Nikkenflex – Twin focus

The Nikkenflex is a twin lens reflex (TLR) camera not seen very often.  A small number were made, and the company were even forced into a name change by one of the major camera manufacturers.  The first one I saw was silver with gears on the outside of the lens.  This is beautiful and really emphasises the mechanics of a TLR, so I had to have one.

Using a TLR is something not everyone will gel with.  The reverse image in the viewfinder, looking down at the camera and the awkward shape.  Others, like myself, look forward to using one.  Firstly, as most TLRs are square format, visualising the image within a square makes the creative juices flow.  

Then there is the engagement you get out and about.  I cannot recall a time where I have been shooting with a TLR, including the Nikkenflex, and not had someone comment on it.  Even better, it leads to a nice conversation, with either someone that remembers these types of cameras being used or someone that has never seen anything like it.

As you can see in the photos, I have two Nikkenflex TLRs.  While I think the silver one is beautiful, it does have an issue which after some use has rendered it unusable.  What to do?  Easy, buy another one.  I got a later version which is modelled on the Rolleicord.

I used both the Nikkenflex TLRs for a while, let’s find out a little more on the short but interesting history of these cameras, more details on both, and how I did shooting with them both.

RELATED:

• Rolleicord Va Type 1 – The middle twin
• Pigeonflex – Bird of a feather
• Walzflex – The slow dance
• Yashica 44A – Twin in small package
• Bolseyflex – Not much flex

History

Funnily this story starts with a company that had nothing to do with these cameras.  In 1946 Nippon Kogaku (now known as Nikon) made prototypes of a TLR, based on the Rolleiflex. It was called the Nikoflex.  At the time they were not able to put them into production due to unavailability of quality parts, including shutters.  By 1948 Nippon Kogaku abandoned the TLR camera and focused on rangefinders in the 35mm format.

Totally separately, and nothing to do with Nippon Kogaku in 1950 the Nikkoflex was released by a company called Nippon Koken Camera Works (Seisakusho).  I have found some references where it was also called Nihon Optical Research Company. 

Note the spelling of Nikkoflex, it is not the same as the spelling Nippon Kogaku used on its prototype, Nikoflex.  It was close enough, though, where it forced Nippon Koken to modify the spelling to Nikkenflex.  Only about 1,000 cameras were sold before this name change came into effect.

There is very little information about the Nikkenflex out there or even about the company that made it.  What I have found is that there were three cameras that were sold.  

The original Nikkoflex with a silver front plate and the gears on the outside of the lenses was the first in 1950.  The second is the silver one I have where it is the same camera as the Nikkoflex but with the branding changed to Nikkenflex in the same year.  

The final model released was the black version which is also featured here.  It was released in 1952, though I have seen a reference that it might have actually been 1953. This one was modelled on the Rolleicord, is all black and the company name is on the front plate.

I did find a reference to Nippon Koken Seisakusho on a Japanese page which states the company motto was “An elite camera born of sincerity”.  I cannot find any reference to the company beyond 1954.  It is unknown how many Nikkenflex in total were sold, but it is fair to say it was not a significantly large amount.

Camera Specifics – 1950 Original Nikkenflex

The first Nikkenflex was sold in 1950 until 1952.  During 1950 it was available as both the Nikkoflex and Nikkenflex.  It is a very distinctive looking TLR with a silver metal front plate, and chrome lenses.  Even the name plate is a combination of silver metal and chrome.  It also has a very nice script used for the name of the camera.

Focus is not through a moving front plate, like most TLRs, but with a helicoid on the lenses.  To ensure the two lenses are in sync, there is gearing on the outside of the lens.  The user can either rotate the taking lens or the viewing lens.

The taking lens itself is a Nippon Koken Anastigmat 8.0cm f/3.5.  While I do not have exact information on the lens construction, I believe it is 4 elements in 2 groups.  Aperture can be stopped down to f/22 through a lever at the bottom which has a little window on it.  

The viewing lens is also an Anastigmat 8.0cm f/3.5.  What is handy is that the a distance scale is engraved on top of it and it even has depth of field markings against the apertures on top.  This is something I wish more TLRs had.

The shutter speed range is from 1/200^th second to 1 second and Bulb.  NKS (Nippon Kōsokki) shutter has been used with the shutter cocking lever on the left of the lens.  The shutter release is on the right side of the camera and is a chrome lever.  It also has a time delay shutter lever on the right of the lens, as well as a threaded socket for a remote cable on the left side.

Viewing is through the ground glass which has an engraved cross on it to allow for straight framing.  A magnified viewer can be brought up for critical focusing.

Loading film is from the back, with frame alignment through a round red window at the back.  No double exposure prevention is on the camera.  There is also a couple of flash connectors on the camera.

Camera Specifics – 1952 Later Nikkenflex

In 1952/53 Nippon Koken brought out a remodelled Nikkenflex.  This is a more traditional TLR design based on the Rolleicord, with a focusing front plate and all black paint and covering.  I personally see a lot of similarities with the Pigeonflex which came out the same year with this camera.  The name plate has the Nikkenflex branding in a modernised script and the company name is underneath the plate.  Lenses and knobs have remained silver.

Focus, as mentioned above is via a moving front plate which keep the lenses aligned.  A knob on the right side of the camera adjusts the focus and has both distance and depth of field markings.

The taking lens is a Niken Anastigmat 7.5cm f/3.5.  An improvement is that on this model it is multi-coated, which will reduce flare.  The lens construction is 4 elements in 3 groups.  Aperture can be stopped down to f/22 through a lever on the left of the lens.

The viewing lens is also an Anastigmat 7.5cm f/3.5, though it is not multi-coated.  Missing from this model is the distance scale and depth of field markings on top of this lens, as they have moved to the focus knob on the side.

The shutter speed range is from 1/200^th second to 1 second and Bulb.  There does seem to be a slight variant that was sold with 1/300^th second top shutter speed.  The shutter itself is a Nikken with the shutter cocking lever on the right of the lens.  The shutter release is on the right side of the camera but at the front and is a chrome button.  It also has a time delay shutter lever on the left of the lens.  The remote release thread socket was dropped for this model and is not available.

Viewing is through the ground glass which has an engraved cross on it to allow for straight framing.  A magnified viewer can be brought up for critical focusing.

Loading film is from the back, with frame alignment through a round red window at the back.  No double exposure prevention is on the camera.  There is a more modern single flash connector on the left front panel.

The Experience

The first time I even heard about the Nikkenflex was when I was looking at eBay one night.  There it was, the silver original model.  I found it striking with the front chrome plate and the gears on the outside of the lens.  Some research identified the link to Nikon threatening legal action on them and I had to have it.  Especially as I am partial to Nikon in my collection.

When I received the camera I was really pleased, it was as nice as I expected it.  I then hit the initial issue, the lenses screwed right out as there does not seem to be a stopper.  They actual fell out by just focusing.  The seller was extremely good and a real gentleman when I wrote to him about that.  I had nominated part of a fee of the CLA to get it sorted, and he insisted it should be more and refunded more than what I asked for.

After it was CLA’d I started to shoot with it.  I completed one roll of Ilford FP4 Plus.  I enjoyed using that early model, it is quite a sturdy camera physically.  During a second roll a new issue arose.  The lever cocking the shutter would not stay up any longer, and the mechanism inside had broken.  As there are no parts for these, that is the end of that camera.  I did ask a repair tech to try and fix it, but there was nothing they could do.

At this point I found what seemed to be the only other one for sale.  It was the later model, all black and looked more like a Rolleicord.  I took the plunge and ordered it.  The first roll of film I put through it was some Kodak Portra 160 VC.

Using this one was not on the same playing field as the earlier model.  The ground glass viewfinder seemed to be a lot dimmer and especially in sunlight was very hard to see.  I preferred the lens rotations for focusing rather than the knob that is on this one.  The shutter release also makes sense in the earlier model to me, as it fits nicely under the thumb.

Having two very rare TLRs in my possession I was always going to try and shoot them both and though I could only continue with one, I did enjoy that later one, even with the minor points above.  During the next few months I put some more FP4 Plus, Portra 160 VC and Kosmo Foto Mono through it.

The Nikkenflex made it into my bag on quite a few shoots, including beaches and around town.  Like most TLRs, I had to remind myself to move in the opposite direction as the image is reversed.

When I got the film back, there is a few things I noticed.  Both cameras had exposed quite well, so the shutter speeds were pretty much accurate.  I was a little worried about that, as with modern films being a lot faster, Sydney being sunny and the cameras both limited to 1/200^th second as the fastest speed.

The earlier silver model has produced some nice frames, they are quite sharp and the fall off of sharpness is fairly limited from f/5.6 onwards.  The later model is where I think is where they may have cut corners.  Technically the lens should be a better one, as it is advanced and has multi-coating.

It is not though.  The frames are little soft even when stopped down.  Nothing too shocking, but not quite what I would expect from a 6×6 camera.  The kicker is that the vignetting is out of control in that latter model.  For a fixed lens camera I was really surprised at the amount.

There was even a “creative” surprise in there.  Both cameras do not have double exposure prevention.  With the 1952 model I had an accidental double exposure (see above) which was actually quite nice.  But I can imagine back in the day photographing your aunt and having the dog overlayed in the picture by accident.

I have had quite a bit of fun and heartbreak with the Nikkenflex TLRs.  The first model is a more solid camera, but lacks some of the quality required to keep it going.  The later model is a capable camera, but feels like some corners were cut.  Both models are very rare, so I am glad I have them in my collection, but would not necessarily recommend them to anyone other than another collector.

Related Links

Nikkenflex in Wikipedia.

TLR-Cameras has a great description of the three models here.