Zeiss Ikon Super Ikonta 531/2

My Zeiss Ikon Super Ikonta 530/2 camera

Walking through flea markets, garage sales, or camera shows, I always stop to look at what Zeiss cameras they have, and the cameras that I always pick up to look over are any of the Zeiss Ikon Super Ikonta cameras. Not only because they look impressive even when closed, but also because I'm always struck by how well-made and intricate they are for a camera that's 90 years old.

 To me, the Super Ikonta cameras are like looking at a masterpiece of art. They are timeless in their form, compactness, and mechanical intricacies. When closed, they are compact and sturdy. They have a heft to them that you know they were manufactured to last a long time.

 Zeiss Ikon made four different Super Ikonta styles. There were the smaller models in 6x4.5 or 6x6cm formats, then they also made a larger, specifically longer version that shot 6x9, and a rare version that shot 6x11cm. The 6x9cm version came with a metal insert that reduced the image size to 6x4.5, essentially allowing the photographer to get twice as many images on the 120 roll film loaded in the camera.

 Having owned both in my life, I'm torn between them. On the one hand, I prefer the longer negatives, so the 6x9cm version is appealing, but it's also a bit bigger to carry. The more compact 6x6cm version is a terrific camera to carry when you travel. They are compact, fit in your pocket, have wonderful optics, and use a rangefinder to focus.

 Looking at the cameras on my shelf for a camera to write about, the Zeiss Ikon Super Ikonta 530/2 was a camera I recently got back from a full CLA, so I knew, or at least hoped there wouldn't, or shouldn't be an issue putting film in the camera and running a roll of film through it. 

Horizontal view of my Zeiss Ikon Soper Ikonta 530/2 camera

 The camera I had purchased almost a year ago was from an online auction. I saw it at the auction along with a few other cameras, placed a fairly low bid, and won it. The camera was shipped to me, and upon inspection, I noticed the shutter wasn't working. It worked at higher speeds, but the camera needed servicing, so I sent it for CLA.

 My camera came back from the technician and looked flawless. The rangefinder was bright and accurate, the lens was bright, the focus was smooth, and the lens popped out of the camera as if it were new. 

 Whenever I see a Zeiss Ikon Super Ikonta or another rangefinder folding camera, the first thing I check is the shutter to see if it's opening/closing, especially at slower speeds. Then I check the focus to see how smoothly the lens and focus knob turn. It seems that many of the cameras have very stiff focusing, so when the camera came back, and the focus knob turned so nicely, I must have had a large grin on my face, as this was a new experience for me: a smooth focus.

 With all that said, it was time to put a fresh roll of 120 film into the camera and take a walk through the neighborhood on a wonderful spring afternoon. The sun was out, and so many of the trees and flowers were in bloom, it was the ideal opportunity to take my newly CLA'D Zeiss Ikon Super Ikonta for a spin.

Brief History of the Zeiss Ikonta Cameras:

 Zeiss Ikon and the Ikonta cameras sit at an important crossroads in European camera history. Formed in 1926 from the merger of four major German makers—Contessa-Nettel, Ernemann, Goerz, and Ica—Zeiss Ikon became one of the largest and most influential camera companies in the world, backed by the Carl Zeiss optical tradition.

 The Ikonta line emerged around 1929 as Zeiss Ikon's premium folding-camera family. It was introduced in several sizes, including 6x4.5, 6x6, and 6x9 roll film frames, and represented the company's effort to rationalize and modernize the crowded product lines inherited from the merger. These cameras were built as elegant folders: compact when closed, but capable of producing high-quality medium-format images when opened.

 What made Ikonta especially significant was its market position. Zeiss Ikon used better lenses and more refined construction on Ikonta models, while cheaper versions sometimes carried the related Ikomat name. The line became closely associated with Carl Zeiss lenses, such as the Tessar, which helped the cameras earn a strong reputation for sharpness and image quality.

 A major step forward came with the Super Ikonta series, introduced in 1933. The "Super" name indicated the addition of a coupled rangefinder, making focusing far easier and more accurate than the original scale-focusing Ikontas. That innovation helped define some of the best prewar folding cameras available.

 Production continued through the war years and into the postwar period, but folding cameras gradually lost favor as photography shifted toward more modern fixed-lens designs and 35mm systems. Even so, Ikonta and Super Ikonta remain admired today for their craftsmanship, portability, and classic Zeiss optical quality.

My Camera:

 My Zeiss Ikon Super Ikonta 531/2 is 7" wide by 4" tall and 2 "deep when the lens is retracted, and it's 5" tall when you open the camera, and the viewfinder pops up, and 5.5" deep when the lens is extended. The camera weighs 1 pound 15 ounces without the case or film loaded. My serial number is E30192.

The Zeiss Ikon Super Ikonta 531/2 camera has several different options for lens and shutter combinations:

  • Tessar 10.5 cm f/4.5 in a Compur shutter. This combination is the best-documented early setup for the 530/2, especially on black-enamel versions from the early 1930s.

  • Triotar 10.5 cm f/4.5 in a Klio shutter. Some early examples were fitted this way, making it a less common but real configuration.

  • Tessar 10.5 cm f/4.5 in a Klio shutter. At least one documented example shows this pairing, indicating that Zeiss Ikon used multiple shutters during the model's production.

  • Later or related Super Ikonta variants appear with Tessar lenses in Compur Rapid or Synchro-Compur shutters, though those are more typical of later Super Ikonta models.

Looking at the top of the camera, on the right side of the rangefinder, is a button that opens the camera when it's closed. According to the Zeiss Ikon Super Ikonta manual. Hold the camera in your right hand, with the front slightly pointed down. Press the button, and the camera should open slightly. Then pull down on the front cover so the bellows and lens extend to the taking position. Once the lens is extended, you'll need to swing the arm holding the small round lens into place so you can use the rangefinder for focusing. Also, when you open the camera, the Albada (sports) finder springs open. Look through the Albada finder; it has lines for both 6x9cm images in a horizontal format and for 6x4.5cm images for a vertical subject.

Now that the camera is open, you're ready to make exposures once the film is loaded, which we'll get to in just a moment. The shutter and aperture settings are located around the lens. Shutter speeds from 1/250 to 1 sec, plus "B," are set by turning the ring to the desired speed. The aperture is set by sliding the arrowed lever at the bottom of the lens to the desired aperture, which ranges from F/4.5 to F/32 on my camera.

 The focus wheel is on the front of the swing arm you moved over for the rangefinder, just above the lens when the camera is in the vertical position. For focusing, look through the small window on the back of the camera. Turn the dial to use rangefinder focus, which includes a small yellow area in the middle of the finder. When out of focus, the subject will appear as two images. Your main subject, and a second image in the yellow area. Turn the wheel until both images merge into one, indicating the subject is now in focus. 

Set your shutter speed and aperture setting, and don't forget to cock the shutter. The shutter release is on the top, left side of the camera. Press the shutter release, which will trip the shutter via a series of linkages that run along the bottom of the lens bed. Just behind the shutter release is a small window. When the window is grey, the shutter has been tripped, and you'll need to turn the film winding lever until the small window turns red. At this point, you can re-cock the shutter and release it. 

To open the back of the camera to load film, under the camera's handle is a small slider with an arrow pointing toward the opening. Slide the small knob in the direction of the arrow, and the camera back will open. Load the film as you would any 120 roll film camera, roll the film so the "start" arrows are showing, then close the back of the camera, and wind the film advance knob so the number 1 shows up in the appropriate window on the back of the camera. 

There are two red widows on the back of the camera: one for 6x9cm images and one for 6x4.5 cm images, if you have the metal insert in. If you have the insert in the camera, you'll use both windows for film advance, as you would with a 127 film camera with two windows. Stop at the number 1 on the far right window, then take your photo. Wind the film until the number 1 appears in the second window on the left, then take your photo. Then wind the film until the number 2 shows up on the first window on the right side, and so on through the number 8. For 6x9cm images, you'll get 8 exposures per roll; for 6x4.5, 16.

 To close the camera for transport, slide the arm you extended for focus back over the bellows. Holding the camera with both hands, press in on the locking arms on the struts to lock the bellows and lens into place; the bed will collapse a bit. Fold the lens back into the camera until the camera clicks closed, then flip down the Albana finder.

My Images:

 Let's take a look at how the images turned out. Here are a few of the images I took with the Zeiss Ikon Super Ikonta camera.

Conclusion:

 The first few images were incredibly sharp, well-exposed, and as I expected. I noticed that towards the end of the roll, the images became softer and less sharp, which concerned me. What did I do wrong?

 To give some background, I had eye surgery on my right eye, which is my dominant eye, about a year or two ago. When I went to see the eye doctor, I could barely make out details with my right eye, so surgery was necessary. Since then, it's gotten a bit better, but not as good as it used to be. Now I'm getting used to putting the camera up to my left eye, which is considerably better than my right. It still feels awkward, but it's my new normal.

Missing pressure plate

 I thought this contributed to the images being soft. Then I remember what a good friend, Mike Eckman, said a few weeks ago when we were discussing image sharpness. He said that he had a similar instance and noticed that the film's pressure plate was missing. At this point, I opened the back of the camera, and sure enough, the pressure plate was missing. 

 How could I miss that when I'm loading the camera? You get so used to looking at and loading cameras that you miss that a camera doesn't have a pressure plate.

 At this point, I'm sure I could manufacture one out of something like thin foamcore and just cut out circles for the red window. Still, it's a lot of fun to use, and the images are incredible. I'll chalk it up as a learning experience and double-check to be sure they have the pressure plate from now on.

 Here are some of the other Camera Reviews I've done.

 Cuny's Cameras and Photos is my online eBay store where I sell some of the cameras I've reviewed, along with other camera accessories, lenses, etc.

 Please feel free to comment on this or any of the other camera reviews I've done. I'd love to hear from you.

 Until next week, please be safe.

 

Fujifilm FinePix 4700 Zoom

My Fujifilm FinePix 4700 Zoom and Leica Digilux 4.3 cameras

Sometime in late October or early November 2025, I was sitting back at my desk, looking at some of the cameras around me and thinking about cameras to write about for this blog. There was one camera on the top shelf above my desk that has always piqued my interest, and one that I've had for 15 years or so, but it wasn't a film camera; it was a relatively early digital camera. I hadn't included a digital camera in my blog, but that's going to change.

 To start 2026, it would be a nice change of pace if we went away from traditional film cameras and focused on some of the early digital cameras in my collection. With that said, for January, I'm picking four early digital cameras and writing about them. 

 Focusing on the early digital camera in my collection brought me unexpected challenges that were difficult to navigate at times. For many of the cameras I'm reviewing this month, I had to get my mind, and even more challenging, a computer, the computer's hardware, and software back into the late 1990s to early 2000s. Sharing these experiences can make readers feel connected and motivated to explore vintage digital cameras themselves, especially potential buyers interested in the history behind these devices.

Rear view of Fujifilm FinePix 4700 zoom & Leica Digilux 4.3

 The first camera I'm going to discuss isn't as challenging as some of the cameras I'll be writing about later this month. My difficulties are mainly because I'm still working out some hardware issues with the computer, which I'll discuss in my write-up about the cameras. 

 All of the cameras are in good working condition. Aside from their specific camera menus, which are very basic compared to what we have now, the computer issues have been considerably more challenging and, at times, very frustrating, especially when finding a computer from that timeframe that functions. Still, I'll discuss that when the camera comes into play.

 It is also interesting that Fujifilm makes cameras for other brands. The two most well-known camera companies, Hasselblad and Leica, have had cameras made for them by Fujifilm. The Hasselblad XPan was produced in partnership with Fujifilm. Also, their "H" series lenses and viewfinder were developed with Fujifilm's involvement. 

 As you can see in the photos of the cameras above, the Fujifilm FinePix 4700 zoom is rebranded as the Leica Digilux 4.3. This was the third camera that Leica rebranded. The first was the original Digilux, Digilux Zoom, and  Digilux 4.3

The Company:

 Fujifilm's history in Japan mirrors the country's own journey through modernization, war, recovery, and technological reinvention. The company was founded in 1934 as Fuji Photo Film Co., Ltd., established by the Japanese government to create a domestic photographic film industry and reduce reliance on imports, particularly from Germany and the United States. Its first factory opened in Minami-Ashigara, near Mount Fuji, which inspired the company's name and enduring brand identity.

 In its early years, Fujifilm focused on mastering the complex chemistry of photographic film, producing black-and-white film, photographic paper, and motion picture film. During World War II, like many Japanese industrial firms, it was drawn into wartime production, supplying optical and imaging materials for military use. The war left Japan's economy devastated, but Fujifilm survived and quickly pivoted back to civilian products during the postwar recovery.

Fujifilm FinePix 4700 zoom advertisment

 The 1950s and 1960s marked a period of rapid growth. As Japan rebuilt and consumer culture expanded, photography became increasingly popular. Fujifilm introduced color film to the domestic market and steadily improved its quality, competing both domestically and internationally with companies such as Kodak. At the same time, the firm diversified into related fields, including magnetic tape, optical lenses, and X-ray film, laying the groundwork for its future resilience.

 During Japan's high-growth era of the 1970s and 1980s, Fujifilm became a global brand. It invested heavily in research and development, embracing advanced chemical engineering and precision manufacturing. These capabilities allowed the company to move beyond consumer photography into medical imaging, printing systems, and industrial materials. Fujifilm's strong export orientation also reflected Japan's emergence as a significant technological power.

 The late 1990s and early 2000s posed an existential challenge: the rapid decline of photographic film amid the rise of digital imaging. While many traditional film companies struggled, Fujifilm undertook one of the most notable corporate transformations in modern Japanese business history. Drawing on its expertise in chemistry and materials science, it diversified aggressively into healthcare, pharmaceuticals, cosmetics, electronic materials, and data storage. The company officially changed its name to Fujifilm Holdings Corporation in 2006 to reflect this broader mission.

 Today, Fujifilm remains a symbol of Japanese adaptability and long-term thinking. While it still honors its photographic heritage, its core businesses now lie in healthcare, imaging, and advanced materials. From its origins near Mount Fuji to its global presence, Fujifilm's history illustrates how a Japanese company can evolve with changing times while preserving technical excellence and cultural identity.

My Camera:

 The Fujifilm FinePix 4700 zoom may be the highest resolution digital camera I'll be writing about this month, coming in at a whopping 2mp, with a 1/1.7" SuperCCD imaging sensor which can produce a maximum resolution of 2400 x 1800-sized JPEGs on a Smart Media Card. The Fujifilm FinePix 4700 zoom has a Super Fujinon 8.3-24.9mm lens with a maximum aperture of f/2.8 to f/4.5. This 3x zoom lens is the 35mm equivalent of a 36-108mm lens.

 While the Fujifilm FinePix 4700 zoom is an unconventional vertical-format camera in stature, it is very easy to hold and use. The dimensions of the camera are 4" tall by just a bit over 3" wide by 1.5" thick, and it weighs in at 10.8 ounces with the two "AA" batteries that power the camera.

I don't want to get into the full minutia of everything the camera has to offer and go into each specific button and control, but instead talk about the basic controls of the camera and how I generally use this style of camera, which is similar to probably 95% of the intended users. If you want to look at specifics and know what each button does, you can go online and find a copy of the Fujifilm FinePix 4700 instruction manual.

 Let's start at the beginning. To put in the 2 "AA" batteries, on the bottom of the camera is the battery door. Slide the cover outward, and the door will swing open. Insert the 2 "AA" batteries as shown on the battery lid, then close the lid and slide it back to close the battery door. 

On the left side of the camera is the door where you put in the Smart Media card. Flip the small button downwards to open the memory card door. Insert the memory card so the brass portion faces the front of the camera, and press it in all the way until it stays in the camera. To release the memory card, push it in a bit, as it's spring-loaded, and it will pop out, so you can grab it and pull it out of the camera. Once the memory card is inserted in the camera, you can close the memory card door.

 Above the memory card door is a small speaker; above that is a small button to turn on the flash, which will pop up after the button is pressed. Also on the left side are ports for a charging device, A/V out, and a USB port.

Two main areas control the camera: the selector on top of the camera, which surrounds the shutter release button, and the back of the camera, which is the main control center.

 The top controls the camera's shooting mode. Looking around the dial, from top to bottom, is Set (some of the main camera settings are set here, with controls from the camera's back). The next is Video Mode, then Multi Mode  (continuous shooting), Manual Mode, Auto Mode (the primary setting in red), Portrait Mode, Landscape Mode, and Night Mode. Initially, you'll want to put the camera into "set" mode so you can adjust basic settings.

On the back of the camera are many different buttons, along with two separate screens. One circular screen in the upper right of the camera with directional controls that control certain items once the camera is on and the mode is selected. Located on the lower portion of the camera's backside is a larger 2" rectangular screen with a resolution of 130,000 pixels, which is also used in the "set up" process, along with displaying the image after it is taken.

 Above the 2" screen is a series of five buttons along with a sliding pointer to a red camera or an arrow within a box. Making sure the camera is in the "Set" mode on the top wheel, put the slider to the "red camera", and press the power button inside the slider. One of my favorite things about this camera happens at this point. Inside the circular window you'll see "Hello!" illuminated inside the circular window, and the 2" screen is now in the "setup" mode. When you turn off the camera, "Bye" will appear in the window.

Here is where you'll set the image quality to Basic, Normal, or Fine by moving the directional buttons around the circular window. Next is file size, 640x480, 1280x960, or 2400x1800. Within each file size, you can choose to shoot in Basic, Normal, or Fine, giving you file sizes anywhere from 44kb in Basic and in 640x480 resolution, to 1.9mb shooting in 2400x1800 resolution and in Fine.

 Next is the "auto-off" setting, which is either 5 or 2 minutes, or No. Then moving down to "Frame No." with either Renew or Cont., then below that is "Beep" which can be High, Low, or Off, onto the second page and to "start up scree" either On or Off, and last on the setup screen is setting the Date. Once you make any of these choices, the button on the back of the camera, which has "Menu/Exe", is the button to press to make the changes desired.

With the camera still in "red camera" mode, when you move the top dial to a specific shooting mode, like Portrait or Auto, the lens door slides over and the lens extends from the camera. Now you're in shooting mode, with the camera actually recording images to the memory card. When you're in the "shooting" mode, you'll see information inside the round directional window with details on the zoom function with the buttons pointing up or down, the macro setting on the left side of the window, and the flash setting on the right, and in the center is what "mode" you're in and the frame count.

 Just above the control buttons on the back of the camera is an optical viewfinder to look through to frame your image. You can also click on the "display" button, which will activate the "live video" feed on the 2" monitor on the back of the camera. Also on the back of the camera is a button for the Menu/Exe functions. This button sets the menu item you want to control. In the upper-left corner is a button labeled Shift and a light bulb. It allows you to light up the round window while also seeing other settings within the camera.

These are the basics for using the camera, since it is a sophisticated little camera. You have the option of manual focus, over/under exposure, flash over/under exposure, focus lock, rear screen brightness, white balance settings, image sharpening, and metering types like spot, average, and multi metering, which is the most common for this camera.  I didn't even touch on the video capabilities of this camera, which were relatively plentiful for a small digital camera from this era.

 

My Results:

 To look at the different resolutions and shooting modes, I photographed a film box in my portable studio to compare image quality. I'm sure there's going to be a vast difference since the smallest file is only 44kb and the largest is 1.9mb.

Here are some screenshots in Photoshop showing the image size of the smallest and largest files taken with the Fujifilm FinePix 4700 zoom.

I also took a regular and macro shot, which you can see here.

Then I used the camera at our New Year's Eve get-together with some neighbors. I'll have to admit, I haven't made it to Midnight for many years.

Conclusion:

 It's nice to pull out some of the older digital cameras and run them through their paces every once in a while. The camera is compact, easy to use, and fun to shoot with. While there are many drawbacks to cameras from this era, such as file size, and in many cases the phone you have takes better photos, it often lacks many of the controls a real camera has (yet).

 Thank you for taking the time to travel back in time about 25 years, when digital cameras were coming into their own and putting film companies out of business, except for Fujifilm, which diversified and actually embraced digital.

 Feel free to look through my other Camera Reviews.

 I also have an online eBay store, Cuny's Cameras and Photo, where I sell many of the cameras I've reviewed, along with other cameras, lenses, and camera accessories. If you find something there, please let me know, and I'll offer a nice discount.

 Until next week, please be safe.