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 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 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 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 Polaroid Spectra is the first model in the Spectra System line (also known as “Image System” and the Minolta Instant Pro in overseas markets) of instant cameras introduced by Polaroid in 1986. With this new line of cameras came a new line of instant film named Spectra/Image/1200 film which, apart from producing rectangular instead of square images, is more or less identical to existing 600 series film.
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.
The Kodak EasyShare V570 is a high-end compact digital camera introduced by Kodak in 2006 and the first ever dual lens digital camera to see production. With its classic lines and minimalist design, the V570 received a gold medal at the 2006 Industrial Design Excellence Award and went on to spawn two more dual lens digital cameras: the Kodak V610 and the V705.
The Spartus Spartaflex is a medium format twin lens reflex manufactured by the Spartus Camera Corporation of Chicago. Although I found a print ad from the 1940s pricing this camera outfit at an incredulous $47.91 (well over $800 in today’s money), the Spartaflex is by no means a serious answer to the high-quality German TLRs (such as the Rolleicord IId) that had been dominating the market since the late ’20s.
The Bolsey Model C is a 35mm twin lens reflex camera based on the Bolsey Model B. While the Bolsey Corp. of America produced still cameras, its founder, Ukrainian-born Yakob Bogopolsky (who later changed his name to Jacques Bolsey) is also famous for having founded the cinema camera manufacturer Bolex while living in Switzerland. Once he moved to the United States at the beginning of World War II, Mr. Bolsey produced a series of conventional and aerial cameras for the federal government.
The Nishika 3-D N8000 is a lenticular stereo camera produced by Nishika Optical Systems based in the Las Vegas suburb of Henderson, Nevada. The N8000 is heavily based on the tongue twisted Nimstec Nimslo which was developed and produced in the 1980s by Nimstec until it went bankrupt and was bought out by Nishika. Nishika itself went belly up in the 1990s when it was investigated by the United States Federal Trade Commission for using a telemarketing scam to unload cameras on a gullible American public.
The Polaroid Land Model 95A is a variant of the Model 95, the first of the flagship Land Cameras (named after Polaroid founder Edwin Land) and the very first practical instant film camera in history. Polaroid is synonymous with instant film and Edwin Land’s name adorned Polaroid’s most advanced instant cameras for well over 30 years until he finally retired from the company in 1982.
When it was introduced, the Kodak Jiffy Six 20 was marketed by Eastman Kodak as the simplest, most user-friendly folding camera ever made. Up until that point, most folding cameras were of the same basic design (example: Kodak No. 3A Autographic). They were relatively difficult to handle, complex, and required users to manually unfold the camera and extend the lens in order to take photos. In the spirit of simplicity, the Jiffy boasts a simple two button operation. The first small metal button can be found on the film advance knob’s side of the camera and releases the front plate, causing the metal struts on either side to snap into place and automatically extend the lens. The second button is the shutter lever which can be found on the side of the front plate once extended.
The Kodak Brownie Hawkeye is a simple plastic box camera produced from the late 1940s to the early 1960s. In addition to being made in its flagship factory in New York, the Brownie Hawkeye was also manufactured in Canada and France by its international subsidiaries. Over the years, there have been a significant number of Kodak cameras called the “Brownie;” this Hawkeye is one of the most popular models ever to bear the name.
The Kodak Disc 6100 is a relatively high-end camera produced during Eastman Kodak’s foray into what they expected to be a revolutionary new product: disc film. Unlike the many different formats of the past, disc film was, as its name suggests, contained within a plastic diskette that users could easily load into their cameras. Within the cartridge was a circular piece of film upon which a total of 15 photographs could be exposed. Despite the supposed convenience and ease of use, disc film was a complete flop. Although the tiny negatives contained a fair amount of detail, graininess and lackluster image quality ultimately forced Kodak to quietly kill off the doomed format.
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.”
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.
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.
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.
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.
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.
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.
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).
The Kodak 35 RF was rushed to production in Kodak’s attempt to catch up with Argus who, at the time, were having great success with their C series of consumer-friendly rangefinder cameras. Unfortunately, their entire strategy revolved around simply taking the Kodak 35 and slapping on a rangefinder assembly. However, despite their seemingly simple and cost-effective solution, the 35 RF still cost well over twice as much as the ubiquitous Argus C3 and therefore remained eating its proverbial dust until Kodak finally stopped production in 1948.
The Herco Imperial 620 Snap Shot is a simple plastic box camera that was manufactured by the Herbert George Co. of Chicago (which would later become the Imperial Camera Corporation). This and other box cameras like it were initially sold under the brand name “Herco” and then, somewhat confusingly, under the “Imperial” brand. While doing my research, I found this camera being referred to as both the “Herco Imperial” and the “Imperial Herco.” This camera will be referred to in this article as the Herco Imperial because it just makes more sense given the hierarchy of text on the camera itself.
The Argus Autronic II is an automatic fixed-lens rangefinders produced by Argus in 1962. Like many Argus cameras of that era, the Autronic II is fairly unremarkable at a glance with its simple but vaguely awkward styling.
