Kodak Beau Brownie Camera

My Rose Beau Brownie Camera

To end the unofficial box camera month for my blog post, I was thinking about writing about a few different cameras, but my thoughts kept coming back to one specific model of Eastman Kodak camera, one of the most beautiful cameras made, the Beau Brownie camera.

 The two factors of the Beau Brownie line of cameras that I enjoy are the five different colors they come in: black, tan, blue, green, and the most sought-after rose. The art deco design by one of America's outstanding industrial designers, Walter Dorwin Teague, is also bundled into a very uncomplicated camera marketed more as a fashion statement than the ordinary black box camera. 

 George Eastman and his marketing team realized early on that to broaden the photographic marketplace, they needed to expand the scope of photographers using cameras. Until the early 1900s and into the 1910s, the vast majority of photographers were males due to the time-consuming process of making photographs. While Kodak didn't invent photography, much like Henry Ford, he sold cameras to the masses due to the newer methods of making glass plates easier to obtain and process, making roll films, film processing, and printing available to the masses.

My set of Nos. 2 Beau Brownie cameras

 In the late 1920s, Eastman Kodak started a relationship with Edwin Dorwin Teague, which forged a relationship and changed the design and quality of cameras for thirty to forty years until he died in the early 1960s.

The Relationship:

Walter Dorwin Teague, born Dec. 18, 1883, is often regarded as one of the pioneers of industrial design in America. He had a long and influential relationship with the Eastman Kodak Company. His collaboration with Kodak helped shape the visual and functional identity of the company's products, particularly its cameras, during the mid-20th century.

Portrait of Walter Dorwin Teague

 Teague, known for blending aesthetics with functionality, first worked with Kodak in the late 1920s. He continued influencing the company's product designs for several decades until his death on Dec. 5, 1960. His designs embodied the principles of streamlining, an artistic and engineering approach emphasizing smooth, flowing lines and modern, user-friendly aesthetics. Kodak sought to enhance its product appeal in an increasingly competitive market. Teague's expertise gave the company a fresh, contemporary design language that resonated with consumers.

 One of Teague's most iconic contributions to Kodak was the design of the Kodak Bantam Special, introduced in 1936. The Bantam Special was a masterpiece of Art Deco design, featuring a sleek, black enamel and chrome finish. It was visually striking, compact, and easy to use, aligning with Kodak's mission to make photography accessible to a broader audience. The camera became a symbol of modern design and demonstrated how industrial design could elevate consumer products beyond mere functionality.

Walter Teague designed Kodak Super Six-20 camera

 Teague's impact on Kodak extended beyond individual products; he played a key role in shaping the brand's overall aesthetic identity. His work helped Kodak establish a reputation for producing elegantly designed, high-quality, practical, and stylish cameras. His collaboration with Kodak set a precedent for integrating industrial design into mass-market consumer products, influencing Kodak's future designs and the broader field of product design.

 Beyond the Bantam Special, Teague worked on several other Kodak models, including the Kodak Baby Brownie and the Kodak Medalist. These cameras showcased his ability to balance form and function, making photography equipment more appealing and accessible to everyday users. His designs helped Kodak maintain its position as a camera industry leader, reinforcing its image as both innovative and consumer-friendly.

 Walter Dorwin Teague's relationship with Kodak was a testament to the power of industrial design in shaping consumer products. His work not only enhanced the usability and attractiveness of Kodak cameras but also set new standards for the role of design in consumer technology. Through this partnership, Teague left an enduring mark on both Kodak and the history of industrial design.

The Camera:

Beau Brownie cameras came in two sizes: the smaller Nos. 2, which takes 120 film, and the larger No. 2A, which takes 116 film. They were both introduced in October 1930 and ended production in 1933. However, the two rarer versions, the green and rose colors, were in production for 1 year, which ended in 1931. Luckily, I have all five colors in different sizes in my collection. I've had all five for many years, and this is the second time I've owned all five colors in both sizes. 

 The camera that I used for the blog post is the smaller Nos. 2 camera due to the easily accessible 120 film the camera uses. The Beau Brownie No. 2 camera is 4" tall by 3" wide or 3 3/8" wide if you include the film advance knob by 4 3/8" deep. The camera has a 6x9 negative size and weighs 14.1 oz.

 The larger Beau Brownie, Nos. 2A is 5" tall, by 3 3/8" wide, or 3 3/4" wide if you include the film winding knob, by 5" deep. The No. 2A film format is 2.5" x 4.25" on 116 film, weighing 1 lb.—3.8 oz. 

My Nos. 2A Rose Beau Brownie (L) and Nos. 2 (R). Note the size difference

Looking online, I found a Beau Brownie Camera Manual, which is where I look for manuals for the cameras in my collection. It's a fabulous website and something we all should support.

 The front of the camera has a beautiful, enameled Art Deco geometric design that is two-toned with an accent color to enhance the camera's beauty. The black version has a dark burgundy accent color. In contrast, the other colors have a lighter and darker version of the camera's color. The rest of the camera is made of thin metal material covered in pebbled imitation leather, the same color as the camera. The carrying handle is on the top of the camera, which is the same color as the camera's body.

Also, two round windows are used for the viewfinder on the front of the camera. The top circle is for viewing vertical-format photos from the top of the camera, and the bottom is used when you turn the camera on its side for horizontal-format photos. There is no focus on this meniscus doublet lens, so like many box-style cameras, the minimum focus is around 10 feet, but items around 8 feet may still be in focus.

 The Beau Brownie cameras have two latches securing the back of the camera to the front. One latch is on the top of the camera, and one is on the side of the camera. Before you open the camera, you'll need to pull out the winding knob, which is engaged with the film transport. The winding knob needs to be pulled out; otherwise, the camera's front and back won't slide apart easily.

Once you have the camera apart, you can load the roll of film into the camera. Take the empty film spool from the top of the camera and move it to the bottom. Ensure it's adequately engaged, which will move the film from frame to frame. The fresh, unexposed roll now gets loaded into the camera's top film holder. Break the tape holding the film together and pull the leader over the opening with the paper backing looking outwards. Feed the leader into the empty spool on the bottom and wind a bit so you know the film is transporting properly. Also, check that the film fits within the walls of the spool so it can be transported easily. Wind the film until you see arrows pointing outwards. Ince you see the arrows, put the back onto the camera, press the winding knob, and secure the two latches. Now wind the film until you see the #1 in the red window. That's the indication that you're ready to make the first exposures.

 There are only two controls for the camera, located on the top of the camera. There are two levers just in front of the handle. One is on the left, and the shutter speed controller is the smaller of the two controls. There are only two settings. When the lever is down, the camera is in "instant" mode and has a shutter speed of around 1/100 sec. Pulling that small lever up puts the camera in "B" or timed exposure mode. In this setting, you'll need to set the camera on some camera tripod or bracket to hold the camera still so as not to cause a blurry photo.

The other controller is the larger of the two levers that control the aperture settings. The lever can be in three positions to change the different apertures. When the lever is down, the camera has an approximate aperture of F11, the middle position is approximately F16, and the top position is approximately F22.

 

My Results:

I loaded the camera with Ilford 400 ISO/ASA film and walked through the neighborhood on a very overcast and sometimes rainy afternoon in February. The neighbors are getting used to the old man walking through the streets with an odd-looking camera in his hand, taking photos of houses, objects, or other items I find on my walks.

 Here's what I took.

Conclusion:

Other than the stunning beauty of this camera, it's a fundamental camera with minimal controls and a fixed Meniscus Doublet lens that takes a significant negative. According to the manual, the minimum focus is approximately 8-10 feet. My judgment of distance was off in some photos, as the images are out of focus.

 Overall, it was a fun camera to shoot with, and I'll need to take it out on a sunnier day to get more contrast images. There are a couple of filters available for the Beau Brownie, one of which is a portrait filter that allows for closer focus for portrait photos, so I'll need to dig through the box of old filters to see if I have one of the recommended filters to try on the camera.

 Thank you for taking a few minutes to read about one of the most beautiful cameras ever made. I'm truly honored to have one in my collection.

 Until next week, please be safe.

Art Deco Rolleicord 1

My Rolleicord 1

Some cameras look so amazing that you consider them more of a work of art than a mechanical piece of metal and glass that takes photos. That was my thought the first time I saw the Rolleicord 1. While the Rolleicord 1 is a fairly plain camera, it's the "skin" that gives it a "wow" factor.

 It's the same feeling I had when I saw cameras like the cameras designed by Walter Teague, like the Kodak Beau Brownies, The Petite Coquette, and the Gift Kodak. They are more of something you'd see in a museum rather than take out and take photos with.

 It has more to do with the Art Deco era; these items were manufactured in, and along with the pride in artistry, the companies had to present something to their audience than we currently have. The fact that a camera company in the 1930s would introduce a new line of cameras with such a striking appearance is a bold statement and a testament to the Rollei name.

The History:

Rollei holds a significant place in photographic history. Founded in 1920 in Braunschweig, Germany, by Paul Franke and Reinhold Heidecke, the company originally bore the name "Franke & Heidecke." Initially, it focused on precision mechanical devices, but by the mid-1920s, Rollei began producing cameras that would revolutionize photography.

 Rollei gained international recognition in 1929 with the launch of the Rolleiflex, the first twin-lens reflex (TLR) camera. The Rolleiflex was compact, robust, and designed for medium-format photography. Its unique twin-lens system featured one lens for viewing and focusing and another for capturing the image on film. This innovative design allowed photographers to frame shots at waist level, making candid photography more discreet and practical. The Rolleiflex quickly became a favorite among professionals and enthusiasts, particularly for portrait and documentary work.

The success of the Rolleiflex led to the introduction of the Rolleicord, a more affordable version aimed at amateur photographers. Both models showcased Rollei's commitment to precision engineering and optical excellence, which became hallmarks of the brand.

 During the 1930s and 1940s, Rollei continued to innovate, refining the Rolleiflex and Rolleicord lines with features such as automatic film winding and improved optics. Despite the challenges of World War II, the company maintained its reputation for high-quality cameras. In the post-war era, Rollei played a significant role in the resurgence of the German camera industry.

French ad for Rolleicord 1

The 1950s and 1960s marked a golden age for Rollei. The Rolleiflex TLR became synonymous with professional photography and was used by renowned photographers such as Richard Avedon, Diane Arbus, and Vivian Maier. Rollei also ventured into other formats and technologies. The Rolleiflex 35mm SLR, introduced in the late 1950s, showcased the company's adaptability to the changing market demands.

By the 1970s, the rise of Japanese camera manufacturers like Nikon, Canon, and Minolta introduced intense competition. These companies offered high-quality single-lens reflex (SLR) cameras at more affordable prices, challenging Rollei's dominance in medium-format and professional photography.

In response, Rollei diversified its product line, introducing the Rolleiflex SL66, a medium-format SLR, and the compact Rollei 35, which became one of its most miniature 35mm cameras. Despite these innovations, Rollei struggled to maintain its market share due to its higher production costs and its competitors' rapidly advancing technology.

 In the 1980s and 1990s, Rollei faced financial difficulties, leading to changes in ownership and restructuring. The company shifted focus to digital imaging and niche markets, including high-end studio cameras and digital backs for medium-format systems.

The Rollei legacy endures as a symbol of German engineering and innovation, reflecting a century of dedication to the art and science of photography.

My Camera:

The Rolleicord 1 was made between 1933 and early 1936, with 32,508 units sold. The camera is nickel-plated and decorated with a trompe-l'oeil grid on all sides except the bottom, giving it its unique look. In 1934, Franke & Heideke produced a version of the camera without the beautiful pattern finish and covered the body in drab black leather, which was the Rolleicord 1, model 2.

 My Rolleicord 1 is 5.25" tall with the chimney closed and 8" tall with the chimney up, by 4" deep, by 3.5" wide, including the focus knob. It weighs 1 lb, 15.4 oz, so just under 2 lbs. The serial number on the camera is 029789, which is stamped into the body with the back door opened. The camera has a Carl Zeiss Jena Triotar 7.5cm f4.5 lens in a Compur shutter. 

The shutter speeds range from 1/300 to 1 sec., along with "B" and "T" settings. For transparency purposes, my shutter isn't in the best condition and only works on the top three speeds (1/300, 1/100, 1/50 sec.). It doesn't close if I use any of the slower speeds. The shutter speeds are set by turning the collar around the lens to the desired shutter speed, which is indicated by a triangle. 

 The camera's aperture setting ranges from f4.5 to F32. A pointing triangle and a separate collar on the other side of where you set the shutter speed determine the aperture setting.

 To cock the shutter, you slide the bar under the lens to the right as you're holding the camera to take a photo. With the same lever, you slide the lever to the left to take the photo. There aren't separate levers for cocking the shutter and tripping the shutter. It's all done with the same bar. Me, I like that, so you're not looking to cock the shutter in one area and take the photo in a different area. Very smooth and easy. There is also a socket for a cable release on the bottom of the shutter at approximately the 7 o'clock position.

To load the camera with film, simply pull the back release on the bottom of the camera, and the back will swing open. To take the empty spool of 120 film from the bottom chamber, you'll need to pull out the film knob on the right, which will allow you to take the empty spool out of the camera. 

 Pulling out the winding knob will allow you to put the empty spool in the top portion of the camera to advance the film to the next frame. Press the winding knob to keep the empty film spool in place. Put the new roll of film into the bottom chamber and press back in the film knob to keep the roll in place.

 Once you have the empty spool on the top and the new roll of film on the bottom, remove the tape that keeps the roll closed, pull the leader over the bottom and top roller, and slide the film's end into the take-up spool slot. Wind the film onto the take-up spool with the advance knob until you see an arrow pointing to the ends of the film. At this point, you can close the back door and wind the film to your first frame.

The frame counter on the left side of my camera body isn't working. Luckily, on the bottom of the camera, there is a red window you can use to see when you're in the first frame. Unfortunately, this numbering system on the film rolls is used for 6x9 format, so using this method, I only got eight images on a roll of 120 film instead of the standard twelve for 6x6 format cameras.

 To focus on your subject, pull up the chimney by slightly pulling back the release on the back of the chimney, and pull up, which will expose the large focusing screen. On the right side of the camera is the focusing knob. The focusing distance is from 0.8 meters to infinity. Turn the focusing knob to bring your subject into focus on the screen.

A fine focus magnifier on a spring rests on the back of the chimney. Bring the magnifier around to the top of the viewfinder. Mine stays in place, allowing the photographer to bring their eye closer to the magnifying glass for fine focus. When not using the fine focus magnifier, it can be swung back to the back of the finder so you can see the full image on the focusing screen. You can also slide the front portion of the chimney back and use the chimney as a sport finder if needed.

Exposure index and depth of field scale on back of the Rolleicord 1 camera.

On the back of the camera is an exposure guide and depth of field scale. This scale was produced in German, French, and English for the different markets. My guide on the back is in German. According to the Rolleicord 1 manual, the exposure guide is rated for DIN 26, which would be ASA/ISO 320

 

My Results:

It's in the northwest United States in early January, which means very little sunshine. So I loaded up the camera with some 400 ISO film and walked around the neighborhood to see what I could get from this Rolleicord 1 camera. Knowing I only had the top three speeds to work with, this wasn't too much of an issue as the sun was generally behind clouds most of the day; it wasn't that dark out, and it typically shows between 1/300 and 1/100 shutter speed.

 Here are some of the results from my Rolleicord 1 camera.

Conclusion:

WOW!!! What a fun camera to shoot with. I forget how much I enjoy shooting with a TLR camera. It reminds me of my wedding shooting days many years ago. Looking down at your subjects and seeing such a nice big image brings back many good memories.

Even though the Rolleicord was made for amateur photographers, the lens is fantastic, easy to use, and excellent Rollei camera quality. I only had to keep reminding myself that when you see something going right in the finder, you need to turn left. If something comes into the frame on the right, it is really on the left in real life. I like the ability to keep things square, and while I prefer a panoramic format, having a square image is interesting and gives a new perspective.

 Thank you for taking some time from your day to read about this fantastic camera.

 Until next week, please be safe.

Expo Watch Camera

This week's camera blog is about another unusual camera given to me many years ago by one of my sisters' in-laws who passed away. The family members knew I enjoyed cameras, so they gifted the camera to me and asked me to take care of it for the man who passed. 

My Expo Watch Camera

 When I first received the Expo Watch camera, I was utterly surprised and deeply touched by the generosity. Opening the small box to reveal the fantastic camera in good working condition was a moment I'll never forget. It was a revelation that the person who passed knew about my love for cameras. It could have been my wonderful sister who had shared my passion with the family.

 Needless to say, it's in a prominent place in my collection and something I look at almost daily and think about the generosity of the person who gifted it to me.

 To add to the story of this blog and the Expo Watch camera, about three to four years ago, I purchased a "lot" of camera items. Among the other items I bought were accessories from what I thought were for the Expo Watch camera. However, after researching the cameras, I found that they are actually for the slightly later British version made by Houghton, the Ticka camera. They fit and work on both the Expo and Ticka cameras.

The Company:

Patent for Expo Camera

The camera was designed and invented by a Swedish designer, Magnus Niéll, who lived in Sweden and New York. The patent for the Expo Watch camera was approved on September 6, 1904. This camera was a significant innovation in the history of photography, as it was one of the first to feature a daylight-loadable film cassette with 25, 16mm x 22mm, or 5/8" x 7/8" exposures in each cassette.

 The Expo Camera Company, located at 256 West 23rd Street, New York, manufactured the Expo Watch camera. It also produced the Expo Police Camera and developed and enlarged accessories for both cameras. The company offered film processing and printing to its customers. If interested, here's a copy of the full Expo Camera Pricelist and Manual.

In an ad I found published in 1917, the purchase price for the Expo Watch Camera was $2.50. According to the price list above, the processing fee was 10 cents to develop per roll of film. Contact prints (5/8"x7/8") were .10 cents per dozen, .07 cents per 2x3 enlargement, and .10 cents per 3x4 enlargement. I also enjoyed their statement that "Cash should accompany all orders for development, printing, and enlarging."

Ad for Expo Watch Camera

 The Expo Watch camera started in 1905, was taken over in the late 1920s by the dealer G Gennart, who produced several different names on the camera. In 1935, there were red, blue, and black enamel cameras, which were extremely rare. 

 In 1905, or shortly after, Magnus Niéll offered the camera's design to the British camera manufacturer Houghton, who produced the same camera under the Ticka name. The Ticka camera was available in the United Kingdom from 1905 to 1914. Some of the later Ticka models had a replica watch face on the front, with the hand indicating the angle of view the photographer would have when taking a photo.

Magnus Niéll designed other cameras for Houghton, such as the Ensign Midget, Ensignette, and the unusual design folding plate Lopa camera made by Kindermann. 

My Camera:

My Expo Watch camera measures 2 3/8" in diameter across the body of the camera, and if you measure from the front of the lens, including the fob ring, to the rear of the camera is 3" long and 1" deep, including the winding knob and the camera weighs 2.7oz. The camera is made from Nickel and has a highly polished chrome top and bottom.

The camera was designed like a pocket watch so it would be inconspicuous for the people the photographer wanted to photograph. This design feature allowed the user of the Expo Watch camera to easily keep it in one of his vest pockets, making it ideal for candid photography. The photographer could remove the camera from his pocket, take the cap off the lens, point it at his subject, and take a photo.

Beneath the fob ring is a lens cap resembling a pocket camera's winding stem. Under the lens cap is a fixed focus, 25mm lens. The camera has two settings for shutter speeds. There is "I" for an instant, approximately 1/125 speed, and the other setting is "T" for a time exposure. The shutter settings are done on the side of the camera with a lever you pull down. The shutter release butting is a small pin on the underside of the camera set at the one o'clock position. Once the camera's shutter is cocked, you press that pin in, and the shutter releases, making the photo.

The shutter release button on Expo Watch Camera

The shutter is not self-capping, meaning that when you cock the shutter, you're exposing the film to light, so it was recommended to keep the lens cap on until you're ready to make the exposure. 

Shutter cocking Mechanist and settings for Shutter speed.

 The lens cap served as the shutter time if you were doing time exposures. You set it to "T," click the shutter, take the lens cap off for exposure, put the lens cap on to end exposure, and the cock the shutter again for the following exposure. I can almost 100% guarantee that 99.9% of these images are blurry due to the person's hand holding the camera for any period of time, along with the movement of taking off and putting on the lens cap, and the negative being so small.

On the underside of the camera, or the opposite side of the removable plate with the beautifully etched "EXPO," is the winding lever you turn to advance the film. Just to the left of the winding knob is a small window that tells the photographer what frame number they're on. Above the winding knob is another logo for the camera company, which includes EXPO in the center of an oval. Around the oval is Pat throughout the world. On top and under is The Expo Camera New York USA

On the bottom of the camera is a lever you can turn to help pop off the etched plate, which comes off to load the film. I'm too afraid to turn this lever too hard, as I don't want the lever to snap off, so to remove the etched plate, I use my fingernails and pull the plate off to expose where the film goes. Once the plate is removed, the film cassette fits into the bottom portion of the camera.

The Expo Camera did have two different viewfinders available that would fit around the collar of the lens, under the winding stem. A simple model A ground glass viewfinder sold for .50 cents, and a model B brilliant finder sold for .75 cents.

 I also have an item made for the Ticka Camera in the group. There were a few accessories, such as the time exposure lens cap. This item fits over the lens and is held into place by a tension screw. Once in place, you can pull the lever up/down depending on how it is mounted to open the lens, exposing the film to light. Using the time exposure cap is considerably easier than taking the lens cap on and off for time exposures. Another item I have is a separate finder lens which is a larger glass item with a convex lens and attaches onto the camera like the other viewfinders. It has the exact attaching mechanism that fits around the lens collar. From what I'm seeing online, both the time exposure lens cap and the larger window finder were made for the TICKA camera.

Conclusion:

The Expo Watch Camera is a fun and exciting camera to have in my collection. I cherish the way I received it. The more I researched the camera and its different variations, the more I'd like to expand my collection to include the Ticka model with the watch face on it or even some of the colored models I'm always drawn to.

 

Reference:

Pacific Rim:  https://www.pacificrimcamera.com/rl/01266/01266.pdf

Historic Cameras:  http://www.historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=919&

Submini.com:  http://www.submin.com/large/collection/expo/introduction.htm

Vintage photo:  http://www.vintagephoto.tv/expowatch.shtml