| Construction: | metal / plastic |
| Lens Quality: | low to medium |
| User Controls: | minimal to moderate |
Unlike rangefinders, SLRs, TLRs, and view cameras, viewfinder cameras are unable to show what is (or isn’t) in focus. Accurate focusing systems are typically missing on viewfinder cameras because their absence makes these models considerably cheaper and easier to produce. Higher end cameras in this category like the Kodak Instamatic 500 employ relatively complex optics in their viewfinders while many box cameras like the Ansco Anscoflex use brilliant finders (a magnified waist-level finder that uses a mirror to reflect the image upward). At the lowest end of the spectrum, models such as the Univex Model AF-4 simply provide a hole to look through.
The argument can be made that the prevalence of viewfinder cameras is in direct correlation to the widespread introduction of rollfilm in the early 1900s. While holders for sheet film and/or photographic plates could easily be swapped out for the ground glass screens used for both focus and composition in older cameras, newer ones designed specifically for comparatively inflexible rollfilm were forced to find workable alternatives. Advanced rollfilm cameras like the Leica II rangefinder, the Rolleiflex TLR, and the Auto Graflex SLR solved this focusing/composition problem with expensive cutting-edge technology but manufacturers had to get creative when it came to other models.
Camera companies decided to divide and conquer by divorcing focus from composition in order to address each function separately. The simplest way to deal with focusing was to design a lens able to simultaneously focus on everything from a certain distance (one meter, for example) to infinity and then lock it into place. However, these lenses were typically not very sharp and fitted only to lower end models. Cameras with these fixed-focus lenses were then given primitive composition aides like the wire frame finder on the Kodak Hawkeye or a simple tube like the one atop the Herco Imperial 620 Snap Shot. Folding cameras like the Kodak No. 2A and Ernemann Heag II, which used more advanced lenses, could be focused by determining the distance from the subject and then shifting the lens standard forwards or backwards on the camera’s rails accordingly. The small brilliant finders used for composition could be neatly tucked away when the camera was collapsed.
Notable viewfinder cameras include the groundbreaking Leica I Model A, the Argus A which almost single-handedly popularized the use of 35mm film in the United States, and the ubiquitous Kodak Brownie series which brought affordable photography to the masses. Unusual ones include the Houghton Ticka pocket watch camera which had a removable viewfinder, the pistol-shaped Mamiya Speed Shot Special and Doryu 2-16 which were used to train Japanese policemen, and the lizard skin-clad Hunter Gilbert with a rotatable brilliant finder.
McKeown, James M. and Joan C. McKeown’s Price Guide to Antique and Classic Cameras, 2001-2002. (Grantsburg, WI, USA: Centennial Photo Service, 2001), p 180, 255, 281, 416-417, 449, 579-582.
The Fototecnica Filmor (also sold in Australia as the Hanimex Eaglet) is a simple metal box camera debuted in 1950 by Italian manufacturer Fototecnica Torino. Not to be confused with Germany’s Vredeborch Filmor, Fototecnica had two Filmor models, the one you see here with a rotating waist-level viewfinder and another model with a tube-shaped eye-level finder much like that found on the Herco Imperial.
The Carl Zeiss Jena Werra is the very first model in a line of sleek 35mm viewfinder cameras produced by VEB Carl Zeiss Jena, Zeiss Ikon’s factory in the city of Jena where the company was originally founded in 1846. After the war, Zeiss Ikon’s assets were divided alongside Germany into east and west. While the company re-established itself as Zeiss Ikon AG in the western city of Stuttgart as the East German government took control and nationalized what remained in Dresden, the factory in Jena also split with much of the assembly line being transplanted to the town of Oberkochen.
The Monarch Royal Reflex is a pseudo-TLR (a box camera that superficially resembles a twin lens reflex camera) made of an early plastic named Bakelite and introduced in 1939 by the Monarch Manufacturing Company. Monarch (sometimes also spelled “Monarck”), was just one of a many names that made up the Chicago Cluster—a collection of Chicago-based camera brands including Spartus, Acro, and Falcon which appear to be multiple fronts for a single manufacturer. As such, the Monarch Royal Reflex was also sold under different names such as the Monarch Kando Reflex, Remington Flex-Master, and Pickwick Reflex. Its basic design also exists in the form of models like the Metropolitan Clix-O-Flex, Metropolitan Metro-Flex, and the aluminum-bodied Utility Falcon-Flex.
The Lumière Scoutbox is the model name used by French manufacturer Lumière et Compagnie for a number of similar box cameras designed for 120 film from the early 1930s until the early 1950s. This particular version—which was introduced in 1951—is one of the last cameras to bear this name.
The Rollei A110 is a high-end subminiature camera introduced by Rollei in 1974. After nearly ten years of the Rollei-16, which used the company’s own proprietary 16mm film cassette, Rollei decided to abandon the ultimately unsuccessful format and tasked legendary designer Heinz Waaske (who designed other innovative and groundbreaking models such as the as the Rollei 35, Rollei A26, and Rolleimatic) to create the A110 as the first of a new generation of subminiatures to use Kodak’s vastly more popular 110 film cartridge instead.
The Spartus Box 120 is just one in a series of no-frills box cameras introduced by Spartus in the early 1940s (not to be confused with the similarly named but clearly different Spartus 120 of the 1950s). Designed to accommodate 116, 120, 616, or 620 roll films, these models are virtually identical outside of the designated film format and faceplate design.
The Rollei Rolleimatic was a compact 35mm viewfinder camera introduced by Rollei in 1980. It has the distinction of being the last Rollei model created by legendary designer Heinz Waaske (whose other works include the extraordinary Rollei 35 and the diminutive Edixa 16) and also, unfortunately, the very last camera that Rollei debuted before the ailing company finally declared bankruptcy. Because of this unfortunate timing, the Rolleimatic did not undergo the same amount of testing that benefitted its forebears and, as a result, is not quite as user-friendly or intuitive as it could have been.
The Welta Penti II is a flamboyantly styled 35mm half-frame camera originally manufactured by Welta in the German town of Freital and, after the company became part of Pentacon, in their factory in the nearby city of Dresden. Confusingly, the Penti II has a cheaper, near-identical twin called the Penti I (with the only difference being the absence of the II’s selenium light meter) and both of them are successors to the original Welta Penti (which, to avoid confusion, may also referred to as the “Penti 0”). Like its siblings, the Penti II is designed for Agfa‘s Karat film cartridge as opposed to conventional 35mm film and also comes in a variety of colors including cream, teal, and maroon. As its glitzy appearance may suggest, these cameras were marketed primarily towards women with promotional materials depicting the shimmering Penti II alongside a set of jewelry and a pocketbook.
The National Instrument Corp. Major is a barebones box camera designed for the 620 film format and introduced by the National Instrument Corporation of Houston, Texas. The Major, alongside the Colonel (virtually identical apart from having flash synchronization capabilities), and the upright Camflex were all introduced at around the same time and were the only known models produced during the manufacturer’s brief foray into the photography industry which makes all three cameras relatively rare and difficult to find.
The Bencini Comet III is an unconventional viewfinder camera built for the 127 film format introduced in 1953 by Italian manufacturer Bencini as the latest model to bear the Comet name. This camera was sold as the Bencini Akrom I in the South American market and also has another clone called, confusingly, the Comet 3 (using Arabic numerals instead of Roman) which features a white pinstriped faceplate along with an unfocusable lens. Unlike its predecessors such as the original Comet and Comet II which feature a more traditional design, the Comet III is vertically oriented which helps set it apart from other Bencinis as well as the overwhelming majority of other cameras from its day.
The Marksman Six-20 is a no-frills box camera introduced in 1948 and sold by the Bernard Marks & Co. Ltd. of Toronto, Canada. Although both Eastman Kodak and Leica had a long history of manufacturing cameras at their factories in Ontario, many consider the Marksman Six-20 to be one of the only bona fide Canadian cameras in existence, but is it really?
The Zeiss Ikon Ikonette (500/24) is an unusual, kidney-shaped 35mm viewfinder camera introduced in 1958 by Zeiss Ikon (not to be confused with Zeiss Ikon’s Ikonette (504/12) folding camera from 1929). Unlike anything Zeiss Ikon had produced either before or since, the plastic Ikonette’s primary selling points were its simplicity, price, and looks. It was also, as far as I can tell, the only Zeiss Ikon camera that was ever marketed specifically towards women, stating that their eyes will “light up” as the camera “instantly appeals to the feminine sense of beauty” and that “it’s so easy to operate, she’ll get fine pictures right from the start.”
The Zenith Comet is a vertically-oriented viewfinder camera debuted by the Zenith Camera Corporation of Chicago in 1947. As part of the Chicago Cluster, a group of Chicago-based brands active in the 1940s including Spartus, Falcon, and Rolls which are generally believed to be multiple fronts for a single company, Zenith produced only a handful of basic models including the Comet’s close sibling: the Zenith Comet Flash. As its name might suggest, the only real difference between the Comet and the Comet Flash is the ability to use an accessory flash unit. Other than that, both models are functionally identical.
The Mithra 47 is a box camera built in Switzerland and named after the year it was introduced: 1947. Not much other concrete information is known about this camera except that it came in different colors (black, brown, and reportedly red and green) and there was a very similar box camera with sharper corners called the Mithra 46 that came out the year before which was also rebadged and sold as the “Starmetal Goldy” by French camera brand Goldstein. Most of the sources I’ve come across regard Mithra as its own standalone brand but there are also rumors that suggest that it was manufactured by Agfa‘s subsidiary in Switzerland.
The Minox 35 GT is a compact viewfinder camera introduced in 1981 as the third variant of the Minox 35 EL which is arguably the smallest full-frame 35mm camera ever made (other contenders include the Rollei 35, Olympus XA, and Minolta TC-1). With the exception of the Minox 35 ML and MB (which had a more rectangular body) as well as the 35 PE (which had a built-in flash on the side), the Minox 35 GT and its siblings are virtually identical with the only real differences between them being internal. In one form or another, the Minox 35 was manufactured from 1974 to 2004, giving it an impressive 30 year production run.
The Ansco Century of Progress is a commemorative version of the Ansco No. 2 Box camera made by Agfa-Ansco to be sold at the 1933 “Century of Progress” World’s Fair which took place in Chicago, USA. There were several branded cameras available at the 1933 World’s Fair including one based on the Kodak No. 2 Brownie as well as the cheap and cheerful “Yen Camera” from Japan.
The Kodak Duex is a collapsible basic medium format viewfinder camera introduced by Eastman Kodak in 1940 for 620 roll film. The Duex is the spiritual successor to the Kodak Duo series of 620 cameras which were designed by Dr. August Nagel (founder of Nagel, Contessa, and thus co-founder of Zeiss Ikon) and produced in the Nagel factory in Stuttgart shortly after the company was sold to Eastman Kodak. The Duo was made in Germany until Kodak shifted production to the United States due to the looming threat of conflict. Then, with the Second World War cutting off access to its German division, Kodak transitioned their 620 offerings from high quality folding cameras to inexpensive and relatively primitive models like the Duex.
The Univex Iris is a relatively high-end metal viewfinder camera debuted in 1938 by the Universal Camera Corporation. Universal employed a “razor and blades” approach to their products which means that, like all Univex cameras manufactured up to this point, the Iris can only be used with Universal’s proprietary film. This initially ingenious strategy became a massive liability when Gevaert–the Belgian firm that produced film on Universal’s behalf–was soon forced to cease production because of World War II.
The Agfa Isoflash-Rapid C (also sold as the Iso-Rapid C outside of the United States) is a 35mm viewfinder camera introduced by Agfa AG in 1966. The Isoflash-Rapid C is just one of many models in the Iso-Rapid line of simple compact cameras that make 24x24mm images using Agfa’s own Rapid film cartridges.
The Kodak Brownie Vecta is a simple plastic box camera manufactured by Kodak Ltd., London—Kodak’s British division—in 1963 for the 127 film format. The camera’s stylish looks can be attributed to world-renowned industrial designer Sir Kenneth Grange who, in addition to a handful of Kodak cameras, is also responsible for the InterCity 125 High Speed Train as well as the modern London Black Cab).
The Certo Certo-phot is a simple medium format viewfinder camera debuted by Certo-Kamera-Werk in 1958. The first of Certo’s basic fixed-lens 120 models, the Certo-phot went on to become the basis for the Certina which has a new viewfinder assembly and a proper frame advance lever to replace the winding knob.
The Rollei A26 is a compact viewfinder camera introduced by Rollei in 1972 for the 126 film format. Designed by Heinz Waaske—the father of the legendary Rollei 35—and built just two years after Rollei established its factory in Singapore, the A26 is the first of a small number of quirky compact cameras with an orange-on-black color scheme which also includes 1974’s A110 and the Rolleimatic of 1980.
The Univex Uniflash is a simple viewfinder camera made of Bakelite, an early plastic, which was introduced in 1941 by the Universal Camera Corporation. The Uniflash is named after its hot shoe, probably to call attention to the fact that it was the first inexpensive plastic camera in Universal’s lineup to feature one. Like other early Univex cameras such as the Model AF-4, the Uniflash used Universal’s proprietary No. 00 film as part of the company’s brilliant “razor and blades” marketing strategy.
The Wirgin Edixa (also known as the Wirgin Edixa I) is a 35mm viewfinder camera introduced by Wirgin in 1953. The Edixa was originally called the Wirgin Edina but the name change was forced by Eastman Kodak because “Edina” sounds too close to “Retina,” Kodak’s high-end line of German-made folding cameras. The Edixa was also rebadged by Munich-based camera dealer Obergassner and sold as the Obergassner Oga (confusingly, there were a variety of rebadged cameras—mostly manufactured by the German firms Franka and Regula—that bore the Obergassner Oga name). The Edixa is also the first model in a wide range of Edixa-branded cameras that include TLRs, subminiatures, and SLRs.
The Kodak Flash Bantam is a compact folding camera introduced in 1947 by Eastman Kodak. As the name suggests, the Flash Bantam is the flash-ready variant of the original Bantam line of compact folding cameras which have no flash synchronization capabilities. Like previous Bantams, this model also utilizes 828 film, the unperforated 35mm film that Kodak developed but ultimately abandoned in favor of the now-standard 35mm cartridge.
