No. 4A Speed Kodak Camera

My No. 4A Speed Kodak camera

The No. 4A Speed Kodak camera is a massive camera. It's one of the largest folding-style cameras in my collection. I recently acquired this camera as a trade during a camera show in Seattle, where I was a vendor. 

 The person I acquired the camera from has a very similar collection to mine. During our discussion, he mentioned that he had two No. 4A Speed Kodak cameras. On display at the show was a large and heavy Japanese machine gun camera. I owned the camera for many years, but I didn't want to transport it back to my home, so I asked if he was interested in trading one of his No. 4A cameras for my Japanese machine gun camera. I was very excited when the discussion of trading one camera for the number four speed Kodak became official.

 This is the second No. 4A Speed Kodak camera I've had the pleasure of owning. The first number for a Kodak camera that I purchased was from a customer in Atlanta, Georgia. During a visit to an antique store, I mentioned that I collect cameras. The owner of the shop told me that they were the trustees of an estate that owned many cameras and were getting ready to sell them. I asked if I could see their collection, and they said yes. 

 Unfortunately, I only had about 30 minutes to rummage through what they had, as I had a sales appointment with a customer and didn't want to be late. While rummaging through the cameras I had set aside, I came across 15 to 20 items I wanted to purchase from the estate, including a No. 4A Speed Kodak camera. The camera was in my collection for several years until one day I decided to sell it. 

After selling the No. 4A Speed Kodak, I regretted selling it due to how rare they are and how seldom you see them for sale. It's a camera that I've been looking to purchase again for many years.  I was thrilled to find one and strike a deal for it while I was a vendor at the Camera show in Seattle.

 History:

From Kodak 1912 Sales Catalog.

 George Eastman, a self-taught chemist and businessman, revolutionized the world of photography with the founding of the Eastman Kodak Company. Born in 1854, Eastman's early life was marked by financial hardship, forcing him to leave school at 14 to support his family. His foray into photography began in the late 1870s, a time when the process was cumbersome and expensive, requiring heavy equipment and on-the-spot chemical processing. Eastman envisioned a more straightforward, more accessible method for capturing images.

Advertisement for Speed Kodak cameras.

 After years of experimenting in his mother's kitchen, Eastman developed a successful dry-plate formula and a machine for mass-producing them. This innovation led to the establishment of the Eastman Dry Plate Company in 1881. A pivotal moment came in 1888 with the introduction of the first Kodak camera. It was a small, user-friendly box camera that came pre-loaded with a roll of film capable of 100 exposures. The company's slogan, "You press the button, we do the rest," perfectly encapsulated its business model. Once the roll was finished, the entire camera was sent back to the factory in Rochester, New York, where the film was developed and printed, and a new roll of film was inserted before being returned to the customer.

 The turn of the century saw another groundbreaking innovation with the release of the Kodak Brownie camera in 1900. Priced at just one dollar, the Brownie was marketed towards children but was embraced by all. This affordable and easy-to-use camera democratized photography, turning it from a professional trade into a popular hobby. For the first time, ordinary people could create their own visual records of their lives, leading to the advent of the "snapshot."

 For much of the 20th century, Kodak dominated the photography industry, pioneering advancements in color film and motion picture technology. However, the company's reliance on its highly profitable film business model proved to be its undoing. Despite inventing the first digital camera in 1975, Kodak was slow to embrace the new technology, fearing it would cannibalize its film sales. This hesitation allowed competitors to seize the digital market. By the time Kodak fully committed to digital, it was too late. The company filed for bankruptcy in 2012, a poignant end for a company that had once put a camera in everyone's hands.

My Camera:

As I mentioned in the first line of this blog, the No. 4A Speed Kodak is a behemoth of a camera, which has a beautiful red bellows, measuring 11.75" tall, by 6.5" wide, and 3.5" deep when the camera is closed. When the camera is opened, the lens extended, the camera is 12" deep. My camera weighs in at 5 lbs. 11.5 ounces. The camera first appeared in the Kodak sales catalogue in 1908 and remained there until 1912.

The serial number of my camera is 519-D, which you can find on the back side of the "Kodak" leg used to support the camera when opened. My No. 4A Speed Kodak camera has a batch ID number of 747, which is found on the inside of the back door, along with a matching number on the film "wings" used when loading film. 

 The negative size of the No. 4A Speed Kodak is a whopping 4 1/4" x 6 1/2" on 126-sized roll film. Not to be confused with the 126 cartridge film from the 1960s. Please note the size of the film spool for the No. 4A speed Kodak compared to a spool from a 120 size film.

The unique feature of the No. 4A Speed Kodak is its built-in Focal Plane shutter system. This shutter allows the camera to shoot from speeds of 1/5 on the slow end to a top-end shutter speed of 1/1000. The camera could also do timed exposures if necessary. The focal plane shutter is set by a series of tension wheels and settings done on the top of the camera. To achieve the desired shutter speed, the tensions and sliders are adjusted according to the graph displayed on top of the camera.

 To open the camera and take a photo, as with many other Kodaks, a button on the side unlocks the folding bed. Once the bed is opened and in the locked position, the lens can be slid out onto the bed by pinching the two grips just under the lens and sliding it into the "taking" position. There is a fine focus adjustment on the folding bed, allowing you to focus on your subject. 

 Similar to other folding cameras, a waist-level finder is located to the top right of the lens and covered by a chrome cover to prevent dirt from hindering your ability to frame your subject. This waist-level finder can be used for vertical or swung sideways for horizontal images. There is a secondary finder on top of the camera that flips up, and according to the catalog, this is an extra called the Direct Viewfinder.  

 To close the camera, use the two grips to slide the lens back into the camera body. Once you're all the way in, press down on the arms that lock the camera erect. They will unlock, allowing you to fold the bed back into the camera's body and lock it back in place.

To open the back of the camera and load the film, use the two buttons located on each side of the camera body near the back. Press both buttons, and the back will come off the camera. Sometimes you'll need to pull the back away from the body to remove it if it doesn't spring open. The sides of the camera will also swing open, making it easier to insert or remove the roll. You'll also need to unhook the side strap before taking the back off. Unfortunately, my No. 4A Speed Kodak is missing the strap, but this procedure is similar to how the Kodak Panoram cameras open and close.

 Once the film is loaded in the camera, slide the bottom of the back into the slot and press it into position, ensuring the side wings are closed. The back will then snap and lock into place.

Conclusion:

 The focal plane shutter on my camera is not operable, and the shutter curtains are very brittle. After a bit of coaxing and taking the time to work with it, I managed to get one of the shutter curtains to close, but you can see how brittle it is from the photos.

 Also, on my No. 4A Speed Kodak, the red bellows have separated from the black fabric on the inside of the bellows on the right side of the camera. That's why the bellows seem so wonky on that side. Still, having one of these cameras for display purposes is a wonderful thing, and I'm pleased to have this 110-year-old camera back in my collection.

 Thank you for taking the time to look over and read about this fascinating camera from Kodak's past.

 Click the link to see other Camera Reviews.

 Visit Cuny's Camera and Photos on my eBay store to see cameras and other photo odds and ends I have for sale. At times, I even sell cameras from my reviews.

 Until next week, please be safe.

 

Ricoh Auto Half Camera

My Ricoh Auto Half E2 camera

The 1960s were a tumultuous time—a wild era—for politics, art, social change, music, and design. Having spent my early and informative years during this time, I was witness to some remarkable events that shaped the world, which I'm happy to say I lived through.

 There were the Beatles, who upended the music world; marches and protests against the war in Vietnam and civil rights; and Jackson Pollock and Andy Warhol, who were taking the art world by storm. It seemed like every month, there were issues and events in the news that shaped the world.

 In the photographic and camera design fields, in my opinion, one of the more artistic and interesting products to emerge from the 1960s was the Ricoh Auto-Half camera—a straightforward camera that underwent several model changes, keeping the design fresh for almost 20 years.

 The Ricoh Auto Half camera was introduced in December 1960. For the period, the camera was very compact and lightweight, a half-frame 35mm camera with automatic exposure, no manual focusing, and automatic winding. The size of the camera was compared to a pack of cigarettes.

 Not only were there several different model changes and improvements, but the design style, to me, was the item that kept the camera fresh. The original Ricoh Auto Half camera was available in a bright silver color and featured a wrist strap. However, later in the 1960s and well into the 1970s, the camera took on many different colors and geometric designs, which were very popular during this timeframe.

My three Ricoh Auto Half cameras

 Some of the cameras were black with a white geometric pattern on the front, like one of the models I have. Later in the production cycle of the cameras, the production became bolder and more intricate, which kept pace with the signs of the times.

 There was a yellowish-green checkerboard pattern, or some cameras had brown vertical stripes or a wavy pattern, while others had outlandish red and blue colors that appeared to create a dome pattern on the front of the camera. One of the models I saw was named "King Gold," which is a gold color camera with an interesting pattern on the front. Some have a filigree around the border, or a train or race car on the front. All of these models are just fascinating to me, and one of the main reasons I wanted to write about them.

 I own three different models of the Auto Half cameras. I have an Auto Half E model with a diamond pattern and a Formula 1 race car on the front. I have a Black Auto Half SE model with a swirly pattern on the front, and the camera I used for the post was an Auto Half E2 in superb working condition.

I own three different models of the Auto Half cameras. I have an Auto Half E model with a diamond pattern and a Formula 1 race car on the front. I have a Black Auto Half SE model with a swirly pattern on the front, and the camera I used for the post was an Auto Half E2 in superb working condition.

History:

Ricoh's journey into the world of photography began not with cameras, but with sensitized paper. Established in 1936 as Riken Kankoshi Co., Ltd., the company quickly leveraged its expertise in optics, venturing into camera production just a year later in 1937. This early period laid the groundwork for a legacy of innovation and accessibility in the photographic industry. The company, which would be renamed Riken Optical Co., Ltd. in 1938, introduced its first camera, the Olympic Four, in 1939. This simple folding camera marked its entry into a competitive market.

Japanese ad for Ricoh Auto Half camera

 The post-war era proved to be a transformative period for Ricoh. A pivotal moment arrived in 1950 with the launch of the Ricohflex Model III. This twin-lens reflex (TLR) camera was a game-changer. By implementing a revolutionary belt-conveyor system for mass production—a first in Japan's camera industry—Ricoh was able to produce the Ricohflex III at a remarkably affordable price. This move single-handedly democratized photography for the Japanese public, transforming cameras from a luxury item into an accessible consumer good. The Ricohflex III became a massive commercial success, reportedly capturing over half of the domestic market share at its peak and cementing Ricoh's reputation.

 Building on this momentum, Ricoh continued to innovate throughout the 1950s and early 1960s. The company introduced the Ricoh 500 in 1957, a popular 35mm camera notable for its user-friendly features. However, it was the Ricoh Auto Half in 1962 that truly showcased the company's forward-thinking design philosophy. This remarkably compact and lightweight half-frame camera was fully automatic, with automated exposure, focusing, and film winding. Its purse-sized dimensions and ease of use made it a massive hit, particularly with female consumers, and it became a global success.

 These formative years were crucial in shaping Ricoh's identity. From the mass-produced Ricohflex that brought photography to the masses to the stylishly simple Auto Half, Ricoh's early history is a story of creating high-quality, innovative cameras that were not only technologically proficient but also thoughtfully designed for everyday users. This foundation of accessibility and user-centric innovation would continue to define the company for decades to come.

My Camera:

My Auto Half E2 model camera is 3.5: wide, by 3" tall, by 1.5" deep, and weighs 11.9 ounces. The camera is a 35mm half-frame camera that takes a vertical image of  24x17cm on 35mm film. The camera features a fixed focus 25mm F/2.8 lens, which is typical for half-frame cameras.

The Auto Half camera incorporates a selenium cell metering system, which on many of these cameras isn't working due to the age of the selenium cell. It can no longer meter the light, but fortunately, I have one in excellent working condition. The selenium cell is located around the lens. The aperture has a range from F/2.8 to F/22. 

 The ASA (ISO) range for the film speed on the Auto Half camera goes from 25 to 400. The ASA is set on a dial located on the top of the camera.  The other setting on the dial is for "A" or automatic aperture. There are aperture settings on the dial, but these are for flash settings.

The metering is done automatically and sets the aperture to achieve the proper lighting for the subject you're pointing the camera at. When in the "A" or automatic mode, the camera sets the shutter speed to 1/125th and sets the aperture. When you use a flash, the shutter is set to 1/30th of a second, and then you manually set the aperture depending on the distance to your subject.

 According to the Auto Half manual, the only indication that the camera's lighting will be set automatically is a yellow dot appearing in the center of the viewfinder. If the yellow dot doesn't appear, then the camera will not set the proper aperture, and the image will be either too light or too dark. 

To load film into the camera, there is a lever on the side of the camera that slides down to open the back of the camera. Once open, load the camera as you would any 35mm camera, putting the film cartridge on the right side and slipping the leader under one of the silver tabs on the left. Close the back of the camera, and wind the clock drive winding lever located at the bottom of the camera in a clockwise direction. Continue winding until you can no longer wind. Click the shutter a couple of times to get to your first exposure. You're all set to take photos. The winding motor will last approximately 25 frames before it needs to be wound again.

 The frame counter is right next to the rewind lever. To rewind the film into the cartridge. The rewind release button is in the middle of the winding motor. Press the rewind button, and rewind the film into the 35mm cassette. Once that's done, you can open the back of the camera, remove the film, and have it processed.

My Results:

I loaded the camera with a roll of film and took it with me for a walk around the block with our 15-year-old Pug, Ernie. These walks are getting a bit slower every week, so I had time to snap photos of some of the houses in the neighborhood, as well as many of the flowers in people's yards.

 I wanted to push the limits of the camera and see just how close I could get to capturing a reasonably sharp image. It appears that the minimum focus distance is right around 3-4 feet, even with 200 ISO film in the camera and on a very bright summer day, around noon.

 Here are some of the images I took.

Conclusion:

I think I'm more impressed with this camera than the Canon Demi I did a couple of weeks ago. There was a bright yellow dot in the center of the viewfinder, so I trusted the meter's exposure, which was pretty accurate.

 The focus was pushed, and I received a few blurry images, which I had anticipated, but overall, the camera did a fantastic job. The transport worked flawlessly, the exposures were accurate, the camera fit nicely into my pocket, and all I needed to do was put the camera to my eye, frame the photo, and press the shutter button…Fantastic!!!!

 I'll be using this more often, since it's a small, compact, lightweight, and accurate meter. A real treasure to have in my collection. Now all I need to do is find other models and designs. I think this may be the start of something fun.

 Thank you for taking the time to read about this compact bundle of photographic bliss—a real underappreciated camera from the 1960s.

 If you're interested, you can read more of my camera reviews by clicking on the link.

 I have a store on eBay where I sell some of the cameras featured in my camera reviews, as well as a variety of photo odds and ends. Take a look at Cuny's Camera and Photo.

 Until next week, please be safe.

Capta Camera

My Capta camera

When visiting another country, I research to find out if there are cameras made in that country that I'm unaware of. If I'm fortunate enough to find one, I can add it to my collection. We were fortunate enough to plan a trip to Barcelona last month, as my wife had a conference to attend and participate in, so I planned on tagging along on the journey to Spain.

 I had a few objectives for this trip, as I'd have time on my own. These objectives were to use my new Fujifilm camera, shoot black and white with my Widelux F7 camera, and attend local flea markets to find Spanish cameras that I wasn't aware of. All three objectives were accomplished. 

 At the local flea market in Barcelona, I stumbled upon a hidden gem-a relatively unknown Spanish Bakelite camera, a Capta camera in a tattered case. The thrill of this discovery was palpable. The camera was in good working condition, took 120 film, and had a 6x4.5 format. I didn't see any chips in the Bakelite. For a decent price, I eagerly made the purchase, already envisioning the stories I would share about this Spanish wonder.

 Upon returning home, I eagerly unpacked the Capta camera. Despite its better-than-expected condition, it was covered in a layer of grime, likely from the leather dust of the case. I  cleaned the camera with a soft cloth, Q-Tips, and lightly soapy water, restoring its original charm. With the camera now sparkling, I was ready to delve into its history and put it to use.

History:

Julio Matutano Benedito

Capta was the brainchild of Valencian pictorialism photographer, Julio Matutano Benedito. Born into a modest family in 1892, he had a passion for art from an early age. At the age of 12, he began his apprenticeship with a local sculptor. Between the ages of 14 and 20, he attended evening classes for artistic drawing at the School of Craftsmen in Valencia. 

 He was an accomplished engraver with his shop in Valencia until he took up photography in 1923, where he honed his craft by taking photos of his family. In 1928, Julio Matutano and a group of his friends formed Foto Club Valencia. Between 1928 and 1936, Julio Matutano won several national and international awards for his photography.

 In 1935, Julio Matutano changed careers. He embarked on designing and manufacturing a new camera company in Spain. His first creation, the Nerva, was a testament to his innovative spirit. This camera, made from stamped aluminum, used 127 film with a 3x4cm format and featured a German Rodenstock lens. It was a true pioneer in its time, selling for 13 pesetas, equivalent to approximately $35.00 in today's dollars.

 In 1942, he designed a wooden camera with a SACO (Sociedad Anónima de Cristales Ópticos) lens, which took 127 film in a 6x4.5 format, named PERFECTA. I couldn't find this camera anywhere, except for the German Perfecta. If you have any information on it, please let me know.

 Julio Matutano registered the CAPTA trademark in 1944. That year, he also designed and introduced the Capta I, a Bakelite camera manufactured by Industrias Sintéticas Abril in Barcelona. The camera featured an optical viewfinder on top and used 120 film with a 6x4.5 format. At this time, the Capta sold for 101 pesetas. Later in 1944, Capta introduced the Baby Capta. I created a smaller version of the Capta, which I named the Baby Capta, featuring a metal face and capable of taking 127 film in a 6x4.4 format. This camera was marketed for a younger audience.

 The Captaflex was designed in 1947. The Captaflex was a Bakelite camera that took 120-size film with an unusual 52.5 x 52.5 cm image area (6x6) format. The camera had a 90mm f/8.5 lens and a helical screw, variable focus lens capable of focusing from 1.5 meters to infinity. The camera bears a strong resemblance to the British-made Ensign Ful-Vue camera. Unfortunately, Julio Matutano died in 1947 before the camera came to market, but his two sons, Julio and Vincente, who had been working in the company since they were 12 and 13. Both sons were artists when they took over the company and moved it to Valencia. From then on, the company's logo was JVM, and the Captaflex was released in 1948 for 375 pesetas.

 The brothers expanded the business during the 1950s, as the resurgence of photography following World War II gained momentum. In 1952, the Capta II was introduced, featuring a coated lens, a focusable lens, and an accessory close-up lens.

 Capta's first 35mm camera, the Capta 35, was introduced in 1953. A 24x24 format camera made of injected aluminum alloy with three shutter speeds and a rectilinear lens. In 1955, the company expanded into other areas and introduced the Capta-Movie. In 1956, Capta introduced the Universal Tank, a film developing tank compatible with 35mm, 127, and 120 films.

 After 1959, the collaboration with Gaspar Mampel ended, and Capta started selling all its products directly to the public. During this time, Capta introduces a microscope, an enlarger, and several other photo-related products. In 1966, the company ceased all production and closed due to extreme financial difficulties.

My Camera:

My Capta camera is 5" wide by 4" tall by 2.75" deep and weighs 10.2 oz without the fitted leather case. The Capta is a straightforward camera with a fixed focus, meniscus lens, and a basic optical viewfinder on top. The camera is a 6x4.5 vertical format camera, and it also has a tripod socket on the bottom.

For shutter speeds, the Capta camera has either "I" for instant, or "P" for timed exposures. These are set by pulling out or pressing in a metal bar that sets the shutter's capability, which is on the right side, below the lens. According to my shutter tester, the shutter speed is 1/40 for instant exposures. The shutter release is above the lens at an approximate 11:00 position, and above the "CAPTA" name on the front of the camera. A shutter release cable can be connected to the shutter release for timed exposures.

To load the camera with film, the back is held to the body with friction. There is no locking mechanism on the camera that secures the back onto the body. On the side of the camera are two small tabs. Push these two tabs apart, and the back separates from the camera body, exposing the area where you load the film. When the camera back is off the body, and you're ready to load film into it. There are three "wings" that can be pulled up to insert the film. These wings make it easier to load the film as opposed to trying to jam the film roll into one of the sides of the camera. There was an interesting empty spool in the camera from a film manufacturer I wasn't aware of. The spool is from Infonal, a Spanish film manufacturer in Barcelona.

The side with the take up spool and winding knob only has one wing that lifts to help load the film. Loading the empty spool is a bit more challenging, as the winding knob doesn't lift to assist with loading the empty spool. After a bit of wiggling, the take-up spool fit into the correct position. Once the film is in the camera, all you need to do is press the back onto the body, and friction hold the back in position.

 The red window on the back of the camera seemed low for the numbers on my roll of film. Still, I was able to see the numbers as they passed and stopped at the appropriate places to capture the whole roll of images on the film.

 

My Results:

I loaded a roll of T-Max 100 film into the camera and took it for a walk through the neighborhood. I should have given the camera one more Spanish experience by purchasing a roll of 120 film at Casanova Camera in Barcelona and trying it out there; unfortunately, I didn't think of it, so I was forced to use the camera in my neighborhood.

 After developing the negatives, I was pleasantly surprised by the results. While the images were relatively sharp in the center, the fall-off of sharpness is rapid as you move to the outer portions of the image, making this a wonderful Lomography camera. It almost has a very dreamy effect on the outer edges which I personally like.

Conclusion:

The camera was enjoyable to photograph with. Using the camera was really applying photography's basic rules, which include ensuring the sun is behind you, framing the image in the viewfinder, pressing the shutter release, and winding to the next frame. In today's world, we'd call this a "point and shoot" camera, as it has no settings. Am I taking photographs or snapshots? Does this make it better or worse? That could be a topic for discussion on another day.

 My trip to Barcelona was a successful one. I photographed many beautiful areas of the town, uploaded my favorite Widelux Images of Barcelona, and purchased a relatively unknown and simple Spanish camera to add to my collection.

 Click on the link to see other cameras I've reviewed from my collection.

 If you're interested in older and collectible cameras, I do have a store on eBay, Cuny's Camera and Photo, where I sell cameras, lenses, and other camera items.

 I'd love to hear from you. If you have a question, comment, or concern, please don't hesitate to contact me.

 Thank you for taking the time to read about this little known Spanish camera.

 Until next week, please be safe.

Lark & Kandor "Sardine Can" Cameras

When I was younger and starting to collect cameras, I can remember looking at the Lark Camera in McKeown's camera book, the bible I use regularly, and seeing this odd and unusual-looking camera that appears to have been made out of a sardine can. The funny thing is, that's what they called this style of camera coming from the Irwin Company of New York.

 Another fascinating item about this camera is that few of them come up for sale on eBay, and when they do, they sell in the $100.00 range. My guess is because of their unusual design and looks, along with the popularity of Lomography that's taken place in the past twenty years and the rise of film photography again.

Recently, I had the opportunity to pick up not only the Lark camera in three different versions but also its twin brothers, the Kandor Camera, which came in different versions, too. The price was right for all five cameras and a few other camera gems. I snatched all five cameras and decided to write a blog post since you don't see much about them online.

HISTORY

Before I dive into the cameras I purchased and some of the refinements, Let me tell you what I know about the Irwin Corp. of NY, Irwin Corporate History which made these interesting cameras. The folklore of how the camera company started is that an American sailor was in France in the early 1930s and made a camera from a sardine can. After his release from the service, the sailor moved to Chicago and teamed up with some mobsters who helped him import sardine cans to manufacture these cameras.

This is a charming and far-fetched story, especially since the Irwin Corporation was located at 27 W. 20th Street in New York. After doing a bit of digging, I found where someone admits he made up that story. You can find it here: French Site

 In my opinion, there must have been some link between Irwin Corp. and some of the Chicago camera companies during this timeframe, as the faces of the cameras on the Lark and Kandor cameras are very similar to those of companies like Falcon Camera Co. and Herold Mfgr. My guess Utility Mfg Co, which had ties in NY and Chicago, was somewhat involved.

 Irwin Corp also made a few fundamental TLR cameras, as seen from the website above.

THE CAMERAS

When the cameras arrived, and I started taking them out of their bubble wrap, the first thing I noticed was how hefty they were. I was expecting a very tinny and flimsy camera, but these cameras have a bit of heft. Maybe sardine cans were heftier in the 1930s and 40s, but it surprised me.

Simple screws holding the lens barrel in place.

The camera measures 5" wide by 2.75" tall body, then another 1/2" for the viewfinder, which brings the total height to 3.25", and from the back of the camera to the front of the lens is 2.5". The Lark and Kandor cameras are a very oddly built camera with the lens barrel screwed onto the body by two screws placed on the top and bottom of the lens flange. As mentioned above, the face of the camera has a very similar look to the cameras from Utility Mgf. Co. 

Lark Camera showing viewfinder and Art Deco Design

 Another wonderful design of both the Lark and Kandor cameras is the beautiful Art Deco look to their faceplates and each model's unique design and look. Some of the cameras are somewhat plain, while others have chrome stripes on the body and elaborate faceplates, which just exude the look of the Art Deco period.

The front of the camera does not list a maximum aperture, but it does state that it has a 50mm Eyvar lens with shutter settings of either time for "bulb" or long exposures or Inst for normal snapshots. My best guess is that the "inst" shutter shoots at around 1/50 shutter speed.

More robust viewfinder on one of the Kandor cameras

The camera has a simple viewfinder strapped onto the top and held into place by two small chrome rivets. On the front, there is a chrome fitting with a rectangular mask, and on the rear, there is a chrome fitting with a round mask. The Kandor Classic has a more elaborate chrome-fitted viewfinder, so this must have either been a later model or just a more robust version.

To open the back of the camera to load the film, you unscrew a thumb screw on the back of the camera. The Kandor camera doesn’t have the screw on the back, but a more simple “press on” method. The back of the camera wraps around the body and has some foam where the body meets the back plate. The camera produces 1.25" x 1.75" size negatives on 127-size roll film. Two red windows on the back of the camera show the numbers printed on the film's paper backing, so you know what frame you're on when taking photos. On the top left of the camera, as you're holding the camera to take a pictures, is the winding knob to advance the film to the next frame.

I wish I had some 127 film to take photos with these cameras, but if/when I get some, I'll add to this blog post. For now, I don't have images I can share.

CONCLUSION

While these cameras aren't elaborate, as they are just the opposite, they are essential and just a step up from pinhole cameras. They are very well-constructed cameras, but their shining point is the look of the cameras. They are a real bright point to put into your collection, and while I've been looking for these for a while, to get five of them at one time and for a reasonable price, I plan on keeping them for a bit to spruce up the collection.

 I plan to do more writing and blogging in the future. I took a few years off to run a few photo companies, but I plan on retiring soon and getting back into writing about my camera collection again. 

 Thank you for taking time from your busy schedule to read my blog. I appreciate it. Until my next post, please be safe and well.