Zeiss Ikon Ikonta C (521/2) with uncoated Zeiss-Opton Tessar f/3.5 105 mm and Compur Rapid shutter
The camera fitted with an uncoated f/3.5 Zeiss-Opton Tessar and Compur Rapid shutter (1 - 1/400 sec) arrived via ebay in a very good condition with hardly any signs of corrosion or paint chipping and with light tight leather bellows. Even the longer shutter speeds below 1/10 second are not delayed and operate fine.
This camera has a five-pointed star (asterisk) behind its serial number, indicating that it is a pre-war camera on storage sold after the war or was produced in the first years after the war (1945-1949), but made of parts from pre-1945 production. According to its serial number starting with "N", this camera body was produced between 1941 and 1943: camera-wiki.org/wiki/Zeiss_Ikon_serial_numbers
The slightly bluish shining front lens element indicates single coating but seems to be a case of surface oxidation, resulting in natural lens coating. Reportedly, there was a short run of uncoated lenses produced in the newly established West-German Zeiss factory immediately after the war. Zeiss-Opton Tessars produced later were always coated and for indication a red "T" has been engraved into the front cell bezel. According to its serial number, the lens of this camera was produced between 1946 and 1951, presumably already 1946 (see low range number): camera-wiki.org/wiki/Carl_Zeiss_serial_numbers
The Ikonta C (6 x 9 cm format) production line started with the 520/2 model, which again was labeled with its catalog number. The 521/2 model produced from around 1938 until 1952 added a shutter release on the top cover of the body and a double exposure prevention. In the early 1950s, the 523/2 model was launched adding a chrome top plate with an integral viewfinder and an accessory shoe. The 524/2 model produced until 1953 added an uncoupled rangefinder and was also called Ikonta M or Mess-Ikonta. Like the Super Ikontas, the C Ikontas were fitted with either a three elements Novar or a four elements Tessar lens, alternatively with a maximum aperture of 3.5 or 4.5. In contrast to the post-war Ikontas, the pre-war models have uncoated lenses with their focal length given in centimeter (rather than in millimeter) on the front lens engraving. The uncoated pre-war lenses (colorless, not bluish) may flare more strongly and can lead to distorted colors if used with modern color film.
For more Information on uncoated lenses see the excellent article by Andrej G posted by Bellamy under Japan Camera Hunter (JCH): www.japancamerahunter.com/2015/03/film-uncoated-lenses-an...
Pre-war Zeiss Ikon folders require some rethinking with regard to their handling: The shutter release button of the Ikonta C model 521/2 and its successors is on the left (in viewing direction), next to the film winding crank. The button to open the camera is on the right, at the typical shutter button place. The red dot signal next to the shutter release button of the Ikonta 521/2 model indicates that the shutter is ready to fire, whereas a red dot signal for example of my past-war Agfa folders indicates that the double exposure prevention is active and the shutter release is blocked. Furthermore, the tripod sockets of the pre-war cameras have a 3/8 inch mount (rather the current 1/4 inch mount), but adapters are available.
General remarks:
Folding cameras deliver medium format in a truly pocketable form. Their compact size makes them great travel cameras. The basic concept of folders is a flexible structure between camera body and lens so that the camera can be folded up. The bellows as the folding element makes folders compact but is also the weak point of the design by developing light leaks, especially in the folds and the corners. Folders have to be opened by pressing a button on the top plate. Powerful springs release the lens cover and push the lens into working position. As a result of the big negative size, medium format folders give far more resolution than any 35mm camera, along with very smooth images (a huge amount of detail with finer grain and better tonality). The results look very clean and sharp, with a lovely background blur when the aperture is set wide open. Compared to the clinical data of digital sensors, film emulsions deliver more imperfection and therefore appear less sterile. The texture of the grain and the tone of the color produce a certain feel or look, that digital photos lack. High-resolution scans of large negatives deliver an ideal basis for digital picture editing. But you get only between 8 and 16 shots per film roll, depending on the film format.
Using folding cameras requires some care and forces you to make some serious decisions before taking a picture. The shooting procedure is fully manual, which means that all parameters have to be set up by hand: You have to adjust the distance, the aperture, and the exposure time, allowing the time to make sure they are set up correctly. Optimal exposure requires the use of an external exposure meter, which delivers the range of aperture and exposure time combinations available for the given light and personal demands. With their archaic film advance, the uncoupled rangefinder, the front cell focusing, and the lack of an exposure meter, most medium format folding cameras are no point and shoot cameras. But slowing down by carefully adjusting and controlling the decisive photographic parameters increases the amount of satisfying pictures and revaluates each single shot.
But using vintage folding cameras can be highly problematic: Agfa Isolettes, for example, are infamous for the poor plastic material used to make the original bellows. Constant opening and closing over many decades leave tiny pinholes, particularly in the corners. Ikontas and Super Ikontas, however, come with leather bellows, which normally remain light tight for many decades, provided that the camera has been stored carefully. Besides the problems with light leaks, the lubricants used by the camera manufacturers prior to the 1970s or 1980s are another weak point. They often cause frozen or stiff focusing rings and retarding shutters, the latter resulting in strong overexposure. Dust in the shutter mechanism and fungus or haze between the lens elements are further items. For proper function, the lenses and shutters usually must be disassembled, cleaned (sometimes adjusted), and reassembled.
There are only few experts with sufficient know-how. This camera has been checked and sold by Foto Wiesner, Coburg (Germany).
Some valuable tips for using vintage folding cameras have been listed here: www.petrakla.com/pages/folding-camera-tips
Zeiss Ikon Ikonta C (521/2) with uncoated Zeiss-Opton Tessar f/3.5 105 mm and Compur Rapid shutter
The camera fitted with an uncoated f/3.5 Zeiss-Opton Tessar and Compur Rapid shutter (1 - 1/400 sec) arrived via ebay in a very good condition with hardly any signs of corrosion or paint chipping and with light tight leather bellows. Even the longer shutter speeds below 1/10 second are not delayed and operate fine.
This camera has a five-pointed star (asterisk) behind its serial number, indicating that it is a pre-war camera on storage sold after the war or was produced in the first years after the war (1945-1949), but made of parts from pre-1945 production. According to its serial number starting with "N", this camera body was produced between 1941 and 1943: camera-wiki.org/wiki/Zeiss_Ikon_serial_numbers
The slightly bluish shining front lens element indicates single coating but seems to be a case of surface oxidation, resulting in natural lens coating. Reportedly, there was a short run of uncoated lenses produced in the newly established West-German Zeiss factory immediately after the war. Zeiss-Opton Tessars produced later were always coated and for indication a red "T" has been engraved into the front cell bezel. According to its serial number, the lens of this camera was produced between 1946 and 1951, presumably already 1946 (see low range number): camera-wiki.org/wiki/Carl_Zeiss_serial_numbers
The Ikonta C (6 x 9 cm format) production line started with the 520/2 model, which again was labeled with its catalog number. The 521/2 model produced from around 1938 until 1952 added a shutter release on the top cover of the body and a double exposure prevention. In the early 1950s, the 523/2 model was launched adding a chrome top plate with an integral viewfinder and an accessory shoe. The 524/2 model produced until 1953 added an uncoupled rangefinder and was also called Ikonta M or Mess-Ikonta. Like the Super Ikontas, the C Ikontas were fitted with either a three elements Novar or a four elements Tessar lens, alternatively with a maximum aperture of 3.5 or 4.5. In contrast to the post-war Ikontas, the pre-war models have uncoated lenses with their focal length given in centimeter (rather than in millimeter) on the front lens engraving. The uncoated pre-war lenses (colorless, not bluish) may flare more strongly and can lead to distorted colors if used with modern color film.
For more Information on uncoated lenses see the excellent article by Andrej G posted by Bellamy under Japan Camera Hunter (JCH): www.japancamerahunter.com/2015/03/film-uncoated-lenses-an...
Pre-war Zeiss Ikon folders require some rethinking with regard to their handling: The shutter release button of the Ikonta C model 521/2 and its successors is on the left (in viewing direction), next to the film winding crank. The button to open the camera is on the right, at the typical shutter button place. The red dot signal next to the shutter release button of the Ikonta 521/2 model indicates that the shutter is ready to fire, whereas a red dot signal for example of my past-war Agfa folders indicates that the double exposure prevention is active and the shutter release is blocked. Furthermore, the tripod sockets of the pre-war cameras have a 3/8 inch mount (rather the current 1/4 inch mount), but adapters are available.
General remarks:
Folding cameras deliver medium format in a truly pocketable form. Their compact size makes them great travel cameras. The basic concept of folders is a flexible structure between camera body and lens so that the camera can be folded up. The bellows as the folding element makes folders compact but is also the weak point of the design by developing light leaks, especially in the folds and the corners. Folders have to be opened by pressing a button on the top plate. Powerful springs release the lens cover and push the lens into working position. As a result of the big negative size, medium format folders give far more resolution than any 35mm camera, along with very smooth images (a huge amount of detail with finer grain and better tonality). The results look very clean and sharp, with a lovely background blur when the aperture is set wide open. Compared to the clinical data of digital sensors, film emulsions deliver more imperfection and therefore appear less sterile. The texture of the grain and the tone of the color produce a certain feel or look, that digital photos lack. High-resolution scans of large negatives deliver an ideal basis for digital picture editing. But you get only between 8 and 16 shots per film roll, depending on the film format.
Using folding cameras requires some care and forces you to make some serious decisions before taking a picture. The shooting procedure is fully manual, which means that all parameters have to be set up by hand: You have to adjust the distance, the aperture, and the exposure time, allowing the time to make sure they are set up correctly. Optimal exposure requires the use of an external exposure meter, which delivers the range of aperture and exposure time combinations available for the given light and personal demands. With their archaic film advance, the uncoupled rangefinder, the front cell focusing, and the lack of an exposure meter, most medium format folding cameras are no point and shoot cameras. But slowing down by carefully adjusting and controlling the decisive photographic parameters increases the amount of satisfying pictures and revaluates each single shot.
But using vintage folding cameras can be highly problematic: Agfa Isolettes, for example, are infamous for the poor plastic material used to make the original bellows. Constant opening and closing over many decades leave tiny pinholes, particularly in the corners. Ikontas and Super Ikontas, however, come with leather bellows, which normally remain light tight for many decades, provided that the camera has been stored carefully. Besides the problems with light leaks, the lubricants used by the camera manufacturers prior to the 1970s or 1980s are another weak point. They often cause frozen or stiff focusing rings and retarding shutters, the latter resulting in strong overexposure. Dust in the shutter mechanism and fungus or haze between the lens elements are further items. For proper function, the lenses and shutters usually must be disassembled, cleaned (sometimes adjusted), and reassembled.
There are only few experts with sufficient know-how. This camera has been checked and sold by Foto Wiesner, Coburg (Germany).
Some valuable tips for using vintage folding cameras have been listed here: www.petrakla.com/pages/folding-camera-tips