In my world, film photography has not gone out of style.
leica summilux 35mm f1.4 pre-asph
I still prefer to use film for my photographs. Images are carved out of solid material by light, just as our planet is carved out of time. The layers of grain remind me of what the human world looks like. In today’s digital age, in the eyes of the average person, we photographers who use film are an apathetic bunch. However, indifference is not our true colors. Tonight, in the fall rain, I am looking through old photos under the lamp, exploring time, the world, and myself.
I saw someone approaching with a camera and asked, “Where are you going? The answer was, “First, I’m going to photograph the yellow leaves of the ginkgoes in front of the short wall, and then I’m going to photograph the red maple leaves in the western mountains.” This fall is like spring, not cold, flowers and trees are full of life, and insects are roaming around.
They say every Leica owner keeps a Rolleiflex at home, gathering dust like an old love letter. I’m no twin-lens fanatic, but I get it—there’s something about these square-eyed boxes that lingers. My Rolleiflex 3.5 MX-EVS isn’t the fanciest of its kind. It’s the last of the non-interchangeable focus screen models, a budget relic with no meter, picked up cheap from a forgotten shelf.
Design & Build: A Mechanical Poem
The MX-EVS sits heavy in your hands, a brick of German steel and glass from the early ’50s. It’s all manual, all mechanical—no bells, no whistles—just the way I like it, echoing the Leica M3’s stubborn simplicity. Early models wore white plastic like a shy debutante, but mine’s cloaked in black paint, chipped at the edges, whispering tales of a life before me. The Tessar lens, a 75mm f/3.5, stares up from its twin perch, unassuming yet precise. Rolleiflex moved to Zeiss and Schneider glass later, but this one? It’s raw, honest, built to last—like a typewriter that still clacks in a digital age.
Features: The Art of Less
This isn’t a camera that spoon-feeds you. No built-in meter means you’re on your own, guessing exposure like a drifter reading the sky. The film counter’s automatic, though—a small marvel that clicks with every frame of 120 film, a nod to German ingenuity. The waist-level viewfinder flips open like a secret hatch, revealing a world flipped left-to-right. It’s disorienting at first, a mirror to somewhere else, but that’s the charm—you’re not just shooting; you’re dreaming in reverse.
Performance: Street Shadows and Square Frames
I took the MX-EVS to the streets, chasing echoes of Robert Doisneau and Vivian Maier—masters who saw poetry in the mundane through a Rolleiflex. There’s a story from the ’50s: Henri Cartier-Bresson praised the Leica’s agility in one paper, and the next day, Doisneau countered with the Rolleiflex’s knack for candid grace. I see why. Peering down into that glowing square, reality bends—left becomes right, and time slows. The Tessar lens paints shallow depth and creamy bokeh, turning strangers into soft-edged legends.
But 120 film threw me off. Coming from 135, my “sunny 16” guesses overexposed half my rolls—bright blurs instead of crisp tales. It’s four times the size of 35mm, a beast to scan but a gift in detail. Portraits shine here—square compositions frame faces like old photographs in a family album. Still, I’ve sidelined it lately; my impatience doesn’t match its rhythm.
Pros & Cons: A Love with Limits
Pros:
Gorgeous square shots with dreamy bokeh—perfect for portraits.
Built like a tank, a survivor from 1951.
That flipped viewfinder—it’s a portal to another world.
Cons:
No meter means exposure’s a gamble (and I’m a lousy card player).
120 film’s a learning curve—pricey and unforgiving.
Slow to shoot; it’s a thinker, not a sprinter.
Conclusion: A Letter to the Past
The Rolleiflex 3.5 MX-EVS isn’t for everyone. It’s not sleek like a Leica or loud like a Nikon. It’s a quiet companion, a twin-lens ghost that asks you to pause, to feel the weight of each click. I’ve got a Chinese Orient 120—a Tessar knockoff—that mimics it well enough, and the world’s full of Rolleiflex copies. But this one’s mine, a worn treasure I’ll keep, even if it mostly guards my shelf now.
Wenders might say every photo is a letter to someone gone. With this camera, I’m writing to the streets—Doisneau’s Paris, Maier’s Chicago—hoping the light answers back. Pick up a Doisneau book, let it sink in, and maybe you’ll see why I can’t let this Rolleiflex go.
Tech Specs:
Lens: 75mm f/3.5 Tessar (4 elements, 3 groups)
Shutter: Compur-Rapid, 1s to 1/500s
Film: 120 (12 shots per roll)
Weight: ~900g
RolleiflexRolleiflexRolleiflexRolleiflexRolleiflexRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR CameraRollei Rolleiflex 3.5 MX EVS Medium Format TLR Camera
My friends and I both like the Ilford PAN 400. It is affordable, the speed of iso400 is particularly suitable for daily street photography, and it has comfortable and natural tones. You can develop it yourself at home and use a scanner to get good quality images. And happily, it’s flat and easy to scan.
iso200-1600
You can also get good image quality by exposing -2 or +1 stops. You know, it is used as iso1600. It’s not grainy, but has good clarity and high contrast. The most valuable thing is that it is not afraid of the dark. Dark areas can be expanded with nice detail. Although it is not as clear and sharp as the more advanced Ilford delta, as a cheap daily use roll, it is enough to make me happy.
Popular 35mm film
Ilford PAN 400 is the film I use the most. It’s not that I don’t pursue clear image quality, but street photography requires a lot of shooting, which wastes a lot of film. Economic factors also need to be considered. After all, film photography is a relatively luxurious thing these days. Moreover, choosing 35mm film photography is not just for the pursuit of clarity. If you pursue clarity, you can use 120 film. Or, digital cameras, mobile phones. But what I like is film photography, shooting slowly and not rushing to check the results.
Ilford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford Pan 400 35mm filmIlford pan400
Ilford pan100 is a cost-effective film. Its contrast and dynamic range are very good, and ordinary people can achieve good results. Compared with films in the same price range, Fujifilm’s arcos 100 has more details, but its dynamic range is not as good as Ilford pan100. The Fomapan100’s dynamic range is good, but it’s a bit noisy.
With yellow filter
The packaging box of Ilford pan100 is black with yellow letters. I think this design is telling you that it will look better with a yellow filter. So when I use the Ilford pan 100, I pair it with a yellow filter, especially if I’m shooting portraits with a yellow filter. I’m actually pretty happy with how it worked.
Cost-effective film
Ilford is a leader in black and white film, with advanced chemistry and a proven production history. For example, Ilford’s delta400 / fp4+ and hp5+ are high-end films and have many loyal fans. Ilford pan100 is a popular film, a mature and stable film. It is said that this film was originally designed for the Asian cheap market, and later became loved by enthusiasts around the world because of its excellent cost performance.
Ilford Pan 100 B&W Film 35mmIlford Pan 100 B&W Film 35mmIlford Pan 100 B&W Film 35mmIlford Pan 100 B&W Film 35mmIlford Pan 100 B&W Film 35mmIlford Pan 100 B&W Film 35mmIlford Pan 100 B&W Film 35mmIlford Pan 100 B&W Film 35mm
Any black and white film from Ilford is good, especially high-end film like delta. The image quality is very delicate, and the ISO 400 film can actually produce such small particles. Ilford is indeed very powerful.
Generally speaking, iso400 film is suitable for street photography. Delicate image quality is not a characteristic of this type of film. But delta 400 is an exception, it provides better picture quality and higher speed. The Ilford Delta 400 is a competitor to the Kodak T-Max.
sharpness
There is a triangle on the delta 400 packaging box, which is actually a hint. It tells us that this film is sharp. In fact, ilford delta 400 uses a T-shaped crystal particle, and the image superimposed by this particle will be very sharp. The film image is composed of countless tiny particles, and the shape of the particles has a great impact on the image. This is different from the digital imaging principle.
Grayscale
Perhaps the biggest difference between delta 400 and hp5+ is grayscale. The hp5+ has richer tones from highlights to shadows, and the contrast is not as strong as the delta. This is why hp5+ is more popular than delta. When I use the hp5+ for street photography, I like to add a yellow filter to add some contrast, but with the delta, I don’t need a filter.
Summarize
The delta400 is not cheap, so it is quite luxurious for street photographers. And it has very high requirements on exposure, so you must try to expose it accurately to take advantage of it.
Ilford Delta 400 Professional 35mmIlford Delta 400 Professional 35mmIlford Delta 400 Professional 35mmIlford Delta 400 Professional 35mmIlford Delta 400 Professional 35mm
Have you ever seen a photography book without pictures?
leica summilux 35mm f/1.4 pre-asph
Walking Around
I just heard about an awesome photographer moving to NYC. Unexpected, but it makes sense. I like his work, they are interesting and you can see an independent thinker. His favorite camera is the Fuji x100 and I love the Leica Summilux 35mm f/1.4 and take my Leica everywhere I go. And I’m not going to New York, I’m in Beijing.
Interesting photography is more than just good looking photos. The photograph is just the medium. The personality of the photographer is deeply imprinted in the work. We think about life through photography and photography through life.
Photography Book Without Pictures
In short, don’t think that street photographers only have time to take pictures and get lucky. In fact, when not taking pictures, photographers are reading and thinking. One more thing, many photographers have never read a text-only photography book. Can a photography book be without photos? Yes, a good photographer must have read picture books without words and photography books with only words. Have you ever seen a photography book without pictures?
Compact Camera
Many street photographers prefer to use Fuji x100 cameras, while I like to use Leica film cameras. Of course, whether the photos are interesting or not depends mainly on the photographer, not the equipment. But one thing we have in common is that we both use small, quiet rangefinder cameras, which are actually more conducive to street photography. Cameras that don’t disturb other people are more advantageous in street photography. Therefore, sometimes the choice of equipment is also very important for the photographer. the Leica m3 and the Leica Summilux 35 f/1.4 pre-asph are my favorites. I learned this from a photography book without pictures, which was an interview with a photographer. Many street photographers choose cameras for street photography that are compact and don’t interfere with passersby.
A friend recently asked for a photography bag recommendation for their commute—something simple, elegant, and versatile enough to hold a camera, laptop, iPad, or phone. Without hesitation, I pointed them to the Billingham Hadley Pro. I’ve been using mine for over ten years. It’s worn at the edges, but that’s a badge of trust—I’ll keep using it.
Crafted in England, this bag boasts a three-layer waterproof canvas with a butyl rubber core, shrugging off rain like it’s nothing. At 8.75 liters, it swallows my DSLR (no grip), two lenses, a 13-inch MacBook, and phone with room to spare. The removable padded insert (foam-lined, Velcro-adjustable) keeps gear safe, while the Quick Release System—brass buckles and leather straps—lets me grab my camera in seconds. I know its quirks like an old friend.
It’s not just a bag; it’s a quiet companion for the daily grind.
Buying old Leica lenses is a lot of fun. By the number we can locate the year of its production and by the year we can know its value. Examples are rarity, state of preservation, and how Leica operated during that period, the quality of the lens, and the history of the world during the same period as the lens. It’s a bit of a mystery how it has anything to do with world history, it does, and old Leica lenses have documented an entire century.
