It is interesting to look at film camera advertisements and reviews in old photography magazines and observe how values have risen or fallen over the years. For example, 1959 editions of the (German) Photo Magazin ran advertisements for several German-made cameras that had recently come on to the market: the Rolleiflex T; the Voigtlaender Bessamatic; the Zeiss Contaflex Super; and the Kodak Retina Reflex S. The Rolleiflex T was easily the cheapest of the four at DM444. Even if fitted with a light meter, it was still cheaper than the other three cameras, whose prices ranged from DM575 to DM597 (for the Contaflex). Even the relatively ordinary Braun Paxette automatic Super III cost more than a new Rolleiflex T. A glance at current eBay auction prices shows how much the tables have turned since then, with a Rolleiflex T in good cosmetic and working condition fetching at least $600 while the other cameras mentioned above can often be bought for less than $100.
German-made SLR cameras declined sharply in value after top-quality Japanese SLRs, notably Nikon, entered the market, but even the superb Nikon SLRs have declined in value relative to the Rolleiflex TLR. The 1974 Australian Photography Photo Directory listed the price of a new Nikon Photomic FTN with 1.2 Nikkor lens as (AUD) $732. A Rolleiflex 2.8F with Planar lens was then priced at $690; a 3.5F at $610; and a Rolleiflex T with light meter at $473. Again, a glance at current eBay auction prices shows how much things have changed. Nikon Photomic FTN cameras now sell in many cases for USD $300 or less, often with lens and accessories, whereas Rolleiflex TLR prices continue to rise. A Rolleiflex 2.8F in excellent condition now usually fetches more than USD $1,750; a 3.5F more than $1,000; and the Rolleiflex T more than $600. It is difficult to explain, but there you are.
Despite their rising prices, Rolleiflex TLR cameras are arguably still a good investment. Their value to classic camera collectors will probably continue to rise while the values of modern expensive digital SLR cameras will most likely suffer the same fate as their once illustrious film ancestors.
Eddie Vaughan