Introduction
Browsing a Liverpool camera store I spotted this beautiful camera, an early Voigtländer Bessa. I couldn’t resist, here we are at a reputable dealer (so no need for my usual checks) looking at relatively affordable for a 6×9 folder in good working order….sold!
I do have a soft spot for a Voigtländer, my Vito B was the first analogue camera I truly felt at home with – it seems to have a magical ability to produce amazing photos no matter what – a genuinely enjoyable experience for the photographer. Then my Voigtländer Perkeo I was to medium format, what the Vito was for 35mm…the camera that made me truly appreciate the format for the first time performing far better than its modest triplet lens and basic Prontor-S shutter had any right to. To this day those 2 cameras stand alone in producing rolls of film where every photo is special. As a first go at a new format (6×9), a special format, a vintage Voigtländer was the obvious choice.
There are many variations of Bessa’s, especially from the early period. This example in particular presented a bit of a mystery at first, and guessing at the history is all part of the fun. As with any old camera, many factory & sales records are lost and collectors notes today best guesses so take this as an educated guess rather than established fact…
We start with the lens serial number – somewhere around 1941-1942 – right in the middle of WW2. So why 1945? well some of those exact lens serial numbers also date to immediately post-war (1945) – when the factory re-opened they had a stored collection of earlier parts and serialized glass elements ready to assemble. The give away is that lens is coated, a post-war feature so was likely earlier glass that was run through the (cutting edge for 1945) coating machines after the war in the hope of generating some much needed income for the recovering camera industry.
There are 2 other interesting things about this specific camera, the first is the lens itself – a Voigtar 105mm f/3.5. It’s a triplet, but it matches the max aperture of the top-of-the-line (Tessar-type) Skopar. f/3.5 is wide for 6×9 medium format by any standard, for a 1940s triplet it is genuinely impressive! Combined that with the best-of-the-time Compur Rapid shutter reaching a top speed of 1/400s – not bad even for 2026 – and you have a very interesting configuration. This was probably an expensive camera in it’s day, the best shutter paired with a sensible mid-range lens.
The second interesting thing was written right on the sales listing – this camera has an “additional light trap to loading spool”. Compared to the rest of the camera this is crude, very crude. A precision instrument, expensive in it’s day, seemingly with a piece of sheet metal welded on in a very rough way. My first instinct was it can’t be factory, surely this is a DIY attempt to work around a light leak of something? Well perhaps not! It seems this may have been a factory effort to provide additional tension given the slight variations in spool thickness in the 40s, especially in the export market. I’m curious!
So was the Bessa as special and effortless to shoot with as the rest of my Voigtländer hall of fame? Special, perhaps even more so! Effortless, maybe we’re asking too much of a camera with components well past their 80th birthday…but in a way I appreciate it more for it’s flaws, read on to find out why.
Disclaimer: As you will know from my introduction to this site this will not be a technical or scientific review. Just my genuine impressions of the experience of shooting with this camera, how it makes me feel as a photographer and how it is to live with.
For a history of the Voigtländer Bessa see: https://camera-wiki.org/wiki/Bessa_(folders)
Appearance
If you came here beautiful chrome masterpieces, or even a unique design, I’m afraid you’ll be disappointed. This is as about as “standard” as an early 20th century folder gets in terms of design.
We have a black leatherette-covered body, with a subtly raised door on the front housing the threaded socket, flip out foot and chrome shutter release. A first for me finding the shutter release somewhere other than the top-plate or lens surround but not uncommon in this era.
Next to the door we have “Voigtländer Bessa” stamped subtly in the classic font.
On the top plate we have the fold-away viewfinder with a small chrome release catch and that’s all – simple!. We have no brilliant finder (more common pre-war). Note my example is missing some leatherette here.
The bottom plate contains the knob for the take-up spool and another threaded socket (helpful!) but nothing else of note here…all very ordinary.
On the back are 2 red windows to check your frame numbers as you advance the film. Why 2? well this camera originally came with a mask to convert between 6×9 and 4.5×6 format although mine is long-lost so I’m stuck on large 6×9….no complaints here!
There is also a metal depth of field focus table, less convenient than markings directly next to the focus ring but helpful nonetheless!
You can read some of the history and context around the Perkeo in my first review. It’s worth noting the “II” isn’t really a successor, more an upgrade & higher tier offering. Both were produced concurrently from 1952 – 1955.
The door release catch hides under the hand strap on one side, and the hinge is present, if barely noticeable on the other side.
In terms of quality this camera feels robust, not especially heavy but dense in the hand. Voigtländer never fail to make a camera feel well put together and this is no exception. With the lens extended the unusually large from glass element adds to the feeling of understated quality.
This isn’t a camera which will be the most attractive display piece, but then this isn’t a camera built for life on a shelf. This is a camera to be used, and as we will find out it’s a camera that will reward you for doing so.
Controls
This is a 20th century folder, and in that context nothing here is at all unusual. As per the unwritten rules of early German camera design we have, from the front of the lens assembly to the back:
- A focus ring with a ~330 degree throw. Nicely damped and very precise, my example is 5ft to infinity with a hard stop. No depth of field aperture markings here, just the lookup table on the rear door mounted metal plate
- A shutter speed dial, a slim metal ring, next to a chrome arrow which should be aligned to the desired shutter speed ring. Note there are no “stops”, the dial turns freely and can be left between speeds. I never recommend doing this, check an exact speed is selected. Settings here range from 1s to 1/400s.
- A shutter cocking lever, adjacent to the speed markings a plain metal lever. This should be gently pulled to a stop after a shutter speed is selected. It will flip back when you fire the shutter.
- An aperture select lever at the very rear of the lens assembly, small throw but easy to use.
Everything is nicely spaced, clearly marked, and straightforward to use once you get the hang of it.
The shutter release is on the side of the lens door which is easy to access but can make stable shots without a tripod ever so slightly more challenging. It introduces a bit of a pivot, twisting the camera forward on a camera that is already a little front-heavy when extended.
The “viewfinder” (more framing aid) is OK, I’ve seen worse, it pops open easily enough (although mine was missing a spring) and provides enough framing guesstimate to work with. Not great, but I’ve seen far worse.
Film advance & the door release is about as standard as it gets, while closing the door is a pleasant surprise – simply push the struts forward slightly. Not awkward process or catch here.
Overall the Bessa is simple utility, straightforward and robust but nothing special.
Loading and Unloading
As highlighted in my earlier reviews there really isn’t much variation in 120 loading/unloading. It is literally just a roll of film from one spool to another after all.
The Bessa is equally simple….until it isn’t! To insert your empty spool on the left, both spools hinge out to release. A new spool goes under that crude piece of welding on the left.
As usual, pull the film leader (tapered edge of the roll) across the chamber, keeping it tight at all times, and insert it through the empty “take up” spool on the right. Give that spool a couple of turns with the top plate knob to ensure the film is tight then close the back.
Unloading is similar, once you’re done with a roll keep winding the film all the way until the last of the film crosses the red window (far beyond the last frame) then open the back and stick the film end down tight with the ready-to-go strip at the end.
Because 120 film isn’t sealed away in a light tight plastic canister like 35mm film all of this should be done in subdued light, else you might expose the film to some light and ruin your precious images. The backing paper should be completely lightproof, but it’s always better to be cautious.
Overall the loading process is straightforward, but I did have an issue with the final wind to the take up spool being incredibly stiff…I wonder if that additional pressure from the modification is a bit too much. Either way it did work and, although at one point if felt inevitable with the amount of force applied, the camera suffered no damage in the process. Good but not great.
Shooting Experience
All in all, just your typical medium format folder experience. That is both a good and a bad thing, with simplicity being it’s strongest point
advance film – set aperture – set shutter – focus – compose – release – repeat
While folders can look intimidating, with small levers around the lens, they are in fact surprisingly simple to operate once you get into a rhythm.
There is, of course, no light-meter or rangefinder, just straightforward back-to-basics manual photography. You can use an app or external light-meter or an accessory rangefinder to help if you like.
Just like the best 6×6 folders I have tested, this is a slow and considered photography – ideal for landscapes, perhaps pre-set studio or street work, but not a whole lot else. With only 8(!) photos per roll, you’ll want to take your time – this is the antidote to smart phone photography if ever there was one.
Sure, the viewfinder is small and approximate-at-best, the shutter release is a little awkward in it’s placement and the extra body width required by 6×9 makes a handheld grip just a little uncomfortable. That’s all true, but does it detract from the experience? Not at all. You’re not buying an 80 year old camera for perfect ergonomics, it’s all part of the charm in my book!
Gallery
All the photos below were taken with my Voigtländer Perkeo II.
Reliability
Disclaimer: Every vintage camera is different, and the condition of my specific example will likely differ from yours.
I can say 2 things about my Bessa. The first is that everything that needs to work is working flawlessly…the shutter is unbelievably close-to-accurate, the aperture blades are crisp and clear, the lens could pass for a tenth of it’s age – amazing! Testament to the original build quality, and perhaps also the the care of a previous owner.
The second is everything that isn’t needed to take a photo is broken, and I mean everything. The film advance is very stiff past a certain point in the roll (too much tension on the spool?), the leatherette is peeling and missing in places, the viewfinder is missing it’s spring and no longer pops up on it’s own.
So what does that say for reliability…well I’ll let you be the judge. But for me, at this age, the fact this camera takes such good photos still can only be a good thing. Through the lens of age and context, I’d say that’s reliability in action.
No light seals to decay and no rangefinder to go out of alignment. The Synchro-Compur shutter is well proven and a CLA would be readily available. I wouldn’t truly trust any old camera, but I’d trust this one enough to try it out.
Lenses
So what does this unusual triplet really offer? well it’s fast, very fast considering it’s age and optical design, but with no rangefinder we’ll be sticking to the depth-of-field sweet spot of f/8-f/11.
And here? well here it’s pretty good. I have to be honest, it is hard to make 6×9 look bad, but even so for a 1940’s lens photos of this quality and resolution are very impressive indeed! In fact edge-to-edge sharpness is remarkably consistent with noticeable resolution or light falloff only in very edges of the corners.
It may not be out-resolving the grain of the Ektar I put in but that was never a fair thing to ask of this camera. What matters is this combination is out-resolving anything 35mm film can deliver and it’s consistent across the frame. I would consider this camera up to the challenge of “serious” landscape work with the right technique…and that’s something special indeed.
I imagine a Skopar-equipped version would be simply incredible! Maybe one for my shopping list…
Who’s It For
- People who want to learn how to use early 20th century folders
- People who want to try out 6×9 landscape photography on a budget.
- People who appreciate quality, yet understated camera design
Conclusion
It’s hard to summarise my experience with the Bessa, I know I loved my experience of 6×9 medium format and I can confidently say this camera never got in the way of that enjoyment. The tricky part then is to separate my thoughts on the camera from my love of the format.
This is a basic camera, it has all the features to take great landscapes but not a single thing more. It’s not the most attractive camera, not the sharpest lens, and certainly not the perfect shooting experience. Many issues with the experience can be dismissed as character, but character should add to the experience and I’m just not sure I felt that here.
That said, the lens is genuinely impressive and using this camera feels like using a piece of history. It’s a wonderful experience, yes partly because of the film but not entirely because of the film. No matter how basic the camera, I doubt many will care when the beautiful 6×9 negatives come back from the lab. Interested in 6×9 and enjoy film cameras? You could do a lot worse than the humble Bessa.
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