These are descriptions of my growing collection of old film cameras together with my experience of using them. The descriptions are entirely based on a particular camera that I have before me rather than just on Interweb research.
This is a folding medium format camera of a style that that was state of the art through the first half of the 20th century. When this camera was made in the early 1950s, the design was rather passé. By the end of the 1950s, folding cameras had disappeared from mainstream photography.
The camera measures 170 by 80 by 40 mm and weighs 543 g. The outside is covered in black leatherette with the edges of the lens door painted gloss black. The viewfinder, tripod boss, leg and catch are bright chrome plated.
As is usual with folding cameras, there is little to see when the camera is folded. On the top, on the right, is the film advance knob. This is black plastic with a chrome metal insert in the top. The metal insert has an arrow cut into it to indicate the direction you turn the knob in – the knob will only turn in the one direction. The knob also pulls up to release the take-up spool inside the camera.
Beside the film advance knob is the folding viewfinder. The chrome part lifts from the back. As the chrome part is raised, the rear part rises under spring power. To use these 2-frame viewfinders, you line up the square holes in both frames. This is not an accurate system and works particularly badly if you wear glasses.
The back of the camera is plain black apart from the red window for viewing frame numbers on the film backing paper. As this camera produces 6 by 9 cm negatives, the red window is on the edge of the camera – for 6 by 6 cm negatives, this red window would be central.
The front of the camera has the lens door. This measures 95 by 72 mm. On the face of this is a 3/8 inch Whitworth tripod socket. This has a chrome slug screwed into it to provide a 1/4 inch Whitworth tripod socket. Also on the lens door is a folding leg. This allows the camera to be placed on a level surface in lieu of a tripod.
The lens door is opened by pressing on a chromed spring on the left hand edge of the lens door. On my camera, the lens door needs a helping hand to open, but it is sprung and probably opened itself when new 70 years ago.
When opened, the lens door is held in place by a fairly complex system of struts – there are far more struts here than on a Zeiss Ikon or Voigtländer folder. Once extended, the shutter/lens assembly is held rigidly in place. To close the lens door, it is necessary to press down on the two machined portions of the struts near the top and then lift the lens door to close it. The shutter/lens assembly is connected to the body by a collapsable leatherette bellows.
The shutter is a very simple everset type shutter with two speeds: I (Instantaneous) and B (Bulb). This is set by turning the black plastic notched ring around the shutter assembly. There are two indications as to which of I or B is set: on the front of the shutter housing, near the top, is a small window and on top of the shutter housing is a pointer which moves between I and B.
On the right of the shutter housing, as you are using the camera, is a chrome plunger – this is the shutter release. This is easier to use in portrait format but is still quite usable in landscape format.
On the left side of the shutter housing is a small lever right by the struts. This alters the aperture: only ƒ/11 and ƒ/16 are available. The lever changes the aperture by moving a metal plate so that one of two holes is in line with the lens. These are called Waterhouse stops. The reason that only two rather small apertures are available is that the lens is fixed focus and a small aperture is required to give sufficient depth of field in the photos.
At the base of the shutter housing is a strange protuberance. It took me quite a while to work out what this was for – it is the first time that I have ever seen one. It is an ASA terminal for a flash gun and serves the same purpose as the usual PC socket.
The lens is entirely anonymous but must consist of at least two glass elements as glass is visible in front of the shutter and also inside the camera behind the shutter. I cannot see any hint of a blue tint to the glass to indicate a coating on the lens and this might be one of the last camera lenses to be made without coating.
On the right hand edge of the camera is a leather carrying strap. Beneath this is a small chrome slide which releases the back of the camera. The back comes away from the camera – there is no hinge. On the inside of the back – which is painted matt black – is a yellow and red sticker exhorting the user to use either Ilford, Kodak or Ensign 120 film. What is missing here is a pressure plate to keep the film flat against the film gate. Only about half of my 120 folding cameras have such a plate.
Inside the body of the camera is dominated by the film gate. This measures 81 by 56 mm. The nominal size of a full framer 120 negative is 60 by 90 mm but some of the film must be sacrificed to keep the film flat against the film gate. Either end of the film gate is a black roller to prevent the film getting scratched whilst being advanced.
The new film goes in a chamber on the left of the film gate. In this chamber is a hinged cradle to take the spool of film. using this hinged cradle makes loading the new film very easy. When loading new film, after fitting the spool in the cradle, it is necessary to pull the backing paper leader across the film gate and fit it into the slot in the take-up spool. For people new to medium format photography, the take-up spool is the empty spool from the previous roll of film. The take-up spool does not fit into a cradle but in order to fit the spool into the chamber on the right of the film gate, it is necessary to first pull up on the film advance knob to retract the advance key. Once the take-up spool is in place, you need to push down on the film advance knob again, making sure that the advance key has located in the slot on the end of the spool.
I usually like to try out my cameras with film but the cost of 120 film together with the cost of processing the film –and only eight pictures on each roll of film – means that I am going to pass up on the opportunity to test the camera.
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A folding, medium format camera from Germany from the 1950s.
This Agfa Isolette III was made by the German firm of Agfa in the early 1950s. Agfa is an old company and has a chequered history. Agfa was formed in 1867 to produce the new aniline dyes. Agfa is an acronym for Akliengesellschaft für Aniline which translates into English as Corporation for Aniline Production. The dye company branched out into making photographic film in 1898 and later into making cameras.
After the First World War, the German economy was in dire straits and many companies merged to survive. The most famous of these, photographically, was the mergers that formed Zeiss Ikon in 1926. The same conditions applied to the chemical industries and in December 1925, Agfa, Bayer, BASF, Hoechst and a couple of others merged to form the infamous IG Farben. Within the IG Farben conglomerate, Agfa was merged with Bayer.
After WWII, IG Farben was demerged back to its constituent businesses (IG Farben still exists as a company but does not produce anything. It is now a part of the University of Frankfurt). Agfa was a wholly owned subsidiary of Bayer at this point. In 1964, Agfa merged with Gevaert to form Agfa-Gevaert, with Bayer owning 50% of the new company – in 1981, Bayer bought out Gevaert and became the sole owner of Agfa-Gevaert, which continued until 1999 when Agfa -Gevaert became a public company.
So, this Agfa camera. It was made in the early to mid 1950s. I cannot date it precisely but this model was revised a couple of times and my camera is the original version. The Isolette range is a beginner’s range, really, and the specification is close to basic. that is not to say that the camera is not well made – it is – nor that it is not capable of producing good photographs – again, it is. The model III – this one – is distinguished by having a built-in rangefinder. This is an un-coupled rangefinder – the measured distance must be transferred to the focus ring by hand but it is still very useable.
The body seems to be made from aluminium, apart from the lens door which is steel. The metal is painted with matt black paint with most of the outside being covered with a very plasticky black leatherette with a pronounced ribbed pattern. The top plate is pressed brass which is satin plated – the metal has a blueish tint so I think the plating might be nickel but I cannot be sure it is not chrome.
lens: Apotar focal length: 85 mm apertures: ƒ/4.5 to ƒ/32 focus range: 3.5 feet (1 metre) lens fitting: fixed shutter: Prontor SV speeds: 1 to 1/300 s flash: PC socket film size: 120
Starting with the top plate: on the right is the film advance. This is a fairly flat milled wheel with a curved arrow on top to indicate the correct direction to turn the advance wheel (anti-clockwise) although it is not actually possible to turn the wheel the other way. This advance wheel pulls up to release the take-up spool inside – see later. At the front of the top plate by the advance wheel is a small hole in the top plate. When the shutter release button is pressed, this hole shows a red flag which turns white when the advance wheel is turned.
Close to the film advance wheel is the shutter release button. This connects to the actual shutter by a hinged linkage which articulates when the lens door is either opened or closed. This button is plated metal and is threaded for a standard Gauthier cable release. This button is connected to the film advance wheel. Once the button has been pressed, it cannot be pressed again until the film advance wheel has been turned. This is to prevent accidental double exposures.
To the left of the shutter release button the top plate is raised. This is to accommodate both the viewfinder and the rangefinder. At the back of the raised portion of the top plate, on the right, is a vertical, toothed, wheel – this is the rangefinder adjuster. The way that this works is when looking through the viewfinder there is a central bright spot. The viewfinder image is distinctly pink and this central spot is slightly yellow/green – this gives good contrast between the viewfinder and rangefinder images. You move the camera until this bright spot is over your subject. In the bright spot, you should see a double image of your subject. You turn the toothed rangefinder wheel until the two parts of the double image are exactly superimposed. In front of the toothed wheel is a distance scale. When the double image is reduced to a single image, you read the distance off this scale and set the lens focus scale to the same distance.
In the centre of the top plate is a standard Barnack accessory shoe. there are no electrical contacts here so this is a “cold” shoe.
On the back of the top plate, just left of the accessory shoe, is the viewfinder eyepiece. This is small and circular with a diameter of 5 mm. This was a common size of viewfinder eyepiece in the mid 1950s. This camera is not an SLR so there is no focus screen – you are looking straight through the viewfinder which acts as a small telescope. Technically, this is a reverse Galilean telescope – the ‘reverse’ bit means the image is smaller than life-size like looking through a telescope backwards.
On the left of the raised portion of the top plate is a button that looks very much like the shutter release button. Pressing this button releases the lens door on the front of the camera – the lens door snaps downwards nicely and locks itself in position.
On the far left of the tyop plate is a second milled wheel – this top plate is nearly symmetrical. This second milled wheel is a depth of field calculator. In the centre of the wheel is a static focus scale from three feet to infinity (For our non-British or American readers, three feet is essentially one meter). Around this is a turnable aperture scale. To use this, you set your chosen lens aperture against the appropriate distance of the focus scale. Either side of each aperture is a delimiting line – these lines indicate the nearest and furthest distances that will be in focus for those settings. This does not alter the working of the camera, it is just for information.
On the front of the top plate are two square windows. These are both 8 mm square. The one on the right, while looking at the front of the camera, is the viewfinder window and the one on the left is the rangefinder window.
Below the top plate, on the front of the camera, is the lens door. This measures 72 mm wide by 65 mm high. On the front of this is embossed the Agfa logo, the legend “AGFA ISOLETTE III” and the legend “MADE IN GERMANY” indicating that this is an export item. As already mentioned, this door is opened by pressing the left-hand button on the top plate. This door is spring loaded and snaps to with no help from the user, pulling the shutter/lens assembly to its working position. This lens door is held in position by two chrome straps. To close this lens door, you press down on the hinge in the middle of each strap and fold up the door. The shutter/lens assembly is connected to the camera body by black leatherette bellows.
The shutter is a Prontor SV by Gauthier. There is a variety of different Prontor SV shutters – this one has the legend Ah4 on it which I assume denotes the type of Prontor SV shutter. The Prontor SV offers eight shutter speeds plus B. This is the ‘old’ range of speeds which are not entirely rational. In a rational system, moving from one speed to the next will either double or half the speed. Not so here. The first two speeds are rational – 1 second and 1/2 second – then we go from 1/2 to 1/5 seconds, then halving from 1/5 to 1/10 seconds, irrational again from 1/10 to 1/25. halving again from 1/25 to 1/50 to 1/100 and finally irrationally from 1/100 to 1/300 second. The shutter speed is set by turning a milled ring around the front of the shutter housing.
At the back of the shutter housing is the aperture scale. This is adjusted by a sliding pointer. The scale runs from ƒ/4.5 to ƒ/32. ƒ/4.5 is not very fast but was quite good for an ordinary camera in 1952. ƒ/32 would be quite useful in the summer given the slowish top shutter speed of 1/300 second. On the right hand end of the aperture scale is a second cable release socket – again with the Gauthier standard conical thread. This socket will allow you to fire the shutter even if the film has not been wound on.
On the left hand end of the aperture scale is a PC flash socket. This is in the original form of a pillar rather than the more modern recessed socket. Next to this is a synchronising selector. This has two positions – X and M. X is for electronic flash and fires the flash as soon as the shutter is fully open. M is for Magnesium flash bulbs and fires the flash a few milliseconds early to allow the flash bulb to burn to maximum brightness before the shutter opens. These are colour coded – X is red and M is yellow. These are used in conjunction with the delay action lever at the base of the shutter housing. For X sync, the sync selector must be on X and the delay timer lever can either be left alone for immediate action or moved across to give a delay before the flash and shutter fire. For M sync, the sync selector must be on M and the delay timer lever moved to the yellow dot. There will be no delay before the shutter is fired, the delay mechanism is only providing the timing for the flash synchronising.
The delay timer lever can, of course, be used without flash – the flash sync selector must be set to X – when, on my camera, you get a delay of eleven seconds between pressing the shutter release and the shutter firing. I ought to mention the standard advice to never use the delay lever on an old camera as the delay mechanism is the weakest part of the shutter mechanism and if it fails the shutter will be wrecked.
The lens is an Agfa Apotar lens. This is a triplet (made from three pieces of glass) and should perform quite well if the aperture is closed down to ƒ/8. The lens focal length is 85mm and the surfaces are coated. The focus scale runs from three feet to infinity – this is an export camera so the scale is in feet rather than metres, three feet is as good as one metre. On the focus scale, two distances are in red – ten feet (three metres) and 30 feet (ten metres). These are Happy Snapper settings and are used in conjunction with a red dot on the aperture scale. This red dot is at about ƒ/10 – actually just short of ƒ/11. To use the Happy Snapper settings, set the aperture to the red dot and the focus scale to either ten feet or thirty feet. The ten foot Happy Snapper setting is intended for group portraits. With this setting, everything between eight and thirty feet will be in focus. The thirty foot Happy Snapper setting is for landscapes and everything between fifteen feet and infinity will be in focus. – this is the hyperfocal distance for this lens at ƒ/10.
The back of the camera is plain. In the centre is a chrome slide. Sliding this down reveals a red window through which the user can read the frame numbers on the film’s backing paper. There is no automatic control for frame spacing so the user winds on the film until the next frame number is centred in the red window. The metal slide is there to prevent any light entering through the red window and fogging the film between shots.
The back is opened by a sliding catch on the left hand edge of the camera body. In the centre of the inside of the back is a sizeable sprung pressure plate. This keeps the film flat against the film gate. In the middle of the pressure plate is an oblong hole which lines up with the red window. Around the edges of the back are sizeable flanges which fit into a groove around the edges of the body. This provides light tightness – as this is a German camera, there are no foam light seals to go bad.
The inside of the body is as you might expect from a medium format folding camera. In the centre is the film gate – this is 56 mm square (the nominal size is 60 mm square but some of the film must be sacrificed to sit against the metal of the film gate). The surround of the film gate is pressed brass, painted black.
Either side of the film gate are the chambers for the film spools. The new spool of film goes on the left. To aid fitting the film, there is a hinged cradle which moves out of the chamber to take the spool of film – this is nickel plated. As well as the cradle hinging out of the chamber, the top of the cradle is also hinged. Halfway along the cradle is a spring to stop the film from loosening on the spool.
The take-up spool goes on the right – the take-up spool is the empty spool from the previous roll of film. To either insert or remove this take-up spool, it is necessary to pull up the film advance wheel on the top plate. There is no hinged cradle on this side – the empty spool locates onto a stud at the bottom and when the film advance wheel is pushed in again there is a key which fits into a slot on the end of the spool.
On either side of the film gate, beside each of the spool chambers, is a chrome roller to allow the film to change direction as it is advanced without becoming scratched.
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My criterion for buying my old cameras is that they must interest me. I prefer them to be in working condition but it is not essential. In good cosmetic condition is nice but so is ‘well loved’. In this case, ‘Interesting’ is the maker – Foth. Previously, I knew of Foth from the Foth Derby camera which has a very high reputation (yet I do not own one!). This Foth folder dates from the very early 1930s as far as I can ascertain. In many ways it is the same as many folding cameras made by many makers around the world.My criterion for buying my old cameras is that they must interest me. I prefer them to be in working condition but it is not essential. In good cosmetic condition is nice but so is ‘well loved’. In this case, ‘Interesting’ is the maker – Foth. Previously, I knew of Foth from the Foth Derby camera which has a very high reputation (yet I do not own one!). This Foth folder dates from the very early 1930s as far as I can ascertain. In many ways it is the same as many folding cameras made by many makers around the world.
Dating is hard as there are no serial numbers anywhere. Many features – iconometer for viewfinder, presence of a Brilliant finder, dial-set shutter, slide focusing rather than helical focusing – point to pre-1930 (although pre-1930 can extend into the mid-1930s). Even with those features, the detail of the iconometer suggest earlier rather than later – the eye-piece is a pointer rather than a frame. Yet, the Interweb tells me that having two knobs to extend the bellows means post-1930 on Foth cameras and the presence of the iconometer means post 1931. So, if I am to believe the Interweb, Foth were selling a very old-fashioned camera in the 1930s. I have no evidence on the camera to be able to form my own opinion here.
lens: Foth Doppel
focal length: 105 mm
apertures: f/4.5 to f/36 (Stoize scale)
focus range: 1.5 m to infinity
lens fitting: fixed
shutter: Foth everset
speeds: 1/25, 1/50, 1/100, B, T
film size: 120
The maximum aperture of f/4.5 also suggests a later date but the aperture scale – 4.5, 6.3, 9, 12.5, 18, 25, 36 – suggests an earlier date. I am not sure when the scale used here finally disappeared but my other cameras of this sort of date seem to have changed over to the modern scale around 1930 – the actual dates vary from maker to maker (Zeiss early 1900s, Voigtlander at the very end of the 1930s, Leitz in the early 1940s). All in all, I think I can safely say that this camera was made before 1940 and probably 1931 to 1935.
The name ‘Foth’ only appears once on the camera. It is embedded in the leatherette on the baseboard/lens door. There is no model name or reference number anywhere. I assume this means that Foth only made the one folding camera model. The rear of the camera has the initials ‘H.E.F.’ stencilled in white on a scroll background – this will be either the retailer or the owner. I tend to think it is the initials of the owner as retailers usually rely on stickers on the inside.
The camera measures 163 by 80 by 34 mm when closed and by 135 mm when open. It weighs 578 g. While the camera is closed, there are few controls apparent. On one long edge are the film advance key at one end, the viewfinder eyepiece/pointer in the middle and the baseboard/lens door release button near the other end. On the other long edge, at the end, is the tripod socket which is the 3/8 inch version. Near the middle is a sliding button to release the back for film loading. This part is very like a Braun Paxette – the back, the base and part of the front on both sides come away in one piece.
On the back is only the red window for advancing the film. On the front of the camera is the hinged baseboard/lens door. While closed, this has a folding foot to enable the camera to sit upright on a level surface. Near the hinge is a second tripod socket. Again, this is a 3/8 inch thread.
The whole camera os covered with a thick, cardboard based, leatherette. This has been very damp at some point and the cardboard backing has seriously buckled. The leatherette on the hinged baseboard has the legend ‘Foth’ embossed on it.
Pressing the stud on long side causes the baseboard to spring open. The spring is strong enough to open this all the way without any help. All that is required of the user is to click the baseboard down to finally locate the struts securely. As an older design camera, the shutter/lens assembly does not move and needs to be pulled out by hand – two chromed studs are provided as a hand-hold. Pulling the shutter/lens out to the stop position will leave the lens focused at infinity. To focus nearer, there is a metal slide on the front right-hand side of the baseboard. This has an ivorine scale which extends from infinity to 1.5 metres. Fine focus is not possible but this will not have mattered as the user will only have had contact prints made and focus defects would not have been visible.
The shutter is an everset shutter made by Foth. It bears the logo ‘FCFC’ for ‘F.C. Foth Company’. This offers speeds of 1/25, 1/50, 1/100 seconds plus B and T (B keeps the Sutter open for as long as you keep your finger on the shutter release. T opens the shutter which will stay open until you press the shutter release a second time). The lens is a Doppel which is German for double and indicates a two element lens. This will be better than the single meniscus lens used on very cheap cameras but nowhere as good as a triplet as used on cheaper decent cameras or an upmarket Tessar with its four elements. There is a socket for a standard cable release just below the shutter release lever. There is no delay action lever on this camera.
There are two viewfinders provided. The first is a small brilliant finder which will only work in good but not bright light. When the camera is folded up this brilliant finder collapses to fit into the tight space available for it in the camera body. I find these finders just about impossible to use. This one is in good condition – usually they are made from steel that has had chromium plated directly onto the steel which is usually too rusted after 50 to 100 years to be usable. The second finder is an iconometer (I think the name ‘Iconometer’ might have been a registered trademark of Zeiss Ikon but I am still going to use it). This consists of a large wire frame attached to the side of the shutter housing. In use, it hinges out to the left. This wire frame measures 60 mm by 90 mm which is the size of the negative. On the camera body is a folding pointer which the user has to centre in the frame. This is not going to be precise but will have been more than good enough for holiday landscapes and beach portraits.
To open the camera to fit film or remove a finished film, there is a sliding knob in the
centre of one long side. Sliding this as far as it will go, you can pull the two long edges apart, revealing the innards. There are the letters Z and A to indicate open and closed in German (Z = closed, A = open) but these are barely visible. The camera body and the camera back are made of aluminium which is a rather soft metal. Over the years there has been some distortion of both body and back which makes opening the camera fairly hard. I would think that when new, this would have been easy. The two spools (new film and the empty take-up
spool) are held
in place by a black painted brass strip. This does not hold the spools very securely and I find it necessary to keep a finger on each spool as I refit the back. Might get easier with practice.
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The first Vintage camera that I bought was a Franka Solida II. The Solida III is basically the same camera, as you would expect, with a different lens and the addition of a non-coupled rangefinder.
The Solida III takes 120 film and produces a 6 cm by 6 cm negative – twelve frames to a roll of film.
lens: Schneider-Kreuznach Radionar focal length: 80 mm apertures: f/2.9 to f/22 focus range: 3 ft to infinity lens fitting: fixed shutter: Prontor S speeds: 1 second to 1/250 + B flash: PC socket, no X/M switch film size: 120
The lens is a Schneider-Kreuznach Radionar 80 mm, f/2.9 lens. This is a bit unusual as the aperture sequence usually goes to f/2.8 rather than f/2.9. The minimum aperture is f/22 which is more than small enough coupled with the 1/250 shutter speed. It is probably worth noting that the physical size of the aperture at f/22 on a medium format camera is much larger than f/22 on a 35 mm camera and so diffraction effects are negligible and so give sharper images than an equivalent lens/aperture would with 35mm. With an APS C format digital camera, the difference will be even sharper. The test film showed this lens to be better than adequate, at the least.
The shutter is a Prontor S leaf shutter by Gauthier, offering shutter speeds from 1 second to 1/250 plus B.
Happy Snapper settings are indicated in red and are around f/9 and twenty five feet, giving a depth of field from twelve feet to infinity. There is also a secondary Happy Snapper setting of f/9 and eight feet which gives you a depth of field from six feet to twelve feet – presumably for portraits.
There is the usual delayed action lever giving a delay of around eight to ten seconds. A PC socket is provided but no synchronisation lever so the flash synch could be either for bulb or electronic flash. Given the camera’s age, I suspect it is synced for bulbs but whether for M or F bulbs I do not know.
The rangefinder works well and the two images are nice and clear. There is enough separation between the two rangefinder windows (43 mm) and there is enough movement on the adjusting wheel to make the device effective. Unfortunately, as a non-coupledrangefinder, it is necessary to read the distance off the rangefinder and set it on the lens focussing scale. I find guessing the distance and using a smallish aperture to be fine and I don’t think I would use this rangefinder very much.
The other niggle with the rangefinder is that it uses a separate eyepiece to the viewfinder making focussing and composing totally separate activities and further reduces the utility of the rangefinder.
There is a safety interlock between the film winder and the shutter release meaning it is impossible to make a double exposure. There is a (very) small window beside the film winder which shows red when the film has been wound on. In fact, it is only necessary to turn the film winder 3/4 of a turn to reset the shutter which is not enough to wind on to the next frame. Not having a manual for the camera, I had thought the shutter faulty before I finally twigged the purpose of the small window.
The red window on the back which allows you to read the frame numbers has a sliding cover to prevent the fogging of panchromatic film. Loading is easy. Both the film spool and the take up spool are contained in hinged housings which hold the film securely until the back is closed.
The pressure plate is significantly larger than the frame size (80 mm wide) which means that the film is kept nicely flat – not always the case with medium format cameras. The lens standard pops out nicely when the button on the base is pressed – this camera is fully self-erecting.
In use, this is not anywhere as easy as the Franka Solida II. That camera opens vertically with the baseboard at the bottom under the lens. This Solida III opens sideways so that the baseboard is to the right of the lens when you are using the camera. This leaves very little camera for the right hand to hold on to which is rather awkward. With the fingers of the right hand curled, it is quite usable and the forefinger drops quite nicely onto the shutter release.
Small items – there is an accessory shoe – cold shoe in flash terms – and a single tripod socket on the base which is to UK/USA standard. Lastly, the film winder has a film speed reminder on its top, with DIN/ASA numbers from DIN 12/ASA 12 to DIN 24/ASA 200. On a camera of this age, it is worth noting that the ASA numbers are the “new” ASA scale
Medieval troubadours, Stonebow, Lincoln
Medieval guildhall, Lincoln
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