No. 3B Quick Focus Kodak

My No. 3B Quick Focus Kodak camera

As I've mentioned in several of my posts, I've always been drawn to the odd, unusual, colored, or panoramic cameras, so when I had the opportunity to purchase a No. 3B Quick Focus Kodak many years ago, I jumped at the chance. 

 I found this camera while visiting an antique store during a business trip to Philadelphia. During my sales calls, if I had some spare time between appointments, I'd seek out antique malls and stores close to where I was and spend some time looking to see if there was anything interesting. On this particular day, as I was upstairs in the shop's attic, which was musty and smelled of stale air, I found the No. 3B Quick Focus Kodak.

 Not knowing much about the camera beyond seeing it in McKeown's Camera Price Guide, it appeared to be in decent condition. I started turning dials and pressing buttons to get a sense of the camera's condition. 

 It appeared to be pretty solid, but there were a few flaws, but when I looked at the price tag, which was only $25.00, I figured I give it a shot, so I brought it downstairs to talk to the shop owner, and asked if they'd offer a slight discount on the camera, and I offered them $20.00, which they took. The shop owner said the camera's been up in the attic for many years and was happy to give it a new home where it would be appreciated.

Front view of No. 3B Quick Focus Kodak

 Now that I had the camera in hand, I was setting the camera in the car seat next to me, getting ready to go to my next appointment, the thought of how was I going to get the camera home, since all I had was a carry on bag, and my case for my computer, and other office related gear which I brought with me during sales calls.

 Luckily for me, this wasn't the first time I've run into this issue. There have been time during my travels, that I've had to cram so many items, mainly cameras or lenses in my suitcase, I'd be afraid that I'd struggle lifting the suitcase over my head due to the weight of it, but I've always managed to move items around in my suitcase, fitting even larger items, like the No. 3B Quick Focus camera in there and safely transporting them home safely tucked securely in my carry-on bag.

 While the camera looks very ordinary on the outside, resembling many other box-style cameras, the one thing that sets it apart is its ability, as the name suggests, to focus quickly on the subject. This system is still just a guestimate process as there is no ground glass or focus screen in the camera. Still, rather than setting a wheel in the later versions or sliding a bar to an approximate distance from you to the subject, press a button. The camera springs the lens to an approximate distance from the film plane, replicating the distance required to produce a sharp image on the film.

 I've owned the No. 3B Quick Focus camera for more than 20 years, and it wasn't until I was going through some boxes of cameras I have that I came across the camera. Looking at the camera, it's in relatively good condition for a camera made between 1905 and 1911, with only a few modifications. The main difference was that earlier versions had a sliding lever to adjust the focus distance, whereas later versions used a circular wheel.



 Early Kodak History:

 The period between 1880 and 1910 was a time of rapid innovation in industrial history, transforming photography from a complex process into a popular hobby, which makes owning a camera from this era especially meaningful for history buffs and enthusiasts.

Early Kodak Advertisment

 Before 1880, photographers had to use "wet plates," which required coating glass with chemicals and developing them immediately before the emulsion dried. In 1880, George Eastman began manufacturing dry plates in Rochester, New York. These could be stored and sold, effectively decoupling the act of taking a photo from the chemistry of preparing it. In 1884, he transitioned from glass to paper film rolls, a pivot that laid the technical foundation for the modern snapshot.

 In 1888, the first Kodak Camera was released. It was a simple box pre-loaded with enough film for 100 exposures. When the roll was finished, the owner sent the entire camera back to the factory. Kodak would develop the film, print the photos, and return the camera reloaded with new film. This "System of Photography" changed the medium's identity from a technical craft to a consumer hobby.

 By 1889, Eastman Kodak introduced transparent nitrocellulose film, which was flexible and clear. This wasn't just a win for photographers; it was the catalyst for the motion picture industry, as it provided Thomas Edison with the material needed to create the first movies.

In 1900, the Brownie camera was launched. Selling for just $1 (with 15-cent film rolls), it was marketed specifically to children. It solidified Kodak's "Razor and Blade" business model: sell the hardware at cost to create a permanent market for the consumables (film and chemicals).

 By the end of the first decade of the 20th century, Kodak had streamlined its corporate structure and expanded into Europe. The company pioneered the "Folding Pocket Kodak" during this time, making cameras small enough to travel anywhere. By 1910, Eastman Kodak wasn't just a company; it was a monopoly of the "snapshot," having successfully democratized the visual record of human life.

My Camera:

 My No. 3B Quick Focus camera is 7" tall by 8.25 " long with the lens retracted, and 4.75" wide, and weighs 2 pounds, 13.4 ounces. The serial number of my camera is 7380K, which you can find on the inside of the plate covering the shutter on the front of the camera. Thank you to Pacific Rim, which has a No. 3B Quick Focus Kodak manual.

The camera has two viewfinders: one on the top for vertical images, and, when turned on its side, one for horizontal images. The camera's shutter release is on the right side; it's a "one motion" release, meaning you slide it down, and the shutter opens and closes. Then slide the shutter release up, and it repeats the open/close motion.

 Also on the right side of the camera is the aperture setting, which is controlled by pulling out a lever to three different positions to set the aperture. Below the aperture settings is another lever you use to set the shutter speed to instant when the lever is in, or to time exposure when you pull it out. In time exposure, you'll need to flip the shutter release up or down to open the shutter, then back to close it.

The strap on my camera is broken, and on the right side of the camera is the wheel to set the distance, as you guessed, but unfortunately, the button to focus the camera is missing. I put in a temporary item, similar to a large thumb tack, to activate the "quick focus" mechanism.

 Mechanically, the camera focuses quickly when you set the wheel to the proper distance, and the lens springs to the focused position very quickly. At this point, since the camera appeared to be in good working order, I figured it was time to put some film in and write a blog post about it. 

It's at this point that I decide to write about a certain camera, only to run into snags that make the process of making images and writing about the camera longer than anticipated. In my younger days, I didn't have the same patience as I do now, as I learned from many similar stories of starting a project: due to unforeseen issues, the process is longer than anticipated.

 When I took the back off the camera to inspect the film chamber, I noticed the negative size on this camera is enormous. The camera produces a 3 1/4" x 5 1/2" negative, also called "Postcard size," on a roll of daylight-loaded 125 film. On each 125-size film roll, the camera produced 10 images.

 Since 125 film is no longer available, I needed to adapt the camera to use a more modern roll film. Online, I found someone who makes adapters for new film to fit into older-style cameras, so I reached out to him, and for a nominal fee, he made me four adapters to fit 120-size film into 125-size cameras. At this point, I will likely purchase a 3D printer so I can do these things myself, but as mentioned earlier, that will pose a whole new set of issues that I'll need to address.

The No. 3B Quick Focus camera has a three-piece hinged back that comes off the camera by pressing in a small button on the top and bottom of the camera, which releases the locking mechanism and allows the camera's back to come off for loading and unloading of film. Due to the age of the camera, one of the hinges is in decent condition, but the other was rather worn, and on one of the times taking the back off, it tore off, and the back was in two pieces, which now needed to be repaired if I wanted to shoot with it.

 I purchased some thick, black book-binding tape, a cloth tape that will allow the back to move slightly while staying intact with the other pieces. The tape was applied on the inside and is very flat and non-reflective. With the back fixed, the film adapters made, I needed to mask off the area of the film opening to accommodate 120-size film, so I needed to mask it off to approximately 2.25" across.

 At the local hobby shop, I found some black, matte construction paper. I cut the construction paper to the desired length and width, and taped it to the back of the film chamber to mask the excess area needed for the 120 film.

After sitting in a box for more than 20 years, the camera's optics needed a good cleaning, so with Q-tips, lens cleaners, and lens tissues in hand, I gave the viewfinders and lenses a good cleaning, which they desperately needed.

 One other thing I needed to figure out was that, since the camera originally used 125-size film, there is a red window on the back so you can tell which frame number you're on. The red window won't work for the adapted 120 film, so I needed to see how much film would be wound per each turn of the advance knob. 

 I put a piece of paper on the spool and turned it one-half turn, which covered the spool. Then I measured that length and determined that it was approximately  1", so to cover the 5 1/4", I'd turn 3 full turns to get approximately 6" of film across the film area. The one thing I didn't know was how much paper backing there was on each roll before reaching the film itself. This I just guessed at and hoped I'd get 5 images per roll since each negative would be 2.25" x 5.25".

 With the camera's back off, I loaded film into the camera, then put the film back on. To guard against any light leaking into the camera through the taped hinge, I put some black painters' tape on the outside as well. Now it was time to go outside and see what the camera could do.

My Results:

 With film loaded in the camera and guessing at the film's approximate starting point, I walked through the neighborhood, estimated the distance to the subject, set the focus wheel of the No. 3B Quick Focus to that distance, and pressed the focus button. The lens sprang to the distance needed, and I took the photos.

 Here are the images I took during my walk through the neighborhood, knowing I'd only have 4-5 images to shoot.

Conclusion:

 Well, after all that work, I still had light leaks. They are all in the same direction and at the same place, so I didn't plug up any areas with a pinhole that caused the light leak.

 Taking the back off the camera and going into a dark room, I shone a light into certain areas around the shutter and the quick focus area. The only spot I saw a light leak was in the top area by the locking mechanism, which the cover itself should have covered.

 I'll need to do a bit more poking around to see what I can find, but overall, the images were good, aside from the light leak. I needed to take a few more close-up shots to check focus, but from what I can see, it turned out well, and it's a fun camera to shoot with.

 Overall, a fun and very good learning experience working with a 115-year-old camera.

 Thank you for taking the time to read about this camera and the issues I had to resolve to get it back to a usable state for shooting.

 Here's a link to my other Camera Reviews.

 Cuny's Cameras and Photo is my eBay online shop, where I sell cameras I've reviewed, along with other camera and photo oddities I've accumulated over my 50-plus years.

 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.

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.

Kodak Retina Model 117

My Kodak Retina 117 camera

I purchased this original Kodak Retina 117 with a group of various Kodak and other branded cameras from the daughter of a Kodak engineer several years ago. She mentioned that the Retina was in his office in Rochester and was one of his favorite cameras, and she could remember him using it to take family photos. She didn't know what this model was other than it was the camera that Dad used to take family photos with.

 These stories bring a human element to purchasing items from family members. The cameras are not just mechanical items, which I happen to enjoy, but they are objects that evoke memories of dad, mom, aunt, or uncle holding the camera and taking photos at family Bar-B-Ques, birthday parties, Christmas morning, and so many other memories families have together.

Kodak Retina 117 Front View

 When the group of cameras arrived, I knew there was an early Retina in the group. Still, I didn't realize that it was the first Retinas model to be made. During the unwrapping of the camera, I first noticed how worn the camera's leatherette was. The was smooth in many locations, which gave the first indication that the camera was well used and most likely loved by the person using it. The front door was a bit sticky to open, but that's not unusual for a camera made 90 years ago. I'm sure the spring has lost some of its pulling power with age. Once opened, I wanted first to check the shutter. That seemed in great shape; even the 1 second seemed accurate to the ear. The transport was working, and I didn't see any real issues with the camera. I put it on my shelf with many of the other cameras I have.

 This week, while thinking about what camera to write about, I started to look over one of the shelves with cameras, and the Retina popped out to me. I know it was in good working condition, at least when I put it on my shelf a year or so ago. Opening the camera was as good as the day I put it on the shelf, so I decided to put a roll of film into the camera and see what a 90-year-old, German-made 35mm camera could offer. 

Retina History

The Kodak Retina series is a fantastic camera design, blending American ingenuity with German precision. Introduced by Kodak in 1934, the Retina cameras were manufactured in Stuttgart, Germany, by Kodak AG, formerly known as Nagel Kamerawerk, which Kodak had acquired in 1931. The Retina line is celebrated for its compact design, quality construction, and innovations in photography, becoming a favorite among amateurs and professionals. The Retina series began with the Kodak Retina I (Type 117), a 35mm folding camera. The Retina was one of the first cameras to use Kodak's new 135 film cartridge, which would become the industry standard. The Retina I was compact, featuring a collapsible lens and a rugged design. The model underwent several iterations, improving lens quality, shutter speeds, and build but always retaining the folding design that defined the early Retinas.

Spanish ad for Kodak Retina 117 camera

 In 1936, Kodak introduced the Retina II (Type 122), which added a coupled rangefinder, making focusing more precise. This feature positioned the Retina as a premium camera for enthusiasts. By the mid-1950s, the Retina line had evolved into non-folding models with the introduction of the Retina Reflex series. These single-lens reflex (SLR) cameras incorporated interchangeable lenses, advanced metering, and a sharp Schneider-Kreuznach or Rodenstock lens, which appealed to serious photographers.

 The post-war years saw significant advancements. The Retina IIc and IIIc, introduced in the 1950s, became icons of the series. They featured interchangeable front lens elements, making the cameras versatile while maintaining their compact, folding design. These models also integrated advancements like exposure meters and faster shutters, ensuring the Retina line kept pace with competitors.

The Retina Reflex series launched in 1957, showcasing Kodak's foray into the SLR market. While innovative, these cameras faced stiff competition from Japanese manufacturers like Nikon and Canon. Despite this, they remain a testament to Kodak's ability to innovate during an era of rapid technological change.

 By the 1960s, the Retina line gradually faded due to the rise of inexpensive, high-quality Japanese cameras. The last Retina camera, the Retina S2, was produced in 1969. Despite their discontinuation, Kodak Retina cameras remain highly collectible, admired for their craftsmanship and role in popularizing 35mm photography. Their legacy remains a reminder of Kodak's golden era in the photography industry.

My Camera:

My Kodak Retina 117 camera is a wonderfully small and compact camera that you can put into your pocket and travel with very easily. One thing I enjoy about the look of the camera is all the knobs on the outside of the camera are nickel as opposed to the shinier chrome, which can give reflections when using the camera.

 The camera is 5" wide, just under 3" tall, and 1.5" deep with the lens closed and 3.5" deep with the front door opened and the lens out, ready to take a photo, and weighs just under a pound at 15.7 oz. My camera has a Schneider-Kreuznach Xenar 5cm f3.5 lens in a Compur-Rapid shutter. The shutter has speeds from 1/500 of a second to 1 second, along with "B" and "T" settings for timed exposures. The aperture of the lens has a range of f3.5 to f16.

 To open the lens on the camera, you press a small button on the bottom of the camera. Once depressed, the front door should usually spring open, and the lens, which is on a very short bellows system, should come out into the erect position. As previously mentioned, my front door doesn't spring open, so I needed to give it a little bit of help and pull it open.

Once opened, the camera is relatively straightforward in the settings. The shutter speeds are set by turning a dial on the top of the camera if you have it in the vertical position. Like many Kodak cameras from this era, or for many folding styles of cameras, the front door has the ability to set the camera upright just by pulling out the "Kodak" logo on the front door, which will make for a leg for the camera to rest on if you want to set it down for display or to take a photo. I always do that when in a store or seeing a folding camera on display. I'll flip down the camera's leg, allowing the camera to stand upright instead of on the platform the lens pulls out onto.

Select shutter speed by turning wheel. The top lever cocks the shutter and the one on the left side trips the shutter.

A small slider sets the aperture on top of the shutter as you hold the camera horizontally. The focus on the camera is by guess only as this camera doesn't incorporate a rangefinder. This function will come in later models. There are two different sets of focus distance numbers, both on the top of the shutter, but it depends on if you have the camera either vertically, in which the numbers are black, or if you're holding the camera horizontally, then the numbers are red. To focus the lens, there is a small knob on the bottom of the lens as you hold the camera horizontally that rotates the focus collar.

To take a photo, you'll need to cock the shutter with the lever on the top of the shutter while holding the camera vertically. Once the shutter is cocked, the other lever releases the shutter making the exposure. I've seen a very small shutter release button that fits into the cable release socket on the Retina camera. Unfortunately, my camera is missing this. I wish it did have it because when I was taking photos with the camera and looking through the viewfinder on top of the camera, my finger would cover some of the viewfinder, obstructing the subject when releasing the shutter. It wasn't too bad, but the small release would have made the experience a bit better. Now, I'm hunting for a small release to put onto the camera for future use.

 To close the front door, the lens must be focused to infinity so it is in the retracted position on the camera. You'll need to depress two small buttons on the lens strut, one on top and one on the bottom, to retract the lens back into the camera body. Once this is done, the front door will click closed.

Loading the camera with film is pretty straightforward. On the side of the camera is a lever you pull down, and the back door unlocks so it can be opened. Loading the film is just like any other 35mm camera. I needed to do a couple of operational things to advance the film to the next frame. Looking on top of the camera going from left to right is the rewind wheel, the frame counter, the viewfinder, a round knurled wheel with an arrow pointing counterclockwise, and the film advance wheel. Inside the advance wheel is a second rotating wheel with a small cutout and arrows pointing in clockwise and counterclockwise directions. This inner wheel can rotate to have either an "A" showing for advancing the film forward or an "R" for rewinding the film into the film canister when all the photos have been taken. 

After making an exposure, keep the inner wheel to "A." To wind to the next frame, the knurled wheel just to the left of the advance wheel needs to be turned slightly until you feel a slight release, then you can use the larger wheel to advance to the next frame. If you don't move the knurled ring slightly, the film won't advance. This wheel is the unlocking lever that allows the camera to advance to the next frame. Also, once you load the film, be sure to set the frame counter to the number 1 to keep track of how many exposures you've taken. Once you've taken the entire roll of photos, turn the inner wheel on the advance wheel to the "R" position to rewind the film back into the film cassette. Open the back of the camera and process your film.

 

My Results:

I loaded the camera with a roll of T-Max 125 film, and while taking our dog, Ernie, a 15-year-old Pug, through the neighborhood, I took photos of things that caught my eye. Here are some of the results of our walk.

Conclusion:

I must be getting better at guessing distance, which has always been a problem (one of many) of mine. I also understand that the sunny day and smaller aperture helped with some of the focusing distances I would generally have with "guesstimate" focusing. Nonetheless, the camera was small, compact, accurate in the exposures, and fun to shoot.

 As I previously mentioned, if I could find one of the small shutter release items to add to the cable release socket, this would have helped and made the camera easier to use. Besides that small item, I can see why the previous owner enjoyed shooting with this camera.

 While I enjoyed this camera, I have it for sale on my eBay store. If you're interested in this or any other items in my eBay store, please email me to work out a deal.

 Thank you for taking a few minutes from your day to read about this fun and historic Eastman Kodak camera. The Retina line of cameras is often overlooked but highly collectible and usable.

 Until next week, please be safe.

 

Kodak Chevron Camera

A week or so ago, when I was looking for another camera to write about in my weekly camera blog, I looked up on the shelf above my desk, and one camera stood above the rest. Maybe that's because I have it on a small tabletop tripod, and it literally was above many of the other cameras on my shelf. The camera is one of my favorite designs, the Kodak Chevron camera.

My Kodak Chevron camera

 I've owned the Kodak Chevron camera for many years. I remember buying it at a camera show early in my camera collecting years. It caught my eye because the design, along with the look and feel, is just wonderful. The camera is large, striking in design, and a medium-format camera with wonderful optics. 

 The Chevron, produced between 1953 and 1956, mirrors the post-war American era. Its design philosophy echoes the American auto industry of the time, reminiscent of the large, sturdy, and well-crafted automobiles by Chevrolet, Ford, and Cadillac. The Kodak Chevron is a testament to the classic cameras of this era.

The Company:

I don't believe I've ever written about one of my favorite companies. The Eastman Kodak Company, known to many as Kodak, was founded in 1888 by George Eastman, a visionary who revolutionized photography by making it accessible to the general public. Before Kodak, photography was an elaborate and expensive process that required significant expertise. Eastman's innovations in camera design and film processing transformed the photography industry.

A wonderful ad showing the benefits of the Chevron camera

 George Eastman, a former bank clerk in Rochester, New York, initially became interested in photography as a hobby in the late 1870s. Frustrated by the cumbersome process of wet plate photography, which involved heavy equipment and complicated chemical preparations, Eastman sought to simplify the process. In 1880, he patented a dry-plate coating machine, which allowed for the mass production of photographic plates, and soon opened the Eastman Dry Plate Company.

Eastman's breakthrough came when he shifted focus from plates to roll film. In 1884, Eastman and businessman Henry A. Strong, who would later become the company's first president, formed a partnership to expand the business. They developed a flexible roll film, which replaced glass plates that had previously been used. This was a significant innovation because it created simpler, more portable cameras.

 

In 1888, the company launched its first Kodak camera, a compact box camera preloaded with enough film for 100 exposures. The marketing slogan, "You press the button, we do the rest," succinctly captured Kodak's appeal. After taking pictures, customers would send the entire camera back to Kodak for developing and reloading, eliminating the need for users to handle the film or chemicals themselves. This ease of use democratized photography and made it accessible to amateur photographers for the first time.

 Eastman chose "Kodak" because he wanted a distinctive and memorable trademark that was not associated with any existing words. He believed the letter "K" had a solid and unforgettable sound, so he experimented with various combinations of letters before arriving at Kodak.

 Kodak continued to innovate through the late 19th and early 20th centuries, producing increasingly sophisticated 35mm cameras like the Kodak Ektra and Retina lines, along with many medium—and larger-format cameras used during international conflicts. All the while refining its film development processes.

 Eastman built Kodak into a dominant force in the photography industry by introducing flexible film and creating simple, user-friendly cameras.

My Camera:

The Chevron camera is a rather large, heavy, and, some say, "bulky" camera that measures 6.25" wide, by 4.5" tall, by 4"deep, and weighs in at a whopping 2 lbs. 9.9 oz. without film loaded. I like how the camera feels. It's taller and wider than the Medalist, after which this camera was made. The Kodak Medalist is a marvel for its time, but when I hold the Medalist, the body feels too "fat" in my hands, although I do like the 6x9 format the Medalist has, whereas the Chevron is a proper 6x6 square format camera.

Some people discuss cameras in a much more technical manner, which I genuinely enjoy reading. There are times when I don't understand many of the technical "hows and whys," but that allows me to learn new things, which I enjoy. I prefer to talk about using the camera and my personal experiences.

To load the camera, you can open the back from the left or right side, which I like. You can take the whole back off if you want to. The empty spool will go onto the camera's left side, as the film advance lever is on the left. You put the fresh roll on the right, which is counterintuitive for many photographers, but it didn't bother me when using the camera. Before you load the film into the camera, the frame counter is on top of the camera, which you need to set to "N." The camera is supposed to have an automatic film advance stop when the film reaches the next frame. My auto-stop camera wasn't working, so I just used what was normal to me and looked at the red window on the back of the camera to get to the next frame. Here is the Chevron Camera Instruction manual. Thank you, M. Butkus, for your service in supplying manuals.

Now that I have film in the camera, it's time to take photos. To focus the camera on the subject, the rear viewfinder has two windows. The top window is used to frame your subject, and the bottom is to use the rangefinder, which uses a magnified split image to focus on the subject. Both windows are very close together, and for me, who wears glasses was a bit more challenging to use, but once I got used to it, it wasn't difficult. This is the same rangefinder system used in the Medalist and Ektra cameras.

One of the most delightful aspects of this camera is its exceptionally smooth focus ring. It's not so loose that it slips, like some lenses that feel very sloppy. Instead, it's a perfect balance of smoothness and precision, making the process of focusing a joy. It's a testament to the high-quality design and construction of the Kodak Chevron, and it's a feature that I find truly fabulous to use.

It's time to set the shutter speeds and aperture to create the proper exposure. The shutter speeds are located on the far outside ring around the lens. They go from a fantastic speed of 1/800 sec on the top end to "B", going down by half to get the "B" setting, so 1/400, 1/200, 1/100, etc.

The lens is a Kodak Ektar 78mm f3.5 lens. The aperture settings are set by a bar on the bottom of the lens. Sliding the bar over to the next setting is smooth and easy. The setting also has click stops, so there is no getting it if the aperture is set correctly. A visual setting is on the bottom by the bar and on top of the lens, which you can see with a red arrow. The aperture indication is just behind the arm you cock the shutter.

I've yet to make an image, the film advance was very smooth to move the film to the next frame. I would advance the lever four times to get to the next frame. The red window is on the back of the camera to check where you are advancing the film. The red window has a blackout bar, which you slide up to view the film inside. Being right-handed, it was easy to hold the camera, slide the bar up with my right hand, and advance the film to the next frame with my left hand.

One of the advantages Chevron offered was the ability to shoot 828-size films. The 828 film accessory kit consisted of a film mask for 828 film, 2- 828 film spool holders and an 828 spool. This would have been purchased as an accessory. To use the 828 adapter, the photographer needed to do a couple of things to adapt to the film format. First, a switch from the regular 620 to 828 film is on top of the camera. You take a coin and turn the "finder" settings to 828. Then, a switch at the back of the camera changes the viewfinder from the standard 620 film to the smaller 828 film. By using the 828 film, there is a magnification factor of 1.5x.

 

My results:

Recently, at a local camera show, I purchased about 50 rolls of Agfa ISS 620 film, which I have for sale on my eBay store. I wanted to test the film to see how usable it was, so I loaded it into the camera and went to the local farmers market to take photos. Here are some of the results from the camera, along with the film I have for sale.

My Conclusion:

WOW!!!! What a fun camera to use. The camera fits very nicely in my hand; the focus is smooth, and I prefer using it over many of the folders and TLR cameras I've used. The Chevron camera outperformed my expectations. It felt similar to what a Mamiya Seven feels like in your hand. While it didn't have the capabilities of interchangeable lenses or TTL viewing of the Mamiya Seven, the camera handled great. 

 The only downside to this camera is the small viewfinder and rangefinder window. There were times when I was walking around the market and just pre-focused, especially when I wanted to be somewhat inconspicuous when shooting. The light was fairly dim, too, so my shutter speed was generally 1/50, and my aperture was wide open.

 I also understand that due to the low number of cameras made, especially compared to the very popular Medalist and Medalist II cameras, they are selling at a premium price on the used market.

 Thank you for taking a few minutes from your day to read my post on this lovely camera. I plan on shooting with it more often, especially since I have many rolls to shoot with.

 Until next week, please be safe.