Leica I

My Leica I camera

I purchased the Leica I camera and accessories around 6 years ago when I saw a local ad of someone wanting to sell off a recently departed family member's old cameras. I responded to the ad, and for some reason, the person liked my passion for cameras and photography, so when I heard that the camera they had from a grandparent was a Leica, it piqued my interest. They had mentioned that the camera was in good shape and had some accessories in a case; I told them I was interested in seeing what they had.

 I try not to get into situations where you meet someone with some valuable equipment at a random location, so for safety reasons for both parties, we met at a local police station, which was agreeable to both. When they pulled out the case and I saw it was an early Leica, my heart fluttered a bit. 

My Leica I outfit

 Pulling the camera from the case, I found it in excellent condition and working. All the shutter speeds sounded accurate to the ear, and the rangefinder and extra film cassette were in the metal container and within the case, too. The owner wanted to be sure the camera was going to a good home and not just being sold. I reassured the person that I planned on keeping the camera and shooting with it, which they loved.

 Since adding the Leica I to my collection, I've made a point to keep it in top condition. Every now and then, I take it out and give the shutter a few test clicks to ensure it's in good working order. However, due to my busy schedule, I hadn't had the chance to load a roll of film and actually use the camera until recently.

 I wanted to write about the Leica 1 for my blog about a month ago.  I took the camera out and started to put a roll of film into the camera to shoot with it, and the shutter jammed. What bad luck! I called my friend Allen Wade at CameraWerks in NY, who always does a terrific job servicing my cameras and lenses. I sent the Leica 1 along with a few other items to him to get serviced. About a month later, I received the cameras back from him, and they were in fabulous condition. At this point, I put a fresh roll of film into the camera to see how the camera worked so I could write about it.

The Company:

Oskar Barnack was a German optical engineer who revolutionized photography by inventing the first practical 35mm camera, the Leica I. Born in 1879, Barnack initially worked in the optical industry, eventually joining Ernst Leitz Optische Werke, a German company specializing in microscopes and optical instruments. His pioneering work in miniaturizing cameras led to the creation of the Leica, which forever changed the way photographs were taken.

Ad for Leica 1

 Before Barnack's innovation, photography relied on bulky, cumbersome cameras that used large-format glass plates or film sheets. These devices were difficult to transport and required long exposure times, limiting their usability. An enthusiastic amateur photographer, Barnack sought to develop a more compact and convenient camera system that would still produce high-quality images. He turned to 35mm cinema film, which was already used in the motion picture industry, and repurposed it for still photography. He aimed to create a small, lightweight camera that could capture multiple images on a single roll of film.

 Around 1913-1914, Barnack developed a prototype of what would later become the Leica (short for "Leitz Camera"). This early model, known as the "Ur-Leica," used perforated 35mm film and a horizontal transport mechanism. The key innovation was that the film was advanced in small increments, allowing multiple exposures on a roll rather than requiring a single frame per exposure. Barnack also incorporated a focal-plane shutter, providing precise control over exposure times.

 The outbreak of World War I delayed the commercialization of the Leica. Still, in 1924, Ernst Leitz II, head of the Leitz company, decided to move forward with production. The Leica I was officially introduced at the Leipzig Spring Fair in 1925, marking the beginning of the 35mm camera revolution. The camera instantly succeeded due to its portability, superior image quality, and innovative design.

 Leica cameras quickly became popular among professional and amateur photographers, particularly in journalism and street photography. Their ability to take quick, candid shots without cumbersome equipment made Leica the camera of choice for legendary photographers like Henri Cartier-Bresson and Robert Capa.

 Over the decades, Leica continued to innovate, introducing models such as the Leica II (1932) with interchangeable lenses and the Leica M series (1954), which refined the rangefinder design. The company also played a crucial role in developing optical advancements, such as high-quality lenses like the Summicron and Noctilux.

 Today, Leica remains an iconic brand known for its precision engineering and commitment to craftsmanship. Oskar Barnack's vision laid the foundation for modern photography, and his pioneering work continues to influence camera design and photographic culture worldwide.

My Camera:

The first thing I noticed when I started to use the Leica I was how compact the camera is. When the lens is retracted, the camera is one you can put into your coat pocket to have handy when traveling or just for everyday use. The camera is 5.25" wide by 2.5" tall, including the winding knobs and viewfinder, by 1 5/8" deep when the lens is retracted and 2.5" deep when the lens is extended. My Leica 1 weighs just under 1 lb. and comes in at 15.6 oz without film loaded into the camera. The serial number on my camera is 19569, which, according to the lists online, the camera was made in 1929, along with a bit over 8,000 made that year. The Leica 1 cameras were made between 1926 and 1931 and were popular, producing approximately 70,000 cameras during that time. My camera comes with a Leitz Elmar 50mm f3.5 lens, and I've looked everywhere but do not see a serial number on the lens. This could be because the camera didn't have interchangeable lenses, and the serial number for the camera was enough.

The early Leica is different from the later models as the rangefinder is separate and needs to be attached to the accessory shoe for the photographer to achieve fine focus on the subject. Once the photographer uses the rangefinder, they need to transfer the focus distance shown on the rangefinder to the lens focus before taking the photo, so the process is longer and more tedious. The viewfinder on the top is for composition purposes only.

 Also, the lens needs to be extended from the camera body and "locked" into position by turning the lens clockwise until you feel the lens cannot be turned anymore. Now you're in the "taking" position of the lens. To retract the lens for transportation or to put it away, turn it counterclockwise, press it back into the body, and put the lens cap on so you don't damage the optics. The lens on the Leica 1 isn't interchangeable due to a pin at the 11:00 position on the camera body, which prevents the lens from being unscrewed from the camera body. The pin also limits the lens's ability to focus only from the minimum focus distance of 1.5 feet to infinity. Unscrewing the pin will remove the lens from the body for servicing or cleaning if needed.

Also on top of the camera is the shutter speed dial with speeds of 1/500, 1/200, 1/100, 1/60, 1/40, 1/30, 1/20, and "Z" for timed exposures. You must lift and turn the dial to change the shutter speed. Still, it's always recommended to do so after you cock the shutter, which is done by winding the film advance lever until it stops. The shutter release is next to the film advance lever and just behind the switch for film advance, which is in the "A" position, flipping it to "R" for film rewind.

Loading the film on a Leica is different than what people are now used to when they load a 35mm camera. The back on early Leica's and rangefinder cameras do not swing open. You must remove the base plate by turning a switch on the bottom to the "open" position, then pull the baseplate off the camera. You can take out the film's take-up spool, which you can grab and pull out. The easiest way to load the camera is to put the film leader into the take-up spool, then pull a bit of the film leader out so you can slide the film cassette and take-up spool into the camera body at once. Push the cassette and take the spool into position, ensuring the film is behind the shutter. Put back on the baseplate and turn the switch to "locked." 

Before I wind to the first frame, I always take up the slack by turning the rewind knob a bit, so when I do wind to the first frame, I watch the rewind knob turn so I know the film is transporting across the shutter. Set the frame counter to 1, which is around the film advance knob and can be moved by two pegs on either side of the knob. Double-check to ensure the film advance switch is in the "A" position and wind to your first frame.

 Now that I have the camera loaded with film, I'm going to take a stroll through the neighborhood and see how it performs.

My Results.

After attaching the rangefinder to the camera, I wanted to get the whole experience of what it was like to photograph with the Leica I, as people did almost 100 years ago. I also have my trusty Sekonic L-308X-U around my neck for accurate metering; I went walking through the neighborhood, focusing on the subject, then transferring from what the rangefinder said the focus. Using the meter to get proper meter readings and setting both the shutter and aperture to the meter settings. I really took my time taking photos with this camera.

 Here are a few of the different images I took with the early Leica I camera.

Conclusion:

I can see why people would have liked and wanted to use this camera almost 100 years ago. It's small, compact, and lightweight. The process of taking photos was slower. Still, it was fun compared to what they needed to do 100 years ago. As a photographer, taking your time, metering your subject, focusing on your subject, and composing the photo was fun. It's much different than what we have now with autofocus, automatic metering, and film advance.

I made a short video on the Leica 1 Camera, which shows the controls and loading the camera with film.

 I want to start using the Leica I regularly. It's quiet to shoot with, the lens is sharp, and it's small and compact. Overall, it's a great and fun camera.

 Thank you for taking a few minutes from your day to read about this old gem of a camera.

  I'll be taking next week off, as I'll be helping at a photo conference all week. I'll see you in a couple of weeks. Until then, please be safe.

Merten Merit Box Camera

My Merten Merit Box camera.

We're three weeks into February, which I've deemed Box Camera Month for my blog posts. I purchased this camera about five years ago at a camera show I attended in Kent, WA, a suburb of Seattle. This show, which is a gathering of camera enthusiasts and collectors, is coming up again in early April. It's a great opportunity to see a wide variety of vintage cameras and photography equipment. If you're in the Seattle or Portland area, please stop in. I plan on having another few tables to sell off some of my collection.

 Getting back to the camera of the week, I had previously owned the Merten Merit Box camera many years ago. Still, it wasn't nearly as good of condition as this one. It was missing one of the outer viewfinders, and there were many chips in the Bakelite, so I was pleased to see this example at the Kent camera show, and it was at a very reasonable price. One of the things that initially drew me to the camera was the color of the camera. It has a dark brown color with a smooth texture throughout the camera, with the exception of the faceplate, which has a pebble finish to the Bakelite.

 The other nice thing about this camera is that Merten made two different models. The one I had previously was a 6x4.5cm format camera on 127 film. This camera is a rare version as it takes 120 films and produces a 6x9cm format image, so the negative is larger, and the film type is a lot easier to purchase. The other nice thing about this camera was the handle was intact. Due to how the camera is built, I have seen many examples where the strap is broken or missing. This camera has very few chips in the Bakelite, and the strap is intact and in overall great condition. The shutter also works.

 Since all the stars are aligned with a 6x9cm format camera and a working shutter, the camera takes 120 film. I figured it was time for me to take the camera off the shelf, load film into the camera, dust off and clean the lens, and take a walk around the neighborhood to take photos with this wonderful photo-making machine.

The Company:

French ad for Merit Box

In 1906, the Merten brothers Ernst, August, and Emil founded the Gebrüder Merten Gummersbach (GMG) company in Windhagen-Gummersbach, Germany. They started manufacturing electronic installation components. In 1926, they focused their attention on manufacturing plugs and sockets, which is where their business grew.

 In the early 1930s, Mertens used their Bakelite presses for various purposes, such as producing equipment for laboratories and, yes, in 1933, even producing a series of cameras for the rapidly growing photographic market. These were the only cameras produced by Mertens, and they turned their focus back to the electronic field.

 By 1985, Mertens had grown to the point where they were producing electronic accessories items for the commercial trade, and by the year 2000, intelligent devices were added to their portfolio of electronic products. Merten's products for smart buildings are available in more than 130 countries, where they produce electronic products for residential buildings, offices, public buildings, hotels, schools, hospitals, and businesses. 100 years after they started their business, Schneider Electronics purchased Mertens in 2006.

My Camera:

My Merten Merit Box Camera is 4.5" tall, including the leather strap, 3.5" wide with the winding knob 5.5" deep from the front of the lens to the back of the camera. The camera weighs 1 lb, 1.6 oz without film loaded into the camera. The camera is a typical box camera with two different viewfinders, one for vertical images on top of the camera and one for horizontal images on the right side. 

The Merit Box camera has a Rodenstock lens, around 80mm, and the aperture is F11. There are two positions for the shutter, which is set by a toggle arm below the lens, either a line for instant photos or a round circle setting for timed exposures. There is an option to screw in either a self-timer or cable release just above the shutter release button, which is located just to the right of the lens as you're preparing to take a photo. There is also a sliding bar on top of the camera, which allows for three different aperture settings. When the sliding bar is in the lowest position, the aperture is F11. Then, slide the bar up to the following setting, F16, and all the way to the top would be F22.

On the back of the camera is the name of the camera embossed into the Bakelite, the red window to tell the photographer which frame they are on, Germany, Film B-2, which is an Agfa reference to 120-size film, and finally, the film format 6:9.

 One of the very unique features of the camera other than the beautiful dark brown color is the interwoven strap on top of the camera. The strap or top handle doesn't come off. Instead, it has two interlooped sections that allow the strap to lengthen as you take the front off the back of the camera to load film. This makes it more difficult to load the film as you need to deal with both the front of the camera and the rear when you load film into it. It's not difficult to deal with, but at the same time, it's more than most people are used to when loading a simple box camera, mainly used for the less professional photographer.

There are two locking mechanisms on each side of the camera to load the camera. Rotate the knobs counterclockwise to unlock the back from the front. Then, you'll need to slide the strap apart to allow the camera's front and back to be removed from each other. On my camera, the strap holds the two pieces together as the strap is somewhat tight and stiff. Once you slide the two strap pieces apart, the front and rear of the camera open easily; from there, you can load the film into the camera.

 Once I put a roll of film into the camera, I attached the front to the back of the camera. I turned the locking knobs clockwise to lock the two together and slid the strap back to the shorter position so it would hold the front and the back together a bit better. It could quickly be done if I needed to make the handle a bit longer to hold the strap as I used the camera.

The one thing I noticed when I went to load the film into the camera was the winding mechanism didn't engage with the film spool very well. I needed to press the winding knob, and I was turning the knob to advance the film. The flat end of the winding mechanism that fits into the spool didn't seem long or thick enough to fit tightly into the film spool. The whole winding mechanism seemed very wobbly. I did try t tighten the screw, but that didn't help. The camera is almost 100 years old (92 years), and I'm guessing that it's just worn a bit, but I doubt it's been used very much because the strap is in great condition and still intact.

 

My Results:

Now that I had wrestled with the strap and held both the front and rear of the camera in my lap to load the camera with a roll of 120 films, it was time to take a walk through the neighborhood to see the results from this beautiful brown bakelite camera from the early 1930s. Here are some of the results from my walk.

Conclusion:

The one thing that I struggle with when using these simple box cameras is the close distance required to get a somewhat sharp image. Since it was somewhat sunny outside, I figured that using the sunny 16 rule would be my rule of thumb for exposures. 

 For those unfamiliar with the Sunny 16 rule, you use the shutter speed closest to the ASA, or as it's known now, ISO in your camera. (Yes, I'm old school.) If it's sunny outside, you use f16. I had ASA 125 film in the camera and figured the shutter speed was close to that, so I put the aperture setting in the middle setting for my exposures outside.

 I photographed my daughter and her dog, Bean, initially about 4 to 5 feet away. Then I took a step back, and the photo still was out of focus, as were many of the images I took between 4-6 feet from the subject. The one image that is nice and sharp is the more scenic photo of one of the neighbors' houses, which turned out very well. My guess is the best minimum distance is 8-10 feet away, looking at some of the results I achieved.

 Thank you for taking a few minutes from your day to look over this unique and simple camera from about a century ago. It was fun to take it off the shelf and use it as it was intended. The results are the best, and my guess is that due to several different reasons, the Merten Merit Box camera wasn't a huge seller during its time.

 Until next week, please be safe.

Gomag Holly Camera

My Gomag Holly Camera

As I declared February as 'Box Camera' month, I found myself gazing at the camera collection on the shelf above my desk. Tucked away in the back corner was a hidden gem, the Gomag Holly camera, a treasure I had forgotten about until I reached my hand back there. The joy of rediscovering this unique piece of history was overwhelming, and it brought back a flood of memories.

 Looking back at my records, I purchased this camera in late 2010 or early 2011 from an online auction with a few other box-style cameras. What intrigued me about this camera was its unique design, with two viewfinders built into one camera, and its ability to set both shutter speeds and aperture, which was unusual for a simple box-style camera. The rarity of the Gomag Holly camera added to its allure, making it a prized possession in my collection. 

 Another thing I liked about the Gomag Holly camera was the rounded corners, which gave it a less industrial look and a more refined appearance—something you'll want to pick up and use. When I picked up the camera to start writing about it, I heard something rattling around in it. My initial thought was that the camera wouldn't be usable. Still, I opened the camera and found one of the film transport rollers lying in the back of the camera.

 When I initially purchased the camera, I can't remember if I noticed that three of the sockets that hold the two rollers on the back of the camera, which prevent the film from scraping across the film plane, were missing. If I remember correctly, I didn't think much of it then because I thought, "I'd never really put the camera to use," as it was mainly for the show in my collection. That was until recently when I viewed the camera and wanted to write about it for my weekly blog post.

The Company:

I've done exhausting searches on the web. I cannot find anything about this camera or its manufacturer. I did come across an article from the Photographic History Society of Canada named The Holly and the Ivy that did a very short article about this camera, and in the article, they state the camera was made by Allgäuer Kamerwerkstatte Gomag, which roughly translates to (Allgäuer) a region in southern Germany, (Kamerwerkstatte) Camera Workshop, (Gomag), which is my guess of the company that produced the camera. They were located in Pfonten, Germany.

Holly camera logo

The only other information I can find about this camera comes from McKeown's Camera Guide from 2005-2006 on Pg. 361, which states there were actually two versions of the camera. The first version was from Gomag and had "HOLLY" embossed above the lens in 1950. Then, the company was purchased by Dr. Riemerschmid & Co., and the later version without the embossed name and with different lenses and shutters was shown at Photokina the same year but was not released until 1952. According to the McKeowns' Guide, the earlier Gomag version has Emylar or Gomar lenses, and the later Riemerschmid has the Rictar lens. They also state that the last version has "Riemerschmid & Co. Munchen" around the shutter face. Still, my camera doesn't have that, so there must be different versions, or I didn't bother with this camera.

 I've looked at several websites about camera manufacturers but cannot find any information about them. If you're reading this and do have information, please write to me and let me know. I'd love to add that information as an update when I have it.

 The one thing that I enjoyed reading the article on the camera was that the camera they were writing about was red. Now, that excited me, as I'd love to have a red version of the camera. The thought of owning a rare and unique red Gomag Holly camera keeps me hunting for the odd and unusual cameras. There may be a red version somewhere that they won't appreciate and will let me purchase for a reasonable price. My fingers are crossed.

My Camera:

My Gomag Holly camera is a bakelite camera that measures 4.25" tall, including the viewfinder in the collapsed position, by 3.5" wide, including the winding knob, by 4" deep, and it weighs 11.3 oz. The Gomag Holly camera has an 80mm f3.5 Rictar lens; mine has serial number 1886T. The camera has three different shutter speeds: 1/200, 1/50, 1/25, and "B" for timed exposures. The shutter speeds are set by sliding a ring around until you get the black pointer pointing to the desired speed. There is a small knob on the shutter speed ring that makes moving the shutter speed dial easier. You'll need to cock the shutter t, which is above the shutter speed setting ring and is pulled in the counterclockwise motion to cock the shutter. The shutter release is in the upper right-hand corner as you hold the camera to fire. There is a flash PC outlet on the other side of the shutter release, which I find somewhat odd, especially for a box-style camera.

 When  I first picked up the camera for this blog post and started to fire the shutter, I noticed that the shutter was lagging. It would fire, but the speeds seemed very slow. One thing I learned early on was to "exercise" shutters, so I spent the next ten minutes cocking and firing the shutter, which seemed to work well. After just a few minutes, the 1/200 was working as it should, and all the shutter speeds seemed to spring back to life and were firing at what sounded like the correct speed.

 The aperture setting ranges from F3.5 to F16. It is set under the lens, indicated by a silver pointer indicating which aperture is being set. The focus on the lens ranges from 1 meter to Infinity. It is stated on the top of the camera by a black triangle, along with the depth of field scale on either side of the focus mark.

A dial on the side of the camera is turned counterclockwise to open the back to open the camera. A small red dot on the dial points forward when the camera is locked and to the rear of the camera when it is unlocked, and the camera body can pull away from the lens to load the film.

Since my camera was missing the two rollers that the film rolls across during transport, I didn't want the roll of film to drag across the shutter, causing scuffs and possible static on the film during transport from frame to frame. I wanted to add felt to the sides of the film opening to decrease the possibility of scratches. I didn't have felt in my bag of tools, etc., but I did have some very old and expired rolls of 35mm film, which I use as test rolls. I thought these canisters were made of felt material, so I took the canisters apart and peeled the felt from them. Unfortunately, the felt on the 35mm canisters is too short, so I needed a couple to cobble together.

Once I took the back off the camera and pulled the felt off the 35mm canisters, I did have some excellent double-sided tape, which I cut into strips and placed on the top and side of the film opening. After that, I cut the felt from the film canisters into lengths that would fit onto the back of the film area, and since I needed two to cover the area, I staggered them on different sides of the film chamber. I probably didn't need to stagger them, but in my mind, it was the right thing to do.

 Once the film was in place, I let them adhere for a few minutes. I took an Exakto knife and trimmed any excess from the film area so I didn't have straggler hairs from the felt hanging over the film chamber. I wanted a clean edge between frames. Once I had that done, I loaded the camera with a roll of 100 ISO/ASA film into the camera. I proceeded to advance the film until I saw the "start" on the film backing. I put the film back onto the camera body and locked the back in place, then proceeded to wind to my first frame, looking through the closable window on the back of the camera.

On top of the camera are the viewfinders. There are actually two on this camera. In the back of the collapsed viewfinder is a small ridge. You pull back, and the "sport" finder pops up. You can pull up a smaller glass finder within the more extensive sports finder. A round glass lens is on the bottom of the rear portion of the sports finder. When the glass finder is pulled up, you can view your subject through the rear glass lens, which looks clever for a simple box-style camera and does a fantastic job when viewing through. To collapse the glass finder, push it down, and a clip will hold it into place. Then, you can close the "sport" finder's back portion and the larger front folds to keep them in place. It is a straightforward but valuable addition to the camera.

My Results:

Now that I have the camera loaded with film, it's time to walk through the neighborhood and see what results I can get from it. Since the camera has a "B" setting, I wanted to see how it would do on some longer exposures, especially since, living in the Northwest, we don't get much sun between November and March.

 Here are some of the results I achieved with the Gomag Holly Camera.

Conclusion:

The camera did an outstanding job. The images were sharp, well-exposed, and very good for a relatively simple box-style camera. The camera was very fun to use, and I had a fun time getting the camera in the proper shooting condition. The felt on the back of the film chamber worked well, especially since the two film rollers were missing. I'll need to get a small swatch of felt to keep in my bag of tricks in case I need to do the same to another camera I come across. If I go to sell the camera, I can always take the tape off along with the felt and have the camera back in the condition in which I purchased it.

 Thank you for taking a few minutes from your busy schedule to read about a very unknown but fantastic camera.

 Until next week, please be safe.

 

Kodak Retina Model 117

My Kodak Retina 117 camera

I purchased this original Kodak Retina 117 with a group of various Kodak and other branded cameras from the daughter of a Kodak engineer several years ago. She mentioned that the Retina was in his office in Rochester and was one of his favorite cameras, and she could remember him using it to take family photos. She didn't know what this model was other than it was the camera that Dad used to take family photos with.

 These stories bring a human element to purchasing items from family members. The cameras are not just mechanical items, which I happen to enjoy, but they are objects that evoke memories of dad, mom, aunt, or uncle holding the camera and taking photos at family Bar-B-Ques, birthday parties, Christmas morning, and so many other memories families have together.

Kodak Retina 117 Front View

 When the group of cameras arrived, I knew there was an early Retina in the group. Still, I didn't realize that it was the first Retinas model to be made. During the unwrapping of the camera, I first noticed how worn the camera's leatherette was. The was smooth in many locations, which gave the first indication that the camera was well used and most likely loved by the person using it. The front door was a bit sticky to open, but that's not unusual for a camera made 90 years ago. I'm sure the spring has lost some of its pulling power with age. Once opened, I wanted first to check the shutter. That seemed in great shape; even the 1 second seemed accurate to the ear. The transport was working, and I didn't see any real issues with the camera. I put it on my shelf with many of the other cameras I have.

 This week, while thinking about what camera to write about, I started to look over one of the shelves with cameras, and the Retina popped out to me. I know it was in good working condition, at least when I put it on my shelf a year or so ago. Opening the camera was as good as the day I put it on the shelf, so I decided to put a roll of film into the camera and see what a 90-year-old, German-made 35mm camera could offer. 

Retina History

The Kodak Retina series is a fantastic camera design, blending American ingenuity with German precision. Introduced by Kodak in 1934, the Retina cameras were manufactured in Stuttgart, Germany, by Kodak AG, formerly known as Nagel Kamerawerk, which Kodak had acquired in 1931. The Retina line is celebrated for its compact design, quality construction, and innovations in photography, becoming a favorite among amateurs and professionals. The Retina series began with the Kodak Retina I (Type 117), a 35mm folding camera. The Retina was one of the first cameras to use Kodak's new 135 film cartridge, which would become the industry standard. The Retina I was compact, featuring a collapsible lens and a rugged design. The model underwent several iterations, improving lens quality, shutter speeds, and build but always retaining the folding design that defined the early Retinas.

Spanish ad for Kodak Retina 117 camera

 In 1936, Kodak introduced the Retina II (Type 122), which added a coupled rangefinder, making focusing more precise. This feature positioned the Retina as a premium camera for enthusiasts. By the mid-1950s, the Retina line had evolved into non-folding models with the introduction of the Retina Reflex series. These single-lens reflex (SLR) cameras incorporated interchangeable lenses, advanced metering, and a sharp Schneider-Kreuznach or Rodenstock lens, which appealed to serious photographers.

 The post-war years saw significant advancements. The Retina IIc and IIIc, introduced in the 1950s, became icons of the series. They featured interchangeable front lens elements, making the cameras versatile while maintaining their compact, folding design. These models also integrated advancements like exposure meters and faster shutters, ensuring the Retina line kept pace with competitors.

The Retina Reflex series launched in 1957, showcasing Kodak's foray into the SLR market. While innovative, these cameras faced stiff competition from Japanese manufacturers like Nikon and Canon. Despite this, they remain a testament to Kodak's ability to innovate during an era of rapid technological change.

 By the 1960s, the Retina line gradually faded due to the rise of inexpensive, high-quality Japanese cameras. The last Retina camera, the Retina S2, was produced in 1969. Despite their discontinuation, Kodak Retina cameras remain highly collectible, admired for their craftsmanship and role in popularizing 35mm photography. Their legacy remains a reminder of Kodak's golden era in the photography industry.

My Camera:

My Kodak Retina 117 camera is a wonderfully small and compact camera that you can put into your pocket and travel with very easily. One thing I enjoy about the look of the camera is all the knobs on the outside of the camera are nickel as opposed to the shinier chrome, which can give reflections when using the camera.

 The camera is 5" wide, just under 3" tall, and 1.5" deep with the lens closed and 3.5" deep with the front door opened and the lens out, ready to take a photo, and weighs just under a pound at 15.7 oz. My camera has a Schneider-Kreuznach Xenar 5cm f3.5 lens in a Compur-Rapid shutter. The shutter has speeds from 1/500 of a second to 1 second, along with "B" and "T" settings for timed exposures. The aperture of the lens has a range of f3.5 to f16.

 To open the lens on the camera, you press a small button on the bottom of the camera. Once depressed, the front door should usually spring open, and the lens, which is on a very short bellows system, should come out into the erect position. As previously mentioned, my front door doesn't spring open, so I needed to give it a little bit of help and pull it open.

Once opened, the camera is relatively straightforward in the settings. The shutter speeds are set by turning a dial on the top of the camera if you have it in the vertical position. Like many Kodak cameras from this era, or for many folding styles of cameras, the front door has the ability to set the camera upright just by pulling out the "Kodak" logo on the front door, which will make for a leg for the camera to rest on if you want to set it down for display or to take a photo. I always do that when in a store or seeing a folding camera on display. I'll flip down the camera's leg, allowing the camera to stand upright instead of on the platform the lens pulls out onto.

Select shutter speed by turning wheel. The top lever cocks the shutter and the one on the left side trips the shutter.

A small slider sets the aperture on top of the shutter as you hold the camera horizontally. The focus on the camera is by guess only as this camera doesn't incorporate a rangefinder. This function will come in later models. There are two different sets of focus distance numbers, both on the top of the shutter, but it depends on if you have the camera either vertically, in which the numbers are black, or if you're holding the camera horizontally, then the numbers are red. To focus the lens, there is a small knob on the bottom of the lens as you hold the camera horizontally that rotates the focus collar.

To take a photo, you'll need to cock the shutter with the lever on the top of the shutter while holding the camera vertically. Once the shutter is cocked, the other lever releases the shutter making the exposure. I've seen a very small shutter release button that fits into the cable release socket on the Retina camera. Unfortunately, my camera is missing this. I wish it did have it because when I was taking photos with the camera and looking through the viewfinder on top of the camera, my finger would cover some of the viewfinder, obstructing the subject when releasing the shutter. It wasn't too bad, but the small release would have made the experience a bit better. Now, I'm hunting for a small release to put onto the camera for future use.

 To close the front door, the lens must be focused to infinity so it is in the retracted position on the camera. You'll need to depress two small buttons on the lens strut, one on top and one on the bottom, to retract the lens back into the camera body. Once this is done, the front door will click closed.

Loading the camera with film is pretty straightforward. On the side of the camera is a lever you pull down, and the back door unlocks so it can be opened. Loading the film is just like any other 35mm camera. I needed to do a couple of operational things to advance the film to the next frame. Looking on top of the camera going from left to right is the rewind wheel, the frame counter, the viewfinder, a round knurled wheel with an arrow pointing counterclockwise, and the film advance wheel. Inside the advance wheel is a second rotating wheel with a small cutout and arrows pointing in clockwise and counterclockwise directions. This inner wheel can rotate to have either an "A" showing for advancing the film forward or an "R" for rewinding the film into the film canister when all the photos have been taken. 

After making an exposure, keep the inner wheel to "A." To wind to the next frame, the knurled wheel just to the left of the advance wheel needs to be turned slightly until you feel a slight release, then you can use the larger wheel to advance to the next frame. If you don't move the knurled ring slightly, the film won't advance. This wheel is the unlocking lever that allows the camera to advance to the next frame. Also, once you load the film, be sure to set the frame counter to the number 1 to keep track of how many exposures you've taken. Once you've taken the entire roll of photos, turn the inner wheel on the advance wheel to the "R" position to rewind the film back into the film cassette. Open the back of the camera and process your film.

 

My Results:

I loaded the camera with a roll of T-Max 125 film, and while taking our dog, Ernie, a 15-year-old Pug, through the neighborhood, I took photos of things that caught my eye. Here are some of the results of our walk.

Conclusion:

I must be getting better at guessing distance, which has always been a problem (one of many) of mine. I also understand that the sunny day and smaller aperture helped with some of the focusing distances I would generally have with "guesstimate" focusing. Nonetheless, the camera was small, compact, accurate in the exposures, and fun to shoot.

 As I previously mentioned, if I could find one of the small shutter release items to add to the cable release socket, this would have helped and made the camera easier to use. Besides that small item, I can see why the previous owner enjoyed shooting with this camera.

 While I enjoyed this camera, I have it for sale on my eBay store. If you're interested in this or any other items in my eBay store, please email me to work out a deal.

 Thank you for taking a few minutes from your day to read about this fun and historic Eastman Kodak camera. The Retina line of cameras is often overlooked but highly collectible and usable.

 Until next week, please be safe.

 

Finetta 88 Camera

My Finetta 88 camera

The Finetta 88 camera caught my eye on a visit to London a year or so ago when I had about an hour during a walk down Portabello Road. I met with Juliano, the owner of Cameras London, who was still in the process of setting up. As I was looking over his extensive items on the multiple tables he has, I saw the grey body of the Finetta 88 camera. 

 If you are a camera enthusiast and can go to Portabello Road during the weekends, I highly recommend seeing Juliano. He has an incredible selection of older wood cameras with brass lenses and many of the more common 35mm point-and-shoot cameras that seem to be all the rage now.

 As I've mentioned a few times, I'm always drawn to the camera with either a different color or if there is something odd or unusual about the item. Not only is the Finetta that I saw covered in a gray covering on the camera, but the lens is somewhat off-center, giving the camera an "out of the ordinary" look. I put the Finetta 88 camera aside and looked over many other cameras I wanted to purchase. As we discussed the price, I picked up the Finetta again and added it to the few items I purchased that day, and I'm glad I did.

The Company

Finetta-Werk was a German camera manufacturer with roots tracing back to Kamerawerk Peter Saraber, a company founded by Peter Saraber in 1945 in Goslar, Germany. Saraber, a Dutch engineer, initially focused on producing precision optical equipment in the post-war era during heightened demand for affordable and efficient photographic devices. Saraber teamed up with a Voigtlander engineer, Helmet Finke, around 1947 to design and develop a new camera.

 "Finetta" was introduced in the late 1940s, marking the company's transition toward a more consumer-friendly image. The Finetta cameras, characterized by their simplicity, durability, and relatively low cost, appealed to post-war Europe's growing middle class. Early models, such as the Finetta 88, showcased Saraber's dedication to compactness and practicality, featuring a straightforward mechanism for capturing 35mm images, including a new two-leaf shutter system, which they applied for a patent. They also invented a new film advance system with double exposure prevention.

Ad for Finetta 88 camera taken from Mike Eckman website.

 By the 1950s, the company rebranded as Finetta-Werk and expanded its product lineup. The Finetta 99 was notable for its interchangeable lenses, which had a new three-prong lens mount and included a series of four different lenses. The lenses included a Colorfinar 70mm f/5.3, a Telec 90mm f/4.5, a wide-angle 35mm Berthiot lens, and the normal Finetar 45mm f2.8 lens. Along with the lenses, Finetta improved design quality, reflecting a shift toward competing with established brands like Kodak and Agfa. 

 Another interesting fact is that in 1954, Finetta started working with Jacques Bolesy of the Bolsey camera company to help with the design and production of their small, compact Bolsey 8 subminiature still and movie camera. Unfortunately, Finetta went out of business soon after and closed their factory in 1957.

 Finetta cameras were often praised for their ergonomic designs and mechanical reliability, offering a stepping stone for amateur photographers transitioning into more serious photographic endeavors.

My Camera:

My Finetta 88 camera is covered in an odd fabric. It has a herringbone-style pattern and is not the normal leather or leatherette covered in most cameras. It is more of a fabric material, but it does have a great feel to it, and I like the greyish color, which gives the camera an elegant appearance. 

 

The Finetta is 3" tall by 5 1/8" wide by 2.5" deep from the front of the lens to the back of the camera, and weighs 1lb, and .7 ozs, and comes with a Finetar 45mm f2.8 lens which has a three-prong bayonet. There is no locking mechanism on the lens mount, so you must be careful when focusing on the camera. If you turn the lens too far, the mount will start to move, and the lens will pop off, which is pretty small. The lens does "click" into place, but it can somewhat easily come off without the locking pin.

My lens focuses from 2.8 feet to infinity. It may focus closer as the lens rotates past the 2.8-foot mark on the lens. The aperture settings are on the inside of the focus ring. The camera doesn't have an internal focus system, so all the focus is guesswork, judging the distance, and setting focus. The aperture range is from f2.8 to f16 and is indicated by a small notch on the setting ring.

 With the lens removed, you can easily see the two-leaf shutter system. The camera only has a few different shutter speeds, ranging from 1/250, 1/100, 1/50, 1/25, and "B" for timed exposures. The shutter speeds are set on a very small and challenging knob next to the lens. 

One thing I noticed about the camera when I first picked it up and started to play with it was that things seemed backward from what I am used to. I'm used to filming advanced turning in a clockwise movement, but this camera goes counterclockwise. It's the same as taking the back off the camera to load the film. To open the back, you turn the knob on the bottom in a clockwise motion. The back is held onto the camera with none other than a bolt-style fastener which is held onto the camera with a larger circular nut that screws on to keep the back onto the camera body. To me, that is the motion to tighten, but on this camera, it's the motion to untighten and remove the back to load the film.

 When I removed the back from the camera, I noticed a couple of things right away. My Finetta 88 had a film cassette in the camera. I'm not 100% sure who makes this cassette. Still, it's very similar to the Leica cassettes in design, with two outer compartments and an inner spool. The cassette is also held into the camera with a locking lever that slides over the end of the cassette to keep it in place. The second item I noticed was a bright and shiny pressure plate over the shutter area to keep the film flat as it's transported across the chamber. The pressure plate needs to be lifted when loading the 35mm film. The third item noticed was a larger, thicker take-up spool on the camera's right side. This one is similar to what I wrote about with the Corfield Periflex camera. There is a slot to put the 35mm leader into, which is needed to load the camera.

A built-in, double exposure prevention system is within the camera's transport. Once you trip the shutter, under the take-up spool is a small piece of metal that pushes out and stays out until you wind the camera, which cocks the shutter and flattens that piece of metal, allowing you to take the next photo. I guess there's a pin that pushes out the metal piece, and when the film is advanced, it will enable the pin to fall back into place for the next photo.

On top of the camera is nothing more than the film advance knob on the right side, which turns counterclockwise to advance to the next frame. The frame counter, accessory/flash shoe, and rewind knob are on the far left.

 

My Results:

The camera is very straightforward and somewhat basic in its operations. I didn't use the 35mm cassette that came with the camera; I just used a regular 35mm roll of film. I put in a roll of T-Max 125 film and walked through the neighborhood to see what kind of results the camera could produce. After I got back from my walk through the neighborhood, I processed the film, and here are a few of the shots I took.

My Conclusion:

The Finetta 88 camera took a bit to get used to. I kept on trying to turn the advance knob in the wrong direction; the shutter speed dial was small and difficult to turn. That may be more of a camera cleaning issue, but I changed to other speeds. The lens did start to unmount a couple of times, but nothing disastrous to the point where the lens fell off the camera. The focus is smooth on my camera; it was more operator malfunction than anything, but overall, the camera was enjoyable to shoot with, and I think the lens I have on this camera is sharp.

 I'll definitely want to shoot with this camera in the future. It was fun and a pleasant experience overall.

 Thank you for taking a few minutes from your day to learn about this interesting mid-century camera I have in my collection.

 Until next week, please be safe.

Art Deco Rolleicord 1

My Rolleicord 1

Some cameras look so amazing that you consider them more of a work of art than a mechanical piece of metal and glass that takes photos. That was my thought the first time I saw the Rolleicord 1. While the Rolleicord 1 is a fairly plain camera, it's the "skin" that gives it a "wow" factor.

 It's the same feeling I had when I saw cameras like the cameras designed by Walter Teague, like the Kodak Beau Brownies, The Petite Coquette, and the Gift Kodak. They are more of something you'd see in a museum rather than take out and take photos with.

 It has more to do with the Art Deco era; these items were manufactured in, and along with the pride in artistry, the companies had to present something to their audience than we currently have. The fact that a camera company in the 1930s would introduce a new line of cameras with such a striking appearance is a bold statement and a testament to the Rollei name.

The History:

Rollei holds a significant place in photographic history. Founded in 1920 in Braunschweig, Germany, by Paul Franke and Reinhold Heidecke, the company originally bore the name "Franke & Heidecke." Initially, it focused on precision mechanical devices, but by the mid-1920s, Rollei began producing cameras that would revolutionize photography.

 Rollei gained international recognition in 1929 with the launch of the Rolleiflex, the first twin-lens reflex (TLR) camera. The Rolleiflex was compact, robust, and designed for medium-format photography. Its unique twin-lens system featured one lens for viewing and focusing and another for capturing the image on film. This innovative design allowed photographers to frame shots at waist level, making candid photography more discreet and practical. The Rolleiflex quickly became a favorite among professionals and enthusiasts, particularly for portrait and documentary work.

The success of the Rolleiflex led to the introduction of the Rolleicord, a more affordable version aimed at amateur photographers. Both models showcased Rollei's commitment to precision engineering and optical excellence, which became hallmarks of the brand.

 During the 1930s and 1940s, Rollei continued to innovate, refining the Rolleiflex and Rolleicord lines with features such as automatic film winding and improved optics. Despite the challenges of World War II, the company maintained its reputation for high-quality cameras. In the post-war era, Rollei played a significant role in the resurgence of the German camera industry.

French ad for Rolleicord 1

The 1950s and 1960s marked a golden age for Rollei. The Rolleiflex TLR became synonymous with professional photography and was used by renowned photographers such as Richard Avedon, Diane Arbus, and Vivian Maier. Rollei also ventured into other formats and technologies. The Rolleiflex 35mm SLR, introduced in the late 1950s, showcased the company's adaptability to the changing market demands.

By the 1970s, the rise of Japanese camera manufacturers like Nikon, Canon, and Minolta introduced intense competition. These companies offered high-quality single-lens reflex (SLR) cameras at more affordable prices, challenging Rollei's dominance in medium-format and professional photography.

In response, Rollei diversified its product line, introducing the Rolleiflex SL66, a medium-format SLR, and the compact Rollei 35, which became one of its most miniature 35mm cameras. Despite these innovations, Rollei struggled to maintain its market share due to its higher production costs and its competitors' rapidly advancing technology.

 In the 1980s and 1990s, Rollei faced financial difficulties, leading to changes in ownership and restructuring. The company shifted focus to digital imaging and niche markets, including high-end studio cameras and digital backs for medium-format systems.

The Rollei legacy endures as a symbol of German engineering and innovation, reflecting a century of dedication to the art and science of photography.

My Camera:

The Rolleicord 1 was made between 1933 and early 1936, with 32,508 units sold. The camera is nickel-plated and decorated with a trompe-l'oeil grid on all sides except the bottom, giving it its unique look. In 1934, Franke & Heideke produced a version of the camera without the beautiful pattern finish and covered the body in drab black leather, which was the Rolleicord 1, model 2.

 My Rolleicord 1 is 5.25" tall with the chimney closed and 8" tall with the chimney up, by 4" deep, by 3.5" wide, including the focus knob. It weighs 1 lb, 15.4 oz, so just under 2 lbs. The serial number on the camera is 029789, which is stamped into the body with the back door opened. The camera has a Carl Zeiss Jena Triotar 7.5cm f4.5 lens in a Compur shutter. 

The shutter speeds range from 1/300 to 1 sec., along with "B" and "T" settings. For transparency purposes, my shutter isn't in the best condition and only works on the top three speeds (1/300, 1/100, 1/50 sec.). It doesn't close if I use any of the slower speeds. The shutter speeds are set by turning the collar around the lens to the desired shutter speed, which is indicated by a triangle. 

 The camera's aperture setting ranges from f4.5 to F32. A pointing triangle and a separate collar on the other side of where you set the shutter speed determine the aperture setting.

 To cock the shutter, you slide the bar under the lens to the right as you're holding the camera to take a photo. With the same lever, you slide the lever to the left to take the photo. There aren't separate levers for cocking the shutter and tripping the shutter. It's all done with the same bar. Me, I like that, so you're not looking to cock the shutter in one area and take the photo in a different area. Very smooth and easy. There is also a socket for a cable release on the bottom of the shutter at approximately the 7 o'clock position.

To load the camera with film, simply pull the back release on the bottom of the camera, and the back will swing open. To take the empty spool of 120 film from the bottom chamber, you'll need to pull out the film knob on the right, which will allow you to take the empty spool out of the camera. 

 Pulling out the winding knob will allow you to put the empty spool in the top portion of the camera to advance the film to the next frame. Press the winding knob to keep the empty film spool in place. Put the new roll of film into the bottom chamber and press back in the film knob to keep the roll in place.

 Once you have the empty spool on the top and the new roll of film on the bottom, remove the tape that keeps the roll closed, pull the leader over the bottom and top roller, and slide the film's end into the take-up spool slot. Wind the film onto the take-up spool with the advance knob until you see an arrow pointing to the ends of the film. At this point, you can close the back door and wind the film to your first frame.

The frame counter on the left side of my camera body isn't working. Luckily, on the bottom of the camera, there is a red window you can use to see when you're in the first frame. Unfortunately, this numbering system on the film rolls is used for 6x9 format, so using this method, I only got eight images on a roll of 120 film instead of the standard twelve for 6x6 format cameras.

 To focus on your subject, pull up the chimney by slightly pulling back the release on the back of the chimney, and pull up, which will expose the large focusing screen. On the right side of the camera is the focusing knob. The focusing distance is from 0.8 meters to infinity. Turn the focusing knob to bring your subject into focus on the screen.

A fine focus magnifier on a spring rests on the back of the chimney. Bring the magnifier around to the top of the viewfinder. Mine stays in place, allowing the photographer to bring their eye closer to the magnifying glass for fine focus. When not using the fine focus magnifier, it can be swung back to the back of the finder so you can see the full image on the focusing screen. You can also slide the front portion of the chimney back and use the chimney as a sport finder if needed.

Exposure index and depth of field scale on back of the Rolleicord 1 camera.

On the back of the camera is an exposure guide and depth of field scale. This scale was produced in German, French, and English for the different markets. My guide on the back is in German. According to the Rolleicord 1 manual, the exposure guide is rated for DIN 26, which would be ASA/ISO 320

 

My Results:

It's in the northwest United States in early January, which means very little sunshine. So I loaded up the camera with some 400 ISO film and walked around the neighborhood to see what I could get from this Rolleicord 1 camera. Knowing I only had the top three speeds to work with, this wasn't too much of an issue as the sun was generally behind clouds most of the day; it wasn't that dark out, and it typically shows between 1/300 and 1/100 shutter speed.

 Here are some of the results from my Rolleicord 1 camera.

Conclusion:

WOW!!! What a fun camera to shoot with. I forget how much I enjoy shooting with a TLR camera. It reminds me of my wedding shooting days many years ago. Looking down at your subjects and seeing such a nice big image brings back many good memories.

Even though the Rolleicord was made for amateur photographers, the lens is fantastic, easy to use, and excellent Rollei camera quality. I only had to keep reminding myself that when you see something going right in the finder, you need to turn left. If something comes into the frame on the right, it is really on the left in real life. I like the ability to keep things square, and while I prefer a panoramic format, having a square image is interesting and gives a new perspective.

 Thank you for taking some time from your day to read about this fantastic camera.

 Until next week, please be safe.

Zeiss Kolibri-The Hummingbird

My Zeiss Kolibri Camera

The Zeiss Kolibri, which means "Hummingbird" in German, has always been a camera I wanted for my collection. I liked it mainly because it's very sleek and petite and resembles a 35mm camera, but its main attraction was its use of a larger 127 film size. The camera was built only for a few years, from 1930 through 1932, but I've seen ads for it through 1935.

 I had the opportunity to purchase one when I visited an antique store while on a trip to Minneapolis a couple of years ago. Still, I didn't pull the trigger to buy it, and ever since that trip, I've regretted it, so when I noticed an online auction for a few of the Zeiss Kolibri cameras come up for auction, I jumped on the opportunity and bid on two. At first, I thought these were different years of production, one being older than the other. One is more worn and used than the other. Both have the "cane," which keeps the camera upright, and both are in working condition.

 I won the cameras in the auction for a fair price, including the auction house commission and shipping fees. When the cameras arrived, I was pleased to see both in good working condition. One of the cameras seemed well used, and the other needed the aperture scale indicator, something I didn't notice when I bid on the items. Still, overall, I was pleased with the purchase and wanted to take one of the cameras out to see how it would perform.

History:

The story of Zeiss cameras is deeply intertwined with the evolution of optical technology and the art of photography. Founded in 1846 by Carl Zeiss in Jena, Germany, the company began as a precision mechanics and optics workshop. While its early focus was microscopes, the company's commitment to innovation soon extended to camera lenses and photographic equipment, establishing Zeiss as a pioneer in the optical and photographic industries.

The two Kolibri cameras purchased

 In the late 19th century, Zeiss gained prominence for its advancements in lens manufacturing. In collaboration with physicist Ernst Abbe, the company introduced revolutionary optical theories that improved lens quality and design. This partnership led to the creation of the Zeiss Anastigmat lens in 1889, which minimized distortions and chromatic aberrations, setting new standards for photographic lenses.

First Zeiss Logo

As photography gained popularity in the early 20th century, Zeiss partnered with other manufacturers to produce complete cameras. In 1926, Zeiss joined forces with several German camera companies to form Zeiss Ikon, consolidating its leadership in the industry. Zeiss Ikon cameras, like the Contessa-Nettel and the Ikonta, became renowned for their precision engineering and exceptional optics.

 One of Zeiss's most iconic contributions to photography was the Contax series, introduced in 1932 to compete with Leica. The Contax cameras were known for their innovative designs, including using a rangefinder system and superior Zeiss lenses like the Sonnar and Biotar. These cameras quickly became favorites among professionals and enthusiasts for their sharpness and reliability.

Ad for Zeiss Kolibri camera

During this period, Zeiss also developed a range of lenses that became benchmarks in the industry. The Tessar lens, introduced in 1902, remains one of the most widely used lens designs in photographic history, praised for its sharpness and compact size.

World War II disrupted Zeiss's operations, splitting the company into East and West divisions. The East German division, headquartered in Jena, retained the Zeiss Ikon name, while the West German division, based in Oberkochen, became Carl Zeiss AG. Despite the division, both branches continued producing high-quality photographic equipment.

In the 1950s, Zeiss partnered with Japanese camera manufacturers, most notably Yashica, to produce the Contax series. This collaboration introduced groundbreaking features like TTL metering, which became an industry standard.

 By the late 20th century, Zeiss shifted its focus from producing cameras to developing advanced lenses for various manufacturers. The company collaborated with brands like Sony, Hasselblad, and Nokia, bringing Zeiss optics to a broader audience. In 1996, the Contax G2, a rangefinder camera with autofocus and electronic control, became a cult favorite, blending modern technology with classic Zeiss craftsmanship.

In the digital era, Zeiss continues to push the boundaries of optical technology. Its lenses are widely used in professional photography, cinematography, and even smartphones. The company's commitment to precision, innovation, and excellence defines its legacy.

 From its beginnings in 19th-century Jena to its status as a global leader in optical technology, Zeiss has profoundly shaped the world of photography. Its cameras and lenses have captured countless iconic moments, leaving an indelible mark on history. Today, Zeiss is synonymous with unparalleled optical quality, a testament to over 175 years of innovation and craftsmanship.

My Camera:

My Kolibri camera is 4.5" tall without the viewfinder erected and 5.5" with it erected, by 3" wide and 2" deep without the lens in the taking position and 2.75" with the lens popped out and in the taking position. My camera weighs just over 1 lbs at 1 lbs .6oz. With the viewfinder down and the lens retracted, it's a very compact and sturdy camera that takes 16, 3x4cm images on 127-size film. The Zeiss Kolibri (523/18) has a couple of different lens and shutter combinations. The one I used to take the photos has a Novar Anastigmat 5cm F4.5 lens in a TELMA shutter. The other camera I received has a Carl Zeiss Jena Tessar 5cm F3.5 lens in a Compur shutter. A third model has a Zeiss Biotar 5cm F2 lens. All of the different lens/shutter combinations are in a chrome polished tube that pulls out to take the photos and to retract, grab the "wings" on either side of the lens, turn the lens slightly counter-clockwise, and press the lens back into the camera body. You also grab the "wings" to pull the lens out to take photos.

The Telma shutter has only three shutter speeds, 1/100, 1/50, and 1/25, along with "B" and "T" for timed exposures. The Compur shutter is more extensive, with shutter speeds starting at 1/300, 1/100, 1/50, etc., to 1 sec along with "B" & "T." The shutter release is on the left-hand side with the Telma shutter, and you do not need to cock the shutter; just press the shutter release and the shutter fires. On the Compur shutter, the cocking mechanism is on top of the shutter, and the shutter release is below, so there is a little difference between the two cameras in the shutter and shutter release function.

Telma shutter

On both cameras, the aperture settings are under the lens with a little slide that points to the aperture setting. Focus on both cameras is done by a slider knob on top of the camera, with the closest focus at 1 meter. On the bottom of the ring that has the "wings" on it is a hole that the "cane" or strut fits into to keep the camera upright, with either the lens out or retracted. Using the "cane" is excellent for timed exposures, connecting a cable release to take a timed exposure. There is a cable release socket on both cameras incorporated into the shutter.

The aperture ring is under the lens. The shutter release is on the left, and the self-timer is on the right with a red dot.

To load the film, you slide the knurled knob on the top of the camera in the direction of the arrow to open the back to load and unload the film. Once you open the back, you take the empty spool and put it on the left end, which has the winding knob, then put the fresh roll of film into the film chamber, pull the leader to the empty spool, put the leader into the slot on the reel and turn the winding knob until you see "start" on the film's paper backing. At this point, close the back of the camera and wind until you see the number 1 in the lower of the two windows. Now that you're ready to take your first photo, lift up the front and rear viewfinders so you can frame the image and take your photo.

 Since the camera has two red windows on the camera's back, the spacing between the top and bottom windows is the same as the negative size. You would take the photo once you wind the film so the number 1 appears on the bottom window. Once the photo is taken, wind until you see the number 1 in the top window, then take the picture. After you take the photo with the number 1 on the top window, roll until you see the number 2 on the bottom window and do this through the number 8.

Here's where I had some issues, and it's something I kept in mind when I was done taking the photos. In my small and simple mind, as I was holding the camera in a vertical position, it was in my mind that the camera would take a vertical photo. Unfortunately, that's not the case. If you're holding the camera in the vertical position, the camera is taking a horizontal image due to the orientation of the frame area in the camera. So, the photos I took that should have been horizontal were taken vertically and vice versa. I felt like an amateur when I finished taking the photos, only to realize I did it wrong.

 The viewfinder is tiny, and since I wear glasses, it's challenging to use. Its size also made it difficult to frame the photo accurately. Toward the end of the roll, I would just point the camera at the subject and "guess" on the framing, which seemed pretty good, with the exception of the vertical/horizontal format mishap.

Small viewfinder and glasses do not mix well.

 Once the photos were taken, I unloaded the film and processed them, and they turned out nicely.

 The serial numbers for my two Kolibri cameras are only 40 pieces off. The more well-used version is S.98995, and the Kolibri with the Compur shutter is S.98955, so they were built relatively close to each other. 

 My initial belief was that the camera with the Telma shutter was an older version. I believed that it was an older model because one camera was more used than the other. Now, I realize that the shutter and lens combination would be for a more or less expensive model that the consumer would purchase. If someone wanted the less expensive Telma shutter with a slower lens or the more expensive faster lens and Compur shutter, that made more sense to me.

My Results:

Here are some of the images taken with my more well-used Kolibri camera. I used it because the other camera didn't have the aperture settings, and I would have had to guess at the aperture. That would have been okay, and I'm a pretty good judge of that, as I could have marked on the camera what I thought the aperture setting should be.

Conclusion:

Except for my confusion about the vertical/horizontal format and the camera orientation, it's a fun camera. It is very well made, the photos are nice and sharp, and the camera fits nicely in my pocket when the lens is retracted and the viewfinder is down. As it is compact and sturdy, I can use it more often.

I look forward to shooting more photos with this in the future, but I must remember that when the camera is vertical, it's taking a horizontal photo.

 Thank you for taking a few minutes from your day to read about this gem of a camera. I hope to see you next week when I review another camera from my collection.

 Until next week, please be safe.