Super Ikonta 532/16 Review – An Ikon – By Bob Janes

The Ikonta range of folding medium format cameras complemented Zeiss Ikon’s Contax ‘system’ camera. They combined quality optics with leaf shutters in sophisticated bodies. The ‘Super Ikontas’ even featured a coupled rangefinder. They were made in three formats for 120 film. The A bodies were 6×4.5, the B’s were 6×6 and the C’s were 6×9. Other Ikonta models catered for 127 film (3×4) and 616 film (a huge 6.5×11 negative). The particular camera I’m basing this article on is a Zeiss Ikon Super Ikonta 532/16. One of the ‘B’ models, producing 6×6 negatives on 120 film. This model was first produced in 1936 and carried on in production for nearly 20 years.

Solid. You close the camera by pressing the edges of the ‘shoulders’ bearing the ‘Zeiss Icon’ badge towards the body.

Far and wide

Production of these cameras before the war involved moving lots of bits about. The shutters originated in Munich. They were then transported to Dresden, where they would be combined with optics from Jena. Units were then shipped along with rangefinder units to Stuttgart where the modules were assembled and fitted into folding bodies.

The shipping and subsequent storage may explain some of the date anomalies that are noted for these cameras. The lenses have their own serial numbers. Often pre-war optics turn up on post war bodies: supposedly because they were in storage.

A real Ikon

Super Ikontas were regarded as the premier folding cameras of their generation. When war broke out the British government put out a call for people to donate their Super Ikontas for their war effort.

The British Army’s liking for Super Ikontas continued after the war. When my dad was an instrument maker for REME two miles behind the front line in Korea, Super Ikontas were commonly brought to him for repair.

The main models he remembered from Korea were the ‘A’ 6×4.5 f/3.5 folders. At the time I was looking for one to get for dad as a birthday present, but had to settle for a 6×6 f/2.8 model. At the time (over 10 years ago), I managed to pick one up for £50. They seem to go for considerably more these days.

A look around the camera

The Super Ikonta 532/16 weighs in at 980g without film

This particular model carries a ‘D’ serial number, which equates to manufacture in 1937 – this also fits with the serial number of the Tessar. These earlier cameras can be identified by the extensive use of Leatherette on the top plate and the black painted face plate for the lens/shutter/rangefinder unit.

Lens and shutter

The Ikonta 532/16 lens is an 8cm f/2.8 Tessar. It appears to be uncoated, as would be expected for a pre-war lens. Both front and rear elements are of an impressive size. The aperture is made up of 10 blades.

Front Standard. The focusing wheel is at 2 O’Clock, while the rotating rangefinder prisms are in the little circular window at 11 O’Clock. The (added on?) flash synch can be seen on the left between the 9 and 10 O’clock positions.

The Compur Rapid shutter has five blades offering speeds from 1 second to 1/400 plus B. You are supposed to select the shutter speed prior to cocking. I’ve seen it suggested that selecting the top 1/400 speed after the shutter is cocked may cause damage. A delay timer can be set. Post war models got updated (and slightly faster) speeds.

This camera appears to have a synch socket, which may have been added post war as it wasn’t supposed to be available until then.


The Ikonta 532/16 door and bellows mechanism itself is very neat, with it being deployed by pressing a shallow button on the top plate . The struts on the door are very sturdy and lock securely in place. To fold the camera back up you need to press the little ‘Zeiss Ikon’ bracing shoulder struts back towards the body

Rangefinder and focus

The early Super Ikontas  all used a prism-based rangefinder attached to the standard. This makes for a self-contained unit, but the extra protuberances tend to complicate folding a bit. In the 6×6 models the implementation is quite neat (not requiring folding up before the bellows close) but is bulky. The rangefinder prism almost seems to duck its head at the last minute to fit in.

On the Ikonta 532/16 the rangefinder patch is integrated with the viewfinder. The co-incident image is produced by a rotating prism in the lens/shutter ‘standard’ unit at the front of the camera. As you focus the camera – either by turning the ring around the lens or using the little wheel on the side – the front of the lens moves back and forth and the prism revolves, moving the patch in the viewfinder.

Light path through the rangefinder prism. Internally the image must also be reflected a few times to get it into the centre of the raised viewfinder.

The focus on my father’s copy is a bit stiff – it may be that with a service it would free up considerably, but the rotating prism gives a good co-incident image and focus seems accurate, even after 85 years.

Film advance

Wind-on is via a knob on the right of the Ikonta 532/16. It features a little fold-up section that greatly eases the whole operation.

The left to right travel of the film means that frame numbers on the edge of the film are in the same orientation as the pictures – which might be viewed as a plus if you like to include the borders in your digitisations.

The film counter, which on this camera has lost some of its chrome plating. In this picture the edge portion of the winding knob has been folded up to make wind-on easier. The shallow button for deploying the bellows can be seen on the left, above the cold shoe.

The Ikonta 532/16 has an automatic film counter. It would appear that Zeiss had problems with previous models with the frame spacing, which has left the 532 aiming for safely and producing just 11 frames off a roll of 120 film. The automatic spacing can be disabled. When loading film you use the red window in the rear of the camera to position to frame 1, set the counter on the top-plate to 1 and shoot away.

The mystery of the red window

The back of the Ikonta 532/16 may seem a little peculiar. The red window that allows you to line up the first frame is set to view the 6×9 numbers. If you disable the automatic spacing and rely on the numbers in the red window you will only get 8 6×6 shots on the roll. Because of the left-to-right film travel, the numbers on the backing paper visible in the red window will appear upside down. Why use the 6×9 red window position on a 6×6 camera?

Early 120 films only had numbering for the 6×9 format on the backing paper. Zeiss even called their in-house film ‘B2 – 6×9’

There is a reason for this. When the Super Ikonta 532/16 was designed 120 films only had numbers for 6×9 spacing on their backing papers. Pre-war cameras using a 6×4.5 format tended to use two red windows on the backs of the camera to allow use with standard 120 film.

Kodak had a separate film format called 117, using the same film stock as 120, but designed to be used by 6×6 cameras. This film was standard for some early Rolleiflexes. After the war 120 would seem to have adopted numbering for different formats on its backing paper. 117 film was discontinued in 1949.

Many thanks to Jami Tanhu for solving my mystery by pointing out the lack of 6×6 numbers on 120 film at the time the 532/16 was first produced.

Shutter cocking and release

The shutter is cocked manually – automatic shutter cocking on a bellows camera was beyond even Zeiss’ love of complication at the time.

The shutter release is on the top-plate, with a neat set of levers in the fold-down ‘door’ transferring the motion to the Compur shutter.

In use

The Ikonta 532/16 is not a pocket camera. Not unless you have very big, strong pockets. However, the lens is delightful, even without coatings. Despite the stiff focus, the rangefinder seems accurate. Wind on and shutter cocking are straightforward, although I frequently found myself forgetting to cock the shutter.

It is quite a leisurely camera to use in practice, but is also quite comfortable.


A view along Woolwich Reach
‘Elephants are People’ art instalation at Royal Arsenal Riverside
One of the body casts that forms part of ‘Assembly’ a work by Peter Burke at the Royal Arsenal Riverside
A view down ‘No 1 Street’ at the Royal Arsenal
Feeding the seagulls
Riverbus gangplank
Shooting into the light with an uncoated lens
Riverside flats


If you are looking for a quality medium format rangefinder, a Super Ikonta fills the bill very well. If you are interested in seeing more of what the Super Ikonta can do, have a look at LA Sousa’s or Eric Norris’ ‘5 frames’ articles taken with 533/16 cameras. The 533/16 was produced at the same time as the 532/16, but included a selenium meter on the top plate.

The Ikonta 532/16 and 533/16 were still being made up until 1955. As well as the restarting of production lines in Stuttgart after the war, jigs and dies also made their way back east, leading to a number of Russian built C type 6×9 Moskva cameras with similar construction.

Later Super Ikontas (the III and IV, one with and one without a selenium meter) abandoned rangefinder prisms on the standard in favour of a swinging mirror in the body, and continued in production until 1960.

Eighty-five years after manufacture, this particular Super Ikonta 532/16 has left me impressed.

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13 thoughts on “Super Ikonta 532/16 Review – An Ikon – By Bob Janes”

  1. How interesting, Bob. The angled folding door and the corners of the body resemble my 1950s Kodak Retina IIa. The later Retinas became more rounded. I wonder if a common aluminum casting company made bodies for both Nagel Werk and Zeiss? Or did the mid-century designers like the precise corner look?

    1. These were quite influential cameras, so copying the overall ‘look’ may have been intentional. Both have a Stuttgart connection, but the Super Ikonta front door is steel rather than aluminium.

  2. Using 6×9 numbers was at time camera was made only option to get right spacing between images. 120 film didn’t have numbers for 4.5×6 and 6×6 images. I have Zeiss Ikon Ikonta from 1938 that has image size 4.5×6. It has two windows where the you use 6×9 numbering twice to get 16 shots from 120 film. A bit odd but workable solution.

    1. Wonderful! That seems to check out as the early 6×6 Rolleiflexes seem to have avoided 120 film – I’m guessing that the multiple numbers for different formats was a post war thing… I will be sure to give you a name check when I’ve done a bit more digging and worked out the best form of words to explain why the 532 uses the 6×9 window.

  3. I use the Super Ikonta III, which is a younger model of the /16. It is smaller, lighter, and actually does slip into a pocket. My III has the Novar f3.5. It’s a Cooke triplet made by Rodenstock for Zeiss. It provides fine, high definition negatives, but it should be stopped down to at least f8 for best results.

    1. I had no idea they made any Super Ikonta models with the triplet Novar lenses. I thought those were solely reserved for the mid-level Ikonta and entry-level Nettar cameras.

    1. Open the back of the camera (when it doesn’t have a film loaded) – the serial number of the body is on the first bit of body to be revealed. The first letter gives the year.

      The lens has a more obvious serial number.

  4. Anthony Lloyd

    I have one too. I love it. Any idea as to a lens hood? There seems very little room on the rim of the Tessar 8cm 2.8 , but there is a very small slot next to the 2,5m distance engraving. Possibly for locating a hood or filter. Does anyone know of one for this model?

    1. I’ve never seen a lens hood – the whole folding concept seems to make it a bit impractical – The slot is there and I guess it could take an adapter to take a hood and/or filters…

  5. Excellent article, thank you!

    One correction, though, regarding the use of the Super Ikonta cameras by the Army Film and Photography Unit (AFPU) during WW2: They pretty much universally used the Super Ikonta B model like the one you acquired. If you go look at photos of British Army photographers from that period, they are all carrying the Super Ikonta B, either the 530/16 or the 532/16, and all have a lens shade attached.

    1. Thank you for the correction. I’ve made a change to the wording accordingly. Someone else was asking about lens hoods, so that is also useful information!
      I’m guessing that during the war the British Army were reliant on what they already had plus whatever had been donated after the appeal.
      I do know that, by the time the Korean war came about (my father was there from the start of January 1952), there were a lot of A type Super Ikontas coming into his workshops, but that was some time later and they may have been part of a post-war order to prop up Zeiss in Stuttgart (after all, if it hadn’t been for a contact for 20,000 cars for the British Army, VW might not be what it is now). I know he did deal with a variety of cameras in Korea – including Leica and Contax, as well as the Ikontas – but the A types with the f/3.5 lens were the ones that he mainly remembered – it may be that due to the folding rangefinder these were more vulnerable to damage so close to the front line.
      Even in the early 50s, he seemed impressed with the quality of Japanese cameras and instruments (he finished off his tour at Kure just across the water from Hiroshima).

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