Zeiss Ikon Ikoflex III (853/16) camera

My Zeiss Ikon Ikoflex III camera

My first real camera, a Univex Uniflex, was a gift from my Uncle Bud, my mother's younger brother. He was a free-spirited soul, living a bohemian lifestyle that left a lasting impression on me and my older brother. This camera, a symbol of his unique spirit, became my gateway to the world of photography. 

 Uncle Bud was the photographer in the family gatherings, went to art school in Chicago, where he met his wife, made wine, went antiquing, purchased an old school bus, and was converting it into a camper for the family, was health-conscious, all of this in the 1960s, as I was young and impressionable. 

 I tell you this because the Univex Uniflex was a somewhat inexpensive twin-lens reflex camera that I used for many of my early years taking photos, so the twin-lens reflex style has always felt comfortable to me. I've always enjoyed looking through a larger viewfinder and framing my subject, albeit backward when looking down into the camera. It's similar to looking through a view camera, although the view camera isn't backwards, just upside down. 

 Last week, as my wife and I were in Yosemite and the San Francisco Bay Area. One of the reasons we went there was that on the first Sunday of the month, there's a large flea market in Alameda, which I miss since moving away from the area about 9 years ago. I planned the trip partly to visit the flea market and look for cameras and other photo items.

 I arrived at the flea market early and started looking over the many tables. At one of the tables, I found this fantastic Zeiss Ikoflex III camera I've been looking for for many years. As I picked up the camera, the shutter worked at higher speeds and lagged at lower speeds. The lens was clean and the transport worked well. 

 After a bit of negotiation, I left the flea market with the Ikoflex III and a few other small items. The joy of this find was so great that I couldn't wait to share it with you, my fellow camera enthusiasts. Even though I had recently written about the Zeiss Contaflex camera, the Ikoflex III was a gem that I couldn't wait to put a roll of film into and share its story on my camera blog.

Ikoflex History:

 The Zeiss Ikoflex emerged in 1934 as Zeiss Ikon's direct answer to the burgeoning success of the Franke & Heidecke Rolleiflex. The inaugural model, affectionately nicknamed the "Coffee Can" for its distinctive upright, cylindrical body, marked a departure from the more conventional TLR design. This initial offering was a clear statement of intent from the German optics giant to compete in the professional and enthusiast photographer market.

Ad for Zeiss Ikon Ikoflex III camera

 Throughout its production, which spanned until 1960, the Ikoflex series underwent significant evolution, with a clear demarcation between its pre-war and post-war iterations. Before World War II, Zeiss Ikon introduced several models, progressively refining the design and features. The early lever-wind and knob-wind "Coffee Can" models gave way to more streamlined, traditionally styled TLRs. These pre-war cameras often featured high-quality Zeiss lenses, such as the Tessar and Novar. They were equipped with Compur or Klio shutters, offering photographers a range of options in terms of both price and performance. A notable pre-war innovation was the Ikoflex III, introduced in 1939, which boasted a fast f/2.8 Tessar lens and a unique Albada direct-vision viewfinder integrated into the focusing hood, setting it apart from its contemporaries.

 Following the end of the war, Zeiss Ikon resumed production in West Germany and continued developing the Ikoflex line. The post-war models, such as the Ikoflex Ia and IIa, reflected the technological advancements of the era. These cameras often featured coated lenses for improved contrast and flare reduction, as well as synchronized flash capabilities. The final models in the series, like the Ikoflex Favorit, even incorporated a built-in, uncoupled light meter, a significant feature for the time.

 Despite its innovative features and the esteemed Zeiss pedigree, the Ikoflex line always existed in the shadow of the Rolleiflex. While highly capable and well-regarded for their robust build and excellent optics, the Ikoflex cameras ultimately ceased production in 1960, leaving behind a legacy as a compelling, if not dominant, force in the golden age of twin-lens reflex photography.

My Camera:

 My Zeiss Ikon Ikoflex is in very good condition, except for some of the slower shutter speeds, which I'll exercise and hopefully bring back to life; otherwise, I'll have it CLA'd. The camera's serial number is 836152, and it has a Carl Zeiss Jena Tessar 8cm f/2.8 lens, serial number 1851589. The camera is 6" tall when the light chimney is closed and 8" tall when it is open, by 4" wide, including the focus knob and film winding lever, and by 4.25" deep when the camera is focused at infinity.

To open the light chimney and look into the viewfinder, on the back of the camera, behind the closed chimney, is a button to press to open it. Unlike many twin-lens reflex cameras, the light chimney opens from the front rather than the rear, which I find interesting. On the right side of the back wall, the small switch locks and unlocks the flip-up magnifying glass for critical focus on the ground glass. On the side walls of the light chimney are "Zeiss Ikon" on one side and an exposure index on the other.

 If you want to use the Albada sports finder, it shows bright frame lines as you peer through it, and the front of the light chimney is a very polished, mirror-like surface, very similar to the previously mentioned Zeiss Ikon Contaflex TLR camera. To close the chimney, fold down the sides, then the front, and finally the rear portion. 

Similar to the Rolleiflex, both the aperture and shutter speed settings can be viewed when peering down the light chimney. Two separate windows show the aperture setting on the left and the shutter speed on the right. To move either setting, there's a lever on each side of the lens; slide it up or down to change the setting. The shutter speeds go from 1/400 to 1 sec, along with "B" for timed exposures. The aperture goes from F/2.8 to F/22. Just behind the shutter-speed slider is the cable release socket. Just to the right of the lens is a small round window that shows black when the shutter is tripped, and red when the shutter is cocked and ready to shoot.

On the right side of the camera, from top to bottom, is the frame counter in a stylized circular window, placed directly behind the shutter release. To activate the shutter, you press down on the shutter release to take the photo, which I prefer to pressing into the camera's body. The main object on the right side of the camera is the transport/winding lever. It is so much more than just a film transport lever; it also cocks the shutter with only about half a rotation. 

On the left side of the Zeiss Ikon Ikoflex II camera is the focus knob, which has a minimum focus distance of 4' to infinity. Just above the focus knob is the depth-of-field scale for the different apertures. Above and below the focus knob are two knurled knobs that can be pulled out to load and unload the film once the back of the camera is opened.

To open the back of the camera to load the film, there is a small disk on the back that is pulled down to open the back. The back will flip down, unlike Rolleiflex cameras, where the back pulls up. Loading the film is just like any other twin-lens reflex camera. Once the new film is on the bottom, bring the lead to the top spool and thread it into the slot, and wind the transport lever. Do this until the arrows on the paper backing point to two white dots on the side of the film chamber. At this point, close the back and wind until you see frame number 1 in the frame counter. Do not go past the first frame (frame 1) in the film counter, or you'll lose images on the film. This may be a flaw in my camera, but at first it doesn't stop at frame 1.

 

My Results:

 The forecast for the end of last week called for rain, so on Wednesday, I loaded up the camera with film and took a short drive to Duggan Falls in Washougal, WA. It's about a 30-minute drive. While it was overcast, it wasn't raining, and I wanted to try the Ikoflex III before the rain hit.

 The camera produced very sharp images. Here are a few photos I took at the falls.

Conclusion:

 The Zeiss Ikon Ikoflex III camera was an absolute pleasure to shoot with. It was similar to many other twin-lens reflex cameras. The viewfinder could have been a bit brighter, but the focus knob was smooth and easy to move. The shutter speed and aperture windows seem a tad dark, but the camera is close to 90 years old, so a good CLA would brighten them up nicely.

 I really enjoyed the short turn of the transport lever. I was surprised that such a small motion would properly transport the film AND cock the shutter, too. It does a fantastic job, and it's one of the reasons I enjoyed the camera so much. Overall, an excellent camera to have in the collection, and one I'll be taking out more often to shoot with, given how sharp the images are.

 Thank you for taking the time out of your day to learn about this fantastic vintage German camera.

 Here's a link to my other Camera Reviews.

 I also have a store on eBay, Cuny's Camera and Photo. Stop by sometime and see what cameras and other photo oddities I have for sale.

 Until next week, please be safe.

Ensign Ful-Vue camera

My Ensign Ful-Vue camera

My wife and I were planning a trip back to California, visiting one of my favorite places on earth, Yosemite, and then heading to San Francisco to visit a friend whom we had moved away from nine years ago. We had been going to Yosemite together since before we were married in the mid-1970s, and there are just so many beautiful and memorable events that have happened there. It doesn't matter what time of year you go; there are things to see and photograph that make it a magical place for us to visit.

 As I was browsing through the many cameras on my shelves, I must have had a subconscious desire for the Ensign Ful-Vue camera. As I looked at the camera and thought about Yosemite, I noticed that the shape of the top of the camera's viewfinder resembles the shape of Half Dome in Yosemite Valley. 

 As I've mentioned in several blogs, I have a passion for colored cameras, so I have two different Ful-Vue cameras in my collection. I have an Ensign Ful-Vue camera that's red in color. Why have a black camera when there are cameras in various colors? This camera was also sold in Black, White, and Blue colors. The other Ful-Vue camera I have is a Ross Ensign Ful-Vue Super in burgundy. The Ross Ensign Ful-Vue Super is a later and more refined camera than the earlier Ful-Vue I took to Yosemite.

The two Ful-Vue cameras in my collection

 It might be fun to put a roll of film into the camera and take it with me to Yosemite. It doesn't take much room in my bag, and I have plenty of 120-size film in my refrigerator, so that's the plan. As I was packing for the trip, I threw a roll of 120 T-Max 400 film, along with the Ensign Ful-Vue camera (a Half Dome lookalike), into my bag and took it with me on the trip.

 Another thought about taking the Ensign Ful-Vue to Yosemite was that the camera is straightforward, and it would be fun to take snapshots of Yosemite as my wife and I walked around the park, taking in all the natural wonders. It would be like I was 8 years old, and I would take my Kodak Holiday camera on summer vacations, taking random photos of the family and other interesting views. 

 That's where my love for photography began, wandering through summer vacation spots with my family, taking photos of the interesting things I enjoyed, and looking back at them to remember the time spent with my family or friends. To this day, I look back at photos with friends that we took when we were younger, and many bring a smile to my face as I recall these memorable times.

History:

 Houghton and Ensign were pivotal names in the history of British photography and camera manufacturing, known for innovation, extensive product lines, and significant contributions to photographic technology from the 19th to the mid-20th century.

French ad for the Ensign Fun-Vue camera

 The roots of Houghton trace back to 1834, when George Houghton, together with Frenchman Antoine Claudet, managed a glass warehouse in London known as Claudet & Houghton. The company initially focused on optical and sheet glass products, but the rise of photography in the late 1830s opened new avenues, with Houghton quickly supplying materials for Daguerreotypes.

 After Claudet died in 1867, the firm became George Houghton & Son, as George Houghton's son joined the business. The family firm steadily expanded, becoming George Houghton & Sons by 1892, and deepened its involvement in the photographic equipment industry.

 By the late 19th century, Houghton was producing a wider range of photographic supplies and had become a full-fledged manufacturer of cameras. Among their early notable products was the Sanderson camera, produced from 1895 to about 1910, which became renowned for its quality. In 1901, they launched the Ensign brand of photographic film, marking the rise of a name that would soon become synonymous with the company's signature camera line.

 In 1903, Houghton introduced Ensign Daylight Loading Film, a crucial development that broadened consumer access to photography. This innovation was followed by the absorption of several other camera firms in 1904, including Holmes Bros. (makers of the Sanderson), A.C. Jackson, Spratt Bros., and Joseph Levi & Co., which formed Houghtons Ltd. This move enabled large-scale production and a wider range of camera selections.

Ad with different colors available

 With their expansion and absorption of other brands, Houghton established the Ensign Works in Walthamstow around 1905. By 1908, it was the largest British camera factory, employing over 700 people. Houghton's reputation was further cemented with magazine cameras such as the Klito and the innovative folding Ensignette.

 In 1915, Houghton's Ltd. partnered with W. Butcher & Sons to form the Houghton-Butcher Manufacturing Company. The merger strengthened their manufacturing and distribution during turbulent times.

 In 1930, Ensign Ltd. was formally established, representing the heritage of both Houghton's and Butcher's. The Ensign Ful-Vue, introduced in 1939, became iconic for its simplicity and bright viewfinder, attracting amateur photographers and children. Throughout the 1930s and 1940s, Ensign was renowned for its box cameras and advanced folding models, such as the Multex.

 World War II brought massive challenges. The company's London headquarters suffered severe bomb damage in 1940. While Ensign continued to manufacture at Walthamstow, the brand's prominence waned in the post-war years.

 From its origins in optical glass to producing some of Britain's finest and most popular cameras, Houghton and Ensign chart a history of adaptability, invention, and a lasting impact on the UK photographic market.

My Camera:

 My Ensign Ful-Vue is 4" tall by 4.25" deep and 3.25" wide, and weighs 14.2 ounces, so not even a pound. It's viewfinder on top is one of the dominate features of the camera. The size of the viewfinder itself is 1.5" square on the top of the camera, and with the camera being the small stature it is, makes the viewfinder seem huge when looking at the camera.

The Ensign Ful-Vue camera is the epitome of the classic snapshot camera, as there are really only a few settings on the camera that you need to make before snapping the photo. There is a shutter setting for either "I" for instant or "T" for time, allowing for a longer exposure. There is a tripod socket on the bottom of the camera, but there is no cable release socket available for use if you want to make a timed exposure with the camera.

 The other setting in the Ensign Ful-Vue camera is focus. The lens is set to three different focus distances: 2 meters, 3-5 meters, and 6 meters to infinity. Turn the chrome rig and point the red dot on the front of the ring to the desired distance to set your focus distance. There is a separate flash PC outlet to connect an external flash, ideal for low-light photography. The flash would have to be screwed into the tripod socket, and it would be located on the left side of the camera, I guess.

To take a photo, the shutter release is located below the black nameplate, where the lens is positioned, and is pulled up to activate the shutter in the camera.

 Loading the film is pretty straightforward on the Ensign Ful-Vue. On the left side of the camera is a locking lever that you turn clockwise to unlock the film chamber from the camera body. Once the film back is unlocked, the film chamber slides out of the camera body. Once the film chamber is removed from the camera body, you load the camera like any other roll film camera. Just ensure the film covers the larger area, rather than the thinner area closer to the lens.

 Once the film is loaded into the film chamber, slide the chamber back into the camera body and secure it in place by turning the locking ring counterclockwise to lock it into position. On the right side of the camera is the camera's film advance knob. Turn the knob until you see the arrows inside the red window on the back of the camera. 

Just above the red window on the back of the camera is a small knob that opens and closes the curtain, preventing light from coming through the red window. Make sure the curtain is open so you can see the film advancing. If you don't, you'll wonder when it will get to number one and go through the entire roll of film before noticing something is wrong. Once you see the arrows, slow down because you're coming to number one and your first exposure.

 

My Results:

 The Ensign Ful-Vue was a great camera to take to Yosemite, although looking back, the one thing I wish I had taken was a comparison photo of the Ensign Ful-Vue and Half Dome. I should have taken a picture with my phone of me holding the camera up with Half Dome in the background to show the comparison between the two. Like they say, hindsight is 20/20.

 The camera actually did pretty well. The photos are relatively sharp, the viewfinder was HUGH and bright to look through. 

 Here are a few examples of the photos in Yosemite and San Francisco.

Conclusion:

 The camera was what I expected. The viewfinder was very easy to work with and made centering the image easy. The only thing I wish the camera had that I was surprised it didn't have was the ability to use different aperture settings. Generally, even the most basic of cameras offer the option of two different apertures. Not on the Ensign Ful-Vue, though.

 Thank you for taking the time to read about this very basic, but oddly shaped camera. It was fun to throw it in my camera bag and have something fundamental to use at times.

 Here's a link to some of my other Camera Reviews.

 Stop by Cuny's Camera and Photo if you're interested in purchasing some of the cameras I've reviewed. I also have many other photo odds and ends that interest you.

 Until next week, please be safe.

Photax 1 camera

My Photax camera

This summer, as my wife and I visited Barcelona on a day when my wife was working, I decided to go to the local flea market to look for photo items to add to my collection. Attending local flea markets is something I look forward to, especially when we visit new cities and countries. My main objective was to find a camera built in Spain, which I accomplished by purchasing the Captain camera, which I reviewed earlier this year.

 Strolling the stalls at the flea market, I came across a very large Bakelite camera, which intrigued me. It was a Photax 1 camera made by MIOM in France. What I liked about the camera was its large size, and that came with the original fitted case. As I pulled out the camera to examine it, I noticed a very familiar twist-out style lens, and the shutter was working, which gave me confidence in my purchase. Talking to the person at Stoll about pricing for the camera, I offered a reasonably low price, which they rejected. However, they came back with a counteroffer, which I needed to consider for a while.

 As I spent more time examining different stalls and cameras. Still, my mind kept returning to the Photax 1 camera, which is the large camera with the untwisting lens. Before I left the flea market, I went back to the stall and renegotiated the price with the camera owner, coming to an agreeable price and purchasing the camera.

 This camera was one that I wanted to write about. It's an unusual-shaped camera made of Bakelite and is quite large. When I opened the back of the camera, I noticed that it was a 6 x 9 cm format, which intrigued me. Many of the cameras made by 

MIOM we're a smaller format, generally 6 x 4.5 cm.

 Let me tell you a little bit about the company.

History:

 MIOM (Manufacture d'Instruments d'Optique et de Mécanique) was a French company known for producing optical and mechanical instruments in the mid-20th century, particularly cameras. The firm operated mainly from the post-World War II era into the 1960s, a time when France was striving to rebuild its industrial base and compete in the rapidly evolving consumer goods market.

French Photax ad

 MIOM's roots were in precision engineering, and the company initially focused on optical devices before expanding into the field of photographic equipment. Its location in France allowed it to tap into a tradition of fine optical craftsmanship, drawing on expertise that had developed in Paris and other industrial centers since the 19th century.

 In the camera field, MIOM was best known for manufacturing compact and affordable models aimed at the amateur photography market. Among their most recognizable products was the MIOM Photax series—a line of simple, durable cameras using roll film. The Photax models often featured Bakelite bodies, a lightweight and inexpensive molded plastic popular in mid-century camera production. These cameras were designed for ease of use, appealing to the growing middle class and to families seeking to document their lives without investing in complex photographic gear.

 The Photax range evolved over the years, with various iterations accommodating different film formats, primarily 6×9 cm images on 120 roll film, and later 4.5×6 cm formats. Some models incorporated basic focusing and exposure controls, while others remained strictly fixed-focus, point-and-shoot devices. Though not technically advanced compared to contemporary offerings from Germany or Japan, MIOM's cameras were reliable, affordable, and accessible, helping to democratize photography in France.

 MIOM also ventured into specialized cameras, including stereo models, reflecting the brief postwar enthusiasm for 3D photography. Their designs maintained the company's hallmark of straightforward construction and modest pricing.

By the late 1960s, increasing competition from Japanese manufacturers, whose products offered superior optics and more advanced features at competitive prices, had eroded MIOM's market position. The brand gradually faded, and production ceased as the company either closed or shifted away from photographic equipment.

 Today, MIOM's cameras—especially the early Bakelite Photax models—are collected for their retro aesthetic and as examples of France's postwar consumer design. While they may never have rivaled the technical prowess of major brands, MIOM's work remains an essential chapter in the history of accessible, everyday photography.

 Below is a timeline outlining the evolution of MIOM's Photax camera series.

 1937 – Photax I- MIOM launches its photographic division with several models, including the original Photax (also branded as Camera 77, Loisirs), all of which use 120 film for 6×9 cm images. The Photax I is recognizable by its centrally positioned shutter button and Guillotine shutter, which offers two speeds. 

1938 – Photax II (and Blindé variant)- Introduced in 1938, the Photax II adopts the Boyer Serie VIII meniscus lens and maintains the simple two-speed shutter design. A "blindé" version appears—with a protective Bakelite lens cover that also shields the shutter release. 

1947 – Photax III- Following World War II, MIOM debuts the Photax III, featuring a threaded shutter release and leveraging the same Boyer Serie VIII lens. It introduces additional shutter settings (1/25 sec, 1/100 sec, and T) and continues to use the 620 film format. 

1951 – Photax IV (and IV F)- The Photax IV arrives with a Boyer Rexar meniscus lens and identical shutter options as the III, with enhanced flash synchronization. The IV F variant includes flash sync capabilities via a RIM shutter. 

1955 – Photax V- A stylish redesign marks the launch of Photax V in 1955. It features a modernized Bakelite aesthetic, bi-format capability (6×9 and 6×6 cm), and upgrades to an Angénieux Heanar Type V lens with full flash sync via RIM shutter 

1960–1962 – Photax VI -The final model in the Photax lineage, produced between 1960 and 1962, transitions from Bakelite to molded plastic, featuring a sleek, streamlined design. It's a square-format 6×6 medium-format camera that utilizes an Angénieux Heanar Type VI lens and RIM shutter with flash synchronization.

 

My Camera:

 My camera is 6 1/2 inches wide by 4 1/2 inches tall by 4 inches deep when the lens is unscrewed. In its closed position, the lens is 3 1/4 inches long. Without the case, my camera weighs 1 pound, 2.7 ounces.  The lens on the camera is a Boyer, Series VII lens.

The Photax 1 was produced for approximately one to two years, from 1939 to 1940. The Photax 1 camera uses 120 film, a departure from MIOM's earlier cameras, which used 127 film. As I mentioned earlier, this is a 6 x 9 cm format camera. The Photax 1 was sold with a film mask that allowed the photographer to shoot in the 6 x 4.5 cm format. Unfortunately, when I purchased this camera, the mask was missing, so my camera is only compatible with the 6 x 9 format.

 To extend the lines, there is a chrome ring around the lens with a knob at its top. Twist the ring clockwise, and the lens, which is on a helical screw, unscrews and moves into the taking position. The camera's controls are fundamental. There are only two shutter settings. One is "INST", which is for normal snapshots, and "POSE", which is for time exposures. These are changed by a little switch between the two settings. To control the aperture. There is a similar switch beneath the lens. One setting is the larger aperture, which is number one, and the second setting is for a smaller aperture.

There is no lock on the back of the camera to secure the back to the front of the camera body. To open the camera, on the right side, is a little foam plate that you pull away from the camera body, and the back of the camera comes off. To load the camera, follow a process similar to loading a 120 format or 120 film-style camera. The first thing you would do is to take the take-up spool from the right side of the camera and place it on the left side, under the film, and under the film advance knob. Place a fresh roll of film on the right-hand side and bring the leader over the shutter area. Insert the leader into the slot of the take-up spool and begin winding, ensuring the film advances smoothly. You turn the advance knob until you see "start" on the film's paper backing. At this point, put the back on the camera by just pressing it onto the camera‘s body.

At this point, wind the film advance knob until you see the number 1 in the first window, which is designated for the 6x9cm format. For the 6 x 4.5 format, you would wind until you see the number one in the number one window. After you take the picture, wind until you see the number one in the number two window. You repeat the steps through number eight, which would be the end of the roll of film. For 6 x 9 cm format images, you get eight images per roll. For 6 x 4.5 cm format, you get 16 pictures per roll of film. 

Fitted case for Photax 1 camera. Note the large plastic front cover.

 IMPORTANT: Be sure to turn the chrome ring so that your lenses are in the taking position before you start taking photographs. Failure to do this will result in your pictures being incredibly out of focus. On other MIOM cameras, if the lens is in the transport position, the shutter will not work. Unfortunately, with this camera, the shutter works when the lens is in the retracted or transporting position.

 The viewfinder on top of the camera is tiny, making it difficult to view your subject when framing your photograph. To take your photograph, the shutter release is located in the upper right-hand corner of the lens. Press the shutter button to take your picture. My camera has a cable release socket, and on the bottom of the camera, there is a tripod socket as well.

My Results:

 I cleaned the lens on the camera, loaded a fresh roll of 120 film, and took a walk around the neighborhood to see how this camera would perform.

 For 100% transparency. I broke my arm two days before I took these photographs. It was challenging to hold the camera while taking the photos, so some of the blur or out-of-focus images may have been caused by camera movement.

 Here are the results.

Conclusion:

 The images produced by the camera were disappointing. I'm not sure if the blur in the

photo was caused by my lack of holding the camera still. According to the information on the back of the camera, the minimum focus distance is approximately 1 m. Many of the photographs I took, I tried to be more than 1 m away from the subject.

 Due to the sunny situation, having only one shutter speed to work with, and using the smallest aperture, the photographs are unimpressive. At this point, I'm not sure I'll use this camera again due to the quality of the images, which I found disappointing, especially considering it's a 6x9 format camera.

 Thank you for taking the time to read about this interesting Camera from France, built in the late 1930s. 

 If you're interested in seeing other camera reviews, click the link.

 I also have a store on eBay where I sell some of the cameras reviewed, along with a host of other photo items, Cuny's Camera & Photo.

 Until next time, please be safe.

Nagel-Kodak Pupille

My Nagel-Kodak Pupille camera and case

Just after I finished last week's blog on the Ricoh Auto Half cameras, I was looking around the cameras on my shelf in my office, thinking which camera I'd write about this week. Nothing stood out to me, so I figured I'd let it rest for a day or two and think about it.

 Going to bed that evening, a camera popped into my head out of the blue. Having a thought or remembering something from earlier in the day is something that often happens to me, generally just as I lie down to go to sleep, something pops into my head, and that's just what happened.

 The thought that came into my head was that I remembered having a nice condition Nagel Pupille camera in a box a few months back, which I store with some of my better cameras. That's the camera I wanted to write about for this week's blog post.

 After I woke up, had my morning coffee, I settled into my office and opened the box of cameras to look for the Pupille camera I had. Right on top of other cameras was the case. I pulled out the case, and inside was the Pupille camera. Looking at the camera a bit closer, I say this was the Kodak version of the Pupille, which was introduced a year or so after its release.

Logo on the camera’s back

 It was just as I remembered it. The camera was in excellent condition with the lens cap. The first thing I did was test the shutter, and most of the speeds seemed accurate to my ear. Some of the slower speeds were not closing, which is somewhat accurate for a shutter almost 100 years old. The upper speeds were working fine, so I figured I'd put a roll of 127 film into the camera and take it to the county fair my wife. I were planning on going to over the weekend.

 I recall purchasing the camera approximately 15 years ago at an auction I bid on. At the time, it was a lovely addition to my collection, especially since it came with the lens cap and a nice, fitted case for the camera. 

 The Nagel-Kodak Pupille was a camera I had intended to write about a few years ago when I started my blog posts, but then forgot about it for a while. When it popped into my head last week, I'm thrilled it did. 

History:

Dr. August Nagel (1882–1943) was a pioneering German camera designer and manufacturer whose innovations profoundly shaped photographic technology in the early 20th century. Born in Pfrondorf, Germany, Nagel displayed an early interest in camera construction. In 1908, at the age of 26, he co-founded his first company, Drexler & Nagel, in Stuttgart. This company quickly evolved into Contessa-Camerawerke, and by 1910, it had produced a broad range of camera models, which were distributed globally. Nagel's innovations during World War I included specialized aerial and balloon cameras, and his achievements earned him an honorary doctorate from the University of Freiburg in 1918.

 Seeking further growth, Nagel's company merged with Nettel Kamera-werke in 1919, becoming Contessa-Nettel, which became one of Germany's most significant camera producers. In 1926, in response to market pressures and Zeiss Stiftung's interest, Contessa-Nettel was merged with other major German camera makers to form Zeiss Ikon, with Nagel as director of manufacturing. However, management frustrations and a loss of control led him to leave Zeiss Ikon in 1928, after which he established his factory, Dr. August Nagel Werke, in Stuttgart.

French ad for Nagel Pupille camera

 Nagel Werke quickly gained a reputation for producing affordable, high-quality folding plate and roll film cameras, notably the Vollenda models, introduced in 1929, and the more expensive Pupille, introduced in 1930. This success attracted Eastman Kodak, which sought to compete in the European precision camera market. In 1931, Kodak acquired Nagel Werke, making Dr. Nagel the general manager of the rebranded Kodak AG. 

 With Kodak's backing, Nagel devised the Retina 35mm camera and, critically, introduced the Kodak 135 film cartridge in 1934—a pre-rolled 35mm film format compatible with both Leica and Contax cameras. This cartridge would become the global industry standard for 35mm photography, marking Nagel's most enduring legacy.

 Under Nagel's leadership, Kodak AG's Stuttgart plant became known for its Retina cameras and innovations throughout the 1930s. Almost two million cameras were produced before World War II. Dr. August Nagel died in 1943, but his influence continued; camera production resumed post-war and flourished into the 1960s under his son, Helmut Nagel. Dr. Nagel's career typifies the innovative spirit of early photographic engineering and established many of the standards still recognized in the industry today.

My Camera:

My Kodak Pupille camera is a tiny, compact camera that measures 4" wide, by 2.5" tall with the viewfinder retracted and 3.5" with the viewfinder opened. The camera is 2" deep with the lens retracted and 2.75" deep when the lens is in the regular taking position. The camera weighs 14.5 ounces when empty, excluding film.

The camera captures a 3x4cm image on 127mm film. My Pupille camera has a Jos. Schneider & Co. Xenon 4.5 cm f/2.0 lens. The camera also had the option of Leitz Elmar 5cm F/3.5, a Schneider Xenon 5cm F/3.5, or a Cook Anastigmat 2" F/3.5 lens, all in a Fr. Deckel Compur shutter.

 On top of the camera, there is an optical finder that pops up, displaying a vertical image. If you want to photograph a horizontal subject, you'll need to turn the camera 90 degrees to photograph in landscape mode. Looking from left to right at the top of the camera, there is the film winding knob, the optical pop-up viewfinder, a removable accessory shoe for a separate rangefinder, and under the accessory shoe, the depth of field scale.

To take a photograph, you first need to slide the lens into the "taking" position. This is done by sliding the lever, located under the lens, to the left when facing the camera. Moving the bar slides the lens out from the camera body. The lens is mounted on a beautifully constructed helicoid, which becomes visible once the lever is moved and the lens is in the "taking" position. Around the shutter is a large black ring that focuses the lens. The focus range on the lens goes from approximately 30" or 2.5' to infinity. The numbers on the focusing ring are big and easy to read, and the focusing on this camera is smooth.

When you look at the back of this camera and many other cameras that take 127 size film, you'll notice the camera has two red windows on the back. This will become relevant once you read the loading and winding procedure for this style of camera, which will be explained over the following few paragraphs.

 To load film into the camera, first you need to unlock the body of the camera from the film chamber. You do this on the bottom of the camera by sliding the lever to the "O" position. You'll see a small line on the tripod socket that aligns the "C" (closed) setting with the "O" (open) setting. Once you have the film chamber unlocked, the top portion of the camera slides out of the camera body, exposing the area where the film is loaded into the camera.

 Take the empty spool from the right side by sliding the spool down. The holding mechanism is on a spring, and the spool will come out. Place the empty spool on the left side and ensure it's engaged in the take-up winding knob. Place the fresh roll of film on the right side and tear the tape so that you can bring the film leader over to the take-up spool, ensuring it is positioned over the rollers on either side of the opening where the film is exposed. Insert the film tab into the slot on the take-up spool and wind the winding knob until the word "start" appears on the paper backing. Once you see the word "start", slide the film chamber back into the camera body, ensuring it's fully inserted. Then, slide the lever at the bottom from "O" to "C" for closed.

 Now, look at the back of the camera and start winding the film winding knob in a clockwise direction until you see arrows in the window. This is the indication that you're approaching your first frame, so you should start to slow down on winding the camera. Stop winding when you see the number 1 in the right side window. This is the indication you're at your first image. Once you've taken the first frame, wind the film advance lever until you see the number 1 in the window on the left, and stop. This is the indication you're at your second image. Once that frame is taken, then wind until you see the number 2 in the right window. You follow these steps until you see the number 8 on the left side window, which means you've taken sixteen images on the roll of film. This operation is standard for 127 size film, which takes 3x4cm size negatives on a camera with two windows on the back.

 The standard operating sequence when using this camera is to have the separate rangefinder, which is slid onto the accessory shoe when the camera is in use. 

 

  1. Meter for your subject with a separate light meter.

  2. Look through the rangefinder and focus on your subject.

  3. Find the distance to your subject and focus the lens to that distance on the camera.

  4. Set the shutter speed and aperture setting on the lens. Shutter speed is located at the top, and aperture is positioned under the lens.

  5. Cock the shutter lever on top of the lens at the 11 o'clock position.

  6. Trip the shutter, which is below at the 7 o'clock position on the lens.

Retracting the lens back into the camera body is a little tricky and something I had to figure out, as I had done it wrong once. The first thing you need to do is focus the lens to infinity. Then, slide the bar at the bottom of the camera from left to right, and the lens retracts into the camera's body. If you don't focus the lens to infinity, the bar won't fit into a small cutout on the focusing ring. The bar will protrude from the bottom of the camera, rather than being tucked away neatly as it should be. Once the bar is back in the camera, you can remove the rangefinder, put the lens cap on, and tuck the camera away in its case, if you have one.

 

Something I've seen for the camera is an accessory reflex finder, which was made by Kodak, that turned the Pupille into a TLR camera. 

Results:

My wife and I attended our local county fair, where I loaded a roll of 400-speed 127 film into the Pupille and brought it with me to take some photos. I don't have the rangefinder for the camera, so all of the focusing I did was purely by guesstimation.

 Bringing my trusty Sekonic L-308 meter for accurate exposures, we walked around the fair looking for nice images to take.

 Once I got home, I processed the film, and here are some of the results taken at the fair. I generally only do light spotting on the images, so please excuse the excess dust on them.

 

I posted a video review of this camera. Just click on the image. I’m new to videos, so any constructive feedback is appreciated.

Conclusion:

One of the first things I noticed when using the Pupille was how sturdy the camera felt. It's small and compact, fitting into my pocket, especially when the lens is retracted.

 The camera was easy to use, and the shutter worked well. There were a few frames when I didn't focus properly, but for the most part, the camera did a good job, and it was great fun to shoot with. 

 Thank you for taking a few minutes to read about this almost 100-year-old camera that still works fabulously.

 Here's a link to some of the other camera reviews.

 Visit Cuny's Camera and Photo for some of the items seen on my blog, along with other interesting photo items I have for sale.

 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.