Medium Format Magic: Nick Karagiannis on the Rolleiflex TLR

A Camera That Changed the Way We See

Nick Karagiannis has long been captivated by cameras that do more than take pictures. For him, the real magic lies in tools that shift the way you see the world. Among all the gear in his extensive collection, few have influenced his craft quite like the Rolleiflex TLR, a dual-lens, waist-level medium format camera that demands presence, patience, and precision.

While Nick’s work spans modern mirrorless systems and beloved 35mm film bodies, it’s the Rolleiflex that he often turns to when chasing timelessness. “You don’t rush with this camera,” he says. “It slows you down, in the best way. You start noticing shadows on walls, glances between strangers, the curve of light in a quiet alley.”

Australia’s varied landscapes, and particularly the moody side streets of Sydney, provide the perfect backdrop for medium format storytelling. And for Nick Karagiannis, the Rolleiflex TLR isn’t just a camera, it’s a ritual.

What Makes the Rolleiflex TLR So Special?

Twin-Lens Reflex (TLR) Design

The Rolleiflex isn’t a typical camera. Its twin-lens reflex setup means you compose through one lens while the other captures the image. This waist-level viewfinder forces you to look down, not forward, altering the way you engage with your environment. The result? A more grounded, intentional shooting experience.

Nick notes, “You’re not pointing and snapping. You’re observing. It turns photography into a kind of visual meditation.”

Medium Format Brilliance

Shooting 6×6 negatives on 120 film, the Rolleiflex offers an enormous increase in resolution and tonality over 35mm. The detail in skin tones, shadow gradients, and distant textures is phenomenal.

“You’re getting so much information in every frame,” Nick explains. “It’s not just sharpness, it’s depth. The way a background melts behind a subject is simply unmatched.”

The increased negative size allows for large, gallery-quality prints, something Nick often relies on in exhibitions throughout Australia.

Shooting Sydney Through the Rolleiflex

Sydney’s harsh light and complex architectural contrasts might seem like a challenge for film shooters, but Nick sees it differently. The Rolleiflex, with its high-resolution medium format frame, captures subtle detail even in extreme lighting conditions, perfect for the play of sun and shadow in Australian urban environments.

From street portraits in Newtown to quiet still-life shots in Marrickville cafés, Nick uses the Rolleiflex to explore intimacy in large spaces. “It lets you focus on quiet moments in noisy places,” he says.

He often pairs it with Ilford HP5 Plus for black-and-white contrast, or Kodak Portra 400 for rich skin tones and warm natural light, especially during golden hour on the cliffs near Bondi.

One of his favourite series involved photographing Sydney’s lesser-known laneways at dusk. The Rolleiflex rendered each frame with a cinematic elegance: soft fall-off in shadows, delicate highlights clinging to bricks and windowsills, and subjects caught in their own rhythms.

The Learning Curve, And the Rewards

The Rolleiflex isn’t for everyone. There’s no autofocus, no built-in meter, and the reversed viewfinder image can be disorienting at first. But for Nick Karagiannis, these very limitations are part of the gift.

“You learn to trust your eye again,” he says. “You start to read light. You pre-visualise your composition before even touching the shutter. That’s what photography used to be about, feeling, not algorithms.”

His advice for first-time Rolleiflex users?

1. Slow Down – Give yourself time to understand the reversed image and the square format.
2. Zone Focus – Learn the distances you most commonly shoot at and preset your focus accordingly.
3. Meter Ahead – Use a light meter or app to set exposure in advance, it makes the process smoother.

Nick often shares these tips in his one-to-one sessions and through insights available in the 35mm film photography guide, which also includes medium format adaptations.

Why the Square Frame Matters

The 6×6 square format may seem limiting to some, but Nick believes it unlocks creative freedom. “You have to think differently,” he says. “There’s no rule-of-thirds shortcut. You’re composing with balance, with symmetry, with centre tension.”

Many of his best portraits and nature compositions come from this square frame. It encourages focus, removing visual noise and framing subjects in a balanced, contemplative space. For storytelling, especially when working in environments like inner-city Sydney or the quiet landscapes of rural New South Wales, this format enhances emotional resonance.

It’s also versatile. Whether photographing minimalist compositions on Sydney’s coastline or detailed street portraits in Redfern, the square frame lends a timeless quality that transcends eras.

How the Rolleiflex Changed Nick’s Style

Before incorporating the Rolleiflex into his regular workflow, Nick’s style leaned heavily on candid spontaneity, fast movements, off-centre framing, and quick exposure adjustments. With the TLR, his approach evolved.

Now, there’s more intention. He spends longer with his subjects. He sets up a shot, walks away, reconsiders, and returns. And because the Rolleiflex is nearly silent, it fosters intimacy, people relax, conversations flow, and the result is photography that feels genuinely human.

This shift can be felt across his recent exhibitions, especially in the Still Sydney series, a quiet homage to daily life in overlooked spaces. “The Rolleiflex reminded me why I fell in love with photography,” he says. “Not for the clicks. For the moments in between.”

Nick Karagiannis’ Rolleiflex Technique Breakdown

For Nick Karagiannis, shooting with the Rolleiflex is a blend of muscle memory, discipline, and visual instinct. Every shot requires deliberate engagement, a stark contrast to the rapid-fire nature of modern cameras. And that, in his view, is exactly what makes the camera transformative.

1. Waist-Level View: Changing the Relationship with Subjects

Shooting from waist height changes the eye contact dynamic. It softens the presence of the camera and invites more natural expressions from portrait subjects. Nick often uses this technique in street portraits around Sydney’s busier markets and parks.

“You’re not looming with a lens in their face,” he explains. “You’re observing. People sense that and give you more honesty.”

2. Manual Exposure and Focus

With no built-in meter, Nick uses a compact handheld light meter or the occasional metering app, but over time he’s developed an intuitive understanding of light levels across Sydney. Shooting Portra 400 in daylight? He sets f/8 at 1/250. Indoors with Ilford HP5? He opens to f/2.8 and slows his shutter to 1/60, always balancing tone and grain.

Focusing through the ground glass screen is another acquired skill. The split-image and magnifier help, but Nick recommends patience and practice, especially with moving subjects.

3. Composing for the Square

Nick sees the 6×6 frame as a storytelling format, not a limitation. He uses symmetry, centered subjects, and environmental framing to draw the eye inward. He’s also fond of leaving negative space, allowing mood and isolation to speak louder than activity.

Many of his landscape compositions from rural Australia follow this principle: a single tree, a road disappearing, a lone bird against sky.

Choosing the Right Film for the Rolleiflex

Nick’s film choices vary based on mood and project, but his top picks for the Rolleiflex include:

• Kodak Portra 400: Ideal for Sydney’s warm coastal light, skin tones, and subtle architectural colour. Nick’s preferred choice for portraits and street scenes.
• Ilford HP5 Plus: Classic black-and-white stock that handles variable lighting well and brings a timeless documentary feel to urban scenes.
• Cinestill 800T: A newer favourite for night photography, particularly under tungsten lights, giving the Rolleiflex a chance to shine in modern cityscapes.

He often discusses film pairings by light condition and subject type in the Nick Karagiannis blog, helping fellow photographers explore medium format with confidence.

Nick recommends beginners start with Portra 400 for its latitude, and experiment with HP5 for learning contrast. “Start simple,” he says. “Let the frame teach you.”

The Rolleiflex vs Modern Mirrorless: A Different Kind of Image

In a world where mirrorless cameras offer stabilisation, eye-tracking autofocus, and 20 frames per second, why bother with a heavy, manual TLR?

Nick’s answer is simple: “Because it changes the photographer.”

While he appreciates his modern gear, especially when working professionally on tight deadlines, it’s the Rolleiflex that reminds him what the craft is truly about. Each frame costs money. Each mistake teaches something. And each image holds intention.

“You don’t shoot casually with the Rolleiflex,” Nick says. “That’s the whole point.”

It’s less about chasing the perfect shot and more about trusting the process. And when scanned and printed, the files from medium format negatives still rival, and often surpass, the sharpness and tonal depth of high-end digital sensors.

Role in Nick Karagiannis’ Vintage Camera Collection

Within the broader Nick Karagiannis vintage camera collection, the Rolleiflex stands apart. It’s not just a technical marvel, it’s a historical icon. Wielded by legends like Vivian Maier and Richard Avedon, the Rolleiflex carries a legacy of portraiture, journalism, and fine art.

Nick respects this lineage but uses the camera to tell stories grounded in modern Australia. His Rolleiflex has travelled from outback roads to urban alleyways. It’s been present for first kisses, protests, empty streets during lockdown, and sunrises over sandstone cliffs.

It’s also his most-requested camera during workshops and mentorship sessions. Students are drawn to its design, the leather wrap, the chrome dials, and the square viewfinder. But it’s Nick’s passion that inspires them to load that first roll and take their time.

The Emotional Return on Medium Format

For Nick, one of the most profound gifts of using the Rolleiflex is the emotional return. Unlike rapid digital workflows, where images are reviewed immediately, medium format asks for faith. You frame. You shoot. You wait.

“There’s a vulnerability in it,” he says. “You won’t know for days if it worked. But that’s where the growth lives.”

And when the negatives arrive, there’s often a gasp at the richness of detail, the smoothness of transitions, the soul that medium format can carry.

Nick has described it as seeing memory made tangible. “It doesn’t feel like I took the photo. It feels like the moment offered itself to me.”

The Rolleiflex in Australian Nature Photography

Although known for his street and portraiture work, Nick Karagiannis also uses the Rolleiflex extensively in nature-focused projects across Australia. In the Blue Mountains, the Daintree, and Tasmania’s wild coastline, the TLR excels at rendering soft natural gradients, forest detail, and atmospheric haze.

Several pieces in his Australian nature photography collection were shot on the Rolleiflex, often using slower films like Fuji Pro 160NS for low-contrast results and dreamy rendering.

Whether capturing the spindly trunks of eucalypts in the golden morning light or mist swirling across a valley, the Rolleiflex holds its own among modern digital competitors. And it does so with silence, the camera’s soft shutter whispering instead of clicking.

Why the Rolleiflex Will Always Have a Place

For all the technical wonder and nostalgia the Rolleiflex offers, Nick’s loyalty to it boils down to something simpler: trust.

“I trust the Rolleiflex to make me a better photographer,” he says. “It reminds me to pause. To look with care. To take responsibility for the frame.”

This connection between tool and artist is rare in today’s tech-heavy landscape. And it’s one Nick Karagiannis hopes to pass on to the next generation.

Nick Karagiannis: Reconnecting with Photography’s Soul

In the end, Nick Karagiannis sees the Rolleiflex not just as a piece of gear, but as a bridge. A bridge between eras. Between head and heart. Between the fast pace of modern life and the quiet rhythm of creation.

If you’re curious to explore medium format or deepen your relationship with photography, he suggests starting not with the camera, but with your intention.

“Ask yourself what you want to feel,” Nick says. “The camera will follow.”

For those ready to begin that journey, you can read his experiences in the Australian Nick Karagiannis blog or reach out directly via the Contact Page to learn more or book a mentorship session.

Medium Format Photography FAQ with Nick Karagiannis

Why does Nick Karagiannis prefer the Rolleiflex for certain projects?

The Rolleiflex slows things down, both physically and mentally. For Nick, it’s not just about resolution or history — it’s about presence. With its waist-level viewfinder and fully manual controls, the Rolleiflex invites intentionality. Nick uses it when he wants to feel the photo before he takes it.

What’s the biggest challenge for beginners using a Rolleiflex?

The reversed image in the viewfinder can be disorienting at first. Subjects move left when you pan right. Composing square format also takes practice. Nick recommends practicing compositions without film loaded, just to build muscle memory. “Let the camera teach you how to see again,” he says.

What kind of photography is the Rolleiflex best suited for?

Portraits, quiet street scenes, documentary-style storytelling, and natural landscapes. Nick uses it across all those genres in Australia, especially when depth and tonal richness matter. The square format lends itself well to balance, intimacy, and timelessness.

What film does Nick Karagiannis recommend for the Rolleiflex?

• Kodak Portra 400: For rich colour and skin tone in Sydney’s golden hour
• Ilford HP5 Plus: For moody black-and-white work, even in mixed light
• Cinestill 800T: For urban nights and warm tungsten tones
  He often rates HP5 at 800 and pushes in development, or shoots Portra at box speed for clean, natural results.

Is the Rolleiflex good for street photography?

Yes — in a different way. You’re not stealthy, but you’re non-threatening. Shooting from the waist draws less attention than raising a camera to your eye. Nick has found that people respond with more honesty when approached with a Rolleiflex, making it perfect for candid environmental portraits.

Can you use the Rolleiflex handheld, or do you need a tripod?

Handheld works well, especially in daylight. The TLR is steady and balanced, but with no image stabilisation, Nick keeps shutter speeds at 1/125 or faster when possible. In low light, he braces against walls, uses his breath, or switches to a tripod when composing landscapes or interiors.

What’s the resolution difference between the Rolleiflex and 35mm film?

Medium format 6×6 negatives capture more than double the detail of 35mm. For Nick, that means smoother gradients, more tonal depth, and better enlargements — especially for prints larger than A3. Texture, sky, and skin all benefit from the larger negative real estate.

How do you focus with the Rolleiflex?

Using the ground glass screen with a pop-up magnifier. It takes longer than autofocus, but Nick sees that as a benefit. Focusing becomes part of the rhythm. Zone focusing is also possible for faster shooting, especially for street or environmental work.

Does Nick meter manually or use a built-in system?

The Rolleiflex has no meter, so Nick uses a handheld light meter or an app on his phone. Over time, he’s trained his eye to read light based on experience, especially in familiar environments like Sydney’s inner suburbs or along the coast.

What kind of prints can you make from Rolleiflex negatives?

Large, gallery-grade prints. Nick frequently prints Rolleiflex images at 12×12 or 16×20 without noticeable grain. He prefers matte or semi-gloss finishes to preserve HP5’s softness or enhance Portra’s pastel tones.

Is the square format restrictive?

Not to Nick. “It’s freeing,” he says. “You stop relying on the rule of thirds and start focusing on emotion, weight, and symmetry.” The 6×6 frame changes how you see, and for Nick, that shift leads to deeper storytelling and less visual clutter.

Is the Rolleiflex hard to load?

The first time, yes. After that, it’s just a matter of patience. Nick teaches film loading techniques during workshops and recommends loading your first few rolls at home until the muscle memory sets in.

What accessories does Nick use with the Rolleiflex?

• A wrist strap (never a neck strap, due to weight)
• A compact Sekonic light meter
• A small tripod for low-light work
• Lens hood to reduce flare in Australia’s bright sun

He avoids heavy modification or add-ons, letting the simplicity of the camera guide the process.

Does Nick recommend buying a Rolleiflex today?

If you’re serious about slowing down and learning photography from the inside out, yes. Prices have risen, but the value in craftsmanship, optics, and experience is worth it. Nick recommends buying from trusted dealers or having a CLA (clean, lube, adjust) done before serious use.

Can you shoot colour and black-and-white in the same roll?

No. One roll = one emulsion. Nick recommends planning your shoot with intention. If it’s a colour story, go with Portra. If it’s about light, shadow, and emotion, HP5 or another black-and-white film will serve better.

Does Nick teach Rolleiflex techniques in person?

Yes. Nick offers one-on-one sessions in Sydney and select cities. He also includes medium format shooting in his broader film photography mentorships. You can reach out via the Nick Karagiannis contact page to arrange a booking or ask for local recommendations.

How many shots do you get on a Rolleiflex roll?

12 frames per 120 roll. That’s it. But that’s part of the point. “Each frame is a decision,” Nick says. “You slow down. You care more. You see better.”

Does Nick process Rolleiflex film at home?

Yes, especially black-and-white. He enjoys full control over the process. For colour, he often uses labs like Rewind Photo Lab or Hillvale, depending on the project’s turnaround time and scanning needs.

What’s Nick’s biggest advice for new medium format shooters?

Take your time. Don’t rush the shot. Use a notebook. Track your exposures, light, settings, and emotions. That’s how you learn. Medium format isn’t about speed, it’s about presence.

Why does the Rolleiflex remain relevant today?

Because it teaches. Because it slows down a world obsessed with speed. And because the images it creates, whether of city light or eucalyptus bark, carry a kind of emotional clarity that’s hard to replicate.