Live and Learn

A morning walk took me past the three museums that are within a few minutes of our home near Albuquerque's Old Town.  The resulting pictures from the Argus Model M with a roll of hand-spooled Konica 160 seemed of poorer quality than I got from an earlier effort using some Kentmere black and white.  The main problem, though, was that I had great difficulty in seeing the framing numbers through the camera's small green windows on the camera back.  The result of that was that I got ony half the number of frames the film strip should have delivered.  I gave the expired film about three stops more than it was originally rated for, but another stop or two could have been allowed.  If I shoot this combination again, I'll also have to make a better effort to get the framing numerals properly aligned to the location of the windows.

I have loaded the remaining roll of Konica 160 in my Kodak Flash Bantam and am expecting somewhat more satisfactory results.  The fine little Bantam has an excellent lens, a generous view through the flip-up finder, and a rear framing window that is considerably bigger and brighter than the Model M Argus.

Argus History: the Model M

I'm looking forward to getting some color pictures from my little Argus Model M.  Thanks again to James Harr I have a couple strips of unperforated 35mm Konica 160 which I have rolled up in trimmed 120 backing paper.  With a single shutter speed of about 1/30 and an aperture range of 6.3 to 12.7 I think the camera should be able to easily handle a good variety of picture opportunities.  Meanwhile, I'll repost an article which originally appeared on my web site about the camera.

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Argus Model M - Designer: Gustave Fassin

The Argus Model M made its appearance in 1939, the same year as the phenomenally successful Argus C3. The streamlined design of the ultra-compact Model M presented a considerable contrast to the heavy and boxy C3 rangefinder and seemed at the time to be a good candidate for rounding out the Argus offerings which included the highly successful A and C line of 35mm cameras as well as the Argoflex medium format twin-lens box camera. As it turned, however, the Model M was in production for only about a year.

Two factors contributed to the early demise of the Model M. The first was a temporary setback. Kodak stopped producing 828 roll film during the war, leaving buyers with little film available to feed the 828-format cameras. More importantly, perhaps, the imagination of the camera buying public had been captured by the idea of 35mm cartridge and the cameras that used that format which were offered with a large number of available features including fast lenses, high-speed shutters, coupled rangefinders, and a normal film capacity as high as 36 frames per roll.

The little Model M could produce a negative exactly the same size as the larger 35mm cameras, but that only gave eight full-frame exposures on a roll of Kodak paper-backed 828. Doors on either side of the frame could be flipped in to yield twice the number of half-frame exposures.  A transparent green mask in the viewfinder showed the borders of the half-frame image. The Anastigmat Triplet lens was of good quality, but had a maximum aperture of only f-6.3.  The simple shutter was limited to a single instant speed of about one-thirtieth of a second and a Time setting. Even with this limited feature set the construction was probably a little too complicated to meet the $7.50 price point the company was looking for with the Model M.

After WWII when 828 roll film again became widely available, Argus decided to further simplify the construction of the basic Model M design by replacing the collapsible lens with a fixed barrel, and the three element lens gave way to a two-element design. The half-frame capability was also eliminated. The resulting hybrid was sold by Argus from 1947 to 1949 under two names: the Model 19 and the Minca 28. The problem with those design decisions was that they threw the little Argus 828 camera into a large pool of cheap, small-format cameras. Argus ultimately sold the production dies for their 828 camera to a Philadelphia company and it remained on the market for a few years under the names Delco 828 and Camro 28.

There is a curious fact about the Argus Model M that provides some insight into its original design and possibly into the ultimate market failure of the camera. That is the dimesions of the negative which, as mentioned above, is identical to the standard 35mm frame. Kodak's 828 roll film is the same width as 35mm film, but the roll film does not have the double row of sprocket holes, meaning that the full 828 frame would normally offer about 30 percent greater negative area than 35mm. So, why did Argus decide to give up a substantial portion of that available film area using a smaller 35mm-size frame and thereby sacrifice some image quality?

The answer to the frame size mystery can be found in 1939 magazine ads for the Model M. In those ads we find that the Model M is built to use "...new 35mm. Arguspan film or specially spooled Dufaycolor film for natural color shots." It is not surprising that Argus would avoid promoting the 828 Kodak film which would fit in its camera and instead tout two brands made by other companies with which it had marketing agreements. What is most interesting, though, is that the film recommended by Argus is specified to be "35mm". Arguspan may have been actually produced by Ansco prior to the war; it yielded 12 exposures per roll and cost 35 cents. Dufaycolor, produced first in France and later in England, was orginally marketed primarily as a motion picture film and most probably had the same continuous borders of sprocket holes as any other standard 35 mm film. So, the Model M was designed from the beginning to use paper-backed 35mm film with sprocket hole borders which dictated a narrower frame width than standard 828 roll film. Furthermore, the supply of Dufaycolor was likely drying up by the mid-1940s as it was superseded by the more advanced color film processes embodied in Kodachrome and Technicolor. So the Argus gamble to take advantage of an alternative film supply in the end turned out to be a bad bet for the future of the little Argus M.

Aside from a missing Argus logo, my Model M looks nearly perfect, but it turned out to have some problems. The pictures from the first roll were all out of focus, and the negatives were riddled with light leak streaks. I disassembled the camera and found that the spongy packing in the collapsible lens mount was deteriorated and loose. The packing material was both letting some light by, and it also prevented the lens from fully extending to the proper focal length. I removed the lens mount packing material, reassembled the camera and loaded up another roll of Kentmere 100. The extended mount seemed to be making a good seal, but I layed on some black tape just in case. The second roll of film I put through the camera showed no light leaks or focus problems, and my expectations for the Anastigmat triplet lens were fully met. The images produced by the properly functioning camera were sharp from edge to edge. There is a small amount of vignetting in the corners of full-frame pictures, but I believe that is not from a lens fault, but rather from the shadow of the large coil spring which holds the lens mount in the extended position.

A useful lesson I learned from using the Model M is that it is possible to use 35mm film in 828 cameras without backing paper. I cut a tab on the 35mm film end and then rolled the film onto the little 828 reels and put it in the camera, making sure that it was advancing properly. Of course this must all be done in a dark bag, and the framing windows on the camera's back must first be covered with black tape. When attempting this for the first time, it seemed like there was a small chance of success due to the springy nature of the film. However, both rolls of film I've shot so far in the camera went through without a hitch, and one can get twice the number of frames from a single film loading than the camera was originally intended to produce.

Shooting the Delco 828

The Delco 828 is the last version of the Argus Model M, produced by a Philadelphia company which bought the dies from Argus after WWII.  The construction of the camera was simplified by making the lens mount rigidly fixed, and the lens was now a two-element design rather than the Anastigmat triplet in the original design by Gustave Fassin.

My Delco 828 is in pretty nice shape except for a missing rear viewfinder lens.  In order to use the camera I found it helpful to remove the front view lens as well so I would have a clear if restricted view of the subject.

As the photos show, the Delco is capable of making some nice images with the two-element lens stopped down.  The central portion of the images seem about as sharp as those from the Model A triplet.

Unlike the triplet, however, the sharpness of the image falls off sharply toward the edges.  Keeping that in mind, it is still possible to get perfectly acceptable images if the primary subject is placed appropriately in relation to the background.  It is basically the mind-set required for using a box camera.

Opening up the Delco's lens to its f9.7 maximum aperture causes the whole image to go soft.  That still might not have been a deal breaker for the original users who were most likely getting back wallet-sized prints from the local drugstore.  Bigger enlargements, however, are out of the question unless you are in pursuit of a 19th Century pictorialist style.

Argus Model M

I was surprised to find myself the only bidder at eBay on a pair of late '30s Argus cameras, an Argus AF and a Model M.  Either one alone seemed worth the $20 I paid for the two together.

I was particularly pleased with the diminutive Model M because it has the 3-element Anastigmat lens.

The 828 roll film used in the Model M hasn't been made for a long time.  Luckily, the film is the same width as 35mm film.  I just taped over the two windows on the camera back, and then rolled some Kentmere 100 onto the little spools without any backing and inserted it in the camera in a dark bag.

Although the camera looks nearly perfect, it turned out to have some problems.  The pictures from the first roll were all out of  focus, and the negatives were riddled with light leak streaks.    I disassembled the camera and found that the spongy packing in the collapsible lens mount was deteriorated and loose.  The packing material was both letting some light by, and it also prevented the lens from fully extending to the proper focal length.  I removed the lens mount packing material, reassembled the camera and loaded up another roll of Kentmere.  The extended mount seemed to be making a good seal, but I layed on some black tape just in case.

The second roll looks fine.  The Kentmere is pretty grainy stuff, but the photos still show the good resolution and interesting tonal values that I was hoping to get from the lens.

I'm looking forward to trying some other film in the Model M, perhaps some Acros or TMAX 100.  I've also ordered a couple rolls of forty-year-old 828 Verichrome Pan, so that should be interesting too.

Delco 828

I picked up this Delco 828 at a yard sale recently.  It is another of those cameras that is in need of some parts to work properly for picture making.  Mine is missing the rear viewfinder lens and I have only one 828 film spool for it.  If I find another spool, I'll try rerolling some 35mm film into some backing paper cut to the right size.  The 828 roll film format was introduced by Kodak in 1935; it is the same width as 35mm, but without the perforations.  I'll be curious to see what kind of images can be had.  The 828 produces the same size image as 35mm, and the mid-'Forties Delco sports a two-element lens.



The Delco 828 was made from dies originally manufactured by Argus in the pre-war years and marketed as the Argus Model M.  In its original Argus configuration, the camera was more stylish and rather sophisticated compared to similar small cameras of the time.  The Model M lens was housed in a collapsible mount yielding good compactness, and the three-element f6.3 anastigmat design was capable of producing quite good images.  The lens mount was altered later by Argus to a fixed f9.7 design which gave up the nice compactness of the original, and the camera was renamed the Argus Minca 28 before being turned over to a Philadelphia company which would market the post-war models.  The later models also lacked the internal shutter mask that permitted a choice of full-frame or half-frame images.

      

The original Argus Model M was the brainchild of the Belgian-American design engineer, Gustave Fassin, who was the inventor behind the wildly successful Argus A and Argus C3 cameras.  In many ways, the elegant little Model M was even a better showcase for Fassin's innovative design talents.  Had WWII not put a temporary halt to 828 film production, it is possible that the designer might be as well known for the Model M as he was for the ubiquitous C3.  Kodak did resume 828 film production after the war, but by that time Fassin had left Argus to move to California and his design work never again reached the heights of his earlier efforts on behalf of the Argus company.