Vintage Cameras by Format

Vintage Cameras by Format

Read more about 110 film format cameras on Vintage Camera Lab

110 Film
Read more about 120 film format cameras on Vintage Camera Lab

120 Film
Read more about 126 film format cameras on Vintage Camera Lab

126 Film
Read more about 127 film format cameras on Vintage Camera Lab

127 Film
Read more about 35mm film format cameras on Vintage Camera Lab

135 Film
Read more about 620 film format cameras on Vintage Camera Lab

620 Film
Read more about digital cameras on Vintage Camera Lab

Digital
Read more about instant cameras on Vintage Camera Lab

Instant Film
Read more about miscellaneous film format cameras on Vintage Camera Lab

Other

Spartus 120

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The Spartus 120 is a simple box camera made of an early type of plastic called Bakelite. At the time of the 120’s introduction, a great multitude of relatively inexpensive cameras (including the Spartus 35F) were being manufactured in Chicago by the same factories but sold under a puzzlingly broad range of different but related brands with Spartus being the cornerstone of it all. It should come as no surprise then that this very same camera was also sold as the Sunbeam 120 and that a brown-colored but otherwise identical variant was sold under the name “Spartus 120 Flash Camera.”

KMZ F-21 Ajax

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The KMZ F-21 Ajax is a subminiature spy camera produced during the Cold War by the Krasnogorsk Mechanical Works just outside Moscow. The F-21 was designed and manufactured specifically for the KGB and was highly favored by Soviet intelligence for its diminutive size and ease of use. During covert operations, the Ajax could be surreptitiously operated with a remote shutter cable and concealed within a number of specially made disguises including coat buttons, belt buckles, purses, and even full-sized camera cases. The F-21 Ajax is still illegal to own in some places due to its role as an espionage tool. In 2013, Ukrainian camera collector Alexandr Komarov was arrested for owning two of these and faced up to seven years in prison.

Canon AE-1

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The Canon AE-1 was one of the very first affordable SLRs with automatic exposure available to the public. During the ’70s and ’80s, competition in the SLR market among Japanese manufacturers was intense and, having lost considerable market share to its biggest rival Nikon, Canon decided to overhaul their entire line of single lens reflex cameras. Nikon more or less had complete control over the professional SLR market at the time so Canon decided to launch its A-series of consumer cameras, the most popular of which was the AE-1. By cleverly simplifying the design and using cheaper materials, Canon were able to keep their costs low and ship out over one million units during its eight year production run to amateur photographers across the globe. Due to its ubiquity, simple construction, and reliability, the AE-1 remains one of the most common manual focus SLRs still in use today.

Agfa PD16 Clipper

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The Agfa PD16 Clipper is one of the very first cameras produced by German company Agfa after its acquisition of the American company Ansco, thus forming Agfa-Ansco. Like the early offerings of many photographic company mergers, this camera was sold under both brands as the Agfa PD16 Clipper and the Ansco Clipper although it appears that they were all made in the very same American factory in Binghamton, NY.

Zeiss Ikon Ikonta A (521)

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The Zeiss Ikon Ikonta A (521) is a medium format camera introduced in Nazi Germany shortly before the outbreak of World War II. During that time, Zeiss Ikon produced some of the most advanced cameras of the day until the Second World War all but ground things to a halt. The brutal carpet bombing of Dresden in the war’s final stages caused heavy damage to Zeiss Ikon’s factory and destroyed the schematics and prototypes of many of its models.

Sony DSC-P50

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The Sony DSC-P50 is a fairly nondescript digital camera introduced in 2001. The P50 belongs to the now defunct “P” series of Sony Cyber-shot cameras which are characterized by squat physical proportions and rounded edges. Normally, I wouldn’t bother posting something like this on Vintage Camera Lab but this humble Sony has the distinction of being my very first digital camera, the one that liberated me from what, as a poor college student, I considered to be the prohibitively high cost of buying/processing film and allowed me to shoot to my heart’s content.

Konica Auto S

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The Konica Auto S is the first ever automatic exposure 35mm camera to be powered by a cadmium sulfide meter. Introduced by Konishiroku Shashin Kogyo K.K. in 1963, decades before it became officially known as Konica, the Auto S is also the first automatic exposure model in the “S” line of classically designed compact rangefinders.

LOMO Smena-8M

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The LOMO Smena-8M was introduced in 1970 by the Leningrad Optical-Mechanical Union. The Russian term “smena” translates into “young generation” or “relay” which is interesting because the 8M’s 25 year production outlasted the Soviet Union itself. The Smena name has existed since 1939 when the original Smena, a 35mm folding camera, was introduced by GOMZ, one of the state-run optics factories that eventually merged to become LOMO. Smenas are made almost exclusively from plastic and were designed to be inexpensive. As a testament to its success, there have been roughly 25 camera models bearing the Smena name starting from before WWII to the mid ’90s.

Kuribayashi Petri 2.8 Color Super

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The Kuribayashi Petri 2.8 Color Super is a fixed-lens rangefinder produced by Kuribayashi Shashin Kogyo K.K.. Confusingly, there doesn’t seem to be an “official” model number for this camera as it’s just one of many ambiguously named fixed-lens rangefinders made by Kuribayashi in the late ’50s and early ’60s. However, the well-known McKeown’s Price Guide To Antique & Classic Cameras identifies this particular model as the “Petri 2.8 Color Super” so, for simplicity’s sake, that’s what I’m going to call it here.

Revere Stereo 33

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The Revere Stereo 33 is a 3-D stereo rangefinder camera produced in the 1950s by the Revere Camera Co. of Chicago, Ilinois. Sadly, Revere only made three still cameras and two of them are stereo rangefinders (the other one was released under the Wollensak brand and is basically the same camera with different lenses and shutters), the third one being a plastic automatic camera that takes 127 film. There were a number of 126 film cameras sold under the Revere name in the ’60s but they were produced by Minolta under license.

M.I.O.M. Photax III

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The M.I.O.M. Photax III is a simple viewfinder camera made of Bakelite—an early plastic—produced by Manufacture d’Isolants et d’Objets Moulé, a now defunct French company that specialized in electrical insulators and plastic molding. M.I.O.M. made several different cameras before and after the Second World War including eight variations of their flagship Photax model between 1937 and 1960.

Polaroid Big Shot

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The Polaroid Big Shot is an unusual portrait camera made by Polaroid in the early ’70s that is popular among photographers and collectors for its eccentric shape and singular purpose. American artist Andy Warhol was particularly fond of the ungainly Big Shot and used it for much of the portraiture that inspired his iconic paintings, drawings, and prints.

KMZ Zorki 10

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The KMZ Zorki 10 is a fixed-lens rangefinder produced during the Cold War by the Krasnogorsk Mechanical Works in the city of Krasnogorsk just outside Moscow. The Zorki 10 is recognized for being the very first camera with automatic exposure ever produced in the USSR as well as the first Soviet camera to disregard the government-established GOST scale by indicating film speeds with the American/German ASA/DIN systems that would eventually become ISO, the current international standard. There is also a Zorki 11 which is basically the same camera minus the rangefinder assembly.

Seagull 4A

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The Seagull 4A is a twin lens reflex camera introduced in 1968 by the Shanghai Seagull Camera Ltd and purportedly manufactured to the present day. The Seagull 4A is considered to be a Rolleiflex copy (the premium version of the Rolleicord) and many Chinese photographers in the ’60s and ’70s regarded it as a professional-grade camera although much of that is probably due to its hefty professional-grade price at the time.

Nikon F

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The Nikon F was Nikon’s very first single-lens reflex camera which, arguably, single-handedly ushered in a golden age for Japanese camera manufacturers and SLRs in general. The legendary F was the first SLR system to gain widespread popularity among professional photographers who in turn used it to document everything from armed conflicts to rocket launches. Its modular design mean that there were a multitude of different viewfinders (mine has a black Photomic FTn meter finder installed), backs, grips, and, of course, lenses available. The F is also extremely well-built and incredibly durable, attributes that helped it become the first 35mm SLR to go into lunar orbit aboard the Apollo 15 space capsule and gave rise to a long line of tough, space-faring professional-grade Nikons that continues to this very day.

Balda Super Baldinette

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The Balda Super Baldinette is a folding rangefinder and became Balda’s flagship camera in the early 1950s. Shortly after World War II, Balda moved from the eastern city of Dresden to B ünde in West Germany where founder Max Baldeweg opened a new factory and began manufacturing modified versions of existing models. Along with the Super Baldinette, there is also a “normal” Baldinette which has no rangefinder assembly.

Kodak No. 3A Autographic

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The Kodak No. 3A Autographic is one of Kodak’s early folding cameras and was designed to take a variant of 122 format film, commonly known as the postcard format. The specific variant in question is 122 autographic which allows you to use the camera’s metal stylus (seen here held by a metal clip onto the back of the camera) to record information about the photograph you just took by opening the long window underneath the stylus holder on the rear panel of the camera and writing directly onto the margin of the negative via carbon transfer paper. However, since autographic 122 seems to be nearly impossible to find these days, regular 122 film also works.

Agfa Optima 500

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The Agfa Optima 500 is the second-to-last model in Agfa‘s Optima line and is the direct descendant of the very first mass-produced camera ever to feature automatic exposure: the original Agfa Optima. The Optima 500 is also unique because it was released in 1964 during the corporate merger of Belgium’s Gevaert Photo-Producten N.V. and Germany’s Agfa AG. At the time, Agfa AG was owned by pharmaceutical giant Bayer AG which eventually upped it’s 50% stake in Agfa-Gevaert N.V. to 100% and controlled the company until 1999.

Ricoh AF-60D

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The Ricoh AF-60D is the data back equipped variant of the AF-60, one of half a dozen or so consumer grade autofocus point-and-shoot cameras introduced by Ricoh in the mid to late 1980s. This particular AF-60D—which was purchased by my father when I was a kid—has the distinction of being the first camera I have ever used. I remember going into my parents’ bedroom and digging the Ricoh out of my dad’s sock drawer. I remember looking through its viewfinder at the mirror and putting my finger on the shutter button like I had seen my dad do so many times. A click and whirr later, I ran away giggling.

Spartus 35F

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The Spartus 35F and its twin, the Spartus 35 are simple 35mm cameras made of Bakelite, an early plastic. Modeled after the highly successful and massively influential Argus A, the 35F features a classic shape very common to 35mm cameras of its era. The 35F was manufactured in Chicago by the aptly named Spartus Corp. before it became the Herold Manufacturing Co. which is why the lens of this particular specimen bears the Herold name. Spartus Corp. and its incarnations produced a great multitude of Bakelite cameras (many of which are practically identical to each other) under a wide variety of different brand names such as Utility, Falcon, Monarch and, of course, Spartus.

Sony DSC-F1

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The Sony DSC-F1 is Sony’s first ever commercially-available digital camera, the very first model released under the “Cyber-shot” line of consumer digital cameras, and also the first of their high-end F series which all feature rotatable lenses. The F1 wowed the masses when it was announced, being named one of Business Week magazine’s “Top New Products” and receiving the “Innovations Award” at the annual Consumer Electronics Show (CES) in Las Vegas.

Argus C3

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Quite simply, the Argus C3 is one of the best-selling 35mm cameras in history. Aptly nicknamed “The Brick” for its size, shape, and weight, the C3 was wildly popular for much of its 27 year production run due to its simplicity, rugged dependability, and relatively low price. The C3 is the third C-series camera from Argus and the three of them are very similar. Argus’s original C features an uncoupled lens while the C2 and C3 are identical apart from the newer model having two holes on the side for the bespoke external flash unit.

Kodak Handle

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The Kodak Handle was produced during Kodak’s brief and ultimately doomed attempt at instant film. Polaroid took Kodak to court for patent infringement in 1981 in spite of some crucial differences in Kodak’s approach to instant film and instant cameras and eventually won. Defeated, Kodak was ordered to cease production of all instant film and related products (including the Handle) as well as pay Polaroid $925 million (around $1.5 billion in today’s money).

Konica MT-9

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I received this Konica MT-9 by mistake a few days after winning an auction for a Konica C35 EF. I opened up the package expecting a superb Hexanon-flexing wonder but was met with an unexceptional plastic compact camera instead. The seller (a charity shop) didn’t believe my story until they attempted to put this very MT-9 up for auction and included a photo of the serial number which I quickly matched to the camera I had erroneously received. Story proven, they quickly took down the auction for the MT-9 and immediately sent me my C35 along with a hastily worded but very sincere apology.

Pentax Auto 110

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The Pentax Auto 110 is the smallest single lens reflex camera ever made and the only camera with interchangeable lenses ever produced for the 110 film cartridge. A true camera system, the Auto 110 has six available lenses: 18mm, 24mm, 50mm, 70mm, 18mm fixed-focus, and 20-40mm zoom (all f/2.8), two external flashes, an electric film winder, and a slew of macro adapters, filters, diopters, and lens hoods. A third party 1.7x teleconverter was also produced by the German company Soligor.