Werra Matic

• Type: Werra Matic
• Serial No: 387568
• Manufactured: 01/1960 - 12/1961
• Manufacturer: Carl Zeiss Jena
• Shutter: Prestor RVS (metal leaf shutter)
• Shutter speeds: 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/750 and B
• Lens: Carl Zeiss Jena - Tessar 2.8/50
• Aperture: 2.8 - 22 in half stops
• Lens No: 6119161
• Lens mount: special Werra bayonet with a lens fixing ring
• Last CLA: 06/2010

My first vintage camera made in DDR by Carl Zeiss Jena. It started something in me which led to lots of spendings on junk cameras and scratchy lenses.

The Werra is a fine piece of engineering from the early '50s made by German engineers after coming home from Russian hard labour. (The same engineers who designed the famous Sonnar lens before WWII and later its russian copy called Jupiter. Read the other part of their story here.) Being left out from years of lens research and development, the factory gave them a toy-project: design of a compact camera. In the lens factory. The engineers could easily feel that there was no need for them anymore. With the Werra, they wanted to prove that they were the best optical engineers far and close. And they were, indeed. They produced something unimaginably sophisticated. The applied technical solutions were far ahead from the others and the camera had a really unique and futuristic look. Just compare it with any other camera of that age: the Werra will stand out.

A Werra Matic is one of the most undervalued vintage cameras. It's small but it contains every possible comfort from the coupled light meter (!) and the coupled rangefinder to the interchangeable lenses (it comes with a great Tessar) and flash sync at all speeds. It feels like a sophisticated and reliable precision clock. In fact, it is more sophisticated than anything else in the 50's, including the precision clocks.

It's extremely stable. Shooting is like pressing a microswitch which triggers the clock mechanism. You can hear the fast ticking. Everything is easy to operate. Just one thing to get used to it: there is a ring and a switch button to set the speed, the aperture and to shift. It's a bit tricky for the first time but turns out to be practical when it comes to shooting in a given light condition.

There is no film wind lever or knob, as you probably realized. The film winding and shutter charging is done by turning the leather-covered ring at the lens base clockwise 60 degrees. It's easy, handy and fast, you don't have to take the camera away from your eye. I have to mention the lens cap which can be used as a protective lens cover and a lens shade and as well. Just watch:

The viewfinder is an optical magic. You can see the shutter speed, the aperture, the result of the light metering and the focus setting in an easy-to-overview setup. And it's bright. It's damn bright. It's so bright actually that if it's too dark outside to see the aperture and speed settings on the rings then you don't have to look for your torch - just look into the viewfinder. How on earth can it be brighter than the outside environment, I don't know. But the thing I know is that it was a big help for me taking night pictures.

And the rangefinder, oh my God! The rangefinder is not an ugly pink spot on a blueish image, no. It's a prism inserted in the center of the view, clearly visible even in really low light. Its usability is simply not in the same dimension as the other rangefinders of the 50's.

There is a Werra for everyone - said the ad. The Carl Zeiss Jena factory made it sure with lots of Werra types and accessories.

Models:

• Werra - the original simple viewfinder model with fixed lens
• Werra 1 - simple viewfinder model, fixed lens
• Werra 2 - viewfinder, uncoupled light meter, fixed lens
• Werra 3 - coupled rangefinder, interchangeable lens
• Werra 4 - uncoupled light meter, coupled rangefinder, interchangeable lens
• Werra 5 / Werramatic / Werra Matic - coupled light meter, coupled rangefinder, interchangeable lens
• Werra E Microscope - no viewfinder, no lightmeter, just a body with a Prontor Press shutter and a microscope adapter

Lens selection:

Some fixed lens types came with a built in Novonar but Tessar was the default lens. The interchangeable lens types always came with a Tessar 2.8/50 basic lens. There was a wide angle Flektogon 2.8/35 and a short tele Cardinar 4/100 available. Both lenses could do the trick with the coupled light meter just as good as the little Tessar did: you just put the Cardinar or the Flektogon on the camera, twist the aperture ring back and forth and the magical light meter reads the actual aperture setting mechanically.

Altix IV

• Type: version 2 type B
• Serial No: 130546
• Manufactured: 1952
• Manufacturer: Eho-Altissa, later VEB-Altissa Kamera Werk, Dresden, Germany
• Shutter: Vebur
• Shutter speeds: 1, 1/2, 1/5, 1/10, 1/25, 1/50, 1/100, 1/250
• Lens: Meyer-Optik - Trioplan 1:2.9/50
• Apertures: between 2.9 and 16
• Lens No:1681093
• Lens mount: fixed
• Last CLA: 06/2011

I had bought this camera to have something which I could take with me on my motorbike and I didn’t mind to wreck. It was cheap. It was ugly on the pictures. I didn’t care about the look just wanted something simple and functioning. It cost less than 15 EUR.

Altix IV

As for the functionality, it provides with the bare minimum: small aperture and speed range, separate film winding and shutter cocking, no metering at all, you have to use a separate light meter for the exposition settings and a good guess-o-meter for the distances. Sounds not too handy, right?

Altix IV

The first thing I noticed when I finally got it was how small it was. And how seriously good looking. Far better than on the pictures. It was a real surprise for me.

Altix IV

I took it to the International Seiberer Bergpreis oldtimer race to have an old camera with me. It was sunny so I didn’t have to use my light meter just set f/16 and 1/100. I used range focusing to forecast the distance. Winded the film, cocked the shutter and shot. Modified the distance and shot again. And again and again. I fell in love with it for the first roll.

Altix IV

The rings and knobs are ergonomically designed so the handling feels absolutely natural. The viewfinder is surprisingly bright and useful. The lack of metering gives you speed. You have to calculate and set everything in advance so you won’t miss the right moment of exposition. It turned to be the ideal camera for the oldtimer race. I could shoot 2 or more pictures of a car or a motorcycle taking the curve. Here are some pictures of the first two rolls:

Goggomobil

Racers

Oldtimer race

Oldtimer bus race

And now some words on the Trioplan lens. It has 3 elements. It was designed to be an affordable alternative of the more sophisticated 5 elements lenses. Well, its designer made a terrific job. It renders sharp and clear images. I simply love it.

The small Altix quickly became one of my favorite cameras. It’s so ergonomic that it feels almost like a part of my body. It’s a great performer if you can prepare for the light conditions with the appropriate film speed. However, the absence of a rangefinder makes it very difficult to use if it comes to wider aperture settings.

• Altissa Museum
• Altix on Camerapedia
• Useful Altix tips on Erik Fiss’ site

Kodak Retina IIa

• Type 150
• Serial No: 362056K
• Manufactured: 1939-1941 (yes, right)
• Manufacturer: Kodak
• Shutter: Compur-Rapid
• Shutter No: 6059689
• Speeds: 1, 1/2, 1/5, 1/10, 1/25, 1/50, 1/100, 1/250, 1/500 and B
• Lens: Schneider-Kreuznach - Retina-Xenon f:2.8 F=5cm (uncoated)
• Aperture: between 2.8 and 16 without stops
• Lens No: 1589863
• Lens mount: fixed
• Last CLA: unknown

No, this is not the Retina IIa you think. That was made between 1951 and 1954. This one is a little bit older. It was designed in 1939 and manufactured until 1941 by the Nagel Camerawerk in Stuttgart, Germany under the Kodak brand name. Only 5107 pieces were produced from this type so you can call it a rarity.

Kodak Retina IIa Type 150

The two visual differences you can use to identify it are that this one has film wind knob while the later types have a lever and this one has a depth-of-field scale wheel at the bottom which is missing from the 1951-54 series.

The camera itself is small. It fits in a larger pocket when folded. It’s surprisingly heavy and robust for the small size, feels like something very serious and extremely reliable - and it is. It can provide you with a sufficient range of shutter speeds to 1/500 and an acceptable choice of apertures.

Kodak Retina IIa Type 150

It’s a really old camera, not something from the 50’s so it’s a little bit difficult to use. You have to turn the camera to yourself to be able to set the aperture and shutter speed, for example. Accidentally modifying the settings is easy so be careful and check them before each shot. Your finger can unintentionally turn the shutter speed ring when you cock the shutter.

The rangefinder is coupled and surprisingly usable; a pink spot picture on the blueish image of the viewfinder. In fact it’s far better than the rangefinder of a Super Dollina II or an early Zorki or Fed.

Kodak Retina IIa Type 150

You can find a depth-of-field scale wheel typically Nagel on the bottom of the camera. It can be used to pre-calculate the right distance setting when one decides to go with zone focusing instead of using the rangefinder. Zone focusing is like anything else with this camera: possible but not easy.

Kodak Retina IIa Type 150

The Kodak Retina IIa is a beautiful camera. No doubt about it. The Type 150 is even more. It’s usable but it’s so old that you have to make some compromises despite the good range of f stops and shutter speeds. (I’m willing to make compromises and hardly waiting to put a black & white film into it and go out somewhere.)

Kodak Retina IIa Type 150

There is no coating on the lenses so it’s better to be careful with the light sources. On top of that, the lens is meant to render black and white images. Using a color film it can produce really strange colors. The result is completely unpredictable, sometimes too red, sometimes too blue, sometimes too orange, sometimes dead grey and sometimes ok.

Here are some test shots with more or less realistic colors (a bit yellowish, but just a bit):

Clouds in blue

WYO

Riverbank

Do you want some extra attention for yourself? Get a Retina IIa, put a roll of 35mm film into it and go to take some pictures. This camera is not an ordinary view, especially not in action.

I couldn’t find any manual for this exact type so I had to experiment with it for a while to get to know each other and I found two quirks:

1. There is an interlock which prohibits the camera to fold when the focus ring is not set to infinity. It looks like the folding unlock buttons to be jammed, but if you set the focus to infinity, everything works fine. So don’t force, set the focus to infinity before you close it.
2. There is a switch on the back of the camera behind the film wind knob without an obvious function. It enables the rollback of the film. It’s a unique solution of this type, other types have different mechanisms.

You can read the manuals for the I, II and later IIa types on butkus.org for the rest you need to know on how to use this great camera.

• Kodak Retina chronology
• Retina on Photoethnography

Super Dollina II

• Serial No.: 51385
• Manufacturer: Certo, Dresden, Germany
• Shipping date: 19.6.1957.
• Shutter: Synchro Compur
• Shutter speeds: 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500 and B
• Lens: Carl Zeiss Jena - Tessar 2.8/50
• Apertures: 2.8 to 22 in half stops
• Lens No.: 5026 936
• Lens mount: fixed
• Last CLA: 06/2010

Super Dollina II

"Dear CERTO-friend

Hearty welcome to the occasion of choosing the Super Dollina II, after thorough consideration, therefore becoming a part of the large group of photographers who like the Certo cameras for half a century – and have always been satisfied with them." starts the manual (in my humble translation) and continues "We would like you to enjoy your new camera so we kindly ask your attention for a few minutes before you go and take photographs with your Super Dollina II. This few minutes will contribute to the formulation of a long lasting friendship between you and your camera. With right handling, the Super Dollina II will always be your faithful friend."

This small piece of beauty was manufactured in Dresden, DDR, after the WWII until the early 1970's. It has a Synchro-Compur shutter with speeds from 1 to 1/500 and B. The lens is a Zeiss Tessar 2.8/50mm rendering crystal clear pictures. It has all the technology built in to be a great camera. The main design aspect, however, had to be the look and not the ease of use; the handling needs strong dedication.

The film winding knob, for example, doesn't cock the shutter: it has to be done separately. You have to set the aperture with that ugly peg in the bottom of the lens front which is not only difficult to handle but the scale is almost impossible to read. Focusing is a heroic fight with the coupled rangefinder which is a little dark hole as close to be unusable as possible. Finally, you have to use the viewfinder which is separate from the rangefinder and can be best described as a really bad joke. I haven't mentioned the speed setting which is simply not convenient and has to be re-checked after setting the aperture because aperture setting can easily modify it. All in all, the whole procedure of preparation takes a lot of time, concentration and patience before each shot.

Which has its undeniable charm. Look at it this way: you have to slow down and think your shot over with an impressive old camera in your hand.

Some notes on the positive side before you think I'm against the Super Dollina II. No, I'm not, in fact I love it. This is an eye catching machinery with a very unique, characteristic feeling. Unfolding and folding the lens, for example, is a piece of true joy, it moves so precisely. The folder design makes it compact and easy to carry. It can produce really sharp pictures - thanks to the Zeiss Tessar lens.

Super Dollina II

The Super Dollina II was an obsolete design in its age, using new technology. Therefore it can give you the feeling of an archaic camera without the rust, stuck parts, low quality and restrictions in aperture sizes and shutter speeds typical of the cameras of the 30's and the 40's. It's a true classic beauty which fits into your pocket and won't let you down even in darker light conditions. A must have for today's individual and ascetic vintage camera user.

Super Dollina II

Here are some test pictures taken with it just to prove that I'm ascetic enough. No, I'm joking, it was a real pleasure to take these photos.

Super Dollina II

Super Dollina II

Super Dollina II

Trpanj port

Trpanj port

Traces of the war

Traces of the war

This Tessar lens is sharp like hell as you see. And the colors are living.

All in all, it's a lovely little camera.

• Dollina on Camerapedia
• Certo Super Dollina II Manual translation (PDF)

Zenit 3m

The Good:

• Type: Zenit 3m
• Serial No: 66115890
• Manufactured: 1966
• Manufacturer: KMZ Krasnogorsk
• Shutter: Focal pane curtain (rubberized silk)
• Shutter speeds: B, 1/30, 1/60, 1/125, 1/250, 1/500
• Lens: Helios-44 2/58 alu
• Aperture: 2, 2.8, 4, 5.6, 8, 11, 16
• Lens Serial No: 6059879
• Lens mount: M39
• Last CLA: 02/2012
• Condition: like a new, shiny, every function working perfectly

The Bad and the Ugly:

• Type: Zenit 3m
• Serial No: 66028191
• Manufactured: 1966
• Manufacturer: KMZ Krasnogorsk
• Shutter: Focal pane curtain (rubberized silk)
• Shutter speeds: B, 1/30, 1/60, 1/125, 1/250, 1/500
• Lens: Helios-44 2/58 black
• Aperture: 2, 2.8, 4, 5.6, 8, 11, 16
• Lens Serial No: 6013114
• Lens mount: M39
• Last CLA: 01/2012
• Condition: worn-out, shabby, self timer not working, shutter hectic

An SLR from the Soviet Union with M39 thread mount and rubberized silk courtain shutter. Grandchild of the legendary Leica II. Sounds interesting, eh? It is, indeed.

Small, heavy, charming, Spartan and indestructible. This is how I can describe it the best. But first of all, let's see its origin.

In 1932, the Soviet Union buys the license of the Leica II(D), the famous 35mm Leitz rangefinder camera. Based on the license, they start the production of the FED rangefinder soon enough, in 1934. Then comes the Second Word War. The Felix Edmundovich Dzerzinshky Labour Commune (the FED factory) has to be evacuated during the advancement of the German troops. The Soviet Union decides to restart the mass-production of the Leica copies in the KMZ factory under the brand FED-Zorki in 1948. Later, the FED factory restarts its operation but the KMZ continues to produce the Leica copies under the Zorki name. From that point, the development of the FEDs and Zorkis go on their own separate ways.

After the War, the Soviet Union begins to produce an other German rangefinder camera, the Zeiss Contax, under the Kiev name. No license buying this time; they take the design, the machinery, the parts, materials and even the engineers as war indemnity. But  there is still no Soviet reflex camera; the SLR camera production remains in East Germany.

The large internal market of the Soviet Union needs a cheap and simple SLR camera in mass production. The KMZ factory finds the simplest possible solution: they take a Zorki rangefinder, remove the RF housing and replace it by a plain ground-glass and a prism. They put a mirror below and push forward the M39 Leica thread mount to make room for the mirror housing. This is how the most successful SLR of the Soviet Union is born in 1952.

The early Zorki and Zenit cameras were developed together: the first Zenit model was based on the Zorki 1,  Zenit S was based on the Zorki S (with flash sync).

The Zenit 3 was a separate development from the Zorki line. It had a wind lever and a self timer but the film load mechanism was still the good-old Leica way: you had to remove the bottom of the camera. It had quite high build quality but the production cost was too high so the production was stopped shortly after the introduction of the Zenit 3. The solution for the cost problem was the Zenit 3m. This was the first model with removable back. The letter 'm' meant modern, however the design was outdated from its birth. Just compare it to the German SLR-s of the same age: a Contaflex, a Retina Reflex, an Exakta or a Bessamatic is a high-tech spaceship command center compared to the Zenits.

The Zen art of SLR: the Zenit 3m is small, beautiful and extremely minimalist in functionality. No tricks like instant mirror return, you have to cock the shutter to see trough the lens. No focusing aid of any kind, just the good-old ground glass screen. You have a minimal set of shutter times at your disposal: 500, 250, 125, 60 30 and B. No slow times of course. There is no automated aperture control, just an additional ring on the lens to manually open and close the aperture from wide open to the preset value. Light metering? Come on, you can't be serious.

The camera is robust and it has an indestructible air and it's so imprecise, so rough, so Russian that it can't be compared to anything, maybe only to a tank. A small, pretty tank.

After this description one can imagine that using a Zenit 3m must be a pain but nothing is more far from the truth. Using a Zenit 3m is a pure joy. You hold a small gem in your hand. You don't have to worry if you accidentally knock it to the wall; this would be the problem of the building's owner. There is no technical wizardry to keep your attention away from composing the image. Interestingly, this minimal SLR turns out to be just the right tool in most of the cases. And it's cheap, damn cheap. So cheap that you can easily buy three to have spare in case. 781.678 pieces were made of it so you can't run out of supply.

And the lenses...

You can have an Industar 3.5/50 but don't go for it: it's just a low quality Tessar clone. Buy a camera with the legendary 58mm Helios-44. This lens is a Zeiss Biotar copy, a true pleasure to use. The later type the lens is the better the resolution is.

And there is the legendary Zeiss Flektogon clone, the award-winning 37mm MIR-1 which won the Grand Prix in Brussels in 1958. Sharp like hell. It renders crisp pictures, no matter what.

Last but not least you can have a 135mm Jupiter-11, which was based on the reputable Zeiss Sonnar. Unfortunately, my example has quite bad optical quality but other resources praise it so it's possibly my bad luck.

Don't let the M39 thread mount fool you. The rangefinder lenses from the FEDs and Zorkis (or even  Leica's) can be mounted on the Zenit 3m but they will not be fully functional. The base distance of the Zenit is much larger because of the mirror housing so the RF lenses can be used solely for close shots; you cannot focus them to greater distances.

The Zenit 3m is even able to take quite stunning macro shots. We did a thorough investigation in this matter. You can find the results and the lessons learned at the KIWI project webpage: kiwiproject.tumblr.com

And now let's see those test shots.

The Helios-44 is a good lens. No surprise because it's a Zeiss Biotar copy.

The MIR-1 is basically a Flektogon. And it performs accordingly.

The Jupiter 11 gets unsharp at the edges at maximum aperture:

Nowadays, you have to buy a Lensbaby lens for similar effect. Having a Zenit 3m with the Jupiter 11, you just have to set the aperture to f/4.

But it is sharp at the center when stopped down:

Tip: never ever set shutter speed before cocking the shutter! It can permanently damage the shutter. Remember: it's an old Zorki inside.

• Macro photography with Zenit 3m - is it possible?
• The Zenit story on Wikipedia
• Zenit 3m on Sovietcams.com
• The Zenit story in Hungarian - from György Török
• Zenit 3m review by Stephen Dowling