Review Carl-Zeiss Jena Werra 2a (2nd generation)

Published by Hubregt Visser on

35mm viewfinder camera, 1961

Browsing through the contents of an online camera auction house, I came across a Werra camera. This 1950s-1960s  viewfinder camera comes from the former German Democratic Republic (East Germany). It was new for me and it’s peculiar – though quite appealing – appearance grabbed my attention. On a local digital marketplace, I then found a Werra 2 for a (for me) acceptable price. Now this little piece of genius early-postwar German engineering is mine.

A bit of history

The first thing that stands out is that this camera is made by Carl Zeiss Jena, a lens manufacturer. A lens manufacturer making a camera needs a bit of explaining and has all to do with the end of the second World War.

Before the war

Before the war, the Dresden area in Germany was the centre of international camera development and manufacturing. Many of the important companies in this area merged in 1926 into the Zeiss Ikon AG (joint-stock company). This merge was on initiative of the Zeiss foundation that already owned ICA, one of the merging companies.  The Carl Zeiss lens company was based in Jena, about 175 km west of Dresden.

Iconic cameras stem from the Dresden area, like the Zeiss-Ikon Contax combined viewfinder-rangefinder camera (competitor of the Leica camera) and the Ihagee Kine Exakta, the first 35mm single lens reflex camera.

Immediately after the war

Between 13 and 15 February 1945, four raids of joint British and American aerial bombing destroyed more than 6.5 square kilometres of the city centre of Dresden. This bombing was of course a blow to the camera manufacturing industry; it destroyed about 25% percent of the Dresden industry.

A second blow followed with the Russian occupation after the war. That started in August of 1945, with the dismantling of the remains of the Contax production line in Dresden and shipping to Kiev in Ukrain, then part of the USSR. A Contax production line also existed at Carl Zeiss Jena immediately after the war. After a short production run this line was also dismantled and shipped to Kiev. This all as a reparation for the war. Also the technicians involved in the Contax production were deported with the machines to Kiev. There, Contax production was continued. First with remaining spare parts from Germany and later with locally made components, resulting in the Kiev 4A Contax copy.

Later after the war

At the beginning of the 1950s, deported German technicians, having trained Ukrainian and Russian technicians in Kiev and no longer needed, returned to Jena. There, they found a company that had no work for them. Work was created for them by the demand to design and produce a cheap amateur camera. That camera became the Werra. The Werra name stems from the river running trough the town of Eisfeld were production was planned to take place. The original Werra had a fixed triplet lens and no light meter or rangefinder. Later, in several models, the Werra got a four-element Tessar and a light meter as well as a rangefinder. The different models underwent several updates during the production time of the Werra cameras, spanning from 1954 to 1968. Here, we have a Werra 2a, second generation, from 1961.

Werra 2a characteristics

The Werra is a 35mm viewfinder camera in a Bauhaus-like style: minimalistic and functional. On top of the camera is a shutter. All other controls concentrate at the lens and at the bottom. To transport the film  and  to cock the shutter, you will rotate/twist the base of the lens. The Werra 2a has an uncoupled selenium light meter and a lens with mechanically coupled aperture and shutter speed. The lens cover doubles as a lens shade.

Next follows a list of all the camera characteristics:

  • Produced 1954-1968, Carl Zeiss Jena, former GDR
  • Type Viewfinder
  • Film type 135 (35 mm)
  • Negative size 24 mm x 36 mm
  • Dimensions 115 mm x 85 mm x 85 mm (with lens cover, 115 mm x 85 mm x 75 mm without)
  • Weight 607 g (with lens cover, 568 g without)
  • Lens mount none (fixed lens)
  • Lens Tessar (T) 50mm f/2.8
  • Focal range 0.8 m to infinity
  • Filter size 5 x 0.5 mm threaded
  • Shutter Prestor RVS (central metal leaf shutter)
  • Shutter speeds B, 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/750 s
  • Aperture values f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22
  • Viewfinder Optical viewfinder with parallax markers
  • Exposure meter selenium
  • Self-timer
  • Accessory shoe (cold)
  • PC sync flash contact M (flash bulbs) and X (electronic flash)

Operation and dials

The main characteristics of the Werra cameras are the film transport and cocking of the shutter. Both occur with a single twist of the base of the lens. The direction is clockwise looking at the front of the camera. The transport-and-cocking ring bounces back after twisting.

Camera top

The shutter button is on the top of the camera, flush with the housing. In this shutter button, a thread is available for a cable release.

On the top we will also find an accessory shoe (cold) and the exposure meter readout. The selenium cell of this exposure meter is visible on the front right, closed off with a cover with an array of holes in it.  Pressing the hinge on the outside of the camera will open up the cover exposing the selenium cell in full.

Before explaining the use of the uncoupled exposure meter, i.e., the way of transferring the readout value to shutter speed and aperture value, we will first need to set the film sensitivity.

Lens bottom

We will set the film sensitivity in ASA (American Standard Association) or DIN (Deutsche Industrie Norm),  at the bottom of the lens.

This will be easy since ASA values are equal to the nowadays used ISO (International Standard Organisation) values. We will come back to the rest of the dials found at the bottom of the camera after explaining the use of the exposure meter.

Exposure reading

Peferably, we will use the exposure meter with the cover closed. That is what the manual calls favourable light conditions. If, with sufficient light (like outsight during a sunny day), we do see the exposure meter deflect, we need to notice the aperture value indicated. Next, we need to transfer this value to the settings on the lens for aperture and shutter speed. These two values are mechanically coupled.

As a test, I took out the camera on a dark December day. I set the sensitivity to ISO (ASA) 400. The meter did not deflect with the cover down, so I lifted the cover and read a value of f/16. See the photograph below.

Now, going to the lens, on the middle ring – showing the f-values – I pressed the coupling switch and turned the ring to align the 16-value with the left vertical marking. Had I been able to read the exposure meter with the lid closed, I should have aligned with the right vertical marking.

Exposure setting

Now, having made this alignment, I will not touch the coupling switch anymore. Turning the ‘f-ring’ gives all possible aperture values and shutter times yielding the right exposure. In the example above, we see that the camera is set (red mark) for an aperture value between f/5.6 and f/8 and a shutter time of 1/125 seconds. The shutter time is indicated on the bottom ring, where 125 means 1/125 s. Likewise, the aperture indication 8 means f/8.

The shutter is a Preston RVS shutter. I cannot find an explanation for the abbreviation RVS. But, I know that shutters that had to be cocked manually did get the designation ‘S’, from the German Spannen (cocking). So, my guess is that RVS stands for Rotierender Verschluss S, which translates to rotating shutter S.

In the right picture shown below, I have turned the f-ring to the position for an aperture f/16.  We do see a shutter time between 1/15 and 1/30 seconds. We also know that for every increase in f-value (a stop), the shutter time should be halved (a stop) to get the same amount of light on the film. So, we see how all f-values and shutter times on both rings form combinations that give the same amount of light. By turning the f-ring, we set the desired combination at the red mark. f/8 with a shutter speed between 1/60 and 1/125 s (left photograph) is equivalent to f/16 with a shutter speed between 1/15  and 1/30 s (right photograph) and so on.  

It shows that a fast shutter speed will require a large aperture opening (small f-number value) and a small aperture opening (large f-number value) will require a slow shutter speed.

Depth of field

We alo require a small aperture opening for creating a large depth area in focus in the picture. This in-focus area is called the depth of field (dof). We can read this dof from the scale at the front ring of the lens. With this front ring we set the distance of the subject we want to photograph. This distance is measured – or more likely – guessed. The distance is set against the red triangle. In the pictures above I have set the distance to infinity (in practice, everything further away than, say, 15 m).

The numbers on both sides of the red triangle are f-values and form a depth of field (dof) scale. In the left photograph above, the f-value is 8. Then, from the dof-scale we read that everything from a distance of 6 m to infinity will be in focus. In the right photograph the f-value is 16. Now we read from the dof-scale that everything from 3 m to infinity will be in focus.

The shutter speeds larger than 1 second, indicated in red on the left of B on the shutter speed ring, are merely there as a reminder. The shutter is in B(ulb) position for all these ‘red’ values and timing must be done manually.

Finally, as a test to see if the selenium exposure meter is still functioning properly (the cells are known to deteriorate under the influence of light) I have measured the light with a handheld meter.

The meter shows that for ISO 400, a f-value of 16 corresponds to a shutter time between 1/15 and 1/30 s. So, after more than 60 years, the exposure meter is still functioning correctly.

Viewfinder

The viewfinder is straight forward, giving a small view reduction. In the viewfinder, we see clear parallax markings. Rotating the knurled ring on the viewing side provides a diopter adjustment.

.

Camera bottom

If we move to the bottom of the camera, we see a flash synchronization switch on the lens base. The flash synchronization connection is a Prontor/Compur  (PC) one and is found on the right side of the camera. For using flash bulbs, we put the switch into the M-position ,for using an electronic flash, we choose the X-position. The flash synchronization switch also serves for activating the self-timer. Therefore, we shift the switch to the V-position. My guess is that V stands for Verzögerung, the German word for delay.

In the middle of the bottom is a knob for closing (●) or opening (C) the camera, or for rewinding (R) the film. In the centre of that knob is a 3/8 inch thread tripod socket. To the left is a rewind knob with foldout handle and to the right is an additive frame counter. The user needs to manually reset this counter upon loading a new film.

Opening the camera

If we open the camera, the whole backside with bottom comes off.

The camera accepts standard 35 mm cassettes on the right and spools from right to left. The pressure plate in the back and the diagonal grooves in the film rails ensure that the film is kept flat in the focal plane.

All in all, this is a well-designed, high quality and certainly good looking camera. What remains to be found out is how well it performs in practice.

Werra 2 user experience

I loaded up my Werra 2 with a short roll of bulk Ilford FP4+, my favorite film, which was quite easy and set out for shooting some urban landscapes.

With its weight of over 0.6 kg, the camera feels comfortable in the hand. The right index finger falls naturally over the shutter button. The viewfinder is bright with well visible parallax marks. Measuring exposure and setting aperture and shutter time is easy.

I did miss a means of focusing though. I don’t feel comfortable with guessing distance. Therefore, I stuck to small aperture values to increase the dof and thus avoid blurry pictures.

The lens cap is another thing I don’t like in practice. First, you’ll have to screw off the end cap and keep it somewhere. Then you’ll have to screw off the lens cap itself and reversely screw it back on. The cap is made of plastic and I was very worried about cracking the cap by wrongly attaching it to the thread. I’ve seen Werra’s on ebay were this has happened and it’s not a pretty sight.

In putting on the shade as a cap again you’ll have to be careful not tightening it too much since that will result in advancing the film and cocking the shutter. 

A few pictures I took are shown next. I’m pleased with the results; the Tessar performs well.

Office building at the High Tech Campus, Eindhoven, The Netherlands

Walk way at the High Tech Campus, Eindhoven, The Netherlands

High Tech Campus, Eindhoven, The Netherlands

Lake at Hanenvoet Park, Eindhoven, The Netherlands

Bridge at Hanenvoet Park, Eindhoven, The Netherlands

Conclusion

The Werra 2 is a nice little camera. The camera is good to look at, the design is certainly different. The construction of the Werra is good, although I would have felt more comfortable with a metal lens cap / shade.

The Tessar lens performs well stopped down, but a lack of proper focusing has prevented me using the lens at larger apertures. I guess that a Werra 3 with rangefinder will be better suited for me.

The film advancing and shutter cocking is different. It works, but – for me – it brings no extra value in the field. The exposure meter amazingly still functions well after more than 60 years. The mechanically coupled aperture and shutter speed, which was customary in the 1960s (also the Zeiss Ikon Contarex and the Kodak Retina Reflex used this concept), takes some time to get used to, but is actually quite handy. The frame counter works but is very difficult to read. I guess that originally a dot of white paint was on it that has got lost over the years.

Next to being made of plastic, I find the handling of the two-part lens cap / shade  quite cumbersome.

So, in the end I have to conclude that I liked experimenting with this camera, that I certainly appreciate its looks, but that, most likely, I will not be using this camera on a regular basis. I have many other cameras that are more satisfying to use and that are good lookers as well.

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Review Arsenal Kiev 4

35 mm Rangefinder Camera, 1978

The history of the Arsenal Kiev 4(A) camera is closely related to the history of the Zeiss Contax II camera.

The Zeiss Contax II was introduced in 1936 in Jena, Germany. It was the first rangefinder camera that combined rangefinder and viewfinder images in a single window. It competed with the Leitz Leica 35 mm cameras. .

The Contax II combines all shutter speeds (B, 1 to 1/1250 s) in one dial, where Leica uses two dials. The Contax II uses a backloading film procedure where Leica uses bottom loading. 

Immediately after World War II, the FSU moved equipment and technicians from the Zeiss factories in Jena and Dresden, Germany to the Arsenal factory in Kiev, Ukraine as a form of war reparation. There they ‘continued’ the Contax II manufacturing. First with parts from Germany, later with locally produced parts. The Kiev 4 (with exposure meter) and Kiev 4A (without) have a synchronized flash and some minor cosmetic differences with respect to the the earlier models. They were in production from the 1950s until the 1980s. For a complete review of the Arsenal Kiev 4, see my post on the Kosmofoto website.

My experience

I have acquired a well-cared for 1978 Kiev 4 camera and it was love at first sight. The camera looks good, feels good and – apart from changing the aperture after focusing – handles really well. The broad rangefinder base, combined with the on-body focusing wheel leads to a very accurate focusing. The viewfinder is clear and the superimposed rangefinder patch is very good to see. The Jupiter 8M 50 mm f/2 is a beautiful lens, giving sharp and contrasty images.

The standard ever-ready case proves to work in practice, giving protection while not hindering camera operation.

The exposure meter is still spot on and the calculator works well for decently illuminated scenes. For dimly lit scenes the calculator fails to deliver shutter speed and aperture settings and a hand meter needs to be used.

Since I’m in favor of using a hand meter anyway, I’m on the lookout now for a Kiev 4A model (the one without an exposure meter). Also, because I think that that model looks even cooler than the Kiev 4.

A few sample pictures

Glass

Water

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Review KMZ Zenit EM

35 mm Single Lens reflex (SLR) Camera, 1979

The Zenit line of SLR cameras comes from the Russian mechanical factory of Krasnogorsk near Moscow. The official factory name is Krasnogorski Mekhanicheskii Zavod (KMZ). The Zenit SLR is an evolution from the Zorki rangefinder camera.  That rangefinder was a copy and further evolution of the German Leica ii camera. The SLR creation involves removing the Zorki rangefinder optics  from the top and placing a ground glass  instead. For a full KMZ Zenit EM review please see my post on the Kosmofoto website.

My experience

A Zenit EM at introduction in 1972 did cost about a sixth or a fifth month’s wage. For comparison, a Nikon F at introduction costed more than a month’s wage in the 1960s. That made this camera affordable for a large group of amateur photographers. I believe that for many people in the UK this has been their first SLR camera.

I think that the Zenit EM is a good, albeit a bit limited, camera that has been a very good value for money. It is heavy, has a limited number of shutter speeds, has a large film transport swing, a bit awkward shutter release button placement and the focusing is extremely basic. But the camera is also very maintenance friendly and made of robust parts. So, when correctly assembled and regularly maintained, this is definitely a good camera. I believe that the UK importer reassembled every SLR or at least checked every SLR before selling. 

 I’m not impressed with the Olympic Games logo on this camera. It seems artificial to me. It would never be an argument for me to pay more for a camera.

Although the camera is good and although I enjoyed shooting with it, I don’t think this will become a regular shooter. The reason is that it does not arouse emotions with me, like a Zorki 1,  4 or a Kiev 4A does. There is nothing rational about this. It is just me. For someone else it will probably be completely different.

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Review Ihagee EXA

35 mm Single lens Reflex (SLR) Camera, 1956

You love them or you hate them: The Exakta and the entry-level Exa 35 mm Single Lens Reflex (SLR) cameras. They are special, or at least different with their trapezoidal shape and left-front positioned shutter button. The Exa is even more special, with its special shutter and its gear-shift shutter speed selector.

 I was intrigued when reading about the clam-shell shutter mechanism and that made me search for one. To reduce costs, the mirror double functions as a first shutter curtain, followed by a rotating plate that acts as a second curtain. I think this is brilliant. The price paid for this design though is a limited maximumshutter speed of 1/150 s.

The History

Johan Steenbergen

The Dutchman Johan Steenbergen was destined to take over his father’s business in trading cloth and clothing, but he was more interested in photography. After his father’s death, he closed the business and moved to Dresden, Germany. That was in the beginning of the 20th century. Dresden was then the center of photography development and production. He started as an apprentice for H. Ernemann KG. That was one of the founding companies of Zeiss Ikon AG in 1926, that became VEB Pentacon Dresden after the second World War.

The founding of Ihagee

 In 1912 he founded his own company: Industrie- und Handelsgesellschaft mbH Kamerafabrik mit Kraftfabrik, that was shorted to Ihagee Kamerawerk GmbH (Ihagee Camera Factory Ltd.). Ihagee is the German pronunciation of the abbreviation IHG.

Ihagee started making plate cameras and later also made roll-film cameras. The company made name with the 1921 Plan-Paff-Reflex 4.5 cm x 6 cm camera and the 1924 Patent-Klapp-Reflex 6.5 cm x 9 cm camera.

The best known camera of Ihagee, however, is the 1936 Kine Exakta, the first 35 mm Single Lens Reflex (SLR) camera. This camera was made by Karl Nüchterlein and shows the well-known trapezoidal form. Furthermore, it shows a left-frontal-placed shutter button and has a rubber-coated cloth, horizontal traveling, focal plane shutter with shutter speeds up to 1/1000 s. One explanation for the left-placed shutter is that the in-general dominant right hand should be used for focusing the lens. Another explanation is that Nüchterlein was left-handed. Nüchterlein was later, during the war, drafted and went missing in action.

After the second World War

In 1940, the Nazi regime in Germany shortly interned Steenbergen and his Jewish wife Elizabeth Nussbaum. The nazis confiscated their property and in 1941 the two – thanks to his wife’s status as an American citizen – were able to flee Germany. Steenbergen did not succeed to regain his company after the war.

When the war was over, Ihagee started again from the ruins of Dresden after the 1945 aerial bombing. Based on the work of Nüchterlein, Ihagee took the first 35 mm SLR with replaceable viewfinders into production in 1950: the Exakta Varex. They produced the Exakta Varex till 1967 and followed with the Exakta VX 1000 and VX 500. These two cameras were produced from 1967 till 1972. In Parallel with the Exakta Varex models, Ihagee introduced an entry level SLR, i.e., a simpler, cheaper version of the Exakta. That was the Exa. The production of the Exa ran from 1950 to 1987. Partly in parallel, the production of the Exa II ran from 1960 to 1969. From 1970 onwards the production was under control of VEB Pentacon Dresden.

The Exa was marketed as ‘cheap and easy to control. Perfect for mother!’ That way of advertising was not uncommon in the 1950s. Even in the 1970s Nikon advertised its EM model as ‘a small, cute, easy to use SLR camera for women.’ In practice, people already owning and Exakta often bought the Exa as a backup camera.

The Camera

The Exa is a non-instant-return mirror SLR camera. It came standard with a waist level viewer, but that waist level viewer can be easily swapped with a (pentaprism) eyelevel viewfinder, just like for the Exakta cameras, see the picture below. Also, the lens mount is identical to that of the Exakta and allows the exchange of lenses. The Exa is just like the Exakta, but – due to the cheaper shutter design – only limited in shutter times.

All the camera characteristics are in the list below:

  • Produced 1950-1987, Ihagee Dresden, former German Democratic Republic (GDR)
  • Type (non-instant-return mirror) Single Lens Reflex (SLR)
  • Film type 135 (35 mm)
  • Negative size 24 mm x 36 mm
  • Dimensions 130 mm x 90 mm x 50 mm (body only, collapsed viewfinder, 130 mm x 120 mm x 85 mm with lens)
  • Weight 589 g (body only, 746 g with lens)
  • Lens mount Exakta bayonet
  • Lens Exacta, here: Aus Jena, T 1:2,8 f=50
  • Focal range na (for Aus Jena, T 1:2,8 f=50: 0.50m to infinity)
  • Filter size na (for Aus Jena, T 1:2,8 f=50: 49 mm)
  • Shutter vertically travelling, clam shell shutter, the mirror acting as one of the ‘curtains’
  • Shutter speeds B, 1/52, 1/50, 1/100, 1/150 s
  • Aperture values na (for Aus Jena, T 1:2,8 f=50: f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22)
  • Viewfinder waist level finder, exchangeable for (metered) pentaprism finder
  • Exposure meter na
  • Self-timer na
  • Accessory shoe na
  • PC sync flash contact F(M) for bulbs and X for electronic flash
  • Frame counter additive, manual reset

Operation and Dials

All the camera dials of the Exa, with the exception of the shutter release button,are on the top plate.

Top plate

The film rewind knob is on the far left of the top plate.  When rewinding the film, we need to simultaneously depress the rewind button that is on the right. (The little latch that is at the right bottom of this button is pulled backwards and forwards after finishing rewinding). Also on the left, next to the viewfinder, is the shutter speed selector with the limited number of shutter speeds. To the right of the viewfinder is the frame counter, with above it the manual reset dial and to the far right we will find the film advance knob.

Camera front

On the front of the camera, we find, on the left – looking towards the front – two flash synchronization Prontor/Compur (PC) connectors. On the right we find the shutter release button and – a very nice detail, I think – a removable cap protector. This protector, when slid over the shutter release button, prevents an accidental firing of the shutter.

Aperture release functionality

This camera does not have an automatic aperture release function. But, the lens is providing that functionality. The shown lens has a protruding knob that functions as an extension of the Exa’s shutter knob. It also provides this aperture release functionality. After we set the aperture  on the lens, the aperture remains full open to aid in providing a bright viewfinder screen. When we push the protruding knob, we will first  activate the aperture and then release the shutter. When we push this knob halfway, it functions as a depth of field knob. The aperture is set then, but the shutter is not released yet. That automatically brings us to the viewfinder.

Viewfinder

Pushing the button on the back of the folded-up waist-level viewfinder unfolds the viewfinder and shows the image on the ground glass. That ground glass image is top-down correct. Left and right of the image, however, are interchanged. The aperture of the lens is full-open, despite what value is set. This helps in keeping the mage as bright as possible.

Pop-up magnifier

The first 35 mm SLR camera (the Kine Exakta) came with a waist level viewfinder. These viewfinders were common then in mid-format cameras, like the Ihagee Patent-Klapp-Reflex camera and the Franke & Heidecke Rolleiflex Twin-Lens-Reflex (TLR) camera. Like in the mid-format cameras, 35 mm waist level finders often are equipped with a small (circular) pop-up magnifying lens. Looking from close distance through this lens, a part of the viewfinder is magnified to aid in focusing. The pop-up magnifying lens in the waist-level viewfinder of the Exa is large and rectangular and covers the compete viewfinder field.

Sports-finder

We can also modify the viewfinder to become a so-called ‘sports finder’, i.e. a combination of a small rectangular frame at the eye-side with a larger rectangular frame at the object-side. Thereto, we will pop up the magnifying lens and open the metal window in front of the waist-level viewfinder.

Camera Bottom and Side

The bottom of the camera only reveals a 3/8 inch threaded tripod socket. The left side (looking at the back of the camera) shows the latch for opening the camera backside. The backside is hinged on the right side. We can take out te inner part of the hinge  to completely remove the backside.

The camera takes a standard 35 mm cassette film. We insert the cassette on the left and spool the film to the right. We can take out the take-up spool. The reason for this is that we can use a second cassette to take up the film. A rewinding is not necessary then. We pay for this option by the loss of two additional frames that could have been shot when the film was rewinded.

User Experience

Waist-level finder

Upon loading the Exa with a short roll of (bulk) Fomapan 100 film, I intended to swap the waist-level viewfinder with an Exakta eyelevel pentaprism viewfinder. Composing at waist-level with a 35 mm camera is doable, but I find the focusing impossible with the small image and my experience with magnifying glasses for waist-level finders is not very positive. But then I discovered the large magnifying lens of the Exa waist-level finder. When brought to the eye, this lens magnifies the whole viewfinder image and I find that an enormous improvement over the partial-magnifying ones. So, I set out with the Exa with waist-level finder.

Shutter speeds

The limited range of shutter speeds, with a fastest one being1/250 s made me worry a bit about my choice for an ISO 100 film. It might force me to use rather small apertures.

Handling

The camera feels and handles well, but – for me – tends to be a bit on the small side for waist-level use. I think that this camera feels better when used with an eyelevel finder. The build quality is good, but the materials used are not as good as for example those in the Contax and Pentacon SLR cameras from the same era and area. The metal plates appear to be a bit thin.

The sequential aperture activation and shutter release through the lens plunger is something I need to get used to. A few times I thought that the shutter was hung up, judging from the viewfinder going black. It turned out that I had not released the shutter yet, but had only activated the aperture. It is difficult to tell in the field – based on hearing – when the shutter is released. The Exa is very quiet. Popular Photography of December 1963 described the camera as the “quietest SLR around.” The left-handed shutter release was not really a problem for me when operated at the waist. On eyelevel though (using the magnifying lens) I tended to use my left hand for focusing – as with any other SLR – and that left the side of the left thumb for releasing the shutter. Doable, but awkward.

With the waist-lever viewfinder sides folded, the camera is very compact for a SLR.

The pictures I have taken are shown below:

Philips building at High Tech Campus Eindhoven, The Netherlands

Office building at High Tech Campus Eindhoven, The Netherlands

Table light

Flowers

The pictures show, that even with the limited set of shutter speeds, it is possible – using an ISO 100 film – to use a wide range of aperture values.

Conclusion

The 1956 Ihagee Exa is a camera that stands out due to its heritage and due to being different. It stems from the first 35 mm SLR camera, the 1936 Ihagee Kine Exakta. It is different due to the typical Ihagee trapezoidal form, the nice calligraphed lettering, the genius but limited-speed clam shell shutter and above all, the left-handed shutter operation.

You love it or you hate it. Something in between does not seem to be possible. I love it, even though I find the left-hand shutter operation a bit difficult – but not impossible – to deal with. The shutter design in which the mirror operates as the opening curtain is brilliant, but limits the shutter speed to a fastest value of 1/150 s. But, this does not necessarily be problematic, even when using ISO 100 film. I was able to use the complete aperture range at ISO100. So, this shutter design for creating an entry-level Exakta camera works out fine as far as I’m concerned.

The camera comes standard with a waist-level viewfinder, but that can be replaced with an (Exakta) eye-level pentaprism viewfinder. The pop-up magnifying lens that comes with the waist-level viewfinder is a large, rectangular one that magnifies the complete viewfinder image. I find this a delight and I wonder why this concept has not been followed by other camera manufacturers.

The build quality is good, but the metals used appear a bit thin to my taste. The Contax and Pentacon cameras, stemming from the same era and area do feel more solid. But the fact that this Exa specimen has survived for more than 60 years and still is completely functional must mean that the materials are OK.  I think that I will use this camera more often.