| 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 Genos Rapid is a German box camera introduced in 1950 by Genos and made of Bakelite, an early plastic. Based in the Bavarian city of Nuremberg, the company was originally known as Norisan Apparatebau but after Germany was defeated in World War II (and the famous Nuremberg Trials had taken place), they decided to change their name to Genos Kamerabau.
The Toyoca Six is an extremely rare dual format folding camera introduced in 1957 by Toyohashi Y.K. Tougodo under the brand name Toyoca, a contraction of “Toyohashi” (the city in which the company was based at the time) and “Camera.” The other part of the name, “Tougodo,” was named after one of Japan’s most famous naval heroes, Admiral Togo Heihachiro who shared a hometown with one of the company’s founders.
The Voigtländer Bessy AK is a viewfinder camera manufactured by Balda on behalf of fellow German optics company Voigtländer which introduced the camera in 1965. So called to imply a (in reality, very faint) connection with the legendary Bessa name, the Bessy was a cutting edge camera designed for Kodak’s now obsolete 126 film cartridge, a format overwhelmingly popular at the time among amateur photographers who didn’t want to deal with the hassle of loading traditional roll films.
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 Kodak Hawkeye No. 2 Model C is a very basic box camera made of thick, leatherette-covered cardboard introduced in the mid 1920s. Interestingly, the Hawkeye, a name so commonly associated with Kodak, was actually originally manufactured by a little known outfit called the Boston Camera Company. The Boston Camera Company was bought out by the Blair Camera Company in 1890 which was then in turn bought by the rapidly expanding Eastman Kodak Company nearly a decade later in 1899.
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 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.
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.
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.
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 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.
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.
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.
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).
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.
The Olympus Pen EED is a direct descendant of Japan’s very first half-frame camera: the original Olympus Pen. As it was one of the smallest available 35mm cameras at the time, the Pen was named as such because its portability could be compared to that of a (very oddly shaped, large, metal) pen. Seven years after the Olympus Pen debuted, the Germans launched the hallowed Rollei 35 which was just as small but could make normal 35mm frames and effectively heralded the end of Japanese half-frames. In defiance, this EED variant was released one year after that supposed end and, quite stubbornly, Olympus continued making Pens well into the 1980s and then revived the name in 2009 for its line of Micro Four Thirds cameras.
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 Konica C35 EF is the very first compact 35mm camera to feature a built-in flash. The “C35” in its name stands for “Compact 35mm” and the “EF” standing for “Electronic Flash.” In Japan, this camera is known by its nickname “Pikkari” which, as far as I can tell, translates roughly into “glittery brightness.”
The BelOMO Chaika-II Anniversary is a special edition of the BelOMO Chaika-II that was produced by the Belarus Optical and Mechanical Enterprise in its Minsk factory to commemorate the 50th year of the Soviet Union. The Russian word chaika translates into “seagull” which was the call sign for Soviet cosmonaut Valentina Tereshkova, the first woman ever to go into space and the person who this line of cameras is named after.
The Yashica T4 Super D is one of the last models of the T* series of compact cameras made by Kyocera (who owned Yashica at the time) in partnership with renowned German lens manufacturer Carl Zeiss AG. All cameras in this series used high quality Carl Zeiss Tessar lenses with the legendary T* coating which meant superb image quality in a small package. The Yashica T4 and its variants were also sold as the Yashica T5 and the Kyocera T Proof.
