No, it is not a (micro-)van from Japan, but a robust medium format camera. Rare and unknown. The Press Van-120 strut-folding camera was manufactured by Suzuki in 1954 and took both 6×6 and 4.5×6cm exposures on 120 roll film thanks to an innovative masking system inside the back of the camera.
Let me start by once again expressing my preference for using medium format in film photography. It’s not that I don’t like 35mm rolls, but the quality of 120 is unmatched—even by today’s digital all-rounders. Medium format film offers superior image quality, distinctive aesthetics, and a thoughtful shooting experience—making it a favorite for serious film photographers who prioritize quality and artistry over convenience.
The first advantage of medium format film is: Larger Negative = Higher Image Quality. Medium format film typically refers to either 6×4.5 cm, 6×6 square cm, or big 6×7 cm) which is 2–4× larger than standard 35mm film. Larger negatives capture more detail, less grain, and allow for bigger enlargements without quality loss. Medium format negatives also have Finer Grain and Tonal Transitions. The increased surface area means grain is less noticeable, even with faster films. You get smoother tonal transitions, ideal for portraits, landscapes, and fine art work. Also bigger negatives allow for Greater Dynamic Range: medium format film can handle more subtle highlights and shadows, making it better for high-contrast scenes. So you retain more image information in both bright skies and deep shadows. Medium format film has a distinctive “look”: creamy depth of field, subtle textures, and a three-dimensional feel which makes it popular among portrait, fashion, and editorial photographers for its visual richness. So medium format delivers unique Aesthetic and Rendering, Better Color and Black-and-White Performance. Where color film in medium format often shows more accurate hues and richer saturation, black-and-white film delivers deeper blacks and broader grayscale. Medium format is ideal for Large Prints, they retain detail when scanned or printed in poster sizes or gallery formats. But the downside is you have fewer exposures per roll: Usually 10–16 shots per roll of 120 film, depending of the size. The camera can be larger: less portable and often heavier than 35mm. Cost? Film, development, and scanning are (much) more expensive.
The PressVan is an interesting concept. Masks fold in at the film plane for the smaller format and the pressure plate rotates to uncover the correct red window for film winding. It has a f/3.5 75mm Takumar lens in a Seikosha-Rapid shutter and a coupled rangefinder. Focusing is by the right knob on the top plate. A small foot unfolds from the front panel to stand the camera on a level surface.
The camera is relatively heavy. Solid materials. Iron. Do medium formats have to be so heavy? No, if you choose a lightweight option, you’re better off with bellows cameras with smaller lenses. I think my Voigtländer Perkeo, which also shoots 6×6, is about half the weight. It’s mainly the top part that feels heavy—the section where the coupled rangefinder is located. ‘Coupled’ means you can focus the lens in real time because the bellows move along with the lens it’s attached to. With the Perkeo, the focusing distance still has to be “transferred” to the lens manually after focusing.
On the front are the lens, aperture, and shutter. The shutter is a leaf shutter with speeds ranging from Bulb to 1/500s. Faster speeds do not exist for leaf shutters. The aperture is determined by the maximum lens opening, in this case F3.5, and goes down to F22. This is a well-known Asahi Takumar lens of very high quality, which later appeared on Pentax cameras. The Rapid shutter is also a fine example of Seikosha’s craftsmanship—the most well-known leaf shutter manufacturer from Japan. Both shutter and aperture are easy to operate. On the left side of the lens are the release button for the strut bellows and the PC sync port for the flash.
On the body, at the top front, are the rangefinder and viewfinder windows. The rangefinder patch remains clearly visible even under difficult lighting conditions, making focusing a breeze. It’s also nice that this is already a coupled rangefinder, meaning the lens moves forward or backward when focusing.
On top of the body, on the right, is the focusing knob, which contains a depth-of-field guide for various apertures and shutter speeds. Very handy! In the center is the cold shoe for attaching a flash, flash cubes, or other accessories. On the left, there’s the film advance wheel, which also serves as a reminder for the type of film that’s loaded.
On the back of the body, there’s the option to choose between 4.5 or 6 cm frame numbers. Both formats are usable, allowing for approximately 12 photos in 6×6 format and 16 photos in 4.5×6 format. This is also the most innovative feature of this camera. Inside the film compartment, two metal plates can be folded out to switch between formats. With most cameras, a special metal frame is required for this, which often gets lost and is no longer included with older models. German cameras in particular use this system with a separate, and therefore easily lost, insert. The film pressure plate can be rotated 90 degrees to mask the red window for the unused film format. On the back of the body, the frame numbers for the selected format can then be read separately.
The Suzuki is a rare camera, hard to find, but if you do come across one, there’s a good chance it still works just as well as when it was new. The camera is extremely solid and completely manual. The shutters are virtually unbreakable, so you’ll likely be able to start shooting right away with a fresh roll of film.