This is a small, half-frame, camera from Ferrania in Italy. Being Italian, it has style. It is very different to look at than the German or Japanese cameras of the period. The Germans used the principle of “Form Follows Function” and there is nothing wrong with that – but that is not the Italian way. So, this camera has style as well as function. Actually, having said that, this camera is fairly reminiscent of the German Nixette. This is my second Ferrania camera, the other being the Ferrania Ibis – also a 127 format camera.
The camera is small and is made from aluminium alloy. The lens barrel, film gate and back are made from pressed steel. It measures 110 by 76 by 70 mm. The aluminium is still bright – the base is very shiny – but does not appear to be anodised. In keeping with standard photographic practice, most of the body is covered with black leatherette.
There are very few controls – in fact, just four. Just below the left of the top plate is the film advance wheel. this protrudes front and back and only rotates in one direction. This wheel is also made from aluminium.
On the top right of the lens barrel is the shutter release button. This is at an angle (at about 10 o’clock when looking at the lens)but parallel to the front of the camera body. This button falls nicely to the user’s index finger but its direction of travel is a bit awkward as your finger wants to press downwards but has to press inwards. This button is not threaded for a cable release.
The shutter is a simple everset shutter with one speed – Instantaneous – and B. This is selected by a lever on the bottom of the lens fascia with two positions – I and B.
The fourth control is focusing. The lens itself is coated – judging by the blue cast of the glass. I suspect that this lens is a single element meniscus lens. With multi-element lenses you can usually see multiple reflections of light when looking at the front of the lens. I can only see the one reflection. The focus range is from five feet to infinity. The distance scale is in feet, telling me that this is an export camera – this is verified by the legend “MADE IN ITALY” moulded into the metal of the base. The focus ring turns easily and is fairly roughly milled to give the user’s fingers a grip.
At the top of the lens is the camera name – “TANIT” in an elegant font. The base of the camera is a part of the cast aluminium body and is heavily ribbed. There is a standard 1/4 inch Whitworth tripod socket but that seems to be a bit superfluous on such a simple camera.
The viewfinder is not good. In the 1950s and earlier, small viewfinders were usual but the eyepiece on this camera is a massive 2 mm square – don’t even think about wearing glasses when using this camera! The front viewfinder window measures 7.5 by 5 mm. As this camera uses 127 film and is a half-frame camera, the negative measures 40 by 30 mm. When the camera is held horizontally, the negative will be in portrait format which I suspect will have been the main use of this camera.
The back of the camera has two red windows. For my younger readers, these red windows are to allow the user to read the frame numbers printed on the back of the film so you know how far to advance the film. This is a half-frame camera – the full frame for 127 film is 40 by 60 mm but this camera produces negatives that are 40 by 30 mm – and so fits twice as many pictures on a roll of film as the standard format does. In use, you wind the film until the number one is readable in the right red window, take a shot, and wind the film until the number one is readable in the left red window. This is then repeated for the number two, the number three, etc up to number eight. After number eight, the film is finished. As this is a roll film camera, there is no need to rewind the film. Instead, you keep winding the film until all the film and backing paper are on the take-up spool on the left. Note: because the film winds right to left, the frame numbers will be upside down.
Between the two red numbers is a small grasp to ease the user removing the back. To remove the back, you slide both step lugs down – the back comes away in one piece. In common with all roll film cameras, the used film spool must be removed and replaced on the left to become the take-up spool. To make removing and replacing the spools, the base of the spool holder swings out by about 45º. The take-up spool must latch into the film advance mechanism which can make interring the take-up spool rather fiddly. The unused film spool is just held in a couple of holes and so insertion is much easier. In many cameras, there are rollers on either side of the film gate to help prevent scratches on the film but not here – this is definitely a cheap camera.
This camera is a run-of-the-mill medium format camera. The camera has a rim-set Compur shutter with a serial number of 275xxxx which gives a date of 1934 for the shutter. The camera will have been made that year or the next year. The entire serial number is not visible but I know the general date by the fact that it is a rim-set shutter – introduced in 1929 – which means a seven digit number so two million, seven hundred thousand and some.
The ‘bottom’ of the camera contains more items. About 1/3 of the way along is a large – 28 mm diameter – disc with a 3/8 inch tripod socket in the centre. At the far end is the film advance knob – also 28 mm. The film advance knob pulls up to facilitate inserting and removing the take-up spool – more later. Just by the film advance knob is a small button which releases the hinged lens door.
The back of the camera has two red windows. These are for viewing the frame numbers on the film’s backing paper. If you are using the camera full frame (6 by 9 cm negative) then you use the red window near thew the left edge of the camera. If you have inserted the 6 by 4.5 cm mask, then you use both windows – number 1 on the outer window, then number 1 on the inner/right hand window followed by number 2 on the outer/ left hand window followed by number 2 on the inner/right hand window and so on until number 8 has been used on both windows, giving 16 negatives on one roll of 120 film. Both of these red windows have a swivelling brass cover to prevent light coming in through the window and fogging the film.
The front of the camera opens by the small button already mentioned. The front opens itself on a spring – it does not open all the way but I suspect that it did when new. This is a self-erecting camera – the shutter/lens assembly moves forward to the shooting position on its now – which was a new idea in the early 1093s.
This shutter needs to be cocked before it will work. The cocking lever is towards the top of the shutter housing by the shutter speed scale and must be turned clockwise towards the top of the housing. When the shutter is set to 1/250 seconds, the cocking lever requires significantly more effort to move. At the top of the cocking lever’s travel is a small flush button. moving this towards the camera body allows the cocking lever to move 5 mm further. This additional movement sets the delay timer. On my camera this is a delay of 23 seconds but when the camera was new would have been 8 – 10 seconds. This self-delay cannot be set with a shutter speed of 1/250 seconds, not can a shutter speed of 1/250 seconds be set if the self-delay timer has already been set on another shutter speed. When using B and T settings there is no need to cock the shutter as the timing mechanism is not required. If the shutter is already cocked, you cannot set B or T.
The shutter release is a lever on the lower right of the shutter housing. Above this, and just below the cocking lever, is a threaded hole to take a standard cable release. The serial number for the shutter is between the cocking and release levers. Unfortunately, this number is mostly obscured by the mounting struts but enough is visible (three digits) to date the shutter to 1934.
On the top of the shutter housing is a viewfinder which is a 
Inside the back of the camera are two spool carriers, one at either end. The reason for having spool carriers light baffle against any stray light coming in the hinge or the catch. German cameras never used foam light seals.
The take-up spool for the exposed film goes at the other end. The spool carrier at this end needs to be released before it can be swung out. Releasing the spool carrier is achieved by pulling the film advance knob away from the camera body. The take-up spool fits o0nto a short round peg on the lower end and then, once the spool carrier has been swung back into place, the film advance knob needs to be pushed back into position. The film advance knob locates in the take-up spool with a flattened key which sits in the slot at the end of the spool.
When pulling the lens out, it locates on a further stud, putting the lens in the infinity focus position. To focus the lens closer than infinity, there is a radial lever on the front right of the baseboard. When moved fully forward, the lens is focused at three feet. Precise focus is not possible but this was not important as the user would only have had 6 by 6 cm contact prints made which would not show up defects in focus.
The shutter is a Lukos II shutter which is only (as far as I know) found on Butcher’s cameras made by Ica. It would seem to be identical to the shutter on my Ica Icarette I but with a much cheaper dial. I suspect that this is either an Ica Automat A or an Ica Automat X. Both are dial-set shutters (as all leaf shutters were until the end of the 1920s). Speeds available are 1/25, 1/59, 1/100, B and T. For my modern readers, B keeps the shutter open while the release lever is held down and T will leave the shutter open until the release lever is pressed a second time. The dial is cruder on this carbine (just a serrated disc) compared to the Icarette’s dial but all other details are the same – shutter release lever details, cable release socket, size and position of fixing screws are exactly the same – see the photos. The shutter is a simple Everset variety – there is no need to cock the shutter first.
The back opens by a small slide catch on the right hand edge off the camera. The whole back comes away in one piece. In the centre of the back is the red window for reading frame numbers off the film backing paper. This has a swivelling cover made from brass to prevent stray light from fogging the film.
Inside, there is a chamber on the right to hold the new film. This is not securely held in place. There is a curved spring steel spring to stop the spool from rattling about. The take-up spool goes on the left – again, the spool is not held securely in place – there is the same steel spring as on the other side. In order to move the film, there is a hinged key on the left hand top of the camera which locates in the slot on the top of the take-up spool. On my camera, the actual key part you hold onto is missing meaning that if I was to try to use this camera, I would have no way to advance the film between shots.
Dating is hard as there are no serial numbers anywhere. Many features – 
The name ‘Foth’ only appears once on the camera. It is embedded in the leatherette on the baseboard/lens door. There is no model name or reference number anywhere. I assume this means that Foth only made the one folding camera model. The rear of the camera has the initials ‘H.E.F.’ stencilled in white on a scroll background – this will be either the retailer or the owner. I tend to think it is the initials of the owner as retailers usually rely on stickers on the inside.
The camera measures 163 by 80 by 34 mm when closed and by 135 mm when open. It weighs 578 g. While the camera is closed, there are few controls apparent. On one long edge are the film advance key at one end, the viewfinder eyepiece/pointer in the middle and the baseboard/lens door release button near the other end. On the other long edge, at the end, is the tripod socket which is the 3/8 inch version. Near the middle is a sliding button to release the back for film loading. This part is very like a Braun Paxette – the back, the base and part of the front on both sides come away in one piece.
On the back is only the red window for advancing the film. On the front of the camera is the hinged baseboard/lens door. While closed, this has a folding foot to enable the camera to sit upright on a level surface. Near the hinge is a second tripod socket. Again, this is a 3/8 inch thread.
The whole camera os covered with a thick, cardboard based, leatherette. This has been very damp at some point and the cardboard backing has seriously buckled. The leatherette on the hinged baseboard has the legend ‘Foth’ embossed on it.
Pressing the stud on long side causes the baseboard to spring open. The spring is strong enough to open this all the way without any help. All that is required of the user is to click the baseboard down to finally locate the struts securely. As an older design camera, the shutter/lens assembly does not move and needs to be pulled out by hand – two chromed studs are provided as a hand-hold. Pulling the shutter/lens out to the stop position will leave the lens focused at infinity. To focus nearer, there is a metal slide on the front right-hand side of the baseboard. This has an ivorine scale which extends from infinity to 1.5 metres. Fine focus is not possible but this will not have mattered as the user will only have had contact prints made and focus defects would not have been visible.
On the front edge of the top plate to the right of the viewfinder is a small nickel-plated button. This releases the lens door for use. The lens door has a fairly hefty spring and puts itself into shooting position but needs an initial helping hand. I suspect that this is an age thing. On the other side of the viewfinder is the shutter release button. This operates through a couple of levers on the shutter release on the shutter housing – very de rigueur since the mid 1930s until internal coupling arrived in the early 1950s. This shutter release button is also nickel plated brass and has a nice large top surface.
However, this shutter has been modified as it has Demaria-Lapierre’s Autocal feature. This is very neat. The system assumes that you are using 25 ASA film – very slow by today’s standards but common in the 1940s and earlier. This is really a mechanical version of the Sunny 16 rule. There are four windows in the shutter fascia marked ‘Bright sun’, ‘Hazy sun’, ‘Cloudy bright’ and ‘Cloudy dull’. Each of these displays a recommended aperture. As you change the shutter speed these recommended apertures change. Example: At 1/25 seconds shutter speed, the recommended apertures are 16, 11, 8 and 6.3. Changing the shutter speed to 1/100 seconds, the recommended apertures are 8, 6.3, 4.5 and 3.4. A further change in shutter speed too 1/250 seconds gives 6.3, 4.5, 3.5 and ‘NO’ – ‘NO’ indicating that you should not attempt to use 1/250 seconds in cloudy dull weather. As I said – very neat.
The bottom of the camera has, at one end, a 1/4 inch Whitworth tripod boss. At the other end of the baseplate is the film advance knob. Again, this helps with dating as earlier models had a film advance key rather than a knob. The back of the camera is plain apart from the red window for reading the frame numbers while advancing the film. This has a metal swivel cover marked ‘MADE IN FRANCE’.
lens: 
As is my wont, I will I will now give a description of the camera with photographs illustrating the main features.
On the right of the top plate is a circular bright-plated disc. This is a part of the spool holder and has no practical function on the outside of the camera. Hard by this is the shutter release button. Again, this is bright plated. It is not threaded for a cable release – this function is supplied on the shutter housing.
While the camera is closed, the lens/shutter is behind a square door which protrudes from the front. As mentioned just above, this is opened by a button on the top left of the top plate. When pressing this button, the door is opened by a spring. On my camera, the door does not open all the way on its own – the last part requires manual help.
The lens is a C-Master (of which I have never heard before) of 75 mm focal length and maximum aperture of f/3.5. There is a ‘c’ marked on the lens bezel to indicate that the lens is coated – also evidenced by the blue tint of the glass. The lens is front-cell focusing which means that the lens focusses by just the front piece of glass moving, the rest of the lens staying put. This is not as good as focusing with the whole lens moving but I doubt that any users would have noticed any difference.
The shutter is made by OKK and looks exactly like a Gauthier Prontor-S shutter. Shutter speeds are from 1 second to 1/200 seconds. Apertures are in the standard range from f/3.5 to f/22 – quite a good range for the date. There is a silver circle marked on the aperture range. This is used in conjunction with the distance scale where there is a faint vertical mark between 20 and 30 feet. Setting the aperture and distance to these marks gives a focus ranger from 15 feet to infinity and obviates the need to focus for landscapes.
The camera is in nearly new condition. There is a very small amount of black paint missing and some of the corners of the leatherette are lifting. This is almost certainly glued in place with shellac which has hardened over the last 78 years. I am not going to bother regluing it. The other outstanding thing about this camera is that the hinged yellow filter is in place and in good condition. Every other Bessa I have ever seen has this filter missing.
1) the depth of field calculator is simple to use. You rotate the outer ring until the distance to your subject is at the front by the black arrow. You then look down the centre to find your chosen aperture and follow the curved line both left and right to the outer ring. The numbers at this point give the nearest and farthest distances that will be in acceptable focus. Example: you’re focused on 15 feet and are using an aperture of f/11. When 15 is by the black arrow, the silver line for f/11 shows 9 feet (Actually an unnumbered mark between eight and 10) on the left and just short of 60 feet on the right. Acceptable focus will be from 9 feet to 40-ish feet. Also included are Voigtlander’s standard indications for portrait (a triangle) and the group (a circle).
The first thing to notice here is the yellow filter. Voigtlander supplied these fixed to the front of the lens with many of their cameras but they get broken off. This one is intact which together with the general finish of the camera suggests that it was never used very much. The filter is labelled ‘Voigtlander Moment’. For my younger readers, the purpose of the filter is the block some of the blue light in the sky making it darker and so making the clouds stand out more. This is only of any use with black-and-white film, of course. With colour film, the whole picture will come out yellow! As the filter is blocking some of the light, it is necessary to increase exposure slightly.
The lens is Voigtlander’s Voigtar lens. This is a triplet lens (three pieces of glass) with a maximum aperture of f/3.5. Its focal length is 75 mm. The negative size with this camera is 45×60 mm and the diagonal of the lens is 75 mm – the lens is a ‘normal’ lens for this film format. The lens will focus from 3 feet to infinity. Incidentally, this is a front cell focusing camera – only the front piece of glass moves to focus the lens which is not ideal but is a lot cheaper to make.
The shutter needs to be cocked before use. There is a cocking lever towards the front of the shutter housing which needs to be moved downwards to cock the shutter. As was usual at this time, there is a shutter release lever on the side of the shutter housing. This cannot be accessed by the photographer as it is hidden behind the door’s supporting struts. Voigtlander have provided a shutter release lever on the lens door attached to the lever on the shutter housing by an articulated rod. Also on the shutter housing is a threaded socket for a standard cable release.
The back of the camera has the red window for reading frame numbers off the film backing paper. 120 film has three series of numbers on the back, one for ‘full frame’ which is 60 by 90 mm, one for square and one for ‘half frame’ which is 45 by 60 mm. This camera is a half frame camera and so uses the top row of numbers. The red window is fitted with a blind to stop light coming in and fogging the film. this blind has a clear ‘X’ printed on it. To remove the blind in order to read the frame numbers, there is a thumb screw beside the red window and rotating this exposes the frame numbers.
The base of the camera has a couple of items. As already mentioned, there is the recessed button for opening the lens door. At the end of the base is a combination item. In the centre of this is a tripod socket. This is the older 3/8 inch Whitworth threaded socket but has an insert in it with the more usual 1/4 inch Whitworth thread. Around this is a lever which can be rotated through 90°. When rotated, it acts as a foot to enable the camera to be placed on a firm surface in lieu of a tripod. This can be used in conjunction with the delay action device to take self portraits.
The new roll of film goes on the right in a carriage that is on a spring. When the new roll is in place, the backing paper can bet pulled across the film gate and the tapered end of the backing paper can be fed into the slot in the take-up spool. The take-up spool is then rotated using the film advance key on the top, pulling the backing paper until the paper is secure on the take-up spool. In any case, winding must stop if the word ‘START’ appears on the paper. At this point, close the back and open the red window. Continue winding the film until the number 1 appears in the window. This will be preceded by a series of circles or dots of diminishing sizes to warn you that the number is approaching.
John's Cameras. A collection of interesting and old cameras. 