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Top Handle Speed Graphics SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 2 2019 Widely believed to have surpassed all other cycle cam- FEATURES eras in terms of workmanship and materials, the RB Cycle Graphic featured extra strong wood panels, Top Handle Speed Graphics 1912-1927 by Ken Metcalf…..….……..….....….1 Images of American New York Press Photographers reviewed by Davis heavier gauge brass fittings, and red Russian leather Strong………………………………………………………….,,,.…..….7 bellows. For viewers of old black-and- From George Dunbar………………………………………………………...…….8 white movies, this camera may seem My Camera Collection by Steven Rudd………………………………………....9 vaguely familiar. Picture it with an Identifax…………..…….………...……………….………...……………...…......10 added rangefinder and a wire-frame Folmer & Schwing-Century Camera………..……………...………...……..…..10 finder protruding above the front lens From the Collection of Thomas Evans, Long Focus Graphic……..……..…...11 board, and you have the Speed Graphic, the legendary press camera and offspring of the Cycle Graphic.” According to Eaton Lothrop2, “As with many other cameras which are the result of a union of previously established design concepts, the Speed Graphic re- veals its heredity in its appearance. The compactness and basic design of the camera were derived from the ‘bicycle’ of ‘cycle’ type of folding camera which emerged in the 1890s. The Folmer & Schwing Mfg. Co. had produced a ‘Cycle Graphic’ camera as early as 1896 and the introduction of the Graflex line of reflex cameras involved the company in the production of focal-plane curtain-shutters. As early as 1904 the ‘Graphic Focal Plane Shutter’ * was being employed on Folmer & Schwing cameras. One might wonder why, then, it took till 1912 to introduce a camera whose basic features had already been separately developed TOP HANDLE SPEED GRAPHICS [U.S. Patent 843,140, February 5, 1907].” 1912-1927 “One possible explanation is the organizational situa- By Ken Metcalf tion in which the company was involved. Around 1906 the Folmer & Schwing Mfg. Co. was acquired by In the last issue of the Graflex Journal, Davis Strong George Eastman and moved to Rochester. In 1907 the wrote about the rare 4x5" pre-Anniversary Speed Graph- company became a division of the Eastman Kodak Co., ic with the carrying handle on top of the camera instead as did the Rochester Optical Co., the Century Camera of on the side. It is my goal to present the prequel to his Co., and the Blair Camera Co. Reshuffling of personnel article. I will cover what I have found about the origins of and the establishment of new policies may well have the camera, how you can identify the various models, slowed down design activity. In 1923 the courts de- how many were made, and show a few special cameras. creed that the Folmer & Schwing branch should be First though, “top handle” was never used by Graflex separated from the Eastman Kodak Co., and the (nor was the word “Graflex” used until 1902), but it has Folmer Graflex Corporation, which was formed as a become a recognizable way to describe Graflex’s first result of that decree, continued production of the cam- model “Speed” camera. eras.” Origins of the camera Another theory, from “Doc” Skinner (a well-known New York Journal photographer and constructor of ear- 3 According to Todd Gustavson1, “Designed to collapse ly electrical-type flash bulb synchronizers) , from the down to the smallest possible package, cycle cameras June 1949 issue of The Camera Magazine, “40 Years a proved a popular carry-along with bicyclists. The RB Cy- Newscamerman”: “Every invention that I’ve turned cle Graphic, introduced in 1900 by Folmer & Schwing out, from the first Speed Graphic to my latest experi- Manufacturing Company of New York, was the mental work with Speedlites, has been devised for ‘embodiment of all that is perfect in a camera of cycle these purposes – to improve the quality of a picture – size’. to make the camera operation simpler – to get pictures According to catalogs, metal parts were oxidized from that couldn’t be made otherwise. 1912 to 1921; from 1922 through 1924, metal parts were of “brass, silver plated, then oxidized.” Paine and The first Speed Graphic that I designed was built in others thought that the silver plating was done earlier, 1909. Newscamermen in those days used a 4x5 Graflex but not noted. In 1925 and 1926, a “Graflex finish” was camera for snapshots and a 5x7 view camera for setups used. Possibly cameras with gray paint. In the 1925 and interiors. The boxes were bulky and difficult to car- catalog, it was stated that “Press photographers pick ry around. I figured out a box 2½" thick in regular 4x5 this camera for theirs, which indicates its ready adapta- size. Then I sent the specifications to Folmer and bility to all sorts of subjects under all sorts of condi- Schwing, Graflex Division. Mr. Folmer didn’t want to tions,” while in 1923 they boasted that ”It is suited for make it up for me at all. I wouldn’t be a success, he general amateur use as well as for swift action.” said. The 3¼x5½ (post card or 3A Graflex), which has been Finally, he agreed to fill the order, for $75.00. That in- described as the “elegant Speed,” was used as the il- cluded nothing but the camera box with lens board and lustration in all catalogs. focal plane shutter in back. It has a single rack, non- adjustable slits like the pre-war model, and I used a 5" Compiled from catalogs and sample 4 f/4.5 B&L Tessar in a front shutter. The others used cameras by Richard Paine , “All four f/6.8, 4¼" (12cm) [sic] Dagors. When they realized its sizes had the same features and, in advantages, the lack of bulk and other features, they some cases, the same hardware.” ordered copies. The same camera, changed only by the Poor sales in 1924 led Graflex to addition of a larger lens and double track, is the Speed modify 3¼x5½ cameras made ca. Graphic of today, the most popular camera in news 1920 and rebrand them as the “4x5 work. My reward was a gift of six cameras – that could Special Speed Graphic.” As shown in the chart above, Graflex returned to 3¼x5½ 28186 take better news pictures.” Jim Chasse the body dimensions of 1915-1923 Richard Paine4 has a straightforward narrative: “The in 1926. “The 3¼x4¼, which was original purpose of the Speed Graphic was to provide not introduced until 1915, had a four- focal plane shutter efficiency in a compact, folding, aperture curtain with speed to 1/500 large-format camera. Thus, only barrel lenses were second. [As opposed to five apertures provided for, and its later reputation as ‘press’ camera and a top speed of 1/1000.] It also was probably not anticipated. The camera had a ta- had a reverse winding curtain to re- pered bellows, an f/4.5 lens, and a relatively small 3¼" duce the depth of the body, all result- or 3¾"- square lensboard. A rising front was the only ing in a weight one pound less than adjustment. Handles were secured to post on the top, the 4x5, and a small lensboard. The 4x5 31723 and a crosshair, folding optical finder was included.” Graflex-style back was available as a Chris Cooper 4 factory modification in 1916.” Models and Production Graflex always showed a barrel lens on their top handle Catalogs. Second only to actual cameras, catalogs are and never listed a front shutter as available, until the an excellent source of information on Graflex products. next model in 1929, when it could be fitted with a With this model, because of a few examples, catalogs Schneider f/3.5 lens in a Compound shutter. were used extensively. Not expecting a nerd lining up all the catalogs, Graflex made changes in their presen- Here are catalog scans, along with pictures of actual tation, especially in the sequence of measurements and cameras, showing that catalogs are not always correct, weight (with or without a lens). In 1929 they showed and to show changes in top handle cameras. the 3¼x5½ top but gave the dimensions of the new model pre-Anniversary. 1912 3¼x5½ 1916 3¼x4¼ Catalog vs. actual. Hook release, Catalog & actual. Threaded flat cut-out, fold down & open Specifications from Graflex catalogs release, Small beveled cut- winding key. 1926- 1928 No out . 1912-13 1914 1915-21 1922-3 1924-5 1927 catalog 4x5 2⅞x7x8½ 3¾x7x8½ 6½x4x6⅜ same 7¼x3½x7½* same as 1915 4¼ lbs. in 4¼ lbs. weight w/ 3 lbs. same 3½ lbs. 4¾ lbs. 1923 lens $35 w/o same ** ** $90 w/lens $75 lens 3¼x4¼ Not Not listed 5¾x2¾x6¼ same same not listed after 1925 listed 3¼ lbs. in 2½ lbs. 1923 3¼x5½ 1926 4x5 3⅛x7½x7½ same 7x3⅛x7½ same same not listed after 1925 1917 4x5 1922 Catalog & actual. 3¼x5½ Catalog vs. actual. Return 4¾ lbs. in 3¼ lbs. same same Flat non-folding key. to earlier flat cut-out and 1923 1916 size. 5x7 9x3¾x9½ same 8¾x3¾x9⅜ same not listed after 1924 7¼ lbs. in 4¼ lbs. same 5½ lbs. *** 1923 * “The 4x5 model marketed since May 1, 1924, is of different dimensions from its predecessor and is called the 4x5 Special Speed Graphic. ** 1915- $35, 1916-$37, 1917- $45, 1918-$56.25, 1919-$45, 1920-21 - $88, 1922- $72, 1923 - $84 w/lens. *** According to Tim Holden, there was a “design change” in 1924. 2 GRAFLEX JOURNAL Issue 2, 2019 Special Cameras 142033 4x5 Graflex-style revolving back 1925 Although the company thought highly of their cameras, One “Special” ordered.
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