C41
Kodak Portra 400
Kodak Portra 400 is a professional C-41 color negative film known for flexible exposure latitude, natural skin tones, and fine grain.
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The Rolleiflex 2.8C (1953) is the third model in the f/2.8 Rolleiflex line, following the 2.8A (Tessar) and 2.8B (Biometar/Planar). Its most consequential change is the move from Bay II to **Bay III** filter fittings, the standard that Rollei would maintain through the 2.8F and beyond. The taking lens is either a **Carl Zeiss Planar 80mm f/2.8** or a **Schneider-Kreuznach Xenotar 80mm f/2.8** -- both six-element double-Gauss formulas, both considered among the finest medium-format optics of the postwar period. No built-in meter; exposure is fully manual. Film advance by crank, 12 frames of 6x6 cm on 120 film.
Reference
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C41
Kodak Portra 400 is a professional C-41 color negative film known for flexible exposure latitude, natural skin tones, and fine grain.
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Kodak Tri-X 400 is a classic black-and-white film known for strong tonality, visible grain, and documentary character.
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Ilford HP5 Plus is a flexible ISO 400 black-and-white film with classic grain and strong push-processing tolerance.
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About this camera
The 2.8 line's first Bay III body: standardized on Planar or Xenotar glass and introduced the filter fitting that would define all later flagship Rolleiflexes.
| Field | Value |
|---|
| Format | 120 (6x6 cm) |
| Taking lens | Carl Zeiss Planar 80mm f/2.8 OR Schneider Xenotar 80mm f/2.8 (6 elements) |
| Viewing lens | ~ 80mm f/2.8 Heidosmat |
| Years | 1953-1956 |
| Shutter | 1s - 1/500s + B, Synchro-Compur leaf |
| Flash sync | X-sync |
| Meter | None |
| Film advance | Crank |
| Lens mount | Bay III |
Rollei introduced the 2.8C in 1953 as a refinement of the 2.8B. The move to Bay III was the structural change with the longest legacy: the larger filter fitting accommodated the growing accessory ecosystem Rollei was building -- Rolleinar close-up sets, Bay III polarizers, hoods, and adapter rings -- and it became the standard that all subsequent 2.8-series bodies and the 3.5E/F would share.
The Planar and Xenotar were offered as alternative taking lenses of equivalent specification. The Xenotar is a Schneider-Kreuznach design; the Planar is a Zeiss design. Both are six-element double-Gauss constructions and both have strong reputations. Schneider-supplied lenses were necessary because the postwar Zeiss production at Oberkochen could not meet Rollei's full volume requirements; the two lenses filled the same production slot depending on availability.
The 2.8C was followed by the 2.8D, which continued the Bay III body with further detail refinements.
The 2.8C is the ancestor of the entire mature Rolleiflex f/2.8 line. Every subsequent model -- 2.8D, 2.8E, 2.8F -- shares the Bay III fitting, the Planar/Xenotar lens family, and the fundamental optical formula introduced with the 2.8B and standardized with the 2.8C. Photographers who own Bay III accessories (Rolleinars, hoods, filters) bought for a 2.8F can use them on a 2.8C without adapters.
The Xenotar variant is notable as a demonstration of the practical equivalence of Zeiss and Schneider's best double-Gauss designs at this focal length and aperture -- a matter that photographers and collectors still debate. Most side-by-side tests at comparable apertures show differences within the margin of sample variation between individual lens copies.
For buyers seeking the 2.8 image quality at a lower price than 2.8E or 2.8F examples, the 2.8C offers the same optics without the later cameras' selenium meters or focus-hood refinements.
The taking lens is fixed. Bay III accessories are fully compatible with later Rolleiflex Bay III bodies:
C41
Kodak Portra 160 is a professional C-41 color negative film with fine grain, soft contrast, and natural color.
View profile →Rollei 2.8C
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