Upon my first encounter with the Super Nettel camera, I was immediately drawn to its understated elegance and subtle Art Deco influence. This is my second Super Nettel, having previously owned the Super Nettel II, a similar model with a few distinct modifications.

 When my wife and I were in Paris earlier this year, I always enjoyed visiting local flea markets to look for anything photographic, whether it's cameras, lenses, old negatives to digitize, daguerreotypes, or just photo nickknacks or accessories. I made my way to their larger flea market area on a Saturday morning, and in one of the stalls, a lovely gentleman had some Leicas and other rarer cameras. I would have liked to purchase more than I did, but I'd pick up this very nice looking and working Super Nettel camera. In the back of my mind, I always pictured myself doing a blog post on it, especially since the camera was in good working condition, especially for a camera built 90 years ago.

 The Company:

Zeiss Ikon, a company formed in 1929 through the merger of four prominent camera companies in Germany, including Ernemann, Goerz, Ica, and Contessa-Nettel, was a significant investment by the Carl Zeiss Foundation. The company had two main divisions: the camera and the optical. 

 With the new company's formation, almost all of the cameras had Carl Zeiss lenses, and the other companies that had optical manufacturing, like Goerz, had to shut down their optical divisions. With the formation of the new company, almost all of the cameras were using Compur shutters, and like the optical companies, the majority of the shutter companies were also absorbed within the new company.

This group was one of the biggest manufacturers of cameras and lenses in the world, producing many top-quality 35mm cameras like Contax and several high-quality folding cameras like Super Ikonta, which to this day are highly desirable due to their workmanship and quality optics. Until WWII, Zeiss was also a major manufacturer of movie cameras and medical optics.

 After WWII, Zeiss was split into East and West German companies. The company was in Stuttgart in the West, and there were disputes with East Germany about the trademark. The West German ceased production of cameras in 1972. In East Germany, many of the factories were dismantled and sent to the Soviet Union. The Soviet camera manufacturer Kiev received much of the equipment, and in 1948, the Zeiss company became government-owned

 In 1948, the company introduced the new Contax S model, which had a different look from their earlier line of rangefinder cameras, but due to the split between different countries, there were trademark and naming disputes with West Germany, so in 1958, the company changed the name to VEB Kinowerke Dresden and later was rolled into Pentacon.

 After Germany's unification, Carl Zeiss reintroduced the Zeiss Ikon name and produced a rangefinder camera that was introduced at Photokina in 2004. The camera was built by Cosina in Japan and had the Leica M mount for lenses. Like the Contax G and G2, there were lenses made in both Japan and Germany for the camera.

My Camera:

For me, the reason I enjoy shooting with a Rangefinder 35mm camera is due to a few different reasons. The cameras are smaller and more compact to carry. They are less noisy to photograph due to the shutter system and not having the noise of the clunking mirror flopping up and down. Granted, the rangefinder focus is more challenging to use. It takes some time to get used to, or the ability to see what you're getting when you put on different lenses, so there is a trade-off between an SLR and a Rangefinder-style camera.

 The Super Nettel camera was made in 1934 as a "less expensive" camera to their Contax line. To open the front door to expose the lens system, there is a button on the top center of the top plate you press in, and the lens, which is attached to the bellows, pops out. My camera has the less expensive Carl Zeiss Jena 5cm (50mm) f3.5 Triotar lens. The camera had a more expensive Zeiss Tessar 5cm f2.8  or 5cm f3.5 lens. Around the lens are three screws in the 2 O'clock, 5 O'clock, and 8 O'clock positions, which are for holding on an accessory filter or the lens hood.

When closed, my camera measures 5.5" wide by 3" tall by 1.5" deep. When the lens is exposed, it is 4" deep, including the front door, which folds down. The camera weighs 1 lb, 6.3oz. 

 Around the lens is the aperture control, which goes from F3.5 to f22. The Super Nettle incorporates the same or a very similar rangefinder system as the Super Ikonta cameras. Around the outer rangefinder window is a knurled ring that you turn to focus the rangefinder system, bringing the two images together to get a focused image. On the outside of the knurled ring is the focus distance in meters, along with a small depth of field scale.

 To retract the lens and close the front door for travel, there are two knobs on the outside of the door that you press in, and at that point, you can press the lens back into the camera body, which will also close the front door, which will lock once pushed in.

 On the back of the camera are two windows. The window on the left is the viewfinder for composing the photo, and the window on the right is the rangefinder window for focus. They are both pretty small windows, but they do an adequate job.

On top of the camera is an accessory show for putting on an accessory viewfinder, which has a few different options according to the instruction manual. Next to the accessory show is the frame counter, and next to the frame counter is the advancing knob which also incorporates the shutter speed settings and cocks the shutter. Inside the winding knob is the shutter release. On the far left side is the camera's rewind knob to retract the film when you're finished shooting the entire roll of film. In between the frame counter and the winding knob is a small button. This button unlocks the winding sprocket, so when you rewind the film into the canister, you don't rip off the sprockets of the film.

To take the back off to load the film, you'll need to look at the bottom of the camera, where there are two handles on either end of the camera. Flip up the handle and turn the handle 90 degrees. One knob will go clockwise and the other counterclockwise. The back will slide off the camera, exposing the incredible metal rolling curtain-style shutter system, the same as the Contax and other Zeiss cameras have incorporated into them.

 You load the camera like you would any other 35mm camera with the film canister going on the left, pulling the leader to the take-up spool, and making sure the sprockets are engaged with the "advancing" sprocket, which is advancing the film across the shutter. Once on the take-up spool, I always take up the slack on the rewind knob, so when I put the back on and advance the film, I watch for the knob to turn when the film pulls out of the canister s. I know the camera is loaded correctly. To put the back on, slide the back into the camera and turn the locking handles the opposite way, and the back is locked into position.

My results:

I need to practice what I teach. I only got a few good photos from this roll of film, as after the sixth frame, the film sprockets tore, and the film didn't advance through the camera. However, the frames I did get were well-exposed and very sharp.

Conclusion:

What another fun camera to shoot with! I enjoyed the camera's ability to focus and handle when out and about shooting. Since I had a mishap with the film tearing, I wanted to get the blog out. I will add more photos down the road when I take the camera for a trip some weekend, and I want a great-quality camera with a very sharp lens to be creative.

 I already have the camera picked for my post next week, which I hope you'll come back to look at at your leisure. 

 Until next week's post, please be well and safe.