Voigtländer Bessamatic Review

By Tony Warren

2 June, 2026

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SLRs

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SLR Camera Voigtlander Bessamatic Voigtlander SLR
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The single lens reflex with a focal plane shutter (fps) has been around for a long time. A far from exhaustive flick through McKeown’s turned up the Mentor from 1898 and the better known Graflex from 1902. These were bulky, specialised cameras with quite labour intensive operation. No instant return mirror or any other form of automation. Shutters were hand wound, with complex speed setting and the aperture manually set for exposure.

In Germany in the 1930s, Ihagee introduced its 35mm Kine Exakta, Exa range and after WWII the East German Contax D and the Pentina (leaf shutter) appeared in the 1950s, the West German Contarex in 1958 and the Leicaflex in 1964. These were joined by a stream of models from Japan, East Germany and Russia soon afterwards.

In West Germany, only the high end models sported a fps. Leaf shutters, so common and well developed, were the commonest form of shutter on many cameras. I have read that both the main manufacturers were controlled by Zeiss who therefore had an interest in seeing the type used widely. A significant reason for their persistence in Germany.

Voigtländer’s Vito range had used Prontor shutters mounted behind the lens a few years earlier to allow helical focussing for better lens performance than front cell focussing. Deckel also produced a Compur shutter mounted behind the lens. Voigtländer and others used them in rangefinder models. The interchangeable mount system was called the ‘DKL’ by Deckel and ‘SKL bayonet’ (to avoid confusion with the Merc) by Gauthier for the Prontor version. There was an East German version, Vebur?, which would have been used on the Pentina mentioned above.

There were 7 versions of the DKL mount and none of the respective lenses can be mounted on any of the others, even within the Voigtländer range, for some strange reason. Being able to use a range of lenses would seem to us now to be a good thing but maybe back then they felt the name and reputation had to be protected.

So where does the 1958 Bessamatic fit into the picture? Voigtländer were a very early camera maker. Their brass, bullet-like Daguerrotype camera from 1840 is well known. Zeiss obtained an interest in the company in the 1940s and the two firms merged in 1956 (Wikipedia), though Voigtländer products continued independently. This camera would seem to be in direct competition with the Contaflex which had been introduced a few years earlier. The difference was that the Contaflex used front cell interchangeability. limiting the range of focal lengths, whereas the Bessamatic lenses were seperate units with a wider choice of focal length and maximum aperture. Operationally they were very similar to many other products using the DKL system.

Details of the exposure system controls.
Details of the exposure system controls.

The shutter system offered the feature, first developed for the likes of the Vitomatic and others, of match needle, semi-automatic exposure measurement. with linked shutter and aperture settings, light value style, a bit complex but effective. The Bessamatic uses a similar system, the manual instructing that the aperture is set with the adjustment wheel beneath the rewind knob and then the target in the finder is aligned with the needle by further altering the adjustment wheel. This alters the aperture against whatever speed is set on the adjustment ring so it is effectively a shutter priority system.

After that the adjustment ring setting can be changed if a different speed is needed which adjusts the aperture counter to the shutter speed at the same time to maintain correct exposure. I have found that it is best to set 1/30 or 1/60 or what you expect to need as a starting point before adjusting the target ring. It can slightly simplify the process..

Why a leaf shutter?

Because it permits a much more compact body design, being part of the lens assembly, and synchronises with flash at all speeds, unlike the focal plane shutters of the period that were limited to a 1/60 or sometimes, for the vertical running versions, a 1/125 maximum.

They would simplify manufacture by being a single, seperate component that was built in during assembly. And one design selling in quantity to several makers would keep the cost down or the profits up. The Japanese found they could apply this approach to the fps a little later with the Copal Square shutter unit that was used widely, avoiding the need for manufacturers to design and make their own. Being vertical running it also helped keep the size down.

Camera comp
Camera composite.

The Bessamatic

The Bessamatic is basically a single lens reflex of familiar design with a built-in selenium meter for semi-automatic exposure measurement, with an auto pre-set aperture but no instant return mirror. Just like the Hasselblad the screen blacks out as the shutter fires but with a rather noisy clunk instead of a thump. Considering the complex sequence of actions needed an instant return mirror would have put more stress on the mechanisms of the time which has to be complex because when the shutter is released a whole string of things happen:-

Film gate in three stages - capping plate closed, rising to allow exposure and fully open with mirror raised.
Film gate in three stages – capping plate closed, rising to allow exposure and fully open with mirror raised.

1. The shutter, open for focussing and composing, closes.
2. The aperture closes to the set value.
3. The mirror rises to cover the finder.
4. A capping plate that has protected the film opens.
5. The shutter opens and closes.

All this in the blink of an eye. To achieve an instant return of the finder image would have required all these to happen again in reverse after the shutter has closed. The fps Asahiflex IIb from 1954 had been the first to offer an instant return mirror so probably it was not a priority for Voigtländer ahead of reliability.

The finder with contrast exaggerated to bring out the Fresnel rings and focus aid. The fresnel, dust and the mark top left are less noticeable in practice.
The finder with contrast exaggerated to bring out the Fresnel rings and focus aid. The fresnel, dust and the mark top left are less noticeable in practice.

The focussing screen is another feature, also found on other examples from this period, having a condenser lens rather than a ground glass with just a circular patch in the centre containing a ground glass outer ring and a horizontal split image in the centre. Like the ground glass versions there is a fresnel lens below the screen for even illumination. Unlike a rangefinder the whole screen showed the image area whatever lens was fitted with nothing visible outside the frame.

A comparison with a rangefinder’s screen that shows the similarity but also how much clearer it is. The rangefinder is focused to closest distance so the frame is displaced to compensate for parallax.
A comparison with a rangefinder’s screen that shows the similarity but also how much clearer it is. The rangefinder is focused to closest distance so the frame is displaced to compensate for parallax.

This design makes for a bright screen but it is very different for someone today who has become used to the whole ground glass screen going in and out of focus, then fine tuning with the centre patch when using manual focus. The one here is more like the finder of a rangefinder camera which probably accounts for the choice. It would have been much more attractive in the marketplace of the day, making it more familiar to users of coupled rangefinder cameras. It certainly allows you to concentrate on the subject and composition without the distraction of obvious limited depth of field, the image remaining in focus constantly, again like a rangefinder, but you have to remember to focus – it isn’t autofocus even if it gives that impression.

Frame counter and take up spool details showing the knurled section for initial setting, here on the 20 exposure start mark. The rewind lever is set when adjusting the counter which can be turned in either direction.
Frame counter and take up spool details showing the knurled section for initial setting, here on the 20 exposure start mark. The rewind lever is set when adjusting the counter which can be turned in either direction.

Setting the frame counter is another quirk. This has to be done before loading the film. The take-up spool has a knurled section that allows it to be turned in either direction once the rewind lever is set to ‘R’. A later model added a small knob to do this at any time but here it is something to catch out the photographer in a hurry.

In just about every other way operation is very familiar. It is a hefty beast and needs a case because there are no strap lugs provided. The accessory shoe is also seperate, like an OM1, now lost along with the meter window diffuser as often happens.

A bit of whimsy seems to have crept in with the small circular feature to the left of the viewfinder. It doesn’t move and is possibly to help grip with your left thumb but looks to be simply decorative.

In action

Well, action isn’t the best word to use. The Bessamatic is a camera that needs a deliberate approach and is a challenge with some subjects. But that is to judge by today’s standards of course. In its day, the big, bright finder, precise framing, a familiar focus method, and relatively easy exposure setting would have been very attractive.

The weight of over 2lbs or almost 1 kg (check a bag of flour) can be useful to help reduce vibration and movement and the finder is bright, clear and uncluttered, only the needle and target arm intrude on the right hand side. I can also see the whole screen wearing my glasses.

Once familiar with the system, exposure setting is trouble free and the meter appears pretty accurate, well within useful tolerances. It falls short in low light sometimes, a common problem with selenium meters and why the Weston has its low level flap and scale, the near 2”/5cm dia. sensor becoming fully uncovered to deal with lower light levels more accurately.

Weston meter with low level flap open. When closed only the light through the perforations reaches the sensor.
Weston meter with low level flap open. When closed only the light through the perforations reaches the sensor.
Sync and DA lever at 3 o’c;ock and release tab on the opposite side at 8 o’clock that has to be pressed to allow settings to be changed.
Sync and DA lever at 3 o’c;ock and release tab on the opposite side at 8 o’clock that has to be pressed to allow settings to be changed.

The shutter action itself is very quiet and the delayed action still works but hesitantly so best avoided. At first I thought the DA wasn’t working at all but then realised the capping plate and mirror operate as soon as the release is pressed and then the very quiet escapement winds down to an equally quiet click of the shutter. No chance of vibration from the mirror etc spoiling the exposure. There is a lock that has to be pressed to free the MXV lever which is situated on the opposite side of the lens barrel, something else that was confusing at first.

Lens with release catch at 6 o’clock for dismounting.
Lens with release catch at 6 o’clock for dismounting.

The Color-Skopar X ( for exchangeable I presume ) is clean and bright, no sign of major nasties and dismounts and mounts easily. It has a 40.5mm filter thread so takes a step up ring to use my 52mm filters and lens hood from Nikon and 5×4 days.

Ready for action.
Ready for action.

Focus is from 3.5m to ∞ and no depth of field scale is provided. DoF is indicated by two opposing red pointers that move towards or away from each other over the distance scale as focus distance changes against the set aperture.

With a polarising filter to bring up the detail in the sky. Working best at right angles to the sun, as here.
With a polarising filter to bring up the detail in the sky. Working best at right angles to the sun, as here.

Another useful feature, the filter mount doesn’t rotate with focus so use of a polariser is hassle free.

The lens mount showing the aperture connection on the lens at 6 o’clock (left) and the body connection at 11 o’clock (right) which connects with the lens to adjust the aperture. The protrusion at 1 o’clock is the blocking peg that prevents non-dedicated lenses being mounted.
The lens mount showing the aperture connection on the lens at 6 o’clock (left) and the body connection at 11 o’clock (right) which connects with the lens to adjust the aperture. The protrusion at 1 o’clock is the blocking peg that prevents non-dedicated lenses being mounted.

The aperture ring is on the body and connects with an internal sprung lever on the side of the lens barrel which operates the iris. The scale is marked with f2 to f22 which covers all the lenses available, only the current lens’ maximum aperture can be reached and is sprung closed to f22 when off the camera. Apertures are changed with the wheel below the rewind which also is the location for film speed setting as shown earlier. The aperture is at widest opening until the exposure is made.

The rewind/adjustment/film speed assembly also incorporates a filter factor adjustment. Very awkward and probably best done by shifting the aperture suitably. Filters don’t affect the meter TTL fashion. I experimented to find how to misalign the target ring to compensate.

The proof of the pudding

With a wrist strap attached for security, since it came without a case, and a roll of Fuji 200 colour negative I set it to work.

Early morning.
Early morning.
First signs of autumn. Few deciduous trees are native to NZ so autumn colour is limited.
First signs of autumn. Few deciduous trees are native to NZ so autumn colour is limited.
The Cenotaph, Dunedin.
The Cenotaph, Dunedin.
Wreaths laid at the base of the Cenotaph on ANZAC Day held every April 25th.
Wreaths laid at the base of the Cenotaph on ANZAC Day held every April 25th.
The shark bell at St. Clair, Dunedin’s popular surfing beach.
The shark bell at St. Clair, Dunedin’s popular surfing beach.
Detail of entrance feature at Dunedin’s Chinese Garden.
Detail of entrance feature at Dunedin’s Chinese Garden.
Roses rather past their best.
Roses rather past their best.

I have obtained a DKL to Nikon F adapter to mount the lens on my Sony digital via an F to E full frame adapter. It was the worst made item I have had out of China and I had to ease it to allow the lens to seat fully. I lost the detente for the aperture click stops in the process so I need to hold the aperture ring with a finger otherwise it springs to f22. The Lens Turbo full frame adapter gives an extra stop so the Skopar becomes an effective f2 usefully.

The adapted set up.
The adapted set up.
Full frame result on Sony and adapters.
Full frame result on Sony and adapters.

I found the Bessamatic very satisfying to use. That positive clunk and blacked out finder gives a definite punctuation to capturing the image, a very positive confirmation and no spray and pray even possible, not even a quick one more for luck. And the finder is really good in use, even wearing glasses, bright and clear. The split image is no better or worse than most rangefinders but the ground glass circle I didn’t find particularly useful. I believe microprisms were used on later cameras which would be more positive.

One contented cat.
One contented cat.

Final thoughts

When using a camera from this era, modern thinking is counter-productive to enjoying the experience. The Bessamatic was a quality instrument in its day but sadly, also a dead end. For many and varied reasons the camera makers in the west couldn’t compete with Japanese products, with Leica, Zeiss and Hasselblad being notable exceptions, though even they have partnered with Japanese firms to varying degrees. They made high quality products without a doubt, but in the end their names and expertise were what retained value. They made a significant and lasting contribution to photographic development throughout its history, however, and, from my point of view, left an enduring legacy for us to enjoy and appreciate.

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About The Author

By Tony Warren
In my 60 or so years of serious involvement in photography I have seen the demise of the viewfinder, the rise of the SLR and the eclipse of them all with the meteoric development of the digital camera. Through it all, however, and above all else, the image is what it is all about so I now use film alongside digital. Whatever is the most appropriate or practical. My contributions will hopefully be useful for anyone interested in using film and also how a died-in-the-wool antique like me is continuing his life-long addiction in the digital age, using both platforms. The major benefit of an extended retirement is that I can spend most of my time nowadays with photography and writing about it.
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Comments

Ibraar Hussain on Voigtländer Bessamatic Review

Comment posted: 02/06/2026

Thais Tony for this excellent in-depth review of probably the most beautiful camera ever.
Thanks to you I now have a Deluxe version and an Ultramatic.
The sound of an SLR with leaf shutter firing is a thing of beauty - satisfying and an experience.
I found the VF to be very bright and large - and easy to focus using the split image RF and micro prism dot.
It’s a camera which is a pleasure to use and to own.
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Tony Warren replied:

Comment posted: 02/06/2026

Thank you Ibraar. They are really in a class of their own for sure. The shutter firing reminds me very much of my occasional use of a Hasselblad, something very positive and satisfying about it. Looking forward to reading about your experiences.

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Michael Flory on Voigtländer Bessamatic Review

Comment posted: 02/06/2026

Thank you for this extraordinary tour through the Bessamatic! I remember agonizing years ago over my decision to buy this pinnacle of technical beauty and complexity and at last giving in, but I have not given it nearly the attention it deserves.

When I saw the little cover to the left of the viewfinder my first thought, like that of Mike Eckman (https://mikeeckman.com/2018/11/voigtlander-bessamatic-deluxe-1962/), was that it must be a rangefinder adjustment cover, and of course the second thought was, "oops." He too concludes that it does nothing, and a glance through the repair manual (https://manualmachine.com/dwnld/26725777/) reveals nothing indicating that there's anything there to adjust, though the manual doesn't even show the camera from the back fully assembled. I think it only appears on the Deluxe version. Note its absence at 23:53 of your countryman Chris Sherlock's incredibly detailed Bessamatic repair video, part 6 of 7 (https://www.youtube.com/watch?v=yyWJHYTVWjk) , and its presence on the Deluxe version featured at the "KniPPsen virtuelles Kamera und Fotomuseum" (https://knippsen.blogspot.com/2023/01/voigtlander-bessamatic-deluxe.html).
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Tony Warren replied:

Comment posted: 02/06/2026

That is interesting information Michael and clears up the puzzle somewhat. Ibraar might like to comment as he has both this first model and the de luxe. It will be interesting to hear if it is present on both.

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Zheng Li on Voigtländer Bessamatic Review

Comment posted: 02/06/2026

Thanks Tony for the nice review of a lesser known camera. I also enjoy using the Bessamatic and its suite of fine lenses. I can say that the Bessamatic might be one of the most ergonomic cameras that Voigtlander ever produced, since V is famous for odd controls. My favorite lens is the 50/2 Septon, while their 35mm Skoparex is quite nice too.
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Tony Warren replied:

Comment posted: 02/06/2026

Thanks for that. I am looking at a 135mm at the moment. A friend has just acquired a Septon which has a good reputation so we will see how it performs for him. You are right about odd controls but the barn door Vitessa I had which was just that but also the easiest and quickest to use. The doors open with the same release as the shutter so uness you neeed to change the exposure you can lift the camera to your eye and fire away pressing the transport plunger between shots. Better than one second I imaging.

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Gary Smith on Voigtländer Bessamatic Review

Comment posted: 02/06/2026

Interesting article Tony. I never shot any color with either the borrowed Voigtländer I learned on 50 years ago nor on the recently reacquired VITO CLR I picked up for nostalgia purposes. I was recently looking at a Bessa L but decided that I didn't need another camera. I suspect reading this forum is probably instrumental in my camera disease...
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Tony Warren replied:

Comment posted: 02/06/2026

Thanks Gary. It's not a disease, simply a very informed appreciation of unique design and engineering.

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Walter Reumkens on Voigtländer Bessamatic Review

Comment posted: 02/06/2026

A remarkably good review of the Voigtländer Bessamatic and the history of West German cameras. I have never owned a Voigtländer camera made in Germany. I was born a few years after the end of the war and can remember my father’s camera, a Balda box camera with 120 roll film and 4x4 negatives. Not all my friends’ parents had a camera, let alone a Voigtländer, Zeiss Ikon or even a Leica. The average German saved up for a better flat, a holiday or a car. The German camera industry, particularly Leitz, sold significantly more cameras in the US than in Germany. My first camera, at the age of 15, was a Dacora Dignette 35mm viewfinder camera; for several years after that, I used a Nikon FE with a 35mm f/2 lens. Buying a German camera was never an option. Not for me, and not for my friends and acquaintances either. We bought a Minolta, Nikon or Pentax, or a Russian, Japanese or East German camera under the labels of the two largest camera retailers, Foto Quelle (Revue) or Photo Porst. Why? Too expensive, not state-of-the-art, and no joy in photography. I can’t prove it, I can only guess. Nor was it a question of income or education. Perhaps that also plays a part in the development; the master is held in no regard in his homeland. The egos within the various divisions of the Zeiss Group meant that Zeiss-Ikon employees begrudged their Voigtländer colleagues their success. And so it came to pass. A small company survived only because many Germans – and probably foreigners too – enjoy walking around with a camera bearing a red dot.
I’m digressing, but it’s also part of the decline of the West German camera industry. And how the products of Carl Zeiss Jena / Pentacon were badmouthed here in the West – *Revue* and *Photo Porst* were even reluctant to name the manufacturer of their *Revueflex* camera. Now I’m going to have a good look at my Werra rangefinder from VEB Carl Zeiss Jena; I think it has the same shutter mechanism as the Bessamatic. Your explanations will help me finally get to grips with handling this little camera. Thanks for the great article, Tony.
.
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Tony Warren replied:

Comment posted: 02/06/2026

Thank you Walter. You mention some interesting things. How you prefered to Japanese etc cameras rather than German. Cost and mainly features it appears. And Revue's avoidance of naming an East German manufacturer. I had no idea there was such antipathy before reunification. Maybe the [reference for foreign is because of an old colleague of mine's comment that people will always take the advice of a prophet from another land. Who knows. I had a Werra I when they first came out and found it very good to use. Taking the cap off the lens cover/lens hood was a fiddle but a practical feature, and I never lost the cap. High end cameras like Hasselblad and Leica do have an edge but at a price. Voigtländer's 40mm 9-element Skopagon for the bessamatic famly is a case in point, costing far more than its siblings but probably out-performing all of them. But does that add appreciably to everyday use? I have one Leitz lens, a lowly 90mm Elmar, and it is by far the sharpest lens I own and produces some very smooth tones images. It still only just compares with the Cosina/Voigtlander lens you recently demonstrated. In general terms though I am happy with any of my lenses for my purposes. Thank again for your comments.

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Walter Reumkens replied:

Comment posted: 02/06/2026

When I’d finished writing my comment, I saw what time it was in Auckland. Have a lovely Wednesday, Tony. It is a bit strange, really – I was born in 1948, and throughout my entire school career, I never once heard anything about the Second World War from my teachers. It wasn’t a topic of conversation in families either. What they did tell us at school, though, was that everything in the GDR was bad. Ten years after the fall of the Berlin Wall, I met a woman who was born and raised in the old GDR; sadly, she passed away prematurely, otherwise I’d be living in Halle or Leipzig today. I learnt a lot of new things; not everything was bad, there were good things too. And the way we West Germans ‘stormed in’ there after the fall of the Wall made me very sad and thoughtful. I also have a 90mm Elmar; it’s made by Minolta. Leitz relabelled it. Nothing special, it happened quite often. Thank you and all the best.

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Ibraar Hussain replied:

Comment posted: 02/06/2026

That's very interesting Walter! By the way, I can attest to the fact that the West German cameras are things of beauty, in this day and age of rapid AF and computers with lenses attached, the Nikons seem obsolete and any advantages they had have been nullified. However, the V and the ZI now come into their own, the pleasure of owning and handling, of winding on and firing the shutter is a pleasure in itself and makes one take much better pictures than with anything lesser. Now they make sense, whereas in their day compared to the Nikon as strictly photographic tools they were out performed. If that makes sense. I have a collection of 5 V's and ZI's - only thing left would be a Contarex which will come soon

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Tony Warren replied:

Comment posted: 02/06/2026

Yes, it is strange getting used to time down here. After 20+ years I still haven't adjusted. I remember we never discussed the war when I was in Wuppertal. It must have been an awful time for reasonable people for so many reasons, not only the conflict. Let's hope nothing as tragic happens again. Your explanation of the source of my Elmar is something I wasn't aware of. It would have been made when the two companies were working together of course. Is that one of the reasons it is considered the poor relation? They have a similar character with their respective lenses, a smoothness that is very different to the wiriness of Zeiss and Nikon glass. So different to the almost sanitised resilts that seem to be expected today.

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Tony Warren replied:

Comment posted: 02/06/2026

Cyclops?

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Walter Reumkens replied:

Comment posted: 02/06/2026

Hello Ibraar! My old gem is a Contax D with a CZJ Biotar 2/58mm lens, which started playing up after I bought it, so I sent it for a CLA to a specialist workshop in Görlitz, Saxony. I also have lots of cameras made in East Germany by the many companies in Jena, Dresden and elsewhere that later became VEB CZJ. No VL, no ZI, just a Rollei 35 TE alongside my first camera, the Dacora Dignette. When I went on a school trip lasting several days with my class in 1963, at the age of 15, I was the only one who had brought a camera. The same was true in 1972, after I’d finished my apprenticeship, on a company outing with 30 people. We weren’t rich people who owned a Voigtländer or a Leica; photos were taken rather rarely, almost exclusively on holiday, if you could afford to go. We young people had other desires too: a hi-fi system, a record player, a moped or an old second-hand car. I looked up how much a Bessamatic M cost back then – a stripped-down version without an exposure meter and other features that Tony described so vividly. It was intended to encourage people to work extra shifts to afford it. My father could never, ever have afforded one on his income. Only just over 9,000 of them were ever made; today it’s a collector’s item. Then, a few years later, when the SLR boom took off, it was Canon, Minolta, Nikon or Asahi Pentax that were the go-to choices for us young people. Even the Rollei 35, let alone the Rollei 350, wasn’t the thing. In specialist shops, they were only offered if you specifically asked for them. Everyone was aware of the problems facing the camera industry: factory closures, the relocation of production to Singapore, and models that were no longer state-of-the-art – or, if they were, like the Rollei SL 35, much more expensive than a Pentax Spotmatic or Minolta SRT. All the best, have a lovely day, Ibraar.

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Walter Reumkens replied:

Comment posted: 02/06/2026

I think it’s more a case of a guilty conscience, because as Germans who believed in the state, we didn’t do anything to oppose the Nazi regime. It’s just that we’re still like that today; it was very noticeable during the pandemic. I don’t know if there are several 90s Elmars. After starting out with the Bessa-L, I bought myself a Bessa R3M with a 40/1.4 Nokton classic years ago. Of course, I also needed the other focal lengths alongside the 40mm, for which the frames are displayed, namely 50, 75 and 90mm. I managed to get hold of a Minolta M-Rokkor 90mm at a bargain price. My research at the time revealed that Minolta had built it for the jointly developed rangefinder (Leica CL) and that Leica had adopted it as the Elmar. Similarly, the Rokkor 35–70mm f/3.5 zoom was rebranded as the Elmar when Minolta repurposed it as a Leitz for the R-series. There are also Canon zooms in the first digital compacts that Leica adopted in this way. After all, you couldn’t ‘zoom’. I’m not sure about the AF either. A friend of mine has a Q3, bought new, waited six months, and after four weeks the AF stopped working. No return, no exchange, no repair. A waiting time of over four months without a loaner. Leica devotees don’t complain, otherwise the image would be ruined. My Nikon FM2/T had shutter problems a few weeks ago. Nikon Germany is based in Düsseldorf; I drove the 30 km there, and a week later I had it back. It’s working again, and they’d checked it over thoroughly too – at ZERO EURO cost! The only thing is, they don’t stock spare parts anymore. Unthinkable for a luxury brand. :-)))

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Tony Warren replied:

Comment posted: 02/06/2026

I think you are describing democracy everywhere. Elections come and go and the individual has to accept the result. If anything can be done it is not in the hands of the individual but ones in power if they are able to gain enough support. Not an excuse just a fact of life. If the system fails sadly bad things happen. The Contax D is quite an historic camera so I hope you will put something about yours on 35mmc. I know I would like to read and see more about it. I shall be researching the Elmar further and the links between Leitz and Minolta. The service you received at Nikon is impressive.

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Ibraar Hussain replied:

Comment posted: 02/06/2026

There's no surprise Germans supported AH. Especially after what was done to Germany after the 1st War. There is much which is hidden from us and much which is taught as History, but as you know History is always written by the victors. This I recommend https://corbettreport.com/wwi/

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Ibraar Hussain replied:

Comment posted: 02/06/2026

I have a Contax D in my radar for the collection. I saw Martin henson's review and was very impressed (as was he).

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Walter Reumkens replied:

Comment posted: 02/06/2026

I’ll do my best to fulfil your request for more information about the Contax D, but it might take a while. Would you recommend buying the ‘Bessamatic M’? Despite being a limited edition, there are currently several listings for it on eBay.

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Ibraar Hussain replied:

Comment posted: 02/06/2026

in deutch https://odysee.com/@AugenAufMedienAnalyse:6/wwi1:1?lid=4e24bf1aff75bf6e293893a9568ae4ead3408914

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Ibraar Hussain replied:

Comment posted: 02/06/2026

The Bessamatic M is a fine fine beauty. Yes, absolutely recommend it, or the Bessamatic Deluxe. They're bargains on ebay, 150 euro for something if it was released today would cost many thousands. I also have the Ultramatic CS, it's the most solid, heavy and beautifully made camera I have. It feels great in the hand, the shutter release is on the body, just feels natural holding and having the index finger pushing down from the front rather than the top. Top shutter release I usually use my thumb. But the Finder on the Deluxe (and M) are brighter bigger than the Ultramatic (as part of the space on the Ultra is taken up by the meter system). But if you can, get yourself a Contaflex Super (1st model) It is every bit as nice as any of the V's and shares many similarities and parts with the Contarex, it's also more compact, better feeling in the hand, has a big bright Finder, and very very cheap to buy. My review is coming 15th June. My Icarex review is coming on the 22nd of June. And that is another fantastic camera - the very last Hurrah, combination of both V and ZI for one final work of art

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Tony Warren replied:

Comment posted: 02/06/2026

Thank you Walter, I look forward to it but no hurry. I guess it depends on your objectives. The M is a part of the Bessamatic family andif, like Ibraar, you seek the whole story I guess it is a necessary part of all that. But even if it only for use, the fact that it is fully manual but basically lacking only a meter with less to go wrong it would make an excellent camera to use. The lenses really are top flight within their limitations.

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Walter Reumkens replied:

Comment posted: 02/06/2026

Thanks, Ibraar! Here's something for you: https://www.klassik-cameras.de/Icarex.html

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Ibraar Hussain replied:

Comment posted: 02/06/2026

Thanks Walter And Tony, the M seems like the perfect one to choose - just looks classy and with Jo Meter I bet the viewfinder is even bigger and brighter. I can’t find any reviews of the M online

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Tony Warren replied:

Comment posted: 02/06/2026

From what I have read it is a pretty rare beast with not mant produced. I doub the finder is any different though but the lack of the meter indicators could make it seem bgger and less cluttered, not that the indicators are particularly intrusive.

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David Pauley on Voigtländer Bessamatic Review

Comment posted: 03/06/2026

Wonderful piece and photos, Tony, and I love the discussion that flowed from it. I've never owned a Voigtländer but love reading about the history. So interesting also to know that so many classic German cameras of the postwar period were targeted to consumers in other countries. My Dad, a veteran of the U.S. Arny in WWII, had a special reverence for Leica and Hasselblad ("the best of the best") but never, ever would have spent the money to own one. When he bought a new SLR in 1970 on a trip to Japan he opted for a Miranda rather than the pricier Nikon. That camera documented my whole childhood and did great service.
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Tony Warren replied:

Comment posted: 03/06/2026

Thanks David. My first quality camera was a Voigtländer and I have had a grate respect for them ever since though not owned many. They even prototyped an interchangeable lens TLR ahead of Mamiya that never made t into production. Unless you have disposable income you have to be practical and, after all, most well made cameras, Miranda included, from the 1930s on were decent performers. I think your Dad had some Yorkshire blood somewhere. We apparently are worse than the Scots where spending money is concerned. He definitely recognised quality but had better things for his cash. The discussions have thrown up a great deal of interesting things I knew little about. A great feature of this forum.

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Walter Reumkens on Voigtländer Bessamatic Review

Comment posted: 03/06/2026

Wir unterhalten uns über "westdeutsche Kameras" und wiederholt wird dabei auch "Hasselblad" genannt. Okay, die Objektive sind Zeiss-Optiken, aber Hasselblad ist seit ein schwedischer Hersteller von Mittelformatkameras mit Sitz in Göteborg. :-)))
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David Pauley replied:

Comment posted: 03/06/2026

Point taken, Walter -- a Swedish-German cooperation, but you're right when one fell out of a NASA astronaut's hands in the 1960s it was dubbed Sweden's (not Germany's) first earth-orbiting satellite. If only they'd taken a Leica...!

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Tony Warren replied:

Comment posted: 03/06/2026

Alles Futter für die Mühle.

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Walter Reumkens replied:

Comment posted: 03/06/2026

My comment is right below yours, but other 35mmc fans had already made that connection. Incidentally, only the V-series lenses were manufactured by Zeiss, whilst the central shutter was produced by Hasselblad itself. The H-series lenses are developed in collaboration with Fujifilm, and those of the XCD series with Nittoh from Japan. Leica was out of the question; it did not meet the high standards of the NASA project. -:)))

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Benjamin Chan on Voigtländer Bessamatic Review

Comment posted: 04/06/2026

Nice review. The Bessamatic is one camera I probably should not have sold. I even had a Septon lens in great condition.
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Tony Warren replied:

Comment posted: 04/06/2026

Thanks Benjamin. I'm sure we all have a list of those that got away mucg to our regret. For myself, a camera was a major purchase and I rarely could afford more thanone at a time, not until the digital devastation made the film camera so inexpensive for a while.

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