Welta Superfekta

My Welta Superfekta camera

Not being wealthy, my collecting has always been focused on cameras well within our family's financial means. Up until my final ten years of working and before retirement, the cameras I purchased were items you could find at local flea markets and estate sales, or occasionally I made a trade for an item while selling at a camera show where I had a table.

 Being drawn to obscure and unusual cameras and having devoured McKeown's Camera Guide for many years, the Welta Superfekta is one camera I've always dreamed of adding to my collection. Due to its price and relative scarcity in the U.S., it's always been out of reach for me until this past few years.

 It wasn't until I looked at an online camera auction that I found the Welta Superfekta at a price that was not only reasonable but also inexpensive. Online, the camera looked in good to decent condition, but they said the shutter was erratic. To me, those words mean I'll need to send the camera in for a shutter repair, which isn't too uncommon for a camera reaching 100 years old. 

 I purchased the Welta Superfekta online, and when the camera arrived, as suspected, its shutter was extremely sluggish and needed to be CLA'd. I reached out to the person I usually send cameras for servicing, and he confirmed he could service the shutter but wasn't sure about other areas of the camera, as he wasn't too familiar with it.

The excitement of adding the Welta Superfekta to my collection was wonderful, especially since it's a 6x9 cm-format camera that takes 120 film. Still, the more exciting part of the camera is that it's very similar to the Cornu Ontoflex, which has a rotating back, allowing the photographer to shoot both vertically and horizontally without turning the camera sideways. Just rotate the back from vertical to horizontal and flip the image orientation, as with the Mamiya RB67.

 The one thing I noticed when I turned my camera from vertical to horizontal is that the back doesn't turn all the way, which makes me curious about its history. This flaw, while concerning, adds character and a story to the camera, resonating with collectors who appreciate Imperfections.  

Another reason for my excitement to add the Welta Superfekta to my collection is that it would be the third folding Twin Lens camera in my collection. I had already purchased and written about both the Welta Perfekta and the Zeh Zeca-Flex cameras, making this the “Trifecta” of this camera style.

Welta Superfekta, Perfekta and Zeh Zeca-Flex camera.

Welta before World War II:

 The history of Welta Kamerawerke leading up to World War II is a testament to the rapid innovation and high-precision craftsmanship that defined the German photographic industry in the early 20th century. Founded in 1914 by Walter Waurich and Theodor Weber in Freital, near Dresden, the company began as "Waurich & Weber" before adopting the "Welta" brand name that would eventually become synonymous with high-end folding cameras.

French ad for the Welta Perfekta and Superfekta cameras

 In its first decade, Welta focused on the transition from heavy glass-plate cameras to the more versatile roll-film formats. By the 1920s, Freital and the surrounding Dresden area had become the global epicenter of camera manufacturing, and Welta held its own against giants like Zeiss Ikon. Their early success was built on the folding camera—a design that allowed a high-quality lens and shutter to collapse into a slim, leather-covered metal body.

 The 1930s marked Welta's "Golden Era." During this decade, the company moved beyond standard designs to create some of the most mechanically complex cameras ever made. While competitors were focusing on the emerging 35mm trend, Welta mastered the 120 roll-film market with innovative models like:

 

  • The Weltur: A rangefinder folding camera known for its incredible build quality and integrated viewfinders.

  • The Perfekta and Superfekta: These folding Twin Lens Reflex (TLR) cameras were engineering marvels, offering the ground-glass focusing of a studio camera in a portable, collapsing frame.

  • The Welti: A foray into the 35mm market that proved Welta could compete with the Leica in terms of precision and optics, often featuring high-end Carl Zeiss Jena or Schneider lenses.

 Welta's pre-war philosophy was to offer a variety of price points without sacrificing mechanical integrity. You could find a simple Welta Trio for the casual hobbyist, or a Superfekta with a rotating back for the professional who demanded perfection. This versatility allowed Welta to export heavily to the UK and the United States, where their cameras were often rebranded for local retailers.

 By the late 1930s, Welta was a premier name in photography. However, as Germany shifted toward a war economy, production began to pivot away from consumer optics. After the war, Freital was part of the Soviet occupation zone (later East Germany), and Welta was eventually absorbed into the state-owned VEB Pentacon, marking the end of its era as an independent, family-founded innovator.

My Camera:

 My Welta Superfekta camera is 7.5" tall without the light chimney opened, and 10" with it opened, by 4" wide, and 3.5" deep with the body retracted, and 6.25" deep when the body of the camera is extended. The camera weighs 3 pounds, 0.2 ounces without film, so it has some heft.

To extend the camera body away from the film chamber, press the silver button on the right side of the camera body, located just below the film winding lever. Pressing the button quickly extends the camera lens area, and you'll be able to see the bellows. By doing so, you'll see how the camera gets its name, a folding twin-lens camera. When I extended the camera's front from the rear, I noticed the bellows were in excellent light-tight condition.

 My camera has a 7.5cm f/3.5 Weltaskop viewing lens, along with a Carl Zeiss Jena 10.5 F/3.5 Tessar taking lens, so the viewing lens is wider than the taking lens, and the taking lens is in a Compur-Rapid shutter with shutter speeds from 1/400 to 1 sec. along with "B", and "T". The focus lever is located on the left side of the lens when you're holding the camera, and it slides up and down to focus on your subject. 

There is also a focus scale along the top of the camera, between the Welta sign on the film body and the Superfekta sign on the lens area. As you slide the focus lever up and down, you'll see a triangle move from side to side, indicating the distance to the subject on the focus scale, which is in meters.

 Along the back of the camera, by the viewfinder, there is a button to press to open the light chimney. The light chimney popped up, and along one side is a depth-of-field scale for the camera, and on the front is the magnifying lens, which flips as it should. 

On the back of the film body is another sliding lever that you move to the left, in the direction of the arrow, and the back will open. Opening the back of the camera, I noticed that the film advance roller, which activates the frame counter, is missing, so the frame counter isn't operational on this camera. Luckily, there is a red window on the back door so you can see the numbers being transported as you roll the film from one image to the next. 

 I also noticed a paper sign glued to the inside of the back door at the top, which read, "non si girare il rullo che nel senso della freccia" (translation from Italian to English: "do not turn the roller in the direction of the arrow").  This message on the inside tells me the camera is originally from Italy. I guess the camera was made for the Italian market, but the reseller may have added that; I'm not certain. Still, it's interesting that a German camera was sold in Italy and found its way to the USA.

To load the camera with film, the chamber where you put in a fresh roll of film pulls up to make it easier to put in the film, which is a nice feature in the camera. Otherwise, the camera loads just like many roll film cameras, but it would have been nice to have a frame counter that advances from the roller on the back to indicate the frame numbers. I'll just have to do it the "old-fashioned" way and look through the red window to get to the next frame when I shoot.

To collapse the camera lens area into the camera body, you'll need to press in two silver buttons on the front of the camera, placed between the viewing and taking lens, and press the lens area into the film body, which is extended by a couple of scissor struts on each side of the camera. Be sure to retract the camera stand leg, under the front lens area, just behind the tripod socket, before closing the camera. If you don't do this, the camera will not close. I know because I've tried a few times by accident.

 When you close the camera, another interesting thing is that there's a roller at the tip of the film area on the outside. When you close the lens into the film body, the viewfinder rolls along the roller, sliding it forward and covering the focus scale. Given that the camera is almost 100 years old, it's still interesting how it opens and closes mechanically. 

If you don't want to rotate the film chamber when shooting, there is a flip-up sports-type finder on the side of the camera you can use if that's easier for taking horizontal images. It just gives the photographer another option when using the camera.

 

My Results:

 I don't have a case that fits my Welta Superfekta camera. The camera doesn't have the standard loops you can snap into a carrying strap, so when I went out shooting a few times, I just put it in a pouch-style case to carry it and took it out when I was ready to shoot.

 Looking at the side of the camera, there are a couple of studs and other areas where a strap might fit, but without a manual or a nomenclature for the items on the camera, I'm unsure what they are used for.

 I took the Welta Superfekta out a couple of times to shoot with: once to a local lake and another time while walking around the neighborhood to get closer-up images.

 Here are the results from my two times using the camera.

Conclusion:

 The camera's results underwhelmed me, as one of two things is happening. First, I didn't think the images would be as sharp as I had imagined; that may be because something happened to the camera, like a drop or impact, which is also why the camera doesn't flip all the way horizontally when shooting. 

 My weakening eyesight may also cause it, but because of eye surgery I had last year on my right and dominant eye, I'm becoming more and more dependent on using my left eye for focusing, which is difficult for me at times. Personally, I feel it's more the first issue: something tweaked the camera body, and the lens doesn't align properly, which is why I wanted to shoot the second, more close-up images walking through the neighborhood.

 Nonetheless, it's somewhat awkward to hold without a neck strap to keep it steady. Still, I absolutely love the camera's ability to rotate the film back for both vertical and horizontal photography. It's a wonderful camera to have in my collection, and for the price paid, even with the servicing, it's still a bargain.

Welta Perfekta and Superfakta side views

 Thank you for taking the time to learn about this wonderful photographic marvel from almost 100 years ago.

 Here's a link to my other Camera Reviews.

 Cuny's Cameras and Photo is my online eBay store, which sells some of the cameras reviewed, along with many camera and photo accessories.

 Until next week, please be safe.

Kodak Panoram 1-Model D

My Kodak Panoram 1, Model D camera

Panoramic cameras and images have always fascinated me. The thought of seeing such a wide area in a photo seems so natural to me. Whenever I look at subjects, the human eye always sees a wide field of view, and narrowing it down to a smaller angle just seems peculiar to me. Even when I look through telephoto lenses, I want to see a wider angle, just closer. Unfortunately, that’s not how lenses work, so the ability to get a wider view is wonderful.

 The Kodak Panoram 1 is one of the first panoramic cameras I've owned. The first panoramic camera I bought was a Russian Horizont, a 35mm model that came with an accessory handle, viewfinder, and case. Unfortunately, this model of camera, due to the lack of workmanship, has a tendency for image "banding" as the lens doesn't rotate smoothly when making the exposure, so when the lens hesitates, it creates a change in exposure, creating a vertical exposure difference, which is darker due to the extra exposure time.

 I only had that camera for a short time, but it was a wonderful one to learn from, and from that experience I found the Kodak Panoram 1. One of the main reasons I knew about Kodak's early panoramic cameras was a set of negatives of two of my friends, which I purchased around 35 years ago. They were a set of 40 nitrate panoramic negatives, measuring 2 1/4" x 7", from a family who visited San Francisco and the surrounding area in 1906. There were photos of the rubble from the 1906 earthquake, along with other images of the family traveling up the delta to Sacramento and into the forest areas. If you're interested, here is a link to pictures from the aftermath of the 1906 San Francisco Earthquake.

 While researching the negative size and cameras built around 1900, I came across the Kodak Panoram 1 and the Multiscope Baby Al-Vista. I believe the Baby Al-Vista's negatives are just a bit smaller. At this point, due to my love of panoramic images, I really wanted to find a good Kodak Panoram 1 camera not only to have in my collection, but also to shoot with.

My Kodak Panoram 1, Model D with Case.

 The Kodak Panoram 1 camera used 105 film when it was manufactured, which is the same width as 120 film; the spools are just a bit different, as the flange is wider on 105 spools. Knowing that I could shoot 120 film in the Kodak Panoram 1 camera made it considerably more desirable. 

 Kodak also made larger Panoram cameras, the 3A and 4, which used larger film. The 3A produced 3 1/4" x 10 3/8" negatives on size 122 film; the 4 made 3 1/2" x 12" negatives on size 103 film. Since the necessary larger film is unavailable, choosing a usable Panoram was easy: I purchased the Panoram 1.

 The Kodak Panoram 1 comes in two distinct versions. There's the original Panoram 1, where the entire back of the camera comes off the body, revealing the curved arc of the film plane. The back of the camera is held to the camera body by two clips. 

 The second version of Kodak Panoram 1, the Model D, which I've had in my collection for 30-plus years, is slightly different. The back of the camera doesn't detach from the body, but, like some horizontal-folding cameras, there are buttons on either side you press to release it and fold it down. Then the camera's sides swing out to allow you to load and unload film.

 I have owned and restored several of both models, as the lens-swinging mechanism is the same, and the leather or suede bellows are similar. The main reason for the change in style was to reduce the camera's size. I prefer the original with the removable back, but both deliver fantastic images.

History of Kodak Panoram:

 Introduced by Eastman Kodak at the turn of the 20th century, the Kodak Panoram series democratized wide-angle photography, bringing it out of the domain of professional specialists and into the amateur market. Debuting in 1899 with the No. 4 and in 1900 with the smaller, popular No. 1, these "shoe-box"- shaped cameras remained in production until 1928.

Advertisment for the Kodak Panoram cameras

 The Panoram’s defining feature was its ingenious swing-lens mechanism. Unlike standard cameras with fixed lenses, the Panoram featured a lens mounted on a pivoting turret. When the shutter was triggered, the lens swung in an arc—typically between 112 and 142 degrees—sweeping light across a curved plane of film (the area of film bent to match the arc) at the back of the camera. This design minimized horizon distortion while capturing vast landscapes or large-group portraits in a single exposure. A swing-lens mechanism means the camera’s lens actually moves or "swings" during the exposure, rather than remaining stationary as in most cameras, to create a wide panoramic image.

 Aimed primarily at outdoor and travel use, Panoram cameras were used to document landscapes, expeditions, and colonial scenes, including polar exploration and industrial development in Southeast Asia. Their relatively simple wooden-and-leather construction, fixed focus, and minimal controls reflected Kodak’s broader strategy of making specialized photography accessible to non‑experts. At the same time, the nearly three‑decade production run indicates sustained popularity among enthusiasts of wide‑angle views.

 Three primary models defined the line: the No. 1 (using 105 film), the No. 4 (using 103 film for massive 12-inch negatives), and the short-lived No. 3A (introduced in 1926). While eventually displaced by newer formats and the 35mm revolution, the Panoram remains a cult classic today, prized by collectors and photographers for the unique, sweeping perspective that only a mechanical swing-lens can provide.

My Camera:

 My Kodak Panoram 1, Model D camera is 7.5" wide with the strap, by 4.5" deep by 4" tall, including the optical viewfinder, and weighs 1 pound 9.5 ounces without film loaded in the camera.

 To open the lens, pull down the front lens cover to reveal the swing lens to one side or the other. If it were pointing straight ahead, the lens cover wouldn't close. On the inside of the lens cover is the camera name, No. 1 Panoram, Kodak, Model D. On the bottom is the camera's serial number. My camera's serial number is 18986.

The camera is simple with minimal controls. On top is the etched nickel Kodak waist-level finder, which you lift to reveal the viewfinder. Behind the finder is the shutter speed selector. There are two notches: the one near the center is for a slower shutter speed, and pulling the selector to the end increases spring tension, making the lens swing faster at that speed.

 To set the speed, slide the bar opposite the lens direction. If the lens faces right, slide the bar left to set the next photo's shutter speed. Lock the chosen slow or fast speed with the clip under the selector bar. The shutter release is just right of the optical waist-level finder. Press the shutter button to release the lens and watch it swing to expose the film. Two lines form a "V" at the top, indicating the camera's approximate field of view.

As mentioned previously, to open the back to load the film, unclip the strap on the right side of the camera, then press in the two buttons on the sides of the camera, which will release the camera's back, and it will swing down, and the sides of the camera will also swing open, revealing the film chamber. There you'll see the curved film plane the film travels over, and the very impressive cone on the back of the lens guiding the light onto the film as the lens swings from one side to the other.

To load film into the camera can be a bit tricky because the newer plastic film reels—that is, the circular pieces at each end of a roll that hold the film—can at times be thicker than what was used originally back in the early 1900s, when Kodak would use metal for the reel ends and wood for the film cores, meaning the spools—the cylinder around which the film is wound—would be a bit thinner. When I went to load film for the blog post, I tried a brand I'd never used before. The spool was just a bit too thick and wouldn't fit into the camera easily, and once I did get it in, it was so stiff that the film wouldn't transport across the shutter easily.

 I loaded a new roll by placing the empty spool on the right, then lifting the winding lever and button to fit it. Then I placed the new roll on the left, brought the paper backing over the film plane, and threaded the leader into the empty spool slot. I wound the film until the start arrows appeared, pressed in the camera sides, and swung the back up to lock it.

Since 120 film isn't designed for panoramic cameras, the numbers 2, 6, 10, and 14 appear on the back of my camera. These indicate the frame numbers to stop at for each of the four photos on 120 film. I wound the film to 2 and was ready to take my first shot.

 

My Results:

 The film I loaded into the camera was an older roll of Kodak BW400CN film I purchased at a local camera show a few months ago. One thing about the film is that it needs to be processed in C-41 chemicals, which is a standard color film developing process. For the article, I wasn't sure I'd have enough time to get the film processed. Looking online, people mentioned the film can be processed in B&W (black-and-white) chemicals, so that's what I did. 

 There was a break in the rain on Sunday, so I loaded the film into the camera because the Kentmere I had didn't fit because the spool was too thick. I took the photo and went back to the house to develop the negatives. Maybe I didn't process the film long enough, since the images were extremely thin. I had to do some magic in Photoshop to get the images I have, so my apologies for the poor examples.

 However, I used the camera when I went to Yosemite a few years ago, and the images turned out great, so I'm adding a couple of color images from Yosemite to this blog to show how well the camera performs.

Conclusion:

 I've always been a huge fan of both the Multiscope Al-Vista and the Kodak Panoram camera. It's interesting that I've only owned the Panoram 1 camera and never the 3a or 4 Panoram, but I do have some of the larger Al-Vista cameras.

 The Panoram 1 is a fun camera to use, and the results are surprisingly good. I should have a camera with a smooth shutter. The cameras are compact, use 120 film, and, unfortunately, are becoming increasingly expensive as people learn about them and how much fun they are to use.

 Fortunately, I've had mine for many years, and I also have the camera case, which is a plus. It's just a real gem in my camera, and truthfully, I'm surprised I haven't written about it sooner than I have.

 Thank you for taking a few minutes from your day to read about his wonderful panoramic camera from over 100 years ago.

 Here's a link to my previous Camera Reviews.

 I also have an eBay shop, Cuny's Camera and Photo, where I sell cameras I've reviewed, along with other photo oddities. If you're interested in anything from my store, reach out to me, and I'll offer a discount. Just mention my blog.

 Until next week, please be safe.