Introduction
Meet the humble Zeiss Ikon Nettar II 517/16, I met this particular example in an antique emporium, hiding behind a tiny plant pot of all things, priced at a reasonable £20. This exact camera was my very first introduction to medium format photography, not long after I started on my film journey.
Medium format film is big, much bigger than 35mm and so I always believed medium format meant big, heavy cameras. Expensive too, a medium format digital camera can cost 5 figures. So what a pleasant surprise it was to find this tiny little camera tucked away next to that plant pot. It’s a small camera by any standards, so small it’s even more pocketable even than my lovely Vito B. I had to have it.
Medium format that’s more pocketable than 35mm, how can it be? Well this is a folding camera, but not like the large 1930s folders you will be picturing. This is much later design, dating to the 1950s just as the world was moving on, and folders were going out of fashion. By the 50s they were seen as “old fashioned” compared to the modern fixed lens 35mm cameras. With 35mm you could get 36 photos per roll in a similar sized body, had no bellows to get damaged and colour slides would fit an affordable projector. No one questioned the quality of 120, but quality wasn’t enough.
Today access to medium format photography with a robust, metal camera from the legendary Zeiss for as little as £20 feels too good to be true. Is it? Well, yes and no, read on to find out how I got on. First some context…
At Zeiss Ikon in the 1950s there were 2 main product line-ups for folding cameras…Ikonta cameras were the flagship, the very best Zeiss had to offer….here you would find second-to-none build quality, amazing glass (such as Zeiss’s famous Tessar design copied by many other brands) and advanced features such as coupled rangefinders. This however, is not an Ikonta….
The Nettar series we have represented here was the accessible entry point to the Zeiss Ikon line up….simpler optics and less features. That’s not to say these cameras were “budget” in build, they were still largely metal, with some features (such as the folding mechanisms) known on occasion to be lifted straight from the high-end Ikonta bodies. There were compromises, as we’ll discover together in this review, but their modest success and accessible price point makes these little cameras easy to find today as a (very) cheap entry point to the wonderful world of medium format.
The exact camera we have here is a Nettar 517/16, 517 being the model series and /16 signifying square 6×6 negatives in Zeiss code, giving you an impressive (by medium format standards) 12 shots per roll of film.
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 Zeiss Ikon Nettar see: https://camera-wiki.org/wiki/nettar#Nettar_II_517/16
Appearance
This is a basic camera, with little more than a viewfinder, lens and shutter by way of “features” but it certainly doesn’t mean cheap…build quality is strong, this is still Zeiss after all. The camera looks and feels solid with the lack of features making for a very uncluttered and classic appearance when folded away.
The folding mechanism is equally robust with the door folding downwards to the base…perfect for safely setting the camera down while protecting those beautiful bellows.
On the chrome top plate we have little more than 2 buttons, either side of the central viewfinder/accessory shoe hump. To the right as you hold it is the shutter release, a simple affair, and to the left the door release. Further to the left is the film advance knob which is metal and turns with just the right amount of force to feel robust.
The rest of the camera is a leather effect with the base only interrupted by three chrome circles. A central tripod socket with two “releases” for the 120 film spools either side. I’m a fan of symmetry.
On the back the nice grippy texture is only interrupted by the little red window which has a sliding chrome cover when not in use. On my example this cover slides and wobbles easily…the one part that really feels “cheap” and spoils the illusion. Either side the texture is broken by very subtle raised branding “ZEISS IKON STUTTGART”, and below in smaller lettering “MADE IN GERMANY”.
I particularly like the look from the front with the silver lower case “nettar” branding in a square on the door offering a nostalgic feel. To the side the ZEISS IKON logo is subtle. Zeiss are a company so famous for quality, then as now, they didn’t feel the need for over the top branding. Understated in the best way.
One side has a bold Chrome strip, which houses the door release catch and the other a simple black hinge.
And that’s it, simplicity at its finest.
If I had one criticism of the design I think the square viewfinder housing looks a bit awkward, there is another version of this camera (earlier) with a curved top cover I think looks better but let me know your thoughts.
Unusually what we don’t have is anywhere to attach a camera strap, I was lucky enough to get an ever ready case with mine which helped somewhat however, depending on how you like to carry your camera, you may need to get creative.
In terms of size it’s ever so slightly taller and wider than the smallest 1950s 35mm cameras but because it’s a folder it’s considerably less deep. Its smooth flat form factor makes it very pocketable, at least in a jacket pocket, and it will easily slip into bag pockets designed for notepads or books.
Unfolded, it’s a simple setup with no complicated metal arms in sight, just 2 hinged struts and a small set of black bellows. It looks unusual enough to attract the occasional question from a friend but it’s certainly not a camera that will cause distant passers-by to stop and stare like many early 20th century folders.
Overall I like the design, it’s simple and functional. I wouldn’t say I love it, this isn’t a camera that will win any design awards but it does its job and that’s good enough for me.
Controls
With the Nettar, and most medium format cameras from this time for that matter, almost all the controls are clustered on the front of the lens. From front to back on the lens assembly you have…
- A focus ring with a ~270 degree throw, nicely damped. My example is 4ft to infinity but turns a fair way past both before it hits a stop. Depth of field aperture numbers are clearly marked and visible looking at the camera front-on.
- A shutter speed dial, the thin chrome ring onto which those depth of field aperture numbers are printed. A tiny red line is lined up with the desired speed. Note there are no “stops” here, it will turn freely and can be left between speeds. While on some cameras intermediate speeds can be selected that is not the case here and I never recommend doing this, always ensure a speed is exactly selected.
- A shutter cocking lever, small and metal which must be gently pulled to a stop (through about 40 degrees) after a shutter speed is selected.
- An aperture select lever tucked away by the bellows, small and difficult to see.
The only controls on the body are the shutter release button, which requires you to have pre-tensioned the shutter on the lens first, and the film advance knob. There’s no double exposure prevention here. You turn the knob until the next number (printed on the backing paper of the film) appears in the little red window on the back. Turn it too far or too little and you will have overlapping frames. Forget to (or choose not to) turn it and you will have a double exposure.
The viewfinder is small but definitely usable. Helpfully (or unhelpfully) you can see the top of the lens assembly in the viewfinder. This does block the very bottom of your framing but the nice thing is you can see the shutter cocking lever, which is centred on the top when it’s not tensioned, reminding you to do this.
Folding the camera away is as easy as it gets on bellows cameras, simply press on the hinge joints halfway down those metal arms to release the mechanism and push the door closed until it clicks.
Everything is here and well engineered but a little delicate and close together for my liking, cameras like Voigtländer Perkeo show a thoughtful layout can make the same controls feel much nicer to use..
Loading and Unloading
Unlike 35mm cameras which have a wide variety of loading and unloading methods, there’s not much variation in compact 120 medium format cameras.
120 film also known as “roll film” is simple….really simple….as you would expect from the longest running format on the planet (invented by Kodak in 1901). Yet it’s simple in the best possible way, just an uninterrupted plain a roll of film wrapped around a spool with some light proof backing paper. To take photos and you “wind” the roll across the camera from the full spool to an empty one on the other side. The backing paper has numbers to allow the photographer to look through the back of the camera and see when they’re lined up for the next frame (that little red window).
The little Nettar is about as “standard” as it gets. You open the back by releasing the latch on the side, make sure there’s an empty spool on the left (under the top plate film advance knob) and insert your new full spool on the right. The heavily sprung chrome pieces on the bottom simply push down to allow you to get the film in and spring up into the hole in the centre of the spool. Simple and intuitive.
Next you 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. Give that spool a couple of turns with the top plate knob to ensure the film is tight then close the back and continue advancing until you see the number “1” appear in the little red window.
Unloading is even easier. 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.
Once you get the hang of it it’s easy, and this Zeiss is the perfect camera to learn with.
Shooting Experience
All the controls described above are simple to use at home, yet can be difficult to use in the field. The compact group of tiny levers and dials around the front of the lens require a steady hand and precision to operate. It’s not hard, but it’s also not something you’ll be doing with your eye to the viewfinder. It all feels mechanical but in the most delicate way.
There’s no light-meter so you’ll need to bring your own and and focus is guesstimation but we’re used to that on this site. All part of the fun. My example had only 3 shutter speeds (1/25, 1/75 & 1/200) which is somewhat limiting. This is the entry-level “Vario” shutter, but higher end and much more flexible “Prontor” shutters were an option. In any case, it all works as it should and I found myself in a nice rhythm with this camera.
advance film – set aperture – set shutter – focus – compose – release – repeat
I enjoy the process of winding the film on and watching the numbers appear in the little red window, and the 12 shot limit of the roll combined with the delicate controls mean I take my time and consider every photo. If 35mm made me slow down, with 120 it’s another level – every single shot feels precious.
The best I can say of the viewfinder is it’s usable but it is very small and I was never really sure how accurate the framing was, just moving your eye around can give very different frame edges to the scene.
Shooting medium format feels very special and this camera was a fun way to learn but the camera itself? I’m not sure that felt quite so special.
Gallery
All the photos below were taken with my Zeiss Ikon Netter II 517/16.
Reliability
Disclaimer: Every vintage camera is different, and the condition of my specific example will likely differ from yours.
By the 1950s folding camera design was at its peak and it shows, this camera is pretty robust. The folding mechanism is simple and strong and the bellows well protected. In fact, the folding mechanism here has a durability benefit when not in use as the lens is hidden safely away. This camera becomes a smooth, all metal case….nothing to scratch or catch when you put it in your bag.
In my view the build of the body is up there with top tier Ikonta cameras.
This camera should have excellent reliability in many other ways…no light seals to decay, no rangefinder to go out of alignment and a lens/shutter that’s simple and well proven on millions of Zeiss cameras.
I’ve now had 2 of these, both with minor troubles. My original example and the subject of this review has a working “vario” shutter (the entry-level with only 3 speeds) but broken spring on the door. When you press the door release the whole lens assembly should sprint forcefully into place. Without this I need to grab the door with a fingernail and guide it open. A minor inconvenience at most but frustrating in the field.
My second example came with a very well sprung door, a less “loose” feeling frame counter cover and the most advanced “Prontor-SV” shutter, offering many more speeds, right up to 1/300…unfortunately this particular one was sticking at the slower speeds.
Don’t let this put you off though, I’ve had similar issues on high and low end cameras so it’s not reflected in the score. At this age the condition of a camera is much more about how its been stored as it is the as-new quality. These mechanical shutters are meant to be serviced, just like a car engine. When they inevitably aren’t, finding a working one is just a bonus.
Both examples have aperture blades free of oil so the lubricants Zeiss used appear to be OK at this age.
Bellows are always a risk on any camera, they’re vulnerable to light leaks as they age but mine were all good, likely because they’ve been tucked away in that nice metal shell.
Overall solid, but not exceptional. Maybe my second example can be repaired, otherwise it’s a candidate for an upcycling project.
Lenses
There were two lenses available for this camera, both with coated Novar Anastigmat 75mm triplets. Mine is the f/4.5 version, there was also an f/6.3 variety. Zeiss or not, there’s no getting round the fact this was a budget lens, slotting in below the Tessar more common on the premium Ikonta range as the lowest entry point to Zeiss glass.
Reviewing this lens is hard, to do so means pondering the concept of “character”…optical flaws from a scientific standpoint can be the very things that draw people to vintage lenses…their flaws add character. The best escape from clinical “perfection” in style, rendering with warmth, flattering distortion, beautiful bokeh or dramatic vignetting. Equally, not all vintage lenses have desirable character, sometimes a flaw is just a flaw.
After some consideration, it’s unfortunately that second category this little Novar sits in. The good news is this is no toy camera…the images it produces are OK, at f11 the results are more than fine….and there’s not much else to say here. Wide open the edges are noticeably soft and the vignetting quite extreme, in fact even at f11 it’s not what I would describe as “sharp”….your fine grain film will be wasted here. It’s much better technically than something like the Agfa Isola I reviewed though.
That’s not to say triplets are always poor either, many can show fantastic sharpness stopped down, this Novar just isn’t quite up there with the best.
While we’re not resolving a high amount of resolution, I do have a fairly large print from this camera on my wall which looks fantastic from any viewing distance. The beauty of analog and prints is you’re not tempted to “pixel peep”…just enjoy the art, no one is inspecting a 300% crop to judge the image on your wall.
More disappointing than the resolution is the strong vignetting at wide apertures and lack of much character the images. We embrace technical imperfection in lenses, but a lack of character….we can do better.
To be clear, you can absolutely get fantastic images from this camera, helped by the massive negative sizes medium format provides. The best I can say of the lens is it doesn’t get in the way of the format, but it doesn’t add much either.
This is nearly an excellent lens for serious work, but not quite. It’s nearly characterful enough to add nostalgia but not quite. For me, I’d prefer to upgrade to the clinical sharpness of a Tessar, or downgrade to something a little more fun.
Who’s It For
- People who want to learn how to use folding medium format cameras
- People who love large negatives on a budget
- People who want a portable medium format camera without too many compromises
Conclusion
I loved shooting this camera, but in all honesty I think I loved it more as it was my first entry into the exciting world of big negatives and roll film. It introduced me to that world and was fantastic for learning the process but unlike my praktica which taught me 35mm I haven’t been tempted to go back to the Nettar.
It’s not the limited shutter speeds, 3 is plenty for a flexible film in the right light. Nor is it the fiddly controls, nor the tiny viewfinder. For me it just didn’t give me that feeling, I didn’t bond with it like I did so many other cameras. It’s easy enough to use, the lens produces good enough images on the right day and it has a decent build quality. But who wants easy, good enough and decent? I’m here for the quirks and the character, the good and the bad, but never the average.
With that in mind, I might surprise you in saying I believe this is a perfect camera in its own way…not perfect objectively (or even subjectively) but perfect as a first camera. As an introduction to medium format photography the Nettar II is a fantastic camera to grow with. It’s robust enough to take with you, compact enough slip in a pocket “just to try” and good enough you’ll enjoy those beautiful 120 negatives. It’s perfectly average, learn how to use this camera and you’ll have the skills to move onto most other 120 folders without much learning curve.
This won’t be your forever camera, but it might just be the perfect stepping stone.
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