Kodak Panoram 1-Model D

My Kodak Panoram 1, Model D camera

Panoramic cameras and images have always fascinated me. The thought of seeing such a wide area in a photo seems so natural to me. Whenever I look at subjects, the human eye always sees a wide field of view, and narrowing it down to a smaller angle just seems peculiar to me. Even when I look through telephoto lenses, I want to see a wider angle, just closer. Unfortunately, that’s not how lenses work, so the ability to get a wider view is wonderful.

 The Kodak Panoram 1 is one of the first panoramic cameras I've owned. The first panoramic camera I bought was a Russian Horizont, a 35mm model that came with an accessory handle, viewfinder, and case. Unfortunately, this model of camera, due to the lack of workmanship, has a tendency for image "banding" as the lens doesn't rotate smoothly when making the exposure, so when the lens hesitates, it creates a change in exposure, creating a vertical exposure difference, which is darker due to the extra exposure time.

 I only had that camera for a short time, but it was a wonderful one to learn from, and from that experience I found the Kodak Panoram 1. One of the main reasons I knew about Kodak's early panoramic cameras was a set of negatives of two of my friends, which I purchased around 35 years ago. They were a set of 40 nitrate panoramic negatives, measuring 2 1/4" x 7", from a family who visited San Francisco and the surrounding area in 1906. There were photos of the rubble from the 1906 earthquake, along with other images of the family traveling up the delta to Sacramento and into the forest areas. If you're interested, here is a link to pictures from the aftermath of the 1906 San Francisco Earthquake.

 While researching the negative size and cameras built around 1900, I came across the Kodak Panoram 1 and the Multiscope Baby Al-Vista. I believe the Baby Al-Vista's negatives are just a bit smaller. At this point, due to my love of panoramic images, I really wanted to find a good Kodak Panoram 1 camera not only to have in my collection, but also to shoot with.

My Kodak Panoram 1, Model D with Case.

 The Kodak Panoram 1 camera used 105 film when it was manufactured, which is the same width as 120 film; the spools are just a bit different, as the flange is wider on 105 spools. Knowing that I could shoot 120 film in the Kodak Panoram 1 camera made it considerably more desirable. 

 Kodak also made larger Panoram cameras, the 3A and 4, which used larger film. The 3A produced 3 1/4" x 10 3/8" negatives on size 122 film; the 4 made 3 1/2" x 12" negatives on size 103 film. Since the necessary larger film is unavailable, choosing a usable Panoram was easy: I purchased the Panoram 1.

 The Kodak Panoram 1 comes in two distinct versions. There's the original Panoram 1, where the entire back of the camera comes off the body, revealing the curved arc of the film plane. The back of the camera is held to the camera body by two clips. 

 The second version of Kodak Panoram 1, the Model D, which I've had in my collection for 30-plus years, is slightly different. The back of the camera doesn't detach from the body, but, like some horizontal-folding cameras, there are buttons on either side you press to release it and fold it down. Then the camera's sides swing out to allow you to load and unload film.

 I have owned and restored several of both models, as the lens-swinging mechanism is the same, and the leather or suede bellows are similar. The main reason for the change in style was to reduce the camera's size. I prefer the original with the removable back, but both deliver fantastic images.

History of Kodak Panoram:

 Introduced by Eastman Kodak at the turn of the 20th century, the Kodak Panoram series democratized wide-angle photography, bringing it out of the domain of professional specialists and into the amateur market. Debuting in 1899 with the No. 4 and in 1900 with the smaller, popular No. 1, these "shoe-box"- shaped cameras remained in production until 1928.

Advertisment for the Kodak Panoram cameras

 The Panoram’s defining feature was its ingenious swing-lens mechanism. Unlike standard cameras with fixed lenses, the Panoram featured a lens mounted on a pivoting turret. When the shutter was triggered, the lens swung in an arc—typically between 112 and 142 degrees—sweeping light across a curved plane of film (the area of film bent to match the arc) at the back of the camera. This design minimized horizon distortion while capturing vast landscapes or large-group portraits in a single exposure. A swing-lens mechanism means the camera’s lens actually moves or "swings" during the exposure, rather than remaining stationary as in most cameras, to create a wide panoramic image.

 Aimed primarily at outdoor and travel use, Panoram cameras were used to document landscapes, expeditions, and colonial scenes, including polar exploration and industrial development in Southeast Asia. Their relatively simple wooden-and-leather construction, fixed focus, and minimal controls reflected Kodak’s broader strategy of making specialized photography accessible to non‑experts. At the same time, the nearly three‑decade production run indicates sustained popularity among enthusiasts of wide‑angle views.

 Three primary models defined the line: the No. 1 (using 105 film), the No. 4 (using 103 film for massive 12-inch negatives), and the short-lived No. 3A (introduced in 1926). While eventually displaced by newer formats and the 35mm revolution, the Panoram remains a cult classic today, prized by collectors and photographers for the unique, sweeping perspective that only a mechanical swing-lens can provide.

My Camera:

 My Kodak Panoram 1, Model D camera is 7.5" wide with the strap, by 4.5" deep by 4" tall, including the optical viewfinder, and weighs 1 pound 9.5 ounces without film loaded in the camera.

 To open the lens, pull down the front lens cover to reveal the swing lens to one side or the other. If it were pointing straight ahead, the lens cover wouldn't close. On the inside of the lens cover is the camera name, No. 1 Panoram, Kodak, Model D. On the bottom is the camera's serial number. My camera's serial number is 18986.

The camera is simple with minimal controls. On top is the etched nickel Kodak waist-level finder, which you lift to reveal the viewfinder. Behind the finder is the shutter speed selector. There are two notches: the one near the center is for a slower shutter speed, and pulling the selector to the end increases spring tension, making the lens swing faster at that speed.

 To set the speed, slide the bar opposite the lens direction. If the lens faces right, slide the bar left to set the next photo's shutter speed. Lock the chosen slow or fast speed with the clip under the selector bar. The shutter release is just right of the optical waist-level finder. Press the shutter button to release the lens and watch it swing to expose the film. Two lines form a "V" at the top, indicating the camera's approximate field of view.

As mentioned previously, to open the back to load the film, unclip the strap on the right side of the camera, then press in the two buttons on the sides of the camera, which will release the camera's back, and it will swing down, and the sides of the camera will also swing open, revealing the film chamber. There you'll see the curved film plane the film travels over, and the very impressive cone on the back of the lens guiding the light onto the film as the lens swings from one side to the other.

To load film into the camera can be a bit tricky because the newer plastic film reels—that is, the circular pieces at each end of a roll that hold the film—can at times be thicker than what was used originally back in the early 1900s, when Kodak would use metal for the reel ends and wood for the film cores, meaning the spools—the cylinder around which the film is wound—would be a bit thinner. When I went to load film for the blog post, I tried a brand I'd never used before. The spool was just a bit too thick and wouldn't fit into the camera easily, and once I did get it in, it was so stiff that the film wouldn't transport across the shutter easily.

 I loaded a new roll by placing the empty spool on the right, then lifting the winding lever and button to fit it. Then I placed the new roll on the left, brought the paper backing over the film plane, and threaded the leader into the empty spool slot. I wound the film until the start arrows appeared, pressed in the camera sides, and swung the back up to lock it.

Since 120 film isn't designed for panoramic cameras, the numbers 2, 6, 10, and 14 appear on the back of my camera. These indicate the frame numbers to stop at for each of the four photos on 120 film. I wound the film to 2 and was ready to take my first shot.

 

My Results:

 The film I loaded into the camera was an older roll of Kodak BW400CN film I purchased at a local camera show a few months ago. One thing about the film is that it needs to be processed in C-41 chemicals, which is a standard color film developing process. For the article, I wasn't sure I'd have enough time to get the film processed. Looking online, people mentioned the film can be processed in B&W (black-and-white) chemicals, so that's what I did. 

 There was a break in the rain on Sunday, so I loaded the film into the camera because the Kentmere I had didn't fit because the spool was too thick. I took the photo and went back to the house to develop the negatives. Maybe I didn't process the film long enough, since the images were extremely thin. I had to do some magic in Photoshop to get the images I have, so my apologies for the poor examples.

 However, I used the camera when I went to Yosemite a few years ago, and the images turned out great, so I'm adding a couple of color images from Yosemite to this blog to show how well the camera performs.

Conclusion:

 I've always been a huge fan of both the Multiscope Al-Vista and the Kodak Panoram camera. It's interesting that I've only owned the Panoram 1 camera and never the 3a or 4 Panoram, but I do have some of the larger Al-Vista cameras.

 The Panoram 1 is a fun camera to use, and the results are surprisingly good. I should have a camera with a smooth shutter. The cameras are compact, use 120 film, and, unfortunately, are becoming increasingly expensive as people learn about them and how much fun they are to use.

 Fortunately, I've had mine for many years, and I also have the camera case, which is a plus. It's just a real gem in my camera, and truthfully, I'm surprised I haven't written about it sooner than I have.

 Thank you for taking a few minutes from your day to read about his wonderful panoramic camera from over 100 years ago.

 Here's a link to my previous Camera Reviews.

 I also have an eBay shop, Cuny's Camera and Photo, where I sell cameras I've reviewed, along with other photo oddities. If you're interested in anything from my store, reach out to me, and I'll offer a discount. Just mention my blog.

 Until next week, please be safe.

GOMZ Malyutka Camera

My GOMZ Malyutka camera

It wasn't until later in my camera-collecting career that I developed an interest in miniature and subminiature cameras. It was the more unusual or the odder looking camera items like the pen-shaped Stylophot,  or the round Petal camera, the Twin Lens style miniature cameras like the Gemflex camera, or the miniature cameras which resemble small rangefinder or SLR cameras like the Golden Ricoh 16, where I really enjoyed having them in my collection. They are very unique cameras and items that stand out because they are so different from the larger box, folding, or view cameras. A real advantage of having miniature and subminiature cameras in your collection is the amount of display space they save. You can display many more items and accessories in a much smaller area.

 The GOMZ Malyutka is a camera I purchased around 10 years ago, and I didn't start researching it until about a year ago, when I found out it was pretty rare. I didn't even have it in my display of miniature or subminiature cameras until that time.

 This is another camera I purchase in a group or "lot" of camera in a fairly unknown auction of camera. My real prize and the main item I was bidding on was an early Nikon F body, and tucked in the background was an early Nikon 5cm f2 tick mark lens, which, due to the angle of the lens and the low visibility of people looking, not many people bid on the "Lot", so luckily it was one that I won. There were also other items within the "lot" that I had minimal interest in, but the Tick Mark lens and early Nikon F body were the prize.

Back side of GOMZ Malyutka camera

 Once I received the items from the auction, I noticed this really nice brown bakelite camera with Russian Cyrillic writing on the back. As I've mentioned before, I have a love for colored cameras, so when I saw this Gomz Malutka, I thought it was a nice little camera. I put it away, not really giving the camera much thought until about a year ago when I was going through a box of photo items for a local camera show that was selling at. I pulled the Gomz Malutka from the box, and was ready to add it to the items for the sale. Then, as I was inspecting the camera again, I thought it might be a fun camera to write about sometime in the future. I set the camera aside.

 After the camera show, as I returned to my office, I noticed the Gomz Malutka on my desk and started making some basic inquiries about the camera. At this point, I began to see that the camera is indeed somewhat rare, so let's write about it for my blog.

History:

 The history of GOMZ (Gosudarstvennyi Optiko-Mekhanicheskii Zavod), the State Optical-Mechanical Plant, reflects Russia's tumultuous and innovative 20th-century history. Located in Leningrad (now St. Petersburg), the factory was the cradle of the Soviet optical industry, responsible for producing the nation's first mass-market cameras and pioneering designs that predated Western equivalents.

Cover of Sovetskoe Foto (Soviet Photo) Magazine

 The facility began life in 1914 as a French-Russian joint venture to produce optical sights for the military during World War I. Following the 1917 Revolution, the factory was nationalized and underwent several reorganizations before officially adopting the GOMZ acronym in 1932. While it continued to produce military optics, the Soviet leadership demanded a domestic photographic industry to reduce reliance on German imports, pushing GOMZ toward consumer cameras.

 The 1930s marked GOMZ's golden era of innovation. Its first major success was the Fotokor-1 (1930–1941), a 9x12cm folding plate camera. Based on German designs, the Fotokor-1 became the first mass-produced Soviet camera, with over one million units manufactured. It effectively democratized photography in the USSR, serving as the primary tool for documenting the Soviet state's industrialization.

Even more technically significant was the Sport (1937), a 35mm single-lens reflex (SLR) camera. Historians often debate whether the GOMZ Sport or the German Kine Exakta was the world's first proper 35mm SLR. Regardless of the title, the Sport was a marvel of engineering for its time, featuring a vertical metal shutter and a reflex viewfinder that allowed photographers to see exactly what the lens saw—a standard feature today, but revolutionary in the 1930s.

Logo of Gomz camera

 During World War II, the factory suffered heavily during the Siege of Leningrad. Production shifted entirely to military needs, such as sights for tanks and artillery. After the war, GOMZ pivoted back to consumer goods, focusing on affordable, simple cameras for the recovering population.

This post-war period gave rise to the legendary Lubitel series (starting in 1949). Based on the German Voigtländer Brilliant, the Lubitel was a twin-lens reflex (TLR) camera made of Bakelite and later plastic. It was cheap, durable, and capable of producing excellent medium-format images, introducing millions of amateurs to photography. Similarly, the Smena series provided a simple, viewfinder alternative that became a staple in Soviet households.

 In 1965, GOMZ underwent a final restructuring, becoming the Leningrad Optical-Mechanical Association (LOMO). Under this new name, the factory would later produce the LOMO LC-A, the camera that accidentally sparked the global "Lomography" art movement in the 1990s. However, the foundation of this success was laid during the GOMZ era, which transformed a military optics plant into a titan of Soviet creativity and engineering.

My Camera:

 My GOMZ Malyutka is small, measuring  2" wide, by 1.5" tall and 1.5" deep from the front of the lens to the rear of the camera, and it weighs only 2.3 ounces without film. The Gomz Malutka is based on the SIDA camera from Sida GmbH, Berlin, Germany, which was made in the mid-1930s and came in both metal and Bakelite. "Malyutka" (малютка) is a Russian word that means "baby," "little one," or "tiny thing". It is also very similar to a camera made by Gomz,  Liliput camera.

 The camera's controls are very straightforward. There is only the shutter release at the bottom of the camera, along with the shutter control on the right side next to the lens. The shutter control consists of two settings: "M" (moment) for normal shutter speed, generally around 1/50 sec, and "B" for time exposures. Sliding a bar out from the side of the camera makes these settings. Sliding the shutter release under the lens takes the photo. 

 To open the back of the camera to load film, there are clips on either side that you move to the down position to remove the back. The camera takes Boltax film, a special 35mm film that produces a 24 mm x 24 mm negative. You load the camera similarly to any roll film camera: put the empty spool on the take-up reel side and the fresh film on the opposite side. Bring the leader to the slot on the take-up spool and start winding. Put the back on the camera and slide up the clips to lock it in place. Wind the film and advance it to the first frame.

 There is a small viewfinder at the top of the camera to frame your photo, and a tripod socket at the bottom to steady the camera during long exposures. Also at the top is a small, round metal disk that rotates as the film moves within the camera. Since the camera doesn’t have a red window on the back of the film door, you need to watch the disk rotate a few times to make sure the film is moving inside the camera.

Results:

 Since I don't have any Boltax film, I wasn't able to take photos with the Malutka camera, but possibly in the future, I'll try and use some paper backing I have from a few rolls of 828 film and run some film through it using 35mm to see how the camera performs.

 

Conclusion:

 The Gomz Malyutka is an excellent small camera that I enjoy having in my collection. It's in fantastic condition and is another color camera that sits proudly amongst the other miniature and subminiature cameras on my shelf.

 Thank you for taking the time to learn about this small, odd Russian camera. 

 I'd love to hear from you. Please get in touch with me if you have questions, concerns, or comments.

 Here's a link to my other Camera Reviews.

 Cuny's Camera and Photo has many cameras I've reviewed for sale, along with other camera and photo oddities. If interested in any items, email me, and I'll offer a nice discount as a friend of the family.

 Until next week, please be safe.

 

Kodak Bantam Special

My Kodak Bantam Special camera.

There are a few cameras that, just due to their sheer design, stand out in any person's collection. Cameras like the Kodak Super Six-20, Polaroid SX-70, Welta Reflekta, and the Kodak Brownie Beau all have a very striking design, whether on the faceplate or the camera's overall design. In my opinion, the one camera that is the most striking and beautifully made is the subject of this week's camera collecting blog, the Kodak Bantam Special.

 The Kodak Bantam Special is a camera made between 1936 and 1948, during the heyday of camera innovation and manufacturing not only in the United States but worldwide. If you think about the cameras produced in this era, there were the Zeiss Ikon Contax I, II, and III. Leica had the IIIC, Ihagee had the Kine Exakta, Kodak produced the Retina, Medalist, Rolleiflex continued to improve their models, and companies like Argus, Voigtlander, Agfa, and in Japan, Canon produced the Hansa in 1936.

Kodak bantam Special with case, manual and original box.

 I've had my Kodak Bantam Special for 20 years or longer at this point, and one of the things I like about my Bantam Special is it's a very clean camera, with a working shutter, very bright viewfinder, a very nice case, the original box and instruction manual(s) too. When I opened the box to retrieve the case, I found two manuals inside. Something I have forgotten about.

 I've owned several different Kodak Bantam cameras, which are relatively common and easy to find, but the Bantam Special truly is a "special" camera. I've owned a couple before the one I have now, but they were in relatively poor condition, with either chips in the paint or a shutter that wasn't working. But when I found this camera online, not only was the price reasonable, but it was complete. The only thing it didn't have was the camera's hang tag, which is extremely difficult to find.

 As I was looking over the cameras above my desk, thinking about the camera I wanted to write about this week, my eyes skimmed over the Bantam Special, thinking I must have written about it in the past. Still, when I looked at my camera reviews, it was one I'd overlooked. 

 The reason it's been looked over was the lack of 828 film I have in my refrigerator, which I use to review cameras. I have many of the other film formats,  35mm, 120, 620, 116, and 127, but no 828. So, a couple of weeks ago, I went to the local vintage camera store in town, which carries several of the film sizes I shoot with, and bought a couple of rolls.

An artistic view of Kodak Bantam Special camera

 For the history section, I've already written about the history of George Eastman, Eastman Kodak, and Walter Dorwin Teague, my favorite camera designer, so I thought I'd talk a bit about the not-too-popular film size that went away almost 40 years ago, 828 film.

History:

 828 film is a niche but significant chapter in the evolution of roll-film photography. Introduced by Eastman Kodak in 1935, 828 was designed as an alternative to 35mm film for compact consumer cameras. Kodak developed it alongside the launch of the original Kodak Bantam, a stylish, pocket-sized camera meant to bring high-quality photography to a broader audience. The goal was to offer the image quality of 35mm negatives without the mechanical complexity and cost associated with perforated 35mm film cassettes.

Kodak Bantam Special ad with 828 film

 Physically, 828 film is 35mm wide, identical to standard 35mm film in width, but it is paper-backed like 120 film. Instead of the multiple perforations found in 35mm stock, 828 features a single registration hole per frame, which helped position each exposure. This simplified both camera design and film advancement mechanisms. The standard frame size—28×40 mm—is actually slightly larger than the 24×36 mm frame on typical 35mm film, giving it a modest image-quality advantage despite its amateur-market positioning.

 Throughout the late 1930s and 1940s, Kodak produced a variety of Bantam models that used 828 film, including several Art Deco designs, such as the Bantam Special, known for its high-quality lenses and elegant styling. Other camera manufacturers occasionally experimented with the format as well, but 828 remained overwhelmingly associated with Kodak.

 The format reached its peak popularity in the 1940s and early 1950s, especially in the United States. However, its momentum began to fade as 35mm film gained dominance, propelled by the rise of precision German and later Japanese cameras, reusable metal cassettes, and the convenience of automated processing. By the 1960s, 828 had become a minor format, kept alive mainly by Kodak's continued film production and the long lifespan of Bantam cameras already in circulation.

 Kodak manufactured 828 film until the mid-1980s, after which demand dwindled, and the film was discontinued. Today, 828 is considered an obsolete format, though it retains a small following among camera collectors and experimental photographers. Enthusiasts occasionally reload old 828 spools with cut-down 35mm film, keeping the distinctive format alive in a niche, hands-on way.

My Camera:

 My Kodak Bantam Special camera is 5" wide by 3" tall by 2" deep with the lens closed, and 4" deep when the lens is extended. It weighs 1 pound, 0.5 ounces with a roll of film loaded. The camera is very sleek and stylish, with a Kodak Anastigmat Ektar 45mm f/2.0 lens and a Compur Rapid shutter. The camera was distributed between 1936 and 1940 with the Compur Rapid shutter made in Germany; after the war, Kodak distributed the camera with a Supermatic shutter between 1941 and 1948. 

To open the camera to take a photo, press the button on the right side, right in the middle, adjacent to the lens door. The door swings open to the left as you hold the camera, which is the opposite of how the popular Kodak Retina line of cameras opens to take a photo. 

 Similar to the Kodak Retina, the Bantam Special's lens is on a lens board, which is attached to a short black bellows that extends as the lens extends, with a scissor-style truss connecting the lens board to the camera body.

To focus the lens, the camera incorporates a "military style" rangefinder system. The focus adjustment is in the upper-right corner of the lens board when you hold the camera. Sliding the lever down focuses the lens. The rangefinder is viewed through the left-hand window on the back and provides a magnified view of the subject you're focusing on. The rangefinder in my camera is very bright and easy to focus with. Just slide the focus lever until a vertical line becomes a single, straight line, which indicates the camera is focused. The viewfinder is the window on the right-hand side that allows the photographer to frame their subject. 

The focus ring is also used to close the lens back into the camera body. Slide the ring up past the infinity marker in the direction of the "close" arrow. The lens's door will unlock, allowing you to retract the lens back into the camera and shut the front door for transportation.

 The shutter speeds and aperture settings are done on two separate settings on the Compur Rapid shutter. The shutter speed range is from 1/500 to 1 sec, along with "B" and "T" settings. The Aperture range is from f/2.0 to f/16 and is set via a sliding lever on the bottom of the shutter.

The shutter's cocking lever is on top of the shutter system, and the shutter release button is in the lower right of the camera's shutter. The placement and size of the shutter release were the most challenging aspects of using the Kodak Bantam Special camera. I'd get the camera focused, set the exposure, set the shutter speed and aperture, frame, cock the shutter, and I kept missing the shutter release. It's relatively small, and while not hidden, it's not in a very convenient place. If there were a shutter release on the top of the camera similar to the Retina's, that would make the camera much easier to use.

To open the back to load the film, on the top left of the camera, as you're holding it, is a protruding clip you pull up to release the lock for the back door. Once open, the camera is like many roll film cameras, with the empty spool going under the winding lever and the new roll of film on the right side of the camera body. Pull the film's leader out, and across the shutter area, and slide the tab into the slot of the empty film spool. Wind the leader until you see the "start" sign on the film's paper backing and close the film door. Open the camera's green window on the back door to see the frame numbers appear, indicating when to stop and take your next photo.

According to the manual, there is a button on the back of the camera that unlocks the frame advance knob, allowing you to advance the film to the next frame. Either the "film for classics" film used to take photos didn't have an automatic frame stop, or the item on my camera wasn't working because I didn't need to press the button to advance the film, and the film didn't stop automatically at the next frame. Either way, it wasn't a significant hindrance, and I just stopped advancing the film when I saw the following number on the roll.

My results:

 Other than the difficulty I had finding the shutter release to take the photo, the camera was enjoyable to use. It's slim and fits nicely into my pocket when I walk around the neighborhood taking pictures. The shutter started to lag after the second shot on the roll, and the rest of the roll didn't turn out because of it. I exercised the shutter for an hour or so, running through all the shutter speeds, and that helped. Luckily, I purchased two rolls of film, and the following day, I loaded the camera and tried again, with much better results, as you can see from the examples below.

 The rangefinder was bright and extremely easy to use. The regular viewfinder was a bit small, but that's probably more to do with me getting older and having an eye issue with my "taking" eye, so I needed to swap over and shoot "left-eyed," which is something I'll need to get used to.

 I loaded a roll of Classics 828 film into the camera and walked the neighborhood for photos. With only eight frames per roll on 828 film, I can see why 35mm became more popular. That's not that many photos before having to change to the next roll of film.

 Anyway, here are the results from my walk around the neighborhood with my Kodak Bantam Special.

Conclusion:

 On a scale of 1 to 10 for camera usability, I'd give it a 7, but for overall appearance, artistry, and appeal, it's a solid 10 in my books. There aren't many other cameras with this one's overall beauty.

 The photos turned out terrific, and it was great fun to use. Other than the price of black-and-white film at over $20.00 per roll, I'd use the camera more often. Still, for special occasions, it is a great camera to use, and one I'm pleased to have in my collection, especially with the case, manual, and box.

 Here's a link to my other Camera Reviews.

 I have some of the reviewed cameras along with other interesting cameras and photo items in my eBay store, Cuny's Cameras and Photos. Please stop by, and if you mention the blog, I'll be happy to offer a discount.

 Thank you for taking the time to read about this fabulous camera from the late 1930s. The Kodak Bantam Special is just that, Special.

 Until next week, please be safe.

Hasselblads Kamera Express

My Hasselblads Kamera Express

When I first saw this camera, which was only a month or so ago, it was on an online camera auction. Seeing the name Hasselblad on the back of the camera, my first thought was to write a blog post about it, since the very prestigious Hasselblad made it, but not the Victor Hasselblad Company most people are familiar with. 

 As I delved into the research of this rare camera, I was filled with a sense of excitement. The scarcity of information about this specific camera only added to its allure. My initial assumption that it was crafted by Victor Hasselblad's Grandfather, Arvid Viktor, was proven wrong, adding a layer of mystery to this unique piece. 

 This camera is the Hasselblads Kamera Express, and it dates from 1893. Hasselblad didn't really make it; it was produced for them by another Swedish company, Hugo Svensson & Company, another camera manufacturer in Gothenburg, Sweden. Here's where it gets a little strange. 

 According to McKeown's Camera Guide, they state the camera was manufactured by Murer & Duroni, of Milan, Italy. Others have said that the camera made by Hugo Svensson & Co. is nothing but a copy, or just very similar to the Murer-built camera. 

 Let me give you a brief history of the Pre-Victor Hasselblad & Hugo Svensson & Co., and how the two became intertwined in the late 1890s.

History:

 The History of Hasselblad goes all the way back to Victor's Great Grandfather, Fritz Viktor, who in 1841 founded the F.W. Hasselblad Company in Gothenburg, selling fabrics, travel accessories, and household goods, sort of the Pre-Ikea company (just a joke). One of Fritz's sons, Arvid Viktor (Victor's grandfather), met George Eastman in 19885 and sparked a business relationship, giving the F.W. Hasselblad Co. exclusive distributorship of Eastman Film & plate in Sweden.

Victor Hasselblad photographed by Per-Olof Swanberg. In search of Skåne's storks. Image Courtesy:Sören Gunnarsson.

 In 1908, Arvid broke away from the F.W. Hasselblad Co. and started a new company, Hasselblad Fotografiska AB, which sold solely photographic equipment to meet the product demands of customers in Sweden. Just two years before opening Hasselblad Fotografiska AB, Victor Hasselblad was born.

 When Victor was 18, he was sent to Dresden, Germany, to learn the camera trade, as many companies manufactured cameras in the area at the time. Victor also traveled the world, including the US, where he worked in camera stores, processing labs, and camera manufacturing. He even worked in Rochester, New York, with George Eastman before returning to Sweden in 1934.

 In 1937, Victor opened his own camera store in Gothenburg named Victor Camera. The first camera Victor made was the HK-7 in 1941. During WWII, he was asked to improve a captured German aerial camera for the Swedish Air Force. After WWII, he went on to produce some of the most iconic medium-format cameras used by professionals worldwide for close to 100 years.

 

Hugo Svensson & Co. 

 There is some excellent information about Swedish Camera history, although it’s in Swedish, you can use Google Translate to convert the text for your language.

 John Hugo Svensson (1867-1942) was trained as an engineer and worked with C.G. Dahlgren & Co. The company was next door to F.W. Hasselblad & Co., where they repaired goods for them. As cameras became more prevalent at Hasselblad, the C.G. Dahlgren Co. took on their repairs.

Hasselblad store advetising from 1902: Image courtesy: Sören Gunnarsson.

 As Svensson repaired the camera, he found ways to improve it, then began designing his own cameras based on those improvements. These cameras were then sold through the F.W. Hasselblad Co. store. 

 When the owner of C.G. Dahlgren & Co. passed away in 1896, Svensson bought out Dahlgren's widow and started his own company, Hugo Svensson & Co., which also included the younger brother of the original owner.

 Hugo Svensson's first camera, built around 1893, was the "Svenska Express", a drop-plate camera for either 6x9, 9x12, or 10x15cm plates. It was a copy of the Italian company Murer's Express camera built in 1900. My guess is Svensson worked on the Murer version and thought he could improve it. Hasselblad also marketed the Murer's Express Newness. 

 By 1902, Hugo Svensson & Co. produced a 20-page catalog of the products it manufactured and sold, including the "Svenska Express", "Simil Express", "Svea", and "Stella". Hugo Svensson produced catalogues until the 1940s, where he also sold German cameras, lenses, and instructions, making the catalog similar to a handbook.

My Camera:

 The camera I am fortunate to own is a slight variation of the models mentioned above. My Hasselblads Kamera Express, standing at 7" tall by 9" long by 4" wide, and weighing 2 pounds, 11.6 ounces, with a serial number of 111566, holds a special place in my collection. This serial number is imprinted on the inside of the back door, where you load the 9cm x 12cm film holders. My camera comes with five film holders, each holding a unique story.

Initially, I was unsure if my camera's shutter was operational. However, as I began to explore the camera, I discovered its hidden secrets. As I turned the center knob, just below the lens, it clicked, and when I pushed in the shutter release on the side of the camera, the shutter fired. This moment of discovery filled me with joy and fascination.

 Let me give you the camera's layout. Above the lens is a small knob that you can pull out. The rod moves the lens on the inside of the camera body and focuses it to the required distances, measured in meters.

 As just mentioned, the knob below the lens can be turned clockwise to cock the shutter. Just to the left of the shutter cocking mechanism is the aperture setting. To set the aperture, pull up the arm and slide it to the desired aperture number. The numbers on my camera are pretty worn and difficult to see, but I believe they are F/11 to the far left, then, as you swing the arm counterclockwise, the next stop is "S" (or closed), then f/14, F/22, and f/36.

On the lower right of the camera's faceplate is the shutter speed control. The shutter speeds available are 1/100, 1/50, 1/25, 1/10, 1/5 and 1. You turn the dial to the desired speed.

 At the top of the camera is the camera's handle, a spirit level, and a waist-level finder for vertical photos. On the right side of the camera is the viewfinder for horizontal photos, another spirit level, and the shutter release, which can be set to "M" for snapshots or "T" for timed exposures. Towards the rear of the camera is the lever that changes the internal film plates. Slide the lever to the top to drop the plate down from the exposed area. As you slide the arm back, it catches the next plate, making it ready for exposure.

 If you're not familiar with how a falling plate camera works, let me tell you what I know. The film holders are stacked vertically on the top of the camera, with the film pointing towards the lens. They are held in place by a spring on the back of the camera, which pushes the film holders forward in the upper chamber. As you take a photo, you flip the switch on the side of the camera forward, which moves the exposed plate a bit, and it drops into the lower chamber of the camera. The next frame is pressed forward by the spring, you then expose the film plate, and so forth until all the frames have been exposed. At that point, you'll need to remove the film holders from the camera in a dark room to prevent exposure to light. The loading process also needs to be done in a dark room for obvious reasons.

To open the back to load the film plates, there are two latches on the top and bottom of the back door on the right-hand side. Pull them out to open the back, then place the plates in. Close the back and press in the two bars to keep it closed.

 On the bottom and on the left side of the camera are tripod sockets.

 

My results.

 At first, I didn't think the shutter was working, but then I found out how to cock the shutter. I can't figure out how the plates drop within the camera. Unfortunately, I didn't try using the camera because I don't have any sheet film, but once I do, I'll try and see how the camera handles making images. I'll need to do it one frame at a time until I figure out whether it's an operator or a camera malfunction.

 I also found Jabcam's overview of a similar falling plate camera. 

 

Conclusion.

 It's nice having an older Hasselblad in my collection, although Hasselblad didn't particularly make it. My real intention was to write about it for the camera blog. Not being a big fan of drop plate cameras, you'll likely see the camera for sale in my eBay store soon.

 If you're interested in purchasing it, let me know; otherwise, you can see some of the cameras I've reviewed for sale in Cuny's Cameras and Photo.

 Here's a link to my other Camera Reviews.

 Thank you for taking the time to read about the intertwined camera companies that worked together in the early 1900s.

 Until next week, please be safe.

References:

Jabcam overview of falling plate cameras: https://jabcam.wordpress.com/2013/04/29/topic-a-falling-plate-camera/

Swedish Camera History: https://www.fotopaw.se/texter/svkam.htm

History Of Hasselblad-Soren Gunnerson: https://gunnarssonforum.blogspot.com/search/label/Fritz%20Victor%20Hasselblad




Hasselblad X-Pan

My Hasselblad X-Pan w/finder

Throughout my photographic career, my passion for panoramic images and cameras, as well as daguerreotypes, has consumed a significant part of my interest in collecting photographic items, including those with unusual or colored features. I recall the timeline when I first acquired specific working models of panoramic cameras.

 In my early days of collecting, I recall purchasing my first panoramic camera, a Russian-made 35mm Horizont camera. That camera helped spark the purchase and use of more panoramic cameras. When I bought a Kodak Panoram 1, I just put it on my shelf. When I found out that 120 film fit into the Kodak Panoram, Model 1 camera, I almost jumped for joy, because I could use it, rather than look and admire it.

 Wanting to add to the panoramic camera family, the elusive Widelux F7 was still years away, as I had a young family and was careful about the types of cameras I purchased to grow my collection. During this time, I came across a few Multiscope Al-Vista cameras, particularly the Baby, because, like the Kodak Panoram 1, the Baby Al-Vista also uses 120 film.

 As time went on, and the kids grew, and I advanced in my career, more funds became available to acquire the more exotic items that were previously out of reach financially when I was younger. A coworker had a friend who was selling an early Panon 120 panoramic camera for a very reasonable price, which I purchased and took with me to Peru’s Machu Picchu when my wife and I took a trip there.

 It was a decade ago when I finally had the chance to acquire a Widelux F7 model at an excellent price. Despite its cosmetic condition, I was determined to bring it back to life. After a visit to Precision Camera Works in Texas, the camera was given a new lease on life. Today, it's one of the most frequently used cameras in my collection, and the one that has captured many of the images in my panoramic section on my website.

My Hasselblad X-Pan w/30mm lens, finder, center filter, 3D printed lens hood and cap.

 The Hasselblad X-Pan was a camera I recall from its introduction to the market in 1998. Like several cameras from Hasselblad during those years, it was a collaboration with Fujifilm in Japan. Hasselblad sold the X-Pan worldwide, except in Japan. In Japan, Fujifilm had the TX-1, which was the same camera, just a different name and model number.

 It wasn't until about five years ago that I had the opportunity to purchase the X-Pan I currently have and am writing about in this post. The Hasselblad X-Pan is a significant addition to my collection, not only because of its unique features but also because of its history and the challenges I faced in acquiring it. I found it on an online auction, but the camera didn't have the standard lens; it only had a 30mm lens. No finder, and the top of the camera was missing the small plastic piece in front of the flash shoe. The camera was used very well, but its working condition was unknown.

 Examining other items being sold in the auction, I discovered a group of items that included the 30mm finder for the X-Pan. I notified the auction house that the finder from this lot should go with the camera from a different lot. They placed the finder in the lot with the X-Pan, which made the items more desirable, especially to me. 

 When it came time for the lot to be sold, I was surprised at the price it sold for, and fortunately for me, I was the high bidder. The price wasn't cheap, but for the items sold, it was a great deal. One of my first reactions was, Is the camera in working condition? I paid the shipping fees, and I just crossed my fingers that the camera wasn't a total wreck, but rather a pile of parts I needed to pay to get repaired. The anticipation and uncertainty of this process added to the thrill of acquiring this unique piece for my collection.

 Once the camera arrived, the first thing I noticed was its physical condition. There were many scratches on the body, and the item missing from the top, near the flash shoe, gave the camera a very "combat" look. The great news was that the center filter was there, which I hadn't noticed, and when I put batteries in the camera, it came to life. All the displays lit up, so I started to feel very good about the purchase.

 Once I put the finder on top of the camera, and it hid the missing piece by the flash shoe, I had a huge smile on my face. The next thing I needed to do was put a roll of film in the camera and try it out. After I did that and the film turned out well, I knew I had a keeper and one I needed to start adding to the rotation of shooting with, especially since it had the lens I desired, the 30mm wide-angle lens and finder.

History:

 The history of Hasselblad, the iconic Swedish camera manufacturer, is inextricably linked to the passion and ambition of its founder, Victor Hasselblad (1906–1978). Though the family business, F.W. Hasselblad & Co., began in 1841 as a trading company, it was Victor's innate interest in photography—fueled by a childhood passion for birdwatching—that transformed the firm into a global innovator. After training in the optics industry across Europe and the United States, even working under Kodak founder George Eastman, Victor opened his own shop, Victor Foto, in Gothenburg in 1937. 

 The pivotal moment for the company arrived during World War II. In 1940, the Swedish military tasked Victor with reverse-engineering and improving a German aerial surveillance camera that had been recovered. His reported reply—"No, but I can make a better one"—set the standard for the company's future. He founded Victor Hasselblad AB in 1941 to manufacture the HK-7 military camera, laying the groundwork for the company's subsequent civilian production.

After the war, Victor applied his modular military design to the consumer market, launching the Hasselblad 1600F in 1948. This medium-format, single-lens reflex (SLR) camera, with its distinctive modular design featuring interchangeable lenses, viewfinders, and film magazines, quickly became the gold standard for professional photographers worldwide, especially with the introduction of the robust 500 series in the 1950s.

 Hasselblad secured its legendary status through its partnership with NASA, which began in 1962. Astronaut Walter Schirra, an avid photographer, suggested using his personal Hasselblad 500C to document space missions. NASA modified the cameras to withstand the harsh conditions of space, and the Hasselblad became the camera system of choice for American spaceflight. The climax of this partnership occurred on July 20, 1969, when a Hasselblad Data Camera (HDC) captured the historic first steps on the Moon, solidifying the brand's legacy as a true pioneer in imaging technology.

My Camera:

 My Hasselblad X-Pan is 7" wide by 3.25" tall without the 30mm viewfinder and 5.5" tall with the viewfinder by 3.5" deep from the back of the camera to the front of the lens. The camera weighs 2 pounds, 9.6 ounces with the 30mm f/5.6 lens. The camera body serial number is 11EE13969, and the lens serial # is 8SXP13110. I purchased an aftermarket, 3D-printed lens hood and cap for the 30mm lens, which fits well. However, it is shifting on the lens and not staying in the proper position, so I may have to spring for an actual Hasselblad-made hood and cap.

The camera is powered by 2 CR2, 3V photo batteries, which, like many cameras, fit into the bottom of the camera. Most of the controls are located on the top of the camera. Going left to right is the camera's hot shoe for flash. That's something I don't use, except for sliding the 30mm viewfinder onto the hot shoe and then screwing it down to hold it in place.

 To the right of the hot shoe is the shutter speed dial, which ranges from 1/1000 to a full 8-second exposure, accompanied by a green "A" for Auto mode. In the case of the X-Pan, when the selector is set to the green "A" position, the camera is in "aperture preferred" metering, which means you select the desired aperture, and the camera will choose the appropriate shutter speed depending on the film's ISO and the lighting conditions. Even in "auto" mode, there are warning signals within the viewfinder that indicate if you are overexposed or using a shutter speed longer than 2 seconds.

If the camera is not in the "auto" exposure mode and you're selecting both the shutter speed and aperture, a series of lights and signals, indicated by +/-, appears within the viewfinder, showing what a properly exposed image will look like depending on the selected shutter speed and aperture.

 To the right of the shutter speed dial is the shutter release, marked in silver, and a small window behind the shutter release that displays "P" if you're in panoramic mode, as well as the frame number you're on. Further to the right is the main On/Off switch at the bottom, along with "S" for single frame, "C" for continuous shooting, and a clock face for self timer. Turn the On/Off switch to the desired mode, and the camera will be on. On top of the dial is exposure compensation, which allows for up to 2 stops of light lighter or darker than the recommended meter settings when in the "A" or auto mode. These are set in half-stop increments on the dial.

On the back of the camera, from left to right and top to bottom, is the camera's viewfinder, which incorporates a coupled rangefinder. My rangefinder is very bright, which makes the camera extremely easy to focus with. Just above the camera's viewfinder is the 30mm viewfinder. The viewfinder features several different frame lines, depending on the film format used, along with a bubble or spirit level at the bottom to check if your camera is level.

To the right of the camera's viewfinder is an essential switch. The X-Pan camera is compatible with the standard 24x35mm film format. Alternatively, by depressing the button and turning the dial to the "P" position, you can shoot in a panoramic format of 24 mm x 65 mm. On the back of the camera by the shutter, the camera will move blades in or out depending on the film format you're using. I've never really heard photographers using the X-Pan as a standard 35mm camera, only for panoramic purposes, but this can change at any time, and you can go back and forth on the same roll of film if desired.

On the back of the camera, on the back door, there are three settings. Ine is "AEB", or Auto Exposure Bracketing, which allows the photographer to automatically bracket either a half or full stop in between shots. The next button is used to light up the display, which is particularly useful at night or in dark situations. The third button is a very small, indented button that you use to rewind the film before reaching the end of the roll.

 On the front of the camera, in the 11 o'clock position, is a dial to set the film speed. The camera features fully integrated DX coding for modern film. However, if you're using a self-loaded cassette or older non-DX-coded cassettes, the ISO can be set manually. Below the dial is the lens release button, which allows the photographer to change lenses. Opposite the camera is the PC flash sync port, which enables flash use via a PC cable.

On the left side of the camera, the shutter remote cable socket is located at the top, and the camera's film door lock lever is positioned at the bottom. Flip the lever up, then slide it up to open the camera's film back and load the film.

 To load the film in the X-Pan, insert the film cassette into the film area, guide the leader to the take-up wheel, and then close the back of the camera. The camera will automatically wind the film all the way out of the cassette and onto the take-up spool before you take your first image. 

As a man, and not having read the manual before loading the camera, I started to get concerned. When I closed the door on my initial roll of film and heard the film advance for so long, I thought the camera was broken and needed servicing. That's just how the X-Pan winds film. When you receive your film back and examine the frame numbers, you will notice that the first frame, or Frame #1, is actually the last image you took, and number 36 is the first image.

 

My Results:

 My wife and I took a drive to Multnomah Falls outside Portland, and since I was going to write about this camera, I took it with me to see how it would perform. 

 Honestly, it's only the third or fourth time I've taken the camera out to shoot with it, mainly because I shoot with the Widelux so much, but this was an excellent time to see how the camera performed.

 The day was overcast, but the crowds were small, and since it had rained recently, the falls were rushing. After shooting the falls, we went into their restaurant to have lunch.

 Here are photos from that small adventure.

Conclusion:

 WOW, what amazing images and camera. I understand why so many people enjoy shooting with this camera. It doesn't have the swing lens curvature like the Widelux has. The X-Pan offers modern advancements over the Widelux, such as auto-exposure, exposure bracketing, and other features, but is physically larger and heavier.

 There's a trade-off for all things, but I'll definitely be using the X-Pan more often. It made shooting very simple and easy. I needed to focus on my subject with the X-Pan, which isn't a bad thing, and the images turned out great.

Another excellent feature of the X-Pan is that it’s a “system” camera, allowing for the use of other lenses. There is a standard wide-angle 45mm f/4 lens, along with a compact telephoto 90mm f/4 lens.

 Thank you for taking a few minutes to read about this fantastic panoramic camera from Hasselblad. A camera I'm fortunate to have in the collection.

 Here's a link to my other Camera Reviews.

 I also have an online store, Cuny's Cameras and Photo. If you see something in my store that interests you, don't hesitate to make me an offer. I'm always looking to negotiate and make deals, and I'd love it if you could share my article.

 Until next week, please be safe.

Ensign Midget-Silver Jubilee Model

My Ensign Midget-Silver Jubilee camera

All of the Ensign Midget cameras have a fascinating look. With three models, the straightforward Model 22, to the more refined Models 33 & 55, featuring a diamond-shaped faceplate and a very Art Deco appearance. The one model that stood out to me with the most significant difference was the Ensign Midget-Silver Jubilee model, introduced in 1935 for the Silver Jubilee of King George V and Queen Mary. This model, in particular, holds a unique place in the history of Ensign cameras, being a rare and special edition.

 As I've mentioned several times, my love for the unusual, quirky, and vibrant cameras holds a very special place in my heart. The majority of my collection has something particularly peculiar about it. Whether the camera is a different color other than the drab black, ot it has a different film format, or an unusual faceplate, or some other oddity about it

 The Ensign Midget, Model 55, Silver Jubilee camera in my collection is a relatively recent purchase. I have memories of reading about it in McKeown's Camera Price Guide, and I've come across a few at camera shows and online, but I never pulled the trigger and purchased one. However, when I finally acquired this model, it felt like a significant addition to my collection, a piece of history that I could now share with fellow enthusiasts.

Ensign Midget with slip-in case & manual

 I found the Ensign Midget, Silver Jubilee model that I currently own online at a very reasonable price, which also included the protective cover and original manual, making it even more desirable. The only thing missing was the original box, which would have increased the price. 

 When the camera arrived, I was very pleased with its condition, as it was free of scrapes and dings, which are very common on a camera that is 90 years old. The camera's cover was clean, the faceplate still had a chrome shine, and the instruction manual was in superb condition. I was very pleased with the camera's condition, and it was in good working order, which was the icing on the cake, as they say.

 In the UK, Kodak also produced a "Silver Jubilee" box camera, which is covered in white leatherette. While I'd love to have one of the Kodaks in my collection among the other colored box cameras I have, it'll be some time down the road for me.

History:

 Ensign cameras represent a significant chapter in British photographic history. The company's roots date back to 1834, with the founding of Claudet & Houghton by George Houghton and Antoine Claudet, who initially dealt in optical glass. This enterprise evolved, eventually becoming George Houghton & Sons, which by the early 1900s was manufacturing cameras, such as the 'Ensign Simplex Auto'. By 1908, their Walthamstow factory was reportedly the largest camera manufacturing plant in the United Kingdom.

Ad for Ensign Midget camer

 A significant turning point came in 1915 when Houghton merged with W. Butcher and Sons Ltd. to form the Houghton-Butcher Manufacturing Company. Throughout this period, they produced popular models, such as the Sanderson folding camera and the highly successful, compact Ensignette roll-film camera, introduced in 1909. The Ensign brand name grew so synonymous with their products that in 1930, the parent company was formally renamed Ensign Ltd.

 Ensign became known for producing affordable, good-quality cameras that helped popularize photography among ordinary people in the 1920s and 1930s. They produced various formats, including folding roll-film cameras like the Popular Ensign and later models, such as the distinctively styled Ful-Vue, post-WWII.

 The company faced turmoil during World War II; their London headquarters, Ensign House, was destroyed by bombing in 1940, and the sales wing was soon after wound up. Post-war, Ensign continued through several mergers, joining with Elliott & Sons to become Barnet Ensign Ltd. in 1945, and then with lens-maker Ross Ltd. to become Barnet Ensign Ross Ltd. in 1948. It finally operated as Ross Ensign Ltd. by 1951. Despite producing quality 1950s roll-film cameras, the company ultimately failed to embrace the emerging 35mm format. Production of still cameras ceased, and the Ross Ensign name faded away, with the company being dissolved around 1961.

Key Features and Models

The Midget was marketed with the slogan "Wear it Always—Like your Watch," emphasizing its petite size, which measures approximately 90mm × 45mm × 18mm when collapsed.

 The camera came in three primary models, whose numbers originally corresponded to their price in shillings:

  • Model 22: The most basic version, typically featuring a fixed-focus meniscus lens and a simple two-speed shutter (Instantaneous/Time). It often lacked the top-folding frame finder found on higher models.

  • Model 33: An upgrade from the 22, this version typically featured a slightly better fixed-focus "All Distance" meniscus lens and a 3-speed shutter (e.g., 1/25, 1/50, 1/100 sec, plus T/B).

  • Model 55: The premium model featured a focusing Ensar f/6.3 Anastigmat lens with iris diaphragm control, enabling focus down to approximately 3 feet. Its shutter offered speeds up to 1/100 sec.

 All models used the dedicated Ensign E10 roll film to produce six negatives measuring 35 mm × 45 mm—a format slightly larger than the standard 35 mm (Leica format). The cameras were constructed with a pressed steel body and leather bellows, featuring an Art Deco design with chrome accents on the struts.

 The Midget family was very popular, but its production was ultimately halted in 1940/1941 as the company shifted its focus to wartime manufacturing. It was not returned to the product line after the war, as Ensign focused on the 120 film format instead of competing in the burgeoning 35mm market.

My Camera:

 My Ensign Midget camera is 3.5" wide by 1.75" tall by 0.75" deep with the front lens collapsed, and 2.75" with the front lens extended and the black bellows of the camera exposed in its normal "picture-taking" position. My camera weighs in at a measly 5.9 ounces. As you can see, the slogan Ensign used, "Wear it Always—Like your Watch," was very informative. I'm thinking that if I had had one of these cameras back in 1935 and carried it in my pocket, it would have been so small that it might have been challenging to locate.

The camera has two struts on either side of the lens, which extend when the lens plate is pulled out for taking photos. Once you're finished taking the pictures and ready to close the camera, start by pulling the end of the struts closest to the lens out, away from the lens plate, to unlock them. Then,  the lens plate can collapse back into the body when not in use.

 Once you have the lens extended and ready to take photos, the front viewfinder unfolds upwards to make the front of the "Direct Vision Viewfinder as noted in the manual. Once the front is extended, the back of the camera houses a "flip up" eyepiece that completes the camera's Direct Vision Viewfinder which is to be used if you want eye-level viewing.

There is a "Brilliant View Finder, tucked into the side of the camera's body, which can be used for taking vertical images, then flipped out when taking a horizontal image. For vertical images, the Brilliant View Finder lens is tucked into the camera body with a small opening just below the word "Midget" on the right side of the camera's faceplate, as viewed from the front. It's evident once the Brilliant View Finder is flipped to use in the horizontal position.

On the right side of the camera, as you're holding it to take a photo, tucked behind the faceplate is the camera's shutter release. Also on the right side of the camera is a slide-out leg that props up the camera for taking vertical images. On the flip-up leg is the camera's serial number, which mine happens to be "H15871."

On the front of the camera are the settings for shutter speed, aperture, and focus distance. The Aperture settings are located along the top of the faceplate and range from f/6.3 to f/22, selected by moving a small slider just below the aperture numbers. 

 Around the F/6.3 "ENSAR" anastigmat lens are focusing distances for you to set. The distance lines up with a small bar that protrudes from the lens, with focus distances of 3" at the 12 o'clock position, 5' at the 3 o'clock position, 8' at the 6 o'clock position, 12' at the 9 o'clock position, and infinity, backing up towards the 12 o'clock position.

 The shutter speeds of 1/100, 1/50, 1/25, "B", and "T" are set on the bottom of the faceplate, similarly to how the aperture settings are made, by sliding a small bar to the desired shutter speed.

Shutter, aperture and focus area on Ensign Midget camera

To open the back of the camera to load film, a locking mechanism on the left side must be pulled down. This slides a small bar that fits into a tiny opening, allowing the back of the camera to swing open and be removed from the camera.

 You load the Ensign Midget just like any roll film camera, but unfortunately, this camera and the other Midget camera takes an odd-size film that is no longer available. Once the film was loaded, engage the feet into the hinges on the right side of the camera and close it up. Just be sure that when you lock the back of the camera, the small rod fits into the tiny hole, which holds it in place. If not engaged, the back will open.

My Results:

 Unfortunately, I don't have film to use in this camera, due to its unique size and limited availability. Therefore, until I learn to cut and process film to use in the camera, this will remain a showpiece in my collection.

 

Conclusion:

 The Ensign Midget, Silver Jubilee edition camera is a camera I've long desired to own and will be cherished in my collection. The silver crinkle finish on the camera is a lovely touch to an already beautifully designed and built camera—a real gem crafted during a heyday period in pre-World War II England.

 Thank you for taking a few minutes to read about this fantastic, small, yet extremely well-built camera. One, I'm happy to give a prominent spot in my collection.

 Click the link to read my other Camera Reviews.

 If you're looking for a photo item, I have a wide selection of cameras, lenses, and camera parts available in my eBay store, Cuny's Cameras and Photo.

 Until next week, please be safe. 

 

Nikon 200mm f/5.6 Medical Nikkor Lens

One of my Medical Nikkor lenses w/ AC power supply, close-up lenses, & cables

I am a lifelong Nikon fan and own a variety of Nikon cameras. I have very vivid memories of working in a camera store back in the mid to late 1970s, where I worked for almost 20 years. The Nikon 200mm Medical Nikkor was a lens I had only seen in catalogs and brochures. I'm sure I had seen the lens in showcases at conventions. 

 I don't know why I've liked this lens for so long. It has something to do with the lens being very specialized, its unique look, and the built-in ring flash around the lens. It also had to do with my love for macro photography and the idea that a lens like this would make it so much easier.

 It wasn't until very recently, while looking at items for sale at a local estate sale, that I had the opportunity to hold a Nikon 200mm Medical Nikkor and look at it closely. The estate sale was for a retired doctor who had two Nikon Medical Nikkors, along with a variety of other medical and photography equipment. The lenses were complete with the power supply, close-up lenses, and connecting cables. One of the kits had an AC power supply, and the other had a DC power supply.

My Nikon 200mm F/5.6 Medical Nikkor lens.

 The asking price seemed high, so I walked away from the sale, knowing that the prices would decrease in the days that followed. I crossed my fingers and hoped that when I came back on the final day of the sale, the lenses (and several other items) would still be there.

 When I went back on the final day of the sale, both lenses were still there, but the pricing was still too high. Talking to the owner of the estate sale, he mentioned that on Tuesday, after the sale ends, if these items are still there, he'd consider offers.  I contacted him on Monday. He said there were some items still available and that if I wanted to meet him on Tuesday morning, he'd listen to offers.

 When I arrived at the sale on Tuesday, not only were the two Medical Nikkors still there, but several other items I was interested in were as well. I made a bundle deal and gave him a price for all, which he accepted.

 Once I got the lenses home, I started to piece the items together. I plugged them into the AC power supply and found that both lenses were in good working condition. The modeling lights work, and both lenses flashed as they should. The only negative thing I found was that one of the connecting cables from the power supply to the lens was missing. Also, the DC power supply takes four "D" size batteries, which is not an issue, but it also takes an older 240V photo battery, which are no longer available from my searches. The "D" size batteries power the focusing lights, and the 240V powers the flash.

Using the Lens:

 When you first look at the lens, it can be confusing, so let me give you some basics about the Nikon 200mm Medical Nikkor lens. There is no focusing ring on the lens itself. Instead, the lens uses a series of six close-up lenses that screw into the 38mm filter ring on the front of the lens. These close-up lenses are 2x, 1x, 1/2x, 1/4x, 1/6x, and 1/8x. These close-up lenses are threaded on both sides, allowing them to be stacked for a closer view of your subject. The only one not double-threaded is the 2x. The combination of the close-up lenses along with the master lens allows the lens to have a wide range of ratios, from 1/15 to 3x.

Here's a table in the instruction manual showing when to use the specific close-up lenses, how far away you are from the subject, and how big the subject is in inches.

One of the unique features of the Nikon 200 mm Medical Nikkor lens is the built-in ring flash, which consists of two flash tubes. This ring flash provides even and shadowless lighting, making it ideal for macro photography. Additionally, there is a series of four small lights around the lens that can be turned on to aid focusing. These lights are beneficial when you're getting close to the subject, as they illuminate it and make it easier to find the proper focus point. The focusing lights are user-replaceable by unthreading the front of the lens, which exposes the focusing lamps.

Just below the removable top, which exposes the focusing lamps, is a knurled ring that has the PC connector, which connects the PC cable from the camera to the lens. Next to that is the socket where the connecting cable from the power supply fits. There is a grey cover on both lenses that keeps the connector from getting dirty. Next to the socket is a small window with the ready light, which indicates that the flash is fully charged and ready to fire. And last but not least, on the other side of the PC connector is a small, great button that you press in to turn on the focus lights. These are something I use often, especially when close to the subject.

Since the Nikon 200 mm Medical Nikkor lens does not have a focusing ring, achieving the correct focus point on your subject requires physical movement of the lens. The built-in focusing lights are a tremendous help in this process, especially when working in darker areas. Without these lights, achieving a sharp focus would be challenging. To use the lens, you need to physically move the lens in and out to find the proper focus point on your subject. Being able to light your subject with the focusing light is a tremendous help. Without the focusing light, it would be challenging to achieve a sharp focus, especially in darker areas, which is often the case when using this lens. Let me walk you through the process of using the lens: [detailed steps].

 The Nikon 200 mm Medical Nikkor lens offers a unique feature that allows you to imprint a number on your image. This imprint can be for a case number, date, frame number, etc. The lens has a thin ring with the letters A, B, C, and D, which is used to intensify the number imprinted on your frame. Just below the ABCD ring is the number being put onto your frame. The numbers range from 1 to 39 in white, and 3 to 1/15 in yellow for the ratio used, if that's what you choose to have imprinted. This feature can be particularly useful for organizing and categorizing your images, adding a unique touch to your photography.

Ring for setting imprint number or fraction, and brightness (A,B,C,D)

The next two rings on the lens are for exposure settings, and it actually works very well. Both of these rings have locking screws to hold the settings in place. The ring closest to the camera body and farthest down on the lens is the film speed, or the film's light sensitivity (ISO), you are using in the camera. There are two lines: one is red for color film, and the other is white for black-and-white film. The difference between the red and white lines is one F-stop. I use the red line for my camera.

 The next ring above the film speed is the aperture setting. Below the aperture setting is a guide that corresponds to the close-up lenses used. Match the close-up lenses you put on the front of the master lens to the proper aperture needed for a properly exposed image. You can lock down that setting too, so it doesn't get changed during focus. As you change magnification, you'll need to adjust the lens's aperture setting. This system works great, and the exposure is accurate. You can also lighten or darken as needed by just changing the aperture up or down, depending on your preference.

Aperture and Exposure settings dials

The wonderful thing about this lens is that it works with new and old camera bodies. The lens mount is a very generic Nikon mount with automatic aperture control. To use and test the lens, I put it on my Nikon D850, set the camera to manual mode, and set the ISO to 100; it worked great.

 While doing an initial test on the lens, I took 7-8 images, then I heard a small pop and the flash stopped working. Having worked in the photo industry, and more specifically working with commercial flash, that wasn't a good sound. I took the top off the power supply after unplugging it and found that one of the small capacitors had blown. I looked online and found one that appeared to have the same electrical needs, so I ordered it. Once it arrived, I replaced the capacitor and soldered it in. Put the top back on, and the power supply started to work again.

Before the capacitor blew, I tested the lens and took images with a camera I recently wrote about on my camera-collecting blog. The one thing that struck me was the ring flash's appearance. I've always enjoyed how the ring flash gives a halo effect around the subject, very similar to some of the fashion shoots in the 1980s and 90s, before it became unpopular.

 I also wanted to try the lens on a coin and possibly a few different objects to see how it performed on them. I didn't have a stamp to try the lens on, but I did have a few different coins.

 

Results:

 Here are some of the images I made with the Nikon 200mm f/5.6 Medical Nikkor lens. I attached the lens to my Nikon D850, set the camera to manual mode, and adjusted the shutter speed to 1/60 to ensure proper flash synchronization.

 I also tried to get a mix of hard and soft materials to shoot—hard shiny metals, plants, coins, etc. 

Conclusion:

 I don't understand why this lens isn't more popular for small products, like coins, given that it has a built-in focusing light, ring flash for very even illumination, and, as a telephoto, you're far away from the subject.

 The lens produced clean, sharp images; the ring light did a fantastic job on the coins; and the pictures of the plants were perfect, all for being hand-held images. I also like the product shots; the built-in ring flash gives the photos a different look than most of the younger generation people aren't used to.

Coronet Cameo

My Coronet Cameo camera

It wasn't until I had been collecting cameras that I developed an interest in miniature and subminiature cameras. One of my earliest recollections of liking small miniature cameras was when I became a sales representative for a well-known Swiss large-format camera company (Sinar) and traveled to Sacramento to visit a store that displayed many different miniature and subminiature cameras at the cash register.

 I fondly remember spending time looking at the display, thinking many of the cameras seemed so odd and unusual, which is something I'm always looking for in what I collect. When I asked the owner of the store if any of the cameras were for sale, and his reply was a swift and hardy "no", in my mind, it triggered a need to find out more about this whole new world of cameras I was aware of, but had no interest in collecting.

 While I don't have a large collection of miniature and subminiature cameras, the ones I do have have a special place in my collection because they are all very unique. I have the majority of the miniature and subminiature collection on my desk, which I'm at the majority of the time I'm in my office, or what I call my camera oasis. It's the one room in our house where I can do what I want, within reason. Another terrific part of the collection is that they don't take up much room, so I have many of them in a small area that reminds me of the display at the camera store I went to well over 30 years ago.

 I came across the Coronet Cameo camera on a trip to London about two to three years ago. For me, one of the main objectives of the trip was to visit Portobello Road to see some of the camera and photo stalls we had visited on a previous trip to London many years earlier. When my wife and I visited the outdoor market, I found that things had changed, and many of the vendors only showed up on weekends. This was a massive disappointment for me, especially since my wife and I were leaving on Saturday afternoon.

Coronet Cameo size comparison.

 The main person I was to meet was Juliano of Cameras London, who shows his cameras only on Saturday. Somehow, I convinced my wife that I would take the bus to Portobelo Road and back in time for us to go to the airport. 

 As I took the bus to Portobello Road that Saturday morning, I remember I needed to be mindful of the time and hurry. I arrived early as Juliano was still setting up. He had a fantastic display of cameras and some negatives. There were several cameras I wanted to purchase, one being an Ilford Advocate, which you can read about. He said he had a cleaner version and would ship it to me. 

I got together a small group of cameras, and just before I paid him, I saw the Coronet Cameo. It was in poor condition, but it was odd and unusual, so I threw it into the pile. We made a fair bundle price for the items, including the Advocate and Cameo camera. I paid him for the items, put the cameras in my backpack, and made my way back to the hotel. We had plenty of time to make it to the airport.

History:

 The Coronet Camera Company was a significant English camera manufacturer, founded in 1926 in Birmingham, England, by Frederick W. Pettifer. The company began at 48 Great Hampton Street, Aston, focusing on producing an inexpensive line of cameras for the mass market. Their early focus was on simple box and folding cameras.

Photo of old Coronet building depicted from Historic Camera website

 A key aspect of Coronet's operations was its utilization of local Birmingham businesses. They partnered with the British Optical Lens Co. for lenses and, notably, with Edwin Elliott, a local plastics manufacturer, who fabricated molded plastic cameras for them. This collaboration led to popular pre-war models, including the small and stylish Coronet Midget and the Coronet Vogue, which were often made from colored Bakelite. By 1933, the company had reportedly sold a remarkable 510,000 cameras.

 The company became Coronet Ltd. in 1946. After World War II, the company specialized in low-cost, molded-plastic cameras. Due to French import restrictions, Coronet formed a partnership with the French company Tiranty of Paris. This collaboration led to several Coronet models, such as the Rapide, being manufactured in France, sometimes using Boyer lenses, to bypass trade barriers. Coronet also produced accessories and its own brands of film, including Corochrome.

 The company continued to manufacture cameras from its Birmingham headquarters (later located at 308-310 Summer Lane) until it finally ceased operations in 1967. Over its four-decade history, Coronet played a vital role in making photography accessible to the public by providing thousands of simple, affordable cameras, many of which remain popular collector's items today.

My Camera:

 This portion of the blog will be sparse, as there's not much to this camera. The Coronet Cameo camera is small and will almost fit into a 35mm film container. It's 2" wide by 1.5" deep and 2" tall with the front viewfinder extended and only 1.25" tall when it's retracted. The camera only weighs 1.6 ounces. The Cameo has a fixed 25mm F/11 Meniscus lens and a single shutter speed range of 1/25-1/50, with the shutter release on the right side of the camera body.

The camera is made from plastic and was manufactured between 1948 and 1952.  Coronet attempted to revive the success of the Pre-War Midget camera, which was highly successful for the company at the time.

 The Coronet Cameo takes a roll of 16mm film and produces six 12mm x 18mm negative-sized images per roll. The camera loads and winds like any other roll film camera, with the unexposed film loaded on the left and the leader threaded into the take-up spool on the right via the film winding lever.

The back of the camera is held in place by two clips on the right side of the camera. To open the back, lift it from the two clips; it will open, exposing the film chamber. Unfortunately, my camera, like many Coronet Cameo models, is warped, and the back doesn't fit properly to the body.

 A sliding front viewfinder can be pulled up, and when the rear viewfinder is lifted on the back of the camera, it exposes the red window displaying the frame number of the image you'll be taking on the roll of film.

My Results:

 Unfortunately, there is no longer film for this camera, and with the warped camera back, I wasn't able to take photos with it.

 

Conclusion:

 As I was taking photos of the Coronet Cameo, I had an empty 35mm film tube and tried to see if the camera would fit inside it, but it's just a tad too big.

 The Coronet Cameo camera is sitting right next to my Whittaker Micro 16 Pixie camera, which I considered writing about for this blog post. Still, I'll leave that camera for another day. I do enjoy all the miniature and subminiature cameras in my collection; it just took me a few years of collecting them to appreciate them for what they are.

 Thank you for taking the time out of your day to read about this small plastic camera from about 75 years ago. I'm sure many people owned and enjoyed them when they were made.

 If you're interested in reading about other cameras I've reviewed, here's a link to my other Camera Reviews.

 I also have a store on eBay, Cuny's Camera and Photos, where I sell items I've reviewed, as well as many other camera oddities.

 Until next week, please be safe.

Whitehouse Beacon Cameras

My Whitehouse Beacon cameras

When I was starting to collect cameras, I would collect anything —from straightforward box cameras and point-and-shoot cameras to fundamental bakelite cameras. As you begin to refine your interest in collecting a particular item, the focus becomes a bit more narrow, and the items that you see so often, like Kodak Brownies and bakelite holiday cameras, become less and less interesting. 

 I'm sure that's true with collecting anything. You're always on the hunt for odd, unusual, rare, or exotic items, whether it's cameras, firearms, cars, or sports memorabilia. Once I got over the initial phase of buying "any camera", I started collecting cameras with color to them. Kodak Rainbow box and folding camera, some of the bakelite Imperial camera, Boy and Girl Scout cameras, or even a box camera with odd and unusual faces on them, like the Bear Photo camera, or the Century of Progress cameras. To this day, it's difficult for me not to pick up and look at any colored camera, and I will most likely purchase one if the price is right.

 The Beacon camera was one of the cameras that started in my initial phase of collecting and continued into the next phase of collecting cameras with color. To this day, I can remember walking through a local flea market and seeing a familiar shape of the Beacon camera, but this one was in a different color. I had only owned the black version before, but this one was greenish-turquoise. When the seller quoted a few dollars, I snatched it up right away. The Beacon camera came in traditional black, as well as white, red, and green.

My three Beacons

 I purchased the red Beacon camera well over 35 years ago, when there was no internet, and the only places you could see items like this were at camera shows, camera collecting books, which usually weren't in color, or people selling things at garage sales or flea markets. I remember thumbing through the McKeown's Camera guide, which I had back then. It was considerably smaller, but it did mention whether cameras came in different color versions.

 When eBay launched in the late 1990s, I was an early adopter and joined in 1997. At that time, there were no product photos; only descriptions. It was more of a message board of people buying and selling items. My first number was 1034, this was even before you had a name on eBay. eBay changed the way people collect so many items. The market became flooded with items that were difficult to get before eBay, and their prices dropped. So many antique stores and other retailers were affected by them until they started selling on the marketplace, and it has now become such a vast entity.

 I can even remember starting a similar auction site aimed at the photo marketplace in the early 2000s, and I was going to call it Photo Flea Market, where people could buy and sell cameras, lenses, vintage gear, and even images like prints, Daguerreotypes, Ambrotypes, etc. Try to keep it more focused on one particular industry, but like many ideas, it went by the wayside.

Camera History:

Patent Drawing for Beacon camera

 The Beacon camera was manufactured by Whitehouse Products Inc. of Brooklyn, NY, starting in the late 1940s. My friend, podcaster, and excellent camera blogger Mike Eckman has a tremendous post on the History of Whitehouse Products where he deep dives into a famous woman named Vira Boarman Whitehouse, (Mrs. Norman De R. Whitehouse) who was mainly know as a suffragette leader in the 1920 that had a leather company who employed many women, and who also championed company's to go from a 48 hour work week to a 40 hour week. It's truly a fantastic read.

 Whitehouse Products produced the Beacon line of cameras, along with another simple camera in the 1960s, the Beacon Reflex camera, Automatic 705, and the Autoflash WH 127-A, which Ansco also sold. My favorite Whitehouse camera was the 1970s novelty Charlie Tuna Camera, which I also have in my collection.

 The one thing I can be sure of is that William L Lawson was the designer and inventor of the Beacon camera. I conducted a patent search and identified the initial design of the camera, produced in 1948. It's for the original Beacon camera, which also included two shutter speed settings. The two speeds were either "I" for instant or "B" for bulb, or timed exposures. The later Beacon II model removed the ability to set the shutter speed, as shown on my camera. The original Beacon and later Beacon II models took 16 images on 127-size film, producing a 3x4cm negative. 

 Later in the 1950s, Whitehouse produced the Beacon Two-twenty Five. A larger version of the Beacon and Beacon II, which took 12, 6x6cm images on 620 film. This is the camera I used to produce the images included in the post.

My Camera:

 My Beacon Two-Twenty Five is 4" tall by 5.5" wide by 3.5" deep with the lens extended, and 2.25" deep with the lens compressed into the camera body. It weighs 13.7 ounces. The camera has a 70mm Doublet lens with an aperture of F/8, which would be my best guess, possibly a bit faster. To say this camera has no bells or whistles is an understatement, and there are only a few things you need to do to take a photo.

To load the film, on the right side of the camera is the latch to open the back door. Slide the button down to open the back, and swing the door open to reveal where to load the film. This camera takes 620 film, but there is nothing to help load or unload the film roll from the film chamber. Since I had some 620 film, I needed to force the roll of film into place before I tore the tape off and slid the paper backing across the film plane to put the leader into the take-up spool. It wasn't very easy, but I got it done.

Once the film is on the take-up spool, I wound it until I saw the "start" arrows, then closed the back of the camera. I wound the take-up knob until I saw the number 1 in the viewfinder. The camera is now ready to take the first photo.

 Before taking the photos, you'll need to pull the lens area out of the camera body using the two grips on either side of the lens. Once the lens is pulled out, it snaps or locks into place with two wide silver bars located behind the grip. If you don't pull the lens out, your photos won't be blurry. To take the picture, the chrome shutter release is located on the top of the lens chamber. My guess is the shutter speed is around 1/60 of a second.

Once the photos have been taken, press in the two chrome bars that lock the lens into place at the rear of the camera body, and the lens chamber will slide back into the camera body.

 If you'll be using the Beacon flash attachment, attach the flash once the lens is extended. First, the flash takes two penlight batteries, which fit into the back of the flash attachment. On the back, under the reflector, is a small clip that needs to be pulled back to expose the battery compartment. Close the battery cover, slide the front of the flash unit under the lens chamber, then slide the flash over the top of the camera until it's in place, then screw it into the camera body using the small screw on the back of the flash.

The flash units take either size 5, 11, or 22 flashbulbs. Here's a link to Mike Butkus manual for the Beacon camera and the Beacon flash.

 The camera is fundamental to its functions, but let's take a look at the images it produces.

 

My results:

 I loaded up a roll of 620 film I keep for camera testing, and took a walk through the neighborhood. Since the day was cloudy, I had to wait for the sun to come out so I'd get better results.

 Here are a few of the images I took.

Conclusion:

 The Beacon did a better job than I anticipated, especially given its simple camera. No focus, shutter, or aperture settings. It's truly a "point and shoot" style camera, specifically designed for family snapshots. The edges are soft, as expected, but overall not too bad.

 I doubt I'll be taking the camera on an important vacation, but my curiosity got the better of me. I wanted to see how it would perform, and it wasn't horrible.

 Thank you for taking time from your day to read about this snapshot camera from the late 1940s, for the original Beacon, to the 1950s, for the Beacon Two-Twenty Five, which I used for the post.

 Here's a link to my other Camera Reviews.

 If you are looking for an odd or unusual photo item, be sure to stop by Cuny's Camera and Photo, my eBay store.

 Until next week, please be safe.

Zeiss Ikon Ikoflex III (853/16) camera

My Zeiss Ikon Ikoflex III camera

My first real camera, a Univex Uniflex, was a gift from my Uncle Bud, my mother's younger brother. He was a free-spirited soul, living a bohemian lifestyle that left a lasting impression on me and my older brother. This camera, a symbol of his unique spirit, became my gateway to the world of photography. 

 Uncle Bud was the photographer in the family gatherings, went to art school in Chicago, where he met his wife, made wine, went antiquing, purchased an old school bus, and was converting it into a camper for the family, was health-conscious, all of this in the 1960s, as I was young and impressionable. 

 I tell you this because the Univex Uniflex was a somewhat inexpensive twin-lens reflex camera that I used for many of my early years taking photos, so the twin-lens reflex style has always felt comfortable to me. I've always enjoyed looking through a larger viewfinder and framing my subject, albeit backward when looking down into the camera. It's similar to looking through a view camera, although the view camera isn't backwards, just upside down. 

 Last week, as my wife and I were in Yosemite and the San Francisco Bay Area. One of the reasons we went there was that on the first Sunday of the month, there's a large flea market in Alameda, which I miss since moving away from the area about 9 years ago. I planned the trip partly to visit the flea market and look for cameras and other photo items.

 I arrived at the flea market early and started looking over the many tables. At one of the tables, I found this fantastic Zeiss Ikoflex III camera I've been looking for for many years. As I picked up the camera, the shutter worked at higher speeds and lagged at lower speeds. The lens was clean and the transport worked well. 

 After a bit of negotiation, I left the flea market with the Ikoflex III and a few other small items. The joy of this find was so great that I couldn't wait to share it with you, my fellow camera enthusiasts. Even though I had recently written about the Zeiss Contaflex camera, the Ikoflex III was a gem that I couldn't wait to put a roll of film into and share its story on my camera blog.

Ikoflex History:

 The Zeiss Ikoflex emerged in 1934 as Zeiss Ikon's direct answer to the burgeoning success of the Franke & Heidecke Rolleiflex. The inaugural model, affectionately nicknamed the "Coffee Can" for its distinctive upright, cylindrical body, marked a departure from the more conventional TLR design. This initial offering was a clear statement of intent from the German optics giant to compete in the professional and enthusiast photographer market.

Ad for Zeiss Ikon Ikoflex III camera

 Throughout its production, which spanned until 1960, the Ikoflex series underwent significant evolution, with a clear demarcation between its pre-war and post-war iterations. Before World War II, Zeiss Ikon introduced several models, progressively refining the design and features. The early lever-wind and knob-wind "Coffee Can" models gave way to more streamlined, traditionally styled TLRs. These pre-war cameras often featured high-quality Zeiss lenses, such as the Tessar and Novar. They were equipped with Compur or Klio shutters, offering photographers a range of options in terms of both price and performance. A notable pre-war innovation was the Ikoflex III, introduced in 1939, which boasted a fast f/2.8 Tessar lens and a unique Albada direct-vision viewfinder integrated into the focusing hood, setting it apart from its contemporaries.

 Following the end of the war, Zeiss Ikon resumed production in West Germany and continued developing the Ikoflex line. The post-war models, such as the Ikoflex Ia and IIa, reflected the technological advancements of the era. These cameras often featured coated lenses for improved contrast and flare reduction, as well as synchronized flash capabilities. The final models in the series, like the Ikoflex Favorit, even incorporated a built-in, uncoupled light meter, a significant feature for the time.

 Despite its innovative features and the esteemed Zeiss pedigree, the Ikoflex line always existed in the shadow of the Rolleiflex. While highly capable and well-regarded for their robust build and excellent optics, the Ikoflex cameras ultimately ceased production in 1960, leaving behind a legacy as a compelling, if not dominant, force in the golden age of twin-lens reflex photography.

My Camera:

 My Zeiss Ikon Ikoflex is in very good condition, except for some of the slower shutter speeds, which I'll exercise and hopefully bring back to life; otherwise, I'll have it CLA'd. The camera's serial number is 836152, and it has a Carl Zeiss Jena Tessar 8cm f/2.8 lens, serial number 1851589. The camera is 6" tall when the light chimney is closed and 8" tall when it is open, by 4" wide, including the focus knob and film winding lever, and by 4.25" deep when the camera is focused at infinity.

To open the light chimney and look into the viewfinder, on the back of the camera, behind the closed chimney, is a button to press to open it. Unlike many twin-lens reflex cameras, the light chimney opens from the front rather than the rear, which I find interesting. On the right side of the back wall, the small switch locks and unlocks the flip-up magnifying glass for critical focus on the ground glass. On the side walls of the light chimney are "Zeiss Ikon" on one side and an exposure index on the other.

 If you want to use the Albada sports finder, it shows bright frame lines as you peer through it, and the front of the light chimney is a very polished, mirror-like surface, very similar to the previously mentioned Zeiss Ikon Contaflex TLR camera. To close the chimney, fold down the sides, then the front, and finally the rear portion. 

Similar to the Rolleiflex, both the aperture and shutter speed settings can be viewed when peering down the light chimney. Two separate windows show the aperture setting on the left and the shutter speed on the right. To move either setting, there's a lever on each side of the lens; slide it up or down to change the setting. The shutter speeds go from 1/400 to 1 sec, along with "B" for timed exposures. The aperture goes from F/2.8 to F/22. Just behind the shutter-speed slider is the cable release socket. Just to the right of the lens is a small round window that shows black when the shutter is tripped, and red when the shutter is cocked and ready to shoot.

On the right side of the camera, from top to bottom, is the frame counter in a stylized circular window, placed directly behind the shutter release. To activate the shutter, you press down on the shutter release to take the photo, which I prefer to pressing into the camera's body. The main object on the right side of the camera is the transport/winding lever. It is so much more than just a film transport lever; it also cocks the shutter with only about half a rotation. 

On the left side of the Zeiss Ikon Ikoflex II camera is the focus knob, which has a minimum focus distance of 4' to infinity. Just above the focus knob is the depth-of-field scale for the different apertures. Above and below the focus knob are two knurled knobs that can be pulled out to load and unload the film once the back of the camera is opened.

To open the back of the camera to load the film, there is a small disk on the back that is pulled down to open the back. The back will flip down, unlike Rolleiflex cameras, where the back pulls up. Loading the film is just like any other twin-lens reflex camera. Once the new film is on the bottom, bring the lead to the top spool and thread it into the slot, and wind the transport lever. Do this until the arrows on the paper backing point to two white dots on the side of the film chamber. At this point, close the back and wind until you see frame number 1 in the frame counter. Do not go past the first frame (frame 1) in the film counter, or you'll lose images on the film. This may be a flaw in my camera, but at first it doesn't stop at frame 1.

 

My Results:

 The forecast for the end of last week called for rain, so on Wednesday, I loaded up the camera with film and took a short drive to Duggan Falls in Washougal, WA. It's about a 30-minute drive. While it was overcast, it wasn't raining, and I wanted to try the Ikoflex III before the rain hit.

 The camera produced very sharp images. Here are a few photos I took at the falls.

Conclusion:

 The Zeiss Ikon Ikoflex III camera was an absolute pleasure to shoot with. It was similar to many other twin-lens reflex cameras. The viewfinder could have been a bit brighter, but the focus knob was smooth and easy to move. The shutter speed and aperture windows seem a tad dark, but the camera is close to 90 years old, so a good CLA would brighten them up nicely.

 I really enjoyed the short turn of the transport lever. I was surprised that such a small motion would properly transport the film AND cock the shutter, too. It does a fantastic job, and it's one of the reasons I enjoyed the camera so much. Overall, an excellent camera to have in the collection, and one I'll be taking out more often to shoot with, given how sharp the images are.

 Thank you for taking the time out of your day to learn about this fantastic vintage German camera.

 Here's a link to my other Camera Reviews.

 I also have a store on eBay, Cuny's Camera and Photo. Stop by sometime and see what cameras and other photo oddities I have for sale.

 Until next week, please be safe.

Ensign Ful-Vue camera

My Ensign Ful-Vue camera

My wife and I were planning a trip back to California, visiting one of my favorite places on earth, Yosemite, and then heading to San Francisco to visit a friend whom we had moved away from nine years ago. We had been going to Yosemite together since before we were married in the mid-1970s, and there are just so many beautiful and memorable events that have happened there. It doesn't matter what time of year you go; there are things to see and photograph that make it a magical place for us to visit.

 As I was browsing through the many cameras on my shelves, I must have had a subconscious desire for the Ensign Ful-Vue camera. As I looked at the camera and thought about Yosemite, I noticed that the shape of the top of the camera's viewfinder resembles the shape of Half Dome in Yosemite Valley. 

 As I've mentioned in several blogs, I have a passion for colored cameras, so I have two different Ful-Vue cameras in my collection. I have an Ensign Ful-Vue camera that's red in color. Why have a black camera when there are cameras in various colors? This camera was also sold in Black, White, and Blue colors. The other Ful-Vue camera I have is a Ross Ensign Ful-Vue Super in burgundy. The Ross Ensign Ful-Vue Super is a later and more refined camera than the earlier Ful-Vue I took to Yosemite.

The two Ful-Vue cameras in my collection

 It might be fun to put a roll of film into the camera and take it with me to Yosemite. It doesn't take much room in my bag, and I have plenty of 120-size film in my refrigerator, so that's the plan. As I was packing for the trip, I threw a roll of 120 T-Max 400 film, along with the Ensign Ful-Vue camera (a Half Dome lookalike), into my bag and took it with me on the trip.

 Another thought about taking the Ensign Ful-Vue to Yosemite was that the camera is straightforward, and it would be fun to take snapshots of Yosemite as my wife and I walked around the park, taking in all the natural wonders. It would be like I was 8 years old, and I would take my Kodak Holiday camera on summer vacations, taking random photos of the family and other interesting views. 

 That's where my love for photography began, wandering through summer vacation spots with my family, taking photos of the interesting things I enjoyed, and looking back at them to remember the time spent with my family or friends. To this day, I look back at photos with friends that we took when we were younger, and many bring a smile to my face as I recall these memorable times.

History:

 Houghton and Ensign were pivotal names in the history of British photography and camera manufacturing, known for innovation, extensive product lines, and significant contributions to photographic technology from the 19th to the mid-20th century.

French ad for the Ensign Fun-Vue camera

 The roots of Houghton trace back to 1834, when George Houghton, together with Frenchman Antoine Claudet, managed a glass warehouse in London known as Claudet & Houghton. The company initially focused on optical and sheet glass products, but the rise of photography in the late 1830s opened new avenues, with Houghton quickly supplying materials for Daguerreotypes.

 After Claudet died in 1867, the firm became George Houghton & Son, as George Houghton's son joined the business. The family firm steadily expanded, becoming George Houghton & Sons by 1892, and deepened its involvement in the photographic equipment industry.

 By the late 19th century, Houghton was producing a wider range of photographic supplies and had become a full-fledged manufacturer of cameras. Among their early notable products was the Sanderson camera, produced from 1895 to about 1910, which became renowned for its quality. In 1901, they launched the Ensign brand of photographic film, marking the rise of a name that would soon become synonymous with the company's signature camera line.

 In 1903, Houghton introduced Ensign Daylight Loading Film, a crucial development that broadened consumer access to photography. This innovation was followed by the absorption of several other camera firms in 1904, including Holmes Bros. (makers of the Sanderson), A.C. Jackson, Spratt Bros., and Joseph Levi & Co., which formed Houghtons Ltd. This move enabled large-scale production and a wider range of camera selections.

Ad with different colors available

 With their expansion and absorption of other brands, Houghton established the Ensign Works in Walthamstow around 1905. By 1908, it was the largest British camera factory, employing over 700 people. Houghton's reputation was further cemented with magazine cameras such as the Klito and the innovative folding Ensignette.

 In 1915, Houghton's Ltd. partnered with W. Butcher & Sons to form the Houghton-Butcher Manufacturing Company. The merger strengthened their manufacturing and distribution during turbulent times.

 In 1930, Ensign Ltd. was formally established, representing the heritage of both Houghton's and Butcher's. The Ensign Ful-Vue, introduced in 1939, became iconic for its simplicity and bright viewfinder, attracting amateur photographers and children. Throughout the 1930s and 1940s, Ensign was renowned for its box cameras and advanced folding models, such as the Multex.

 World War II brought massive challenges. The company's London headquarters suffered severe bomb damage in 1940. While Ensign continued to manufacture at Walthamstow, the brand's prominence waned in the post-war years.

 From its origins in optical glass to producing some of Britain's finest and most popular cameras, Houghton and Ensign chart a history of adaptability, invention, and a lasting impact on the UK photographic market.

My Camera:

 My Ensign Ful-Vue is 4" tall by 4.25" deep and 3.25" wide, and weighs 14.2 ounces, so not even a pound. It's viewfinder on top is one of the dominate features of the camera. The size of the viewfinder itself is 1.5" square on the top of the camera, and with the camera being the small stature it is, makes the viewfinder seem huge when looking at the camera.

The Ensign Ful-Vue camera is the epitome of the classic snapshot camera, as there are really only a few settings on the camera that you need to make before snapping the photo. There is a shutter setting for either "I" for instant or "T" for time, allowing for a longer exposure. There is a tripod socket on the bottom of the camera, but there is no cable release socket available for use if you want to make a timed exposure with the camera.

 The other setting in the Ensign Ful-Vue camera is focus. The lens is set to three different focus distances: 2 meters, 3-5 meters, and 6 meters to infinity. Turn the chrome rig and point the red dot on the front of the ring to the desired distance to set your focus distance. There is a separate flash PC outlet to connect an external flash, ideal for low-light photography. The flash would have to be screwed into the tripod socket, and it would be located on the left side of the camera, I guess.

To take a photo, the shutter release is located below the black nameplate, where the lens is positioned, and is pulled up to activate the shutter in the camera.

 Loading the film is pretty straightforward on the Ensign Ful-Vue. On the left side of the camera is a locking lever that you turn clockwise to unlock the film chamber from the camera body. Once the film back is unlocked, the film chamber slides out of the camera body. Once the film chamber is removed from the camera body, you load the camera like any other roll film camera. Just ensure the film covers the larger area, rather than the thinner area closer to the lens.

 Once the film is loaded into the film chamber, slide the chamber back into the camera body and secure it in place by turning the locking ring counterclockwise to lock it into position. On the right side of the camera is the camera's film advance knob. Turn the knob until you see the arrows inside the red window on the back of the camera. 

Just above the red window on the back of the camera is a small knob that opens and closes the curtain, preventing light from coming through the red window. Make sure the curtain is open so you can see the film advancing. If you don't, you'll wonder when it will get to number one and go through the entire roll of film before noticing something is wrong. Once you see the arrows, slow down because you're coming to number one and your first exposure.

 

My Results:

 The Ensign Ful-Vue was a great camera to take to Yosemite, although looking back, the one thing I wish I had taken was a comparison photo of the Ensign Ful-Vue and Half Dome. I should have taken a picture with my phone of me holding the camera up with Half Dome in the background to show the comparison between the two. Like they say, hindsight is 20/20.

 The camera actually did pretty well. The photos are relatively sharp, the viewfinder was HUGH and bright to look through. 

 Here are a few examples of the photos in Yosemite and San Francisco.

Conclusion:

 The camera was what I expected. The viewfinder was very easy to work with and made centering the image easy. The only thing I wish the camera had that I was surprised it didn't have was the ability to use different aperture settings. Generally, even the most basic of cameras offer the option of two different apertures. Not on the Ensign Ful-Vue, though.

 Thank you for taking the time to read about this very basic, but oddly shaped camera. It was fun to throw it in my camera bag and have something fundamental to use at times.

 Here's a link to some of my other Camera Reviews.

 Stop by Cuny's Camera and Photo if you're interested in purchasing some of the cameras I've reviewed. I also have many other photo odds and ends that interest you.

 Until next week, please be safe.

Zeiss Contaflex 860/24 TLR camera

My Zeiss Contaflex 860/24 camera

When I was much younger and starting to collect cameras, I would spend hours thumbing through books on old and historical cameras, wishing someday I'd be able to see one in real life, much less have them in my collection. 

 To this day, there are cameras that I haven't even seen in person, let alone have in my collection. Cameras like the original Daguerreotype camera, the original Kodak 1 camera, LeCoultre Compass cameras, Early French watch cameras, or a Leica 1, with a Dial Set Compur shutter, are cameras I've only seen in books. I've come close to purchasing a Compass camera, but the price was higher than what I was comfortable with at the time.

 When I was younger, one camera that I had always wanted to have in my collection was the Zeiss Contaflex TLR camera, and I've actually had the opportunity to own a couple of them over the years. The first one I had not only had mechanical issues, as many of them do, but some of the leatherette was missing, and there were several marks on the body.

 A few years ago, I came across another Zeiss Contaflex TLR on a selling app that I was scrolling through, but this one was considerably cleaner, had its lens cap, and came in the original presentation box. Knowing the camera was an upgrade from the one I currently owned, I made the purchase. I'd sell the one I had for close to the price I paid for the one on the app.  With my fingers crossed, I took the older camera to a camera show, and as I had hoped, I sold it for very close to the price of the newer version, so I was happy that it all worked out in the end.

 Unfortunately, like many of the Contaflex TLR or, as Zeiss Ikon designated, the model 860/24 camera, my shutter isn't working. At this time in German camera manufacturing, engineers overengineered many of the cameras during the 1930s, especially the shutter system. The Contaflex 860/24 has the same, or very similar, shutter system as the early Contax cameras, where the shutter was a metal curtain. I can only believe they thought this would last a very long time. Physically, they do last a long time, but unfortunately, mechanically, when they fail, having them serviced is a difficult chore, and usually very time-consuming and costly.

 The Contaflex 860/24 was introduced in 1935 and produced through 1940. The camera's design is attributed to Oskar Bergen, who was part of the Zeiss Ikon Dresden team led by Hubert Nerwin. The design team sought an alternative to the rangefinder-style camera popularized by Leica and Contax cameras of this era.

History:

The history of Zeiss is both extensive and groundbreaking, tracing its origins to 1846 when Carl Zeiss established an optical workshop in Jena, Germany, initially focusing on the production and repair of microscopes. Zeiss's early years were marked by steady growth; by 1861, the workshop had expanded to employ over 20 people and had already achieved recognition for its precision instruments. The company's real leap into scientific innovation began when physicist Ernst Abbe joined the firm in 1866. Abbe's scientific approach to lens design transformed production from artisanal craftsmanship to methodical engineering, driving Zeiss ahead of competitors.

Ad for Zeiss Contaflex camera

 By the late 19th century, Zeiss had already licensed some of its advanced lens designs to international manufacturers, including Bausch & Lomb and Ross—partnerships that would lay the foundation for Zeiss's future global reach in optics and photography. Key optical innovations soon followed, including Paul Rudolph's anastigmatic Protar lens in 1890, the Planar lens in 1896, and the classic Tessar lens in 1902, known as the "camera's eagle eye." These breakthroughs helped Zeiss transition from microscopes to the field of photography and camera lens development, making the company a household name among both professional and amateur photographers.

 In the early 20th century, Zeiss aggressively expanded its camera production, acquiring companies like Palmos and forming alliances that led to the creation of Internationale Camera Aktiengesellschaft (ICA), ultimately resulting in the establishment of Zeiss Ikon in 1926. By the eve of World War I, Zeiss was the world's largest camera manufacturer, with a central production hub in Dresden. This era witnessed the advent of celebrated camera lines, notably the Contax, which rivaled Leica and set new standards for 35mm system cameras.

 Zeiss also revolutionized lens technology through the invention of anti-reflective lens coatings in 1935, enhancing image clarity—a process still in use today across multiple brands. After World War II, following Germany's division, Zeiss split into two separate operations in Jena and Oberkochen. Both pursued advances in photographic, cine, and scientific lenses, including notable collaborations with manufacturers like Hasselblad, Linhof, and, later, Yashica and Sony.

 Throughout its history, Zeiss has consistently set benchmarks in photographic optics, lens design, and manufacturing precision, maintaining a reputation for innovation and quality that endures to this day.

My Camera:

 I need to start this section by saying that I haven't shot film through this camera because the shutter is not working. I also don't have, nor have I seen, a manual for the camera, so there are some switches that I'm not familiar with, or know precisely what they do. I'm going to provide my assessment of the camera based on just playing with the camera's dials and switches, so I hope some of the experts out there can correct any errors I've made in this post, and I hope there are very few. 

 My Zeiss Contaflex 860/24 camera features a Carl Zeiss Jena 5cm f/1.5 Sonnar lens, serial number 2519576, for the taking lens, and a Carl Zeiss Jena Sucher-Objektiv 8cm f/2.8 lens for the viewing lens. My camera body serial number is A75744. The camera is quite hefty in weight when you first pick it up, weighing 3 pounds 4.2 ounces. The camera is 7" tall with the light chimney opened, and 5.5" tall with it closed. The camera's width is 4.5", and with the lens I have installed, it is 3" deep.

Because of the magnified viewing lens compared to the actual taking lens, frame lines for 85mm and 135mm are drawn onto the viewing screen when you lift the light chimney for focusing. To open the light chimney, locate the button on the right side of the camera, just below the chimney. Pressing this button opens the chimney. The first thing I noticed when the chimney is opened is a beautiful mirror on the front of the camera, which would be pointing towards the subject. On the top right of the chimney is a small switch that raises the magnifying lens when pressed. With the magnifying lens up, you can look through the rear opening, similar to a sports finder, and view the scene through the mirrored front. Upon reviewing it, lines are available for different lens magnifications.

The Contaflex 860/24 was the first camera with a built-in light meter system. It's a selenium cell, which is under the Chrome Contaflex name on the front of the camera. Like similar cameras, the cover is spring-loaded; to open, press the small tab on the upper left of the cover. Once pressed, the meter's cover will spring open, exposing the Selenium cell. On the top, left of the light chimney is where the light meter will give exposure information. Similar to my shutter system, the meter isn't working, which is common for this type of meter.

 To focus the camera, a large protruding lever is located on the left-hand side of the top viewing lens. Move the lever up or down to focus the lens on the desired subject while looking through the ground glass in the viewfinder. 

 To set the built-in light meter, first, select the film's DIN number, which is equivalent to ASA in the US and now ISO, representing the film's sensitivity to light. To do this, just above the viewing lens are the DIN numbers. Just above that is a slider with a red dot, accompanied by a line that you move to the corresponding film speed you'll be using. When you flip up the light meter cover, a line will appear, indicating the current light level. On the other side of the viewing lens is another lever that moves the shutter speed for the light meter. This will also move the line to line up with the red arrow in the meter window. Once that is set, you have your shutter and aperture settings for the lighting condition just above the viewing lens. These are the settings only; they must now be transferred to the camera settings before you take your photo.

The aperture is set on the taking or bottom lens of the camera. On the outer edge of the lens are two knobs, opposite each other. Turn this ring and set the aperture setting to a small black dot on the outer edge of the lens. Around the outside of the lens itself are four clips at the corners of the lens. These are used to attach the accessory lens hood.

 To remove the taking lens and put on a different lens, first press the small button under the lens with a red dot on it. Once that's pressed in, on either side of the lens are two grips that are attached to a ring, which need to be turned counterclockwise about a quarter turn to unlock the lens from the body. Once the lens is unlocked, you can remove the lens from the camera's body. To reinsert the lens into the body, align the red dot on the lens with the red dot on the small button, and then slide it into the camera body. Once in, move the rind with the two grips clockwise until the ring clicks, and the lens is locked onto the camera body.

Setting the camera's shutter speeds and advancing the film to the next frame are a bit different, but according to the camera's manual, which I got from a great camera guy that serves the photo community with an outstanding service by having many different camera manuals available, Mike Butkus, and his Camera Manual Library.

The shutter speeds are set into four different groups. Only one of the groups will be displayed on the shutter speed dial, located on the right-hand side of the camera body. Since my camera is in operable mode, I cannot change to any of the other groups, except for the one currently displayed on the dial, which is 25, 50, and 100. Around the shutter speed dial are two wheels. The inner ring is used to set the camera's shutter speed group, and the outer knob sets the camera to the desired shutter speed by pulling it out and turning it. It also advances the film and re-cocks the shutter once the photo is taken, and you turn the dial in a clockwise motion.

 Just in front of the shutter speed dial and film advance is the shutter release lever. Above the shutter release lever is the self-timer for the camera. The lever should be folded to the left when not engaged, so mine has been set and won't return to its normal position. To release the self-timer, press the small button above the lever, and the self-timer will activate. Take the photo when done.

To load film into the Contaflex 860/24, turn the two clips on the bottom of the camera to unlock the film from the camera body. Once unlocked, slide the film back off the body to expose where the 35mm film will be loaded. Slide the cassette into the left chamber, bring the leader to the take-up spool, and thread it into the slot on the take-up spool. Ensure the sprockets of the film are riding on the gears that advance the film. Wind and click the shutter to advance the film. Once the film is loaded and advancing, slide the film back cover back onto the camera body and lock it into place, so you'll be ready to take photos.

Conclusion:

I only wish my camera were in good working condition. If I can find a qualified technician to perform the repair, which I believe I can, I'm wondering what the time and cost of the repair will be.

 If any of you looking at this have had your Contaflex 860/24 serviced, please share your thoughts with me, as I'd love to hear how the camera is to use.

 Thank you for taking the time from your day to become more familiar with this interesting and early 35mm camera.

 I sell cameras and other photo items on my eBay store. Stop by sometimes, and maybe you'll see one of the cameras reviewed for sale at Cuny's Camera and Photo.

 Here's a link to my other Camera Reviews.

 Until next week, please be safe.

Eho Baby Box camera

My Eho Baby Box camera

During my search for cameras, I found many of the very common black folding or box Kodak cameras, as well as the plentiful Argus C3 and Polaroid cameras. However, it's rare to come across something that sparks an interest. I can't define the feeling very well, but when you attend a Flea market or Garage sale and walk up to a table to see something you like or haven't seen before. It's a surprise, and you get a tiny rush from it.

 That's what happened when I first saw the Eho Baby Box camera. I was at a Flea market probably 20 years ago, and a person had a cloth on the ground with several cameras on it. I visually scanned through the lot and found the regular Kodak box, folding and Polaroid cameras, but something didn't make sense when I peeked behind one of the cameras.

 I could see the top of the camera, which had a small handle on it. I thought it was part of another camera, but as I moved a bit, I could see it was a separate camera itself. Thinking, that's interesting, I went in to have a closer look, and that's when I saw the Eho Baby Box camera.

 It really piqued my interest, as I hadn't seen this manufacturer's baby camera before. I've seen and owned the Baby Zeiss box camera, but the squareness and manufacturer were new to me at the time. Picking it up and playing with it, the camera was in clean condition, and the shutter was working, at least most of the time. The camera even had an intact strap with the maker's name on it, which I always prefer.

 Since the camera had a strap and a somewhat working shutter, I wanted to know what the seller wanted for it, so when I asked, the seller said $5.00. Being a person who likes to haggle on price,  I had to ask if he would take $3.00, which he did. I paid the seller the money for the camera, and I was thrilled to have a new addition to my camera family, especially since I discovered a camera manufacturer I wasn't aware of, and for such a small and cute camera.

History:

 Eho-Altissa was a German camera manufacturer with a rich history tied to the evolution of photographic technology in the 20th century. The company originated in 1892 in Leipzig under Richard Knoll as "Photo Spezialhaus" and began repairing and building its own photography equipment from 1904 onwards. In 1910, the operation relocated to Dresden, a hub for Germany's camera production. By 1927, ownership was transferred to Emil Hofert, who renamed it "Eho" after his initials.

 By the early 1930s, the company was manufacturing box cameras, known for their simplicity and reliability, and often rebranded for warehouse and supplier stores under various names. The mechanician Karl Heinrich Altmann designed the notable Altissa Box camera line, which featured an eye-level viewer, differentiating it from other box cameras of the era. Several stereo and twin-lens reflex (TLR) models followed, including the Altiflex in 1937, a notable reflex camera of its time.

Ad for Eho Baby Box camera

 In 1939, the company introduced its Altix series of compact 35mm viewfinder cameras, marking the beginning of a legacy that lasted nearly two decades. The Altix models were key innovations for Eho-Altissa, and their popularity solidified the company's reputation for offering affordable, high-quality cameras with reliable mechanics.

 Throughout its development, the company underwent several renamings. In 1931, it became EHO-Kamerafabrik GmbH. During and after World War II, it transitioned to Amca Werk Berthold Altmann (1940). Altissa Camera Werk (1941), and finally, in 1952, VEB Altissa Camera Werk was nationalized under the East German state.

 World War II severely affected Eho-Altissa; its Dresden factory was destroyed during Allied bombing raids. Nevertheless, the company was revived post-war, with camera production resuming by 1947. The firm remained small enough to avoid early state intervention but was eventually nationalized in 1959, merging with VEB Kamera- und Kinowerke, which was later incorporated into VEB Pentacon.

Camera output ceased in 1961. Notably, the Altix VI model continued to be produced briefly under license in Sarajevo, Yugoslavia, using equipment from the shuttered factory.

 Eho-Altissa produced renowned models such as the Altissa Box series, Altiflex, and Altix, and supplied rebranded products to European photo retailers. Its story reflects the broader turmoil and adaptability of the German camera industry in the wake of economic and political change throughout the 20th century.

My Camera:

 The Eho Baby Box camera is very small, measuring 2 5/8" tall by 2 3/8" wide and 2 3/8" deep, so almost a perfect cube, and weighing only 6.8 ounces. This is one of the smallest, if not the smallest, box cameras I have that still accepts a standard 127-sized roll film, which was common for the time the camera was manufactured. The camera features dual red windows on the back, allowing it to produce 16 3x4cm-sized negatives on a roll of film.

The camera was made between 1932 and 1939 and comes with a fixed-focus Eho Doplar lens that's fixed at F/11. The Eho Baby Box camera is made of metal with a leatherette covering and features a classic chrome ring around its face. The camera has a chrome lever on top that allows you to change the aperture from F/11 to F/22, based on the size of the aperture's opening.

Shutter speed “Z” slide, Cable release socket and shutter release

All of the other camera controls are on the right side of the Eho Baby Box camera. On the bottom right of the camera is a lever with a "Z". This is the shutter speed control. If the lever is pressed in, the shutter clicks at its normal speed. However, if pulled out, the camera can perform a timed exposure for as long as the shutter is depressed. Just above the "Z" lever is a cable release socket. If you plan to take a timed exposure, place the camera on a stable surface, as there is no tripod mount on the bottom, and hold the cable release in for the required exposure time.

It is odd to have a camera with a cable release socket, but no way to secure the camera on a tripod. Then again, the camera is tiny, and adding a tripod socket to the bottom would increase its size.

 Just above the cable release socket is the shutter release, which has a lined grip on the metal, making it easier to grip, especially when needed, as the lever is relatively small. Above the shutter release is one of the two waist-level viewfinder windows. The one on this side of the camera is for vertical, or portrait, images, and the one at the top of the camera is for horizontal, or landscape, images.

To open the camera to load film into it, you'll need to pull out two levers on the right side of the camera. Both levers are located closest to the separation between the front and rear of the camera. Pulling out the two tabs unlocks the front of the camera from the rear, exposing the area where you load the 127-size film. Take the empty spool from the bottom of the camera and place it in the top, which is now the take-up spool. Load the fresh roll on the bottom and pull the leader over the shutter area. Then, place the leader in the slot of the take-up spool.

 Put the back on the camera, and press the two clips to lock the front to the back. Wind the film until you see arrows or some indication that you're approaching the first frame. Wind slowly until you see the number 1 appear in the bottom red window. At this point, you're ready to take your first image. After taking the first picture, wind the film slowly until you see the number 1 in the top red window. This is when you're ready to take your second photo. Follow the same process with the number that first appears in the bottom red window, then in the top one, through number 8. After you take your last frame with the number 8 at the top of the window, wind the film to the end. The film should then be ready to be taped closed and processed.

My Results:

 Before inserting a roll of 127-size film into my Eho Baby Box camera, I tested the shutter. It clicked 9 out of 10 times, so I was confident that even though the camera would miss a frame or two, I'd have enough images from a roll of film to pick four or five to put in the blog post.

 After taking my first image, which required me to click the shutter release twice to capture a photo, the camera refused to cooperate for most of the roll. On the times the shutter didn't fire, I did notice that the shutter would partially open, but not fully, so the film was only getting a small sliver of light through a portion of the lens. This happened for the majority of the roll of film, and I managed to capture only 2-3 fairly good images from it.

 Here are the results of the better images taken:

Conclusion:

 To say I was a bit disappointed is an understatement. I'm more upset that the camera's shutter messed up during the shoot, and when I see how nice the two good images are, it would have been great to have 12-13 more to choose from for the article.

 Overall, the good images are pretty good, so if the shutter were in good working order, the camera would have been enjoyable to carry around or put in your pocket and travel with. It's small, a pocketable camera, and produces nice images; you don't have to worry about a tear in the bellows like with other pocket cameras.

 It's certainly a great camera to have in the collection, and a good step from the subminiature style of cameras and the folding pocket cameras. I like the camera and am happy to have it, although I'm frustrated by the timing issue with the shutter not working.

 Click on the link to see my other Cameras Reviews.

 If you'd like to browse some of the cameras, lenses, and accessories I have for sale, please visit my eBay store at Cuny's Camera and Photo.

 Thank you for taking the time to read about this tiny gem of a camera. 

 Until next week, please be safe.

 

Argus Model C camera

My Argus Model C camera

During my time working in a camera store from the mid-1970s until the mid-1990s, I must have seen hundreds, if not thousands, of Argus cameras, and to be more specific, the Argus C3, or as they were affectionately known as, "The Brick" because of their boxy shape and very sturdy construction. These cameras came in on an almost daily basis just because they were so popular back in the 1940s and '50s.

 I saw so many Argus C3 cameras in my time in the camera store that, when it came to collecting cameras, I had no interest in collecting this particular model. Yet, it seemed like every time I purchased a group or "lot" of cameras, there was always an Argus C3 in the groupings of cameras. 

 I still recall thinking that if I collected enough Argus C3 cameras, I could build a retaining wall in my front yard out of them, as it was cheaper to get the Argus C3 than to purchase real clay bricks.

 To this day, I still see the Argus C3, or similar models like the C2, C3 Matchmatic, or C33, all the time at people's garage sales, estate sales, and camera shows. It is undoubtedly one of the most sold cameras in the history of photography.

 With that said, I'm still looking for one model, which I'm certain I came across during my time at the camera shop. It's the original Argus Model C camera, featuring a dual range switch located under the shutter cocking lever. It's a little earlier than the camera in this blog post, but the pricing for one of these is higher than I'm willing to pay for, so I'll wait and see if I can find one during my quest for a camera. 

 For me, the fun is the hunt for the treasures. The thrill comes from finding a camera or other photo item I've been looking for, especially when it's in an unexpected place and hopefully at a reasonable price.

History:

 Argus Cameras holds a unique place in photographic history as a pioneering American camera manufacturer that made high-quality photography accessible to the masses. The company was founded in 1931 in Ann Arbor, Michigan, as the International Radio Corporation (IRC), by local businessmen including William E. Brown Jr., George Burke, and Charles Albert Verschoor. Initially, IRC's primary business was radios, but seasonal sales fluctuations led Verschoor to seek another product to stabilize revenue. Inspired by the success of his molded plastic radio cases, he envisioned an affordable camera built with similar materials.

This is the early version with switch under cocking lever

 In 1936, IRC launched the Argus Model A, the first low-cost 35mm camera manufactured in the United States. Priced at just $12.50 when most competing models were much more expensive, the Model A democratized 35mm photography and quickly found commercial success. The Model A's innovation lay in its molded plastic body, making it both durable and less costly to produce.

 This success prompted IRC to focus entirely on cameras, eventually adopting the name Argus, Inc. in 1944, and later Argus Cameras, Inc. in 1949. The company's most iconic product, the Argus C3, was introduced in 1939. With its brick-like appearance and robust rangefinder mechanism, the C3 became known as "The Brick" and enjoyed a production run lasting until 1966, with more than two million units sold. The C3 is widely regarded as one of the best-selling cameras in photographic history.

 During World War II, Argus shifted its production to support the war effort, manufacturing military optics and radio equipment for the U.S. and Allied armed forces. By the war's end, Argus had received multiple Army-Navy "E" Awards for excellence in production. After the war, civilian production resumed, and Argus became the second-largest U.S. camera manufacturer, trailing only Kodak.

 In the late 1950s, the company was acquired by Sylvania Electric Products and later sold to Mansfield Industries. Over time, as competition intensified, especially from Japanese manufacturers, Argus struggled to maintain its leadership. U.S. camera production ended by 1969, but the Argus brand persisted in importing photographic products.

Today, vintage Argus cameras, especially the Model A and C3, are valued collectibles. The legacy of Argus endures as a symbol of inventive American manufacturing and mass-market photographic innovation.

My Camera:

 My Argus C dates from 1938, has a serial number of 12127C, so it's not one of the earliest models, but it was introduced before the Argus C2 was introduced in late 1938. The Model C measures 5 3/8" wide by 3" tall, including the shutter release, by 3" deep, including the lens. My Argus Model C camera weighs 1 pound, 7.4 ounces without film loaded in the camera.

The camera has a 50mm f3.5 Argus lens with aperture settings of F/3.5, 4.5, 6.3, 11, & 18, which are odd compared to aperture settings now. The aperture setting is made by turning a ring with two knobs on the inside of the lens that line up with a black line on top of the lens. 

The item missing on early Model C cameras is the coupling gear connecting the focusing ring on the top left to the lens, which adjusts the lens distance during focusing. To focus this model, look through the rangefinder window on the back of the camera, bring the two lines together to focus, and then check the front of the rangefinder dial to determine your distance from the subject. Finally, set that distance on the lens. On the side of the lens, there are markings indicating the focusing distances for the subject. There is an aluminum thread in style lens cap for the Argus Model C camera I own.

The shutter speed dial is located on the top right-hand side of the camera, on the front. The shutter speed settings are 1/300, 200, 150, 100, 75, 50, 30, 20, 10 & 5. There is no "B" setting on the shutter speed dial. The "B" setting is actually set on the "mushroom" shaped shutter release. You can turn the shutter release to either settings, "I" for instant, or to "B" for bulb, or timed exposures.

 The camera's shutter also needs to be cocked before you can snap the photo. The shutter cocking lever is located on the front of the camera, positioned on the far left side, in the middle. It looks like a handle that you flip down to cock the shutter, then springs back up after the shutter is released.

 On the back of the camera are just two small viewfinders. The one on the right is the rangefinder, which has a split that, by turning the focus wheel, will bring two separated vertical lines into one straight line when focused. The other window on the left is the framing window used to frame your subject when you're ready to take the photo.

To open the back to load the film, press the bump on the left side of the camera. This presses in a bar that holds the back onto the body. My camera is very difficult to open by just pressing the button, so I sometimes need to use a small screwdriver to pry the back up slightly to get it to open.

 Once open, the camera looks like any other 35mm camera, with the take-up spool on the left side. The fresh roll fits onto the right side by pulling pot the rewind knob on the bottom of the camera, bring the lead over to the take up spool, and thread into the take up spool. The film advance knob is on top of the camera. To wind to the first frame, there is a small locking lever just behind the frame counter that needs to be pressed down. This unlocks the winding gear, allowing you to wind to the first frame. Close the back of the camera and start taking photos.

This process must be repeated every time you wish to advance to the next frame. Additionally, at the end of the roll, the locking lever must be pressed down to unlock the drive gears, allowing the film to be rewound into the 35 mm cassette.

 The real reason to write about this camera was more of an exercise on how easy it was to use the early Mode Cameras, especially during a time of rapid change with cameras. Like many cameras from this era, it's not the quick and easy cameras of today, where either the shutter or aperture is being set for you. In many circumstances, both settings are being set. 

 To use cameras from this era, you need to take your time and use an external light meter to get the proper settings for your camera. Set the shutter speed and aperture settings depending on the film used. Do you lean more to the aperture and depth of field, or shutter speeds and stopping motion? Then focus on your subject. In this case, focus, then transfer the settings to the lens regarding distance. Frame your image and take the photo.

 On my camera, I also have an accessory finder, which clips onto the top for showing what a 35mm wide-angle or 100mm telephoto will do. I leave it on my camera to hide a bit of paint scratched off by it, as it's more for show, and I don't have either of these lenses. There were several different lenses available for the Argus C line of cameras, as the lens just unthreaded from the body. 

My Results:

 Once you slow down and think about the process, which I'm very used to, the images are really nice. Here are a few from my walk around the neighborhood.

 I photograph similar items, which I am sure you'll notice if you're a regular reader.

Conclusion:

 While the camera isn't the most ergonomic one I've used, it's certainly not the worst.

 The camera performed very well. The images are sharp, and the shutter and aperture were easy to use. The one thing that slowed me down was the process of focusing, then transferring the distance to the lens before taking the photo. The addition of the coupling gear between the focusing wheel and the lens, which sets the distance on the lens, was a vast improvement for Argus. Without this improvement, I doubt they would have sold the number of cameras as they did.

 Thank you for taking a few minutes from your day to familiarize yourself with this early model camera from Argus.

 Here is a link to my other camera reviews.

I also have a shop on eBay, Cuny's Cameras and Photo. Please stop by and see what new and wonderful photo items I have for sale.

 Until next week, please be safe. 

QRS Kamra

My QRS Kamra in box with manual

I first saw the QRS Kamra many years ago at a camera show when I was still living in the San Francisco Bay area. The camera has a look unlike any 35mm camera I had seen before. Up until this time, I was used to looking at a 35mm camera as either a single-lens reflex or a rangefinder style camera. When I first came across the QRS Kamra, my initial impression was that it was a movie camera, given that many cameras from this era have a rather boxy style.

 I spoke with the vendor who had the camera, and he let me try it out, warning me that it wasn't working, which is a common issue with this camera. Still, after picking up and looking at the beautiful brown mottled finish, odd looking shutter release that also seconds as the film transport, and the overall oddness (to me) of the camera, I told myself that I'd like to have one for my collection some day, because the price of the camera was more that I could spend on a camera at the time.

Back portion of the QRS Kamra

 Years go by, and the kids grow up, all the while my fascination with cameras kept growing. During these times, I would frequent a local flea market held at a drive-in theater on Sunday mornings, and I can still remember looking over one person's goods for sale and recognizing what I had many years earlier at the camera show. It was indeed a QRS Kamra. I spoke with the vendor at the flea market, and they mentioned that the camera was their grandfather's from a small collection he had owned. They just wanted to get rid of it, so I bought it for a reasonable price. Unfortunately, this camera was missing the shutter release and winding crank, a common issue with this model. At the time, I was thrilled to have it in my collection.

QRS Kamra w/Registration cards.

 I generally keep cameras in my collection for a few years, then look for a better version if I plan to keep it. About eight to ten years after purchasing the QRS Kamra, I put it up for sale on eBay and sold it to someone else looking to add it to their collection. Since then, I purchased another QRS Kamera in the box with a handle, although it had a broken handle.

 On another occasion, many years after selling the QRS Kamra, I purchased a "lot" of cameras and photo items. Hidden in the photos, I found an Ellison Kamra, a camera very similar to the QRS Kamra. It's slightly larger, featuring a pull-down lens and viewfinder, and is made from Bakelite, dating back a couple of years. I was amazed to find it among this lot of cameras. Looking back at the photo, all you could see was one of the ends, as it was buried under several different items.

 In 1926, Michael Ellison and Edward McAuliffe of Los Angeles filed a patent for a new two-bladed shutter system. They wanted to use the new shutter on a camera they designed and built called the Ellison Kamra. They only produced one camera, which used 35mm film, a format popular in both movie and still cameras at the time. Unfortunately, the Ellison Kamra only lasted a few years, and by 1935, they were out of business.

 The QRS Kamra was also sold under the DeVry Kamra after QRS purchased DeVry in 1929, but this only lasted for a year. The unusual item I still can't put together is the relationship between both the Ellisons and QRS Kamra's. They both have similar-looking cameras, use the same shutter system, and share very similar layouts.

History:

 The histories of DeVry and QRS, though largely separate, are linked by a noteworthy, albeit brief, corporate union in the early 20th century. Both companies originated in Chicago with a focus on cutting-edge technology of their time.

Michael Ellison and Edward McAuliffe Patent

 Herman DeVry, an inventor and innovator in visual education, founded the DeVry Corporation in 1913. He made a name for himself by creating the "Theater in a Suitcase," the first portable motion picture projector, which revolutionized the use of film in schools and other institutions. His work was dedicated to making learning more visual and accessible through technology.

 Around the same time, the QRS Music Company, founded in 1900 by Melville Clark, was a dominant force in the music technology of the era: the player piano. QRS became the world's largest manufacturer of piano rolls, capturing the live performances of famous artists and making music widely available for in-home entertainment long before the advent of widespread audio recording.

 The paths of these two innovative companies converged in 1929 when QRS, looking to diversify its technology portfolio, purchased the DeVry Corporation. For a short period, the company operated under the name QRS-DeVry, producing devices like movie cameras and projectors. However, this merger was short-lived.

 By the early 1930s, the two entities went their separate ways. Herman DeVry, in collaboration with Dr. Lee de Forest, shifted his focus entirely to technical education, establishing DeForest Training School in 1931. This institution would evolve over the decades, becoming DeVry Technical Institute and eventually the well-known DeVry University, a prominent for-profit institution focused on career-oriented education.

 Meanwhile, QRS returned to its musical roots. After a series of ownership changes, it continued to produce piano rolls for decades and adapted to new technologies, eventually developing modern digital player piano systems. While their corporate marriage was brief, both DeVry and QRS left lasting, independent legacies in the fields of education and automated music technology.

My Kamra (Camera):

 My QRS Kamra is 7.5" wide by 3" deep by 2.5" tall, and weighs 1 pound, 14.1 ounces. The serial number on my Kamra is Series No. A 3008, so it is a relatively early version of the camera. The camera is made of a brown Bakelite material with cotton filler, which gives the camera a mottled look. The camera has a fixed focus 40mm f7.7 lens and a bright viewfinder.

On top of the camera, all the controls are located. There are really only two controls on the camera. On the far left, you'll find the shutter setting options: "time" for long exposures and "I" for instant. Just to the right of the shutter settings is the fold-up crank. This crank is turned in the clockwise direction to advance the film, or to the counterclockwise direction to snap the photo.

Just above the shutter release and film advance crank is the bright viewfinder, and to the right of that is the frame counter. This QRS Kamra allows for up to 40 photos to be loaded into their special film cassettes.

To open the back to load film, slide the two knobs on the back of the camera to the left, which allows the back to come off. Once the back is off, you can see two metal cassettes inside the camera. The cassettes take 35mm film, which you'd load into the cassette on the left, and the exposed film would travel into the cassette on the right. There is no inner spool in the cassettes; the film slides into the cassette, very similar to how the Ansco memo cameras operate.

When you turn the crank on top of the camera to advance the film, the drive gears on top and bottom transport the film from the supply cassette into the exposed cassette. The advanced gears are attached to the frame counter, which would move to the next frame. Once all the images were taken, you take the cassette on the right to be processed. Then load the camera with more film and take more photos. 

 The camera is straightforward and basic, without a lot of bells and whistles. The cameras were only made for a few years, first as the QRS Kamra, then, after QRS was purchased, the camera became the DeVry Kamra. Unfortunately, due to a few factors, the cameras were only made for a few years. One factor was the emergence of 35mm cameras, and the second was the poor quality of the advance and shutter release wheel, which broke on many of the QRS and later the DeVry Kamras.

Conclusion:

 I'm glad to have the odd and unusual camera in my collection. The more I think about the connection between the Ellison camera and the QRS Kamra, the more I realize its significance. The QRS company was looking for an inexpensive and straightforward camera. With the new two-blade shutter the Ellison company had, I'm sure they were anxious to get it onto other cameras, and they made the connection somehow.

 Like many of these cameras, mine is operational, but I discovered a fascinating individual in the UK who rebuilt the shutter and created a more reliable crank for the top of the camera. Here is his article on Restoring a QRS Kamra. Once he got the camera operational, he mentions towards the end that the quality of the images is pretty poor. Please take a look at his article; it's very well done.

Here’s a copy of the QRS Kamra manual I found stuck to the top of the camera box.

QRS Kamra manual Pg. 1

QRS Kamra manual Pg. 2

 Thank you for taking a few minutes to read about this odd bird of a camera (Kamra).

 Here's a link to my other camera reviews.

 I also have an eBay store, Cuny's Camera and Photo, where I sell some of the cameras I've reviewed, along with many other photo odds and ends.

 Until next week, please be safe.

No. 4A Speed Kodak Camera

My No. 4A Speed Kodak camera

The No. 4A Speed Kodak camera is a massive camera. It's one of the largest folding-style cameras in my collection. I recently acquired this camera as a trade during a camera show in Seattle, where I was a vendor. 

 The person I acquired the camera from has a very similar collection to mine. During our discussion, he mentioned that he had two No. 4A Speed Kodak cameras. On display at the show was a large and heavy Japanese machine gun camera. I owned the camera for many years, but I didn't want to transport it back to my home, so I asked if he was interested in trading one of his No. 4A cameras for my Japanese machine gun camera. I was very excited when the discussion of trading one camera for the number four speed Kodak became official.

 This is the second No. 4A Speed Kodak camera I've had the pleasure of owning. The first number for a Kodak camera that I purchased was from a customer in Atlanta, Georgia. During a visit to an antique store, I mentioned that I collect cameras. The owner of the shop told me that they were the trustees of an estate that owned many cameras and were getting ready to sell them. I asked if I could see their collection, and they said yes. 

 Unfortunately, I only had about 30 minutes to rummage through what they had, as I had a sales appointment with a customer and didn't want to be late. While rummaging through the cameras I had set aside, I came across 15 to 20 items I wanted to purchase from the estate, including a No. 4A Speed Kodak camera. The camera was in my collection for several years until one day I decided to sell it. 

After selling the No. 4A Speed Kodak, I regretted selling it due to how rare they are and how seldom you see them for sale. It's a camera that I've been looking to purchase again for many years.  I was thrilled to find one and strike a deal for it while I was a vendor at the Camera show in Seattle.

 History:

From Kodak 1912 Sales Catalog.

 George Eastman, a self-taught chemist and businessman, revolutionized the world of photography with the founding of the Eastman Kodak Company. Born in 1854, Eastman's early life was marked by financial hardship, forcing him to leave school at 14 to support his family. His foray into photography began in the late 1870s, a time when the process was cumbersome and expensive, requiring heavy equipment and on-the-spot chemical processing. Eastman envisioned a more straightforward, more accessible method for capturing images.

Advertisement for Speed Kodak cameras.

 After years of experimenting in his mother's kitchen, Eastman developed a successful dry-plate formula and a machine for mass-producing them. This innovation led to the establishment of the Eastman Dry Plate Company in 1881. A pivotal moment came in 1888 with the introduction of the first Kodak camera. It was a small, user-friendly box camera that came pre-loaded with a roll of film capable of 100 exposures. The company's slogan, "You press the button, we do the rest," perfectly encapsulated its business model. Once the roll was finished, the entire camera was sent back to the factory in Rochester, New York, where the film was developed and printed, and a new roll of film was inserted before being returned to the customer.

 The turn of the century saw another groundbreaking innovation with the release of the Kodak Brownie camera in 1900. Priced at just one dollar, the Brownie was marketed towards children but was embraced by all. This affordable and easy-to-use camera democratized photography, turning it from a professional trade into a popular hobby. For the first time, ordinary people could create their own visual records of their lives, leading to the advent of the "snapshot."

 For much of the 20th century, Kodak dominated the photography industry, pioneering advancements in color film and motion picture technology. However, the company's reliance on its highly profitable film business model proved to be its undoing. Despite inventing the first digital camera in 1975, Kodak was slow to embrace the new technology, fearing it would cannibalize its film sales. This hesitation allowed competitors to seize the digital market. By the time Kodak fully committed to digital, it was too late. The company filed for bankruptcy in 2012, a poignant end for a company that had once put a camera in everyone's hands.

My Camera:

As I mentioned in the first line of this blog, the No. 4A Speed Kodak is a behemoth of a camera, which has a beautiful red bellows, measuring 11.75" tall, by 6.5" wide, and 3.5" deep when the camera is closed. When the camera is opened, the lens extended, the camera is 12" deep. My camera weighs in at 5 lbs. 11.5 ounces. The camera first appeared in the Kodak sales catalogue in 1908 and remained there until 1912.

The serial number of my camera is 519-D, which you can find on the back side of the "Kodak" leg used to support the camera when opened. My No. 4A Speed Kodak camera has a batch ID number of 747, which is found on the inside of the back door, along with a matching number on the film "wings" used when loading film. 

 The negative size of the No. 4A Speed Kodak is a whopping 4 1/4" x 6 1/2" on 126-sized roll film. Not to be confused with the 126 cartridge film from the 1960s. Please note the size of the film spool for the No. 4A speed Kodak compared to a spool from a 120 size film.

The unique feature of the No. 4A Speed Kodak is its built-in Focal Plane shutter system. This shutter allows the camera to shoot from speeds of 1/5 on the slow end to a top-end shutter speed of 1/1000. The camera could also do timed exposures if necessary. The focal plane shutter is set by a series of tension wheels and settings done on the top of the camera. To achieve the desired shutter speed, the tensions and sliders are adjusted according to the graph displayed on top of the camera.

 To open the camera and take a photo, as with many other Kodaks, a button on the side unlocks the folding bed. Once the bed is opened and in the locked position, the lens can be slid out onto the bed by pinching the two grips just under the lens and sliding it into the "taking" position. There is a fine focus adjustment on the folding bed, allowing you to focus on your subject. 

 Similar to other folding cameras, a waist-level finder is located to the top right of the lens and covered by a chrome cover to prevent dirt from hindering your ability to frame your subject. This waist-level finder can be used for vertical or swung sideways for horizontal images. There is a secondary finder on top of the camera that flips up, and according to the catalog, this is an extra called the Direct Viewfinder.  

 To close the camera, use the two grips to slide the lens back into the camera body. Once you're all the way in, press down on the arms that lock the camera erect. They will unlock, allowing you to fold the bed back into the camera's body and lock it back in place.

To open the back of the camera and load the film, use the two buttons located on each side of the camera body near the back. Press both buttons, and the back will come off the camera. Sometimes you'll need to pull the back away from the body to remove it if it doesn't spring open. The sides of the camera will also swing open, making it easier to insert or remove the roll. You'll also need to unhook the side strap before taking the back off. Unfortunately, my No. 4A Speed Kodak is missing the strap, but this procedure is similar to how the Kodak Panoram cameras open and close.

 Once the film is loaded in the camera, slide the bottom of the back into the slot and press it into position, ensuring the side wings are closed. The back will then snap and lock into place.

Conclusion:

 The focal plane shutter on my camera is not operable, and the shutter curtains are very brittle. After a bit of coaxing and taking the time to work with it, I managed to get one of the shutter curtains to close, but you can see how brittle it is from the photos.

 Also, on my No. 4A Speed Kodak, the red bellows have separated from the black fabric on the inside of the bellows on the right side of the camera. That's why the bellows seem so wonky on that side. Still, having one of these cameras for display purposes is a wonderful thing, and I'm pleased to have this 110-year-old camera back in my collection.

 Thank you for taking the time to look over and read about this fascinating camera from Kodak's past.

 Click the link to see other Camera Reviews.

 Visit Cuny's Camera and Photos on my eBay store to see cameras and other photo odds and ends I have for sale. At times, I even sell cameras from my reviews.

 Until next week, please be safe.

 

Photo-See Camera Outfit

My Photo-See camera, developing tank and instruction manual.

Almost 20 years before Dr. Land and Polaroid made instant photography world famous, a camera called the Photo-See was introduced in 1936. This company brought a very short-lived and straightforward box camera, along with a pocket-sized developing tank, to the market. These two items enable the photographer to take a photo and develop it without needing to send the film to be processed and printed.

 I don't remember when I purchased the Photo-See camera. I know it was well over 20 years ago. When I bought the photo see cameras, there were at least two, possibly three, of the same camera purchased in a lot of cameras purchased. 

 Several years ago, I recall selling one or two of the cameras on eBay. It wasn't until recently that I understood that there are two parts to this camera. The camera itself, and the developing tank in which the film for the camera was placed and processed.

 Initially, I thought the developing tank fit onto the back of the camera, but I was wrong. The developing tank is actually a separate part that the film from the photo camera fits into, allowing the photographer to process the film at any time they want to. The idea was that the photographer could take the photo, then have the print ready within a few minutes.

 

The History:

The Photo-See camera was the brainchild of Herman Casler, who was born in 1867 in Sandwich, IL, and raised in Fort Plain, NY. Over his lifetime, Casler invented and patented several different products and was also a partner in K.M.C.D. Syndicate, this was along with W.K.-L. Dickson, Elias Koopman, and Henry N. "Harry" Marvin. 

American Mutoscope and Biograph Founders, 1895. Casler upper right.

 Casler, Dickson, and Marvin collaborated in 1893 on a detective camera, the size of a watch, called the Photoret. The Photoret was a watch based on a pocket watch, similar to the Expo camera.

 Casler started his career as a Draftsman for General Electric Co., designing electric rock drills. He became the superintendent of Marvin Drill Company in 1895, which Harry Marvin owned.

 Casler, following Dickson's proposal, invented the Mutoscope, which displayed short films through flip-cards rotated by a hand crank that could be slowed down or sped up at the operator's will by turning the crank faster or slower. The prototype of the Mutograph camera was completed in November 1894, first tested with film in June 1895, and the first official Mutoscope films were made in August 1895.

Patent for Photo-See camera

 Marvin & Casler Co. was formed in 1896, where they manufactured the Mutoscope, which was very popular in nickelodeons during this time. The Mutoscope and Thomas Edison's Kinetoscope are the beginning of the motion picture business as we know it.

 His work in inventing motion picture cameras, projectors, and other motion picture equipment extended well beyond the 1920s, where he helped develop a more miniature hand-cranked motion picture camera and a three-pronged shutter that helped reduce flicker during projection.

 Herman Casler is also the inventor of the Photo-See camera, which was patented in 1937. The company was short-lived, as Casler passed away in 1939, and I don't see production of the camera continuing much after his death.

The Camera & Developing Tank:

 The Photo-See camera is a straightforward box camera design with a few differences, which I'll explain. The camera is 4" tall by 3 "wide by 4.5" deep, including the focusing device, and weighs 12.3 ounces.

 The front of the camera features a distinctive Art Deco design, which is enhanced by a sticker applied to the front of the camera. The camera is made from a thicker cardboard material, featuring a two-part, fold-up viewfinder on top. It's said the viewfinder is put on backwards, but that's not the case, as I find it to work better than the other way.

 On the left side of the camera are three controls; on top is the shutter control. When the bar is "in," the camera takes a regular snapshot, and when it's "out", the shutter stays open for a more prolonged exposure. This is similar to other box cameras from the same time period. The middle slider controls the aperture setting. They are Small, Medium, and Large. The bottom lever is the shutter release.

On the back of the camera, there are three main controls. The bar at the top is pulled down to remove the film from the camera. The smaller round disk on top is turned from the 3:00 to the 9:00 position to expose the film when you're ready to take a photograph. Then the disk is in the 9:00 position, which also locks the top bar, so you cannot take the back off when the film is ready to be exposed. Under the small disk is a larger disk, known as the focusing disk, which is turned to the desired distance from your subject. This is achieved by adjusting the internal focus of the film, moving it back, in, or out, which enables the film to shift its focus from 3 feet to infinity.

When you remove the film back and look inside, you'll see that it's spring-loaded, where you would load the film pack into the camera. The motion of the smaller disk on the outside of the back moved a pin on the inside up and down, which would open a dark slide, allowing light to hit the film once the shutter release was flipped. Moving the disk back to the original position closes the dark slide.

The Photo-See camera, when used in the vertical position, takes a horizontal image, and to take a vertical photo, you turn the camera to the horizontal position. Very similar to how half-frame cameras work.

 The Developing tank is 4.5" long by 3.75" wide by 2.5" deep, and weighs 9.4 ounces. The tank is composed of two parts and held together by a locking arm and a clip that wraps around the tank. Unlocking the arm swings the bar out of the way. On the back side are two spring-loaded clips that need to be squeezed to disassemble the tank. 

Once apart, you slide the locking lever away and turn the disk on the tank to the "up" position. This allows the film to be loaded into the tank. Put the back onto the tank, and turn the disk to the "down position, which exposes the film to the chemicals. Once the film is in the tank, you assemble the two pieces and lock them together to initiate the processing. 

 According to the manual, four bottles and four packets of chemicals are needed for developing your image. #1 is the developer, #2 is the bleacher, #3 is the clearer, and #4 is the toner. Pour the packets into the numbered bottles, fill them with water, and mix. Pour the contents into the larger opening for developing. This camera produces photos and not negatives. Once developed, the final image size is 1 11/16 x 1 1/8 inches.

 

Results:

Unfortunately, the film for this camera isn't available, so I have no images to show from it. Heck, I've been looking for film for this for many years and have not seen one for sale anywhere.

 

Conclusion:

This camera is such an oddball, I couldn't resist writing about it, especially since it was many years ahead of its time. I understand that the process is lengthy, that you need to carry chemicals, and that the image size is small. These factors were the reason why this didn't gain popularity.

 It's nice to have an almost complete system in the collection. A film pack and the box would be nice, but having the camera, developing tank, and manual is good.

 Thank you for taking a few minutes to read about this odd and unusual camera from almost 90 years ago.

 Click on the link to see my other camera reviews.

 Cuny's Camera & Photo is my eBay store, where I sell some of the cameras I've reviewed, along with other camera-related items.

 Until next week, please be safe. 

Photax 1 camera

My Photax camera

This summer, as my wife and I visited Barcelona on a day when my wife was working, I decided to go to the local flea market to look for photo items to add to my collection. Attending local flea markets is something I look forward to, especially when we visit new cities and countries. My main objective was to find a camera built in Spain, which I accomplished by purchasing the Captain camera, which I reviewed earlier this year.

 Strolling the stalls at the flea market, I came across a very large Bakelite camera, which intrigued me. It was a Photax 1 camera made by MIOM in France. What I liked about the camera was its large size, and that came with the original fitted case. As I pulled out the camera to examine it, I noticed a very familiar twist-out style lens, and the shutter was working, which gave me confidence in my purchase. Talking to the person at Stoll about pricing for the camera, I offered a reasonably low price, which they rejected. However, they came back with a counteroffer, which I needed to consider for a while.

 As I spent more time examining different stalls and cameras. Still, my mind kept returning to the Photax 1 camera, which is the large camera with the untwisting lens. Before I left the flea market, I went back to the stall and renegotiated the price with the camera owner, coming to an agreeable price and purchasing the camera.

 This camera was one that I wanted to write about. It's an unusual-shaped camera made of Bakelite and is quite large. When I opened the back of the camera, I noticed that it was a 6 x 9 cm format, which intrigued me. Many of the cameras made by 

MIOM we're a smaller format, generally 6 x 4.5 cm.

 Let me tell you a little bit about the company.

History:

 MIOM (Manufacture d'Instruments d'Optique et de Mécanique) was a French company known for producing optical and mechanical instruments in the mid-20th century, particularly cameras. The firm operated mainly from the post-World War II era into the 1960s, a time when France was striving to rebuild its industrial base and compete in the rapidly evolving consumer goods market.

French Photax ad

 MIOM's roots were in precision engineering, and the company initially focused on optical devices before expanding into the field of photographic equipment. Its location in France allowed it to tap into a tradition of fine optical craftsmanship, drawing on expertise that had developed in Paris and other industrial centers since the 19th century.

 In the camera field, MIOM was best known for manufacturing compact and affordable models aimed at the amateur photography market. Among their most recognizable products was the MIOM Photax series—a line of simple, durable cameras using roll film. The Photax models often featured Bakelite bodies, a lightweight and inexpensive molded plastic popular in mid-century camera production. These cameras were designed for ease of use, appealing to the growing middle class and to families seeking to document their lives without investing in complex photographic gear.

 The Photax range evolved over the years, with various iterations accommodating different film formats, primarily 6×9 cm images on 120 roll film, and later 4.5×6 cm formats. Some models incorporated basic focusing and exposure controls, while others remained strictly fixed-focus, point-and-shoot devices. Though not technically advanced compared to contemporary offerings from Germany or Japan, MIOM's cameras were reliable, affordable, and accessible, helping to democratize photography in France.

 MIOM also ventured into specialized cameras, including stereo models, reflecting the brief postwar enthusiasm for 3D photography. Their designs maintained the company's hallmark of straightforward construction and modest pricing.

By the late 1960s, increasing competition from Japanese manufacturers, whose products offered superior optics and more advanced features at competitive prices, had eroded MIOM's market position. The brand gradually faded, and production ceased as the company either closed or shifted away from photographic equipment.

 Today, MIOM's cameras—especially the early Bakelite Photax models—are collected for their retro aesthetic and as examples of France's postwar consumer design. While they may never have rivaled the technical prowess of major brands, MIOM's work remains an essential chapter in the history of accessible, everyday photography.

 Below is a timeline outlining the evolution of MIOM's Photax camera series.

 1937 – Photax I- MIOM launches its photographic division with several models, including the original Photax (also branded as Camera 77, Loisirs), all of which use 120 film for 6×9 cm images. The Photax I is recognizable by its centrally positioned shutter button and Guillotine shutter, which offers two speeds. 

1938 – Photax II (and Blindé variant)- Introduced in 1938, the Photax II adopts the Boyer Serie VIII meniscus lens and maintains the simple two-speed shutter design. A "blindé" version appears—with a protective Bakelite lens cover that also shields the shutter release. 

1947 – Photax III- Following World War II, MIOM debuts the Photax III, featuring a threaded shutter release and leveraging the same Boyer Serie VIII lens. It introduces additional shutter settings (1/25 sec, 1/100 sec, and T) and continues to use the 620 film format. 

1951 – Photax IV (and IV F)- The Photax IV arrives with a Boyer Rexar meniscus lens and identical shutter options as the III, with enhanced flash synchronization. The IV F variant includes flash sync capabilities via a RIM shutter. 

1955 – Photax V- A stylish redesign marks the launch of Photax V in 1955. It features a modernized Bakelite aesthetic, bi-format capability (6×9 and 6×6 cm), and upgrades to an Angénieux Heanar Type V lens with full flash sync via RIM shutter 

1960–1962 – Photax VI -The final model in the Photax lineage, produced between 1960 and 1962, transitions from Bakelite to molded plastic, featuring a sleek, streamlined design. It's a square-format 6×6 medium-format camera that utilizes an Angénieux Heanar Type VI lens and RIM shutter with flash synchronization.

 

My Camera:

 My camera is 6 1/2 inches wide by 4 1/2 inches tall by 4 inches deep when the lens is unscrewed. In its closed position, the lens is 3 1/4 inches long. Without the case, my camera weighs 1 pound, 2.7 ounces.  The lens on the camera is a Boyer, Series VII lens.

The Photax 1 was produced for approximately one to two years, from 1939 to 1940. The Photax 1 camera uses 120 film, a departure from MIOM's earlier cameras, which used 127 film. As I mentioned earlier, this is a 6 x 9 cm format camera. The Photax 1 was sold with a film mask that allowed the photographer to shoot in the 6 x 4.5 cm format. Unfortunately, when I purchased this camera, the mask was missing, so my camera is only compatible with the 6 x 9 format.

 To extend the lines, there is a chrome ring around the lens with a knob at its top. Twist the ring clockwise, and the lens, which is on a helical screw, unscrews and moves into the taking position. The camera's controls are fundamental. There are only two shutter settings. One is "INST", which is for normal snapshots, and "POSE", which is for time exposures. These are changed by a little switch between the two settings. To control the aperture. There is a similar switch beneath the lens. One setting is the larger aperture, which is number one, and the second setting is for a smaller aperture.

There is no lock on the back of the camera to secure the back to the front of the camera body. To open the camera, on the right side, is a little foam plate that you pull away from the camera body, and the back of the camera comes off. To load the camera, follow a process similar to loading a 120 format or 120 film-style camera. The first thing you would do is to take the take-up spool from the right side of the camera and place it on the left side, under the film, and under the film advance knob. Place a fresh roll of film on the right-hand side and bring the leader over the shutter area. Insert the leader into the slot of the take-up spool and begin winding, ensuring the film advances smoothly. You turn the advance knob until you see "start" on the film's paper backing. At this point, put the back on the camera by just pressing it onto the camera‘s body.

At this point, wind the film advance knob until you see the number 1 in the first window, which is designated for the 6x9cm format. For the 6 x 4.5 format, you would wind until you see the number one in the number one window. After you take the picture, wind until you see the number one in the number two window. You repeat the steps through number eight, which would be the end of the roll of film. For 6 x 9 cm format images, you get eight images per roll. For 6 x 4.5 cm format, you get 16 pictures per roll of film. 

Fitted case for Photax 1 camera. Note the large plastic front cover.

 IMPORTANT: Be sure to turn the chrome ring so that your lenses are in the taking position before you start taking photographs. Failure to do this will result in your pictures being incredibly out of focus. On other MIOM cameras, if the lens is in the transport position, the shutter will not work. Unfortunately, with this camera, the shutter works when the lens is in the retracted or transporting position.

 The viewfinder on top of the camera is tiny, making it difficult to view your subject when framing your photograph. To take your photograph, the shutter release is located in the upper right-hand corner of the lens. Press the shutter button to take your picture. My camera has a cable release socket, and on the bottom of the camera, there is a tripod socket as well.

My Results:

 I cleaned the lens on the camera, loaded a fresh roll of 120 film, and took a walk around the neighborhood to see how this camera would perform.

 For 100% transparency. I broke my arm two days before I took these photographs. It was challenging to hold the camera while taking the photos, so some of the blur or out-of-focus images may have been caused by camera movement.

 Here are the results.

Conclusion:

 The images produced by the camera were disappointing. I'm not sure if the blur in the

photo was caused by my lack of holding the camera still. According to the information on the back of the camera, the minimum focus distance is approximately 1 m. Many of the photographs I took, I tried to be more than 1 m away from the subject.

 Due to the sunny situation, having only one shutter speed to work with, and using the smallest aperture, the photographs are unimpressive. At this point, I'm not sure I'll use this camera again due to the quality of the images, which I found disappointing, especially considering it's a 6x9 format camera.

 Thank you for taking the time to read about this interesting Camera from France, built in the late 1930s. 

 If you're interested in seeing other camera reviews, click the link.

 I also have a store on eBay where I sell some of the cameras reviewed, along with a host of other photo items, Cuny's Camera & Photo.

 Until next time, please be safe.

Nagel-Kodak Pupille

My Nagel-Kodak Pupille camera and case

Just after I finished last week's blog on the Ricoh Auto Half cameras, I was looking around the cameras on my shelf in my office, thinking which camera I'd write about this week. Nothing stood out to me, so I figured I'd let it rest for a day or two and think about it.

 Going to bed that evening, a camera popped into my head out of the blue. Having a thought or remembering something from earlier in the day is something that often happens to me, generally just as I lie down to go to sleep, something pops into my head, and that's just what happened.

 The thought that came into my head was that I remembered having a nice condition Nagel Pupille camera in a box a few months back, which I store with some of my better cameras. That's the camera I wanted to write about for this week's blog post.

 After I woke up, had my morning coffee, I settled into my office and opened the box of cameras to look for the Pupille camera I had. Right on top of other cameras was the case. I pulled out the case, and inside was the Pupille camera. Looking at the camera a bit closer, I say this was the Kodak version of the Pupille, which was introduced a year or so after its release.

Logo on the camera’s back

 It was just as I remembered it. The camera was in excellent condition with the lens cap. The first thing I did was test the shutter, and most of the speeds seemed accurate to my ear. Some of the slower speeds were not closing, which is somewhat accurate for a shutter almost 100 years old. The upper speeds were working fine, so I figured I'd put a roll of 127 film into the camera and take it to the county fair my wife. I were planning on going to over the weekend.

 I recall purchasing the camera approximately 15 years ago at an auction I bid on. At the time, it was a lovely addition to my collection, especially since it came with the lens cap and a nice, fitted case for the camera. 

 The Nagel-Kodak Pupille was a camera I had intended to write about a few years ago when I started my blog posts, but then forgot about it for a while. When it popped into my head last week, I'm thrilled it did. 

History:

Dr. August Nagel (1882–1943) was a pioneering German camera designer and manufacturer whose innovations profoundly shaped photographic technology in the early 20th century. Born in Pfrondorf, Germany, Nagel displayed an early interest in camera construction. In 1908, at the age of 26, he co-founded his first company, Drexler & Nagel, in Stuttgart. This company quickly evolved into Contessa-Camerawerke, and by 1910, it had produced a broad range of camera models, which were distributed globally. Nagel's innovations during World War I included specialized aerial and balloon cameras, and his achievements earned him an honorary doctorate from the University of Freiburg in 1918.

 Seeking further growth, Nagel's company merged with Nettel Kamera-werke in 1919, becoming Contessa-Nettel, which became one of Germany's most significant camera producers. In 1926, in response to market pressures and Zeiss Stiftung's interest, Contessa-Nettel was merged with other major German camera makers to form Zeiss Ikon, with Nagel as director of manufacturing. However, management frustrations and a loss of control led him to leave Zeiss Ikon in 1928, after which he established his factory, Dr. August Nagel Werke, in Stuttgart.

French ad for Nagel Pupille camera

 Nagel Werke quickly gained a reputation for producing affordable, high-quality folding plate and roll film cameras, notably the Vollenda models, introduced in 1929, and the more expensive Pupille, introduced in 1930. This success attracted Eastman Kodak, which sought to compete in the European precision camera market. In 1931, Kodak acquired Nagel Werke, making Dr. Nagel the general manager of the rebranded Kodak AG. 

 With Kodak's backing, Nagel devised the Retina 35mm camera and, critically, introduced the Kodak 135 film cartridge in 1934—a pre-rolled 35mm film format compatible with both Leica and Contax cameras. This cartridge would become the global industry standard for 35mm photography, marking Nagel's most enduring legacy.

 Under Nagel's leadership, Kodak AG's Stuttgart plant became known for its Retina cameras and innovations throughout the 1930s. Almost two million cameras were produced before World War II. Dr. August Nagel died in 1943, but his influence continued; camera production resumed post-war and flourished into the 1960s under his son, Helmut Nagel. Dr. Nagel's career typifies the innovative spirit of early photographic engineering and established many of the standards still recognized in the industry today.

My Camera:

My Kodak Pupille camera is a tiny, compact camera that measures 4" wide, by 2.5" tall with the viewfinder retracted and 3.5" with the viewfinder opened. The camera is 2" deep with the lens retracted and 2.75" deep when the lens is in the regular taking position. The camera weighs 14.5 ounces when empty, excluding film.

The camera captures a 3x4cm image on 127mm film. My Pupille camera has a Jos. Schneider & Co. Xenon 4.5 cm f/2.0 lens. The camera also had the option of Leitz Elmar 5cm F/3.5, a Schneider Xenon 5cm F/3.5, or a Cook Anastigmat 2" F/3.5 lens, all in a Fr. Deckel Compur shutter.

 On top of the camera, there is an optical finder that pops up, displaying a vertical image. If you want to photograph a horizontal subject, you'll need to turn the camera 90 degrees to photograph in landscape mode. Looking from left to right at the top of the camera, there is the film winding knob, the optical pop-up viewfinder, a removable accessory shoe for a separate rangefinder, and under the accessory shoe, the depth of field scale.

To take a photograph, you first need to slide the lens into the "taking" position. This is done by sliding the lever, located under the lens, to the left when facing the camera. Moving the bar slides the lens out from the camera body. The lens is mounted on a beautifully constructed helicoid, which becomes visible once the lever is moved and the lens is in the "taking" position. Around the shutter is a large black ring that focuses the lens. The focus range on the lens goes from approximately 30" or 2.5' to infinity. The numbers on the focusing ring are big and easy to read, and the focusing on this camera is smooth.

When you look at the back of this camera and many other cameras that take 127 size film, you'll notice the camera has two red windows on the back. This will become relevant once you read the loading and winding procedure for this style of camera, which will be explained over the following few paragraphs.

 To load film into the camera, first you need to unlock the body of the camera from the film chamber. You do this on the bottom of the camera by sliding the lever to the "O" position. You'll see a small line on the tripod socket that aligns the "C" (closed) setting with the "O" (open) setting. Once you have the film chamber unlocked, the top portion of the camera slides out of the camera body, exposing the area where the film is loaded into the camera.

 Take the empty spool from the right side by sliding the spool down. The holding mechanism is on a spring, and the spool will come out. Place the empty spool on the left side and ensure it's engaged in the take-up winding knob. Place the fresh roll of film on the right side and tear the tape so that you can bring the film leader over to the take-up spool, ensuring it is positioned over the rollers on either side of the opening where the film is exposed. Insert the film tab into the slot on the take-up spool and wind the winding knob until the word "start" appears on the paper backing. Once you see the word "start", slide the film chamber back into the camera body, ensuring it's fully inserted. Then, slide the lever at the bottom from "O" to "C" for closed.

 Now, look at the back of the camera and start winding the film winding knob in a clockwise direction until you see arrows in the window. This is the indication that you're approaching your first frame, so you should start to slow down on winding the camera. Stop winding when you see the number 1 in the right side window. This is the indication you're at your first image. Once you've taken the first frame, wind the film advance lever until you see the number 1 in the window on the left, and stop. This is the indication you're at your second image. Once that frame is taken, then wind until you see the number 2 in the right window. You follow these steps until you see the number 8 on the left side window, which means you've taken sixteen images on the roll of film. This operation is standard for 127 size film, which takes 3x4cm size negatives on a camera with two windows on the back.

 The standard operating sequence when using this camera is to have the separate rangefinder, which is slid onto the accessory shoe when the camera is in use. 

 

  1. Meter for your subject with a separate light meter.

  2. Look through the rangefinder and focus on your subject.

  3. Find the distance to your subject and focus the lens to that distance on the camera.

  4. Set the shutter speed and aperture setting on the lens. Shutter speed is located at the top, and aperture is positioned under the lens.

  5. Cock the shutter lever on top of the lens at the 11 o'clock position.

  6. Trip the shutter, which is below at the 7 o'clock position on the lens.

Retracting the lens back into the camera body is a little tricky and something I had to figure out, as I had done it wrong once. The first thing you need to do is focus the lens to infinity. Then, slide the bar at the bottom of the camera from left to right, and the lens retracts into the camera's body. If you don't focus the lens to infinity, the bar won't fit into a small cutout on the focusing ring. The bar will protrude from the bottom of the camera, rather than being tucked away neatly as it should be. Once the bar is back in the camera, you can remove the rangefinder, put the lens cap on, and tuck the camera away in its case, if you have one.

 

Something I've seen for the camera is an accessory reflex finder, which was made by Kodak, that turned the Pupille into a TLR camera. 

Results:

My wife and I attended our local county fair, where I loaded a roll of 400-speed 127 film into the Pupille and brought it with me to take some photos. I don't have the rangefinder for the camera, so all of the focusing I did was purely by guesstimation.

 Bringing my trusty Sekonic L-308 meter for accurate exposures, we walked around the fair looking for nice images to take.

 Once I got home, I processed the film, and here are some of the results taken at the fair. I generally only do light spotting on the images, so please excuse the excess dust on them.

 

I posted a video review of this camera. Just click on the image. I’m new to videos, so any constructive feedback is appreciated.

Conclusion:

One of the first things I noticed when using the Pupille was how sturdy the camera felt. It's small and compact, fitting into my pocket, especially when the lens is retracted.

 The camera was easy to use, and the shutter worked well. There were a few frames when I didn't focus properly, but for the most part, the camera did a good job, and it was great fun to shoot with. 

 Thank you for taking a few minutes to read about this almost 100-year-old camera that still works fabulously.

 Here's a link to some of the other camera reviews.

 Visit Cuny's Camera and Photo for some of the items seen on my blog, along with other interesting photo items I have for sale.

 Until next week, please be safe.

Ricoh Auto Half Camera

My Ricoh Auto Half E2 camera

The 1960s were a tumultuous time—a wild era—for politics, art, social change, music, and design. Having spent my early and informative years during this time, I was witness to some remarkable events that shaped the world, which I'm happy to say I lived through.

 There were the Beatles, who upended the music world; marches and protests against the war in Vietnam and civil rights; and Jackson Pollock and Andy Warhol, who were taking the art world by storm. It seemed like every month, there were issues and events in the news that shaped the world.

 In the photographic and camera design fields, in my opinion, one of the more artistic and interesting products to emerge from the 1960s was the Ricoh Auto-Half camera—a straightforward camera that underwent several model changes, keeping the design fresh for almost 20 years.

 The Ricoh Auto Half camera was introduced in December 1960. For the period, the camera was very compact and lightweight, a half-frame 35mm camera with automatic exposure, no manual focusing, and automatic winding. The size of the camera was compared to a pack of cigarettes.

 Not only were there several different model changes and improvements, but the design style, to me, was the item that kept the camera fresh. The original Ricoh Auto Half camera was available in a bright silver color and featured a wrist strap. However, later in the 1960s and well into the 1970s, the camera took on many different colors and geometric designs, which were very popular during this timeframe.

My three Ricoh Auto Half cameras

 Some of the cameras were black with a white geometric pattern on the front, like one of the models I have. Later in the production cycle of the cameras, the production became bolder and more intricate, which kept pace with the signs of the times.

 There was a yellowish-green checkerboard pattern, or some cameras had brown vertical stripes or a wavy pattern, while others had outlandish red and blue colors that appeared to create a dome pattern on the front of the camera. One of the models I saw was named "King Gold," which is a gold color camera with an interesting pattern on the front. Some have a filigree around the border, or a train or race car on the front. All of these models are just fascinating to me, and one of the main reasons I wanted to write about them.

 I own three different models of the Auto Half cameras. I have an Auto Half E model with a diamond pattern and a Formula 1 race car on the front. I have a Black Auto Half SE model with a swirly pattern on the front, and the camera I used for the post was an Auto Half E2 in superb working condition.

I own three different models of the Auto Half cameras. I have an Auto Half E model with a diamond pattern and a Formula 1 race car on the front. I have a Black Auto Half SE model with a swirly pattern on the front, and the camera I used for the post was an Auto Half E2 in superb working condition.

History:

Ricoh's journey into the world of photography began not with cameras, but with sensitized paper. Established in 1936 as Riken Kankoshi Co., Ltd., the company quickly leveraged its expertise in optics, venturing into camera production just a year later in 1937. This early period laid the groundwork for a legacy of innovation and accessibility in the photographic industry. The company, which would be renamed Riken Optical Co., Ltd. in 1938, introduced its first camera, the Olympic Four, in 1939. This simple folding camera marked its entry into a competitive market.

Japanese ad for Ricoh Auto Half camera

 The post-war era proved to be a transformative period for Ricoh. A pivotal moment arrived in 1950 with the launch of the Ricohflex Model III. This twin-lens reflex (TLR) camera was a game-changer. By implementing a revolutionary belt-conveyor system for mass production—a first in Japan's camera industry—Ricoh was able to produce the Ricohflex III at a remarkably affordable price. This move single-handedly democratized photography for the Japanese public, transforming cameras from a luxury item into an accessible consumer good. The Ricohflex III became a massive commercial success, reportedly capturing over half of the domestic market share at its peak and cementing Ricoh's reputation.

 Building on this momentum, Ricoh continued to innovate throughout the 1950s and early 1960s. The company introduced the Ricoh 500 in 1957, a popular 35mm camera notable for its user-friendly features. However, it was the Ricoh Auto Half in 1962 that truly showcased the company's forward-thinking design philosophy. This remarkably compact and lightweight half-frame camera was fully automatic, with automated exposure, focusing, and film winding. Its purse-sized dimensions and ease of use made it a massive hit, particularly with female consumers, and it became a global success.

 These formative years were crucial in shaping Ricoh's identity. From the mass-produced Ricohflex that brought photography to the masses to the stylishly simple Auto Half, Ricoh's early history is a story of creating high-quality, innovative cameras that were not only technologically proficient but also thoughtfully designed for everyday users. This foundation of accessibility and user-centric innovation would continue to define the company for decades to come.

My Camera:

My Auto Half E2 model camera is 3.5: wide, by 3" tall, by 1.5" deep, and weighs 11.9 ounces. The camera is a 35mm half-frame camera that takes a vertical image of  24x17cm on 35mm film. The camera features a fixed focus 25mm F/2.8 lens, which is typical for half-frame cameras.

The Auto Half camera incorporates a selenium cell metering system, which on many of these cameras isn't working due to the age of the selenium cell. It can no longer meter the light, but fortunately, I have one in excellent working condition. The selenium cell is located around the lens. The aperture has a range from F/2.8 to F/22. 

 The ASA (ISO) range for the film speed on the Auto Half camera goes from 25 to 400. The ASA is set on a dial located on the top of the camera.  The other setting on the dial is for "A" or automatic aperture. There are aperture settings on the dial, but these are for flash settings.

The metering is done automatically and sets the aperture to achieve the proper lighting for the subject you're pointing the camera at. When in the "A" or automatic mode, the camera sets the shutter speed to 1/125th and sets the aperture. When you use a flash, the shutter is set to 1/30th of a second, and then you manually set the aperture depending on the distance to your subject.

 According to the Auto Half manual, the only indication that the camera's lighting will be set automatically is a yellow dot appearing in the center of the viewfinder. If the yellow dot doesn't appear, then the camera will not set the proper aperture, and the image will be either too light or too dark. 

To load film into the camera, there is a lever on the side of the camera that slides down to open the back of the camera. Once open, load the camera as you would any 35mm camera, putting the film cartridge on the right side and slipping the leader under one of the silver tabs on the left. Close the back of the camera, and wind the clock drive winding lever located at the bottom of the camera in a clockwise direction. Continue winding until you can no longer wind. Click the shutter a couple of times to get to your first exposure. You're all set to take photos. The winding motor will last approximately 25 frames before it needs to be wound again.

 The frame counter is right next to the rewind lever. To rewind the film into the cartridge. The rewind release button is in the middle of the winding motor. Press the rewind button, and rewind the film into the 35mm cassette. Once that's done, you can open the back of the camera, remove the film, and have it processed.

My Results:

I loaded the camera with a roll of film and took it with me for a walk around the block with our 15-year-old Pug, Ernie. These walks are getting a bit slower every week, so I had time to snap photos of some of the houses in the neighborhood, as well as many of the flowers in people's yards.

 I wanted to push the limits of the camera and see just how close I could get to capturing a reasonably sharp image. It appears that the minimum focus distance is right around 3-4 feet, even with 200 ISO film in the camera and on a very bright summer day, around noon.

 Here are some of the images I took.

Conclusion:

I think I'm more impressed with this camera than the Canon Demi I did a couple of weeks ago. There was a bright yellow dot in the center of the viewfinder, so I trusted the meter's exposure, which was pretty accurate.

 The focus was pushed, and I received a few blurry images, which I had anticipated, but overall, the camera did a fantastic job. The transport worked flawlessly, the exposures were accurate, the camera fit nicely into my pocket, and all I needed to do was put the camera to my eye, frame the photo, and press the shutter button…Fantastic!!!!

 I'll be using this more often, since it's a small, compact, lightweight, and accurate meter. A real treasure to have in my collection. Now all I need to do is find other models and designs. I think this may be the start of something fun.

 Thank you for taking the time to read about this compact bundle of photographic bliss—a real underappreciated camera from the 1960s.

 If you're interested, you can read more of my camera reviews by clicking on the link.

 I have a store on eBay where I sell some of the cameras featured in my camera reviews, as well as a variety of photo odds and ends. Take a look at Cuny's Camera and Photo.

 Until next week, please be safe.