#camera for fun

When I was looking over the cameras in my collection and thinking about which camera to write about this week, the Polaroid SX-70, which I have right over my desk, seemed to jump up and say, "My turn this week." I thought about it for a moment and thought, "It's not that old of a camera, but it is." 

 The Polaroid SX-70 was introduced in 1972, during the era of many "modern" inventions, like the home VCR, floppy discs, and email. It was not too far after the music and pop revolution in the late 1960s, which brought interesting and new designs. Currently, the SX-70 is a 52-year-old camera and, in my opinion, the last camera introduced with a genuinely different and unusual design.

 Being a fan of Polaroid from an early age, I remember getting a Polaroid Swinger for Christmas of 1965, just a few months after the camera was introduced. To focus the Swinger, you'd squeeze the focus dial until a "YES" would show up in the viewfinder, telling the photographer the camera was focused and ready to take a photo. That was tremendous and, to this day, a fun innovation of its time.

 When the SX-70 was introduced, there was much fanfare, magazine covers, and writing about this revolutionary camera from Polaroid. The SX-70 was officially sold in the Miami area in late 1972 and became nationally available in 1973. It was sold for $180.00 for the camera and $6.90 for the film, with ten photos in each pack.

 The interesting thing about the Polaroid SX-70 film was that the batteries that powered the camera were in the film packs, so every time you put a fresh roll of film into the SX-70, you were also putting fresh batteries in the camera. Batteries in the film pack were good unless you tried a pack with depleted batteries or tried out-of-date film where the batteries were dead. At that point, the camera was unusable.

 What made this camera unique was its odd and different design and its very slim design. It was an SLR camera with through-the-lens focusing, exposure control, and accessories that would enhance the photo experience, such as a remote shutter cable, tripod mount, close-up lens and diffuser, lens hood, self-timer, and accessory holder. Other companies soon came out with accessory lenses and electronic flash units.

 In 1974, due to the success of the original SX-70, with its chrome and tan-colored leather covering, Polaroid introduced lesser-expensive models and kept introducing other models soon after that. 

 The SX-70 camera was a massive success for Polaroid and gave instant photography a shot in the arm like few I've seen in the photo industry. Kodak would create their version of an instant camera in 1976. Still, Polaroid sued them for patent infringement, which led to Kodak discontinuing production of their line of instant cameras in 1985.

Company History:

The Polaroid Company, founded by Edwin H. Land in 1937, pioneered light-polarizing technology. Originally called the Polaroid Corporation, the company first made waves by producing polarized sunglasses and optical devices. However, its true innovation came in 1947 when Land introduced the first instant camera—an invention that would forever change photography.

 Land unveiled the instant camera at a meeting of the Optical Society of America, demonstrating how it could develop photos within minutes. This breakthrough led to the Polaroid Land Camera Model 95 commercial release in 1948. The camera's unique ability to produce finished photographs quickly became a cultural phenomenon, redefining personal photography for decades.

 Throughout the 1950s and 60s, Polaroid expanded its product line and refined its instant photography technology. It gained popularity among both amateur photographers and professionals. The introduction of color film in 1963 further solidified Polaroid's position as a dominant force in the camera industry.

 Polaroid also became known for its iconic camera designs, such as the SX-70 in 1972—a folding single-lens reflex camera that was both portable and innovative. During this golden era, Polaroid enjoyed tremendous commercial success and was often seen as a symbol of American ingenuity.

 However, the rise of digital photography in the late 1990s and early 2000s caused Polaroid to struggle. Despite attempts to adapt, including digital products and partnerships, the company couldn't maintain its market dominance. In 2001, Polaroid filed for bankruptcy and began selling off assets.

 The brand saw several changes in ownership over the following years. Yet, in a surprising turn, Polaroid experienced a revival in the late 2000s and 2010s, fueled by nostalgia and a renewed interest in analog photography. The Impossible Project, a group of former Polaroid enthusiasts, acquired the brand's last factory and began producing new instant film. Eventually, this effort led to the relaunch of Polaroid as Polaroid Originals in 2017, and later simply Polaroid.

 Today, Polaroid continues to produce instant cameras and film, embracing its vintage roots while appealing to new generations of photographers drawn to the charm and simplicity of instant photography.

My Camera:

My SX-70 camera measures 7" long by 4" wide by 5.5" tall when it is opened and only 1.5" tall when it is collapsed. It weighs only 1 lb. 7.6 oz. and has a 4-element 116mm f8 glass lens. My camera is one of the earlier models because it has the embossed serial number on top of the film chamber. The serial number on my camera is FE3028170DK.

 To open the SX-70 camera, place it in the palm of your hand, grip the top ribbed section of the viewfinder, and pull up. This will open the camera and lock it into place. The locking bar is on the left side of the camera. If the camera isn't locked when you pull up on the viewfinder, you can slide the locking bar forward to lock the camera open. 

Once the camera is open, it exposes the black rubber bellows built into it. It also exposes the rear viewfinder for focusing, and on the front of the camera, the red shutter release button and the exposure control the camera. I was taught to hold the camera in the palm of my left hand, and with my right hand, I can focus on the camera. 

 Putting the camera up to your eye and looking through the camera, you'll see a split-image focusing screen. A small black wheel controls the camera's focus on the camera's right side. Turn the black wheel back and forth until the subject looks sharp. The split image focusing allows the photographer to find a vertical item, and when out of focus, the line will be split and together in one line when in focus. The camera can focus as close as 10.4" from the subject.

On the other side of the camera is the exposure control wheel. The camera is auto-metering, which is metered by the opening just below the lighten/darken wheel. Generally, you leave this wheel in the center position with half the white or black portion in the middle. 

 If you want the following image to be lighter, move the wheel so more of the white is showing. If you want it darker, turn the wheel so that more black is showing. There is no rule of how much to move the wheel for a lighter or darker image. It's all just a guess. The camera shutter can shoot from 1/175 to longer than 10 seconds.

To open the camera to load the film pack, on the right side of the camera is a button with a yellow sticker, and inside that yellow sticker is a "down arrow." Push that button down, and the front door opens to reveal where the film pack fits. The original film packs were color-coded, so you would line up the yellow, black, and blue sections of the film back to the colors on the film chamber and slide the film pack into the camera. You must press it all the way in so the film door can close. Closing the film door with a fresh film pack in the camera will eject the dark slide from the film pack through a small slot in the film door. The camera is ready to take its first photo when the dark slide or cover is ejected. There is a small window on the back of the camera, the frame counter.

When you take a photo and light hits the film, the camera ejects the film through a pair of rollers on the film chamber door. When the film passes through the rollers, they squeeze the chemicals onto the film, and the photo starts to process.  These need to be cleaned; otherwise, the photo won't be processed correctly after you take a photo. Another issue that dirty rollers can cause is dots on the photo. The dots are caused by dirt on the rollers, and they press into the photo, and the chemicals can't reach that area, causing white dots throughout the photo.

 If you're indoors and there's not enough light to take a photo, a flashbar fits into the slot just above the lens and takes five electronically timed flashes per side of each flashbar. They worked well. All you needed to do was snap the flashbar in the slot, and everything was done for you, except for turning the flashbar after five flash photos.

The electronic cable release attaches to two small holes on the camera's right side. The accessory tripod mount would fit on the bottom of the camera, and the accessory holder and close-up lenses would fit into the flashbar holder. 

 To close the camera, slide the locking bar back toward its arrow. The camera will start to close. Press the top down into the body, and the camera will click into the closed position.

A common issue with the SX-70 is the mirror gets locked in the up position, and the camera won't close all the way. You can also tell when this happens when you look through the viewfinder; there is nothing to look at, and the finder is black. The lock-up can be caused by a lack of power from the battery or the film not getting ejected properly, but there's not enough power to cycle the camera. Something you can do to correct this is a bit tricky and not too difficult, but it means taking a small and fragile piece of plastic off the camera to expose the gearing system of the camera. If you're nervous or think you'll break the piece of plastic, DON'T try it.

 On the right side, by the film release button, is a small and thin piece of plastic that you can CAREFULLY pull up at the front of the plastic piece. Some are easy to come off, and some are very tight, so please be careful. Once the piece is off, you can see the gears in the camera's body. The front gear can be turned, which will bring down the mirror system allowing you to view through the camera and cocking the camera. Many videos on YouTube show this process if you are interested. Once the camera's mirror comes down, you can put the piece of plastic back and snap it into place. You'll need a new and fresh film pack to ensure the camera is in good working condition.

My images:

Unfortunately, I didn't buy film before I wanted to write about this camera, and when I looked to purchase some, they were out of stock, so I'm forced to show photos from the late 1970s or early 80s. 

 Here are some of the family photos from the SX-70 camera.

 Conclusion:

The SX-70 brings back many fond memories we had with family and co-workers. It's one of the classic cameras made in the 20th century, and I am thrilled to have a good early model in my collection.

 One of the real advantages of the original SX-70 film was the ability to manipulate the images during the processing, which took a minute or so. We'd take different thicknesses of knitting needles and swirl the chemicals around, which would cause a flow in the photo, which was very artistic. The new film doesn't allow for this creativity.

 Thank you for taking a few minutes from your schedule to read about this wonder camera from the 1970s.

 Please feel free to email me if you have questions or concerns. Until next week, please be safe.

I've never really been a big fan of Canon cameras, as I've always been a Nikon person. In my opinion, Canon cameras weren't well-made, especially in the 1960s, when this camera was manufactured. Their line of early rangefinder cameras has nice optics and is comfortable to shoot with, but I just prefer the Nikon line.

 One of my frustrations with Canon was working in a camera store during the 1970s, when the unbelievably popular Canon AE-1 was introduced. For over a year, the camera was the top seller in our chain of stores as we couldn't keep them in stock, and people absolutely loved it. Personally, I think that Canon held back production on the camera to add to the mystique of having a camera "hard to get", which added to the popularity of the camera. Daily, we had so many questions about that camera. Today, I could do a demo on the camera with my eyes closed.

 I don't remember the exact year I purchased the Canon Demi camera, but I know I've had it for several years.  My guess is it's been about 8-9 years. I do remember, I purchased the Canon Demi camera at a flea market, mainly because the camera was red, and I'm a sucker for colored cameras. Checking out the camera at the time, it had the original red camera case, and the person who sold it to me said the camera's meter wasn't working.

 Having had many cameras with a selenium cell light meter, they tended only to last around 20 years or so until the selenium cell loses the ability to read light and work in cameras. I wasn't worried about that at the time of purchase, as the primary motivation to purchase the camera was that it was red and had a red case.

 The Canon Demi was introduced in February 1963. The camera has a sleek and modern design from this expressive period.  The camera has rounded corners and a straightforward point-and-shoot viewfinder with a zone focus system. It wasn't made to be a professional camera with built-in focus capabilities, but for the family and photo hobbyist. A selenium match needle metering system was easy to operate, keeping costs down for the consumer. By the end of 1963, the Canon Demi came in four colors: traditional, black, white, blue, and red. These colors didn't last long and were quickly discontinued.

 Another advantage of the Canon Demi was that it was Canon's first half-frame camera, introduced four years after the Olympus Pen camera in 1959. Rolls of film at that time had either 20 or 36 exposures, so shooting 40 or 72 photos on a roll of film was excellent and considerably less expensive for the family to use.

 In September 1964, Canon introduced the improved Demi S, which had a 30mm f/1.7 lens and an improved metering system. 

 In April 1965, the Demi  C, with interchangeable lenses, was introduced. You had the standard 28mm f/2.8, and a 50mm f/2.8  was available for the camera.

 The Demi Rapid, with a rapid loading system, battery-operated CD meter, and self-timer, was released in June 1965.

 May 1966 saw the release of the very popular and top-of-the-line Canon Demi EE17. This camera was the same as the Demi Rapid without the rapid loading system. 

In April 1967, Canon returned to the original style with the Demi EE28, back to the Selenium cell metering system, and a 28mm f/2.8 lens. In four years, Canon introduced five different models of the same camera, which were very similar to what the auto industry was doing then.

History:

Canon Inc., a large Japanese multinational corporation, has played a significant part in the evolution of camera technology. The company's journey in the camera industry began in the 1930s and has since developed into one of the most recognized names in photography worldwide.

 Canon's first camera, the Kwanon, was developed in 1934 by a small team of Japanese engineers. It was Japan's first 35mm focal-plane shutter camera named after the Buddhist goddess of mercy. Although it was never mass-produced, it laid the foundation for Canon's future success. In 1935, the company adopted the name Canon, signifying precision and excellence.

During the 1940s and 1950s, Canon focused on refining its rangefinder cameras. The Canon II, released in 1946, helped the brand establish itself as a competitor to German camera makers like Leica. In the 1950s, Canon began to diversify its product line. By 1959, it introduced the Canonflex, its first single-lens reflex (SLR) camera—this marked Canon's entry into a growing market that prized versatility and interchangeable lenses.

 The 1970s and 1980s were transformative decades. In 1971, Canon launched the F-1, a professional-grade SLR that rivaled Nikon's offerings. Later, in 1976, the company released the AE-1, one of the world's first cameras with a built-in microprocessor. The AE-1 was affordable, reliable, and popular with amateur photographers, helping Canon grow its user base significantly.

 In 1987, Canon introduced the EOS (Electro-Optical System) line, beginning with the EOS 650. This groundbreaking autofocus SLR system used a fully electronic lens mount and paved the way for future innovation. The EOS series would become one of history's most successful camera lines.

 Canon embraced digital technology in the 1990s and 2000s. The release of the EOS D30 in 2000 marked Canon's serious move into digital SLRs. This transition peaked with iconic models like the EOS 5D series, which brought full-frame digital photography to a broader market.

In the 2010s and 2020s, Canon adapted to mirrorless technology, introducing the EOS R system in 2018. This full-frame mirrorless platform represents the company's latest push to stay at the forefront of imaging technology.

 Today, Canon continues to be a leader in photography, producing a wide range of cameras that cater to everyone from beginners to professionals, while also advancing imaging technology across multiple industries.

My Camera:

My Canon Demi camera is 4.5" wide by 2.75" tall and only 1.5" deep, including the compact 28mm f2.8 lens. It weighs 14.4 oz and is not adorned with frills, bells, or whistles. It's a very typical 35mm camera with a zone focus system and shutter speeds ranging from 1/250 to 1/30. The aperture settings range from F/2.8 to F/22.

The zone focus is set by moving the lens to either a mountain for infinity, three people for a group, or one person for a portrait, and these symbols are set around the lens.

The camera uses a match needle system. You point the camera at your subject, and when you turn the dial around the outer ring of the lens, the shutter speed and aperture are set to the ASA/ISO you set within the exposure ring.

The back door latch is on the left side of the camera, which unlocks and opens the film door to load film into it. Drop the 35mm cassette into the camera's left side and bring the leader to the take-up spool. Slide the end of the film leader into the slot on the take-up spool. Make sure the film sprockets are on the back drive gear. 

 One thing I do to make sure the film is moving in the camera is take up the slack by winding the rewind knob a few turns to take uo the slack in the film cassette. That way when you close the back of the camera and wind the camera to get it to the first frame, watch the rewind knob turn so you know the film is advancing in the camera. Checking the rewind knob is a good thing to do with any 35mm camera. I can't tell you how many times I've seen where people think the film is advancing, but the film wasn't loaded correctly, and no images were ever recorded on the film.

Once you've taken all the photos on your roll of film, press the button on the bottom of the camera. This releases the winding gear inside the camera so you can easily rewind the film back into the film cassette. If you don't press the rewind button, you'll tear all the film sprockets on the roll of film, making the process more difficult. After the film is rewound into the film cassette, open the back and load a new roll of film.

 My Results:

I took this camera on my trip to Barcelona this week, partly because I had a roll of older Plus-X film with 20 exposures, and the second reason was the camera's shutter works, but the meter doesn't. I wanted to experiment with some of the exposures to see if I could get exposures on the roll of film. It probably wasn't the best idea to try a 40-50-year-old roll of film under these circumstances, but I wanted to write about the camera and didn't want to shoot 72 exposures to get bad results.

 The results turned out pretty well, and the camera meter is in decent condition, as many of the images turned out pretty well. However, the film is pretty grainy for being ASA 125. Nonetheless, here are a few photos from walking around one of the main shopping areas in Barcelona.

Conclusion:

My expectations for the camera weren't high, so I was pleasantly surprised by its relatively easy-to-use nature. Basic focus and a match needle meter make this compact camera very fun and easy to use. 

 If you enjoy vintage manual cameras, this is one to put in your coat pocket or hang around your neck. It gets twice as many photos from a roll of film and records memories for the photo albums. It is another excellent camera to use on a daily basis.

 Thank you for taking a few minutes to read about this fantastic, compact half-frame camera. A faster lens would have been nice, but it's unnecessary under most circumstances.

 I also sell cameras on eBay under Cuny's Cameras and Photos. Take a look, and you may see something you are interested in or a camera or two that piques your interest.

 Click on the link to read about some of the other cameras reviewed.

As a camera collector for over 50 years, I was unaware of the Futura cameras for almost 45 years. It wasn't until a friend and fellow collector mentioned the Futura camera that it stuck in the back of my mind, as I haven't come across one in all these years of collecting.

 After hearing about the Futura cameras, I did some research and had many questions: How well were they built? How many lenses were available? How many different models did they offer? What lens mount did the camera offer? So I pulled out my trusty camera bible, McKeown's camera guide, and started to learn about the little-known (to me) brand of Futura cameras.

Having purchased my Futura-S camera in a "lot" of cameras purchased, and it wasn't until I received the box of cameras that I noticed one of the cameras was the Futura-S. The only thing in the photo of the camera "lot" was the back of the brown case. The top of the case was missing, so I figured it was some random or very common camera that I've owned in the past, but when I took the camera out of the case, the Futura was in surprisingly good condition and seemed to be working, too.

 Picking up the camera, I set the shutter speeds to higher speeds to see if the shutter fired, and it did. The transport moved and cocked the shutter. The lens looked clean, and then I tried some of the slower speeds on the camera. That's where I ran into some difficulty. The slower speeds locked up the shutter, and it wasn't until I reset the shutter speeds to a higher speed that the shutter closed, and I was able to cock the shutter again.

 One of my first thoughts was I wanted to run some film through the camera to see how it handled it. Then, I felt compelled to write about my experience with the camera and how it was handled, knowing I couldn't use any shutter speed lower than 1/50 in my testing experience.

History:

Fritz Kuhnert founded Optische Anstalt in Freiburg, Germany in 1942. The company initially manufactured optical equipment for the German military during World War II. The factory was bombed and destroyed during the war. In 1946, Fritz rebuilt the company in Gundelfingen, a nearby town, and concentrated his efforts on producing consumer cameras due to the growing photography market.

 1947, the company introduced its first camera at Photokina, the Efka 24. It was a simple scale-focus camera that used 35mm film to produce 24x24mm images. The name "Efka" was derived from the phonetic spelling of Kuhnert's initials, "FK." In 1950, the company introduced the Futura, a more advanced 35mm rangefinder camera with interchangeable lenses and a proprietary screw mount. The lenses were named after Kuhnert's family members: Elor (his wife Elenore), Evar (his daughter Eva), and Petar (his son Peter). 

 In 1951, due to financial difficulties, Kuhnert sold the company Hamburg ship-line owners Ernst and Eduard Komorowski, who renamed it Futura Kamerawerk GmbH. Under their ownership, the company produced four different 35mm rangefinder cameras, including the Futura S, which was introduced in 1952. This model featured a Synchro-Compur shutter and maintained its predecessor's distinctive design and lens mount. They also produced two of the fastest standard 50mm and portrait 70mm lenses of the time with a maximum aperture of F1.5, named Futura Frilon.

 Futura Kamerawerk struggled to compete with established German brands like Leica and the emerging Japanese camera industry despite producing high-quality cameras. The company ceased operations in 1957 and closed the factory in 1958. Today, Futura cameras are valued by collectors for their unique design and historical significance.

My Camera:

My Futura-S is 5" wide by 3" tall by 2.5" deep with my Futura Elor 50mm f2.8 lens. Without the fitted leather case, my camera weighs 1 lb. 9.4 oz. The Futura-S is a very well-made camera but a bit heavy due to its solid cast metal body. I prefer heavier cameras because they fit my hands better. Cameras like the Nikon F body, the Robot Royal, and now the Futura cameras feel comfortable.

The "S" in the Futura line stands for Syncro-Compur, or the shutter system used on this camera. All of the exposure controls are located around or on the lens. The shutter speed dial is located on the outside of the lens area and is moved by two knobs on opposite ends of the dial. The shutter speeds go from 1/500 to 1 sec. along with "B". Also, on the bottom of the shutter speed ring is "Futura Freiburg."

 The focus is controlled by the ring just inside the shutter speed control. This ring has a larger knob sticking out to change the focus as needed to create a sharp focus. The aperture ring is on the lens barrel itself. The aperture range is f/2.8 to f/22. There is an even larger knob located on the outside of the shutter speed ring, which sets the flash sync for "X," electronic flash, or "M," bulb flash.

To remove the lens, you unthread it from the body. The lens has a proprietary thread mount of 33.8mm, so it's not your usual Leica or Pentax thread mount system. I must say, the lens has a very fluid and lean look to it. On the back of the camera is the rangefinder viewing eyepiece. The rangefinder on my camera is exceptionally bright and accurate. We'll see when I test the camera with film in it.

On top of the camera going from left to right, is the rewind knob, which has an arrow on top to show the direction to turn to rewind the film into the cassette. Next is a cold shoe used for a mounted meter or flash attachment.  Behind the cold shoe is a pointer switch, which you can point to either  SW, 'Schwartz/Weiss' (Black & White); C, 'Color'; CN, 'Color Negative.', which is a reminder to the photographer to the film in the camera. Thank you, David Babsky and Mike Eckman, for this information. 

 Next to the cold shoe is a lever which on my camera is a non working on my camera self-timer. Above that and slightly to the right is an additive frame counter. Twist the dial to "0" when you load the film, and the frame counter increases. Just below the frame counter is the cable release threaded shutter release. An interesting item about the shutter release is you can "lock" it down for longer exposures by turning it to the right after depressing it, which locks it in the open position until you turn it to the left to release it. 

Having the locking shutter release is good if you don't have a cable release, but the bad thing is you're still moving the camera a bit during exposure, which might create blur in the image. On the far right is the film advance knob. This turns counterclockwise to advance the film.

 Four nubs on the bottom of the camera lift it and give it stability when placed on a flat surface. Also, there are two knurled buttons, one on the left, to release the drive gear and allow the film to be rewound into the film cassette. The larger one in the center of the camera opens the back of the camera to load film. Slide the larger button toward the arrow pointing to "O," and the back will come off by pulling it down.

Once the back is off the camera, the take-up spool comes out for more effortless film loading. The camera's serial number is imprinted on the metal plate under the frame window. My serial number is S11244. When you put the back onto the camera and slide it up, it automatically locks onto the camera.

 My Results:

Now that I have put a roll of T-Max 400, 24-exposure film into the camera, which I purchased out of date a few months back, I want to walk around the neighborhood to take photos. Unfortunately, my wife was taking a nap, so I needed to keep my eye on our two dogs, who have a tendency to bark when out of sight. So, I just stayed mainly in my backyard to take the photos.

 I have to say the camera was extremely fun to shoot with, but the one thing that kept bugging me was the camera advance knob. I'm just not used to turning the knob counterclockwise to advance the film. It's not that big of a deal, but I kept turning it clockwise for the first few frames to advance the frame. Once I had it in my head that the winding knob was "backward," it went smoothly, and the camera did a fantastic job. 

 Here are a few of the frames from my backyard.

Conclusion:

I don't know how I didn't know about the Futura-S for so many years. It's a fantastic German rangefinder camera with excellent optics. While my camera could use a complete CLA to bring it up to excellent condition, I have to say that for its condition, it did great.

 I can see why this is a desirable camera, especially for the discounted price from top brands like Leica or Alpa. The camera is compact and easy to use, and the rangefinder produces fantastic results.

 Thank you for taking a few minutes from your day to read about this underappreciated German rangefinder built in the 1950s.

 I'd love to hear from you if you have any questions or comments about this camera.

For some odd reason, I've always felt negative about Kowa cameras. It goes back to when I worked in a camera store in the mid- to late 1970s. The first job I had was handling camera repairs for the shop, which meant packing up the cameras, shipping them to the manufacturer or independent repair facilities, handling the repair estimates, pricing them when they came back from repairs, and calling the customers to let them know their camera was back and ready to be picked up. 

 I can remember when I received notices from many of the camera repair facilities that Kowa cameras were no longer serviceable due to a lack of parts, and that still sticks in my mind to this day. There was always a thought in the back of my mind that if you had a Kowa camera and something happened to it, it was not repairable. 

 It wasn't until many years later, and when I say many, probably 40 years later, that I visited a repair facility in Los Angeles. This person had many Kowa cameras and said he could repair them. He liked the quality of the camera. These weren't the 35mm Kowa camera but the Kowa Six medium-format camera. At that moment, my thought process switched, and the negative stigma of a horrible camera turned to something somewhat positive.

 Fast-forward about five years, and I had the opportunity to pick up a Kowa Six MM camera for a reasonable price. I didn't know if the camera was in good working condition, but I knew where to get it fixed if it wasn't working.

 When the camera arrived, I started to fiddle with it for a bit, and my negative thoughts faded when the camera was in good working condition. The Kowa Six had a 55mm f3.5 lens, which I like, and a grip for the camera, which gave the purchase more value. As I was playing with the camera, I went from a negative feeling about the camera from many years ago, to WOW, this is a nice and well-built camera. It was time to put some film in the camera and see what this camera can do.

Company History:

Kowa, a Japanese company, has a long and fascinating history in optics, including producing high-quality cameras and lenses. Founded in 1894 as a trading company, Kowa Co., Ltd. initially focused on textiles and later expanded into various industries, including pharmaceuticals and electronics. Its entrance into the optical and photographic industry began in the mid-20th century, marking a significant era for the company.

 Kowa began producing photographic equipment in the 1950s, when Japan's camera industry flourished. One of its earliest camera lines was the Kowa Six, a medium-format 6x6 cm single-lens reflex (SLR) camera introduced in the early 1960s. The Kowa Six and its successors—the Kowa 6 MM and Kowa Super 66—became particularly popular among professional and serious amateur photographers due to their solid construction, sharp lenses, and competitive pricing. These cameras were often praised for their simplicity and reliability. They offered interchangeable lenses and accessories similar to more expensive competitors like Hasselblad.

 In addition to medium-format cameras, Kowa produced a range of 35mm film cameras. The Kowa SW, a fixed-lens wide-angle camera introduced in 1964, was particularly notable for its ultra-wide 28mm lens. Other models, like the Kowa SER and Kowa H series, featured leaf shutters and high-quality fixed lenses, catering to various photographic needs. Despite strong optical performance, Kowa's 35mm cameras struggled to gain significant market share, especially against major players like Canon, Nikon, and Minolta.

 Kowa eventually withdrew from the still camera market in the 1970s, focusing instead on its core strengths in optics and electronics. However, the company remained in the optical field, becoming well-known for producing spotting scopes, binoculars, and lenses for industrial and medical applications. Today, Kowa lenses are used in various professional contexts, from wildlife observation to television broadcasting.

 Though Kowa's time in the consumer camera market was relatively brief, its medium-format cameras have left a lasting impression. Collectors and film photography enthusiasts who value their durability, sharp optics, and mechanical precision still seek them out. While sometimes overlooked, Kowa's contribution to photographic history represents a unique chapter in Japan's post-war camera industry boom.

My Camera:

 My Kowa Six MM camera is 5" tall when the light chimney is closed and 7.5" tall with it open, 4.5" wide including the winding lever, and 4" deep without the lens attached. The serial number on my Kowa Six MM is 325240. The lens on my camera is the first of three generations and is a  55mm f3.5 lens. The serial number on my lens is 153507. One of the great things about the Kowa Six system is that all the lenses have leaf shutters built into them, which is very similar to the Hasselblad system. My Kowa Six MM with 55mm F3.5 lens weighs 4lb. 9.7oz without the side grip.

The shutter speed built into the lens goes from 1/500 to 1 sec. Along with "T" for timed exposure, the aperture ranges from F3.5 to F22. One of the advantages I found about the Kowa Six MM was how easy it is to set the focus, shutter speed, and aperture, which are all located on the lens barrel. Each setting has its ring and is easily moved and marked. The focus ring moves smoothly, and the shutter speed and aperture rings click into the desired setting. The lens also has the flash PC socket, along with a switch to set the 10-second self-timer (V), along with the flash settings for bulb (M), electronic flash (X). The shutter release is on the front and bottom right of the camera body. There is also a locking collar around the shutter release to prevent releasing the shutter when you don't want to.

 When reading about the camera, a few things were mentioned. One of the items mentioned was that the camera tends to move the focus slightly due to the mirror movement, causing the image to lose sharpness. I'm unsure if the focus or the camera is moving, which causes the image to be a bit soft, but I'll be aware of that when I shoot the camera.

 To view your subject, open the light chimney. Pull up on either side of the light chimney, and the viewfinder opens easily. There is a magnifier for critical focus, which you can activate by sliding a button along the back of the front. Sliding the button to the right pops up the magnifying lens. Pushing it down will lock it out of position. The light chimney has hinges on the side that must be squeezed together to close the viewfinder.

You can change to a different viewfinder by pressing a chrome button between the strap lug and film locking lug. Once the button is pressed, slide the viewfinder forward to remove it. You can also remove and change the focus screen by pressing the same chrome button and lifting the focusing screen. Put the focus screen back, line up the red dot on the camera with the red dot on the focusing screen, and drop the screen back into place. Pressing the chrome button to seat the focusing screen into position. You can slide the viewfinder back on, and it will lock into position once it's pushed back onto the camera.

The collar on the body must be turned counterclockwise to remove the lens. Before moving the collar, you'll need to wind the camera so the camera is in the "cocked" position and the mirror is down. You can move the collar somewhat, but until you slide the lens locking button back, the collar won't move the entire way to remove the lens. To put the lens back onto the camera, you'll line up the red mark on the lens to the red mark on the camera body, and turn the collar clockwise to lock the lens back onto the camera body.

To open the back to load film, turn the lever on the bottom of the camera to the "O" position, and the back of the camera unlocks. Lift the back door, which exposes the film chamber. Bring the empty reel from the bottom of the chamber to the top, which will now be your take-up spool. Pull out the film locking knobs on the side of the camera to put in the empty spool and the new roll of film you're loading into the camera. Bring the leader up to the empty spool and thread the lead into the slot and turn the winding knob on the right side of the camera to take up the loose film. There ia a handle built into the winding knob to make the turning of the knob easier. Keep winding until the "start" arrow points to the red dots on the sides of the shutter, close the back, and continue to wind until the winding lever stops. At this point, the frame counter will be on number one, and you're ready to start taking photos.

 The Kowa Six MM will take either 120 or 220 film. If you plan on shooting 220 film, be sure to change the pressure plate to the proper position, and on the side of the camera, make sure you've selected "24" on the selector between the strap lug and frame counter on the right side of the camera. Selecting 24 tells the camera you're shooting 24 images on 220 film instead of 12 exposures on 120 film.

You can also lock the mirror "up" by turning the knob on the right side of the camera to the "up" position. This function reduced camera vibration. You can also do double or multiple exposures on the Kowa Six MM. To do so, after your fist image, turn the knob on the top of right side of the camera from the orange dot and orange line which is for normal film advance to the red dot and red line. This is disengaging the film advance so you can do multiple exposures. Once you're done, turn the dial back to the orange dot and line position, and the film will advance.

As I mentioned, my Kowa Six MM camera has a side bracket, making it easy to hold and handle. Still, I didn't realize how nice this grip was when I went to take it off. Not only is there a nut that hold the bracket onto the camera, but there also a screw that locks the nut into place so it doesn't accidentally get unscrewed and have the camera fall off the grip.

My Results:

Since the clouds were moving in and out, I didn't want to shoot a slow-speed film, so I loaded the Kowa Six MM with a roll of Ilford 125 ISO film and proceeded to walk through the neighborhood, focusing on many of the spring flowers that have been blooming this time of year. After walking around, I went home and processed the film. Here are the results from my walk through the neighborhood.

My Conclusion.

WOW!!! Was I wrong for so many years? This camera worked fantastically and was fun to use. The viewfinder was bright, the magnifier was easy to use, the shutter speeds sounded accurate, and having the shutter speed, aperture ring, and focus all in the same spot was fantastic.

 The film advance was smooth, and carrying the camera with the grip made it very comfortable. I understand why the technician who coveted the Kowa liked the camera so much. The system offers nine lenses from 19mm to 500mm, different viewfinders and focusing screens, so it's complete. The price of these cameras is less than half of Hasselblad's, and they are smaller and easier to handle. I'll keep this camera for a while and see if I can expand the lenses I have for it. While I like the wide-angle lenses, getting an 85mm standard lens would be nice and slightly cut down on the weight.

 I love to hear from the people who read my posts. If you have a question or comment, please let me know. I'm always looking for ways to improve this experience.

This week's posting is about a relatively uncommon camera with an odd and unusual look made by a tiny company in the UK. The camera is the Merlin, produced by United Optical Instruments in Southend-on-the-Sea, England. 

 I had seen the Merlin camera in books and online when looking at subminiature cameras. Still, it wasn't until my wife. I was on a trip to London a couple of years ago when I came across this odd bird at the Camera’s London stall on Portobello Road on a day that my wife and I were scheduled to go home. 

 Our flight wasn't until later in the afternoon, and I wanted to look for cameras before leaving, so I went there early in the morning to make it back in time to go to the airport. That's where I spotted the Merlin camera and a few other cameras I brought back to the States with me.

 What caught my eye about the Merlin camera is the very odd shape of the camera. It has a wide part of the body, then narrows down, but the lens area flares out again, and the winding knob is on the bottom of the camera. You need to display the camera on the side unless you rest the camera on something due to the winding knob on the bottom of the camera. It just doesn't sit evenly on a flat surface.

The Company:

United Optical Instruments is only known to have made two different cameras, and neither was very popular. One of the cameras they manufactured was the Jupiter camera, a simple plastic camera with an Art Deco faceplate that took 127-size film. The only controls on the camera were two shutter speeds, the winding mechanism, and the shutter release. The other camera they manufactured was the subminiature Merlin camera. 

 I can find little information about United Optical Instruments, which is located in a resort town on the Thames Estuary in Essex, southeast England, about 68 kilometers from London. However, I did find that the company was associated with the Erac Selling Company.

 The Erac Selling Co. manufactured and patented two slightly different, oddly shaped cameras that resembled a pistol made from thermoplastic material. One of the items was the Erac Automatic Pistol Camera, and the other was the Erac Mercury 1. These pistol-shaped cameras housed a Merlin camera without the viewfinder inside the pistol's body. When you pulled the pistol trigger, the camera took the photo. 

 According to the information I found online, the Erac is described and illustrated in a patent issued to Harry Steward of Southend-on-Sea in 1931. The early version uses a different type of film advance, and the Merlin doesn't seem to be in this version.

 Harry Steward and Harry Covill were issued an improved patent in 1937. The second camera's patent described it as a pistol-shaped device. The patent drawings show it to resemble a Merlin camera inside, but there is no mention of Erac.

 Since the Merlin camera is inside the Erac Pistol camera, they patented a camera without the Merlin inside. Still, they found it too difficult to make it work. A few years later, they decided to put the Merlin camera inside the camera without the viewfinder.

The Camera:

As you can see in the photos, the camera is very small. It's only  2" wide, 2" deep, and 2" tall with finder up and 1.5" when it's down, and it only weighs 3.9 oz. The camera is made from cast metal and painted with a crackle finish, as the exterior has a rough surface. I can see areas where it's either chipped off or some flaked off. My Merlin camera is black, but they also have blue, green, and red cameras.

 The Merlin took a special film of only 20mm rolls with a negative size of 18x18mm. It came on paperback rolls similar to the small "hit" style cameras, and to load the camera, the top of the camera, which is attached to the back, slides off, exposing the film chamber. Put in the roll of film, bring it over to the take-up spool, slide the top back on, and advance the roll to the first frame. The winding knob is on the bottom of the camera, as I mentioned earlier.

 Another slight issue is that the top of the body doesn't lock, so if the camera falls, the top can slide off, exposing the film. Unfortunately, my camera doesn't have any original fill spools, only the blank areas where the film goes.

 There is only one shutter speed, and the shutter release is on the bottom of the camera along with the film advance knob. The only item on the top of the camera is the fold-down viewfinder. The lens has no focus as it's a meniscus-style lens.

Conclusion:

Since I didn't have the film for this camera, I couldn't take it out for a walk through the neighborhood to take photos and see how it did. That's OK. I can use other cameras to do that.

 I really like having this small camera in my collection, and now I want to find a Jupiter or Erac camera to add to it.

 Thank you for taking a few minutes from your day to read about this wonderful camera made almost 100 years ago by a very small company in England. It has a nice place in my collection and hopefully inspires you to find one for it, too.

 I'd love to hear from you if you have questions, comments, or concerns about this or any of the cameras I've written about.

When I started photography, I used an older Univex Twin Lens Reflex-style camera that my uncle gave me when I was around 8-9 years old. From there, palling around with my buddies, that camera was too big and bulky to bring around with us. So, I opted for the smaller, more compact 35mm camera, which I could keep around my neck and under my coat when it was colder outside. 

 The Pentax 6x7 cameras have always held a special place in my heart, perhaps due to their unique blend of size and resemblance to a larger 35mm camera. While I still cherished the Twin Lens Reflex style, there was an undeniable elegance and familiarity about the Pentax 6x7 cameras. The interchangeable lenses and finders were reminiscent of the Nikon system I had grown to love in my later teen years.

 I purchased my Pentax 6x7 camera a few years ago at an online auction. It appeared to be in good condition, and its camera is complete with the TTL finder, standard 105mm lens, wood handle, and Pentax-branded strap, all wrapped up in a wonderful cube-shaped case that it all fits nicely into. I noticed a pouch on the top portion of the case. There were a few accessories in it that the seller didn't show, so when I received the camera, an external battery holder, and covers for the finder, A focus grip was included in the kit. Now it's time to look at the Pentax 6x7 manual to double-check all the ins and outs of the camera.

The Company:

The history of Pentax cameras is deeply rooted in the evolution of photographic technology, with a legacy that spans over a century. Pentax began as Asahi Optical Joint Stock Co., founded in 1919 in Tokyo, Japan. Initially, the company produced lenses for eyeglasses and later expanded into camera lenses and optical equipment. Not until after World War II did Asahi make its mark in photography.

 In 1952, Asahi released its first camera, the Asahiflex, the first Japanese 35mm single-lens reflex (SLR) camera. This launch marked a significant milestone for the company and Japan's emerging camera industry. Asahiflex featured innovative mirror-return mechanisms that set the stage for modern SLR design.

 The turning point came in 1957 with the release of the Asahi Pentax, which gave birth to the Pentax brand name. The camera combined the best features of previous SLRs. It introduced a pentaprism viewfinder, allowing photographers to see their subject right-side up and laterally correct. It also standardized the use of the M42 screw mount, which would become a popular lens mount for decades. The success of the Asahi Pentax was so profound that the company eventually adopted "Pentax" as its corporate name.

 Throughout the 1960s and 1970s, Pentax established itself as a leading manufacturer of SLR cameras, competing with brands like Nikon and Canon. They moved into the medium format by introducing the Pentax 6x7 camera. Iconic models like the Spotmatic series (launched in 1964) introduced TTL (through-the-lens) metering, significantly improving exposure accuracy. Pentax cameras became known for their durability, reliability, and affordability, making them popular among professionals and amateurs.

 In 1980, Pentax expanded the medium format market with the Pentax 645, which offered larger film sizes for high-resolution photography. These systems were found to favor studio and landscape photographers.

 Pentax transitioned to digital imaging in the early 2000s with models like the Pentax istD. It later gained attention for its weather-sealed DSLRs and in-body image stabilization. In 2011, Ricoh acquired the brand, becoming Pentax Ricoh Imaging Company.

 Today, Pentax focuses on traditional photography experiences, emphasizing optical viewfinders and rugged build quality in an era dominated by mirrorless technology. Their commitment to DSLR development and legacy lens compatibility maintains a loyal following, preserving the Pentax name as a significant part of photographic history.

My Camera:

Researching the Pentax 6x7 camera for the article revealed three upgrades to the original Pentax 6x7 camera when it was introduced in 1969. The Pentax 6x7 camera was shown at the 1966 Photokina as a prototype camera, and it was called the Pentax 220 and had chrome and black bodies. The official introduction was in 1969, with the name Pentax 6x7, and only black bodies were available. The Honeywell Pentax 6x7 was available for the US market, but here in the US, I rarely see the Honeywell Pentax 6x7 around; the vast majority were Asahi Pentax 6x7.

 In 1976, the Pentax 6x7 (MLU) camera added a mirror lock-up mechanism, and in 1990, with their third modification, they made a few minor cosmetic changes to the camera. Now, the camera is named Pentax 67. No more 6x7. The fourth change camera in 1999 was when Pentax launched the Pentax 67II camera, which offers a built-in right-hand grip, a brighter viewfinder with interchangeable focusing screens, a more advanced AE metering system with three different modes, a dedicated time mode switch, a self-timer, and multiple exposure capabilities. 

 I own the Asahi Pentax 6x7, so mine is the second-generation camera with the mirror lock-up capability. The camera weighs a whopping 5 lbs. 5 oz without the wood grip. The camera is 7.5" wide by 6" tall by 6.75" deep, measuring from the back of the camera to the front of my 105mm f2.4 lens. The Pentax 6x7 cameras have a dual bayonet lens mounting system, with lenses from 35mm to 300mm fitting inside the body, similar to many 35mm cameras and lenses from 400mm to 1000mm mounting on the outer bayonet. Even the front lens cap has a bayonet mount on my camera, so it's not a clip or press-on style of a lens cap.

The Pentax 6x7 camera is a fully electronic camera system. The entire camera is dependent on the PX28, 6v battery. The meter, or the shutter, won't work without the camera battery. After putting in the battery, I discovered the metered finder was working, which was good news. At first, I thought it wasn't working, but after reading the manual, I learned that you need to remount the lens once the meter is removed so the lens will couple with the meter.  I didn't think it would work because there is a crack on the front running across the nameplate, but you never truly know until you try. With the fresh battery in the camera, I still wasn't sure the camera was working because there needed to be film in the camera for the shutter to fire. 

 Looking online, I did find a video showing a way to trick the camera into thinking there was film in the camera, which is by opening the back of the camera and, before closing the back, turning the frame counter to just past the first frame while holding the frame counter there and closing the back of the camera allows you to wind and fire the camera. The only issue is that there is no way to honestly tell if the shutter is opening or closing when you depress the shutter. You can tell at slower speeds by taking the lens off and looking into the mirror chamber to fire the camera. If you can see the film's pressure plate, you can tell if the shutter is opening and closing. What do you do to achieve faster shutter speeds?

Looking online, I did find a way to trick the camera into thinking there was film in the camera, which is by opening the back of the camera and, before closing the back, turning the frame counter to just past the first frame while holding the frame counter there and closing the back of the camera allows you to wind and fire the camera. The only issue is there is no way to honestly tell if the shutter is opening or closing when you depress the shutter. You can tell at slower speeds by taking the lens off and looking into the mirror chamber to fire the camera. If you can see the film's pressure plate, you can tell if the shutter is opening and closing. What do you do for the faster shutter speeds?

 One thing I did was use my cell phone in video mode and use the "slow motion" setting. I started the video and then tripped the shutter. I could then go back to the video and look at a few of the frames of the video tell if I could see the slit from the shutter move across the film plane. It did, so I knew the shutter was working on all shutter speeds. That's fantastic, so now I was good to go. I prefer to use my Sekonic meter for all my metering needs as they are always more accurate than most camera meters.

 Shutter speeds on the Pentax 67 camera range from 1/1000 to 1 sec. Along with "B" for timed exposures and "X" for flash sync, the shutter speed dial is on the far left side of the camera body and is turned with a large ring that is easy to grip and move. Just below the shutter speed dial is a battery check button, with a red light lighting up just to the right of the shutter speed dial if the battery is good.

Moving around the camera, on the front and the left side of the camera body are the flash sync terminals for both FP and X, and just below the flash terminals is the lens release knob, which needs to be pressed towards the camera's body to unmount the lens. To unmount the lens, press the lens release button and twist the lens counterclockwise. To mount the lens onto the camera body, line up the red dot on the lens to the red dot on the camera body and turn clockwise until the lens clicks into place.

 The mirror lock-up switch is on the other side of the camera body, still on the front. Pressing this switch locks the mirror up to reduce vibration in the camera, which is good for longer exposures or using longer lenses that are more sensitive to camera movement. On the far right side of the camera body is a switch for using either 120 or 220 film.

The film advance lever is on the top, far right side of the camera, with the frame counter inside the center of the winding lever. There is a serrated dial that you can turn to change the frame counter if needed. This is also the knob that I turn to trick the camera, as mentioned previously. Right next to the film advance lever is the shutter release button, which can be locked by turning the outer ring from the white dot to the orange dot to "locked."  

 On top of the meter, a finder is an on/off switch used to turn the meter on. Two silver buttons must be pressed on either side of the camera body to remove the finder and put on a different finder. You can lift the finder off the camera body to replace it with a few different viewfinders available for the camera. The metered finder extends over the shutter speed dial, so when metering, you can change shutter speeds to adjust the meter settings.

To load film into the camera, pull down on the silver tab on the left side to open the back door. Two locking switches are on the bottom of the camera, just under where the film reels go. These need to be unlocked, allowing you to pull them down to load the take-up and fresh roll of film into the camera body. Once the film is in the camera, turn them to the locked position to keep them in place. Bring the leader to the take-up spool, thread it into the slot,  and advance the film to start the film advance. Bring the arrow on the film leader to the arrow next to the 120 at the top of the shutter curtain, close the back, and wind until the camera stops. You're now at frame 1 and ready to take 10 photos on a roll of 120 film.

I wanted to put the wood handle on the camera before I took the camera out for a spin and tried it out. I always thought it was odd to have a grip on the camera's left side, as it's the left hand that I cradle under the lens for focus and setting the aperture. Let's give it a try because so many people think it's a great selling point for the camera.  The wood handle also has a cold shoe for a flash attachment or other items you might want to put, like an external meter.

 To put the handle on the camera, you need to unscrew the locking screw, which is located in the middle between the two areas that fit onto the camera lugs, which are on the top and bottom of the left side of the camera. Snap the handle into position and screw down the locking screw to lock the handle into position, which also presses a small knob on the camera in. To take it off, unscrew the knob and pull out the knob and slide the handle up to take the handle off. The handle won't fit on the right side.

 The camera has four lugs located on the front and in each corner. These can be used for the camera strap to carry the camera vertically or horizontally or to put the wood handle on one side and the strap on the other. There are many ways to carry the camera comfortably while lugging 5 pounds around.

My Results:

This time, I walked through the neighborhood, taking a few photos. While I was taking my normal photos, I ran into a good neighbor who is an artist. He was showing me his studio, so I took a picture or two around his studio, then proceeded to take some of the regular photos I do when trying a new camera. 

 Here are the results of my walk through the neighborhood.

Conclusion:

I had a lot of fun shooting with this camera, considerably more than anticipated. I used the wood handle more as a tool to walk around with the camera than to shoot with it because it made transporting a 5-pound camera easy. I had the strap on the camera, but found the handle easier.

 My lens is very sharp, and the camera felt comfortable in my hand. The focus was smooth and accurate, the transport was soft, and all the camera operations seemed effortless. 

 I'll need to look into other lenses for the camera and possibly a few other accessories, as this is a keeper camera for now.

 Thank you for taking a few minutes from your day to read about a fun and extensive camera system to use.

 Until next week, please be safe.

 Here's a link to my other camera reviews if you want to see some of the other cameras in my collection.

As I declared February as 'Box Camera' month, I found myself gazing at the camera collection on the shelf above my desk. Tucked away in the back corner was a hidden gem, the Gomag Holly camera, a treasure I had forgotten about until I reached my hand back there. The joy of rediscovering this unique piece of history was overwhelming, and it brought back a flood of memories.

 Looking back at my records, I purchased this camera in late 2010 or early 2011 from an online auction with a few other box-style cameras. What intrigued me about this camera was its unique design, with two viewfinders built into one camera, and its ability to set both shutter speeds and aperture, which was unusual for a simple box-style camera. The rarity of the Gomag Holly camera added to its allure, making it a prized possession in my collection. 

 Another thing I liked about the Gomag Holly camera was the rounded corners, which gave it a less industrial look and a more refined appearance—something you'll want to pick up and use. When I picked up the camera to start writing about it, I heard something rattling around in it. My initial thought was that the camera wouldn't be usable. Still, I opened the camera and found one of the film transport rollers lying in the back of the camera.

 When I initially purchased the camera, I can't remember if I noticed that three of the sockets that hold the two rollers on the back of the camera, which prevent the film from scraping across the film plane, were missing. If I remember correctly, I didn't think much of it then because I thought, "I'd never really put the camera to use," as it was mainly for the show in my collection. That was until recently when I viewed the camera and wanted to write about it for my weekly blog post.

The Company:

I've done exhausting searches on the web. I cannot find anything about this camera or its manufacturer. I did come across an article from the Photographic History Society of Canada named The Holly and the Ivy that did a very short article about this camera, and in the article, they state the camera was made by Allgäuer Kamerwerkstatte Gomag, which roughly translates to (Allgäuer) a region in southern Germany, (Kamerwerkstatte) Camera Workshop, (Gomag), which is my guess of the company that produced the camera. They were located in Pfonten, Germany.

The only other information I can find about this camera comes from McKeown's Camera Guide from 2005-2006 on Pg. 361, which states there were actually two versions of the camera. The first version was from Gomag and had "HOLLY" embossed above the lens in 1950. Then, the company was purchased by Dr. Riemerschmid & Co., and the later version without the embossed name and with different lenses and shutters was shown at Photokina the same year but was not released until 1952. According to the McKeowns' Guide, the earlier Gomag version has Emylar or Gomar lenses, and the later Riemerschmid has the Rictar lens. They also state that the last version has "Riemerschmid & Co. Munchen" around the shutter face. Still, my camera doesn't have that, so there must be different versions, or I didn't bother with this camera.

 I've looked at several websites about camera manufacturers but cannot find any information about them. If you're reading this and do have information, please write to me and let me know. I'd love to add that information as an update when I have it.

 The one thing that I enjoyed reading the article on the camera was that the camera they were writing about was red. Now, that excited me, as I'd love to have a red version of the camera. The thought of owning a rare and unique red Gomag Holly camera keeps me hunting for the odd and unusual cameras. There may be a red version somewhere that they won't appreciate and will let me purchase for a reasonable price. My fingers are crossed.

My Camera:

My Gomag Holly camera is a bakelite camera that measures 4.25" tall, including the viewfinder in the collapsed position, by 3.5" wide, including the winding knob, by 4" deep, and it weighs 11.3 oz. The Gomag Holly camera has an 80mm f3.5 Rictar lens; mine has serial number 1886T. The camera has three different shutter speeds: 1/200, 1/50, 1/25, and "B" for timed exposures. The shutter speeds are set by sliding a ring around until you get the black pointer pointing to the desired speed. There is a small knob on the shutter speed ring that makes moving the shutter speed dial easier. You'll need to cock the shutter t, which is above the shutter speed setting ring and is pulled in the counterclockwise motion to cock the shutter. The shutter release is in the upper right-hand corner as you hold the camera to fire. There is a flash PC outlet on the other side of the shutter release, which I find somewhat odd, especially for a box-style camera.

 When  I first picked up the camera for this blog post and started to fire the shutter, I noticed that the shutter was lagging. It would fire, but the speeds seemed very slow. One thing I learned early on was to "exercise" shutters, so I spent the next ten minutes cocking and firing the shutter, which seemed to work well. After just a few minutes, the 1/200 was working as it should, and all the shutter speeds seemed to spring back to life and were firing at what sounded like the correct speed.

 The aperture setting ranges from F3.5 to F16. It is set under the lens, indicated by a silver pointer indicating which aperture is being set. The focus on the lens ranges from 1 meter to Infinity. It is stated on the top of the camera by a black triangle, along with the depth of field scale on either side of the focus mark.

A dial on the side of the camera is turned counterclockwise to open the back to open the camera. A small red dot on the dial points forward when the camera is locked and to the rear of the camera when it is unlocked, and the camera body can pull away from the lens to load the film.

Since my camera was missing the two rollers that the film rolls across during transport, I didn't want the roll of film to drag across the shutter, causing scuffs and possible static on the film during transport from frame to frame. I wanted to add felt to the sides of the film opening to decrease the possibility of scratches. I didn't have felt in my bag of tools, etc., but I did have some very old and expired rolls of 35mm film, which I use as test rolls. I thought these canisters were made of felt material, so I took the canisters apart and peeled the felt from them. Unfortunately, the felt on the 35mm canisters is too short, so I needed a couple to cobble together.

Once I took the back off the camera and pulled the felt off the 35mm canisters, I did have some excellent double-sided tape, which I cut into strips and placed on the top and side of the film opening. After that, I cut the felt from the film canisters into lengths that would fit onto the back of the film area, and since I needed two to cover the area, I staggered them on different sides of the film chamber. I probably didn't need to stagger them, but in my mind, it was the right thing to do.

 Once the film was in place, I let them adhere for a few minutes. I took an Exakto knife and trimmed any excess from the film area so I didn't have straggler hairs from the felt hanging over the film chamber. I wanted a clean edge between frames. Once I had that done, I loaded the camera with a roll of 100 ISO/ASA film into the camera. I proceeded to advance the film until I saw the "start" on the film backing. I put the film back onto the camera body and locked the back in place, then proceeded to wind to my first frame, looking through the closable window on the back of the camera.

On top of the camera are the viewfinders. There are actually two on this camera. In the back of the collapsed viewfinder is a small ridge. You pull back, and the "sport" finder pops up. You can pull up a smaller glass finder within the more extensive sports finder. A round glass lens is on the bottom of the rear portion of the sports finder. When the glass finder is pulled up, you can view your subject through the rear glass lens, which looks clever for a simple box-style camera and does a fantastic job when viewing through. To collapse the glass finder, push it down, and a clip will hold it into place. Then, you can close the "sport" finder's back portion and the larger front folds to keep them in place. It is a straightforward but valuable addition to the camera.

My Results:

Now that I have the camera loaded with film, it's time to walk through the neighborhood and see what results I can get from it. Since the camera has a "B" setting, I wanted to see how it would do on some longer exposures, especially since, living in the Northwest, we don't get much sun between November and March.

 Here are some of the results I achieved with the Gomag Holly Camera.

Conclusion:

The camera did an outstanding job. The images were sharp, well-exposed, and very good for a relatively simple box-style camera. The camera was very fun to use, and I had a fun time getting the camera in the proper shooting condition. The felt on the back of the film chamber worked well, especially since the two film rollers were missing. I'll need to get a small swatch of felt to keep in my bag of tricks in case I need to do the same to another camera I come across. If I go to sell the camera, I can always take the tape off along with the felt and have the camera back in the condition in which I purchased it.

 Thank you for taking a few minutes from your busy schedule to read about a very unknown but fantastic camera.

On my blog, February is a special time for vintage camera enthusiasts like us-it's Box Camera Month, a time to celebrate and explore the unique charm of these classic cameras.

 Looking through my collection, I noticed I had several different box or box-style cameras that I wanted to use and write about. So, in the middle of January, I thought I should spend the month of February using and writing about the four box cameras I was thinking about.

 The first camera that I noticed was the Kapsa camera. It's been on my shelf for a couple of years, and I purchased it in a large group of cameras from an online auction. At first, I didn't think too much of the camera as the items within the group I was primarily interested in were a couple of Olympus Pen F half-frame cameras. As I was unboxing and unwrapping the items I had purchased, the Kapsa was a camera that drew my attention due to the heavy Bakelite material. The name was one that I wasn't aware of.

 After doing some research on the camera after the unwrapping, I found out that the camera is rare in North America because it was made and sold in Brazil. I thought that was unusual and dug a bit more into the camera; it also comes in an aqua-blue color, which makes me want to get that version even more because of my love for colored and unusual cameras. I found even more interesting information when I did more digging into the camera and the company that manufactured the camera.

The Company.

D. F. Vasconcellos (DFV) manufactured the Kapsa camera in the 1950s, but the company, which was founded in 1941 in Sao Paulo, Brazil, began manufacturing precision optical instruments, like surgical microscopes and other items for the Brazilian military.

 In the 1950s, D. F. Vasconcellos diversified into consumer items like binoculars, magnifying glasses, and loupes. This was also the time they ventured into camera manufacturing, a move that filled a growing market for photography in Brazil. 

 My guess is that companies like Kodak and Agfa, which were making simple cameras and importing them into Brazil, were somewhat expensive for the average Brazilian consumer. Since D. F. Vasconcellos was getting into the consumer market, they decided to manufacture an inexpensive, well-made, but simple camera for the Brazilian market. 

Getting into the camera manufacturing business must have been successful because they made cameras other than the Kapsa for the Brazilian market. They had a total of six cameras in their lineup. Some of the different cameras D. F. Vasconcellos made are very similar to some of the cameras made by Ansco. One camera made by D. F. Vasconcellos was the Zina 25, which is a copy of the Ansco Cadet II. There are thoughts that some of the cameras made by D. F. Vasconcellos were from older Ansco molds. This makes sense, as other cameras within their lineup have similarities to the Ansco line.

 D. F. Vasconcellos continued to manufacture cameras into the mid-1960s. Still, soon after, they shut down their camera manufacturing to concentrate on the items they are known for today. According to their website, D. F. Vasconcellos manufactures surgical microscopes and other specialized equipment used in the Ophthalmology, Veterinary, Otorhinolaryngology, and Dental fields.

My Camera:

My Kapsa camera is the size of many standard box-style cameras from the 1950s. It's 4.5" tall, including the strap lug, 3.75" wide, including the winding knob, 4.75" deep, and weighs 1lb. 2.6 oz and is made of a thicker Bakelite material with a pebble finish over the camera body. The Kapsa camera has a 110mm F11 Vascromat lens. Similar to many other box-style cameras, there are two viewfinders on the camera. The viewfinder on the top of the camera is for vertical format photos, and the second one on the side of the camera is for horizontal format photos.

There are a couple of interesting items within this camera. The first is the controls on the right side of the camera as you hold it, which adds a bit of complexity to the camera. On top is the shutter settings for "I," which stands for instant and has a shutter speed of around 1/100 sec. The other setting is "T" for times exposure. Next to the shutter release is "Trava" or Lock, so the shutter doesn't accidentally trigger while transporting the camera. Under that is the ability to set three different apertures, F11, F16, or F22, and along the bottom is the focus control, which is in meters. There are also flash contacts on the camera for their bulb flash gun, which you can see in the posted ads, but something I don't have.

To open the camera, the locking/unlocking lever is on the left side. This lever allows you to open the camera to load/unload the film. You turn the dial to "ABRE" to open the camera or "FECHA" to lock the camera. Once the camera is unlocked, the right side of the camera pulls away from the camera body so you can load or unload the film.

There are two "wings" on the camera that convert the camera from a 6x9 format camera to a 6x4.5 format camera. I liked this feature as it allows the photographer to get twice as many photos from their roll of film. If you're in the 6x9 format with the "wings" retracted, you'll get eight pictures on the roll, but by flipping the "wings" over the film opening, you'll get 16. The one thing that you'll need to remember, and this alludes to me at times when I do this, is it also changes the format of the image. If you're in the 6x9 format, the camera is in the vertical format when holding the camera vertically. Once you change to the 6x45 format, the format of the image is horizontal even though you're holding the camera vertically. It's just something you need to be conscious of when changing formats.

Many of the articles I read about the Kapsa camera state that it can use either 120 or 620 film. However, my camera is only set up for 120-size film, as the film reel holders have larger openings for 120-size film, not the smaller openings for 620-size film reels.

 My Kapsa camera has a couple of issues. On the back of the camera, there should be two red windows for the two formats the camera can use. The first issue is one of the red windows on the back of the camera, which reads the frame number when advancing the film, is missing.  It's the right window that's missing, and it is used for the 6x4.5 format photos. That's not a deal breaker when it comes to using the camera. I just taped a small piece of foil over the window since I didn't have red acrylic to glue into the camera. Also, there is a small ship in the Bakelite close to the seam where the film insert fits into the camera body, so I added a small piece of black tape when shooting. My camera is also missing the strap.

 My Results:

Since my camera shoots 120 film, I loaded a roll of Ilford FP4 Plus, 125 ISO film into the camera with the "wings" back so I was shooting 6x9 format images. The plastic winding knob is on the right side of the camera, just behind the horizontal viewfinder. I wound the film in the first frame, walked through the neighborhood, and snapped a few images.

 Once I was done, I got out the dark bag and processing equipment, loaded the reel with the film, and processed it. Here are some of the results. 

Conclusion:

Shooting a box camera brought back some great memories from childhood. I still enjoy holding the camera in a lower position and looking through the waist-level finder to frame the image. Maybe that's why I enjoy medium-format cameras so much; it's the tactile feel of using this mechanical instrument to capture memories that I'm fascinated with.

 The camera was fun to use, and the images are good, especially considering what many people feel is a toy. But the world took millions of images with this style of camera.

 Thank you for taking a few minutes from your busy day to read about this fun and somewhat rare camera from Brazil. Now, I will be on the hunt for the blue model, preferably in better condition than the camera I have.