Therefore, if you own one you have quite a collectable camera.ĭoes it bring any user benefits in a 21st century context? Absolutely none, as far as I can see. Only 1,250 cameras were made, so it is one of the most rare Rollei production items (as opposed to prototypes, specials etc). So, what of the 2.8B? Prochnow captures succinctly the key facts, namely that it is an f2.8 TLR of the Rollei Automat type, manufactured from February 1952 to March 1953 with an 80mm Carl Zeiss Jena Biometar lens (coated) and a Compur-Rapid MX synchronised shutter. It would naturally be interesting to see another person's slant on the last 90 years but I am not sure anyone could be better placed than the 'two Ps' to ascertain the facts. The article seems to focus on various previously published material which in John Phillips's view (correct, I think) is inaccurate concerning Rollei and its products but gives no credit to Messrs Parker and Prochnow who put in a great deal of hard work to bring us a more reliable account. For the European market, the various books by Ian Parker and Claus Prochnow have in any case covered the story of Rollei comprehensively. I have seen nothing of it in the UK, so if it found its way into print we must assume it was only sold locally (since published and David Morgan reviews 'The Classic Rollei - A Definitive Guide" in CRU issue 20).
The article is in part a promotion for a book the author was writing, said to be published in late 2007.
Neither Club Rollei nor John Wild and I, on a personal basis, have the resources to tackle some debate with family, lawyers or bankers on the other side of the world over what would in reality be a 'de minimis' issue. The international copyright position is not totally clear and whilst the author, during his lifetime, would probably adopt a benign approach towards fellow camera users and collectors, experience shows that executors or similar do not necessarily adopt the same view. This I have thought about quite carefully, but have been reluctant to take this step for several reasons: The author (John Phillips) is resident in New Zealand.
Several members have expressed interest in the article that appeared in the PCCGB magazine 'Photographica World' in 2007 (issue 3) and wondering if it could be reproduced here for the benefit of a wider audience.
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