Hasselblad 1600F Camera

Looking through my collection, I had a couple of different cameras in mind, but they use 127-size film, which I ordered a few days before the intended day to take photos. Unfortunately, the film hasn't arrived in time for me to shoot photographs when the weather is nice and sunny, so I'll put them off for the next blog. 

 As I gazed at the items in my collection, the Hasselblad 1600F caught my eye. I had purchased it many years ago, and the last time I had the pleasure of using it was a couple of years ago. The thought of loading a roll and exercising the focal plane shutter in this early version of the Hasselblad camera filled me with anticipation. 

 I generally use the Zeiss 80mm f2.8 lens on the camera, but looking through some of the lenses I have for this and the 1000F, I do have the Kodak Ektar 80mm f2.8 lens, which was the lens initially sold with the 1600F here in the US, and later the Zeiss 80mm f2.8 was available. For this shoot, I got out a roll of Ilford FP4 125 film, which I loaded into the film back, and I put on the Ektar lens to see how it would work. I was pleasantly surprised.

The Company:

When I think of cameras that have made an indelible mark on the field of photography, Hasselblad undoubtedly comes to mind. They are known for capturing iconic moments on Earth and beyond. Hasselblad cameras are synonymous with precision, durability, and unmatched image quality. At the heart of this remarkable brand is the story of its founder, Victor Hasselblad, and his relentless pursuit of excellence.

Original Swedish Ad for Hasselblad 1600f

 Victor Hasselblad was born in Gothenburg, Sweden, in 1906 into a family with a photography and photographic supplies background. While Victor initially followed in his family's footsteps, he soon developed a desire to innovate and improve upon existing camera technology. At 18, he traveled to Dresden, Germany, to work with the best optical manufacturers of the time, gaining invaluable experience in the technical aspects of cameras and photography. This laid the foundation for his future endeavors and innovations.

 During World War II, Victor's knowledge of cameras caught the attention of the Swedish Air Force. They approached him with a German aerial surveillance camera they wanted to replicate. Victor accepted the challenge and famously responded, "I don't want to make a copy of it—I want to make a better one." This led to the development of the first Hasselblad camera, the HK7, designed explicitly for military aerial photography. Victor's ingenuity soon proved invaluable, and his cameras became crucial tools for aerial reconnaissance.

 After the war, Victor focused on developing cameras for the consumer market. In 1948, the first consumer-oriented Hasselblad, the 1600F, was introduced. This camera was revolutionary for its time, featuring a modular design that allowed photographers to change lenses, viewfinders, and film magazines, making it highly versatile. The 1600F also used medium-format film, which produced images of superior quality compared to 35mm film cameras available at the time. However, the early models faced technical issues, particularly durability, and required further refinement.

Ad for the Hasselblad 1600F

Despite the initial technical issues, Hasselblad was committed to improving its designs. By the 1950s, Hasselblad cameras had developed a reputation for being highly reliable, and photographers worldwide began to take notice. In 1952, Hasselblad introduced the 1000F with an improved shutter and slower maximum speed of 1/1000. The camera also came with a Zeiss 80mm f2.8 lens, marking a significant improvement in the brand's offerings.

 

The subsequent 500C model, released in 1957, solidified Hasselblad's place in the professional photography world. With its leaf-shutter system and modular components, the 500C became a workhorse for studio photographers, renowned for its reliability and image quality. This camera design remained in production, with upgrades, for decades and became the foundation of Hasselblad's success.

 

Hasselblad cameras are most famous for their role in space exploration. In 1962, NASA astronaut Walter Schirra brought a Hasselblad 500C on the Mercury-Atlas 8 mission, sparking a long-standing relationship between Hasselblad and NASA. The camera's build quality, high resolution, and adaptability made it an ideal choice for capturing images in the challenging conditions of space.

Walter Schirra and the Hasselblad 500C

 Hasselblad worked closely with NASA to modify the cameras for space use. The resulting 500EL model was specially adapted for the Apollo missions, where it would ultimately capture some of the most iconic images in history, including the first steps on the moon by Neil Armstrong in 1969. The modifications included [specific modifications], which allowed the camera to function effectively in the challenging conditions of space. To this day, the image of Earth from space, known as the 'Blue Marble,' remains one of the most famous photographs ever taken, and it was captured with a Hasselblad. The brand's involvement in the space program elevated its reputation further and established Hasselblad as a premium name in photography.

 With the arrival of digital photography, Hasselblad continued to innovate, embracing the transition while retaining the high standards that defined its analog cameras. In the early 2000s, Hasselblad launched the H-System, a line of digital medium-format cameras that maintained the quality associated with the brand while integrating advanced digital features. This line set new benchmarks in the industry, offering extremely high-resolution sensors, modular components, and sophisticated imaging capabilities that appealed to professional photographers and high-end studios alike.

 More recently, Hasselblad has also embraced the mirrorless trend, launching the X1D, a compact digital medium-format camera that balances portability with the image quality of medium format. This new direction has helped the brand stay relevant, catering to a new generation of photographers who demand portability without sacrificing image quality.

 Today, Hasselblad remains a symbol of excellence in photography. Known for its attention to detail, superior image quality, and dedication to craftsmanship, Hasselblad has cultivated a loyal following of professional photographers, collectors, and photography enthusiasts. While the digital age has transformed the landscape of photography, Hasselblad continues to adapt and push the boundaries of what is possible, ensuring that its legacy endures.

Victor Hasselblad's legacy is a testament to the power of innovation, and his vision inspires photographers worldwide. From capturing wartime reconnaissance to the moon's surface and beyond, Hasselblad has not only documented history but has become a part of it.

My Camera:

My Hasselblad with the Kodak Ektar 80mm f2.8 lens is 6.5" long by 4.5" wide, including the winding knob, and is 4" tall with the waist level finder closed. The camera weighs in at 2 lbs. 15.9oz. This camera is in excellent condition for being around 75 years old. Hasselblad made this camera with a maximum shutter speed of 1/1600, which was very ambitious for a medium-format camera. There is some minor tarnish on some chrome, a small dent in one of the shutter curtains,  and the leatherette is starting to come loose around the waist level finder, but that seems to be it. It's also important to know that the 1600F and the 1000F use focal plane shutters. After these models, the 500c and model moving forward have leaf shutters in the lenses, not the camera body. The exception was the 2000FC model.

Having owned several different Hasselblad models, the camera operations are similar to mine. The film back on my camera is the older C12 film back. To load the film, you need to take the film back off the camera. Well, you don't need to, but I've always done it. You have to have the dark slide in the slot on the left to remove the film back from the camera. The dark slide in the holder presses a pin within the film back that allows the back to come off. If the dark slide isn't in the film back, you cannot take the back off the camera. To remove the film, on the top of it is a sliding circle with a Hasselblad "V" logo that you slide to the right and pull back down to remove it from the body.

 On the left side of the film back is the lock. Pull up the tab on the lock and turn it counterclockwise until it stops, then pull it away from the film back, and the insert will pull out. The film insert is what you load the film into. With the lock on the left, take the empty film spool from the bottom holder by pulling out the roll holder on a hinge to quickly load and unload the rolls of film. Put the empty spool onto the top. The top has a knurled grip on the hinged holder to wind the film before loading it back into the film back to shoot. Put your fresh roll of film into the lower holding area, pull the paper over the black pressure plate and slide the leader into the empty spool and turn the knurled knob to load the film onto the reel. Keep turning the knob until you see the "start" word on the paper backing. 

 Slide the film into the body portion and lock the back securely into the body. On the right side of the film back is a winding knob. Lift one of the handles and wind. On my film back, which is a C12 back, there is a hinged door where you can see the frame numbers as you turn the winding handle. Open the backdoor, watch for "1" to appear, and stop winding. At this point, turn the winding lever in a counterclockwise motion, and the frame counter under the winding knob will reset to number 1. Put the back onto the camera and prepare for the first photo. As you take photos, the film will advance back in, and you can check the frame counter on the film back to see what frame you're on.

Now that the film is loaded into the camera let's go out and shoot a few frames. Remove the front lens cap to focus the camera and pop up the waist level finder. A smaller "V" Hasselblad logo slider is on top of the waist level finder to open the finder. Slide that to the right, and the waist-level finder will pop open, showing an image you're pointing the camera toward. Turn the focus ring on the lens to get a sharp image. If you want a more critical focus, you can slide the slider to the right again, and a magnifying lens will pop up. You can put your eye closer to the magnifying lens to see an enlarged area of the focusing screen to fine focus on your subject. To close the waist level finder, one by one, flip down the side panels over the focusing screen, then the back panel, and close the top, which will click when closed.

 Before you press the shutter button on the front of the camera in the lower right corner, as you're holding the camera, you need to take out the dark slide from the film's back. The camera will not fire if the dark slide is engaged in the film's back. Be sure the shutter is cocked and ready to shoot. To cock the shutter, there is a large knob on the right side of the camera. Pull out the dark slide and turn that knob in a clockwise motion, or so the knob is going forward. This cocks the shutter. Set the shutter speed, which is on the right side of the camera, on the knob that cocks the shutter. 

 Because this model and the 1000F cameras use a focal plane shutter, it's VERY IMPORTANT: DO NOT SET THE SHUTTER SPEED WITHOUT COCKING THE SHUTTER FIRST. If you do, the camera can jam, and with this and the 1000F models, it's extremely expensive to service and, due to the age, possibly not able to be serviced due to lack of parts.

On my Eastman Kodak Ektar lens, the aperture is entirely manual, meaning you need to open the aperture for focus and then stop down to take the photo. Being used to "automatic" apertures where the aperture closes during exposure and opens after the exposure, it's easy not to remember to stop the lens down before taking the photo. Being one that uses a myriad of different cameras, I'm getting used to checking before, but every once in a while, I forget and need to retake the photo.

 If you want to change the lens on your camera, as you hold the camera, there is a button on the front of the camera in the lower left corner, opposite the shutter release. Press the button and turn the lens in a counterclockwise motion to release the lens and put on a new one. To put on a different lens, line up the red dot on the lens and the red dot on the camera body and turn the lens clockwise until the lens "clicks" into place and is secure on the body.

 Now that you've shot the 12 frames on the roll of film, it's time to take the film out, get it processed, and see how you did. To do so, take the dark slide out of the film back, remove the film back from the camera, open the film chamber, unload the film, and put in a fresh roll to shoot some more.

My Results:

After walking around my block taking photos on a sunny afternoon, I wanted to see how the lens would handle and the image quality it would produce. The lens focuses close, down to 20" from the film plane, so I was able to get in close for detail. Here are the results from the Eastman Kodak Ektar 80mm f2.8 lens.

 

 Conclusion:

I'm a photo nerd. I love using cameras, especially the older mechanical versions. There's something gratifying and calming about having a mechanical camera in my hands. Whether looking through an eye-level or waist-level finder, taking photos is an absolute joy.

 The Ektar 80mm f2.8 lens is terrific. I liked how the focus was fluid and easy to turn, the ease of opening and closing the aperture, and the picture quality was better than expected. The older Ektar lenses are superb, like those on the Ektar 35mm camera.

 Thank you for taking a few minutes out of your day to read about this early Hasselblad camera. I plan to use it for more shoots in the upcoming months.

 Until next week, please be safe.

Reference:

Hasselblad Website: https://www.hasselblad.com/about/history/first-consumer-camera/

Minolta Six Camera

It seems like I purchase items from camera auctions in "lots," and there is always a treasure hidden in the background that you either didn't notice at first, is hidden within all the photos of the items, or, in this case, the camera wasn't taken out of the case, and the case was obscured, so there was no visual evidence that the camera was.

 As I unwrapped the cameras won from the auction, one brown case caught my eye. It bore a striking resemblance to the Mamiya Six in my collection. But upon closer inspection, the name 'Minolta Six' was revealed. I initially thought it might be similar to the Mamiya Six, but the truth was far more exciting, as I'll reveal when I introduce the camera.

History:

In an earlier post, I did on the Minoltaflex CDS, I did a brief history of the company, which read, 

Kazuo Tashima founded Minolta in Osaka, Japan, in 1928 as Nichi-Doku Shashinki Shōten, which means Japanese-German Camera Shop. In 1931, the company updated its name to Minolta, which stands for Mechanism, Instruments, Optics, and Lenses by Tashima. In 1937, the company was reorganized as Chiyoda Kogaku Seikō, K.K. They are now introducing their first Twin Lens Reflex (TLR) camera, the MinoltaFlex, based on the German Rolleiflex cameras. The MinoltaFlex was only the second TLR introduced from Japan after the Prince Flex by Neumann & Heilemann. In 1947, Minolta introduced rangefinder cameras like the Minolta-35, and in 1959, the Single Lens Reflex (SLR) SR-1 camera. In later years, they signed agreements with Leica and came out with the first autofocus SLR, The Minolta Maxxum 7000, which carried on to several in their autofocus system.

 To expand slightly from the above text, in the early years, there was a big German influence on the Minolta company, which was known as Nichidoku Shashinki Shōten, which means Japanese, German camera shop. In the early years, the company received help from camera technicians Billy Neumann and Willy Heilemann, and the shutters and lenses were supplied from Germany. Their first camera was the Nicarette, which was released in 1929.

In 1931, the company was transformed into a stock corporation named Molta Gōshi-gaisha. Molta is an abbreviation of Mechanism, Optics, and Lenses by Tashima. Neumann and Heilemann left the company in 1932, returning to Germany to start their own company, and the German influence left with them. In 1933, the name Minolta was adopted. In 1937, the company became Chiyoda Kōgaku Seikō K.K and expanded the production of cameras into TLR and press cameras similar to the Plaubel Makina. 

Minolta Six in the July 1938 catalogue and price list by Asanuma Shōkai. Scan by A. Apra. (Image rights)

 In 1940, the famous Minolta Rokkor lens was produced, but it was only used for the military. Consumer camera production ended in 1943 to concentrate on the war effort. Three of its four plants were destroyed by Allied forces during WWII. Soon after the war, Minolta released the Semi Minolta III, and throughout the 1950s, Minolta expanded its line of cameras to include folding cameras, TLRs, SLRs, and rangefinder cameras.

 In 1958, the SR-2 was released, and it was Minolta's first system camera. This reign of SLR system cameras included partnerships with Leitz in the 1970s, which helped produce CLE cameras. Minolta had a full line of autofocus cameras, the Maxxum line of bodies and lenses, and Minoltas final SLR camera ended in 1995 with their X-370.

 Minolta produced many different 35mm, APS, and DISC cameras and partnered with Konica in 2003, but by 2006, the camera company had discontinued camera production and relied heavily on the copier business.

My Camera:

Opening the case and looking at the camera for the first time, I was surprised by the Minolta logo and text on top. Since it was made in 1936, it has a genuine Art Deco design in the look and feel of the camera. My biggest surprise was when I initially pulled the lens out from the body and found the camera didn't have a cloth bellows. Instead, it has a series of stacking cubes that pull away from the camera body, AND these boxes are reinforced with another Art Deco element, metal brackets that resemble an "M" when the camera is laid on its back with the lens pointing up. WOW, Just a fantastic design.

The Minolta Six camera measures 6 inches in width, 4.75 inches in height with the finder up, 3.75 inches with the finder closed, and 4 inches in depth with the lens out, or 2.25 inches with the lens closed. It weighs 1 lb. 5.7oz. without the case or loaded with film. The camera's body is made from a bakelite or plastic material, covered in a high-quality leatherette.

 To pull the lens out to take photos, there are two grips, one on either side of the lens, that you grab onto to pull the lens out and away from the body. You need to expose three stacking cubes before the camera is ready to take the photos. Under the lens are two curved chrome bars you can slide down to prop the camera up so that when the lens is out, it doesn't tip forward and keeps the lens level.

Around the top of the lens is Patents-Nippon, and below is Crown, which is the shutter on the camera. The actual lens is an 80mm f5.6 Coronar Anastigmat Nippon lens. Around the lens is a manual focus ring that focuses from under 1 meter to infinity. The focus line to judge distance is a protruding tab with a line at approximately 10 O'Clock on the lens face. The lens also has a stopping screw that prevents the lens from rotating past the infinity mark on the tab.

 

My camera has only four shutter speeds: 1/150, 1/100, 1/50, and 1/25, along with "b" and "T" for timed exposures. On the top of the camera is a pop-up viewfinder with etched or lined crosshairs to line up horizontal or vertical subjects as needed. The back of my camera sports three red windows with different numbers, which are used to line up with the number on the paper backing to get to the proper frame number. In later cameras, they went to a single window system, which is more common with current 6x6 format cameras using 120 film.

 

To open the back of the camera, there is a latch behind the strap on the left side with an arrow pointing down. Slide the button down, and the camera's back opens. The chrome winding lever was used on the older models. Later they went to a plastic or bakelite knob in the later models. My first thought when I looked at the back of the camera was that it was not a full-frame 6x6 camera, but that was because I was looking at the retracted plastic cubes from the bellows. It is indeed a full 6x6 format camera. Load the film on the right side and bring the leader to the left to take up the spool. The knobs on the bottom of the camera pull out so you can put in the film and take up the reel easily.

 The case for my camera is in great condition. There's a pretty cool instruction tab on the inside of the case, which was made for the three window cameras.

 The crown shutter doesn't have a cocking mechanism. There's just the shutter release to take the photos. I loaded the film. I pulled out the cube below and started to take pictures of the neighborhood with my trusty light meter. Once I reached the end, I unloaded the film and processed the negatives.

My Results:

Here are some of the photos taken with the Minolta Six camera. The photos were a bit flat in exposure and contrast.

Conclusion:

I enjoyed shooting with the camera, but I am still primarily impressed with the innovative and beautiful bellows system in the camera. Not only is it functional, but it is very light and tight and only wears out slowly compared to the style bellows. The flip side is, if something happens to this bellows, the replacement is hard to replace due to the material. I wished there were faster shutter speeds, but I was using 125 iso film, and with the aperture range of the lens, I didn't have an issue.

 I have a great and fun camera for next week's blog post, so I hope you'll stick around to read that one, too. Thank you for your time, and please be safe until then.

Update:

According to Andrea Apra, who corrected and let me know initially, a small cardstock table was provided with this camera. This table was used to calculate the Depth of Field. The card I have in the case with the wrong translation is just instructions for using this table provided with the camera, which I don’t have.

The table has a horizontal scale at the top with the various distances on the focus ring: 7, 5, 3, 2, 1.5, 1 Mtr.

Then, on the vertical column, the diaphragm has various apertures: F 5.6, 6.3, 9, 12.5, 18, 25.

Two pairs of values, the minimum and maximum distance of the DoF, are intersecting at the table's intersection.

This explains how to read the table.

This is the text translated in its original graphic structure of the text.

Zeh Zeca-Flex Camera

This camera combines the compactness of a folding camera with the quality and handling of a twin-lens reflex camera. The Zeh Zeca-Flex is just the camera mentioned above, and I've had my eye on it for many years. However, the rareness and price have always eluded me until I went into a great used camera store in Salt Lake City, UT, Acme Camera.

 The first time I went into Acme Camera, they were in their older location, and the store was filled with photo knickknacks. I struck up a conversation with the people there who were selling used gear, servicing cameras, and renting for the local photo community. On my second visit, back in one of the cases was the Zeca-Flex I currently have. The camera was in excellent condition, with clean optics and a working shutter. I offered a trade for the camera, and they accepted. I was elated to have the camera so I could do a blog article on my Zeca-Flex.

History:

In the early 1900s, around 1901-1902, Paul Zeh produced camera parts like shutters in his workshop in Dresden for some of the other local camera companies in Germany. In 1913, he started producing cameras, and by 1922, the company Paul Zeh Kamerawerk was started. In the early years, the company mainly produced folding plate cameras or cameras that took images on glass plates, which was very common at that time period.

During the 1920s, the company did very well. At this time in photo history, roll film was starting to become more popular. The photographer or photo enthusiast didn't need to carry bulky film holders. All the photographer needed to do was put in a roll of film and get 8, 10, 12, or 16 different photos on the same roll of film without the hassle or inconvenience of loading and carrying the film holders. 

The Pilot Reflex camera, produced in 1931 by Kamera-Werkstätten Guthe & Thorsch in Dresden, has a very similar style and appearance to the Perfekta and the Super Perfekta; you can see a review by Mike Eckman of the Pilot.

 During the late 1920s and 1930s, the company expanded production into folding roll film cameras. These cameras were more compact and allowed the photographer to travel with less equipment, so their popularity grew.

 By 1937, Zeh produced the Zeca-Flex, a folding, twin-lens reflex camera. Its design is very similar to that of the Welta Perfekta, which was produced in the 1933-34 timeframe, and the more robust Super Perfekta introduced in 1935. The Perfekta and Super Perfekta were made by Welta Kamera Werk, which was in Freital, a very close town to Dresden. 

I'm confident Zeh wanted to compete with Welta on this camera style. Unfortunately, this camera style didn't catch on with consumers. Hence, with all three cameras, the Perfekta, Super Perfekta, and Zeca-Flex were the only cameras made and are rare and somewhat expensive.

 WWII took a toll on Dresden as the Allies leveled the city due to its large manufacturing capabilities. By 1948, the Zeh plant closed, and the company went out of business. My guess is that some of the Russian companies took some of the camera manufacturing machines to produce some of the after-war cameras. This is just my guess, though.

 

My Camera: 

The condition of my Zeca-Flex is unusually excellent for a camera that is almost 90 years old. The metal is still shiny, and all the functions move like when the camera was first purchased in the late 1930s.

 The camera measures 7.5" long without the light hood open. When the light hood is open, it measures 9.25" tall. The Zeca-Flex is 3.75" wide and closed; it's 2.5" from the front of the viewing lens to the rear of the camera. When the camera is open, it measures 4.75". The Zeca-Flex weighs 2lb—5.2 oz.

The lens on my Zeca-Flex is a Schneider Xenar 7.5cm (75mm) f 3.5 in an F. Deckel Compur Rapid shutter. The shutter speeds go from 1/400 to 1 sec with both "T" and "B" settings. Since I don't have a proper shutter tester, all the shutter speeds sound accurate to my trained ear. The viewing lens is a Sucher Anistigmat f2.9 lens.

To open the camera, there is a small button on the left side as you hold it to take a photo. Press that small button in, and the lens door unlocks. On my camera, you need to pull out the lens to put it into the taking position. There are knurled grips on the sides of the lens door to pull the lens out. Also on the lens door is a flip-out stand that allows you to stand the camera up, which is very common in folding cameras.

Note the small button on the side of the camera used to open the lens.

To close the lens, there are two buttons on either side of the backdoor. You press in towards the camera body, then slide the lens back into it and close it until you hear the locking "click" sound, which means the lens is back and locked in the camera body.

 On the back of the light hood, there is a sliding bar you slide over to open the light hood for viewing purposes, and on the side of the light hood is a switch you can flip up or down the magnifying glass for critical focusing.

There is a latch at the top of the back door, which you slide up to open the film door to load and unload film. In my camera, there is a roll film holder you put the roll of film into before putting it into the camera. The film holder is something I've never seen before, and on the first roll, I needed to figure out which way the film rolled across the shutter, but it was easy to figure out. Now that I've done it, it makes sense, and I won't have difficulty in the future.

 The frame counter resets to number 1 when I close the back of my camera, or at least it was there when I put film in it. There is a button on top of the frame counter. When I slide that button over, the frame counter goes to number 5, so my guess is that isn't correct. I can't find an instruction manual for this camera online, so I'm not 100% sure of the correct way to get maximum frames from the camera. 

There is a red window on the back, which I'll use in the future, as I did miss a few frames at the beginning of the roll when I shot with it. The film advance is on the bottom of the camera and is directly tied into the frame counter, whether you have film in it or not. The frame spacing on my camera was good once I got to the first frame and used the frame counter to find the next frame.

 To focus the lens, as you hold the camera to take photos, there is a wheel next to the viewing lens. I rolled my finger across it one way or the other to achieve proper focus, which was the easiest and made the most sense to me.

This is the focusing wheel. I used my finger to slide back and forth to focus.

Results:

Now that I had a roll of film in the camera, I took it out and walked around the neighborhood to get some photos.  Here are some pictures I took on my walk with the stunning Zeca-Flex camera.

 

Conclusion:

The viewfinder wasn't the brightest, and achieving good focus was difficult even with the magnifying glass up. Another negative about using the camera is where the shutter release is placed. There is no shutter release button, so you need to cock the shutter and then release it with the shutter release button, which is in an awkward place and thought my finger would be in the photo, but it wasn't.

Besides these two items, the camera was a joy to shoot with, and I feel lucky that my camera is in such good condition. I will use it again, but I'm putting it back on the shelf and trying something different for next week's blog post.

 Thank you for taking a few minutes to review some of the cameras in my collection.

 Please be safe, and I hope to hear from you soon.

Primarflex II by Bentzin

I have been excited to do a blog post on this camera since I acquired it a couple of years ago as part of a group of cameras from an auction. The camera came as a kit with the case, extension tubes, lens hood, and film holders. When it arrived in excellent condition with a working shutter and clean lens, I was anxious to put some film in it and take a walk around my yard snapping photos.

History:

Bentzin has always been known as an innovator and a company that excelled in quality cameras like Primar, Primarette, and Primarflex. Carl Bentzin was born in Görlitz on February 8, 1862, died on May 23, 1932, and is buried in grave number 260, Old Görlitz Cemetery. He opened his first factory in 1989, located at Rauschwalder Strasse 28 in Görlitz, Saxony. He changed it in 1893.

 

In 1899, Bentzin entered into negotiations with Carl Zeiss regarding a collaboration with Dr. Paul Rudolph, who had developed their anastigmats: Planar, Protar, and Ulnar lenses. Zeiss was looking to build cameras so they could put these lenses on them, and Bentzin had the expertise of the time to do so.

 The "Aktiengesellschaft Camerawerk Palmos" was founded in 1900. They produced cameras at the Zeiss factory in Jena and the Bentzin factory in Görlitz. In late 1900, the "Film-Palmos 6x9" camera was produced at the factory. In 1901, the bank ran into financial difficulties, and Zeiss took over production in Jena. Bentzin ran their own company, run by Carl Bentzin, in Görlitz.

 In the following years, the Carl Bentzin Company produced many high-caliber SLR cameras and even cameras for companies like Voigtlander, Emil Busch, and other German camera companies.

Soon after WWI, Carl started having his son Ludwig take over more of the day-to-day operations of the company, where he honed his manufacturing and business skills. In 1928, Carl turned the company over to his son Ludwig, his daughter Helene, and Helene's husband.

 Carl Bentzin died in 1932 at the age of 70. From 1928, Helene and Ludwig ran the company together until Ludwig's death in 1945. After Ludwig's death, the company went through several different reorganizations as part of the state-owned system, ending as VEB Feinoptisches Werk Görlitz.

The Camera:

Upon my first encounter with the camera, I was immediately drawn to its unique layout. All the controls and settings are conveniently located on the right side, including the film advance, shutter speed control, shutter release, frame counter, self-timer, and flash sync terminals. This thoughtful design, detailed in the manual, makes it easy to navigate the camera's functions.

The camera exudes a sense of robustness and reliability. It's more compact than a Hasselblad and larger than a Twin Lens reflex, striking a perfect balance. As an SLR camera, it offers the unique experience of focusing and observing the depth of field through the lens, a feature I particularly appreciate.

To open the back, just behind the viewfinder is a knob that has duo functions. To open the finder, you slide the knob back towards the rear of the camera. Then, open the back to load the film. While the knob is back, you press it down, and the back door opens, revealing the film cassette, which is removable to load the film. To remove the film cassette, you'll need to pull out the winding lever just a bit like you would any film advancing knob to release the gear from the body and the film cassette is easily removable by holding the center handle and pulling it away from the body of the camera.

Loading the film onto the cassette is straightforward for any medium-format camera. Put the empty spool onto the top area where the gear for the film advance is located. Load the new film onto the other area and bring the leader over the pressure plate so the black paper backing is facing out or towards the shutter when you put the film cassette back into the camera body. Put the end tab into the spool slot and wind it a bit until you know the film won't pop off the spool and is starting to take up on the take-up spool. I like to advance the film until I see the arrows of the paper backing, and then I put the film cassette back into the camera. The manual says to reset the frame counter, turn the counterclockwise until it stops, and lift it. DO NOT FORCE IT. A red "zero" appears in the window, then advance the film until the number one appears, then you're ready to go. Unfortunately, my camera reset on the frame counter didn't work, so I advanced until I thought I was at number 1 and started shooting.

Now that I have the film loaded, the viewfinder or light hood, as they call it in the manuals, has a couple of different variations. You can remove it for cleaning. It does have a magnifying glass folded down on the rear of the hood if needed for fine focus. Just lift the magnifying lens into position and focus. It also has a "sports" type finder, which many medium format cameras have, where you can lift a portion on the hood and look through the rear opening through the front opening to get a general sense of composition for quick action photos. If you're going to use this, be sure to pre-focus the camera and use a smaller aperture to allow the depth of focus to compensate for any missed focus.

Focusing the lens and setting the aperture is straightforward. The lens doesn't have an automatic aperture, so you need to open the lens to focus and then manually stop the lens down to the desired and needed setting for proper exposure. A "locking" mechanism for the aperture is used to help with this. You pull back the collar with the red dot and turn it to the desired aperture setting. Releasing the collar "locks" the lens into that setting, which means you cannot go past that setting when you turn the collar back and forth. This lock allows the photographer to open the aperture for brighter focusing, then quickly turn the dial back to the "locked" aperture setting to take your photo. It's easy, and the benefit is that when the lens stops down, you'll see the actual depth of field you'll get in your photograph. When I turned the advance lever, the mirror returned as it should, and to cock the shutter; there was a little extra turn needed to get the shutter cocked again. Having the additional amount to turn is standard, as It did the same function every time I advanced to the next frame.

When I received the "camera lot," it included a set of 4 extension tubes for the camera and three separate cut film holders. I'm very familiar with extension tubes and love shooting with them, but what would you ever use 6x6 film holders for when using this camera? I've never heard of a 6x6 cut film ever produced, so I'm curious how you'd even use them. Doing a bit of fussing around with the camera, the only mention I found was the availability of the cut film holders, but nowhere in the manual does it say how to load them. 

You'll need to open the back of the camera to use the film holders and take out the cassette. A silver clip is at the back of the light hood (Viewfinder). When you slide that clip back towards the back of the camera, you can slide up an insert with a couple of tabs on the top and a couple of small rollers within the insert. At that point, you can slide the film holders into that slot and take out the dark slide, exposing the film to the shutter and, eventually, the light when the shutter opens/closes. After using the film holders, you can put the roller insert back and slide the silver tab towards the lens, locking the insert into place so the film cassette works as it should within the camera.

The lens is a Carl Zeiss Jena 105mm T f3.5 lens, and it has threads on the back, which you use when using the extension tubes, but to put the lens onto the body, there is a red dot on the front of the camera at the 10 o'clock position. All you need to do is line up the red dot on the lens and turn it to the right or clockwise, and the lens locks into place by pressure. To remove, grab the lens and turn counterclockwise; the lens comes off after about a quarter of a turn.

The fitted case is exceptionally well-built. When you open it, the right side of the case folds down so you can access the different operation dials, which is very handy. While my strap is broken, I do see where it's attachable in several places to hold and distribute the weight evenly. The case can be held tightly in the case by a hook on the front and looping into the rear of the case.

Results:

I walked around my front and back yards using my light meter to get the proper exposure for each shot. The shutter works great, and as mentioned above, the aperture and focus move smoothly, so taking the photos was relatively easy.

 Here are the results from the camera.

Overview:

WOW, what a fun camera to shoot with. When I looked through the finder, the images were bright and clear. The focus was sharp, and using the "locking" mechanism on the lens was intuitive and straightforward. I didn't use the extension tubes on this shoot, but I plan on trying them out on an upcoming post for my blog, so keep tuned for that experience.

 Thank you for taking a few minutes to review this posting on a wonderful, well-built camera that should rival any medium-format SLR camera. 

 Until next time, please be safe and well.

Bolsey-Flex Trio Camera

As I was sitting at my desk a few weeks back as I was figuring out what camera to write about next, I looked down at a box of cameras I have in my office, and on top was the Bolsey Flex Trio, which is in the box and complete with the instructions. As I started putting together my thoughts about the camera, I had to pull out the camera, and many different ideas came into my mind.

My Bolsey-Flex Camera & Instructions

My Bolsey-Flex Camera & Instructions

The camera for its age isn't in great shape but does work. The camera uses 120 size film, which is a HUGE benefit to me since the film is so readily available. I decided to load a roll of Black and White film in it to shoot as I walked through my neighborhood. I processed the film and was somewhat impressed by the Bolsey-Flex. It's a Pseudo Twin Lens Reflex camera, which means it looks and feels like a TLR camera but works more like a Box Camera due to its simplicity.

Camera Research

I was researching the camera, only to find that a friend of mine, a brilliant writer and camera collecting blogger, Mike Eckman did a blog post on the same camera just a few months ago, which you can read here. With that said, Mike has quite a bit of information on the designer, Jacques Bogopolsky, and camera companies he worked for. The famous movie camera, Bolex, was named after Jacques Bogopolsky, and he also designed cameras for Pignons S.A., the original company that made Alpa Cameras.

For my blog post, I want to concentrate on the experience of using the camera, the image quality, and my overall thoughts on how such a beautifully designed camera handles out in a natural shooting environment. I want to offer a few facts on the camera in general. The camera is an all-aluminum cast body with beautiful light green coverings. In the box comes all you need to take the camera out into the world to take photos.

The Camera

The camera measures 4.75" tall without the viewfinder in the closed position and 6" with the finder in the "up" position. The camera is 3.75" wide, which includes the width of the knobs. It is 3.75" deep, including the lens in the focused to the closest focused position, and 3.5 with the lens focused to infinity. The Bolsey-Flex incorporates an elementary zone focusing lens which can focus from 5 feet to infinity. The focus on the camera is strictly a "guess focus" style. While this is a Psuedo TLR camera, the top lens does nothing more than frame the photo in the camera. There is no focusing capability when looking through the viewfinder.

On the Bolsey-Flex shutter, you have the capability of "I" for an instant, which shoots the shutter at 1/50th of a second shutter speed, and "T" for a time exposure. The camera does have a synchronized shutter which couples with the flash attachment. The camera also has an 80mm lens with three aperture settings, F7.7, f11, and f16. 

The flashgun takes 2-"AA" batteries to power the Type No.5 flashbulbs that fit the top. You unscrew the bottom of the flashgun to put the batteries into it. It would be best if you took the camera case off the camera to use the flash. The flashgun fits into the camera synchro port, which is below the lens and held by the screw that holds the case into place. When you trip the shutter, the camera sends a signal to the flashgun, which fires the flashbulb. 

My unit seems to be in good working condition. Unfortunately, I didn't have bulbs when I loaded the camera with film and did all my shots outdoors. It would have been fun to shoot with bulbs. I'll need to test another camera that uses a flashbulb in a future post, not that I have some bulbs to try.

To load film into the camera, there is a knob on the left side of the camera with "Open," Close" on it. Turn the knob to "open," and the top of the back swings down open to load the film into the camera. Nothing special here as the. Put the empty spool on the top and film onto the bottom area. The shutter won't fire until the winding lever is turned to advance the film. On the back of the camera is the red window with a sliding cover to see when the film is advanced to the following frame number.

 Images

Here are some of the images I took with the Bolsey-Flex camera.

Rocks

Rocks

Backyard Aspen

Backyard Aspen

Evergreen Tree

Evergreen Tree

Dogwood

Dogwood

Conclusion

I thought the camera did a very excellent job for a pseudo-TLR camera. It's not much more than a glorified box camera. The camera was easy to hold, the exposures were good, thanks to my sunny 16 rule when exposing to sunlight. The lens vignettes a bit, but I enjoy that. The ease of operation and see the frames in the red window when advancing were spot on. I'd recommend this very well-built camera to anyone.

 Thank you for taking some time to look over this post. Until next time, please be safe.

Pouva Start

Whenever my wife and I travel, I'm always looking to see if the country we're going to has a flea market or someplace where there might be a possibility to find cameras. It might be in a run-down antique store in Vietnam where I found a few cameras. One of my all-time favorite places was a flea market outside of Prague, Czechoslovakia.

My Pouva Start original model with sport finder opened and lens out.

My Pouva Start original model with sport finder opened and lens out.

The flea market itself was a wild experience. The people-watching and the different items at the vendor's tables was pretty fantastic in itself. I didn't know how many cameras I would find but figured there'd be a good mix of Russian and European cameras. I was correct on both counts, and one of my favorite cameras found there was the Pouva Start. In my opinion, this is a classic 6x6 format Lomography camera. Something compact, well built, and extremely simple to use. Let me tell you a bit about the camera and the company that made it.

Karl Pouva

The Pouva Start camera was built by Karl Pouva AG, who first started his company making simple Bakelite slide projectors in Freitel, a city near Dresden, Germany, in 1939. After the war, that area of Germany was a part of East Germany. In 1951, with his experience with Bakelite, he decided to build a simple camera. Something easy to use, low cost, and a camera to get the youth started to take photos. At the time, the camera cost 16.50 Deutsche Mark (east), which was very affordable for young people.

There have been several different changes in the Pouva Start camera over the years. I am starting with the camera I have, with the pop-up sports finder. Later, in 1956, they updated the design to incorporate an optical viewfinder into the camera and symbols for aperture settings. A sun symbol for smaller aperture settings, and clouds for larger aperture settings. The one thing that stayed constant on the cameras was the screw out lens, which acts as a locking mechanism for the camera.

The Camera

This camera has a very classic design, with a spiral threaded lens system, which is very similar to the Kodak Bullet cameras built in the early 1930s. When the lens is threaded back into the camera body, the shutter mechanism is locked so you cannot take unwanted photos. Once you wind the lens into the taking position, the shutter firing system engages with the shutter button, and the shutter now fires.

On the lens are just four settings, two for the shutter and two for the aperture settings. There is a toggle switch on the shutter side that goes from "Zeit" for timed exposures and "Moment" for a regular shutter speed of 1/30 second. On the aperture side, there is another toggle between "Sonne" Sunny or F16 and "Trub" Cloudy F8. In the later versions, as stated, they used symbols for sunny/cloudy. The camera incorporates a Duplar F8 lens, which has two elements in two groups for simplicity.

On top of the camera is the pop-up sports finder, the shutter release button, a cable release button to thread a cable release into and trigger the shutter: the film transport winding knob, and two metal levers. One of the levers is next to the shutter release button, which you can slide over to lock the shutter for time exposures. The second is by the film winding knob. This lever opens the back of the camera for film loading.

That lever is the one that stumped me for the longest time. I kept wondering how to open the back to load the film. I pulled and twisted several different areas without success. Then I pressed the lever forward, and the back started to come off. The back is held into place by friction and seats tightly onto the camera very well. The lever is attached to a small piece of Bakelite that, when pressed forward, separates the back from the camera, allowing you to take the back off. Ingenious!!!! I love this. So simple.

Photos from the camera:

Lake-Quinault-9-2020_047.jpg
Lake-Quinault-9-2020_001-copy.jpg
Lake-Quinault-9-2020_045.jpg

Conclusion:

The camera is enjoyable to use and doesn't take a horrible photo. I was surprised at how the pictures turned out. They're not the sharpest photos I've taken, but for a simple lens, they're not bad. If you like the Lomography style of cameras, I search out this camera and try it out, as I think you'll enjoy using it and the photos that come from it too.

 Thank you for taking a few minutes out of your day to read this post. I always enjoy it when I hear from you, so please feel free to email me any questions or comments about this or any other camera I've written about. Until next week, please be safe.