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. 

Kodak Beau Brownie Camera

My Rose Beau Brownie Camera

To end the unofficial box camera month for my blog post, I was thinking about writing about a few different cameras, but my thoughts kept coming back to one specific model of Eastman Kodak camera, one of the most beautiful cameras made, the Beau Brownie camera.

 The two factors of the Beau Brownie line of cameras that I enjoy are the five different colors they come in: black, tan, blue, green, and the most sought-after rose. The art deco design by one of America's outstanding industrial designers, Walter Dorwin Teague, is also bundled into a very uncomplicated camera marketed more as a fashion statement than the ordinary black box camera. 

 George Eastman and his marketing team realized early on that to broaden the photographic marketplace, they needed to expand the scope of photographers using cameras. Until the early 1900s and into the 1910s, the vast majority of photographers were males due to the time-consuming process of making photographs. While Kodak didn't invent photography, much like Henry Ford, he sold cameras to the masses due to the newer methods of making glass plates easier to obtain and process, making roll films, film processing, and printing available to the masses.

My set of Nos. 2 Beau Brownie cameras

 In the late 1920s, Eastman Kodak started a relationship with Edwin Dorwin Teague, which forged a relationship and changed the design and quality of cameras for thirty to forty years until he died in the early 1960s.

The Relationship:

Walter Dorwin Teague, born Dec. 18, 1883, is often regarded as one of the pioneers of industrial design in America. He had a long and influential relationship with the Eastman Kodak Company. His collaboration with Kodak helped shape the visual and functional identity of the company's products, particularly its cameras, during the mid-20th century.

Portrait of Walter Dorwin Teague

 Teague, known for blending aesthetics with functionality, first worked with Kodak in the late 1920s. He continued influencing the company's product designs for several decades until his death on Dec. 5, 1960. His designs embodied the principles of streamlining, an artistic and engineering approach emphasizing smooth, flowing lines and modern, user-friendly aesthetics. Kodak sought to enhance its product appeal in an increasingly competitive market. Teague's expertise gave the company a fresh, contemporary design language that resonated with consumers.

 One of Teague's most iconic contributions to Kodak was the design of the Kodak Bantam Special, introduced in 1936. The Bantam Special was a masterpiece of Art Deco design, featuring a sleek, black enamel and chrome finish. It was visually striking, compact, and easy to use, aligning with Kodak's mission to make photography accessible to a broader audience. The camera became a symbol of modern design and demonstrated how industrial design could elevate consumer products beyond mere functionality.

Walter Teague designed Kodak Super Six-20 camera

 Teague's impact on Kodak extended beyond individual products; he played a key role in shaping the brand's overall aesthetic identity. His work helped Kodak establish a reputation for producing elegantly designed, high-quality, practical, and stylish cameras. His collaboration with Kodak set a precedent for integrating industrial design into mass-market consumer products, influencing Kodak's future designs and the broader field of product design.

 Beyond the Bantam Special, Teague worked on several other Kodak models, including the Kodak Baby Brownie and the Kodak Medalist. These cameras showcased his ability to balance form and function, making photography equipment more appealing and accessible to everyday users. His designs helped Kodak maintain its position as a camera industry leader, reinforcing its image as both innovative and consumer-friendly.

 Walter Dorwin Teague's relationship with Kodak was a testament to the power of industrial design in shaping consumer products. His work not only enhanced the usability and attractiveness of Kodak cameras but also set new standards for the role of design in consumer technology. Through this partnership, Teague left an enduring mark on both Kodak and the history of industrial design.

The Camera:

Beau Brownie cameras came in two sizes: the smaller Nos. 2, which takes 120 film, and the larger No. 2A, which takes 116 film. They were both introduced in October 1930 and ended production in 1933. However, the two rarer versions, the green and rose colors, were in production for 1 year, which ended in 1931. Luckily, I have all five colors in different sizes in my collection. I've had all five for many years, and this is the second time I've owned all five colors in both sizes. 

 The camera that I used for the blog post is the smaller Nos. 2 camera due to the easily accessible 120 film the camera uses. The Beau Brownie No. 2 camera is 4" tall by 3" wide or 3 3/8" wide if you include the film advance knob by 4 3/8" deep. The camera has a 6x9 negative size and weighs 14.1 oz.

 The larger Beau Brownie, Nos. 2A is 5" tall, by 3 3/8" wide, or 3 3/4" wide if you include the film winding knob, by 5" deep. The No. 2A film format is 2.5" x 4.25" on 116 film, weighing 1 lb.—3.8 oz. 

My Nos. 2A Rose Beau Brownie (L) and Nos. 2 (R). Note the size difference

Looking online, I found a Beau Brownie Camera Manual, which is where I look for manuals for the cameras in my collection. It's a fabulous website and something we all should support.

 The front of the camera has a beautiful, enameled Art Deco geometric design that is two-toned with an accent color to enhance the camera's beauty. The black version has a dark burgundy accent color. In contrast, the other colors have a lighter and darker version of the camera's color. The rest of the camera is made of thin metal material covered in pebbled imitation leather, the same color as the camera. The carrying handle is on the top of the camera, which is the same color as the camera's body.

Also, two round windows are used for the viewfinder on the front of the camera. The top circle is for viewing vertical-format photos from the top of the camera, and the bottom is used when you turn the camera on its side for horizontal-format photos. There is no focus on this meniscus doublet lens, so like many box-style cameras, the minimum focus is around 10 feet, but items around 8 feet may still be in focus.

 The Beau Brownie cameras have two latches securing the back of the camera to the front. One latch is on the top of the camera, and one is on the side of the camera. Before you open the camera, you'll need to pull out the winding knob, which is engaged with the film transport. The winding knob needs to be pulled out; otherwise, the camera's front and back won't slide apart easily.

Once you have the camera apart, you can load the roll of film into the camera. Take the empty film spool from the top of the camera and move it to the bottom. Ensure it's adequately engaged, which will move the film from frame to frame. The fresh, unexposed roll now gets loaded into the camera's top film holder. Break the tape holding the film together and pull the leader over the opening with the paper backing looking outwards. Feed the leader into the empty spool on the bottom and wind a bit so you know the film is transporting properly. Also, check that the film fits within the walls of the spool so it can be transported easily. Wind the film until you see arrows pointing outwards. Ince you see the arrows, put the back onto the camera, press the winding knob, and secure the two latches. Now wind the film until you see the #1 in the red window. That's the indication that you're ready to make the first exposures.

 There are only two controls for the camera, located on the top of the camera. There are two levers just in front of the handle. One is on the left, and the shutter speed controller is the smaller of the two controls. There are only two settings. When the lever is down, the camera is in "instant" mode and has a shutter speed of around 1/100 sec. Pulling that small lever up puts the camera in "B" or timed exposure mode. In this setting, you'll need to set the camera on some camera tripod or bracket to hold the camera still so as not to cause a blurry photo.

The other controller is the larger of the two levers that control the aperture settings. The lever can be in three positions to change the different apertures. When the lever is down, the camera has an approximate aperture of F11, the middle position is approximately F16, and the top position is approximately F22.

 

My Results:

I loaded the camera with Ilford 400 ISO/ASA film and walked through the neighborhood on a very overcast and sometimes rainy afternoon in February. The neighbors are getting used to the old man walking through the streets with an odd-looking camera in his hand, taking photos of houses, objects, or other items I find on my walks.

 Here's what I took.

Conclusion:

Other than the stunning beauty of this camera, it's a fundamental camera with minimal controls and a fixed Meniscus Doublet lens that takes a significant negative. According to the manual, the minimum focus is approximately 8-10 feet. My judgment of distance was off in some photos, as the images are out of focus.

 Overall, it was a fun camera to shoot with, and I'll need to take it out on a sunnier day to get more contrast images. There are a couple of filters available for the Beau Brownie, one of which is a portrait filter that allows for closer focus for portrait photos, so I'll need to dig through the box of old filters to see if I have one of the recommended filters to try on the camera.

 Thank you for taking a few minutes to read about one of the most beautiful cameras ever made. I'm truly honored to have one in my collection.

 Until next week, please be safe.