P3D Re: Franke & Heidecke

[Eric Goldstein <egoldste@xxxxxx>]

dimension.three wrote:

> I recently aquired a Franke & Heidecke Heidescop and Rolleidescop which I am
> cataloging for my web site (http://freespace.virgin.net/dimension.three).

(My note: The above url has had its slashed corrected and will now
function)

> If anyone has any information on these sexy cameras I would be very
> grateful.

Well, let's see... here's an overview with most of the information
derived from the work of Rollei historian Arthur Evans...

The stereo cameras were F&Hs first products, in production from 1921 -
1941. Here is a list of models and production dates:

Baby Heidoscop Type 1  1921 - 1925
Baby Heidoscop Type 2  1925 - 1941
Heidoscop Type 1       1925 - 1926
Heidoscop Type 2       1926 - 1941
Roleidoscop            1926 - 1941
Baby Roleidoscop       1927 - pre 1939

The Babies were 4.5 x 10.7 cameras, the others were 6 x 13. Heidoscops
were plate cameras which were rollfilm adaptable with special backs
(rare), the Rolleidoscops were rollfilm cameras originally set up for
B11 or 117 rollfilm but almost always now having been converted to 120.
The Baby Rolleidoscop is a 127 camera. The glass on the Baby Heidoscop
Type 1 was a choice of 55 mm f/4.5 Carl Zeiss Jena Tessar,
Heidoscop-Anastigmat or Steinheil-Unofokal (interesting lens!). This
first camera also had a rising front standard for perspective control;
no subsequent F&H camera did. All other models featured Carl Zeiss Jena
Tessar lenses, either 55 mm f/4.5 for the Babies or 75 mm f/4.5 for the
6 x 13s. As these are all prewar cameras, none of the lenses is coated.
Viewfinder lenses were either Zeiss 55 mm f/3.2 Triplets or Zeiss 75 mm
f/4.2 Triplets. The cameras featured stereo compound shutters with
speeds from 1 - 1/300th.

These cameras are still considered fine users, though they suffer from
rather dim viewfinders and are often very prone to flare due to lack of
coatings and haze. If one wished to invest the money, one could really
hot rod them with a carefull c/l/a and set up by someone such as classic
camera master mechanic Ken Ruth, fitting a new viewing mirror (the old
coatings are usually history), reworking the focusing screen into a nice
bright Maxwell screen, and having the lenses coated by someone such as
John Van Stelton. This would then result in a superb user capable of
results comparable to modern custom MF equipment.


If you have any specific questions let me know...


Eric G.


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