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For those who can’t wait here’s a glimpse at the final result of my efforts: I decided to bring out the whole gang and let them all play together, so here are my babies – Rolleiflex 3.5F Planar, 2.8C Planar, Rolleiwide and Telerollei.Sitting on bottom left is the sheet film adapter, the use of which I’ll explain below. Silver nitrate used in wet plate photography is highly corrosive, so be very careful wiping off all excess liquid off the back of your plate before inserting it into the holder.

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I ordered those plates from Mike Robinson of Century Darkroom (best plates on the market by the way) and waited patiently for the holidays to be over and mail to come from Canada.

The plates got here late last week and today was the first day with weather fair enough to do this, so here we go.

It works like a dream and produces excellent results. Whilst it may not be practical to use it on all client jobs given turnarounds for processing and other digital post processing requirements I have started to implement it into my portrait work.

As a photographer that shoots a lot of musicians it is a camera I have started taking along to shoots in addition to digital kit.

My own Rollei is actually a 1955 2.8D model with the manufacture of the original Rollei twin lens mechanical camera dating back to 1929 at the Franke & Heidecke factory in Germany.

Once I had run a test roll with the camera I sent it away to Brian Mickleboro who was the chief engineer at the UK Rolleiflex Factory.

Interestingly, this month saw the launch of uk and is the exclusive authorised dealer of DHW Fototechnik products in the United Kingdom, and the only ecommerce store in the EU.

They sell used Rolleiflex equipment as well as brand new models that are still manufactured in the original Rollei factory in Germany. Anybody interested in being photographed on film using this camera should enquire via the contact page and I will provide a quote.

Recently I have started working with film more often and earlier this year I came across a camera that I had longed to own. These cameras were favoured by the likes of Richard Avedon, Irving Penn, Diane Arbus, Robert Capa, Bert Stern and Vivian Maier.

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