My ICAF Roby camera
I bought the Roby camera a few weeks ago at an online auction, bundled with several other items. It caught my eye because it reminded me of the Ferrania small box camera I have on my shelf. Both cameras share a rounded front lens area and a sleek finish. I saw it as a good complement to the Ferrania, and based on the auction photos, I believed it was made by Ferrania when I placed my bid.
The auction "lot" included a hodgepodge of gear—a large bag, old movie lights, a slide projector, and more—but I was only interested in the Roby. When I received the shipping bill from the auction house, I was floored by the price. I hadn't told them I only wanted that one item.
I called them immediately to let them know they could donate, keep, or toss the rest of the lot, as those items had no value to me (and probably not to many others, either). That brought the shipping down to a very reasonable price that I was happy to pay.
My Ferrania & Roby camera
Once the camera arrived, I was surprised to find out it wasn't made by Ferrania at all. A different Italian company, ICAF (Industria Costruzione Apparecchi Fotografici), built it. ICAF later became Bencini, a popular manufacturer responsible for the Bencini Koroll (which I've previously written about). They also produced a camera I've been hunting for and am itching to review: the Bencini Comet III.
The Roby is bigger than I anticipated, but on the bright side, it takes 120 film and shoots 6x9cm (2 1/4 x 3 1/4) format images. I originally assumed it would be closer in size to the Ferrania Filma, which is a more compact 127 format camera. I also thought I had already written about the Filma! Looking back, I haven't, so I'll review that one soon.
This article won't be as long as some of my others for two reasons. First, the camera is extremely simple and has few settings. Second, my wife and I are currently on an extended road trip visiting relatives and friends. I won't have much downtime to write, so I apologize in advance if I miss a week or two of camera reviews.
History
The story of ICAF and Bencini cameras is a fascinating chapter in Italian photographic history, charting an evolution from simple box cameras to uniquely stylized, rigid-bodied metal shooters.
Antonio Bencini's photographic journey began during World War I. Trained as an aeronautical engineer, he was tasked with maintaining and repairing French-made aerial reconnaissance cameras for the Italian military. After the war, he jump-started Italy's domestic camera industry by founding FIAMMA in 1920 and later founded a second company, Filma. After selling both ventures to Ferrania, Bencini relocated to Milan and established ICAF (Industria Costruzione Apparecchi Fotografici) in 1937.
ICAF's initial offerings were straightforward box cameras like the Roby and Gabry, named after Bencini's children. To comply with nationalist language policies, the company quickly changed the names to Robi and Gabri. Shortly before World War II, the company was renamed CMF. Camera production paused during the conflict as the factory pivoted to manufacturing aircraft and bicycle components.
ICAF Strap
Emerging in 1946 as CMF Bencini, the company began defining its signature aesthetic. Moving away from the era's fragile cloth bellows, Bencini transitioned to durable sliding-tube mechanisms and rigid die-cast aluminum bodies. This shift produced cameras that were rugged, affordable, and distinctly Italian.
The real breakthrough came in 1948 with the introduction of the Comet series. Designed for 127 film, these cameras were massive commercial successes. By 1953, the company shortened its name to simply Bencini and released the Comet III. With its striking vertical orientation, oversized winding knob, and art-deco flourishes, the Comet III remains a highly recognizable example of mid-century industrial design. Alongside the Comet was the popular Koroll line, which utilized 120 film for larger formats. These models were known for their reliability and straightforward functionality, cementing Bencini's reputation among amateur photographers.
During the 1960s, Bencini tried to adapt to consumer preferences by producing 126 cartridge cameras, many of which were rebranded and sold by the British drugstore Boots. In the 1970s, the company ventured into the 110 pocket format and released 35mm plastic cameras, still bearing the iconic Comet name.
While Bencini ultimately struggled to compete with advanced Japanese SLRs and closed its doors in the 1980s, its legacy endures. Today, these early aluminum-cast cameras are appreciated as tangible, mechanical pieces of Italian photographic history.
My Camera
My ICAF Roby is approximately (I forgot to measure it before leaving!) 3 inches tall, 3.5 inches deep (due to the protruding lens area), and 2.5 inches wide, weighing about 10 ounces. The finish is a bit rough, with some chipped paint, as you can see in the photos, but it has a working shutter. The lens is a 105mm f/11, which is indicated directly around the glass.
When I first inspected the camera, I wondered about the mechanism next to the viewfinder (positioned above the lens). I pushed it to one side, and the viewfinder flipped sideways, allowing you to frame horizontal images. The waist-level finder is surprisingly clean and bright, making subject framing a breeze.
The shutter release is located on the left side of the lens at the seven o'clock position. Right beneath it is a switch for exposure modes: down for "instant" and up for timed exposures. According to my trusty shutter tester, the "instant" setting fires at approximately 1/100th of a second. There are no aperture controls, so the lens is fixed at f/11.
A switch on the left side of the camera opens the body for loading. The entire side panel comes off, along with the film insert. Load the film as you would with any roll film camera, slide the insert back into the body, and lock the door to prevent accidental exposure. Wind the film to frame number one, and you're ready to shoot.
I had some old, expired Plus-X film in my drawer that I decided to try out. The lens was clean, and the film wound easily. It wasn't until I processed the negatives that I realized how underexposed the images were—likely due to the film's age. Nonetheless, the results have a particular contrast and softness that reminds me of early Edward Steichen photographs or the work of Anne Brigman. Take a look at the images below.
Results
Here are some of the results from the Roby using 50-year-old expired Plus-X film. The shots were massively underexposed, and I had to do quite a bit of work on them in post—especially since I didn't have time to shoot another roll before hitting the road.
I'll shoot another roll when I get back and update this post with properly exposed images. My apologies for the initial results; I know the camera will perform much better with fresh film.
Conclusion:
This camera is a nice addition to the collection; it was fun to shoot with, and it fits right in next to my Ferrania box. I'm considering removing the front lens area to sand off some of the rust and repaint it for a refreshed look. It may not improve the camera's function, but it will look better on the shelf.
Thank you for taking the time to read about the ICAF Roby from 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'm putting together video overviews of the cameras I write about. Be sure to like and subscribe!
Cuny's Cameras and Photos is my online eBay store, where you'll find some of the cameras I've reviewed, along with a wide range of other lenses and gear from my collection that I am thinning out.
Until next week, please be safe.