Praktica MTL 5B SLR Camera Review

Praktica MTL 5B SLR Camera Review

2000 1125 Jeb Inge

No one wants to be the person with the obvious schtick. But after volunteering to review a rangefinder, an SLR, and then a medium format and even half-frame cameras from the Soviet Union, I’m starting to wonder if I’m typecasting myself. The smart thing to do would be to wait a year before doing another review of a camera from behind the Iron Curtain. Instead, I’m pondering another proletarian camera – this time it’s the Praktica MTL 5B.

In my defense, this Praktica was purchased for a very specific reason; I’m continuing a project started last year in Berlin documenting East Germany. Using film that expired in the same year as the GDR did, I saw using an East German camera as an opportunity to give the project even more authenticity. My camera came from the German city of Chemnitz (formerly called Karl Marx Stadt) less than fifty miles from the Pentacon factory in Dresden.

When the camera arrived, I couldn’t believe how pristine it had been kept. If the previous owner had used the camera there wasn’t any evidence to prove it. The metal was unblemished, the leatherette unmarred, and the inside clean enough to eat from. As far as I was concerned, I’d be shooting a 35-year-old camera as though it was brand new.

What’s a Praktica MTL 5b?

There’s a silver lining to reviewing an East German Praktica compared with machines made in deeper Soviet territories. East Germany (officially known as the German Democratic Republic or GDR) famously had the most stable and successful economy of all the Soviet satellite nations. While the economies of other Warsaw Pact nations relied almost exclusively on natural resources and agriculture, the GDR was able to diversify its economy with precision tools and chemical productions. Preexisting facilities and a deep knowledge base equipped East Germany with the best camera industry in the Soviet world – one centered in Dresden at the Pentacon factory.

Formed from the bits and pieces of six camera manufacturers, Volkseigener Betrieb Kamera und Kinowere Dresden started manufacturing cameras in 1959. Smartly renamed VEB Pentacon Dresden in 1964, Pentacon would quickly establish itself as a manufacturer of relatively reliable and well-made cameras. Four years later, the company integrated VEB Feinoptisches Werk Görliz into the fold and benefitted from its Meyer-Optik Görlitz lenses (soon rebranded as Pentacon lenses.)

By the 1970s, Pentacon was producing a wide variety of cameras, most famously its Praktica line of SLRs and Pentacon 6 medium-format camera. The company’s lenses didn’t perform as well as those coming from Carl Zeiss Jena, but they did feature smaller price tags. The factory’s reputation for well-made cameras and a general lack of real competition quickly made Pentacon the leading Soviet camera producer. 

Among Pentacon’s Praktica SLRs, its “L-series” was far and away the most popular. From 1969 to 1989, forty-nine different cameras would fall under the L series umbrella, and with more than 4.8 million units produced, it dwarfed all other Pentacon product lines. Even with this many different models, the L line cameras all share the basic core DNA; they are all beginner-friendly feature sets coupled with robust construction. Some models offered a detachable pentaprism while others had LED information readout. The standardization of the camera body made production in a planned economy easy, and the line’s ubiquitous M42 lens mount opened up a world of lens possibilities from both sides of the Iron Curtain. 

By the mid-eighties Pentacon was in the fourth generation of its L-series, and in 1985 they released the Praktica MTL 5b. The 5b was the followup to the MTL 5, though finding a difference between the two is difficult. The 5b loses the 5’s PC flash synch socket, but that seems to be the only external difference.

Specs, and Shooting in 2018

The Praktica MTL 5b is about as basic as an SLR gets. It looks like so many other SLRs of the manual focus era – black leatherette with a metal body in either silver or (the less common) black finish. Controls are similarly common with a combination shutter dial and ISO control on one side of the top plate, and a film rewind lever on the other. There’s a front-mounted shutter trigger, a ten-second self-timer and a button to activate the camera’s stop-down metering system. On the bottom is the 1/4” tripod socket and a compartment for the battery, which uses either the now banned mercury oxide battery or LR44 alkaline batteries depending on the date of manufacture. Add the hot-shoe and frame counter and that’s the complete list of controls and gizmos. 

The MTL’s steel focal plane shutter has the typical range of 1/1000 second to 1 second plus a bulb mode, and the flash sync is a surprising 1/125 of a second. The camera’s meter – engaged by flicking the lever positioned next to the lens mount – is a stopped-down TTL meter using a CDS cell which is shown in the viewfinder using a cramped match-needle indicator. The meter reads based off the film speed (from 12 to 1600) chosen by the user on the shutter speed dial. Fortunately the camera is fully mechanical and batteries aren’t necessary for operation beyond the meter. I had no way of finding out which battery my version used, so I stuck with the handheld meter I was sure would do a better job than the one inside the camera.

The two things that really distinguish the MTL from other cameras are its front-mounted shutter trigger, and its film advance. 

More cameras should have front-mounted shutter triggers. It’s a life hack that you can’t believe you ever lived without. Having it there improves grip and stability, and that added stability is especially important with this camera. Pushing the shutter trigger will unleash a mirror slap that will alert the nearest seismic measurement center. If you’ve ever hit baseballs with an aluminum bat in the winter, you’ll be prepared for the camera shake caused by the MTL’s shutter release.

Film advancement is another standout, but not in a good way. The advance lever of the MTL gives more resistance than any other modern camera I’ve used. It’s tough enough without film in the camera, but becomes utterly mulish with film loaded, and once the shot is advanced the lever remains in the forward position rather than springing back. When I first inspected the camera, this weirdness felt funny, more of a quirk than an annoyance. But after using the camera, it quickly became a frustrating distraction.

Frustrations don’t end with the advance lever. The first time the MTL felt truly Soviet was when I went to unwind my film. The actual mechanism is typical enough; push the button on the bottom to disengage the film spool and use the lever above the film to rewind the roll. It’s easy enough to start, but by the end of the roll, the milling of the rewind lever will have your hand begging for mercy. Resistance was so extreme toward the end of the roll that I worried about tearing the film perforations and ruining the roll — something that happened twice with the Zenit E that I reviewed. 

Unlimited Lenses

The MTL’s M42 lens mount opens a whole world of optical possibilities to its owner (and it’s fitting that a camera made for the people would use the people’s lens mount). Made without proprietary elements, dozens of manufacturers produced lenses for the M42 screw mount, and it’s this mount that makes L series infinitely more attractive today than its B-series counterpart (named after the proprietary bayonet mount the series would use).

Someone using this lens mount can get lenses on the cheap from Pentacon and Zenit before moving up to lenses from Pentax, Carl Zeiss Jena and Yashica. You could even dabble in the obscurity of brands like Isco-Gottingen, Miranda or Montgomery Ward. 

My MTL came with a Pentacon Auto 29mm f/2.8 lens. The later versions of the lens (mine included) are multi-coated, have seven elements in seven groups and an aperture range from f/2.8 to f/22 in half stop increments. It’s relatively light at 8.5 ounces and can focus as close as 0.8 feet. The lens is based on the Meyer Görlitz Orestegon 29mm lens. That lens boasted zebra striping which led to the perception that it is a Carl Zeiss Jena creation. But this is a straight Pentacon lens – one that even with the added multi-coating has a shaky reputation regarding materials used and build quality.

When it comes to making images, it did little to impress me. I found muted contrast, a good amount of distortion, and a propensity to retreat in the face of backlighting. It’s soft up to f/5.6 but sharp when stopped down, making it a decent performer for landscapes, especially those not threatened by the distortion. That will go a long way with much of my project, but for the portrait segment I’ll have to find something else.

Sample Photos

Legacy and the Consumer Report

The Praktica MTL 5b was a popular camera in its day. More than half a million were produced over a four year period, and sales went far beyond the Soviet sphere. Foto-Quelle, at one point Europe’s largest photographic retailer, sold the MTL as the Revue ML (the company had quite the racket renaming cameras from Soviet countries, as well as many from Konica, Mamiya and Yashica.) My copy has “Made in German Democratic Republic” in English, indicating that while these were manufactured in East Germany, English speakers were also an intended audience.

Its widespread success is understandable; the MTL 5b appealed to beginner photographers and cost less than the rest. It’s a basic, mechanical camera that forces its owner to learn about exposure even when using the light meter.

But is it a good choice for beginners today? Certainly the price of entry is low. This camera (with a lens) costs about as much as a case of beer. But if I were to hand this to someone that had never shot a film camera, I’m not sure operating the Praktica MTL 5b would convert them. One of life’s great simple pleasures is advancing a roll of film and this camera almost manages to turn that joy into a miserable chore. And if that doesn’t sour the shooter on film, you can bet that rewinding the film will. 

The MTL’s closest peers would have to be the Pentax K1000 and the Minolta SRT-101. When stacked against them, I’m not sure it holds up quite as well. When it comes to the experience of using all three, the MTL feels less enjoyable. If there was ever a photographic testimonial for the power of capitalistic competition, it’s the comparison of these three cameras. The socialist MTL falls slightly behind the capitalist K1000 and SRT, which is all the more shocking when we remember that the MTL came out a full decade after these other two machines.

Let me be clear – I don’t dislike the MTL 5b. It’s equally interesting as a camera and as a relic. While it isn’t something I would normally buy, I know it will do the job I bought it to do. In most cases, that’s all a camera needs to do. With the Praktica MTL 5b I have literally seized my means of production.

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Jeb Inge

Jeb Inge

Jeb Inge is a Berlin-based photographer and writer. He has also worked in journalism, public history and public relations.

All stories by:Jeb Inge
19 comments
  • I almost bought a Practica camera (not sure if it was this exact model) in the late 1960s but I ended up buying a Canon TL instead. This is a decent camera but it was not quite on a par with what the Japanese (e.g., Canon, Minolta, and Pentax) were making for around the same price.

    • You’re right that it’s not quite there with the others, but it’s really hard to beat the cost savings. They’re tough cameras made to last, so it’s never a bad investment.

  • An interesting read, but I suspect your camera has an issue with its film transport/ rewind and which is not indicatve of the range as a whole. In my experience of two bodies, a VLC2 and the Exakta badged RTL 1000, I don’t have the same issues at all. Both have a fairly normal “feel” in wind and rewind. All didn’t appear right when I read your comment about the stiffness during re-winding the film. To have this stiffness in both directions of film transport is most unusual and must point to a common problem.

    Pressing in the rewind button disengages the sprocket shaft which should then rotate freely in either direction. You should feel a slight resistance as the film rewind is only affected by friction of the take up spool as the film is drawn back. You can readily identify where the problem lies by opening the back and with the rewind button pressed in check to see if the sprocket shaft moves freely in both directions, it should. If this is fine, then you need to use some waste film wound onto the take up spool and again, with the rewind button pressed in, check the resistance when you pull the film off the spool by hand.

    I hope this helps you to get to the bottom of the problem.

    • Avatar
      Joe shoots resurrected cameras October 22, 2018 at 9:52 am

      Though I don’t have any experience with East German or Soviet cameras, I’d second this. The first thing I thought was whether or not it just needed a CLA.

    • I’m glad to hear others haven’t had the film advance issues I’ve had. I can imagine any sort of lubrication those may/may not have had hasn’t fared well in the last 35 years on a shelf. The rewind button specifically seems to not push in all the way, and doesn’t stay there either. I’ll have to do some more investigating with it.

    • Another proud Praktica owner here. I have the Praktica Super TL1000 which is basically the same camera as the MTL 5b but without the self timer and while I wouldn’t describe the film transport as silky smooth it is certainly not too stiff and the advance lever readily springs back into its default position. Actually I find the film advance and the whole operation of the camera extremely satisfying.
      I actually bought a Spotmatic to shoot my beautiful Carl Zeiss Jena lenses with but quickly returned to the Praktica. I strongly prefer having a split prism rangefinder and the ergonomics with the shutter button and the stop down lever on the front are really good (or perhaps I am just used to it). I would actually recommend a Praktica to any beginner, especially if you live in Germany where you can get a camera in good condition for ridiculously little money and, as you mention, the selection of lenses is phenomenal.

  • This is my favourite camera (although most due to the lens selection), my film advance is pretty silky too. The only thing I dislike about mine is the slippery leatherette.

  • It could well be that your Praktica is pristine because it hasn’t been used and that could have caused the internals to have seized up. It’s commonly repeated advice across the internet that manual cameras benefit from regular exercise to keep them working well. A CLA would probably sort it out or a DIY spruce up if you’re handy.

    • That’s also something I found with the Kiev camera. It needed some exercise before the shutter was accurate, but it got there. A CLA would definitely help, but that would probably cost more than I paid for the camera, so I’ll probably just hope it works itself out. Luckily it’s not tied to the seriously important mechanics.

  • As a teen, I bought my first camera in ’67, a Praktica Nova, and shot a few rolls, notably at the Hemisfair in San Antonio Texas. It was everything you write about, but I knew no better back then. When I bought a Pentax H1a a year later, I was a learned photographer, and knew what I wanted. I dis-assembled the Praktica and the bare glass pentaprism sat on my desk for a few years after.

  • Long time ago my first camera was MTL5b’s sister model – the MTL 50. The shutter button was exactly in the same place and it was very nice to work with – especially in vertical position. Instead of match needle there were two LED’s which worked very well in all lighting conditions. It was simple but good camera.

  • MTL3 with CZJ 50mm/2.8 was my first SLR as student at the end of 70-ties. Pretty much same as this one described. Later bought same lens Pentacon 29/2.8 and Pentacon 200/4. This 29 never impressed me.Bad sharpness and contrast as well as distorsion too.
    It is interesting that camera with mentioned CZJ tessar lens was way cheaper then VCL models with Pentacon 50mm lens.
    I used to spend up to 10 roles off B/W roles per month (It was a lot for me as student) Later switched to dia color film.
    I didn’t have problem with film winding in both directions. I did faced with ripping films but it was bad cheap film also form East production. Lever functioned correctly. Still have this camera and it is still operable.
    My biggest complain was to loud mirror and shutter , and more important shaking and vibrations they produced.

    I don’t know why you are calling this camera “Soviet”? This is German (east German) not Soviet. As I know Soviets have steal many projects, plans, tools, even factories and move all that to SSSR. Same with Pentacon as well with Carl Zeiss factories. Whole country was greatly under the influence from Moscow. Still there was a lot of old tradition remain in those products. Komunists brought many ideology, red flags, political /ideology prisoners and many other craziness, while quality control felt down. That is true. But saying that “Praktica was the best Soviet camera ” that is just wrong. (Best East German, is more correct).

  • I just bought one of these with a Helios 44-2 lens for £6 GPB – I think I’ll call that a bargain.

  • My first SLR was this very camera, back in 1985 when I was sixteen. I thought it was the bees knees, especially as it was a gift with the CZJ 50mm F2.8 Tessar and the 135mm CZJ F3.5, But were and still are superb optics, even when mounted on a 36MP FF DSLR these days.
    Compared to the Zenit’s that were coming out of the SU at the time, it feels a lot more sophisticated, but comparing it to my Pentax SV, it does feel a lot more “flimsy”, well thinner in the metal and lighter too.
    I still have it, still run film through it and put on more lenses, including Takumars on it. The Leatherette is now coming adrift, but mechanically it is still sound, so I guess the build quality after 35 years is still good.

  • The MTL5B uses a 1.55v A76 alkaline or SR44 silver battery. The MTL5 used the larger 1.35v PX625 mercury battery. This is the main difference other than the lack of a PC (Prontor-Compur) connector for a flash.

    I have two brand-new MTL5B’s and the 45 degree triple-wedge finder is quite bright when compared to the 3rd series of Praktica L cameras (except the VLC3) but if you use a long lens such as the 4/300mm Sonnar you will notice that the wedges are not all in the same plane, which makes focusing a challenge!

    The MTL5B is an okay camera for general use and very convenient with the now-standard 1.55v battery but I personally prefer the L models with a microprism spot that can be focused upon anything without having to find something in the image with a line in it.

    Agree with other posters about your film wind/rewind issues- the shutter/wind mechanism has dried up and needs a service. For the price these cameras were and are a bargain.

    As a user camera I prefer a serviced Praktica Nova such as the PrakticaMat, PL Nova 1B or SuperTL. They are also much easier to service. I often use a Nova PL 1b with it’s very accurate selenium meter with the 4/20mm Zeiss Flektogon. The Nova’s have the same great 45 degree front shutter release, the SuperTL and PrakticaMat having a gigantic black button below the shutter to stop down the lens/operate the meter like the plastic key above the shutter release on the L series. This button has massive leverage and you literally only have to rest your index finger on it to engage it.

  • Ah, the last of the many… The MTL5B was the grandson in a line of cameras that goes back to 1969. It is made of plastic, but the looks and feel are more metal-ish. Well done Praktica! You just have to love the history of VEB Pentacon and then you love the brand even more. My first camera was the B100 in 1985. That one is long gone, but I now shoot with the B200 and B100 on occasion. The B200 is really loaded and outclasses my Minolta X-700 when shooting full manual. Both chosen and advised shutter speeds are shown if your LED’s are working. Because they never had enough money in Dresden to offer the quality from Japan. The B200 has Japanses NEC-technology inside and the B100 was all GDR. LED’s are replaced by a needle and that one is less prone to failure.

    As a cold war child, these camera’s mean more to me than just photography. It is a token of its time. A time in which I was raised. DDR and Praktica will always have a special place in my heart, with or without film.

  • I sense some anti-Soviet-bloc bias peppered throughout this review. Sure, this camera was produced a decade after the Pentax K1000 and the Minolta SRT101, but let’s not forget that the electronic and bayonet-mount-equipped Praktica B-system cameras hit the market 6 years BEFORE this camera came along, so it’s hardly the case that East Germany, due to communist bureaucracy, was incapable of producing cameras that could keep up with the West. Couldn’t it be that the designers of this particular model wanted to build a camera without all the electronic fluff that the rest of the photography industry was starting to become obsessed with? And, given the fact that today’s cameras are more electronic than optical/mechanical, I can see why some camera manufacturers in the 1970s might have wanted to avoid that fate.

    Also, could it not be the case that the issues with film advance and rewind are an idiosyncrasy of this particular camera, rather than a Soviet plot to make using all Praktica MTL5B models a chore? I suspect a little strategically-placed oil on certain moving parts could make this communist camera perform just as well as it’s decadent imperialist counterparts.

  • Hi. I see that the camera that this post illustrates has the self timer stopped “at seven” when it normally stops “at six.”
    I am looking to buy one that, when stopped in the same place, did not shoot the photo. Do you know any similar antecedents? Although the camera looks great, this makes me doubt whether to buy or not … What do you think? Greetings.

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Jeb Inge

Jeb Inge

Jeb Inge is a Berlin-based photographer and writer. He has also worked in journalism, public history and public relations.

All stories by:Jeb Inge