The Inscrutable Pentacon Six: A User’s Guide
How to get the most out of the DDR’s flawed cult classic masterpiece
By Jason Schneider
The Pentacon Six is often referred to as a “cult camera,” implying (correctly in this case) that this great hulking East German 2-1/2 square SLR has a small but devoted following that regard its foibles as endearing quirks. Designed by Kamera Werkstätten (KW) in the early ‘50s and introduced as the Praktisix (a perfectly awful name for a camera!) at Photokina 1956, the Praktsix was beset with frame spacing and overlapping problems, a wonky frame counter, and slow shutter speed train problems, none of which was fully resolved in the subsequent Praktisix II and IIa.
Late Pentacon Six TL with 80mm f/2.8 Aus Jena Bm lens. This "stealth" version of the acclaimed 80mm f/2.8 Biometar was made after Zeiss Jena lost the international rights to the Zeiss name in Western countries.
In 1959 Kamera Werkstätten became VEB Kamera and KinoWerke Dresden; in 1964 the name was changed to VEB Pentacon; and in 1970 it became Kombinat VEB Pentacon. With the unification of the East German photographic industry under the Pentacon banner, the Praktisix was modified to become the Pentacon Six, with improved frame spacing provided by a toothed roller that’s turned by the film as it advances and disengages once the correct length for each frame has been reached. The Pentacon Six was in production for a remarkable 26 years from 1966-1992, and when a prism attachment with an (uncoupled and untrustworthy) built-in exposure CdS meter was introduced in 1968 the camera nameplate was changed to Pentacon Six TL with no other internal changes.
The Pentacon Six TL with added strap lugs, excellent 50mm f/4 Zeiss Flektogon lens and mediocre TTL meter prism (see text for evaluation).
There were two versions of the Pentacon Six TL—the “early” type with a film type indicator on the shutter speed dial and a bright aluminum lens locking ring, and the “late” type with an ASA/DIN film speed indicator on the advance lever, 2 small spring-loaded cylinders to keep mounted prisms from rattling, and a black lens locking ring. Some models labeled Hanimex Praktica 66 were made for Hamimex, the Australian company that was the U.S. Praktica/Pentacon importer during the ‘60s and ‘70s, when cameras made in communist countries could not be directly imported into the U.S.
Which Pentacon Six for shooters?
The Pentacon Six TLs (both versions) are the best of the breed for users since they’re the newest models. Also, some reviewers claim that the late “TL” is slightly more reliable than the early “TL” or the plain Pentacon Six. That said, anybody buying a Pentacon Six with the primary intention of taking pictures is strongly advised to have the camera CLA’d beforehand by an experienced professional camera repair person, preferably one familiar with working on these eccentric beasts. Even the latest models can occasionally give frame spacing problems if they’re out of adjustment or the film is advanced in a ham-fisted manner. And all models can stop operating or give erratic results at slow shutter speeds (1/30 sec or longer) if their lubricants congeal due to lack of use.
Pentacon Six TL, early version with "TL" below the "six." with 80mm f/2.8 Biometar lens and big but not so bright standard non-meter prism.
Evaluating the Pentacon Six design
The Reflex-Korelle that debuted in 1935 was one Dresden-made 6 x 6cm SLR that influenced the Pentacon Six. It was nicely made and had a successful run, but offered no interchangeable finders or screens, and had manual (pre-set) diaphragm screw-mount lenses.
Exakta 66, horizontal version of 1938 had bayonet mount lenses, but only offered an interchangeable finder in 1939 and never came across with the promised pentaprism, Camera was unreliable, produced in limited quantities, and is now a coveted collectible.
At first glance the Pentacon Six appears to be a traditionalist camera with its roots firmly planted in the past. However, it was far more technically advanced than its antecedents, the prewar Reflex-Korelle introduced in 1935 (which finally acquired a bayonet lens mount in the rare and elusive Model III of 1939), and the rare, collectible, and unreliable “horizontal” version of the 1938 Exakta 66 , which had a weird bottom-mounted wind lever, an old fashioned shutter speed dial that turns as the shutter fires, and didn’t acquire an interchangeable waist-level finder (in anticipation of a pentaprism that never materialized) until 1939. Also, none of the precursors of the Praktisix/Pentacon provided automatic aperture stop-down and a return to full aperture after the exposure has been executed. To recap, here are the Pentacon Six’s specs:
Type: SLR giving 2-1/4 x 2-1/4-inch (6 x 6cm) format on 120 roll film
Shutter: Horizontal travel rubberized cloth focal plane with geometric speeds of 1-1/1000 sec plus B plus X-sync at 1/20 sec set on a single click-stopped, non-lifting, non-rotating dial.
Lens mount: 3-lobed breech-lock bayonet mount since designated P6
Finders: Interchangeable 4-slot lock-on-mounting, folding waist-level viewfinder with built-in hinged magnifier, plain pentaprism finder, metered pentaprism finder with built-in uncoupled CdS meter, chimney type waist level finder adjustable for magnification and focus.
Screens: Choice of 6 interchangeable viewing screens including split-image rangefinder and Fresnel with microprism, ground glass collar. Aftermarket screens providing a brighter viewing image available.
Film advance: Single long-stroke wind lever with manual first frame positioning, automatic spacing of subsequent frames and automatic self-zeroing frame counter that locks at frame 12.
Other features: Angled front-mounted shutter release, film speed and film type dials, built in mechanical delf-timer.
Standard lenses: 80mm f/2.8 Zeiss Jena Biometar, 50mm f/4 Zeiss Jena Flektogon, 120mm f/2.8 Zeiss Jena Biometar, 180mm f/2.8 Zeiss Jena Sonnar, all with auto diaphragm; 500mm f/5.6 Orestagor with pre-set diaphragm, and 1000mm f/5.6 Zeiss Mirror lens. Many other lenses designed for the West German Exakta 66, Russian Zenit 2-1/4 SLRs, etc. are fully compatible with the Pentacon P6 mount.
Size and weight: With plain prism and 80mm f/2.8 Zeiss Jena Biometar lens, approx. 6-1/2 x 5-5/8 x 4-1/2 (W x H x D); weight, 3.53 pounds.
Zeiss Jena Lenses for the Pentacon Six: A concise overview
Carl Zeiss Jena and Meyer Lenses for the Pentacon Six: A Hands-On Overview
Herewith the specs and basic performance parameters of the most popular prime Carl Zeiss Jena lenses offered for the Pentacon Six based on an analysis of published reviews as well as hands-on experience. We’ve also included a couple of Meyer lenses for comparison. The Zeiss Jena lenses are generally outstanding in terms of sharpness, bokeh and “vintage rendition” and are one of the main reasons analog shooters are attracted to the Pentacon Six system and willing to put up with its “charming idiosyncrasies.” Another advantage: lens mount adapters are widely available enabling the direct use of Pentacon Six (P6 mount) lenses on Nikon, Canon, M-42, Pentax 6x7, etc., and lens mount conversions from P6 to Hasselblad and other medium format mounts are offered by specialized machinist repair shops.
Carl Zeiss Jena Flektogon 50mm f/4, manual focus, spring-actuated auto diaphragm. Optical construction: 7 elements in 4 groups, Coverage angle, 86 degrees. Apertures: f/4-f/22, Diaphragm blades: 8, Min. Focus Distance: 0.5m, Filter diameter: 86mm, Weight: 16.9 ounces, Length: 3.4 inches.
Performance: A good, sharp, wide-angle with very low distortion. Tendency to flare in side-lit situations, so lens hood recommended, pleasing natural bokeh. Overall, very good to excellent, around $250.
Carl Zeiss Jena Flektogon 65mm f/2.8, manual focus, spring-actuated auto diaphragm. Optical construction: 5 elements in 4 groups. Coverage angle: 64 degrees. Apertures f/2.8-f/22. Diaphragm blades: 8. Min. Focus Distance: 0.75m, Filter diameter: 86mm. Weight 16.9 ounces, Length: 3.5 inches. In production: 1950-1969.
Performance: Excellent overall in terms of sharpness and detail, beautiful natural bokeh, impressive mechanical construction. Fairly uncommon and likely to be pricey, at $350-500.
Call Zeiss Jena Biometar 80mm f/2.8 MC: This is the late multicoated (MC) version marked DDR an finished in black.
Carl Zeiss Jena Biometar 80mm f/2.8, manual focus, spring-actuated auto diaphragm. Optical construction: 5 elements in 4 groups, standard normal prime lens for Pentacon Six. Apertures: f/2.8-f/22. Diaphragm blades: 8. Min. Focus Distance: 1m; Filter diameter: 58mm. Weight: 9.2 ounces. Length: 2 inches.
Performance: A great lens. Very sharp with good contrast except in the corners of the field at f/2.8, pleasing natural bokeh especially at the widest apertures, and vintage “rounded” rendition that’s excellent for portraiture; widely available and reasonably priced at $150-$250. Note: this lens was initially made in a single coated version (e.g., the “Zebra style”) and later in an all-black multicoated version (marked MC). The latter, and the final 80mmf/2.8 Aus Jena Bm, employ the same optical formula, provide better flare control in harsh light, but otherwise have similar imaging characteristics to the older lens.
Carl Zeiss Jena Tessar 80mm f/2.8, spring-actuated auto diaphragm. Optical construction: 4 elements in 3 groups, standard normal prime lens from 1956-1958. Apertures: f/2.8-f/22. Aperture blades: 8. Min. Focus Distance: 1m; Filter diameter: 58mm. Weight: 8.5 ounces. Length: 2.2 inches.
Performance: Despite its simpler 4-element construction this lens performs on a par with the 80mm f/2.8 Biometar except for slight softness in the corners of the field at f/2.8-4.0. Otherwise, it’s very sharp with good contrast, pleasing bokeh, and a nice vintage rendition typical of Tessar-formula lenses. It’s not rare but it is considered collectible, which is why it typically fetches $200-400 used, somewhat higher than the more common 80mm f/2.8 Biometar.
Meyer-Optik Görlitz Primotar E 80mm f/3.5 V, spring-actuated auto diaphragm. Optical construction: 4 elements in 3 groups, standard normal prime lens. Apertures f/3.6-f/16. Aperture blades: 6. Min. Focus Distance: 0.8m. Filter diameter: 49mm. Weight: 9.2 ounces, Length: 1.9 inches.
Performance: This is a nice Tessar-type lens that performs on a par with the Zeiss Tessar, delivering excellent sharpness and contrast across the field with some softness in the corners at f/3.5-4.0. it focuses closer than the standard 80mm f/2.8 Tessar or Biometar, an advantage in shooting close-up portraits, but its 6-bladed diaphragm tends to produce the dreaded “beehive” pattern in out-of-focus highlights. Mechanical quality is very good and overall bokeh is smooth and natural, especially at the widest apertures. It’s not a rare lens, but it is prized by collectors and shooters alike, resulting in an average price of around $200-275 in pristine condition.
Carl Zeiss Jena Biometar 120mm f/2.8: This is the early single coated "Zebra type" with banded silver and black focusing and aperture rings.
Carl Zeiss Jena Biometar 120mm f/2.8, spring-actuated auto diaphragm. Optical construction: 5 elements in 3 groups, moderate telephoto prime lens. Apertures: f/2.8 to f/22. Aperture blades: 8. Min. Focus Distance: 1.3m. Filter diameter: 67mm. Weight: 19.4 ounces. Length: 3.4 inches.
Performance: Based on a Zeiss Planar optical formula, this outstanding portrait tele focuses close enough for frame-filling headshots, delivering detailed but soft, luminous images at its widest apertures, impressive sharpness at moderate apertures, and beautiful, smooth bokeh between f/2.8 and f/8. It was produced in a single coated “Zebra finish” version, and an all-black multicoated (MC) version, which is preferable for shooting in high-flare lighting situations. Either version is a great choice for portraiture or general shooting. Price range for used examples in clean working condition: $250-$500.
Carl Zeiss Jena Sonnar 180mm f/2.8. late black finished version. It's hefty at a tad over 3 pounds, but it's hand-holdable for portraiture.
Carl Zeiss Jena Sonnar 180mm f/2.8, spring-actuated auto diaphragm. Optical construction: 5 elements in 3 groups, Sonnar formula telephoto prime lens. Apertures: f/2.8-f/22. Aperture blades: 8. Min. Focus Distance: 1.7m. Filter diameter: 86mm. Weight: 48.1 ounces. Length: 4.8 inches.
Performance: This is a large, heavy lens that delivers very sharp images, rounded “vintage rendition,” beautiful natural bokeh, and moderate contrast. It’s a great choice for portraiture, landscapes, and architecture, but due to its size and weight requires fast shutter speeds when shooting handheld. It’s available in single coated and later multicoated (MC) versions, the latter with 7 diaphragm blades and apertures to f/32. Price range for used examples in clean working condition: $250-$500.
Pentacon 300mm f/4, single ring preset diaphragm long telephoto prime lens. Optical construction: 5 elements in 4 groups. Apertures: f/4 to f/22. Aperture blades: 19. Min Focus Distance: 3.6m. Weight: 72 ounces. Length: 10.2 inches.
Performance: A large, heavy lens, it works best with a tripod-mounted camera, but it’s a great choice for sports, nature/wildlife photography, and capturing distant details. Of excellent mechanical quality, it delivers sharp images of moderate contrast across the field at all apertures, and has smooth, attractive bokeh. Price range: $150-$300.
Meyer-Optik Görlitz Orestagor/Pentacon 300mm f/4, single ring preset diaphragm long telephoto prime lens. Optical construction: 5 elements in 4 groups. Apertures: f/4.0 to f/22. Aperture blades: 18. Min. Focus Distance: 3.6m. Weight: 76.9 ounces. Length: 7.4 inches.
Performance: This large, heavy lens works best with a tripod-mounted camera, but it’s a great choice for sports, nature/wildlife photography, and capturing distant details. It delivers sharp, detailed images of moderate contrast across the field at all apertures, and provides very smooth, natural bokeh, especially at its widest apertures. Price range: $250-$300.
Pentacon 500mm f/5.6, single ring preset diaphragm super-telephoto prime lens. Optical construction: 4 elements in 4 groups. Apertures: f/5.6 to f/22. Aperture blades: 18. Min. Focus Distance: 6m. Filter diameter: 118mm. Weight: 123.5 ounces. Length: 14.6 inches.
Performance: This large, heavy, multilayer coated lens is well made and delivers good image quality overall, but its bokeh is somewhat “harsh.” It’s a reasonable choice for typical telephoto applications at distances beyond 20 feet, so long as it’s fitted to a tripod-mounted camera.
Carl Zeiss Jena Spiegelobjectiv 1000mm f/5.6 super-telephoto prime mirror lens. Optical construction: 4 optical elements and 2 mirrors. Apertures: f/5.6 only; no aperture adjustments. Min. Focus Distance: 16m. Weight: 30.87 pounds. Length: 20.2 inches.
Performance: This catadioptric (mirror) super-tele is a big kahuna, and it doesn’t focus very close, but it is very well made and delivers excellent overall sharpness and image quality, and very nice bokeh for a lens of this type. Approximate selling price range (none listed for sale at present): $1,500-$2500.
The Pros & Cons of the Pentacon Six
Like anything created by human beings, the Pentacon Six has its assets and liabilities. Indeed, the fact that it could even be designed and manufactured under the not so tender mercies of the communist regime in East Germany is a tribute to the dedication of those that created and produced it for nearly 40 years. The Pentacon Six is also a tacit homage to the century-old legacy of innovative Dresden camera design and manufacture that it embodies.
Pros:
For a medium format SLR the Pentacon Six is a well-integrated, semi-modular design with logically placed controls, reasonably good handheld balance and satisfying ergonomics. While it doesn’t have detachable film magazines like a Hasselblad, Bronica, Mamiya, etc. it does have interchangeable finders and screens (though interchanging screens is a pesky business that entails removing screws, retaining springs, etc.)
With a throat diameter just shy of 60mm and a beefy 3-lug breech-lock bayonet mount the Pentacon Six (P6) mount is certainly robust and reliable and like all mounts of this type, automatically compensates for wear. The mount accommodates spring-loaded auto diaphragm (ASD) lenses actuated by means of a hinged arm within the camera body that pushes a pin on the back of ASD lenses to stop the lens down to the set aperture just prior to exposure. Since the camera does not have an instant-return mirror the lens reopens to maximum aperture only when the film is advanced, and the mirror returns to viewing position.
A staggering number of excellent lenses are available in P6 mount. They include 9 by Carl Zeiss Jena ranging from 50-1000mm, 3 by Meyer ranging from 80-500mm, 16 by Kiev/Arsat (for their medium format SLRs) ranging from 30mm (Fisheye) to 600mm, 11 by Schneider-Kreuznach (for the postwar P6-mount Exakta 66) ranging from 40-250mm plus 2 Variogon tele zooms, 7 by Hartblei of Ukraine including 45 and 65mm shift and tilt-shift lenses to a 150mm tele, 3 from Arax of Ukraine including 45mm and 65mm shift lenses and one 80mm f/2.8, 7 from Kilfitt of West Germany ranging from 90-600mm. 3 from Zoomar, 2 from Novoflex, and 10 teles from Astro Berlin ranging from 150-2000mm! All of these can be mounted on most mirrorless cameras with simple or dedicated lens mount adapters.
Mystery Master Machinist Strikes Again! It took considerable ingenuity and great skill to get this Pentacon-mount 180mm f/2.8 Sonnar lens to work (manually) on a Hasseblad 205 TCC and focus to infinity, but so far nobody has taken credit for this technological tour de force.
Kipon P6-GFX adapter lets you mount Pentacon Six lenses on a digital medium format Fuji GFX, a cool combo indeed. Price: $155.00.
A huge range of mount adapters are available for using Pentacon Six and other P6-mountr lenses on the following camera systems:Mamiya M645, Pentax 645, Contax 645, Canon EF and FD, Nikon F, Minolta AF and MD, Contax/Yashica, Pentax K and M42, Leica R, Panasonic Lumix, Olympus Micro FoyrThirds, and MFT mount. There are also numerous shift- and tilt/shift adapters available that provide various degrees of control over perspective and the plane of focus.
Innovative T&S P6-X1D tilt/shift adapter lets you mount P6 lenses on suitable Hasselblads while adding increased image control flexibility.
K&F Concept Pentacon Six to Nikon adapter is one of myriad inexpensive adapters that let you mount P6 lenses on practically any mirrorless camera, most 35mm SLRs, and many medium format cameras, both film and digital, This one is widely offered at around 25 bucks.
Pentacon Six (P6-mount) lenses are directly compatible with an extensive variety of other medium format SLRs and of course all models of the Praktisix. These include the Kiev 6C, Kiev 60, modified Kiev 88s, the Kiev 88C and the Kirv 88CM, all Hasselblad clones, Arax and Hartblei branded SLRs, and the West German postwar version of the Exakta 66, an upgraded 6 x t6 cm SLR closely based on the Pentacon Six TL with a coupled TTL meter and a special series of Schneider lenses that key in the aperture setting
Despite some claims to the contrary the Pentacon Six is quiet for a 6 x 6cm SLR and its levels of shutter- and mirror-induced vibration are quite low compared to most other medium format SLRs. There is a cushion that helps damp the mirror’s motion at the very end of its travel, but the shutter fires only when the mirror is fully raised, minimizing shake-induced effects.
Pentacon Six cameras have noticeably increased in value over the past few years, but you can still snag a clean working camera with waist-level or plain prism finder and 80mm f/2.8 Biometar lens for $250-$450--not bad for a workable medium format classic. Make sure to set aside $150-S200 fir a complete CLA and a screen upgrade, and whatever you do buy it to use it, not as a so-called “investment grade collectible.”
The Pentacon Six is a unique conversation piece that commands immediate attention even from non-photographers, and if you like to shoot impromptu portraits and people pictures as I do, it’s an excellent “ice breaker” that puts people in the right mood for consenting to have their picture taken.
Cons:
The Pentacon Six film-advance and frame spacing mechanisms, though vastly improved over those in the Praktisix, are still somewhat delicate and intolerant of rough handling or abuse. To make matters worse the camera is a pain in the butt (and slow) to load and you must follow a precise procedure every time or you’ll screw up and may even damage the camera. Failing to do so is the root cause of most complaints about the camera’s “unreliability.” The official Pentacon Six manual gets it mostly right but omits a couple of salient details. See the following section on How to Load and Unload the Pentacon Six for details.
The Pentacon Six viewfinder system is OK but not great. The standard waist-level viewfinder has a plain ground glass screen surmounted with an old-fashioned thick condenser lens (no Fresnel!). It provides a reasonably bright view (not so hot in low light) of moderate contrast that does not snap into focus with alacrity. Achieving proper focus, especially indoors, may require a lot of back and forth, and the (non-interchangeable) magnifier may not be optimal for your vision. Replacing the waist-level finder with the standard (non-metered) pentaprism provides more decisive focusing, but the pentaprism itself is dimmish compared to medium format pentaprisms from other makers. The best in-house finder solution for achieving precise focus is obtaining a (hard to find) Pentacon Magnifying Finder which has adjustments for magnification and focus, but its optics are housed in a clunky vertical “chimney” and even at low magnification settings, you can’t see the entire frame to compose the picture.
The best way to alleviate all these woes is to obtain a brighter, more contrasty, replacement screen (Pentacon did offer a good Fresnel with microprism screen that even came with the proper springs and supporting angle pieces, but lots of luck finding one.) Best solutions: obtain an aftermarket screen such the Maxwell Hi-Lux (the very best, but expensive), a Rick Olesson BrightScreen, take a chance on an inexpensive Arax screen from Ukraine, or a costlier replacement screen for the postwar Exakta 66, basically an upgraded, more expensive West German version of the Pentacon Six. Cheap unbranded Pentacon Six screens from China are also widely promoted on the Internet. Warning: Any Pentacon Six replacement screen should be installed by an experienced camera repair person with the technical knowhow required to adjust it to the precise plane of focus to coincide with the image plane.
How to Load and Unload the Pentacon Six
The official Pentacon Six manual includes both Abridged and Full Instructions on loading the camera, which commence with following admonition: “The following Abridged Instructions are a summary of the most important sections of this Instruction Booklet. These sections deserve particular attention. Yet the knowledge acquired by reading them alone cannot compensate for the valuable information to be obtained by studying the complete instruction manual.” In other words, you’d better RTFM beforehand, and pay attention!
One of the few good points of the Pentacon Six frame counter is that it jumps to the start position when you pull down the locking latch and swing open the camera back. Now insert a fresh roll of 120 film in the left-hand chamber making sure it’s firmly secured at the top and that the spring-loaded retainer at the bottom is all way in. Some folks prefer to leave the paper retaining strip on the roll until it’s inserted, but I generally remove it before inserting the film, making sure to hold the paper leader end against the roll so it doesn’t unravel unexpectedly. Now pull the paper leader across the film aperture and push its tapered end into the longer slit of the take-up spool. I like to fold the leader end over by about 3/8-inch to provide a firmer grip, and to turn the take-up spool clockwise by its bottom flange with a finger until a full turn of paper leader is secured tightly on the spool. It’s very important to make sure that the paper leader is positioned evenly between the take-up spool flanges on both sides—if it’s even slightly skewed it can cause the film to jam in the camera.
Now comes the fun part, which the manual alludes to but doesn’t quite specify. Once the film is correctly positioned across the film gate and the leader is firmly attached to the take-up spool, you must wind the film, with the back open, until the double-ended arrow on the paper backing aligns with a white dot at the bottom of the film aperture. This assures proper first frame positioning and frame counting. You begin this process by swinging the film-wind lever as far as it will go, but then, instead of letting it spring back, you maintain thumb pressure on the lever and let it spring back only about 30 degrees. From this point you wind the lever in a series of short mini strokes until the arrow lines up with the dot. Now allow the wind lever to move back to its original position, guiding it with your thumb rather than letting it snap back, and close the camera back. Note that the short rocking movements of the wind lever should be performed only when film is being inserted with the camera back open, or after the 12th exposure before unloading the camera.
Now, after setting the film type and film speed reminder dials, you wind the film advance lever camera fully, guide it back with your thumb, and fire the shutter. Repat this process 4 times until the exposure counter reads 1, which alas is denoted by a tiny little dot after the 0 (zero) mark rather than a nice big numeral 1. From that point on, the frames will be successively counted until the camera locks in at 12, after the last frame has been shot. Fabulous factoid: If you follow the above procedure fastidiously, you canadvance and fire the only 3 times until the counter reads 0 (zero) and then shoot a 13th frame on your “12-exposure” roll of 120 film. I can attest that this usually works, but I always make sure not to shoot anything crucial on the “zero” frame counter setting just in case it doesn’t. You can also “re-run” the frame counter through a second sequence with 220 film but that’s no longer an option so I won’t belabor you with the details.
To unload the Pentacon Six once it locks after the 12th exposure, you must first release the winding mechanism by moving the little ridged, spring-loaded tab to the right of the wind lever forward, and then swing the wind lever fully to its stop. You can then let it move back about 30 degrees, guided by your thumb, and then wind the roll completely on the take-up spool in a series of mini strokes, just as you did when loading the camera. You can accomplish the same thing in a series of full strokes, firing the shutter each time, but I prefer the first method.
While all this may seem unnecessarily complicated and onerous compared to other cameras loading and unloading a Pentacon Six is reasonably straightforward once you get used to it. And presuming your Pentacon Six is working correctly to begin with, the system seldom gives trouble. No, it’s not the best or the fastest film advance/frame counting system ever devised but if you follow the procedure described, guide the wind lever back rather than letting it snap back, and shoot frames at a moderate pace you’ll be rewarded with excellent results and a well-deserved sense of accomplishment.
Pentacon Six TTL Meter Prism? Nein danke
What about the uncoupled TTL meter prism for the Pentacon Six? This enticing accessory is cleanly designed and attractive and you can snag a clean working example for about 100 bucks, However based on numerous hands-on reviews it’s a pain in the posterior—you must transfer the settings, which is slow and cumbersome, it uses an old-tech CdS cell metering system powered by a defunct 1.35v mercuric-oxide battery, and it must be converted to work properly with current 1.5v silver-oxide or alkaline cells. And sadly, the finder image it provides is no brighter than the standard non-metered prism. Still there are some who love it and have even posted videos on repairing and calibrating it to give accurate readings. Chacun a son gout!
How to get the most out of the DDR’s flawed cult classic masterpiece
By Jason Schneider
The Pentacon Six is often referred to as a “cult camera,” implying (correctly in this case) that this great hulking East German 2-1/2 square SLR has a small but devoted following that regard its foibles as endearing quirks. Designed by Kamera Werkstätten (KW) in the early ‘50s and introduced as the Praktisix (a perfectly awful name for a camera!) at Photokina 1956, the Praktsix was beset with frame spacing and overlapping problems, a wonky frame counter, and slow shutter speed train problems, none of which was fully resolved in the subsequent Praktisix II and IIa.
Late Pentacon Six TL with 80mm f/2.8 Aus Jena Bm lens. This "stealth" version of the acclaimed 80mm f/2.8 Biometar was made after Zeiss Jena lost the international rights to the Zeiss name in Western countries.
In 1959 Kamera Werkstätten became VEB Kamera and KinoWerke Dresden; in 1964 the name was changed to VEB Pentacon; and in 1970 it became Kombinat VEB Pentacon. With the unification of the East German photographic industry under the Pentacon banner, the Praktisix was modified to become the Pentacon Six, with improved frame spacing provided by a toothed roller that’s turned by the film as it advances and disengages once the correct length for each frame has been reached. The Pentacon Six was in production for a remarkable 26 years from 1966-1992, and when a prism attachment with an (uncoupled and untrustworthy) built-in exposure CdS meter was introduced in 1968 the camera nameplate was changed to Pentacon Six TL with no other internal changes.
The Pentacon Six TL with added strap lugs, excellent 50mm f/4 Zeiss Flektogon lens and mediocre TTL meter prism (see text for evaluation).
There were two versions of the Pentacon Six TL—the “early” type with a film type indicator on the shutter speed dial and a bright aluminum lens locking ring, and the “late” type with an ASA/DIN film speed indicator on the advance lever, 2 small spring-loaded cylinders to keep mounted prisms from rattling, and a black lens locking ring. Some models labeled Hanimex Praktica 66 were made for Hamimex, the Australian company that was the U.S. Praktica/Pentacon importer during the ‘60s and ‘70s, when cameras made in communist countries could not be directly imported into the U.S.
Which Pentacon Six for shooters?
The Pentacon Six TLs (both versions) are the best of the breed for users since they’re the newest models. Also, some reviewers claim that the late “TL” is slightly more reliable than the early “TL” or the plain Pentacon Six. That said, anybody buying a Pentacon Six with the primary intention of taking pictures is strongly advised to have the camera CLA’d beforehand by an experienced professional camera repair person, preferably one familiar with working on these eccentric beasts. Even the latest models can occasionally give frame spacing problems if they’re out of adjustment or the film is advanced in a ham-fisted manner. And all models can stop operating or give erratic results at slow shutter speeds (1/30 sec or longer) if their lubricants congeal due to lack of use.
Pentacon Six TL, early version with "TL" below the "six." with 80mm f/2.8 Biometar lens and big but not so bright standard non-meter prism.
Evaluating the Pentacon Six design
The Reflex-Korelle that debuted in 1935 was one Dresden-made 6 x 6cm SLR that influenced the Pentacon Six. It was nicely made and had a successful run, but offered no interchangeable finders or screens, and had manual (pre-set) diaphragm screw-mount lenses.
Exakta 66, horizontal version of 1938 had bayonet mount lenses, but only offered an interchangeable finder in 1939 and never came across with the promised pentaprism, Camera was unreliable, produced in limited quantities, and is now a coveted collectible.
At first glance the Pentacon Six appears to be a traditionalist camera with its roots firmly planted in the past. However, it was far more technically advanced than its antecedents, the prewar Reflex-Korelle introduced in 1935 (which finally acquired a bayonet lens mount in the rare and elusive Model III of 1939), and the rare, collectible, and unreliable “horizontal” version of the 1938 Exakta 66 , which had a weird bottom-mounted wind lever, an old fashioned shutter speed dial that turns as the shutter fires, and didn’t acquire an interchangeable waist-level finder (in anticipation of a pentaprism that never materialized) until 1939. Also, none of the precursors of the Praktisix/Pentacon provided automatic aperture stop-down and a return to full aperture after the exposure has been executed. To recap, here are the Pentacon Six’s specs:
Type: SLR giving 2-1/4 x 2-1/4-inch (6 x 6cm) format on 120 roll film
Shutter: Horizontal travel rubberized cloth focal plane with geometric speeds of 1-1/1000 sec plus B plus X-sync at 1/20 sec set on a single click-stopped, non-lifting, non-rotating dial.
Lens mount: 3-lobed breech-lock bayonet mount since designated P6
Finders: Interchangeable 4-slot lock-on-mounting, folding waist-level viewfinder with built-in hinged magnifier, plain pentaprism finder, metered pentaprism finder with built-in uncoupled CdS meter, chimney type waist level finder adjustable for magnification and focus.
Screens: Choice of 6 interchangeable viewing screens including split-image rangefinder and Fresnel with microprism, ground glass collar. Aftermarket screens providing a brighter viewing image available.
Film advance: Single long-stroke wind lever with manual first frame positioning, automatic spacing of subsequent frames and automatic self-zeroing frame counter that locks at frame 12.
Other features: Angled front-mounted shutter release, film speed and film type dials, built in mechanical delf-timer.
Standard lenses: 80mm f/2.8 Zeiss Jena Biometar, 50mm f/4 Zeiss Jena Flektogon, 120mm f/2.8 Zeiss Jena Biometar, 180mm f/2.8 Zeiss Jena Sonnar, all with auto diaphragm; 500mm f/5.6 Orestagor with pre-set diaphragm, and 1000mm f/5.6 Zeiss Mirror lens. Many other lenses designed for the West German Exakta 66, Russian Zenit 2-1/4 SLRs, etc. are fully compatible with the Pentacon P6 mount.
Size and weight: With plain prism and 80mm f/2.8 Zeiss Jena Biometar lens, approx. 6-1/2 x 5-5/8 x 4-1/2 (W x H x D); weight, 3.53 pounds.
Zeiss Jena Lenses for the Pentacon Six: A concise overview
Carl Zeiss Jena and Meyer Lenses for the Pentacon Six: A Hands-On Overview
Herewith the specs and basic performance parameters of the most popular prime Carl Zeiss Jena lenses offered for the Pentacon Six based on an analysis of published reviews as well as hands-on experience. We’ve also included a couple of Meyer lenses for comparison. The Zeiss Jena lenses are generally outstanding in terms of sharpness, bokeh and “vintage rendition” and are one of the main reasons analog shooters are attracted to the Pentacon Six system and willing to put up with its “charming idiosyncrasies.” Another advantage: lens mount adapters are widely available enabling the direct use of Pentacon Six (P6 mount) lenses on Nikon, Canon, M-42, Pentax 6x7, etc., and lens mount conversions from P6 to Hasselblad and other medium format mounts are offered by specialized machinist repair shops.
Carl Zeiss Jena Flektogon 50mm f/4, manual focus, spring-actuated auto diaphragm. Optical construction: 7 elements in 4 groups, Coverage angle, 86 degrees. Apertures: f/4-f/22, Diaphragm blades: 8, Min. Focus Distance: 0.5m, Filter diameter: 86mm, Weight: 16.9 ounces, Length: 3.4 inches.
Performance: A good, sharp, wide-angle with very low distortion. Tendency to flare in side-lit situations, so lens hood recommended, pleasing natural bokeh. Overall, very good to excellent, around $250.
Carl Zeiss Jena Flektogon 65mm f/2.8, manual focus, spring-actuated auto diaphragm. Optical construction: 5 elements in 4 groups. Coverage angle: 64 degrees. Apertures f/2.8-f/22. Diaphragm blades: 8. Min. Focus Distance: 0.75m, Filter diameter: 86mm. Weight 16.9 ounces, Length: 3.5 inches. In production: 1950-1969.
Performance: Excellent overall in terms of sharpness and detail, beautiful natural bokeh, impressive mechanical construction. Fairly uncommon and likely to be pricey, at $350-500.
Call Zeiss Jena Biometar 80mm f/2.8 MC: This is the late multicoated (MC) version marked DDR an finished in black.
Carl Zeiss Jena Biometar 80mm f/2.8, manual focus, spring-actuated auto diaphragm. Optical construction: 5 elements in 4 groups, standard normal prime lens for Pentacon Six. Apertures: f/2.8-f/22. Diaphragm blades: 8. Min. Focus Distance: 1m; Filter diameter: 58mm. Weight: 9.2 ounces. Length: 2 inches.
Performance: A great lens. Very sharp with good contrast except in the corners of the field at f/2.8, pleasing natural bokeh especially at the widest apertures, and vintage “rounded” rendition that’s excellent for portraiture; widely available and reasonably priced at $150-$250. Note: this lens was initially made in a single coated version (e.g., the “Zebra style”) and later in an all-black multicoated version (marked MC). The latter, and the final 80mmf/2.8 Aus Jena Bm, employ the same optical formula, provide better flare control in harsh light, but otherwise have similar imaging characteristics to the older lens.
Carl Zeiss Jena Tessar 80mm f/2.8, spring-actuated auto diaphragm. Optical construction: 4 elements in 3 groups, standard normal prime lens from 1956-1958. Apertures: f/2.8-f/22. Aperture blades: 8. Min. Focus Distance: 1m; Filter diameter: 58mm. Weight: 8.5 ounces. Length: 2.2 inches.
Performance: Despite its simpler 4-element construction this lens performs on a par with the 80mm f/2.8 Biometar except for slight softness in the corners of the field at f/2.8-4.0. Otherwise, it’s very sharp with good contrast, pleasing bokeh, and a nice vintage rendition typical of Tessar-formula lenses. It’s not rare but it is considered collectible, which is why it typically fetches $200-400 used, somewhat higher than the more common 80mm f/2.8 Biometar.
Meyer-Optik Görlitz Primotar E 80mm f/3.5 V, spring-actuated auto diaphragm. Optical construction: 4 elements in 3 groups, standard normal prime lens. Apertures f/3.6-f/16. Aperture blades: 6. Min. Focus Distance: 0.8m. Filter diameter: 49mm. Weight: 9.2 ounces, Length: 1.9 inches.
Performance: This is a nice Tessar-type lens that performs on a par with the Zeiss Tessar, delivering excellent sharpness and contrast across the field with some softness in the corners at f/3.5-4.0. it focuses closer than the standard 80mm f/2.8 Tessar or Biometar, an advantage in shooting close-up portraits, but its 6-bladed diaphragm tends to produce the dreaded “beehive” pattern in out-of-focus highlights. Mechanical quality is very good and overall bokeh is smooth and natural, especially at the widest apertures. It’s not a rare lens, but it is prized by collectors and shooters alike, resulting in an average price of around $200-275 in pristine condition.
Carl Zeiss Jena Biometar 120mm f/2.8: This is the early single coated "Zebra type" with banded silver and black focusing and aperture rings.
Carl Zeiss Jena Biometar 120mm f/2.8, spring-actuated auto diaphragm. Optical construction: 5 elements in 3 groups, moderate telephoto prime lens. Apertures: f/2.8 to f/22. Aperture blades: 8. Min. Focus Distance: 1.3m. Filter diameter: 67mm. Weight: 19.4 ounces. Length: 3.4 inches.
Performance: Based on a Zeiss Planar optical formula, this outstanding portrait tele focuses close enough for frame-filling headshots, delivering detailed but soft, luminous images at its widest apertures, impressive sharpness at moderate apertures, and beautiful, smooth bokeh between f/2.8 and f/8. It was produced in a single coated “Zebra finish” version, and an all-black multicoated (MC) version, which is preferable for shooting in high-flare lighting situations. Either version is a great choice for portraiture or general shooting. Price range for used examples in clean working condition: $250-$500.
Carl Zeiss Jena Sonnar 180mm f/2.8. late black finished version. It's hefty at a tad over 3 pounds, but it's hand-holdable for portraiture.
Carl Zeiss Jena Sonnar 180mm f/2.8, spring-actuated auto diaphragm. Optical construction: 5 elements in 3 groups, Sonnar formula telephoto prime lens. Apertures: f/2.8-f/22. Aperture blades: 8. Min. Focus Distance: 1.7m. Filter diameter: 86mm. Weight: 48.1 ounces. Length: 4.8 inches.
Performance: This is a large, heavy lens that delivers very sharp images, rounded “vintage rendition,” beautiful natural bokeh, and moderate contrast. It’s a great choice for portraiture, landscapes, and architecture, but due to its size and weight requires fast shutter speeds when shooting handheld. It’s available in single coated and later multicoated (MC) versions, the latter with 7 diaphragm blades and apertures to f/32. Price range for used examples in clean working condition: $250-$500.
Pentacon 300mm f/4, single ring preset diaphragm long telephoto prime lens. Optical construction: 5 elements in 4 groups. Apertures: f/4 to f/22. Aperture blades: 19. Min Focus Distance: 3.6m. Weight: 72 ounces. Length: 10.2 inches.
Performance: A large, heavy lens, it works best with a tripod-mounted camera, but it’s a great choice for sports, nature/wildlife photography, and capturing distant details. Of excellent mechanical quality, it delivers sharp images of moderate contrast across the field at all apertures, and has smooth, attractive bokeh. Price range: $150-$300.
Meyer-Optik Görlitz Orestagor/Pentacon 300mm f/4, single ring preset diaphragm long telephoto prime lens. Optical construction: 5 elements in 4 groups. Apertures: f/4.0 to f/22. Aperture blades: 18. Min. Focus Distance: 3.6m. Weight: 76.9 ounces. Length: 7.4 inches.
Performance: This large, heavy lens works best with a tripod-mounted camera, but it’s a great choice for sports, nature/wildlife photography, and capturing distant details. It delivers sharp, detailed images of moderate contrast across the field at all apertures, and provides very smooth, natural bokeh, especially at its widest apertures. Price range: $250-$300.
Pentacon 500mm f/5.6, single ring preset diaphragm super-telephoto prime lens. Optical construction: 4 elements in 4 groups. Apertures: f/5.6 to f/22. Aperture blades: 18. Min. Focus Distance: 6m. Filter diameter: 118mm. Weight: 123.5 ounces. Length: 14.6 inches.
Performance: This large, heavy, multilayer coated lens is well made and delivers good image quality overall, but its bokeh is somewhat “harsh.” It’s a reasonable choice for typical telephoto applications at distances beyond 20 feet, so long as it’s fitted to a tripod-mounted camera.
Carl Zeiss Jena Spiegelobjectiv 1000mm f/5.6 super-telephoto prime mirror lens. Optical construction: 4 optical elements and 2 mirrors. Apertures: f/5.6 only; no aperture adjustments. Min. Focus Distance: 16m. Weight: 30.87 pounds. Length: 20.2 inches.
Performance: This catadioptric (mirror) super-tele is a big kahuna, and it doesn’t focus very close, but it is very well made and delivers excellent overall sharpness and image quality, and very nice bokeh for a lens of this type. Approximate selling price range (none listed for sale at present): $1,500-$2500.
The Pros & Cons of the Pentacon Six
Like anything created by human beings, the Pentacon Six has its assets and liabilities. Indeed, the fact that it could even be designed and manufactured under the not so tender mercies of the communist regime in East Germany is a tribute to the dedication of those that created and produced it for nearly 40 years. The Pentacon Six is also a tacit homage to the century-old legacy of innovative Dresden camera design and manufacture that it embodies.
Pros:
For a medium format SLR the Pentacon Six is a well-integrated, semi-modular design with logically placed controls, reasonably good handheld balance and satisfying ergonomics. While it doesn’t have detachable film magazines like a Hasselblad, Bronica, Mamiya, etc. it does have interchangeable finders and screens (though interchanging screens is a pesky business that entails removing screws, retaining springs, etc.)
With a throat diameter just shy of 60mm and a beefy 3-lug breech-lock bayonet mount the Pentacon Six (P6) mount is certainly robust and reliable and like all mounts of this type, automatically compensates for wear. The mount accommodates spring-loaded auto diaphragm (ASD) lenses actuated by means of a hinged arm within the camera body that pushes a pin on the back of ASD lenses to stop the lens down to the set aperture just prior to exposure. Since the camera does not have an instant-return mirror the lens reopens to maximum aperture only when the film is advanced, and the mirror returns to viewing position.
A staggering number of excellent lenses are available in P6 mount. They include 9 by Carl Zeiss Jena ranging from 50-1000mm, 3 by Meyer ranging from 80-500mm, 16 by Kiev/Arsat (for their medium format SLRs) ranging from 30mm (Fisheye) to 600mm, 11 by Schneider-Kreuznach (for the postwar P6-mount Exakta 66) ranging from 40-250mm plus 2 Variogon tele zooms, 7 by Hartblei of Ukraine including 45 and 65mm shift and tilt-shift lenses to a 150mm tele, 3 from Arax of Ukraine including 45mm and 65mm shift lenses and one 80mm f/2.8, 7 from Kilfitt of West Germany ranging from 90-600mm. 3 from Zoomar, 2 from Novoflex, and 10 teles from Astro Berlin ranging from 150-2000mm! All of these can be mounted on most mirrorless cameras with simple or dedicated lens mount adapters.
Mystery Master Machinist Strikes Again! It took considerable ingenuity and great skill to get this Pentacon-mount 180mm f/2.8 Sonnar lens to work (manually) on a Hasseblad 205 TCC and focus to infinity, but so far nobody has taken credit for this technological tour de force.
Kipon P6-GFX adapter lets you mount Pentacon Six lenses on a digital medium format Fuji GFX, a cool combo indeed. Price: $155.00.
A huge range of mount adapters are available for using Pentacon Six and other P6-mountr lenses on the following camera systems:Mamiya M645, Pentax 645, Contax 645, Canon EF and FD, Nikon F, Minolta AF and MD, Contax/Yashica, Pentax K and M42, Leica R, Panasonic Lumix, Olympus Micro FoyrThirds, and MFT mount. There are also numerous shift- and tilt/shift adapters available that provide various degrees of control over perspective and the plane of focus.
Innovative T&S P6-X1D tilt/shift adapter lets you mount P6 lenses on suitable Hasselblads while adding increased image control flexibility.
K&F Concept Pentacon Six to Nikon adapter is one of myriad inexpensive adapters that let you mount P6 lenses on practically any mirrorless camera, most 35mm SLRs, and many medium format cameras, both film and digital, This one is widely offered at around 25 bucks.
Pentacon Six (P6-mount) lenses are directly compatible with an extensive variety of other medium format SLRs and of course all models of the Praktisix. These include the Kiev 6C, Kiev 60, modified Kiev 88s, the Kiev 88C and the Kirv 88CM, all Hasselblad clones, Arax and Hartblei branded SLRs, and the West German postwar version of the Exakta 66, an upgraded 6 x t6 cm SLR closely based on the Pentacon Six TL with a coupled TTL meter and a special series of Schneider lenses that key in the aperture setting
Despite some claims to the contrary the Pentacon Six is quiet for a 6 x 6cm SLR and its levels of shutter- and mirror-induced vibration are quite low compared to most other medium format SLRs. There is a cushion that helps damp the mirror’s motion at the very end of its travel, but the shutter fires only when the mirror is fully raised, minimizing shake-induced effects.
Pentacon Six cameras have noticeably increased in value over the past few years, but you can still snag a clean working camera with waist-level or plain prism finder and 80mm f/2.8 Biometar lens for $250-$450--not bad for a workable medium format classic. Make sure to set aside $150-S200 fir a complete CLA and a screen upgrade, and whatever you do buy it to use it, not as a so-called “investment grade collectible.”
The Pentacon Six is a unique conversation piece that commands immediate attention even from non-photographers, and if you like to shoot impromptu portraits and people pictures as I do, it’s an excellent “ice breaker” that puts people in the right mood for consenting to have their picture taken.
Cons:
The Pentacon Six film-advance and frame spacing mechanisms, though vastly improved over those in the Praktisix, are still somewhat delicate and intolerant of rough handling or abuse. To make matters worse the camera is a pain in the butt (and slow) to load and you must follow a precise procedure every time or you’ll screw up and may even damage the camera. Failing to do so is the root cause of most complaints about the camera’s “unreliability.” The official Pentacon Six manual gets it mostly right but omits a couple of salient details. See the following section on How to Load and Unload the Pentacon Six for details.
The Pentacon Six viewfinder system is OK but not great. The standard waist-level viewfinder has a plain ground glass screen surmounted with an old-fashioned thick condenser lens (no Fresnel!). It provides a reasonably bright view (not so hot in low light) of moderate contrast that does not snap into focus with alacrity. Achieving proper focus, especially indoors, may require a lot of back and forth, and the (non-interchangeable) magnifier may not be optimal for your vision. Replacing the waist-level finder with the standard (non-metered) pentaprism provides more decisive focusing, but the pentaprism itself is dimmish compared to medium format pentaprisms from other makers. The best in-house finder solution for achieving precise focus is obtaining a (hard to find) Pentacon Magnifying Finder which has adjustments for magnification and focus, but its optics are housed in a clunky vertical “chimney” and even at low magnification settings, you can’t see the entire frame to compose the picture.
The best way to alleviate all these woes is to obtain a brighter, more contrasty, replacement screen (Pentacon did offer a good Fresnel with microprism screen that even came with the proper springs and supporting angle pieces, but lots of luck finding one.) Best solutions: obtain an aftermarket screen such the Maxwell Hi-Lux (the very best, but expensive), a Rick Olesson BrightScreen, take a chance on an inexpensive Arax screen from Ukraine, or a costlier replacement screen for the postwar Exakta 66, basically an upgraded, more expensive West German version of the Pentacon Six. Cheap unbranded Pentacon Six screens from China are also widely promoted on the Internet. Warning: Any Pentacon Six replacement screen should be installed by an experienced camera repair person with the technical knowhow required to adjust it to the precise plane of focus to coincide with the image plane.
How to Load and Unload the Pentacon Six
The official Pentacon Six manual includes both Abridged and Full Instructions on loading the camera, which commence with following admonition: “The following Abridged Instructions are a summary of the most important sections of this Instruction Booklet. These sections deserve particular attention. Yet the knowledge acquired by reading them alone cannot compensate for the valuable information to be obtained by studying the complete instruction manual.” In other words, you’d better RTFM beforehand, and pay attention!
One of the few good points of the Pentacon Six frame counter is that it jumps to the start position when you pull down the locking latch and swing open the camera back. Now insert a fresh roll of 120 film in the left-hand chamber making sure it’s firmly secured at the top and that the spring-loaded retainer at the bottom is all way in. Some folks prefer to leave the paper retaining strip on the roll until it’s inserted, but I generally remove it before inserting the film, making sure to hold the paper leader end against the roll so it doesn’t unravel unexpectedly. Now pull the paper leader across the film aperture and push its tapered end into the longer slit of the take-up spool. I like to fold the leader end over by about 3/8-inch to provide a firmer grip, and to turn the take-up spool clockwise by its bottom flange with a finger until a full turn of paper leader is secured tightly on the spool. It’s very important to make sure that the paper leader is positioned evenly between the take-up spool flanges on both sides—if it’s even slightly skewed it can cause the film to jam in the camera.
Now comes the fun part, which the manual alludes to but doesn’t quite specify. Once the film is correctly positioned across the film gate and the leader is firmly attached to the take-up spool, you must wind the film, with the back open, until the double-ended arrow on the paper backing aligns with a white dot at the bottom of the film aperture. This assures proper first frame positioning and frame counting. You begin this process by swinging the film-wind lever as far as it will go, but then, instead of letting it spring back, you maintain thumb pressure on the lever and let it spring back only about 30 degrees. From this point you wind the lever in a series of short mini strokes until the arrow lines up with the dot. Now allow the wind lever to move back to its original position, guiding it with your thumb rather than letting it snap back, and close the camera back. Note that the short rocking movements of the wind lever should be performed only when film is being inserted with the camera back open, or after the 12th exposure before unloading the camera.
Now, after setting the film type and film speed reminder dials, you wind the film advance lever camera fully, guide it back with your thumb, and fire the shutter. Repat this process 4 times until the exposure counter reads 1, which alas is denoted by a tiny little dot after the 0 (zero) mark rather than a nice big numeral 1. From that point on, the frames will be successively counted until the camera locks in at 12, after the last frame has been shot. Fabulous factoid: If you follow the above procedure fastidiously, you canadvance and fire the only 3 times until the counter reads 0 (zero) and then shoot a 13th frame on your “12-exposure” roll of 120 film. I can attest that this usually works, but I always make sure not to shoot anything crucial on the “zero” frame counter setting just in case it doesn’t. You can also “re-run” the frame counter through a second sequence with 220 film but that’s no longer an option so I won’t belabor you with the details.
To unload the Pentacon Six once it locks after the 12th exposure, you must first release the winding mechanism by moving the little ridged, spring-loaded tab to the right of the wind lever forward, and then swing the wind lever fully to its stop. You can then let it move back about 30 degrees, guided by your thumb, and then wind the roll completely on the take-up spool in a series of mini strokes, just as you did when loading the camera. You can accomplish the same thing in a series of full strokes, firing the shutter each time, but I prefer the first method.
While all this may seem unnecessarily complicated and onerous compared to other cameras loading and unloading a Pentacon Six is reasonably straightforward once you get used to it. And presuming your Pentacon Six is working correctly to begin with, the system seldom gives trouble. No, it’s not the best or the fastest film advance/frame counting system ever devised but if you follow the procedure described, guide the wind lever back rather than letting it snap back, and shoot frames at a moderate pace you’ll be rewarded with excellent results and a well-deserved sense of accomplishment.
Pentacon Six TTL Meter Prism? Nein danke
What about the uncoupled TTL meter prism for the Pentacon Six? This enticing accessory is cleanly designed and attractive and you can snag a clean working example for about 100 bucks, However based on numerous hands-on reviews it’s a pain in the posterior—you must transfer the settings, which is slow and cumbersome, it uses an old-tech CdS cell metering system powered by a defunct 1.35v mercuric-oxide battery, and it must be converted to work properly with current 1.5v silver-oxide or alkaline cells. And sadly, the finder image it provides is no brighter than the standard non-metered prism. Still there are some who love it and have even posted videos on repairing and calibrating it to give accurate readings. Chacun a son gout!
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