Wednesday, 27 July 2016

The V. P. Twin

V. P. Twin with soft case
Having written a moderately comprehensive post about the Vest Pocket Kodak, I wanted to write a post about the other camera that I used on this month's 127 Day, the V. P. Twin. About this, there is rather less to say, but millions of these were made, and as an extremely cheap snapshot camera, the V. P. Twin may well have been the introduction to photography for a great many people, particularly in the UK where it was produced. How well it may have travelled is an unknown - on Collections Appareils it's listed as being rare in France, but a number are always available on a well-known auction site, and I have on occasion seen V. P. Twins in antique or junk shops.

V. P. Twin with wire framefinder folded out for use
The name derives from the initials for Vest Pocket, an alternate name for 127 rollfilm, and that the camera uses a frame size of 3x4cm, which means that two red windows are needed to advance the film, the numbers on the paper backing appearing twice, once in each window, to provide sixteen photographs on a roll.  The camera is made from plastic: when first produced in the mid-1930s, this was Bakelite in a number of different coloured variants; my version of the camera dates from after the war, clearly identified by the metal faceplate around the lens. Although many websites don't differentiate, there are some suggestions that, post-war, a different plastic other than bakelite was used. With my example, the plastic appears very much like Bakelite, hard and a somewhat brittle, as evidenced by a small chip broken off inside, but this is not conclusive.

V. P. Twin with wire framefinder
The camera has a fixed-focus meniscus lens of f12.5 (the instructions recommend a subject distance of eight to ten feet) and a rotary-type shutter that fires when the lever is tripped in either direction. The 1950s version of the V. P. Twin has a metal faceplate with the phrase "BLOOMED "BOLCO" LENS": BOLCo stood for British Optical Company; bloomed appears to mean that the lens was coated, which, judging from the colour of the reflections, may well be the case, although it might seem an unnecessary refinement given how basic the lens is. To compose a shot, there is a single metal frame which hinges up from the top of the camera. The advance knob provides a loud ratchet sound, making operation of the camera less than discreet given how quiet the shutter is.

V. P. Twin opened for loading
Although the instruction manual tells the user to twist a coin between the two projections at the top of the camera, and the letters "INSERT COIN AND TWIST" are embossed on the camera itself, I've found it easy enough to open using my fingers in the slot. The V. P. Twin is famous for having been sold in three individual parts, each for 6d, which, in total, converts to 7.5 pence in new money, surely one of the cheapest cameras ever made (according to one online calculator I've used, this would be the equivalent of £3.73 at 2016 prices). Although this sounds apocryphal, the onetwoseven site confirms the story. In the 1950s, the V. P. Twin was selling for 7/6, or 37.5 pence, or £6.32 at 2016 prices. For a simple camera, the instruction leaflet is very comprehensive; my camera came with both instruction leaflet and soft case.

V. P. Twin leaflet front
V. P. Twin leaflet back
I first shot a short roll of Ilford HP5 Plus cut down from medium format, and the results were very much what I imagined them to be: vignetting, distortion and so on from the meniscus lens. There were also some scratches, which may have been from the process of slitting the film to 127 size. The shutter looks and sounds very slow, but it's probably around 1/30th; some shots appear to show a small amount of camera shake, but given how little in the frame is truly sharp, it matters less than this might. As I've written about other simple cameras, the use of modern fast emulsion allows a greater flexibility in the situations in which the camera may be used. The instructions state that:
The V. P. Twin is strictly a snapshot camera. The same rules which govern Snapshot Photography with any other camera should be followed. The subject should be in broad, open sunlight, but the camera must not. The sun should be behind your back or over your shoulder.
V. P. Twin test roll with Ilford HP5 Plus
Given the typical film speeds of the 1930s when the film was first produced this advice would have been well heeded; today, being able to use a 400 ISO film with both lower contrast and good latitude means being able to ignore that stricture: the photograph above was taken on an overcast day, with plenty of shade from a nearby tree. Shooting longer rolls of film for the 127 Day did show some issues with film flatness which appeared to increase over the length of a roll; the camera has one flat tension spring at one end of the camera inside, as seen in one of the images above, which does not seem sufficient to keep the film tight as the amount on the take-up side builds up. This lack of flatness shows up as distortion, especially clear in straight lines, as shown in the second-to-last image on this post.

Maurice Fisher, on the Photographic Memorabilia website nicely sums up using the V. P. Twin as his first camera, replete with camera shake and framing errors. Accurate framing is very difficult to achieve; it's probably best to simply ensure whatever motif being photographed is simply centred. Camera shake with the V. P. Twin is partly due to the camera being so small and light, but not insurmountable if the instructions are followed to hold the camera tightly against the face to steady it; I also steadied a few shots by balancing the camera on a flat surface. As a cheap, snapshot camera, I did find the V. P. Twin to have a certain charm, and the quality of the images is easily the equivalent to the toy cameras that have become popular in recent years.

V. P. Twin with Fomapan 200
V. P. Twin with Ilford Mk V
V. P. Twin with Ilford HP5 Plus
V. P. Twin with Ilford HP5 Plus

Sources/further reading:
V. P. Twin on Camera-Wiki
Great British Cameras: The V. P. Twin

My First Camera on Photographic Memorabilia
V. P. Twin on Collections Appareils in French
V. P. Twin on onetwoseven.org.uk

Tuesday, 19 July 2016

Vest Pocket Autographic Kodak

Vest Pocket Autographic Kodak
No matter how many cameras you may have, there are times when a vest pocket edition of your larger instrument will be appreciated. That's just what the Vest Pocket Kodak is- a miniature Kodak- so flat and smooth and small as to go readily into a vest pocket, so carefully made as to be capable of the highest grade of work.
Kodaks and Kodaks Supplies, 1912
Introduced in 1912, the Vest Pocket Kodak was the first camera to use a new paper-backed roll film format commonly known as Vest Pocket film - with 'vest' as in the American term for waistcoat - with this film later being denominated by Kodak as 127. The camera takes images nominally 4x6cm in size (the negatives from my camera measure 44x66mm), with eight exposures on a roll of film, and the catalogue quoted above emphasises the ability of achieving postcard-sized enlargements from the negatives at a time most photographs would have been contact printed. The camera itself is very compact (120mm high, 64mm wide and 24mm depth when closed), and Kodak's catalogues illustrate this by showing the camera side-on captioned actual size on the page.

Vest Pocket Autographic Kodak
It opens like a flash, to a fixed focus, and instantly is ready for service. And then, just a slight pressure of the shutter release, at the upper right hand of the front standard, and your exposure is made.
Kodaks and Kodak Supplies, 1918
To operate the camera, the front standard is pulled out until the struts lock. With the shutter release located behind this standard, the shutter is prevented from being tripped while the camera is folded. Framing is by brilliant finder, also behind the front standard, which rotates through 90º for portrait or landscape shots. As with most cameras of this date, frame advance is manual, with an orange window in the centre of the back for frame numbers. The side (or top, depending on how the camera is held) of the camera removes for loading, and the film has to be firmly attached to the take up spool, and both spools slide into their respective slots with the paper backing stretched between them, not the easiest of operations compared to loading a camera where the back opens.

During its fourteen-year production run a number of changes were made to the Vest Pocket Kodak and different models improving on its original, limited specifications were made alongside the basic version. These changes help to date the cameras. Like many an early Kodak camera, the Vest Pocket Kodak has numerous patent dates: on my model there are three on the shutter, and several around the red window for patents in the USA, Britain, Canada and Australia. The last patent date is 1917; often Kodak patent dates refer to patents taken out some time before the cameras these appear on were made, and are not in themselves useful except in establishing a prior, earliest possible date. Other features are more secure in dating the Vest Pocket Kodak. In 1914, Kodak brought in Autographic film, a special feature in which a narrow window could be opened to inscribe with a stylus directly onto the backing paper: a thin tissue of cabon paper between film and the backing paper would transfer this writing to the negative rebate with development. Most Kodaks other than the cheap box cameras were provided with this feature, with the Vest Pocket Kodaks gaining the Autographic window in 1915, a year after its introduction. Kodak persisted with Autographic film until the 1930s; Mischa Konig's Kodak Classics site suggests that the feature was dropped due to the increased sensitivity of film emulsions.

Vest Pocket Kodak with Autographic door open and stylus removed from holder
My example still has the Autographic stylus, often separated and lost, which is kept slotted into the edge of the opening door. The clearest identifying feature of my camera is the finish. Initially, the Vest Pocket Kodak was simply painted black enamel on all surfaces, but the Special version with better quality lenses was finished in leather. My camera has neither: it is finished with a craquelure effect which, according to Early Photography, was introduced in 1920. More secure dating may be due to the serial number - engraved on the fold out stand for portrait orientation - but I have yet to find an online resource for VPK serial numbers.

The first Vest Pocket Kodak came with a meniscus achromat lens in Kodak's ball bearing shutter; my version has the second cheapest lens option, a Rapid Rectilinear (this lens first appears in the 1918 catalogue; in 1920 a VPK with the lens was $10.58, as against the meniscus at $9.49, reduced to $9.50 and $8.00 respectively, in 1921 when the focusing Special was introduced). The apertures are marked in U.S. stops 8, 16 and 32, equivalent to f11, f16 and f22, although the lens' maximum aperture is clearly wider than the widest stop: as with the meniscus lens, the aperture was restricted to improve definition. The stops are also marked with Portrait/Average View, Distant View and Clouds/Marine View, as a guide for the user. The fixed focus lens appears to be set at a distance appropriate to group shots: the settings around the lens imply that infinity focus is not achievable by using the largest aperture, which I did find to be the case.

Rapid Rectilinear lens in Ball Bearing shutter
The Kodak Autotime Scale greatly reduces the liability of error in exposure, as it automatically indicates the proper time and stop opening for subjects under any condition of outdoor photography. It is exceedingly simple to use. The speed indicator is merely set at the point on the scale indicating the kind of light prevailing and the diaphragm indicator at the point indicating the character of the subject.
Kodaks and Kodak Supplies, 1912
The Ball Bearing shutter has just two speeds, 1/25th and 1/50th, marked Clear and Brilliant respectively, with both B and T settings. According to the manual, if "the subject is in the shadow, or during cloudy weather it will be necessary to make a timed exposure", which shows how limited the conditions wherw it was possible to use the camera handheld with the films of the time, especially bearing in mind the caveat that "The markings are for Summer at mid-day. During Winter or for morning or afternoon use next larger aperture than indicated". The advice for using the T or B settings are to use a 'stable support'. The Vest Pocket Kodak features neither cable release socket nor tripod mount, but adaptors for these were available as accessories; there is a detailed section in the manual for timed exposures, firstly in interiors, giving guide exposures based on the number of windows, colour of the walls, and the light outside, and then a shorter section for conditions for timed exposure outside.

The first films I tested in the Vest Pocket Kodak showed some light leaks, but as these were largely from the edges of the negatives, this was possibly a result of cutting and re-rolling 120 film to 127 backing paper and spools, and perhaps not rolling these tightly enough, rather than problems with the camera itself. In the second image below, I used Ilford Delta 3200 to shoot handheld indoors, albeit close to a window, at the widest aperture, a relatively slow f11, which does seem to demonstrate how close the fixed focus is. It also shows that with modern, faster emulsions, an old camera with a slow lens becomes more flexible: when made, although equipped with a T setting for long exposures, it would have been primarily intended for taking photographs outside in sunny conditions. Faster films increase the situations that these cameras can be used in and at the same time I find that most films' latitude mitigates the effects of overexposure due to the limited shutter speeds.

Vest Pocket Kodak with Fomapan 200
Vest Pocket Kodak with Ilford Delta 3200
However, trying out some other films showed that there were more light leaks, which seemed to be getting worse, possibly due to the corners of the bellows being quite brittle and, with unfolding and folding the camera numerous times, these pinholes became more prominent, as in the image below. The leather at the corner folds of the bellows had mostly worn away to the fabric beneath. As the Vest Pocket Kodak does not open in the same way a more conventional folding camera does, it's provided with a circular door on the back which the red window sits in: this can be removed by rotating it and it provides access to the lens from the inside, probably for cleaning, but just conceivably to remove and replace it - although nothing I've read would suggest this was commonplace. However, this doesn't expose very much of the bellows from the inside, and so, to tackle the light leaks, I took the camera apart to better identify and attempt to fix them.

Vest Pocket Kodak with Ilford Delta 3200
To disassemble the camera, there are two screws on the bottom of the body that secures the section with the struts and bellows. Taking these screws out, once the top plate on the other side has been removed, as if for loading film, the whole bellows section slides out.

Vest Pocket Kodak - disassembled
I also used this opportunity to clean the lens. Two screws fix the shutter unit to the front standard of the camera, with the retaining ring on the rear of the lens securing it to the bellows with a square plate behind. The plate around the lens on the shutter is fixed with four screws - the two lower ones have sleeves - and once removed, I saw how easy it was to make the minor alteration needed to use the lens to its full aperture. The aperture lever ring (bottom left in the image below) has a small projecting stop to the left of the pointer; I simply flattened this stop so it would rotate fully (given that there is a gap to do so on the front standard) and open up the lens to f8 (or possibly f7.7, as with the Kodak Anastigmat lens that a more expensive version of the camera featured). I could see that there was a previous repair to the bellows on the inside to one corner. For my repair, as the bellows were still sound in themselves, I used acrylic ink to paint over the holes that I could see and fill the weave of the cloth.

Rapid Rectilinear lens in Ball Bearing Shutter partially disassembled
After reassembling the camera, I shot some 35mm Ilford Mark V film rolled with 127 backing paper as a test, which showed that the pinholes had been mitigated, but using the camera in bright sunlight still gave me some light leaks. As these seem to emanate from the corners of the bellows, taking the camera apart again, I ensured that I coated both the inside and outside of the corners with the acrylic ink once again, using a small torch to help to work out exactly where the light was getting in.

Vest Pocket Kodak with Ilford Mark V film
After making these repairs, I also taped over the inside of the Autographic window, and used the Vest Pocket Kodak on last week's 127 Day. There wasn't any evidence of light leaks, although I did take the precaution of keeping the camera folded between exposures. Shooting three full-length films (rather than short test lengths) in the camera demonstrated two other issues: problems with focus and film flatness. With the standard fully extended, the lens is not set to infinity: it appears to be focussed at around two metres. At the smallest aperture of f22, far distances are nearly in focus, no doubt to an acceptable amount for contact prints or small enlargements. One solution to using this fixed focus lens at wider apertures and to still be able to focus at distances would be not to extend the struts fully, difficult to achieve evenly on both sides of the camera, and pull the lens standard back by just 3-4mm by my calculations. The problems with film flatness show up in some of the straight lines being curved and distorted; there are linear pressure springs in both spool ends of the camera which could be tightened to help keep the tension on the film.

The Vest Pocket Autographic Kodak proved to be extremely popular: Camera-Wiki states that 1,750,000 were sold, making it relatively easy to find today, a century on. It also became known as the 'soldier's camera', its ubiquity in the First World War due to being compact and inconspicuous, even with the strictures placed on photography by the British Army (the German Army took a different attitude, with photography by private soldiers being encouraged to combat boredom and engender camaraderie), although most Vest Pocket Kodaks would have probably been carried by US soldiers after entering the war in 1917. The format and strut-folding design of the Vest Pocket Kodak inspired many other cameras - often better equipped - such as the Piccolette - and, in part, must have paved the way for smaller cameras and smaller film sizes, encouraging photographs to be enlarged, not contact printed. The Vest Pocket Kodak's legacy still lives on, if only just, after 104 years, in the admittedly very limited but continued production of 127 format film.

Vest Pocket Autographic Kodak with Ilford FP4 Plus
Vest Pocket Autographic Kodak with Ilford FP4 Plus
Vest Pocket Autographic Kodak with Ilford HP5 Plus
Vest Pocket Autographic Kodak with Ilford HP5 Plus

Sources/further reading:
The Vest Pocket Kodak website
Vest Pocket Kodak page on Early Photography
Vest Pocket Kodak on Camera-Wiki
Kodak Collector's Kodak Catalogues
Mischa Konig's Kodak Classics site

Wednesday, 13 July 2016

127 Day Summer 2016

Vest Pocket Autographic Kodak with Ilford FP4 Plus
For yesterday's 127 Day I shot two new (to me) 127 format cameras: a Vest Pocket Autographic Kodak and the V.P. Twin. I shot 120 film cut down to 127 size, and 35mm Ilford Mark V film taped to 127 backing paper, with both cameras. The Vest Pocket Kodak had problems with light leaks from holes in the bellows which I had been attempting to find and fix the day before; incidentally, both cameras had issues with film flatness, causing some distortions in the negatives, especially with the V.P. Twin, although less noticeable in the shots with the smaller frame size on the 35mm film.

V.P. Twin with Ilford Mark V
V.P. Twin with Fomapan 200
V.P. Twin with Ilford HP5 Plus
V.P. Twin with Fomapan 200
Vest Pocket Autographic Kodak with Ilford Mark V
Vest Pocket Autographic Kodak with Ilford HP5 Plus
Vest Pocket Autographic Kodak with Ilford HP5 Plus

Sunday, 19 June 2016

'116 Day'

Zeiss Ikon Cocarette with HP5 Plus
Last weekend, on the day before 126 Day, I shot film in my two 116 format cameras. I'd had a Zeiss Ikon Cocarette for some time with which I'd previously used some 120 film, and had intended to write about, but taking photographs on the date of 11/6 this year was prompted by acquiring a Kodak No.2A Brownie in the format a few weeks ago. 116 was a paper-backed rollfilm, very much like 120, but the film was 70mm wide (compared to 120's 62mm), and the typical frame size for the format is nominally 6.5x11cm. Kodak discontinued manufacture of 116 film in the mid-1980s, but there are many 116 cameras still around, and to use them can be done with essentially three strategies: using original, expired 116 film; using other 70mm film stock in the cameras; or adapting the cameras to use 120 film.

Kodacolor colour negative films
Fortunately, both 116 cameras had the original metal spools in left in the supply side chamber when I bought them, and, online, I found a couple of rolls of Kodacolor negative film to shoot on the day. These dated back to the late 1950s and early 1960s with 'process before' dates of July 1961 and November 1964. Originally 32 ASA, I rated the films using a rough approximation at around 6 to compensate for loss of sensitivity with age. I shot one roll in the Cocarette, handheld, as this had a much faster lens than the Brownie, and, although I mostly shot at f4.5 with 1/50th, these negatives were predictably underexposed.

Zeiss Ikon Cocarette with expired Kodacolor film
With the No.2A Brownie, with a maximum aperture of around f11, and an 'instant' setting around 1/30th, I shot all the frames of the Kodacolour film on the T setting. As the camera does not have tripod mounts, I also had to find flat surfaces to place the camera for these exposures, stopping down the Brownie's meniscus lens to f16 or f22, and using times in seconds up to about a minute. The Kodacolor films were meant for C22 processing, a precursor to the current C41, but I used stand development in RO9 One Shot to produce a monochrome negative. The orange mask on the negatives appears darker than current colour negative film, and as a result of the size of the images, I had to resort to photographing the negatives on a light box rather than scanning.

Kodak No.2A Brownie with expired Kodacolor film
The images from the Brownie camera were much clearer than those from the Cocarette, thanks to having received sufficient exposure to compensate for age; I also had problems with the focus of the Cocarette. As well as the Kodacolor film, I also shot a couple of 120 film with the camera, adapting it to take the smaller spools. With the lens positioned at infinity, the focus is notably soft. I suspect that this is just behind infinity, as the whole image has a softness, not just in the far distance, but this was something I had failed to check before shooting with the camera on the day, although earlier tests had suggested a problem. The image below demonstrates this, though it's only clear when zoomed in. It may also be due to a lack of film flatness, evident at the top and bottom of some of the images on 120 film with a further loss of focus and straight lines beginning to curl.

Zeiss Ikon Cocarette with Agfa Superpan
As the Kodacolor shots with the Cocarette were all at wider apertures, this would no doubt have been worse, however, on shots which were not focussed at infinity, the sharpness is much better, even in the underexposed image below of the daisies.

Zeiss Ikon Cocarette with expired Kodacolor
With the 120 film shot in the Cocarette, those images in better focus were those that were again not set at infinity: in the first image below, I estimated the focus to be around 30 feet to the detritus in the middle distance, and used a small enough aperture for depth of field to encompass most of the scene; the following two images were shot with much closer focus, but equally are better than those at infinity.

Zeiss Ikon Cocarette with HP5 Plus
Zeiss Ikon Cocarette with Agfa Superpan
Zeiss Ikon Cocarette with Agfa Superpan
Using 120 film in a 116 camera does make for an attractively proportioned image in landscape orientation; beyond the scope of this post, there's a fair amount on the net from others about how to do this but it's something that deserves a separate post in itself for a future date.

Zeiss Ikon Cocarette with Ilford HP5 Plus


Monday, 13 June 2016

126 Day 2016

126 cartridge reloaded with Agfaphoto APX 400
Observing 126 Day yesterday, the opportunities for shooting between showers and rain were limited. I used the Kodak Instamatic 25 camera which was still loaded with a cartridge containing APX 400 from last year. Given that the light was generally poor, the 400 speed film was ideal for the conditions at the time.

126 cartridge reloaded with Agfaphoto APX 400
126 cartridge reloaded with Agfaphoto APX 400
126 cartridge reloaded with APX 400
A second cartridge loaded with Foma Retropan 320 was less successful. The Instamatic 25 has generally proved to be quite good at handling 35mm film reloaded into 126 cartridges - I had greater difficulty with the 300 model last year in Stockholm - but after reusing the backing paper in some of the cartridges a number of times, some of the rolls are beginning to deteriorate. The thin strip of paper along the outside edge of the long perforation holes has torn in places, and it may be this, in part, that caused extra resistance when attempting to advance the film. As can be seen from the results below, the overlapping frames are indicative of these problems, and the light leaks are due to taking the cartridge out of the camera mid-roll in order to advance a few frames by hand when it became too stiff to do so in the camera itself. Nevertheless, the design of the cartridge does ensure some protection for the exposed part of the film in this event.

126 cartridge reloaded with Retropan 320
126 cartridge reloaded with Retropan 320

Tuesday, 7 June 2016

Paris flea market finds (2)

Plate camera box and plateholders
One of my first posts on this blog was describing what I'd found in the Porte de Vanves flea market in Paris five years ago; the weekend before last I revisited this flea market on my way through Paris to the south. There were a few cameras of interest to me, but none without one problem or another. However, I did find a stall which had a couple of plate camera boxes containing plate holders. These were 9x12cm-size plate holders, which, having a few cameras in the size, such as the Ica Trona and the Kodak Recomar, it's always useful to have more. The stallholder wanted €25 for six holders; I did try to barter down to €20, but he wouldn't move on the price. I then asked for the box too, and was told the price was €10 for the box alone, but he gave me the box and plate holders for €30. If my French had been better, I'd have asked him how often he sells glass plate holders, as I don't imagine these items sell which any frequency in the flea market. The plate holders are all stamped AP Paris, some with a craquelure finish on the darkslide; none had film sheathes inside, but one did contain a glass plate negative, shown below.

Found glass plate
A few days later, in Toulouse, a window display of a shop on the Rue Pargaminières drew my attention, with, amongst other secondhand cameras, a Contax IIIa. The shop was Photos Signe Des Temps - the website is limited, but the shop itself had a good stock of film, and film cameras, including a whole cabinet of classic SLRs, and a glass case of all kinds of old cameras. One camera which caught my eye was a folding plate camera with a 165mm lens.

Photo-Plait branded 9x12cm plate camera
Typically, for a camera of this age, the 165mm focal length would denote a 10x15cm plate size, and at a glance, it looked as though it was larger than a typical 9x12cm camera - which it turned out to be - due to the wooden body. The lens itself was a Berthiot Olor Series IIa, reputedly a Tessar clone, with a maximum aperture of f5.7 in an Ibso shutter - the eight-speed version with 1/150th, rather than the more common seven-speed shutter, up to 1/100th. The shutter gave some indication of the camera's date: according to Camera-Wiki, the Ibso was made by Gauthier between 1908-1926. However, I suspect that the lens and shutter unit may not be original to the body, and not simply due to it being an unusual focal length for the negative format. Some of the features are clearly missing, such as the focus scale, and, at infinity, the 165mm lens is drawn out so much that the metal indicator at the base of the lens standard is beyond where the focus scale would need to be in order to read this. It is also missing a wire frame finder, and a brilliant finder: the latter appears as though it may have been carefully sawn away, with the metal cut into a continuation of the curve around the lens standard. As a typical mid-range folding plate camera, it has rise and cross movements, and rack and pinion focus with double extension bellows - a necessity given the focal length. The bellows were in good condition, and the ground glass intact. The lens was dirty but appeared otherwise good, and, by ear, the shutter fired at all speeds fairly close to each setting.

Berthiot Olor Series IIa lens in Ibso shutter
The camera was priced at €40, and although it did have some missing features, the serendipity of having found the plate holders and camera box in the flea market earlier in the week prompted me to buy it. Needless to say, the plate holders did fit, and the camera itself fitted into the box with the six plate holders too. Even if the lens and shutter were original, there was little on the body to identify the camera, except for a metal plaque with 'Photo-Plait Paris'. This Paris-based dealer would have affixed this small plaque to the cameras that they sold (including, in this discussion thread, a Leica), but it appears that some cameras were manufactured for Photo-Plait and sold under their own name. The distinctive thumb-grips on the two locking levers for the base board were some help in getting close to an identification: French cameras are something of a lacuna for me, but after a detailed trawl through www.collection-appareils.fr, with a different lens, and some removed features, it looks closest to the Photo-Plait Splendor model.