QRS Kamra

My QRS Kamra in box with manual

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

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

Back portion of the QRS Kamra

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

QRS Kamra w/Registration cards.

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

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

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

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

History:

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

Michael Ellison and Edward McAuliffe Patent

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

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

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

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

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

My Kamra (Camera):

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

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

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

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

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

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

Conclusion:

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

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

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

QRS Kamra manual Pg. 1

QRS Kamra manual Pg. 2

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

 Here's a link to my other camera reviews.

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

 Until next week, please be safe.

Original Model K1 Rolleiflex

My Rolleiflex K1 Camera

As is common for me, I purchased this original Rolleiflex model with many cameras, which included some other items I was more interested in. In the photo of the camera lot, I could see the Rolleiflex name, but the image was so small that I couldn't tell what model it was or even if it was in working condition. I took a shot; as I mentioned earlier, I was more interested in some items, and the Rolleiflex was more of the icing on the cake regarding the importance.

 Once I received the items in the lot and looked them over, the main items were great, and I was happy to have them. I picked up the Rolleiflex and checked on the camera's serial number, which was a low number. I have serial number 118104. From what I can see online, this is one of the first batches of cameras made. While the original Rolleiflex camera was only made from 1929 to 1932, a few modifications were made.

 In the photo, the Rolleiflex looked well used, and the top light chimney looked a bit wonky, which it was and still is today. When I tried to open the top, one of the side wings was jammed closed and wrapped under one of the other side wings, and I couldn't look down the chimney to see if the focusing screen was there. I took out my set of small screwdrivers and unscrewed the top 4 screws to remove the light chimney to fix it and bend the sides out a bit to make the chimney more usable.

Early Rolleiflex name and serial number

 Once I took the top off, I noticed the focusing screen was in good condition and still had the bubble level. It was a very clever idea to put in the camera when it was manufactured almost 100 years ago. 

The Company:

I reviewed the original Art Deco-style Rolleicord a few months ago, and here's what I wrote about the company's history then.

 Rollei holds a significant place in photographic history. Founded in 1920 in Braunschweig, Germany, by Paul Franke and Reinhold Heidecke, the company originally bore the name "Franke & Heidecke." Initially, it focused on precision mechanical devices, but by the mid-1920s, Rollei began producing cameras that would revolutionize photography.

 Rollei gained international recognition in 1929 with the launch of the Rolleiflex, the first twin-lens reflex (TLR) camera. The Rolleiflex was compact, robust, and designed for medium-format photography. Its unique twin-lens system featured one lens for viewing and focusing and another for capturing the image on film. This innovative design allowed photographers to frame shots at waist level, making candid photography more discreet and practical. The Rolleiflex quickly became a favorite among professionals and enthusiasts, particularly for portrait and documentary work.

The success of the Rolleiflex led to the introduction of the Rolleicord, a more affordable version aimed at amateur photographers. Both models showcased Rollei's commitment to precision engineering and optical excellence, which became hallmarks of the brand.

 During the 1930s and 1940s, Rollei continued to innovate, refining the Rolleiflex and Rolleicord lines with features such as automatic film winding and improved optics. Despite the challenges of World War II, the company maintained its reputation for high-quality cameras. In the post-war era, Rollei played a significant role in the resurgence of the German camera industry.

The 1950s and 1960s marked a golden age for Rollei. The Rolleiflex TLR became synonymous with professional photography and was used by renowned photographers such as Richard Avedon, Diane Arbus, and Vivian Maier. Rollei also ventured into other formats and technologies. The Rolleiflex 35mm SLR, introduced in the late 1950s, showcased the company's adaptability to the changing market demands.

 By the 1970s, the rise of Japanese camera manufacturers like Nikon, Canon, and Minolta introduced intense competition. These companies offered high-quality single-lens reflex (SLR) cameras at more affordable prices, challenging Rollei's dominance in medium-format and professional photography. However, Rollei's resilience and ability to adapt to changing market conditions inspired by its history.

In response, Rollei diversified its product line, introducing the Rolleiflex SL66, a medium-format SLR, and the compact Rollei 35, which became one of its most miniature 35mm cameras. Despite these innovations, Rollei struggled to maintain its market share due to its higher production costs and its competitors' rapidly advancing technology.

 In the 1980s and 1990s, Rollei faced financial difficulties, leading to changes in ownership and restructuring. The company shifted focus to digital imaging and niche markets, including high-end studio cameras and digital backs for medium-format systems.

The Rollei legacy endures as a symbol of German engineering and innovation, reflecting a century of dedication to the art and science of photography. This enduring legacy evokes a sense of respect and admiration for the brand's contribution to the field of photography.

My Camera:

My early Model K Rolleiflex is 5.25" tall and 3.5" wide by 3.75" deep. These measurements are with the light chimney closed. If I open the light chimney, the camera is 7.5" tall and weighs 1 lb. 9.7 oz. with the original lens cap and without film loaded into the camera. My camera has a Carl Zeiss Jena Tessar 7.5cm f3.8 lens, serial #1310339, for the taking lens, and for the viewing lens is a Heidoscope Anastigmat 75mm f3.1 lens, serial #120850. 

The lens is in an F.Deckel-Munchen Compur shutter with speeds from 1/300 to 1 sec. along with "B" & "T". The shutter speeds are set by turning a chrome ring on the outside of the shutter ring. The shutter cocking lever is on the left side of the camera as you view it from the front, and the shutter release is on the right side. The aperture ring goes from F3.8 to F32 and is set by a sliding ring just outside the shutter ring.

Taking lens, and shutter-aperture settings on my original K1 Rolleiflex

The light chimney or light hood is the most interesting thing about the camera. To open the light chimney, on the back of the camera, there is a small lever you need to press down to unlock the chimney. The front and sides will spring open if the chimney is in good working order. Since mine is not in perfect condition, the front opens, but I need to coax the sides to open correctly. Once the chimney is open, you can view the focus screen.

 On the back of the chimney is a magnifying glass on a spring. It can be flipped over and locked into the front part of the chimney, where it can be used for critical focus. Pressing the front part of the chimney releases the magnifying glass, and it returns to its normal position. 

 On the backside of the front wing of the chimney was a mirror, or a highly polished metal piece that flips down with a lever on the left side of the chimney. When the magnifying glass is in the "up" position, and you flip the lever down, the mirror will be at an angle that you can use the back as a level finder and focus the camera while viewing the image through the back opening of the chimney. I really liked this feature as it gives the camera a lot of flexibility when shooting. To close the chimney, fold down the sides first; the back and the front will close, covering the camera.

On the right side of the camera are two knobs. The larger knob on the top is the film advance knob. Around the knob are numbered from 1-12, but the numbers aren't in order; they go 1,7,12, small space, then 5,3,8, small space, 9, small space, and 6,2,10,1,11. At first, I thought these were frame numbers, but the sequences are so off. I know the first camera models were made for film size 117, and the camera only took six exposures with larger gaps between frames. There is also a red arrow pointing towards the number, but it didn't change when I put the film in the camera and advanced it to the next photo. Maybe someone can explain this sequence to me.

 The lower and smaller knob is the focus knob. On the inside are distance numbers, but there is no feet or meter setting. On the camera's left side is a lug, which was used to connect the strap.

The back door locking mechanism is on the bottom of the camera, and there is a tripod socket and a second red window with a cover. I didn't use that frame counting window, as I used the one on the back of the camera as I would for most cameras. To open the back door to load film, you lift the silver-hinged locking mechanism, which opens the back door. After doing some research on the camera, I found that this model doesn't take 120 film like all the other Rolleiflex models. 

I tried anyway, and it's too wide and didn't fit into the film chamber. Luckily, I have some outdated Agfa 620 films that fit correctly. I put the empty spool on the top. You can pull out the larger knob to load film into the camera, then press it in to lock the reel into place. I put the outdated Agfa roll into the camera, fed the leader into the empty spool, wound the film to start, closed the back of the camera, and wound the film to frame number 1. Now, I'm ready to take the camera out on an adventure to see how the camera performs.

 

My Results:

My wife and I planned a trip to Lake Quinault in the Olympic National Forest, so I wandered the lake's hotel grounds with a fantastic camera loaded with film and took some photos. Here are a few of the images from this trip.

Conclusion:

The camera performed very well, and the images were nice and sharp. The focusing screen was dark compared to the newer cameras. Still, it did an excellent job for a camera almost 100 years old and was extremely fun to shoot with. Due to the age of the film, the images have a mottled appearance when looking at something without detail, like the sky or lake. But that doesn't affect the camera's usability, which was overall very good.

 I'd love to hear from you. If you have one of these cameras and have questions or want to let me know what you think of the camera, please leave a comment, and I'll get back to you soon.

 Thank you for taking a few minutes from your day to read about this fantastic camera.

 Until next week, please be safe.