Lumiere Nada Luxe camera

My Lumiere Nada Luxe camera

As I was looking through the cameras on some of the shelves I display them on, I saw tucked away in a corner a tan, reptile-covered top section of a folding camera I had put there a couple of years ago and completely forgotten about.

It was a camera I had purchased at the Vernaison market, one of the Paris flea markets, on our last trip there. I had full intentions of using and writing about it. Still, with my feeble mind and my attention deficit disorder kicking in, I'm sure some other camera caught my eye, and I wrote about it instead.

Funny how you remember silly things. I still remember seeing the camera in this one person's stall, who had assembled many other beautiful and interesting cameras. Given my love for colorful and unusual cameras, it wasn't out of the ordinary for me to find this wonderful, tan, reptile-covered camera in the back of one of his showcases.

I didn't want to call over the stall owner until I had looked at what else he had in the showcase, so after a few minutes of finding 3-4 other items I wanted to look at, I summoned him over and asked to look at a few pieces.

His English was a little better than my French, so we relied on simple sign language and pieced a few words together so I could ask about some of the objects he had on display. The gentleman had good taste, and he was extremely patient with my mispronouncing certain French words. He just smiled and nodded.

Reptile or snakeskin on the Lumiere Nada Luxe camera

But after many minutes of rudimentary signing, pointing, and using Google Translate to ask and answer questions, there were 2-3 items we agreed on a price for, and one of them was the reptile-covered Lumiere Nada Luxe camera, which was in good, clean, and working condition.

I really enjoy going to the Paris flea markets; well, I enjoy pretty much any flea market. To me, the fun of collecting is the treasure hunt. Whether you're at an estate sale, flea market, or antique store, you just never know what you're going to find. When all the cards line up, and you find the item you've been looking for—or just something that catches your eye in the moment—discuss the price with the seller and come away with a bargain, that's the fun of it.

Getting back to the Lumiere Nada Luxe camera I found on my shelf, it put a big smile on my face to think back to the Paris flea market. I pulled the camera from the shelf and opened it up, then clicked the shutter to make sure I could run some film through it.

It was cleaner than I remembered, and the shutter worked well. I also didn't see any light leaks in the bellows, so now was as good a time as any to put a roll of film into the camera, take a walk through the neighborhood, and see what this gorgeous camera, made in the 1930s, almost 100 years ago, could produce.

A Brief History of Lumière Cameras

The name Lumière means "light" in French, and no camera company ever lived up to its name quite like this one. Antoine Lumière founded the firm in 1860 in Besançon as a portrait painter turned photographer. When the Franco-Prussian War threatened France's eastern border in 1870, Antoine moved his family to Lyon and set up a workshop making glass photographic plates.

The firm's real success came from Antoine's sons, Auguste and Louis. Louis, still a teenager, improved the new dry plate emulsion and produced what the firm sold as "Étiquette Bleue," or Blue Label, plates in 1882. A large factory followed in 1883, and by the mid-1890s Lumière was running the biggest photographic factory in Europe. The sons formally took over the business in 1893.

Two years later, the brothers changed the world again. Working with their chief engineer Charles Moisson, they built the Cinématographe. This single machine could record, develop, and project moving pictures. Its first public screening, in Paris on December 28, 1895, is widely considered the birth of cinema. The brothers saw it as little more than a curiosity and moved on.

Their next breakthrough was color. Patented in 1903 and released in 1907, the Autochrome Lumière process coated a glass plate with microscopic potato starch grains dyed red, green, and blue, acting as a color filter over a black-and-white emulsion. It was the first practical color photography process, and it stayed the standard for color work for more than thirty years.

Cameras came later, almost as a side business. Lumière's first was an oddity: the Périphote of 1901, a panoramic camera with a rotating lens sweeping around a film-lined cylindrical drum. A serious camera line arrived in the 1920s, starting with the folding stereo Sterelux. The 1930s brought the cameras collectors know best: the Lumirex line of 6x9 folding cameras, the tiny, collapsible-viewfinder Eljy cameras, and the Scoutbox line of box cameras. The Second World War shut down the assembly lines.

Lumière kept making cameras after the war, but the company never regained its old scale. In 1961, the Swiss chemical firm Ciba absorbed it, and in 1982 the company became Ilford France. Cameras sold under the Lumière name around 1970 were not made by the company at all. For collectors, Lumière cameras are a charming corner of French camera making. Still, the firm's true legacy is bigger than any camera: it gave us the movies, and it gave us color.

My Camera:

This beautiful Lumiere Nada Luxe camera is not your ordinary self-erecting 6x9cm format folding camera; it has special, truly "luxe" features.

To open the camera, press the silver button just under the camera's film winding lever, and the camera pops open. Then pull the lens platform down, and the lens is erect in the camera.

The camera measures 7" long by 3-3/8" wide and 1-3/8" deep with the lens closed, and 5.25" deep with the lens open and the camera in the "taking" position. The camera weighs 1 pound, 4.4 ounces without film loaded.

The Lumiere Nada Luxe camera is covered in what I guess is beautifully tanned snakeskin, with a wonderful subtle tan bellows which makes the chrome on the lens board shimmer. The camera has a Lumiere Depose Anastigmat f/6.3 lens.

Looking under the lens, there is a triangle that points to the focus points under the lens: 2 m for portraits, then 5m for groups, and finally infinity for scenic shots. Above the lens are the shutter speeds: 1/100, 1/50, and 1/25, along with "B" and "T" for timed exposures. Above the shutter speeds is a sliding bar you move to set the proper shutter speed.

The camera incorporates interesting aperture settings. I haven't come across these in my years of collecting cameras. The aperture settings are f/6.3, 8.5, 12, 17, and 24. You set these with another slider under the lens, with a red pointer indicating the selected aperture.

On the far right side of the camera, as you hold it, is the shutter release with a red dot. All the important features, like shutter speed, aperture, and the shutter release, have red accents, which give the camera another "deluxe" look.

Just above the aperture settings is a black brilliant viewfinder, which turns for either vertical or horizontal photographs. Having the brilliant viewfinder, along with the black on the lens and shutter speed dial, adds real contrast against the shiny chrome lens board.

Just under the lens are two right-angled red metal pieces riveted to the lens platform, each bearing two letters of the camera's name on either side of the center lens rail: NA on the left and DA on the right (NADA). It's been written that the name is an ode to the early French photographer, Nadar, but I'm leery of this.

To open the back of the camera to load film, press together the two clips just behind the camera's handle; this lets you pull the back away from the camera body and off the camera, exposing the film chamber.

This next item is something I wish all folding cameras had. On both ends of the camera's film chamber, where you put the new roll of film, or just the take-up spool, is a lever which spreads the two prongs, or the one prong and winding crank, apart, allowing you to drop the new roll of film or the take-up spool into the proper chamber. Then press the lever back, and it holds the film spool in place. This was the easiest and most convenient method used for putting a roll of film into a camera. Something so simple, yet it works extremely well.

Once the film and take-up spool are in place, load the film as you would in any roll-film camera, then put the back onto the camera body and make sure it's latched. Wind the film to frame 1 as you look through the red window on the back of the camera. At this point, you're ready to take photos.

My Results:

With a roll of film loaded, I took my usual stroll through the neighborhood, photographing interesting subjects to see how the camera would perform.

Here are the results I received with the Lumiere Nada Luxe camera.

Conclusion:

The images have a very "dreamy" look, which I enjoy. The focus was OK, not great, but that's to be expected, especially using a zone, guesstimate focus system.

I really liked the photo of the flag and fire hydrant, as they have an image quality that I enjoy, something similar to the old photos from this era by Stieglitz, Steichen, or others, with a very soft, dreamy appearance.

Thank you for taking the time to read about the Lumiere Nada Luxe camera I recently added to my collection.

Are you interested in other vintage gear? Here are some of my other Camera Reviews.

Check out my Cuny's Camera Collection YouTube channel, where I am putting together video overviews of the cameras I write about. Be sure to subscribe and like the channel, too!

Cuny's Cameras and Photos is my online eBay store, where you will find some of the cameras I have reviewed, along with a wide range of other cameras, lenses, and items from my collection that I am thinning out.

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.