Help me choose a 6x9 folder.

[Jbennett68]

Looking at two Super Ikontas. A 530/2 and a 531/2. 530 is cheaper. Probably a little better condition. I like the fact it’s all black paint but the tessar lens is one stop slower at f4.5 and the max shutter speed is 250th instead of 500. It has the plain glass viewfinder which I see as a plus and it’s late production so it has a top mounted shutter release as well. Any reason I shouldn’t choose the 530/2 over the 531? I know there is no double exposure prevention. Precious little info out there on these. Is it fully self erecting at the push of a button like the 531?

 

[TenEleven]

I have a 530/2 - I like it but you lose the top mounted shutter button, which can make fast(er not that these are fast cameras) operation more precarious and makes slower shutter speeds a bit more prone to shake since you are now levering at the front of the camera.

One point worthy of note is that if the 530/2 is complete it should come with a tiny cable release tucked into the camera bed, which helps things.

The slower 105/4.5 Tessar is said to be better; having shot both the 105/3.8 and 105/4.5 variants I would agree. This seems to be the overall sentiment from Japanese bloggers as well. I also briefly had a more modern 532/2 and liked it OK, but have not shot it enough to make any judgement.

That all said, you have to check your individual cameras results.
Even a slight bend or distortion of the front standard will render the lens resolving power all but useless.

 

[Jbennett68]

I have a 530/2 - I like it but you lose the top mounted shutter button, which can make fast(er not that these are fast cameras) operation more precarious and makes slower shutter speeds a bit more prone to shake since you are now levering at the front of the camera.

One point worthy of note is that if the 530/2 is complete it should come with a tiny cable release tucked into the camera bed, which helps things.

The slower 105/4.5 Tessar is said to be better; having shot both the 105/3.8 and 105/4.5 variants I would agree. This seems to be the overall sentiment from Japanese bloggers as well. I also briefly had a more modern 532/2 and liked it OK, but have not shot it enough to make any judgement.

That all said, you have to check your individual cameras results.
Even a slight bend or distortion of the front standard will render the lens resolving power all but useless.

This one actually has a top mounted release. Apparently they added that at the end of production. Dies it pop open like the 531 or does it have to be pulled out?

 

[TenEleven]

They all pop out in my experience. I had a very early sample, one of the first - it still popped out fine.
So I'd say it should always pop open unless the springs are very tired.

 

[p.giannakis]

Looking at two Super Ikontas. A 530/2 and a 531/2. Any reason I shouldn’t choose the 530/2 over the 531?

I was introduced to 6x9 via an Agfa box camera which I quickly ditched as getting a good picture was a bit of hit and miss and moved to an Ensign folder (can't remember which one) which was equally disappointing.

When you are dealing with such a big negative, film flatness is absolutely crucial, the slightest bent and you get a blurry image. I would say, if you can check them from close, chech the state of the film pressure plate, it needs to spring nicely.

 

[WoodallP]

I was introduced to 6x9 via an Agfa box camera which I quickly ditched as getting a good picture was a bit of hit and miss and moved to an Ensign folder (can't remember which one) which was equally disappointing.

When you are dealing with such a big negative, film flatness is absolutely crucial, the slightest bent and you get a blurry image. I would say, if you can check them from close, chech the state of the film pressure plate, it needs to spring nicely.

I will second that, but also don't wind on before extending the lens, and when you do extend it, restrain it a bit on the way out. I tend to wind on a little after taking (up to the circles or dots) but only finish winding after I have gently guided the lens open. Opening the bellows quickly pulls a lot of air into the camera and so it is better to tension the film afterwards. In short BELLOWS CAMERAS SUCK!

 

[TenEleven]

What WoodallP describes is my technique for all folders as well, even the modern GF670 (while I had it) or Makina 67. For red window cameras I wind on just so that the number goes away after an exposure - so I know I have taken the shot and need to wind on.

All this is less a problem with 35mm folders as the sprockets keep the film reasonably taut and the forces are also much less due to the smaller film area and bellows volume.