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.

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/

Ilford Advocate Camera

It's been a year since I first laid eyes on the Ilford Advocate camera, and I've been eager to share my experience with it. The journey began in England, where my wife and I stumbled upon a charming camera and photo reseller, Juliano of Cameras London, on Portabello Road. Little did I know that this encounter would lead to the acquisition of a unique piece of photographic history.

My Ilford Advocate camera and case.

 My wife and I went to Portabello Rd in London on Friday to look at the antiques there and for me to look for photo items, which there were few of, but I was told that Juliano would be there the next day and he was the person to see. While there wasn't much time to return the next day, I took the bus early and arrived while Juliano set up. My intention wasn't to purchase an Advocate, but as we talked and I mentioned I had one before, he said he had a couple and was willing to part with one. He didn't have it with him, so we arranged to have it shipped to my home in the US.

When the camera arrived and a couple of other items I was buying from him, it was in excellent working condition. I was delighted, as the camera isn't typical but more of an oddity. While I collect "colored" cameras, the white color of this camera makes it stand out in the crowd of mainly back cameras. I was happy to have the Ilford Advocate back in the collection, in excellent working condition, and the full-fitted leather case, too.

The Company:

Front view of Ilford Advocate camera

Ilford is known less for its cameras than for its film, photo paper, and now inkjet printing paper, at least within the photo community. The company has had a long history with many name changes. Still, it's always been a significant name in the photo industry before companies like Leica, Rollei, or even Kodak.

 The original company name was Britannia Works, which was started by Alfred Harman in 1879 by making Gelatine Dry Plates in his basement on Cranbrook Rd, in Ilford, Essex. Harman initially started printing services in 1863, and in 1878, he patented "producing enlarged photographs with artistic finish." By 1880, Harman moved to Roden St. and started trading as Brittania Works Company. By 1883, the company was expanding with the popularity of photography, and Harman opened a new factory to produce plates.

Ilford Ad from 1890s

By 1890, Harman produced a popular book, "The Manual of Photography," and the book, "The Ilford Manual of Photography," was created under that name until 1958, when it was in its 5th edition. In 1891, Kodak started producing plates in Harlow, Middlesex, as a competitor to Britannia Works. In 1897 and again in 1903, Eastman Kodak attempted to purchase Britannia Works Company, but both times were unsuccessful. In 1898, Alfred Harman retired at age 50 but did consulting work for many years. In 1900, the company changed its name to Ilford, Ltd. The town council was happy and objected, but with persistence, the name was changed.

 In the 1960s, the company was owned by Ciba, and they merged with the French company Lumiere and Swiss company Tellko and became the Ilford Group. In 1989, the Ilford Group was purchased by the US-based International Paper Company, and together, they merged to become Ilford Anitec. From 1990 to now, the company has gone through a few other acquisitions and receiverships, and the current time is when the parent company is Harman Technology. Through it all, they still produce tremendous film, photo paper, film, and paper chemistry.

 To my knowledge, only one camera manufacturer was under the Ilford umbrella in this long-winded explanation of the Ilford company. That is Kennedy Instruments Ltd., which designed and built the Advocate starting in 1947 and updated it in 1952. The rarely-seen Monobar cameras were produced from 1958 to 1967. All the other cameras with the Ilford name were created by companies like Dacora, AGI, or Kershaw-Soho.

My Camera:

The first thing I noticed about the camera, other than the apparent white color, is the weight of the camera. Or the camera's lack of weight as it's a very light camera. The camera is made from a die-cast aluminum body with an enameled white finish. The camera body is smooth to the touch and lacks any leather or leatherette, which is uncommon for cameras. My camera measures 5 3/8" wide by 3" tall by 2.5" deep and weighs 1lb 1.5oz without the fitted leather case.

 The camera is straightforward and doesn't have a lot of extra knobs or buttons to do different things on a camera which is what makes this one so unique. To open the back to load the film, you only need to pull open the aluminum bar on the right side of the camera, which releases the lock holding the back closed. Once you open the, I noted chrome gear by the advancing cogs and onto the film advance spool. My first thought was, That's unusual. Then when I tried to put in the film, the rewind knob didn't pull up like the majority of 35mm cameras to load the film. As I poked around, I noticed that the rewind knob is actually hinged, and it pulls away from the body, which allows the photographer to put the film into the camera body.

It's always my inclination to put the film cassette into the camera first, then bring the leader to the take-up spool to load. But looking at the instruction manual, they suggest putting the film leader into the take-up spool first, then putting the cassette after. Having the rewind knob on a hinge makes perfect sense to do it that way. Once I put in the film, I always take the slack of the film with the rewind knob, so when I go to advance the film, I know the film is transporting when I see the rewind knob turn ad I advance to the next frame.

 The only other settings needed to take photos are all around the Dallmeyer Anastigmat 35mm f3.5 lens on my camera. There are three different rings around the lens. On the outer or the largest ring, which has "Advocate" printed on the top, is the shutter speed dial, with speeds of 1/200, 1/150, 1/100, 1/50, 1/25, and "B," which are set according to a red dot on the out portion of the ring. The next ring from the shutter speeds is the focus distance, which has the closest focus distance of 3 feet to Infinity. The inner ring has aperture settings, which go from f3.5 to f22. My first inclination was that the inner ring, which is actually on the lens itself, would have the focus ability, but it's the aperture settings. I had to get used to that when shooting.

To take the photos, the shutter release is a pulling action as you pull the shutter release back towards the camera body as opposed to the most common pressing the shutter release down. It's more similar to an Exakta or Topcon Super D. You get used to it when shooting. The feel of the shutter is firm, and you can hear the rotary shutter releasing and firing, so there is no missing if the camera took the photo. There is an auxiliary remote shutter socket on the front of the camera if you choose to put the camera on a tripod and shoot with a more prolonged exposure.

 The viewfinder on the camera is bright and easy to compose images. My camera is the second version made, as the original Advocate cameras didn't have the flash sync capability, which is located at about five O'clock on the lens and is a double-prong sync cable. The original model also has a chrome pressure plate to hold the film flat.

Viewfinder and shutter release on Ilford Advocate camera

 Here's the fun and one of the more exciting things I like about this camera. Once you've shot all the photos and want to rewind the film, there is no button to disengage the winding sprocket. All you need to do is press down the winding knob down, which presses the gearing system down, and the winding gear is free moving, and the film can easily rewind into the canister. I really enjoyed the simplicity of this system.

My Results:

I took the camera to a local farmers market and used a real "shoot from the hip" method. I tried to be somewhat discrete, which may be difficult with a bright white camera around your neck, but here are some of the results.

Conclusion:

I really enjoyed shooting with this camera. The biggest obstacle I had was remembering which ring did which function. I kept going back to the inner ring, which was closest to the lens and was the focus, but it was an aperture, so I needed to keep this in mind during shooting. If I were to use it more often, it wouldn't be that big of an issue; I also liked that the case was in excellent condition, which is only sometimes the case for older cameras.

 Thank you for taking time from your schedule to look over this post.

 Until next week, please be safe.