Zeca Goldi/
   Rodenstock Ysella
Merkel Metharette
Meyer Megor
Rodenstock Rodinett
Welta Gucki
Rodenstock Citonette/
   Welta Perle
Welta Trio
Welta 9x12 plate camera
Welta Perfekta
Welta Welti
Welta Weltini
Certo Super Dollina II
Certo Durata
Certo Six
Franka Solida IIIE
Franka Solida II-L
Franka Rolfix IIE
Dacora Royal


Folding cameras

Here are the various folding cameras in my collection (not including Kodak Retinas and Agfa Karats that have their own pages).

Other types of cameras can be found elsewhere:
TLR cameras
focal plane shutters
SLR cameras

Zeca Goldi

Zeh is a relatively unknown pre-WWII camera maker from Dresden (the home of Zeiss, Altissa and Certo amongst others), but the Zeca cameras had a reputation of being well-build and engineered. The Zeca Goldi was no exception, it was a folding camera for 127 film with an extremely sturdy scissor-strut construction, later also used on the Zecaflex, Zeh's top of the range folding TLR camera. Supporting its good reputation was the fact that the Goldi was one of the few cameras that were sold with Leitz Elmar lenses, the only other ones I can think of were the Nagel Pupille and the Nagel/Kodak Vollenda. However, the latter two had unit focussing mechanisms, whereas the Elmar on the Goldi was a front cell focussing variant. So this may have been the only front cell focussing Elmar that Leitz produced, but let me know if I am wrong.

Zeh Goldi Elmar (3x4) photo

A 3x4 format Zeca Goldi with Leitz Elmar 50mm f/3.5 lens in Compur shutter from around 1934.

Same 3x4 format Zeca Goldi in upright position.

Zeh Goldi Elmar (3x4) photo

The Goldi was rebranded under several names, the Rodenstock Ysella is the most well known, but also as Coloprint, Imperial and Ralikona. Nearly all Goldi's were halfframe 3x4 cameras, but I happened to stumble upon a rare 6x4 version as well (which I only realised after receiving it!).

Zeh Goldi (6x4) photo

A 6x4 format Zeca Goldi with C. Friedriech Munchen Corygon-Anastigmat 75mm f/3.5 lens in Compur shutter from around 1933. This is an unmarked example, i.e., missing the Zeh Goldi name, so perhaps it was sold originally under a different name. It is the only image of a 6x4 Goldi variant I have been able to find on the internet, although their existence has been mentioned on a few forum posts.

The very stable strut system (often the bane of folding cameras) can be folded simply by pushing down on two small levers, keeping the lens board parallel at all times.

Zeh Goldi photo

Ironically, not long after coming into possession of the non-branded 6x4 Goldi, a real one come along. Here they are all shown side by side, clearly showing the difference in size. Also note the different viewfinders, an easy means of checking which version it is. The Goldi-branded 6x4 is on the left, it sports a Schneider-Kreuznach Xenar 70mm f/4.5 lens which can be dated to winter 1934 (these early Xenars had the serial engraved on the rear element ring).

Rodenstock Ysella, a rebranded Zeca Goldi. Surprisingly, it does not have a Rodenstock lens, which makes me suspect the lens and perhaps even the shutter were swapped with another camera.

Rodenstock Ysella Zeca Goldi photo
Merkel Metharette

Merkel was a small camera maker founded in 1900 in Tharandt near Dresden, mainly known from the Reflecta TLR camera (one of the earliest TLRs) introduced in 1932 around the same time as the company was taken over by Richter. The Merkel Metharette was a small strut-folding rollfilm camera for 127 film introduced around 1930. It had quite a characteristic strut mechanism (see photo below) and a baseplate with four embossed corners. The baseplate would move to its forward position upon pushing the release button at the bottom of the camera, and the viewfinder would pop up at the same time. To close the camera one simply pushed the baseplate back into the camera body.
Several different variants of the camera were build, including versions for other companies as the models often bear different names, such as Primula and Embirella (the latter reportedly sold by the Czech company Birnbaum). The Rodenstock Rodella certainly was a rebadged Metharette, and so was the Salmoiraghi Gioia (the name!) for a camera maker in Milan. Apparently a variant was also sold by Meyer (better known for its lenses) as the Megor, but more commonly found is a copy of the Korelle 127 3x4 folding camera with the same name, which had struts on the side of the baseplate instead of at the top and bottom like on the Metharette (see below for an example). It does not help the confusion surrounding the Merkel Metharette that neither the name of the camera or its maker was indicated on the camera.

Merkel Metharette photo

A Merkel Metharette with Ludwig-Dresden Victar 50mm f/2.9 lens in Prontor II shutter.

Meyer Megor (Kochmann Korelle 3x4)

Meyer was a well-known lens maker located in Görlitz (close to the Polish-German border) that also sold rebranded cameras under its own name, of course equipped with its own lenses. This was not uncommon at the time (the 1930s), e.g., Rodenstock did the same (see Rodenstock Citonette and Rodinett below). The Meyer Megor was a copy of the 3x4 Kochmann Korelle for 127 rollfilm. It had a spring-supported strut mechanism that could be closed by simply pushing it in. According ads from the time it was available with Meyer Trioplan, Primotar or Makro-Plasmat lenses, but the first was certainly the most common. Kochmann itself was one of the many camera companies based in Dresden, not far from the Meyer factories. Its specialty was small 'vest pocket', handsome cameras, many of them folding cameras, like indeed the Korelle 3x4.

Meyer Megor (Kochmann Korelle 3x4) photo

A 1933 Meyer Megor (Kochmann Korelle 3x4) with Meyer Trioplan 50mm f/3.5 lens in Compur shutter.

According sources on the internet there was a second version of the Megor, which was a rebadged Merkel Metharette (see above). This is not a surprise, the Metharette appeared under many different names. However, the examples I have seen on the internet do not have Meyer lenses (e.g., here), so I suspect these were incorrectly identified as being Megors. In fact, a search for Metharette (or any of its rebranded versions) with Meyer Trioplan gives no results, so in my opinion the existence of this second Megor version is uncertain.
It appears the Megor was the only camera sold by Meyer. Like so many east-German companies, Meyer Optik was after WWII taken up in VEB Pentacon/Carl Zeiss. However, the name has recently be revived by a Görlitz-based company producing modern versions of the classic lenses.

Meyer Megor (Kochmann Korelle 3x4) photo

A different view of the same Meyer Megor.

Rodenstock Rodinett (Glunz Ingo)

Glunz was a now fairly obscure camera maker from Hannover, Germany, mainly known for the medium and large format plate and folding cameras that it made during the 1920s to early 1930s. However, it had one surprise on its sleeve: the Glunz Ingo. This was a small folding camera for 127 rollfilm with a pop-up strut mechanism, not unlike the Merkel Metharette and Meyer Megor above. Indeed, the popularity of these models may well have been the inspiration for Glunz to build the Ingo and get a share of this presumably lucrative market.
In many respects the Glunz Ingo was very similar to its contemporaries mentioned earlier (including the 3x4cm frame size), but it did have one feature that set it apart: its double (or barn) door strut mechanism. This was a very elegant solution to protect the lens and shutter when folded up, unlike other folding cameras of similar size that often left the lens exposed. It also made for a very sturdy platform for the lens itself. I am only aware of one other camera with a similar mechanism, which was of course no other than the Voigtländer Vitessa.

Rodenstock Rodinett (Glunz Ingo) photo

An unbranded (copy of?) Rodenstock Rodinett/Glunz Ingo with Laack Regulyt 50mm f/2.9 lens in Compur shutter. Note the curved doors, typically found on the Rodinett. The Regulyt is quite an unusual lens, especially in this focal length, but I have found no info about it that might help finding out which company sold this camera.

The Glunz Ingo was typically equipped with a Rodenstock f/4.5 or f/2.9 Trinar-Anastigmat lens in Compur shutter, and it is therefore perhaps no surprise that Rodenstock sold a rebadged version of the Ingo as the Rodinett. However, there were some differences, which I have not seen documented anywhere else before: whereas the Ingo had straight doors, those of the Rodinett were curved, and the Rodinett had a helical focus mechanism, whereas the Ingo had a front-cell focussing lens. The helical focus is probably the reason behind the curved doors, as it allowed more space and one did not need to set the lens to infinity to be able to close the doors. Somewhat curiously, the Rodinett did come with a different Rodenstock lens than the Ingo: a 50mm f3/.5 Ysar.
To confuse matters, another variant of the Ingo could be found, which had curved doors like the Rodinett but with a front-cell focussing Laack lens, and which did not bear the name Glunz or Rodenstock (or any other, see photos). Was this perhaps another rebranded version?

Rodenstock Rodinett (Glunz Ingo) photo

Top view of the Rodenstock Rodinett/Glunz Ingo showing its strut mechanism.

Welta Gucki

Welta was a succesful camera maker based in Dresden that almost exclusively made folding cameras for a wide range of film formats. One of their first models was the Gucki, a small folding camera available in both 6x4 and 3x4 format using 127 rollfilm. The 3x4 is the most common model. It had a lens mounted on a pop-out base plate held parallel to the film frame by a pair of struts and a cog mechanism, quite similar to the construction found on the Korelle 3x4 and the Merkel Metharette, although on the latter the struts are horizontal instread of vertical on the Gucki.

Welta Gucki photo Welta Gucki photo

A late production Welta Gucki from around 1934 with Meyer Trioplan 50mm f/2.9 lens in Compur shutter. Late production examples had a different back door clasp and extra chrome edges across the top and the bottom of the frame. This particular example is unusual by having a polished metal base plate, although I am quite sure it used to be painted black originally, as standard on other Guckis. The photo on the right shows the strut mechanism in more detail.

Rodenstock Citonette (Welta Perle)

Welta Perle was the name for a range of pre-WWII folding cameras with different film formats, from 4.5x6 to 9x6 cm. They were quite similar to cameras of other makers from that era such as Balda and Zeiss Ikon, but were characterised by having the wind knob (or key on earlier models) at the bottom of the camera and by having a rather large shutter size typically reserved for larger-format cameras. The Welta Perle had fold-up viewfinders except for the very latest production, which had a Galilean viewfinder with a basic (near vs. far) parallax correction. After WWII the Welta Perle was replaced by the Welta Weltax, which looked very similar but had the viewfinder in the middle of the top plate instead of to the left on the Perle.
The Welta Perle was also sold by Rodenstock under the name Citonette, an example of which can be seen below. Rodenstock was a well-known lens maker, but did sell rebranded cameras with, naturally, their own lenses. They are relatively rare, some of the better known ones are the Ysella (Zeca Goldi), Rodella (Metharette) and Robra (Baldax), but information on these models is sparse. As a sidenote, Rodenstock still exists, focussing on eyewear (which was one of their key products from the start), whilst its photographic lens division was sold off but still sells high-quality large format optics under the name Rodenstock.

Rodenstock Citonette Welta Perle photo

A Welta Perle rebranded as Rodenstock Citonette with Rodenstock-Trinar-Anastigmat 75mm f/2.9 lens in Compur shutter. The shutter serial nr. dates this camera to near the beginning of WWII. This example is a 4.5x6 format camera for 16 exposures on 120 rollfilm.

Welta Trio

The Welta Trio was a for its time affordable 6x9 rollfilm camera with relatively simple specifications. It was equipped with a framefinder as well as a small brightfinder. I am not quite sure how the Trio differed from the 6x9 Perle (see above), most likely it was just a slightly cheaper, less well constructed version of the latter. Nevertheless, the Trio came with a similar range of high-quality shutters and lenses.

A Welta Trio with Steinheil Cassar 105mm f/3.8 lens in Compur shutter.

Welta Trio photo
Welta (?) 9x12 plate camera

In the early 1900s box and simpler rollfilm cameras were the equivalent of today's point and shoot cameras, whereas large format plate cameras were the equivalent of advanced SLRs. They were highly versatile cameras, with a ground glass at the back of the camera showing the exact composition and focus of the scene, and extendable bellows suitable for landscape as well as portrait and close-up photography. They were slow to handle, as the ground glass needed to be replaced with a glass film plate for each exposure, but the quality of the photos more than made up for it. Naturally, these were expensive cameras only affordable by few people, generally professional photographers.

Rodenstock 9x12 plate camera photo

An unmarked (Welta?) 9x12 plate camera with Rodenstock Munchen Doppel Anastigmat Eurynar 135mm f/6.5 lens in IBSO shutter. Based on the serial# of the lens the camera dates from around 1918. The IBSO shutter had a pneumatic shutter speed adjustment (the little piston on top of the shutter), as at the time geared speedcams, like in the later IBSOR, were not yet introduced.

The example shown here is typical of the plate cameras of that era. The lens was a Rodenstock Eurynar, which was a common lens at the time that could be found on plate cameras by Ihagee, Certo, Glunz and Welta amongst others. In fact, this example was quite likely made the latter; the struts match those of the Weltas I have seen and also the red spirit level appears typical of Weltas. However, the name Welta did not appear until 1919 while this example is possibly from 1918, when the company was still known as Weeka-Kamera-Werk. As this example unfortunately has a non-original ill-fitting back plate it is hard to be certain.

IBSO shutter photo

Partially dismantled IBSO shutter with shutter blades removed to show the internal mechanism. The IBSO shutter had a pneumatic shutter speed adjustment (the little tube on top of the shutter, which contains two pistons), as at the time geared speedcams, like in the later IBSOR, had not yet been introduced.

In terms of features, the camera had double extension bellows with a rising and falling front with side swing adjustment, i.e., the lens could be moved sideways and up and down relative to the film plane. This way one could adjust compositions without the need to point the camera up or down, thus avoiding distortion of the scene. The double extension below allowed focussing down to about 50cm from the film plane.

Rodenstock 9x12 plate camera photo

Side view of the Welta plate camera focussed at infinity. Move your mouse over the photo to see the bellows at full extension.

Welta Perfekta

This model could as easily have featured under the TLR cameras, as it is a rather rare breed: a folding TLR, by Welta. Not many of this type of camera were made, the KW Pilot Reflex and Zeca Zecaflex are the main ones I can think of, so the concept clearly did not catch on. In principle the idea seemed to have merit. TLR (twin lens reflex) cameras like the Rolleiflex were quite bulky, so the ability to fold them so they would fit in a (admittedly large) pocket seemed a step forward. However, there were flaws. In the case of the Perfekta, there were considerable light leaks around the ground glass, so the image wasn't as clear as it could be. Also, the camera was complex to build, which made it expensive for the manufacturer as well as the client. So in the end the concept didn't last.

That does not mean it was a bad camera, in fact I think it was a marvel full of clever engineering. The folding strut mechanism was sturdy and secure, and the viewfinder hood moved forward when the camera was folded to make it as compact as possible. The mirror would swing into place when the camera was opened. The taking lens sat on a helical focus mechanism operated by a lever on the left-hand side (from the user's perspective) and the viewing lens focus was coupled to the taking lens by a shaft. The camera was also equipped by an automatic frame counter.
Welta produced an even more elaborate model, the Super- fekta. This was a 6x9 version which had a body that could be rotated relative to its front, allowing landscape as well as portrait style photography which would have been difficult to achieve otherwise.

Welta Perfekta photo

(Above) A Welta Perfekta with Meyer Gorlitz Trioplan 75mm f/3.5 lens in Compur shutter. This example was in poor shape when I got it: focus nearly frozen, impact damage, dirty lenses, and so on, but some TLC returned it to working order. When cleaning the mirror I noticed a date written at the back of 11/9.35, presumably the date it was installed in the camera. Similar markings can be found on early Rolleiflex mirrors.

Welta Perfekta photo Welta Perfekta photo Welta Perfekta photo

(left) Side view of a Welta Perfekta showing the strut mechanism and the fold-up mirror assembly; (top right) A folded up Perfekta was clearly more compact than regular 'box' TLRs; (bottom right) The inside of the Perfekta was very much like any other 6x6 folding camera, except for the position of the wind spool, which was moved across the film plane to make space for the mirror.

Welta Welti

The Welta Welti was clearly inspired by the Kodak Retinas and built to similar specification, with high-quality lenses and shutters, helical focussing and body-mounted shutter release. It also had a switch in the viewfinder for nearby and far subjects. A cheaper variant was the Weltix with front-cell focussing. There is also a variant with black enamal instead of chrome top plate.

Welta Welti photo

A Welta Welti with Schneider Xenar lens in a Compur-Rapid shutter. The lens serial nr. dates this camera to late 1939. As Welta was based in East-Germany, post-war models would have CZJ Tessar or Meyer Trioplan lenses.
Note the funky piston-shaped release button integrated with the frame counter.

camera photo

Top view of a Welta Welti.

Welta Weltini II

Like the Welti above, the Welta Weltini was clearly inspired by the Kodak Retinas, in this case the rangefinder models, with features such as high-quality lenses and shutters, helical focussing and body-mounted shutter release. It was solidly made and very heavy. However, the Weltini had a few tricks on its sleeve that even the Retinas could not match. For instance, when closing the front door the lens focus would automatically reset to infinity (whereas on the Retina one needed to do that manually first to be able to close the door) and the shutter button was retracted. A superb little camera.

Welta Weltini photo

A 1938 Welta Weltini II with Carl Zeiss Jena Tessar 50mm f/2.8 lens in Compur-Rapid shutter. The Weltini I had a more rectaungular top housing that did not cover the whole camera.

Welta Weltini camera photo

Top view of a Welta Weltini. The depth of field table includes settings for a f/2 aperture, even though this example has an f/2.8 lens, as the Weltini was also available with a fast f/2 Xenon lens.

Certo Super Dollina II

Certo was perhaps one of the lesser known Dresdner camera manufacturers, but its cameras had a good reputation. The Dollina range was a series of 35mm folding cameras first produced in 1935, about the same time Kodak introduced their first Retina. The Super Dollina II was first introduced in 1951 and featured a coupled rangefinder and a rather unusual focussing mechanism: a knob on the top housing would move the lens base forwards and backwards as well as move the rangefinder. The magnified coincidence rangefinder was separate from the viewfinder. One could also read the distance at the top of the camera but this was not needed for the camera to function.

Certo Super Dollina II photo

A Certo Super Dollina II with Carl Zeiss Jena Tessar lens in Vebur shutter. The lens serial number suggests this particular camera was produced in 1958. It was a well-made camera and would have been a joy to use, but the rangefinder adjustment is unfortunately rather tricky, so if it is off (like on this one) it will be hard to turn it into a usable camera again.

camera photo

Rear view of the Dollina showing its name in the embossed leather. The small knob on the far right is the focussing knob which moves the rangefinder and the lens.

Certo Durata

The Certo Durata was a simpler and very compact 35mm camera compared to the Dollina above, and was introduced a few years after the end of WWII. Although based on the same body, including front door and strut mechanism, the Duratas lacked rangefinders and had front-cell focussing mechanisms instead of unit cell focussing. The first model, simply named Durata, was a small camera with a pop-up viewfinder. It could be found with Prontor II, Compur-Rapid or Ovus shutter, and a variety of lenses such as a Rodenstock Trinar, Meyer Trioplan of CZJ Tessar. The Durata II looked very similar to the Super Dollina II above, with a viewfinder build into a chrome-plated top housing, but was functionally not much different than its predecessor.

Certo Durata photo

A Certo Durata with Carl Zeiss JenaT Tessar 50mm f/3.5 lens in Compur-Rapid shutter. It looks a little like the Voigtlander Vito II when closed, but the front door opens downwards instead of sidewards.

Certo Six

The Certo Six was a 6x6 camera for 120 rollfilm with some quirky features that clearly set it apart from contemporary folders like the Ikonta and Baldix ranges. First, it had a wind lever, a very welcome feature although unfortunately it did not cock the shutter, which still needed to be done by hand. Second, it had a focus lever at the bottom of the camera (when unfolded) which was best operated by one's thumb. Finally, it was parallax corrected by moving the lens closer to the viewfinder during close-focusing instead of the other way around like most cameras. It was a very well-build and sturdy camera although there are many reports of the rangefinder semi-transparent mirror fading with time. It was the last great camera build by Certo, which for unclear reasons moved to producing cheap plastic cameras instead.

Certo Six photo

A Certo Six with Carl Zeiss Jena Tessar 80mm f/2.8 lens in Tempor shutter. It was also available with a Meyer-Optik f/3.5 lens and Synchro-Compur or Prontor-SVS shutter.

Certo Six photo

The Certo Six had a parallax corrected rangefinder, but instead of moving the viewing frame it was the lens itself that moved relative to the centre of the film frame. Move the mouse over the photo to see the difference between infinity and closest focus (1.5 m). The focus lever is visible at the bottom of the lens door in close focus position.

Certo Six photo

Rear view of the Certo Six. A nice feature was the build-in folding stand. The small button on the top right is the double-exposure lock reset, right above it is the remote release socket - perhaps not the most obvious location.

Franka Solida IIIE

The Franka Solida IIIE was a 6x6 rollfilm camera with uncoupled rangefinder that bore some resemblance to the Balda Mess-Baldix. The Solida I, II and III mainly differed in lens speeds, f/4.5, f/3.5 and f/2.9, respectively. The E version had uncoupled rangefinders (E = 'Entfernungsmesser'), whereas L versions with light meter were also available (see below for an example). Several versions existed, e.g., early Solidas had separate rangefinder and viewfinder windows, and the location of the distance dial of the uncoupled rangefinder changed.
Franka Kamerawerk was based in Bayreuth and a rather small player in the German camera production. Nevertheless, it did produce a wide range of cameras, like the above-mentioned Solida folding camera range as well as the fixed-lens Franka and Frankarette. The company was in 1962 taken over by Wirgin.

Franka Solida IIIE photo

A late Franka Solida IIIE from 1955 with Schneider Radionar 80mm f/2.9 lens.

Franka Solida IIIE photo

Top view of a Franka Solida IIIE showing the rangefinder distance indicator and wind knob with double exposure prevention.

Franka Solida IIIE photo

Early version of the Franka Solida IIIE with separate viewfinder and rangefinder windows. The back of the camera is marked 'Made in Germany US Zone'.

Franka Solida IIL

As one can infer from the name (see above under Solida IIIE), the Franka Solida IIL was a 6x6 rollfilm camera with uncoupled lightmeter. To fit the lightmeter the top housing needed to be enlarged compared to the non-lightmeter models, which is why this model looks a little more square than the Solida IIIE above. In addition, the front door would open downwards rather than sideways, as was also the case on the Solida IIE, and I never quite understood why this was. From most angles the Solida II and II look nearly identical, yet they have a different door mechanism. All I can think is that it must have been cheaper to produce, and worth making a different body.

Franka Solida IIL photo

Franka Solida IIL with, somewhat surprisingly, a 75mm f/4.5 lens. I say surprisingly because Solida II models generally had f/3.5 lenses, whereas the slower f/4.5 lenses could be found on the Solida I models. Note that on this example the flap of the lightmeter has broken off.

Franka Rolfix IIE

The Franka Rolfix II was the big brother of the early Solida IIIE above. It was essentially the 6x9 rollfilm version of that camera, but it could also be used for 6x6 photos by means of frame on the film gate. To assist this there was a switch on the top housing to switch the viewfinder between and on the back of the camera there were two separate red spy windows, one for 6x9 and one for 6x6 exposures. The Rolfix had a body mounted shutter release and a double exposure prevention mechanism.
The Franka Rollfix II came with a 105mm f.3.5 lens. I have never seen a Rolfix I, but if the naming system was the same as for the Solida, it would have been similar to the Rolfix II but with a slower f/4.5 lens. Likewise, the E version would have had an uncoupled rangefinder (E = 'Entfernungsmesser'), like the example below. Older versions of the camera with a fold-up viewfinder were also produced.

Franka Rolfix IIE photo

Franka Rolfix IIE with Rodenstock-Trinar 105mm f/3.5 lens in Synchro-Compur shutter. The serial# of the lens dates this camera to around 1952. Like the early production Franka Solida IIIE above, it had separate viewfinder and rangefinder windows and the back was marked 'Made in Germany US Zone'.

The Rolfix has a 6x6 mode but that does not give the same result as a 'native' 6x6 camera like the Franka Solida, as shown by this comparison of fields of view of the Rollfix II with its 6x6 mask and 105mm lens, and the 6x6 Solida with 80 mm lens. The Solida field of view is clearly 'wider' than the Rolfix.

Comparison of fields of view of the Rolfix II 9x6 camera with 105mm lens and the Solida 6x6 camera with 80 mm lens. Due to the smaller focal length of the Solida, its field of view is not much narrower than the Rolfix with its wider frame size, but shows more at the top and bottom of the frame. The Rolfix 9x6 field of view is equivalent to that of a 45mm lens on a 35mm film.

Franka Rolfix IIE photo

A Franka Rolfix IIE 9x6 and its smaller sibbling Solida IIIE 6x6 side by side.

Dacora Royal

Dacora was mostly known as a company producing cameras for others (see Ilford Sportsman) and was certainly not known for its innovative designs. However, the Dacora Royal was a bit of an exception, as it was one of the few 6x6 folding cameras to sport a windlever for film transport and shutter cocking. Although this feature was common on 35mm cameras, it had been difficult to implement on rollfilm cameras. The camera also featured an uncoupled rangefinder and was otherwise fairly unremarkable.

Dacora Royal photo

Dacora Royal with Subita 75mm f/4.5 lens, a lens I have otherwise never heard of, and Pronto shutter. The Royal was also available with better speficied lens and shutter, e.g, Enna Ennagon lens and Prontor-SVS shutter like found on the Balda Baldix.

Ihagee Exakta photo Ihagee Exa

Ihagee Exakta

Ihagee Exa

Wirgin Edixa-Mat Reflex photo Canon AT-1photo

Wirgin Edixa-Mat Reflex

Canon AT-1

Olympus OM10 photo

Olympus OM10 / OM2