enables a standard of quality the discerning photographer seeks. Regardless of the technical comparisons, one thing that nearly everyone agrees on is that even though being the amateur version of the iconic TLR, the Rolleicord exudes the feeling that comes with using a high-end TLR.
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It seems to hold itself against these, with a common thread that the quality of the workmanship keeps it in very high regard. Other comparisons of the Rolleicord are against competing models, like the Yashica Mat, the Minolta Autocord and the Mamiya C range. It should be kept in context that the Flex was aimed at professionals and the Cord is amateur model, so this is very unfair comparison. While this would be the case, it also does not mean that it is a slouch wider open, just not as good as what is considered the best TLR ever made with a very expensive Planar lens. Following that line of thought, many believe it rivals the quality of some the Rolleiflexes once stopped down, especially as a number of the f/3.5 models actually use the Xenar lens. There are many reports on how the Xenar lens performs, with people stating that you need to stop it down to f/8 or f/11 for best quality. This does polarise some photographers who feel this interferes with their muscle memory in operating the camera. This specific model, the Rolleicord Va Type 1, is a bit of an odd duck in the line as it has placement of some controls on opposite sides to the other models. In-fact, the Rolleicords are very collectable themselves now. While understandably a lower spec and not many people would argue it is better than its bigger sibling, it can in its own right produce stunning results. This is in a landscape of TLRs of which there are more brands and types than I could possibly list. In the realm of Twin Lens Reflex (TLR) cameras, many people chase the Rolleiflex, the shining light at the top of the mountain.