| 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 Kodak Instamatic 500 is a high-end viewfinder camera designed for the 126 film cartridge and manufactured by Kodak AG—Eastman Kodak’s German branch—starting in 1964. The 500 is arguably the most well-built and highest quality fixed-lens camera in Kodak’s expansive Instamatic line but the title of flagship model belongs to the Instamatic Reflex, an interchangeable lens SLR system camera also built by Kodak AG.
The Zeh Goldi is a small folding camera introduced by Dresden’s Zeh-Camera-Fabrik in 1932. Designed for Kodak’s 127 film format (often called vest pocket film), the Goldi is significantly smaller than the 35mm cameras that would eventually herald the end of 127 and is actually on par with many modern-day compact digital cameras.
The Imperial Instant Load 900 is a simple viewfinder camera manufactured by the Imperial Camera Corporation of Chicago. When it debuted in 1963, the 900 was one of the first cameras designed to be used with Kodak’s 126 film cartridge which had been introduced just earlier that year.
The Toyoca Hit is a family of subminiature novelty cameras introduced by the company commonly known as “Toyoca,” a contraction of “Toyohashi” (the city in which they were based at the time) and “camera.” These tiny, inexpensive cameras became extremely popular in post-war Japan and abroad, causing dozens upon dozens of models to be manufactured by a wide variety of companies. One of the most successful of these was the Hit.
The Yashica Rapide (also sold as the “Rapid”) is a vertically oriented 35mm half-frame camera introduced by Yashica in 1961. The launch of the unusually styled Rapide completed Yashica’s entrance into all segments of that era’s consumer camera market with the exception of medium format SLRs. The only other camera that I know of that looks like the Rapide is the Taron Chic. However, since they were both introduced in 1961, it’s unclear as to who copied who or if there was indeed any intentional copying at all.
The Welta Penti is a stylish compact 35mm half-frame camera introduced by VEB Welta Kamera-Werke in the Dresden suburb of Freital, East Germany for use with Agfa‘s Karat film cartridge. Sometimes referred to as the Penti 0, this particular camera is the first of several Penti models made by Welta and—after Welta merged with other manufacturers like Zeiss Ikon and Altissa to form it—Pentacon. Like the vast majority of camera manufacturers based in Dresden, Welta became a state-run company after World War II as Germany split apart.
The Kodak No. 2A Brownie Model B is a basic box camera made of thick, leatherette-covered cardboard introduced in 1911 by Eastman Kodak. The Model B is an early variation of the ubiquitous No. 2A Brownie which saw a production run from 1907 to 1933 with millions of units. Eventually, later versions of the No. 2A Brownie featured bodies made of aluminum instead of cardboard and saw the camera available in a variety of different colors.
The Franka Rolfix Jr. is a medium format folding camera introduced in 1951 by Franka-Kamerawerk in Bayreuth, then part of the American Zone of Allied-Occupied Germany. Founded in 1909 by husband and wife team Franz and Leoni Vyskocil, Franka produced consumer cameras, many of them on behalf of other brands both in Germany and abroad. Designed to be the cheaper alternative to the normal Rolfix by being equipped with slower lenses and shutter assemblies, the Rolfix Jr. was debuted by Franka near the height of its success, about a decade before the company was purchased by the German manufacturer Wirgin.
The PowerShovel Demekin Fisheye is a tiny, fisheye lens-equipped camera designed by PowerShovel, Ltd. for the 110 film cartridge. PowerShovel, also known as SuperHeadz was founded in the year 2000 by Hideki Omori after he successfully introduced plastic Russian cameras to Japan. Such cameras were cheaply made and often technically flawed but, much like the Lomography movement that swept through the Western world at roughly the same time, these “toy cameras” gained popularity in Japan through the interesting and unusual effects that their plastic lenses and light leaks often had on images.
The Yashica Auto Focus Motor (also known as the Yashica 5-Star Auto Focus Motor) is a compact viewfinder camera with autofocus introduced by Yashica in 1981. Yashica underwent many changes during the Auto Focus Motor’s three year production life including being bought out by Kyocera and the beginning of Yashica’s departure from the consumer SLR market to focus on budget point and shoot cameras.
The Zeiss Ikon Box Tengor (56/2) is a well-built and relatively advanced box camera (regarded by some as “the king of box cameras”) introduced by Zeiss Ikon shortly after the end of World War II and the subsequent division of Germany. The Zeiss Ikon Box Tengor line is a continuation of the original Box Tengor series manufactured by Goerz before it merged with ICA, Ernemann and Contessa-Nettel to form Zeiss Ikon in 1926. The 56/2 is the final camera to bear the Box Tengor name.
The LOMO Smena Symbol is a simple 35mm viewfinder camera introduced by LOMO in 1970. The Symbol belongs to the long-lived Smena (Russian for “relay” or “young generation”) line of cameras that were manufactured by three different Soviet factories (MMZ, GOMZ, and lastly, LOMO) from 1939 until the mid 1990s, effectively outlasting the Soviet Union itself. Smenas like the Symbol, 8M, and the 2 are mostly made of plastic and were purposely designed to be inexpensive.
The Ernemann Bob 00 is a multi-format folding camera introduced in 1914 by Ernemann-Werke AG. Founded by Heinrich Ernemann in 1889, Ernemann produced both still and cinema cameras as well as film projectors. After its defeat in the First World War, the Treaty of Versailles forced Germany to pay 132 billion marks in reparations (about 442 billion USD in today’s economy, a mind-blowing sum they spent nearly a century repaying) which laid waste to their national economy. The German camera industry was not spared during this period of hyperinflation and Ernemann was forced to merge with three other companies (ICA, Goerz, and Contessa-Nettel) to form Zeiss Ikon.
The Spartus Six Twenty is a box camera dressed up as a TLR introduced in 1940 by the Spartus Camera Corporation of Chicago. The Six Twenty—so named because it takes 620 format film—is what’s called a “psuedo TLR” which means that it looks like legitimate TLR at a glance but is technically a box camera because the lenses do not focus in tandem (unlike its cousin, the Spartus Spartaflex which has a coupled focusing system). In fact, the lenses on the Six Twenty can’t really be focused at all.
The Argus A is a simple viewfinder camera introduced by Argus in 1936 that played a significant role in popularizing the use of 35mm film in the United States. Although it was already gaining traction in the United States thanks to Kodak and their Retina series of cameras, it took the Argus A’s relative affordability at $12.50 (about $220 in today’s money) to truly bring 35mm film to the masses, sparking a dramatic change in the landscape of consumer photography in America as well as the rest of the world.
The Kodak Motormatic 35F is an automatic viewfinder camera introduced in 1962. The Automatic/Motormatic series cameras were the very first automatic exposure 35mm cameras to be made by Kodak and also the very last of their 35mm cameras to be produced in the United States. As their names might suggest, Motormatic cameras are motor-driven while the Automatic range have a manual film advance. Motormatics also have more shutter speeds.
The Altissa Box is a simple but elegantly styled box camera introduced in 1951 by Altissa Camera Werk. One year after the launch of the Box, Altissa’s owner Berthold Altmann fled to West Germany leaving his company behind to be taken over by the East German government and turned into the state owned “VEB Altissa Camera Werk” with “VEB” being short for Volkseigener Betrieb or “people-owned enterprise.”
The Minolta-16 MG-S is a subminiature “spy” camera made for use with Minolta’s proprietary 16mm film cartridge and introduced by the Japanese camera company in 1970. Ten different Minolta-16 variants were made during its nearly 20 year (1955-1974) production run. The MG-S was the ninth model and widely considered to be the most advanced of them all.
The Yashica EZ-Matic Electronic is a viewfinder camera made for the 126 film cartridge introduced by Yashica in 1969. Its older brother, the original Yashica EZ-Matic, is pretty high-end for what it is with two exposure modes (automatic and aperture priority), accessory shoe, and self-timer. Unfortunately, this EZ-Matic Electronic variant has none of those things.
The Univex Mercury CC is a half-frame viewfinder camera introduced by the Universal Camera Corporation of New York shortly before the beginning of World War II. Founded by individuals with no experience whatsoever in the photography business, Universal created cameras that were innovative but still simple enough to efficiently mass produce. Because they were only usable with proprietary film cartridges, Universal sold their cameras at very low prices, causing the brand to become synonymous in the United States with quirkiness and affordability.
The Ansco Memo II Automatic is a 35mm half-frame camera introduced in 1967 by Ansco. The Memo II Automatic and the Ansco Memo Automatic from 1963 are actually the same exact camera, just re-released to reflect the name change from Ansco to General Aniline & Film (GAF). In turn, both cameras are rebadged versions of the Ricoh Auto Half and were manufactured by Ricoh for sale by Ansco. The Memo Automatic from 1963 is not to be confused with the original Ansco Memo, a 35mm half-frame box camera from 1927.
Roughly the size of a large stack of playing cards, the Ernemann Heag XV is a pocket-sized folding camera introduced in 1911 by Ernemann. Founded by Heinrich Ernemann in 1889, the company produced both still and cinema cameras as well as projection equipment. After its defeat in the First World War, the Treaty of Versailles forced Germany to pay an enormous amount of money in reparations (about 442 billion USD in today’s economy, a sum they only just finished paying off in 2010) which absolutely devastated its economy. Unfortunately, the German camera industry floundered during this period of hyperinflation, causing Ernemann to merge with three other companies (ICA, Goerz, and Contessa-Nettel) to form Zeiss Ikon.
The Kodak No. 2A Folding Pocket Brownie is an early folding camera introduced by Eastman Kodak Company in 1910 at a price of $7 (about $170 in today’s money). The No. 2A is designed for the now defunct 116 film format which is very similar to 616 but with wider spool flanges. While we may think it’s a bit strange for Kodak to name this brick-sized camera a “Pocket” Brownie, it was considerably more portable than many of its contemporaries.
The Canon Sure Shot WP-1 (also sold as the Sure Shot A-1 in North America, the Autoboy D5 in Japan, and the Prima AS-1 in Europe) is a fully automatic waterproof 35mm compact meant to compete with the likes of the Nikon L35 AWAF, Minolta Weathermatic, and Konica Mermaid. At the time of its release, the WP-1 was the lightest and smallest underwater camera in the world.
The GOMZ Smena-2 is a plastic 35mm viewfinder camera introduced in 1954 by the Soviet State Optical-Mechanical Factory or GOMZ for short. Curiously, “smena” in Russian translates into “relay,” a fitting moniker since the 25 or so camera models that bear the Smena name were manufactured under three different brands from 1939 until the mid 1990s: MMZ (which eventually became BelOMO), GOMZ and, when GOMZ changed their name, LOMO. Smenas are made almost exclusively from plastic and were priced for mass consumption.
