Welta Perfekta

My Welta Perfekta camera

As I've mentioned in the past, I'm always drawn to the colorful, or odd and unusual cameras. As a camera collector for over 50 years, and having spent countless hours poring over many of McKeown's price guides to cameras, there are cameras that I'm always intrigued by and would love to own. Cameras like an original daguerreotype camera, the Rectaflex Rotor, a three-lens camera, or a beautiful Compass camera made by Swiss watchmakers Le Coultre et Cie for Compass Cameras Ltd., London, England. All of these cameras are out of my league in terms of pricing, unless I win the lottery and have a few hundred dollars burning a hole in my pocket.

 To me, the most enjoyable aspect of collecting cameras is the hunt to find a rare or somewhat rare camera, lens, or other photographic item. Every once in a while in this collecting game, you come across a hidden bargain.  It could be something at the bottom of a box, or just that the person selling the item isn't fully aware of the value of items, and (to me), that is a highly satisfying feeling.

 Having had that same feeling about a year ago when I was at a garage sale in one of the neighboring towns, and I saw a Welta Perfekta camera. As I picked up the camera, it appeared to be in good condition. The shutter worked, the viewfinder seemed clean for being nearly 100 years old, and all the leather was intact. It was a nice camera, and one I'd love to have in my collection. When I asked about the price for the camera, the person selling it said it was her grandfather's. 

Odd shaped camera body

 Letting the seller know that the camera was in good condition and nice shape. I provided the seller with some information on the camera's age and a brief overview of the company. I let them know that I had collected the camera, written a weekly blog about it, and would love to have it in my collection. The seller said that, since I was a collector, it was important to them that the camera go to a good home, and they offered me the price of $50.00. I was happy to pay that price for such a nice example, and at that point, we were both pleased that the camera had a new home.

 I was familiar with the camera because I had written about the Zeca-Flex camera a while ago, and its shape had intrigued me. The Perfekta has a very similar shape to the Zeca-Flex as they are both folding Twin Lens cameras. These are twin-lens cameras with a large viewfinder that opens and closes, comparable to other twin-lens reflex cameras. The body of the camera folds into the film area, making the camera much smaller and more portable. 

History:

Since I just wrote about the history of Welta in last week's review of their Penti camera, I thought I would spend this review focusing on the history of the Reflekta camera, along with its older brother, the Superflekta camera.

 Both the Superflekta and Reflekta cameras are folding twin-lens cameras. As I previously mentioned, they are considered pocket cameras, which means they are smaller cameras intended to be easily transported in your coat pocket. They are a mix of pocket cameras introduced by Kodak in 1912 with their Vest Pocket cameras, and a Twin Lens Reflex camera introduced by Rolleiflex in 1929.

 The Perfekta camera was introduced in 1934. It's a medium-format camera that takes 6x6cm images on 120mm film. It features a large viewfinder that opens like the Rolleiflex and other Twin Lens Reflex cameras of its time. The body of the camera pops away from the film chamber, utilizing a bellows system that separates the lens from the film chamber, and forms an oddly shaped camera. There is a tripod socket and arm on the bottom of the lens area that allows the camera to stand upright on a flat surface, such as a table, if needed.

 The Perfekta could be purchased with one of three different lenses they sold. You had your choice of either a Meyer Trioplan 75mm f/3.5, Schneider Xenar, or Carl Zeiss Tessar 75mm f/3.8 lenses.

 The Superflekta was the first of this style of camera introduced by Welta in 1932. It's a larger camera that takes 6x9cm images on 120 film. The most intriguing feature of the Superflekta camera is that the film chamber rotates from a vertical position to a horizontal one for landscape-style images. This is very similar to how the Cornu Ontoflex operates. The photographer doesn't rotate the camera; instead, they rotate the film to achieve a horizontal image. 

 Rotating the film's back makes sense, as the camera features a ground-glass viewfinder to focus on the image. If you rotated the whole camera, the viewfinder would be on the side, which would affect composition. Turning the film chamber is a remarkable achievement in that camera. I can see where the Perfekta came into play as it's a bit smaller than the Superfekta. With the square format, Welta could cut down the size of the camera and make it even more "pocketable".

 The difference between the Zeca-Flex and both the Superfekta and Perfekta cameras is that the Zeca-Flex is more linear in design, and doesn't have the almost "S" shape that the Welta cameras incorporate. Only the bottom portion of the Zeca-Flex pops out to take the photo, then can be slid back into the camera's body for transport. 

 While Welta wasn't the first to introduce this style of camera, that honor goes to the Pilot 34 or Pilot Reflex camera made by Kamera-Werkstätten Guthe & Thorsch, another great camera manufacturer in Dresden. This camera was introduced in 1931 and was also a twin-lens camera with a bellows system.

 Both the Welta Superflekta and Perfekta cameras were only produced for a few years due to the complexity of their manufacturing. Another factor that contributed to the downfall of the Superfekta and Perfekta was the larger size of the viewfinder, which prevented it from folding into the camera body, thereby making the camera less compact.

My Camera:

My Welta Perfekta camera is 6.5" tall, by 4" wide including the film advance knob and frame counter, by 3.5" deep. These measurements are with the camera completely closed and in it's most compact state. When the camera is fully open, the camera measures 8.5" tall by 4" wide by  5" deep, and the camera weighs 2 lbs—2.2 oz. My camera has the Meyer Trioplan 7.5cm F/3.5 lens.

 To open the camera and pop the lens area from the film area., There is a round button on the right side of the camera, under the film advance knob, that you press. Once pressed, the body pops away from the film area, exposing the camera's bellows, along with the angled mirror area of the viewfinder system.

On the back, to the right of the viewfinder, is a small button that you slide to the left to open the light chimney of the viewfinder. The light chimney should pop up, exposing the ground glass for focusing. On the inside of the front wall of the light chimney is a magnifying glass that helps with focusing, a feature common in twin lens reflex cameras. On the left side of the chimney is a knurled knob that flips up the magnifying glass when turned, and flips down when turned in the opposite direction. 

Closing the light chimney, fold the sides in first, then the back, and finally, fold the chimney down into the camera's body. It will then lock into place.

 To focus the camera, a knob located just to the left of the lens/shutter assembly slides up and down, allowing you to adjust the focus on your subject. The lens moves in and out on a helicoid from the camera's faceplate. There is no focus distance written on the side of the camera, so you can't set the distance and shoot. All the focusing is done through the viewfinder, which I find somewhat dark and difficult to view on darker days.

 To close the body of the camera for transport, press the two buttons located on either side of the front plate. Once pressed, the body will push into the film chamber area and click into place. Just be sure to flip up the leg under the camera; otherwise, the leg keeps the camera from fully closing. I learned that when I tried to close the camera, I noticed the lever sticking out, ops!!

Taking the photo is pretty basic. The shutter speeds on my camera go from 1/300 to 1 sec. along with "B" and "T" for timed exposures and are set via a ring around the lens. The aperture ranges from F/3.5 to F/22 and is set by a slider arm located under the lens. The shutter cocking lever is located at the top of the lens, and the shutter release is positioned on the right side of the lens.

Loading the film is similar to that of many other medium-format cameras. On the back of the film door is a button that you slide to the left and pull down; the film's back will then open. I first noticed that where you put the fresh roll of film, along with the take-up spool, are hinged guards that both of these items fit into. The winding knob pulls out to make it easier to insert the empty spool into the chamber. Then, flip the small guard down to keep the spool in place. Similar to where you insert the fresh roll of film, once the film is in place, flip the guard down to keep it in position.

While the camera features a covered red window on the back, it also has a unique frame counter. On the inside of the film's door is a slotted rod that rolls on the film's paper backing, and it is equipped with a gearing system attached to a round frame counter, which tells the photographer which frame they are on. 

Here's how it works. Once you load the film, use the red window to access frame number one. On the inside of the frame counter, you slide the knurled wheel from A (Aus=Off) to E (Ein=On). Doing this sets the frame counter to number one, and after you take a photo, the ribbed wheel advances the frame counter every time you advance the film from one frame to the next.

 

Results:

I loaded the camera with an older roll of T-Max 100, the fastest 120 film I had available, and went for a walk with my sister, Laura, and her dog, Sally, taking photos along the way.

 Unfortunately, the day was overcast, and I had forgotten to bring my light meter with me, so I was forced to use a light meter app on my phone, which I dislike doing, as it always seems to get it wrong. However, it didn't fail me again, and the negatives I processed were underexposed.

 Here are some of the better ones from the walk.

Conclusion:

I must say that this camera was delightful to shoot with, and for the price paid, it was well worth every penny. The only drawback would be the darker viewfinder and difficulty I had focusing on the subject.

 I liked the size of the camera; I enjoyed how compact the camera is to use. The shutter and aperture worked well, and the odd shape of the camera was certainly a conversation piece when I talked to some of the neighbors I met along the walk to take photos. The camera is less bulky to transport and carry around than a traditional twin-lens camera, and the optics are excellent—an enjoyable camera that I plan on using regularly.

 Thank you for taking a few minutes from your day to read about this unusual, yet jewel-like, camera. 

 Click on the link for some of the other cameras reviewed.

 I also run an online eBay store, Cuny's Camera and Photo. If you're interested in older cameras and other camera oddities, I have for sale.

 Until next week, please be safe.

Contessa Nettel Cocarette I DeLuxe

My Contessa Nettel Cocarette I DeLuxe camera

As I've mentioned in other posts, colored cameras are some of my favorite cameras to collect. That's a good thing when the camera is a different color than the standard drab black camera and a beautiful, rich brown-toned camera. When the camera is a rich brown-toned camera and is a rarer version, that makes the camera even more special to me. When the camera is a rich brown tone, a rarer version of the black model of the same camera AND, the camera is in good working condition and has a clean lens, then to me, it's, as we say in the U.S. and to use a baseball term  "a real home run."

 The Contessa Nettel Cocarette I Luxus camera was purchased from a seller in Florida five or six years ago. I purchased this camera along with a few other wonderful cameras, like the Zeiss Super Nettel, a Zeiss Tenax II, a Zeiss Nettax, and a few others, which were real gems in my collection for a long time until I sold them, which at times I look back and regret. That's all part of the collecting world.

 The camera appeared to be in great working condition. The bellows seemed to be light-tight, the aperture moved smoothly, and the camera came with an upgraded Carl Zeiss Jena Tessar lens and a Compur shutter, which, upon inspection, were in excellent condition. Also, the exterior leather was without tears and with minor scuffs, and the Cocarette I handle on the camera was still intact.

 When I received the camera, I wanted to find out more about the camera, so as I usually do, I saw if there was a manual or catalog on the camera. My go-to website for camera manuals is www.butkus.org , which has an extensive collection of manuals. They did have the Zeiss Cocarette manual,

According to the manual, Contessa Nettel made three different Cocarette models, each with four cameras of various sizes.

 The three  Cocarette models are:

Special: Called I/0, II/0, III/0, and IV/O, covered in black leatherette and with hinged metal front.

Standard: Described as Cocarette I, II, III, IV, With real black leather coverings, leather bellows, and hinged "Stirrup" front.

DeLuxe: Styled respectively "de Luxe" I, "de Luxe" II, "de Luxe" III, and "de Luxe" IV. This type is covered in the finest brown Morocco leather and has bellows of the same. ​ All the edges are bound in German silver.

 The different negative sizes of the models described above are as follows:

l/0, I and "de Luxe" I . Film 3 1/4 x 2 1/4 inches

II/0, II and "de Luxe" II . Film 4 1/4 x 2 1/2 inches

III/0, III and 'ode Luxe" III . Film 4 1/4 x 3 1/4 inches

IV/O, IV, and "de Luxe" IV. Film  5 1/2 x 3 1/4 inches

History

Contessa-Nettel AG was a prominent German camera manufacturer based in Stuttgart. It was formed in 1919 by merging two influential companies: Contessa Camerawerke Drexler & Nagel and Nettel Camerawerk. This merger combined the innovative strengths of both firms—Contessa Camerawerke, founded by Dr. August Nagel, and Nettel Camerawerk, known for its advanced strut folding cameras and focal plane shutters. Dr. Nagel, who began his camera design business 1908 as Drexler & Nagel, quickly rebranded it as Contessa Camerawerke before acquiring Nettel in 1919 and establishing Contessa-Nettel AG.

Ad showing the different negative sizes.

 Contessa-Nettel became renowned for its diverse and technically advanced range of cameras. The company offered approximately forty different models, including many variations of the Cocarette, a folding camera that became one of its most famous products during the 1920s. Other notable models included the Deckrullo-Nettel series, which featured self-capping focal plane shutters—a significant innovation. The company also specialized in stereo cameras and produced various compact and portable designs, such as the Piccolette and the Stereax.

 The Deckrullo-Nettel cameras, initially developed by Nettel, continued to be produced under the Contessa-Nettel name after the merger. These cameras were admired for their engineering, particularly their strut folding mechanisms and reliable shutters. Contessa-Nettel's products were recognized for their build quality and design excellence, reflecting Dr. Nagel's eye for detail.

 In 1926, Contessa-Nettel became part of Zeiss Ikon, a new conglomerate formed by merging several major German camera manufacturers, including ICA, Ernemann, and Goerz, alongside Contessa-Nettel. This consolidation aimed to strengthen the German photographic industry and create a powerhouse capable of competing internationally. After the merger, many Contessa-Nettel designs and models continued under the Zeiss Ikon brand, and the Stuttgart factory became a critical Zeiss Ikon site.

 Although Contessa-Nettel, as an independent brand, ceased to exist after 1926, its influence persisted. Feeling out of place at Zeiss Ikon, Dr. August Nagel left to establish the Nagel-Werke factory, which Kodak later acquired. Nagel's subsequent innovations, such as the Kodak Retina and the first pre-loaded 35mm film cassette, trace their lineage to the design philosophy he honed at Contessa-Nettel. The Contessa-Nettel name also lived on in Zeiss Ikon's product lines, most notably in the Zeiss-Ikon Contessa cameras of the postwar era.

 Contessa-Nettel's history is marked by technical innovation, quality craftsmanship, and a legacy that shaped the evolution of camera technology in the 20th century.

My Camera:

My Contessa Nettel Cocarette I Deluxe camera is 6 5/8" long by 3.5" wide, 1.5" deep when closed, and 5.5" deep when opened, with the lens extended from the body. It weighs 1 Lb. 6 oz. My camera's serial number is 422872. It also has a Carl Zeiss Jena Tessar 10.5cm f4.5 lens, serial #588166.

 To open the camera, there is a button on the side of the camera, which is similar to another folding camera, which you press, and the front door opens, exposing the front of the camera. Just below the shutter is the company name, Contessa Nettel, and on either side of the name are two knobs which you grab and pull the front standard of the camera out from the camera body until they stop. You're now ready to take a photo if you have film loaded into the camera

Pulling the front standard from the camera body lets you see the controls on the camera much better. Looking down at the camera, you have a bright waist-level viewfinder with indents on each corner representing a vertical or horizontal format for framing your photo. Currently, the camera is in the vertical position or, in modern terms, in portrait mode. The viewfinder can also tilt to the side if you plan on using the camera in the horizontal position to photograph in landscape mode. Right next to the viewfinder is a red bubble level to ensure the camera is level for straight photos and does not have crooked horizon lines.

On the camera's bed, just to the right of the shutter, is a focus lever, which allows the photographer to get closer to their subject and take clear photos. The focus lever can go from 2 meters to infinity, with a few different distances in between.

 When you look at the front of the camera and focus on what is on the Compur shutter, on the right side is the shutter release lever, and on the left side is a dial with Z, D, and M. These are used for different shutter functions. Z opens the shutter when you release the shutter lever and closes when you pull the shutter release again. D opens the shutter when you pull down on the shutter release and closes when you release it, and M is for the more normal use of the shutter speeds built into the shutter. The shutter speed ranges from 1 second to 1/250. All the shutter speeds on the camera seem reasonable, even the 1 sec, which is fantastic for a 100-year-old camera.

A small lever is on the bottom of the shutter. Sliding the lever from one side to the other changes the aperture setting, which you can see on top of the shutter. The camera's operations are very easy to see while holding it. You can view the shutter speed, the aperture settings, the focus distance, the viewfinder, and the bubble level, all while composing the photo in the vertical or portrait position.

 On the right side, as you're holding the camera, is a chrome knob on top of the lens standard. This slightly raises the camera lens, which will correct for vertical distortion. It doesn't do much, but it gives you a little movement in several of the better-quality folding cameras from this era.

For horizontal photos, you can swing a wire finder around the lens. On the back of the camera, a small eye finder slides out to create an action or sports finder from the two pieces. Using the camera in this position is a bit more clumsy due to where the shutter release is positioned.

Eyepiece on back up, and wire frame in place for action photo.

Fortunately, the Cocarette I cameras can use the popular 120-size film. The film chamber slides out from the camera body to load the film. On the left side of the body is a lever that you slide to unlock the film chamber from the body. Once the film chamber is unlocked, it can slide up to reveal the take-up spool and the film area. To put the film in the film area, there are holders that you flip up to get the take-up spool and the film into the respective areas.

 When loading the film, slide the paper packing under the thin channel to keep it flat across the opening. Another oddity of this camera is a large cut-away on the top of one of the corners of the exposure areas. I don't understand why this is there, as it did produce the cutout on the negative. If you know why that is there, I'd love to know. It may have had something to do with the older films of that time.

Once the film is loaded into the film back of the camera, slide it back into the camera and lock the back onto the camera body to prevent it from getting exposed to light. A small square red window with a cover is on the back of the camera. Winding the film with the take-up spool will take you to the number 1 photo, and now you're ready to make your first photo.

 

My Results:

I loaded the camera with a roll of Rollei RX100 film and walked through the neighborhood with my trust Sekonic L-308 meter. The day was somewhat overcast, so the contrast in the images wasn't the best. I also used the focus control on the camera. Since the day was cloudy, the settings on many of the photos were a shutter speed of 1/100 and aperture settings of f/4.5, which means there's not a lot of play when it comes to depth of field, and the photos show that.

 Here are the results I got from the Contessa Nettel Cocarette I Deluxe.

Conclusion:

The camera is straightforward to use, which I’m used to because I often use folding cameras. The controls were straightforward to define and comfortable to hold for composition purposes. However, the results I received weren't the best when I used the focus control on the camera. It's very possible my distances were off, and having to use a shallow depth of field didn't help.

 It wasn't bad, but my expectations were too high. Getting a 6x9 format negative with a Zeiss lens, I was hoping for better results. That shows I'll need to take this camera out and try again.

 Thank you for taking the time to read about this beautiful and very functional camera. It certainly looks terrific in my collection, and I enjoy having it.

 Click on the link if you're interested in reading some of the other camera reviews. 

 If you are interested in some of the cameras and other camera oddities I have for sale, I have a store on eBay called Cuny's Camera.

 Until next week, please be safe.

Original Model K1 Rolleiflex

My Rolleiflex K1 Camera

As is common for me, I purchased this original Rolleiflex model with many cameras, which included some other items I was more interested in. In the photo of the camera lot, I could see the Rolleiflex name, but the image was so small that I couldn't tell what model it was or even if it was in working condition. I took a shot; as I mentioned earlier, I was more interested in some items, and the Rolleiflex was more of the icing on the cake regarding the importance.

 Once I received the items in the lot and looked them over, the main items were great, and I was happy to have them. I picked up the Rolleiflex and checked on the camera's serial number, which was a low number. I have serial number 118104. From what I can see online, this is one of the first batches of cameras made. While the original Rolleiflex camera was only made from 1929 to 1932, a few modifications were made.

 In the photo, the Rolleiflex looked well used, and the top light chimney looked a bit wonky, which it was and still is today. When I tried to open the top, one of the side wings was jammed closed and wrapped under one of the other side wings, and I couldn't look down the chimney to see if the focusing screen was there. I took out my set of small screwdrivers and unscrewed the top 4 screws to remove the light chimney to fix it and bend the sides out a bit to make the chimney more usable.

Early Rolleiflex name and serial number

 Once I took the top off, I noticed the focusing screen was in good condition and still had the bubble level. It was a very clever idea to put in the camera when it was manufactured almost 100 years ago. 

The Company:

I reviewed the original Art Deco-style Rolleicord a few months ago, and here's what I wrote about the company's history then.

 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.

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. However, Rollei's resilience and ability to adapt to changing market conditions inspired by its history.

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. This enduring legacy evokes a sense of respect and admiration for the brand's contribution to the field of photography.

My Camera:

My early Model K Rolleiflex is 5.25" tall and 3.5" wide by 3.75" deep. These measurements are with the light chimney closed. If I open the light chimney, the camera is 7.5" tall and weighs 1 lb. 9.7 oz. with the original lens cap and without film loaded into the camera. My camera has a Carl Zeiss Jena Tessar 7.5cm f3.8 lens, serial #1310339, for the taking lens, and for the viewing lens is a Heidoscope Anastigmat 75mm f3.1 lens, serial #120850. 

The lens is in an F.Deckel-Munchen Compur shutter with speeds from 1/300 to 1 sec. along with "B" & "T". The shutter speeds are set by turning a chrome ring on the outside of the shutter ring. The shutter cocking lever is on the left side of the camera as you view it from the front, and the shutter release is on the right side. The aperture ring goes from F3.8 to F32 and is set by a sliding ring just outside the shutter ring.

Taking lens, and shutter-aperture settings on my original K1 Rolleiflex

The light chimney or light hood is the most interesting thing about the camera. To open the light chimney, on the back of the camera, there is a small lever you need to press down to unlock the chimney. The front and sides will spring open if the chimney is in good working order. Since mine is not in perfect condition, the front opens, but I need to coax the sides to open correctly. Once the chimney is open, you can view the focus screen.

 On the back of the chimney is a magnifying glass on a spring. It can be flipped over and locked into the front part of the chimney, where it can be used for critical focus. Pressing the front part of the chimney releases the magnifying glass, and it returns to its normal position. 

 On the backside of the front wing of the chimney was a mirror, or a highly polished metal piece that flips down with a lever on the left side of the chimney. When the magnifying glass is in the "up" position, and you flip the lever down, the mirror will be at an angle that you can use the back as a level finder and focus the camera while viewing the image through the back opening of the chimney. I really liked this feature as it gives the camera a lot of flexibility when shooting. To close the chimney, fold down the sides first; the back and the front will close, covering the camera.

On the right side of the camera are two knobs. The larger knob on the top is the film advance knob. Around the knob are numbered from 1-12, but the numbers aren't in order; they go 1,7,12, small space, then 5,3,8, small space, 9, small space, and 6,2,10,1,11. At first, I thought these were frame numbers, but the sequences are so off. I know the first camera models were made for film size 117, and the camera only took six exposures with larger gaps between frames. There is also a red arrow pointing towards the number, but it didn't change when I put the film in the camera and advanced it to the next photo. Maybe someone can explain this sequence to me.

 The lower and smaller knob is the focus knob. On the inside are distance numbers, but there is no feet or meter setting. On the camera's left side is a lug, which was used to connect the strap.

The back door locking mechanism is on the bottom of the camera, and there is a tripod socket and a second red window with a cover. I didn't use that frame counting window, as I used the one on the back of the camera as I would for most cameras. To open the back door to load film, you lift the silver-hinged locking mechanism, which opens the back door. After doing some research on the camera, I found that this model doesn't take 120 film like all the other Rolleiflex models. 

I tried anyway, and it's too wide and didn't fit into the film chamber. Luckily, I have some outdated Agfa 620 films that fit correctly. I put the empty spool on the top. You can pull out the larger knob to load film into the camera, then press it in to lock the reel into place. I put the outdated Agfa roll into the camera, fed the leader into the empty spool, wound the film to start, closed the back of the camera, and wound the film to frame number 1. Now, I'm ready to take the camera out on an adventure to see how the camera performs.

 

My Results:

My wife and I planned a trip to Lake Quinault in the Olympic National Forest, so I wandered the lake's hotel grounds with a fantastic camera loaded with film and took some photos. Here are a few of the images from this trip.

Conclusion:

The camera performed very well, and the images were nice and sharp. The focusing screen was dark compared to the newer cameras. Still, it did an excellent job for a camera almost 100 years old and was extremely fun to shoot with. Due to the age of the film, the images have a mottled appearance when looking at something without detail, like the sky or lake. But that doesn't affect the camera's usability, which was overall very good.

 I'd love to hear from you. If you have one of these cameras and have questions or want to let me know what you think of the camera, please leave a comment, and I'll get back to you soon.

 Thank you for taking a few minutes 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.