They were made of metal with plastic pieces around the windows and film take up. They are covered by a glued on leatherette. It weighs in at about 1 1/2 pounds (690 grams).
A good find for a display camera.
Malcolm Chalmers - Vancouver Island Event Photographer |
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This King Regula IIIc seems to be a rare model, made in Germany this model was made for the export market. I found this camera in the back room of a local Thrift store for $3. A sticky shutter was the reason, otherwise it is in great shape. The King Regula IIIc 35mm cameras were made between 1955-56 by Mr and Mrs King, it was a family business that also produced electrical components in Bad Leibenzell in the Black Forest area of West Germany. They also produced cameras for a number of other companies. The Regula IIIc was one of many versions, a,b,c,d automatic, Cita III, RM and R. They were made of metal with plastic pieces around the windows and film take up. They are covered by a glued on leatherette. It weighs in at about 1 1/2 pounds (690 grams). The Regula IIIc is an interchangeable lens rangefinder camera that uses a bayonet mount that was unique to the King manufacturer. Lenses available were 28mm, 35mm, 50mm, 90mm and 135mm, they used a 45mm filter. This IIIc has a 50mm f/2.8 made by Enna Wark Munchen a small German optics manufacturer. It's focus range is 1m to infinity. Apertures range from f/2 to f/22. A self timer, V is around 10 secs . A PC socket syncs at all speeds in X and M modes. The shutter is a Prontor SVS with Bulb, 1s, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125 and 1/300th sec, it used two sets of blades for robustness. As it turns out the cameras now seem to have a shutter sticking problem. It is not too hard to clean the shutter assembly to make it work a little better. This model does not have a light meter like the newer model IIId but the rangefinder on this model was the most accurate of the models because not having a light meter gave more room for a long-base coupled rangefinder.
A good find for a display camera.
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It was the 50's, things were made of metal and this camera the Anscoflex was a perfect example of form and function in metal. Built in Bermingham, New York, USA by Ansco it sold in Sears Stores for $15.95 as an easy way to take better pictures The body was designed by Raymond Loewy, a famous designer and logo artist from the early 30's he also designed the iconic Coca-Cola bottle, the Zippo Lighter and the 1954 Greyhound Bus, check out the lens cover/viewfinder shade, it reminds me of the doors to the luggage storage area on the side of a bus. The Ansco Anscoflex made between 1953 and 1956 is an unusual enamelled-metal bodied camera, with two lenses called a Twin Lens Reflex camera, it imitates the shape of a TLR, but with no conection of the taking and viewing lens. The self erecting finder hood and lens shield sets this camera apart from other cameras of the era. It has an an oversized brilliant finder and a fixed focus lens for capturing the image. As usual images in these viewfinders appear backwards, to move object in viewfinder to the left you pan right. A little strange but you get use to it. The aperture (f/11) and shutter speed, about 1/60sec are fixed. This camera focuses from 6 feet to infinity. The red button below the viewfinder releases the back door for loading the 620 roll film. Unavailable now, the 620 film can be replaced by spooling 120 film on to the 620 spools. The internet has many videos on the proper method of doing that. Here is one . . . http://www.brownie-camera.com/respool/respool.shtml The film is wound by a large, ratcheted knob in the side of the camera, turn the knob 180 degrees to advance to the next frame. It also has an interesting double exposure prevention system, after depressing the large red shutter button it remains in the depressed position until the first rotation of the film advance at which time the button pops back to it’s normal position. On the other side a flash attachment can be mounted, it cost another $4.95 (as seen in the advertisement above). There are no other controls on this version of the Anscoflex, a newer version the Anscoflex II, a much more expensive camera, has two extra controls for filters just below the sliding lens cover, one for close up, focusing at 4 feet and a yellow filter for daylight exposures on Black and White film. There is just something about this "Industrial" design that makes it stand out from other cameras of that era. Hiring Raymond Loewy to design a camera insured that would look like nothing else on the market. It has a refined feel
to it, the soft corners, the ergonomic controls, it just feels at home in your hands. Unfortunately at the time of it's release 620 film was on it's way out and 35mm was replacing it. The Carbine, or Carbines were cameras sold by British company W. Butcher & Sons from 1903 -1930. There were many different versions of this camera, this one used 122 Roll film and could adapt to accept plate film to make 3 X 5 postcard photos. W. Butcher & Sons Carbine. Up to the advent of the Great War* Butchers imported German made cameras but this arrangement became somewhat inconvenient thereafter, and they teamed up with Houghtons as manufacturer to form The Houghton-Butcher Manufacturing Co.Ltd, finally merging in 1926. By 1930 they sold cameras under the Ensign name. There is frequently no mention of Butcher on the pre Houghton-Butcher arrangement cameras. The Carbine line had many models over the years #0,2,3a,3b,4,5,6,7, and 12, each has different lenses, methods of pulling the lens assembly out, moving the lens up and down and sizes of plate film it could use. The camera does not have any visible model number markings in any of the places others are marked other than the "Carbine" Logo on the side and a "B" film winder (which makes me think it was pre-Houghton) and serial number D 52097. From the research I have done I think this is a model #3a or 3b - 31/2 X 51/2 postcard size plate made around 1914-15. This camera shutter has the name "Lukos" I on it, it has shutter control for Bulb and Timed release. It's an American manufactured shutter. The lens (front glass missing) has apture settings of F11,18,22,32 and F45 can be changed by moving the arrow/lever on the bottom. The lens raises and lowers on the chrome fork or standard and moves forward and backwards to adjust focus. There is a brilliant viewfinder that pivots for horizontal and vertical shooting. Also I can't find a foot for horizontal shooting they are usually on the front of the baseboard. In the manual to the Ensign Carbine #3 is a description of the camera. Metal body covered in leather with a "Carbine" button on the side of the body. The manual goes on to explain how to load film, how to develop the film and even take pictures. The camera has a dual back that accepts either 122 format film or a plate back. With the back off we can see the recesses for the Roll Film, top and bottom and the middle area for the Plate Film. The middle part of the removable back pulls up an out and your plate film slides in its place. With the back on you see the red port hole (and its cover) to allow you to read the numbers on the Roll film. The last thing that might help date the camera is the film winder in the shape of a "B", Butcher Logo maybe.
With todays cameras it is relatively easy to take a good photo. Your ordinary digital camera or cell phone camera will do all the thinking for you just point and shoot. If you want to take better pictures you can use a DSLR (Digital Single-Lens Reflect) that will allow you to make some choices about how you want your camera to act and your image to look. With both cameras we will find an electronic monitor to see what we are shooting. With the DSLR we also have a small through the lens viewfinder that lets us a look through the lens with the use of a moveable mirror. The viewfinder is great on those bright days when your monitor is hard to see. The biggest difference between the two cameras are on a DSLR you have interchangeable lenses with many more adjustments or choices to change the way our photos look. Once we have determine what and where to shoot we have to make more options, such as how our lens will use the available light, like how much and how fast we want it to enter the camera and how sensitive the sensor is to the light landing on it. Most cameras can figure that out for you using their built in meters but as a photographer you may want to make some of those decisions yourself to influence the look of your image. In my last blog we talked about lighting and how that effects your images. Now I want to tell you about using that light and your ISO, Aperture and Shutter Speed controls to add new focus to your photos. The amount and the speed light enters will change the way your image looks. ISO ISO = International Organization of Standards They set the standard used to measure the sensitivity of the digital image sensor in your camera. It digitally reproduces the image you see through the lens of your camera. In film terms this was ASA film speed.
In bright daylight an ISO setting of 100-200 will suffice. Need to use a flash maybe 400 - 800 ISO will work. Aperture [A] and Shutter Speed [S] are the two controls we will look at next. We need to decide how the light enters the lens to activate the image sensor. For this we use the Aperture [A].
When the aperture is very small, the light entering is highly collimated, which means all the rays are parallel to each other. This results in a sharp focus for all the light that comes in. When the aperture is more open, only the rays which closely match the focus point are collimated — which means that whatever you've focused on is sharp, but farther or closer parts of the scene will be increasingly blurry. In combination with ISO speed and aperture opening we need to know how long to leave the aperture open for this is called Shutter Speed [S].
Shutter speed allows the impression of motion in an image. Slow shutter speed blurs fast motion, giving the impression of greater motion of the camera or subject. It can enhance the image by making athletes or cars look like they're going very fast. It also can detract from the image if the subject is not intended to be moving, like a portrait or Landscapes, So using different variations of ISO, Aperture and Shutter speeds will help produce different looks to your image. Motion Blur is a tool used to emphasize a subject, here speed and a slow shutter are used to produce the blur effect. The top image was shot with a fast shutter speed 1/1600sec and freezes the moving image while the bottom shot at a slower speed 1/30sec is open long enough for the subject to move and cause a blur in the image.
Depth of Field Also known as Depth of focus this is one of a photographers tools used to clearly point out the important subject in your photo. A shallow Depth of Field is determined by a large aperture opening, distance to subject and focal length. With any image you will want the most important subject in focus and the other less important objects slightly to completely out of focus. Here are some simple ways to accomplish that. Here I am telling you what I feel is most important in each image. Taking these photos I am quite a distance away zoomed in with a wide aperture and fast shutter.
Sports and High ISO If I am indoors shooting a sporting event I'll have low light and fast action. To capture fast action I will want a wide lens to pull in more light, a fast shutter speed like 1/200 or 1/500 of a second. That means light will have to come in fast, a medium aperture opening and a higher ISO will give me a wide depth of field. I will have to 'bump up" my ISO to 3200 to allow me that faster shutter speed and medium aperture. By using these variables I can achieve the best speed to shoot the image I want.
Sharp focus Hyperfocal Distance is used in landscape photos where everything in the frame is important. Wide angle lenses (18 - 28mm) allow you to see foreground in focus as well as the background. In a Landscape photo you want to be sure everything is in focus. To do this, you’ll have to figure Hyperfocal distance. This distance is defined as the closest distance at which a lens can be focused while keeping objects at infinity in focus as well. When the lens is focused at this distance, all objects at distances from half of the hyperfocal distance out to infinity will be sharp. For a more in-depth explination of how to calculate Hyperfocal distances visit http://dofmaster.com/hyperfocal.html This chart will show you approximate Hyperfocal distances Lastly, when you have all your technical ducks in a row it is time to check your composition, horizons level, eyes 2/3rd of the way up the photo, looking room on one side and important objects on intersecting lines. Rule of Thirds. This rule helps us choose where we place objects of importance in the frame. But remember rules are made to be broken. Cameras sometimes come with a grid pattern to help you compose your shots and keep your horizons level. Check your camera menu to find out how to turn on this feature. Of corse if you are using "Dutch" angles just adjust the grid in your head. . . Happy Shooting!! For more tips on shooting lights at night visit my photoblog. http://malcolmchalmersphotography.weebly.com/2/post/2012/02/2011-cowichan-exhibition-at-night.html Why do some of your photos turn out great and others don't look good at all. It could be the light you are using not your camera. Here are two images of the same place taken around the same time on different days, it really shows the power of light. As an Event Photographer I sometimes have little choice in the light I am able to use. What I do have is the ability to use the available light to my best advantage. Sometimes it works sometimes, not so much. Here are some tips to help you shoot better photos. Some of the events I shoot are all day long and outside. Fortunately there is a variety of ways to use this light to your advantage. Positioning your camera can be one of the most important things you can do to improve your photos. The photo above is a good example of shooting at noon on a cloudless sunny day. I have positioned myself (the camera operator) to use the sun as back or side lighting. Avoiding direct light and shadows on the faces. Shooting in direct sunlight. You might think "Hey, the more light the better" but that is not always true. The opposite of light is dark and the more light you have on your subject will also produce darker shadows where the sunlight isn't. High contrast between light and dark does have its place in photography, mostly horror movies though. The dark shadows under the eyes, nose shadows, also the hot spots on the bridge of the nose and forehead are never flattering. Try not to shoot your subject looking directly into the sun, have it come from behind or just off to the side and bounce light to the front or move out of the direct light and in to a shaded area. You can bounce light with a "reflector" of some type. Shooting in shade. Shade allows you to balance or flatten the light that hits your subject, it reduces the contrast between the light and dark on your subject. When you have your subject in the shade watch your backgrounds, the amount of light hitting the background can become over exposed and distracting.
Look for a solid shady area with no pools or shafts of light, let your camera's aperture open up a little more or use higher ISO speed. ISO is how sensitive your film or Digital Image Sensor is to light. It is expressed as 100 - 6400+. Your image can be adversely effected by very high ISO though. Try to stay under ISO 800 or use more light. Cloudy/Overcast light. Living in BC it feels like we have more overcast days than bright sunny days so we have to be able to shoot on those days. On overcast days light is flat even light, it produces very little shadow. It can however appear stronger from different angles. When you are shooting have your subject turn and watch where your lighting is best. An overcast sky can be very bright so be careful with your backgrounds and how much sky you include in your photo. Using your main source of light as Backlight. Backlight can be your friend, if you use it right. It helps provide separation between subject and a background. It rounds out your subject, provides some depth. It's like a little 3D effect. When using backlight be careful, you don't want to underexpose the front of your subject so take your meter readings from your subjects face where the sun is not reaching. If you can, use a reflector to bounce light to the front. Using reflectors or "bouncing" puts the light where it needs to be. I like to use strong light as backlight, mostly for the ability to provide the separation from background and it offers me the ability to redirect the light to the front of my subject(s). In the portrait above (check the inset photo), you can see in her glasses the reflection of the (Foamcore/whitebord) reflector or Bounceboard. The sun is over her left shoulder and bounced back off the whiteboard that is to her right. This will remove shadow from under eyes, nose and chin. You can almost use anything white to bounce light in bright sunlight. A white car, the white lid on a Styrofoam ice chest, a white towel even a news paper will bounce light. Make sure it's white not colored so you are not reflecting color on to your subject. Professional reflectors come in white, silver and gold color. White Foamcore can be purchased at hardware or building supply stores at a fraction of the price. White or silver car window shades can also be used. Sunrise, sunset, it's called the Golden hour for a reason. As the sun rises or sets the angle of the light produced by the sun must travel through more atmosphere, clouds, particulates in the air (smoke, dust etc) it softens the light and reduces the angle of the light so it does not produce those deep shadows under the chin and eyes. And generally gives off a nice soft glow or great backlight. Plan your shooting just after sunrise or just before sunset on clear days or evenings. Shooting in Low Light. Shooting motion in low light is tough for anybody. When I needed to find a low light image I knew exactly where to look for one. Tyler's wrestling tournaments are held in gymnasiums lit by sodium vapour or florescent lights. High ISO, large apertures and slow shooting speeds are what you are going to have to face. The way to counteract these hurtles are "fast" lenses (ones that open f2.8 - f1.4), use the image stabilization in your camera or on your lens, monopods or tripods and that dreaded flash all help. Shooting in Mixed Light. Often you will find yourself taking photos inside near windows, you'll have the inside lights turned on, possibly you are using your cameras flash as well. That is mixed light, three different colors of light to your camera. It is almost impossible for cameras to white balance for multiple light colors. What is Color Temperature? Check this website for a good explanation of color temperature and how your camera handles it. http://www.olympusamerica.com/crm/oneoffpages/crm_whitebalance.asp
Pick your brightest light source and try to get rid of or minimize the others. If you can't only use one source use color correcting gel on your flash to match your strongest light source. You can also buy large sheets to cover windows but covering your flash is much cheaper. Night doesn't mean no light. It just comes from different places. Shooting at night has many challenges. It is harder to focus, get the right exposure, high ISO and shallow depth of field (DOF). It does though put you in control of where and how much light you can use to light your subject. Here is where your light is coming from at night, top photo - the moon, centre - the subject has it's own light, bottom - car headlights, large windows in buildings or street lights etc.
Learn to look for these natural sources of light when shooting at night. On camera flash photos. Most cameras come with a flash either built in on they have a hot shot to attach one. In my opinion your on-camera flash should be your last choice for lighting your photo. In provides flat lifeless light and harsh shadows (like the mid day sun). If anything get the flash off your camera and move it higher and to the side to help provide some modeling. Notice there is no dimension to this subject, it really does look two dimensional and slightly too bright compared to the background.
With practice adjusting the light output of your flash and moving it off your camera you can achieve better results while using your flash to fill in light. Understanding your equipment. Todays camera equipment can be very technical and does require you to read and understand the manuals.
You can find many on line tutorials that will help show how to use all the features your camera offers. Spending a little time learning the way your camera works will help make your photos keepsakes you will want to cherish for the rest of your life. Still photography and motion can make some really interesting images. Photographing moving objects offers endless opportunities on customizing the look of your image. You can choose to stop the moving object with a fast shutter or slow your shutter for a different effect. Water is one thing that comes to mind when you take long exposure shots. The two shots above are a good representation of two different blur effects you can achieve by holding your shutter open a little longer. The top image was shot at 1/40 sec and the bottom at 1 sec. The process employed to get that silky effect is called motion rendition. If you set your camera with a slow shutter speed like 1/4 of a second or maybe 1/8 or 1/15 of a second, anything moving very fast will appear blurred in the resulting image. If you photograph moving water at speeds from two to eight seconds you will get very blurred or silky looking water. To be sure your photos will be blurred in the proper places you will need to use a tripod and possibly a external/electronic shutter release or a timer. You will also want to be using a large aperture like f 22 to allow a maximum depth of field to keep a good portion of the image in focus.
These shots illustrate three different looks you can acheive by extending the time your shutter remains open. The top is 1/2 sec, middle 2/3 sec while the bottom is 1 sec. Because you are blurring motion it is important to watch for anything that moves in your picture. The water looks nice but the bush at the bottom of the falls becomes distracting. I like this one, 1/3 sec @ f 14 plus the on camera flash, Slow Sync Flash . The stream was moving fast and it was quite dark in this area of the forest which allowed me to use the flash and still shoot at 1/3 sec. Water is not the only thing you can use motion blur on. More motion blur, this time magnified slightly by camera shake (hand held), and the speed of the ride. This was shot at 1/80sec, f 5.6 and edge blur was added in post production. Here is another example of speed being a factor. Even though it is just getting dark shooting 1/4 sec at f 16 allows the merry-go-round to be blurred. The people were for the most standing still so that helped. Shooting lights at night. Spin Out shot at f 7.1 @ 1/6 sec., not quite long enough to make it really blur. 1/2 sec @ f 11 makes the swings appear almost as one. Here is the difference of 1/4 sec and 1/2 sec on a fast moving lighted swing.
Hey . . . now I can really say "I got a Pony for Christmas! " read on and I'll explain. . . She's black and grey with aluminium accents and I got her two days before Christmas. Kodak made these bakelite beauties from 1950 - 54 as a camera for the serious amateur. Controls This camera has aperture, shutter speed and manual focus controls on the three element 51mm, Kodak Anaston lens equipped with a flash post. Its aperture settings f22, 16, 11, 8, 5.6 and 4.5. Shutter speeds B, 1/25, 1/50, 1/100, and 1/200sec. The simple two blade shutter on the Kodak Flash 200 was synced at 1/200sec. On top a simple viewfinder, film advance and rewind knobs, a handy film counter and a film type reminder. It also came with a tripod mount. The Pony Line. This model, the 135 used the 135 cartridge film, it was second the Pony line after the popular 828 model which used 828 roll film. Following the 135 were the 135 “MODEL B” (’53-55), the 135 “MODEL C” (’55-58), the Pony “II” (’57-62) and finally the Pony “IV” (’57-61). The 135 has this really neat pull out lens barrel. To extend or collapse the lens you needed to unlock with a twist to the left and lock with a twist to the right. I have a Rollei 35 that also has a collapsable lens barrel that was used to allow the camera to be "pocketed" for carrying. I am sure that is the reasoning behind this one as well. Ease of use. To use the camera first you had to remove the rear plate by pushing in a small release on the right camera strap connector and push down. The back came completely off for easy loading of the 35mm film, then snap it back in place and pull connector up to lock. Wind the film to the start. You then extended the barrel by twisting, pulling and locking. A safety feature would not allow you to snap a picture without extending the barrel. Adjust your aperture settings and film speed on the lens, then estimate the distance to your subject, turn the foot meter at the front to approximate focus. Next cock the shutter with the leaver on the side of the lens, eye to the viewfinder to frame your subject and press the shutter release button on the top. Then don't forget to move the release lever and advance the film to the next frame. Done. Cost. For a mere $35 dollars (around $300 in 2012 dollars) you could have added one of these little Ponys to your herd. Your other options in those days were plentiful but like many other Kodak cameras they were affordable to encourage the use of Kodak's film. To learn more about cameras from the 50's, or for that matter from the 1900's to the 1970's visit this informative website. http://licm.org.uk/livingImage/1950Room.html If you owned a Polaroid camera in the 70's I bet you took lots of instant snap shots of you and your girlfriend. You remember, the kind you didn't want to take to the photo shop for developing. "Wink, wink, nudge, nudge, know what I mean." Going through the 50c bin at the Thrift Shop you find all sort of Polaroid Instant Cameras, and if your lucky maybe even a package of film. I didn't realize that one time Kodak entered the instant camera market with their version of the Kodak Instant Camera, later called Kodamatic. I also didn't know that Polaroid had Kodak manufacture their instant film. Between 1976 and 1978 Kodak made the EK4,EK6 and the European model EK8. They knew how to make instant film since their factories already made film for Polaroid. Kodak used the same film formulation then modified the way film was handled exposing the back of the film not the front. Maybe this would be different enough to beat copyright laws. Polaroid didn't see it that way, they sued and won a copyright infringement suit forcing Kodak to stop selling and buy back their Kodamatics. Kodak also lost the contract to produce film for Polaroid. Polaroid had been making film cameras since 1937 and instant cameras since 1948 when Polaroid founder Dr. Edwin Land's young daughter asked why can't you take a picture that comes out developed? With that thought in his head Dr. Land came out with the model 95 the first of many instant film cameras. Polaroid continued to produce their Land Cameras, Box, Folding, Spectra/Image and later their izone instant cameras ( izone, catchy sounding name eh. . ) trying to appeal to the younger and younger generations. The small izone photos had an adhesive backing so you could stick them on your binders and such. In 2001 Polaroid filed for bankruptcy and stopped producing cameras. In 2005 Polaroid's holding companies discontinued making their instant film and moved into producing Digital Cameras, DVD players and TV's. then in 2009 they made their first digital instant camera called PoGo TWO, a camera and printer all in one then went bankrupt again. In 2012 Polaroid once again launched a digital instant camera Polaroid Z340 Instant Digital Camera. Instant film
is again being manufactured by the impossible project for those who still love those old Polaroid cameras. http://www.the-impossible-project.com/projects/polaroidcamera/ Companies build cameras that are similar to another in that line, they just keep adding more features for us, they call them SUPER. It's like the Argus Seventy Five except with more powers it's super Seventy five . . . focus and aperture are two. I thought the Argus 75 was something. This new model the Super Seventy Five gave you the ability to focus the lens, by the foot 3.5 to infinity, and chose aperture between f8 and f16. The big bright Twin Lens Reflex (TLR) viewing lens sits atop the black Bakelite plastic, yea I know the image is backwards. Then you would think . . It's Super, they should have been able to fixed that. People like to take photos of images through the viewfinder lens. That is neat. This shooter has had a hard life, I bet it has seen lots of sights. .it has got scuffs, scrapes but it is still working, even the leather case is experienced. You have to love the Bakelite plastic, I wonder why they stopped using it..
The day after I find a camera display case to help me ease some congestion in the living room I run across a bulk buy at a Garage Sale. I really ended up buying these cameras because they were piled in a box with a Brownie still camera that I really wanted. The Kodak was priced above what I wanted to pay so I did what the American Picker boys on TV do and gave a low price for the 8 cameras all together. A couple were in not great shape and there was a duplicate Bell & Howell model which I already have in my collection the rest are in decent condition. The worst of the bunch was unfortunately the one I liked the most, the Keystone 8mm. The glue has given out and the badges have fallen off as well as the light meter is missing from above the viewfinder. Other than cosmetics it still runs and the lenses move around but it is not much to look at. Mansfield Industries of Chicago Illinois, USA made this 8mm movie camera in 1959. The Holiday II had three lenses and a built in exposure meter and a handy color chart for shooting. The Cronica 8 ET was made in Japan in the early 60's by the Crown Optical Co.Ltd. in Japan. It has three lenses on a turret. Uses 8mm film, no sound recording. It is a heavy camera made of metal, and lots of chrome. Rubica R 8 Zoom EE was made in 1962 by Ribica Seiko Ltd, Japan. The cameras zoom lens is a Magnon 2x8mm. It has a detachable handle that pulls the shutter release down to shoot. Although it's not a movie camera it was the one I wanted in the box. All the cameras were all priced at $5 and up, I offered $20 for the bunch which gave them to me for $2.50ea. I have just started to see more of these Canadian made Kodak cameras. This Brownie Holiday camera was made between 1953-57 and was designed by Arthur H Crapsey. It uses a film size 127 with a picture size1 5/8 X 2 1/2″. This version was manufactured in Canada and has the Kodak Dakon Lens, Rotary Shutter with an optical direct vision finder. It is made of molded brown and tan plastic, slide the metal clips down and the back comes off to access the 127 film. This model also comes in a flash capable version called the Brownie Holiday Flash Camera It's really to bad this one is in such rough shape, it is a cheaply made 1950's TRL It was made by the Herbert George Camera Company which was also know as the Imperial Camera Company from Chicago Ill. They made lots and lots of "toy" cameras. Perhaps the best known is the Savoy, which came is several colors, or the Herco Imperial with it's telescopic lens and the futuristic Imperial Satellite . If you like toy camera photography, cameras such as these can give interesting results. http://camera-wiki.org/wiki/Imperial |
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