Norita 66 Camera Review: A Medium Format Noctilux
Norita 66 Camera Review: A Medium Format Noctilux
Camera Review
Norita 66 Camera Review: A Medium Format Noctilux
In the world of medium format photography, a few cameras stand out not just for their function but for their distinctive character. The Norita 66, equipped with the Norita Kogaku Noritar 80mm f/2 lens, is one such camera—a standout that perfectly matches what I’ve been seeking: that extra stop of light and the thin depth of field which I value highly in my photography endeavors. This lens is affectionately termed the “medium format Noctilux” because its f/2 aperture in a 6×6 format offers a depth of field and low-light performance comparable to the legendary Leica Noctilux 50mm f/1 in 135 format. It’s not every day you see this camera; it’s a rare gem that sometimes appears in the corner of a local camera shop. If you’re in the know, you understand its allure. Recently, I’ve seen some stunning sample shots taken with this lens on a Fujifilm GFX—though finding a mount for this setup has eluded me. If anyone knows of one, do let me know!
Optical Excellence and Aesthetic Appeal
If the Fujifilm GW690 is nicknamed the ‘Texas Leica,’ then this lens could well be called the ‘Texas Noctilux. The Norita Kogaku 80mm f/2 lens is a gem. At wide open, it gives you that soft touch of glow just like the Noctilux 50mm f/1, especially like the E58 and when focus is right the sharpness is good, not exceptional. When you stop down, the sharpness it renders is impressive, capturing fine details and pleasing color tones. As a product of Japanese engineering, its contrast and tonal quality are rich—think along the lines of Nippon Kogaku’s style (Canon has relatively less contrast in my opinion) but with sharper, more vivid reds and greens, and an overall cooler tone. Shooting wide open, it delivers results that remind me of the Noctilux 50mm f/1 E58, though with a cooler tone compared to lenses like Pentax 67’s 105mm f/2.4 or my Rolleiflex 2.8F, which tend to be warmer. Despite its weight, it’s a camera I don’t mind carrying around—when I’m shooting, the weight just seems to fade away as I get lost in the experience. It really shines for night photography, especially when using Kodak Portra 800 or pushing Kodak 500T to 1000 ISO.
Unveiling the Charm and Challenges
The Norita 66 has its quirks, adding to its unique character. One peculiar feature is its shutter mechanism—it’s not exactly intuitive and requires film to be loaded to fire unless it’s set to double exposure mode. It also makes a notably sharp and deep sound when the shutter fires—truly unique! However, be aware of the occasional shutter curtain bounce at high speeds like 1/250 or 1/500, which can cause a dark portion on the right side of the frame.
Additionally, the viewfinder presents its own challenge; it is rather dim similar to the Rolleiflex 2.8F original screen, a trait that demands your best attention with the split screen focusing aid, especially in low-light conditions at night, there is a square red line inside the viewfinder and I am unsure what that’s for. It’s a medium format camera that I would double or triple check the focusing before pressing the shutter. Despite the steep learning curve, I like this camera because usually you will forget about using 120 film at night. The camera has f/2.8 or f/4 aperture only which requires a tripod. With Norita, you can actually handheld this with Kodak Portra 800!
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A Brief History of Musashino Kōki and the Norita 66
The Norita 66 was developed by Musashino Kōki in 1968, initially released as the Rittreck 66 for the domestic market and the Warner 66 for international markets, featuring a mirror lock-up function. Post Musashino’s bankruptcy in 1969, Norita Kogaku took over, making slight modifications and rebranding it as the Norita 66, launched in Japan in 1972 and in the US under the Graflex brand. Despite its innovative design, it never achieved significant commercial success and ceased production in 1976.
Features of the Norita 66 Camera
The Norita 66 is distinguished by its robust brass black paint body, similar feeling as the famous Nikon F2 pointed prism. This camera supports both 120 and 220 film formats and includes a double exposure function, adding a creative flexibility. The viewfinder module is interchangeable, offering options such as waist-level, eye-level, and metered eye-level finders, enhancing its versatility. Film advance is a double stroke mechanism, first one cocking the shutter and second one advancing the film, and the shutter speeds range from 1/500 to 1 second, plus a Bulb mode for long exposures. I advise you to advance the shutter slowly because it’s not easy to find someone to repair this camera. Focusing screens vary by model, including split-image, ground glass, and microprism center options, catering to different focusing preferences. The mechanics of the camera, including the need to align the D (double exposure) and N (normal operation) settings for proper functionality, which requires a learning curve, looking at the photos is definitely rewarding.
Noritar Line Up
- Norita Kogaku Noritar 40mm F/4
- Noritar 55mm F/4
- Noritar Noritar 70mm F/3.5 (with leaf shutter)
- Noritar 80mm F/2
- Noritar 160mm F/4
- Noritar 240mm F/4
- Noritar 400mm F/4.5
Shooting Portrait with Norita 66
Four of us as a team, Tom drove me to two locations. An underbridge near Kennedy town and the Peak in Hong Kong. Linus holding the light and Hera being my model. I shot these in Kodak 500T (120) push 1 stop to 1000 and Kodak Portra 800. With the help of pushing one stop extra, I could use this camera at 1/60 inside the underbridge and roughly 1/15 in that fogging peak area. It was extremely dark, you can see a blend of motion blur and incorrect focusing because the depth of field is so thin! I would describe this camera using 3-4 rolls as a warm up lap, after that you will be aware what sort of focusing error you made, my tip is to focus your subject’s eye with the split screen, cross check again in the large area, that extra thin layer of depth of field requires your checking to make sure things are in focus. It’s quite obvious to miss the focusing when you are shooting at f/2 with 120!
Trying the Norita 55mm
The 55mm lens is the ideal focal length for this camera. Occasionally, I find myself wanting a wide-angle attachment for my Rolleiflex 2.8F, especially since I’ve grown to appreciate the square format. The 55mm lens, when used in square format, simplifies composition for me. I find that it offers excellent control over distortion across the entire frame, making it easier to achieve the look that I want.
Final Thoughts
The Graflex Norita 66 with the Norita Kogaku 80mm f/2 lens is a remarkable camera that blends optical brilliance with a sexy looking black paint body. While it demands a certain level of commitment and adaptability from its users—due its mechanical setting and repair difficulties—those willing to embrace its peculiarities will find it a profoundly rewarding tool, capable of producing stunningly beautiful images, especially portraits. It’s a camera for those who chase for the fastest speed available on the medium format camera and that creamy bokeh and extremely thin depth of field, a Noctilux true lover.
For those who love to shoot at night and medium format dynamic range and clarity, the Norita 66 might just be the muse you’ve been waiting for. In total you can get 12 shots in 120 format, which is an advantage when you are capturing portraits so you don’t have to load the film. It takes a while to load each roll and make sure the spool is well slotted. Despite its weight, this camera is for those who see beyond the viewfinder, and into the soul of photography itself.
Special thanks to Linden for letting me try this camera!
All images have been resized to optimize webpage loading speed. For the highest resolution images, please refer to my Flickr account.
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