Old Nikons and Other Photographic Items: AkA’s Akarette and Akarelle: compact 35mm cameras from the hey day of German dominance of camera manufacturing.

Akarelle type 2 with 50mm Xenon & Akameter.

Apparate & Kamerabau Gmbh (AkA), based in Friedrichshafen, in southern Germany, was one many small camera companies founded in West Germany during the post-World War II period. It was started by two brothers, Max and Eugen Armbruster. Eugen, with a degree in engineering, was responsible for much of the early design work. Their first camera was the 35mm Akarette I(sometimes referred to as an ‘AkArette.’)
   The Akarette went through several models, including a name change to Akarelle in 1954 before the series ended in 1957. By then the company had moved on to other designs—some with non-interchangeable lenses, some with rangefinders and built-in meters—before returning to the earlier names and dying along with many other small German camera companies in the early 1960s.
   For me, the appeal of the Akarette/Akarelle is that here was a camera that always offered fully interchangeable lenses using a behind-the-lens leaf shutter, coupled to a film advance with double exposure prevention, and a double viewfinder allowing coverage for more than one focal length.
   AkA was a small company with limited resources, yet the Akarette/Akarelles were system cameras offering a wide range of near-professional-level accessories and, ultimately, an extensive range of lenses. Yet, at the same time, their cameras sold at prices far below that of most of their German competitors, and even at lower prices that many American-made cameras during this same period. Perhaps part of the reason so little is known about the company today is that apparently their cameras (except the Akarex and Arette series) were never sold directly in the United States. Even today, most Akarettes/Akarelles only show up in Europe.

Akarelle with Isconar & Akarette with Xenar

   The first camera featured here is an Akarelle, dating to 1955 with a Schneider 50mm f2 Xenon lens, a Gauss derivative—the most expensive lens AkA offered and somewhat rare. The more commonly seen lens is a 50mm f3.5 Xenar with front-element focusing.
   Also pictured here are An Akarette II with the 50mm f3.5 Xenar and a type 3 Akarelle equipped with a ISCO Color-Isconar 50mm f2.8 lens—a three-element formula and the lowest cost normal lens that AkA offered. It is also front-element focusing, but the click-stopped apertures and depth of field marks are metal on black and easier to use and see, even if the markings are not engraved into the metal.
   My first Akarette also came with a Schneider 90mm f3.5 Tele-Xenar lens. It is unit focusing, heavy chrome over brass but compact—a top-quality lens with its own case with a slot inside to hold an individual 90mm finder. Nice.

Akarette II with 50 and 90mm Tele-Xenar

The lenses exchange via a threaded collar that screws over a male thread in front of the leaf shutter. Most of the lenses available came from Schneider or its subsidiary, ISCO. Focal lengths ranged from 35mm to 135mm, although only the accessory 35mm, and 90mm appear on the used market with any regularity and then at high prices.

How do they compare to similar 35mm cameras from this period?
The body length, height, weight and rounded ends are similar to a Leica II. This is a compact, solid but not heavy camera with simple controls including a hinged, full-opening back and a fixed takeup spool for easier loading.

Top of Akarelle. Note smaller frame counter.

   The finish of both the Akarette and the Akarelle is a mixture of the good, the bad and the ugly. The bodies consist of two cast-aluminum shells covered with chrome-plated tops and bottoms and two nickel-plated half-moon front plates that surround the shutter mounting. The chrome finish of the particular Akarette shown here's top and bottom plates have a rich glossy finish that almost glows. The Akarelle’s finish is duller. Neither finish is good at resisting scratches. The bottom plate on the Akarelle features two nubs that, together with a peg on the shutter mount keeps the camera from rubbing against any surface it is placed on. The balance of the exterior is covered with a durable black leatherette. The interior is blackened with strength-adding ridges and baffles and nice black ridges and frocking in the light chamber. The clamshell back is hinged on the right side and seals the camera from light leaks due to the way the back edges overlap the front. The shutter is in a module that comes out of the camera along with the viewfinder optics allowing for ease of servicing. All-in-all, a straight-forward design with attention given to details that can be critical for good picture taking.
   The bad part is the lack of a rangefinder, or any coupled means of determining focus—a serious weakness in a camera with possible focal lengths as long as 135mm, and also offering closeup lenses and extension tubes. AKA did sell a separate rangefinder that mounted in the accessory shoe. While uncoupled, it does show the coverage of a normal lens. One can determine focus and frame the picture, then transfer the distance reading to the lens already knowing what the composition would be.
   The uglies are the front plates which almost always show wear. In many samples so little of the front plating remains that the cameras look like they have brass fronts.

   The three cameras here are near look-alikes differing only in details. Starting with the top deck, the Akarette features an advance knob that requires only a short wind. A film speed reminder is built into the top, but the direction arrow for turning the knob is not engraved and mostly worn away. (On the Akarelle the film reminder is set into the top of the rewind knob.) To rewind the film, you need to lift the knob clear of the body. This releases a cog and allows you to turn back the film using a conventional knob at the left end.
   The Akarelles feature a film advance lever. This rests on the top plate with no off-set clearance, but it is easy enough to grab with a thumb. The advance can work with single stroke, but that carries around for 180 degrees and it will interfere with the straps—if one is using the lugs mounted on the front of the camera. However, the throw is ratcheted and one can easily advance the film using a series of short strokes that allow you to stay clear of any straps. To rewind the film, press on a small lever mounted on the advance lever and labeled R. This disengages the advance ratchet.
   Next left is the frame counter under a clear window and behind it a knob for resetting the number. Advancing the film on the Akarelle causes the counter to rotate completely around before stopping at the next number. (On early Akarettes, the frame number advances when you take a picture.) The numbers inside the small frame windows on both the Akarelle and Akarette are almost impossible to read except under ideal lighting.
   Just left of middle is the finder hump. In the Akarette, you have two optical finders side-by-side. and separate in the rear. The one to the right shows the field of coverage for a 75mm lens. The one to the left, the coverage for a 50mm lens. The user can select which finder to use by moving a blind over one or the other window via a labeled switch on the front plate.
   The Akarelle still has two windows in front, but in this case, the left hand one shows the coverage of a 35mm wide angle lens. The second window admits light for bright frames that show the coverage of both a 50mm and a 90mm lens, or, the case of the earlier Akarelle, 50, 75 and 90mm.
   The Akarette windows offer bright, neutral-color views with the 75mm near life size. Despite the lack of parallax compensation, these are nice finders. The earlier Akarelle’s bright frames are easy to see. I do not like the reduced view, but the view is bright enough. Unfortunately, the later Akarelle finder is dimmer with a low-contrast, bluish tint, and the bright frames faint. Viewing is the weakest feature of all these cameras, a cost the company was willing to pay to continue offer a low camera height and compact size.

   The Akarette’s shutter is an unlabeled Prontor SV with speeds from one second to as short as 1/300th plus B and a self-timer. A quality shutter with a nice speed range for its time.
   The Akarelle’s shutter is a labeled Prontor SVS offering full flash, M or X, sync at all speeds, plus a self-timer. You set this via a small switch on the right side of the shutter. The switch can be easily hit, moving it over to the V mark. You go to take a picture and nothing seems to happen. If you do not realize that the shutter is using the timer, you advance the film again and have just lost a frame.
   In other ways, the Akarelle’s shutter is an improvement. The speed-setting rim is wider and easier to move. The index mark is painted red and easy to see although there are no click marks.

   The best features of all these cameras are their size and a shape that fits easily into one’s hands. Controls are simple and straight-forward. One can learn how to shoot a Akarette/Akarelle in five minutes and start taking pictures. Picture quality is what can be expected from Schneider optics. i.e. quite good. Values are all over the place with top prices often asked for bodies in clean, unworn condition. But if you aren’t fussy and patient, worn cameras can be found at modest prices. It is unfortunate that accessories are so difficult to locate. Unlike other old cameras I have purchased and tried, I think these will be keepers—easy to throw in a bag and take along wherever I go.