Vokar I 35 Rangefinder

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Thank you for the support. Anyway, back to your regularly scheduled programming:

Going from Kodak to something a bit more unknown. This post will be looking at the Vokar I 35 Rangefinder.

As always, with every new camera name I will be first going through the camera company’s history. Similar to the history of the Argus company history (see my Argus C2 post) and located less than a mile away from the Argus factory, the Vokar corporation was also based in Michigan, USA and “…was one of many American companies that produced cameras in the 1930s and 1940s who would release innovative designs meant to fill a disruption in supply from Germany after World War II…” (Eckman 2019).

According to Eckman (2019) Vokar was founded by ex-employees of Argus, but it is unclear who the founder actually is. Some say that it was one of the founders of the Argus company, Verschoor, because he left to from his own company, Verschoor Corporation. But this is unlikely to be true because the first Vokar camera, the Vokar A, was already made by the Electronics Products Manufacturing Corp., before Verschoor even left Argus.

Vokar A. Image Source:
https://farm6.static.flickr.com/5132/5547911598_3b8b96b415.jpg

But the company’s founder as pointed out by Eckman (2019), is most likely Argus ex-employee Robert Wuerfel, who is listed “…on the Articles in Incorporation in the state of Michigan for the Electronics Products Manufacturing Corp.” 

But the Articles in Incorporation in the state of Michigan, also show two other names that could be contenders for the title of founder or co-founder(s): Rebecca Wuerfel and Edward Colin. But it is clear that Robert Wuerfel signed the papers to register the Electronics Products Manufacturing Corp. in 1939 (Camera-wiki). But funnily enough, the Electronics Products Manufacturing Corp. even though not started by Verschoor, it was later acquired by his company, the Verschoor Corporation (History Camera 2014).

Electronics Products Manufacturing Corp. sold their cameras under the Vokar name (Camera-wiki) which “…refers to a brand of Bakelite bodied folding cameras that shot 6cm x 6cm images on 120 roll film…” (Eckman 2019). These cameras were sold by Sears under the Tower brand and was one of their most successful products (Camera-wiki).

As far as I can find, Vokar only made a small number of cameras. The exact number is unknown, but the most I could find (according to Eckman 2019 & History Camera 2014) was four! Which makes sense seeing that their camera production was very short, for they only made cameras from 1939 to 1947 (-48) (History Camera 2014).

In 1943 the Electronics Products Manufacturing Corp. changed its name to the Vokar Corporation (History Camera 2014). 1943 was also the year they relocated and also ceased making folding cameras and like most companies during the WWII era took on military contracts (Camera-wiki). But their folding cameras were still being sold under new brand names Voigt and Wirgin by the New York chain store Montgomery Wards (Eckman 2019). But it is unclear what the relationship or agreement was between Montgomery Wards and the Vokar Corporation (Camera-wiki).

Voigt camera. Image Source:
https://farm6.static.flickr.com/5081/5371192221_97b9f54a78.jpg

 

Wirgin camera. Image Source:
https://farm5.static.flickr.com/4053/5078965759_67394a5dd5.jpg

After the war Vokar returned to the camera market (Camera-wiki). Vokar released the Vokar B (Eckman 2019) in 1946 (Camera-wiki). Although according to Argus Museum, the Vokar B was manufactured in 1941 as a prototype which was “…similar to the Vokar A except it added chrome plates on the top and bottom for a more substantial appearance...” and then also in 1941 they released the new Vokar B “…Marketed as the All American DeLuxe Foldicam…” and was “…the final product of the Vokar B and features the wind knobs on the top of the camera, instead of the bottom, with the fixed viewfinder.”

Vokar B prototype. Image Source:
https://lirp.cdn-website.com/08bca7ea/dms3rep/multi/opt/IMG_8883-a299b848-1920w.JPG

New Vokar B Deluxe. Image Source:
https://lirp.cdn-website.com/08bca7ea/dms3rep/multi/opt/IMG_9001-321919e5-1920w.JPG

But I think the reason for most believing that it came out in 1946, is because according to Camera-wiki, the camera was advertised as the Vokar I instead of the Vokar B.

Vokar B (1946). Image Source:
https://thumbs.worthpoint.com/zoom/images2/360/0312/24/vintage-vokar-model-bakelite-folding_360_c2ecfd3860f76f5577926f46ce0d0f1e.jpg

But in addition to the renaming and reselling of the Vokar B, Vokar released the Vokar I in 1946. It was designed by an ex-Argus employee, Richard Bills (Eckman 2019). And according to History Camera (2014), when Verschoor acquired the Vokar brand, while Bills was designing “…a completely new and highly sophisticated 35mm rangefinder camera, and this is the model the Vokar name is best known for today…” (Camera-wiki), it was under the direction of Verschoor.

This camera was also Vokar’s first camera that “Vokar designed and manufactured their own shutter for this camera…”, whereas the first cameras used shutters from Wollensak (Eckman 2019).

The camera’s release was a strange one. It was first announced in January 1946 with the tagline: “Watch for Announcement of the New and Finer Vokar Camera…” only for the company to go quiet (Camera-wiki). It wasn’t until August 1946 that it reappeared in the ads and was only sold later that year in November 1946, when people could start ordering the camera (Eckman 2019).

It is unclear why there were so many delays, but Eckman (2019) points out that in the ads they claimed that this camera “…combined many revolutionary discoveries by the nation’s foremost optical scientists…” and that even though “…the design of the shutter was quite good, but possibly due to the inexperience of the company, they were often plagued with quality control issues...” meaning that for Vokar this was a very ambitious project.  And this could have lead to the “…camera, its shutter, or its lens caused some type of manufacturing problem…” (Eckman 2019). 

It is unknown how many Vokar I cameras were made or how well it sold, but the fact that it stopped at the end of 1947 suggest that there aren’t that many. Also in 1947 it was teased that a Vokar II was going to be released (Eckman 2019), which could suggest that the Vokar I was somewhat successful.

But costumers were presented with the same camera, because even though “…The earliest references to the Vokar I always included the ‘I’ in the name which suggests that a model II was planned all along…” (Eckman 2019), customers in 1947 (History Camera 2014), were disappointed to find that “…upon the release of the Vokar II, it seems nothing changed…” (Eckman 2019). 

The only difference between the Vokar I and II was that “…the name of the camera [the Vokar II] actually appeared on the leatherette face near the lens…” (Argus Museum). Then later Vokar released two more versions of the Vokar II that only had small cosmetic changes, such as screws added to the front plate (Eckman 2019).

Vokar II. Image Source:
https://collectiblend.com/Cameras/images/Vokar-Vokar-II.jpg

Vokar I (right) vs. Vokar II (left). Image Source:
https://mikeeckman.com/wp-content/uploads/2019/06/VokarIandII-512x342.jpg

Three different variations of the Vokar II. Image Source:
https://mikeeckman.com/wp-content/uploads/2018/05/Vokars-1-300x200.jpg 

But as Eckman points out that Vokar did at least attempt to make it right by updating the Vokar II cameras because there are “…a few functional improvements under the hood, which confirms the notion that the Vokar was continually updated along the way.”

But the fact that there are different variations of the Vokar II, suggests that there are more Vokar II cameras than the Vokar I.

As mentioned Vokar stopped making cameras. “The ambitious camera had its share of teething troubles, and the undercapitalized firm failed to make much of a dent in the US camera market…” (Camera-wiki). The failure is unclear, but Eckman (2019) gives an interesting insight:

“On paper, the specs of the camera were well within its price range, and assuming the quality control issues were solved, the camera should have been quite successful.  The Vokars I and II had a very good coincident image rangefinder at a time when many cameras, including the Leica still relied on separate viewfinder and rangefinder windows.  The shutter’s top speed of 1/300 certainly wasn’t top of the line, but it was comparable to other very popular models like the Argus C3 [please see my Argus C2 post for information on this camera] and many mid-level German cameras. Perhaps people weren’t ready for an ambitious American made camera, or the initial poor reputation of the camera was too much to overcome, or perhaps it was just poor marketing, but regardless of why, the Vokar can best be described as an ambitious failure.  Although I believe the Vokar II sold in higher quantities than the Vokar I, it seems to have disappeared from catalogues in late 1948 with only a passing mention in ‘used equipment’ sections after that.”

But this wasn’t the end for the Vokar Corporation, because while they sold cameras, they also sold other electronic devices, such as slide projectors, “…one in bakelite and two in ‘streamlined’ metal.” And after the failure of the Vokar II “…the company sank from view (and returned to electronic products). The final dissolution of the company is recorded in 1964, but its participation in the photography market had ended much earlier…” (Camera-wiki).

Vokar Projector. Image Source:
https://mikeeckman.com/wp-content/uploads/2019/06/VokarProjector-512x683.jpg

Now time for the main event, a closer look at the Vokar I. This camera is “…constructed of all non-corrosive metal…” (History Camera 2014), most likely sheet metal (Kowalski 2007) and has an interesting design where “…both the aperture and shutter blade sets are contained in a single drop-in module, while the entire timing and actuating mechanism is in another preassembled module that occupies only half of the available space in the housing…” (Eckman 2019).

The camera, is quite hefty and this is because it weighs close to 1kg (Kowalski 2007), similar to the Argus C2, except I would say this one is a bit more comfortable to hold. And its size is approximately 5.5 x 3 x 2.7 inches.

Now for a closer look. Starting with the front-

First the lens-

This is a fixed “coated anastigmat triplet” (Eckman 2019) that was also “corrected for colour” (History Camera 2014), with a focal length of 50mm and an f/stop of 2.8.

To just break it down: Anastigmat lenses are discussed in my Billy Record and Argus C2 posts. The “coated” part of the lens is discussed in my Polaroid SX-70 post. And the colour correction comes from the element coatings, specifically the 3-element coating (Eckman 2019). Which according to the manual:

Page 3 from the manual.

On the outer ring around the lens is the focus range setting or focus ring, which is connected to the rangefinder coupling. The setting can be set between 4-50 feet and also infinity.

Then around the lens behind the focus ring is the shutter release button/lever, or the Shutter Trip Lever which can be found on the side of the lens.

The shutter is an automatic cocking system that is connected to the film advance wheel. This is a good thing because it prevents any accidental double exposures. The shutter is also a Vokar Leaf shutter (Eckman 2019).

All this means is that it is a normal leaf shutter that was made in house by Vokar themselves because as I mentioned earlier: “Vokar designed and manufactured their own shutter” (Eckman 2019).

The shutter speeds can be found on the opposite side of the lens.

It is set with a Shutter Speed pointer, and ranges from 1 second, “…something most other American cameras couldn’t do…” (Eckman 2019), to 1/2 second and then 1/5, 1/10, 1/25, 1/50, 1/100 and 1/300 second, which “…certainly wasn’t top of the line, but it was comparable to other very popular models like the Argus C3 and many mid-level German cameras…” (Eckman 2019). Then there is also a B setting.

Underneath the Trip Lever is the remote cable release socket.

Above the shutter release is the f/stop settings. This is set by moving the Diaphragm Pointer to the desired f/stop, that is f/2.8, 4, 5.6, 8, 11, 16 and 22.

And the aperture petals can be found in front of the shutter.

Next to the lens-

Is the film frame counter that is similar to the Argus A, A2B and Kodak 35 RF. And like the three cameras mentioned, it is connected to a single film frame sprocket.

Then above the lens are two windows.

The first one is the viewfinder window.

Then next to that is the rangefinder window.

This is similar to the Argus C2 and Kodak 35 RF, but also very different because this camera has a “Coincident Image Coupled Rangefinder” (Eckman 2019). This means that the rangefinder and the viewfinder are one instead of having two separate windows, one for the normal viewfinder and one for the rangefinder viewfinder. 

This was a new thing for “…at a time when many cameras, including the Leica still relied on separate viewfinder and rangefinder windows…” (Eckman 2019).

What this means is that the mirror in the rangefinder window directly projects (or superimposes) the image into the viewfinder window and shows up as a light square that helps the user focus on the subject by aligning it up with the image seen through the normal viewfinder.

Page 12 from the manual.

To learn how a rangefinder works please see my Argus C2 post.

Underneath the camera-

Is the film compartment unlock/lock slider and the tripod socket.

On top-

Is a cold shoe flash holder also called an accessory shoe (Eckman 2019).

On the back-

Is the viewfinder.

Then on either side of the camera is indicated that on the left side is the rewind knob, used to rewind the fully exposed film.

On the other side is the Winding knob or film advance wheel. This is also where the shutter cocking mechanism is. Once it is turned the shutter cocks and once a picture is taken the user must wind the knob to cock it again, thus eliminating any accidental double exposures.

Under these three functions is the film compartment cover.

This cover, like the Rondo Colormatic, the Agfa Clack, the Halina Roy and the Kodak 35 RF, it is completely removed from the body. This is also where the pressure plate is that holds the film in place.

Then finally there is the film compartment. This camera takes 35mm (135 film), meaning that it has a negative format of 24 x 36. To learn about how film works, please see my 200 Color Plus post.

One will also notice that the film counter sprocket it on the opposite of where the sprocket is in the Argus A, A2B and Kodak 35 RF.

Then the last thing is that this camera came with a beautiful leather carrying case.

And that is it. This camera has a unique look that combines simplicity with a locomotive/steampunk look. What really stands out for my is the film counter on the front which is an unusual placement. This can be seen as a down side due to the fact the user must turn the camera over to see what number frame they are on. Unlike the other cameras that have the counter on top or on the back making it easy for a photographer to quickly glance at it and go back to taking pictures, whereas the Vokar requires you to stop and turn it over…

But other than that I think this is an amazing piece of photography history. It is as heavy as the C2, but is much easier to use. It is also user friendly so if you are interested in starting with 35mm film, why not try this. I still recommend that you actually start with the Praktica Sport and the Sinpo PQ-3 point-and-shoot cameras, but if you want to stand out from the crowd then go for the Vokar I or the Kodak 35 RF.   

What are your thoughts? Which one do you think looks more unique the Vokar I or the Kodak 35 RF? Do you think that this camera is good for beginners or the point-and-shoots? Or do you think that digital is the way to go? Let me know in the comments.

And as always, thank you for making it to the end and I hope you enjoyed it as much as I did researching it.

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List of sources:

Argus Museum. The Rival Collection. https://www.argusmuseum.org/exhibitions

CameraManuals.org. Vokar I manual. https://www.cameramanuals.org/pdf_files/vokar_i.pdf

Camera-wiki. Articles of Incorporation of Electronic Products Manufacturing Incorporated. https://www.flickr.com/photos/camerawiki/5547167715/in/photostream/lightbox/

Camera-wiki. Vokar. https://camera-wiki.org/wiki/Vokar

Camera-wiki. Vokar I. https://camera-wiki.org/wiki/Vokar_I

Eckman, M. 2019. Vokar II (1947). https://mikeeckman.com/2019/07/vokar-ii-1947/

History Camera. 2014. Vokar Coporation. https://historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=2728

History Camera. 2014. Vokar I camera. https://historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=2731

History Camera. 2014. Vokar II camera. https://historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=2732

Kowalski, E. 2007. Vokar with Fall Color. https://pbase.com/edkowalski/vokar 

Kodak 35 RF camera

 Good news! My Displate store is online with 10 posters and more on the way.

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Please note that I have closed my Picfair store, but you can now buy my pictures on my Patreon: patreon.com/OnlineCurator 

Thank you for the support. Anyway, back to your regularly scheduled programming:

Going back to Kodak and going into the spirit of Halloween, this post will be looking at the Kodak 35 RF a camera that can be described as “…a modification made by Dr Frankenstein…” (Everything Vintage 2022) or when “…Bauhaus meets Japanese-robot-animation (mecha)…” (Nakamura 2011).

I already went over Kodak’s history in my 200 Color Plus and Instamatic pocket 10 posts. So, with that I will get into the camera.

The Kodak 35 RF is based off of and is a modification of the Kodak 35 (Everything Vintage 2022). This modification is that the 35 RF got a rangefinder and “…an odd bulbous growth on the front that hides the RF coupling…” (Nakamura 2011).

Kodak 35. Image Source: 
https://live.staticflickr.com/65535/49246046006_29b64d0ab9.jpg

According to Nakamura (2011), the first Kodak 35 was introduced as their answer to the Argus A series, but when Argus released their C series (like the Argus C2), which came with a rangefinder, Kodak responded by just adding a rangefinder to their Kodak 35. This was also rumoured to be a rush job to respond to the C series release, which lead to Kodak taking “…their handsome bakelite-and-steel Kodak 35 and put an external rangefinder mechanism on it to allow it to focus instead of merely having a pop-up viewfinder. The result was a very unique-looking and somewhat collectible if not easy-to-use rangefinder…” (Matt 2025). 

Unfortunately, this didn’t work because “…the high price of 48 US dollars (twice as much as the C3) was very deterrent for many potential buyers…” (Filmphotography.eu 2025). Eventually Argus outsold the Kodak 35 cameras (Eckman 2015). 

The 35 was Kodak’s first US model to use the new 135 film format (Eckman 2015) and was aimed to be the cheaper alternative to Kodak’s Retina series, which was “…aimed for quality regardless of cost...” whereas the 35 was “…designed for the masses and for low cost. Instead of machined brass and steel, we have stamped alloy and cast Bakelite…” (Nakamura 2011).

And also just like the last post (the Argus A2B) this camera and its predecessor, had pre- and postwar models. The prewar and postwar cameras can be told apart by the film advance and rewind knobs (Eckman 2011). The prewar 35s have black knobs and postwar has plastic grey-ish knobs. With this we can determine that the camera in this post is postwar.

Prewar Kodak 35 RF. Image Source:
https://images.squarespace-cdn.com/content/v1/5ce85c0b9c04c80001f6a371/1559803562183-LR9L2Y8WVS226M19IIH2/Kodak+35+RF+Dark+X+900px.jpg

There are also different variations of this camera that came out over the years of its production. This camera came out in 1940 and stopped in 1951 (Filmphotography.eu 2025). And over those years, Filmphotography.eu (2025) lists three different variations:

1940: This variation came with an Anastigmat Special f/3.5, Kodomatic shutter, with five shutter speeds, including a T and B setting.

1946: This era saw a 35 RF that had the same functions as the 1940 camera, except this year’s camera came with a Kodomatic Flash shutter.

1947: Was the last batch, which had the same functions as the 1946 camera, except the lens was exchanged for an Anastar f/3.5.

With this info and the knowledge that this is a postwar camera, the 35 RF talked about in this post is from 1947-1951. All evidence for this statement will be pointed out in the breakdown.

Which leads me to looking at the camera at hand, the Kodak 35 RF, which is actually its unofficial name (Eckman 2011). This could be a name given to it by the public to differentiate it from the original 35 due to the fact that “…This new model would officially retain the name Kodak 35…” (Eckman 2011).

As mentioned this camera is made from a combination of metal and Bakelite, to reduce production costs. But this didn’t make it lighter as it weighs 668g (Filmphotography.eu 2025). And this weight is mostly found in the lens, which makes the camera front heavy and “…doesn’t weigh well in the hands…” (Matt 2025). It also has a size of approximately 5.5 x 3.5 x 3 inches.

Now for a breakdown. Starting with the front-

First the lens-

Which is a Kodak Anastar 50mm f/3.5. Now although it is stated that this camera has a different lens then the first two versions, this isn’t actually true. For you see the first two cameras have what is called an Anastigmat Special, but this model has an Anastar, which according to Camera-wiki, is the same as an Anastigmat Special because “…Anastigmat Specials were rebranded as Anastars…” meaning that the only difference between the three cameras are the shutters.

And what this means is that they are just like a normal Anastigmat, but according to Camera-wiki: “…They were made according to the most reliable optical formulas and the newest types of optical glass.”

So in other words it is an Anastigmat lens made by Kodak that is labelled as Special because it was an improved and upgraded form of the Anastigmat. To learn about Anastigmat lenses please see my Billy Record and Argus C2 posts.

But we can quickly dissect how an Anastar or Anastigmat Special was constructed. According to Grey (2021), the Anastigmat Special is similar to what is known as a Tessar Lens (a four-element lens).

So by applying the Tessar design we can get an idea how it works. According to McBruceer (2020), the lens was invented by “Paul Rudolph, of the Carl Zeiss firm” in 1908 and was constructed by: “…arranging four single lenses in two groups separated by the diaphragm, the two components of one of the groups inclosing an air-space between their two surfaces, facing one another, while the two components of the other group are joined in a cemented surface, and the pair of facing surfaces having a negative power…”

Patent diagram of a Tessar lens. Image Source:
https://joshuamcbruceer.com/wp-content/uploads/2020/06/patent_diagram.png

The lens is also a fixed 50mm, but just like the Argus A series, this camera could take lens adapters, specifically Series VI Lens Attachments.

Page 31 from the manual.

Then next to the lens is the Focusing wheel, which according to Nakamura (2011): “…serves no purpose except to ape the Argus 'C' camera it was competing against (or perhaps in concept, the Zeiss Contax camera).”

And like the C2, the focus ring is connected to the lens with a gear piece. The readings for the focusing numerical value is written on the outside ring of the lens. It is measured in feet and can go from 4-50 feet and infinity.

Then on the opposite side of the lens is the arm that has a small line on it. This is where the user sees what number feet they are focusing on.

Now to go around the lens. First the shutter release or exposure button.

This is a little lever on the side. As mentioned this camera uses a Kodomatic Flash shutter. Which is a leaf shutter that from what I’m guessing is a shutter made to accommodate and synchronise with a flash attachment.

This camera also has a self-cocking shutter when the film is advanced. One can see the cocking system on top of the lens, where there should be a plate, but unfortunately it is missing. This plate also served as an exposure guard that stopped people from any accidental double exposures. This was also where a red indicator would appear to let the user know that the camera is cocked and ready to expose.

Page 16 from the manual.

This cocking mechanism is similar to the Instamatic 104 and the Instamatic 50, in that it cocks the camera when the film sprockets hook into the teeth of the film frame sprocket.

Also as mentioned this camera has five speeds: 1/10, 1/25, 1/50, 1/100, 1/200 second as well as a T and B settings. These settings can be found above the lens and is set by turning the main outer ring.

Then opposite and under the shutter release is the post, or the PC flash connector pin that syncs up with the shutter to set off the flash attachment. In fact you can find two PC pins because there is another one right under it.

And speaking of flash synchronisation, on the other side by the focus arm is the synchroniser lever.  Which from what I gather from the manual, was used for certain flash attachments to help sync it with the camera’s shutter, possibly in the B setting, seeing that it is the Bulb setting.

It was used to help sync it by pressing it down and once the shutter release is pressed the lever jumps back up, possibly firing off the flash.

There is also a cable release socket right under the exposure lever.

Then also on the outer ring under the lens is the f/stop settings. These settings are f/3.5, 4, 5.6, 8, 11 and 16.

These settings are made with a slider underneath the lens. Usually this camera would have a metal arrow to indicate the setting, which is also missing from this camera.

Kodak 35 RF with f/stop indicator arrow. 
Image Source:
https://i.ebayimg.com/images/g/iIgAAOSw10Rl9H2J/s-l400.jpg

The aperture petals are behind the shutter, similar to the Argus A.

Then above the lens are three windows.

The first one is the rangefinder window that has the mirror in it.

The second is the normal viewfinder, which is annoying, because of how small it is, but it doesn’t even come close to the annoyance of the rangefinder viewer...

This is the third window that is for some reason connected to the focus arm.

This window is similar to the Argus C2, in that it is a split window, with one side being a mirror that shows the image reflected from the rangefinder window. And the other half is like a normal viewfinder. The only difference between the C2 and the 35 RF, is that the C2 has the mirror on the top half and the viewfinder at the bottom. The 35 RF is reversed.

To learn more about rangefinders please see my Argus C2 post. But to just show you how to use this rangefinder affectively, here is an excerpt from the manual:

Page 12 from the manual.

Then as a final mention: On the sides of the front you can see where the strap goes.

Now for the top-Now for the top-

Here is the rewind knob. And on this film rewind knob the user can find a film type reminder, which is to help the user remember what type of film they are using.

Then on the other side is the film counter wheel, just like the Argus A and A2B.

And also just like the Argus cameras, there is a film advance and rewind button that must be pressed in to advance the film or rewind the film.

Then finally there is the film advance knob.

On the back-

Is the film cover.

Above that are the two windows. The middle one being the normal viewfinder and the left is the rangefinder viewer.

Bottom of the camera-

Is the tripod socket and flash holder. And next to that is the lock/unlock latch that holds the cover to the body. It unlocks by turning it in the indicated direction.

Speaking of… The cover comes off completely like the Rondo Colormatic, the Agfa Clack and the Halina Roy.

Then finally there is the film compartment.

The 35 RF like the Argus A cameras has one film frame sprocket, which is attached to the film counter. The only difference is that the 35 RFs film frame sprocket is also attached to the camera’s cocking mechanism.

This camera has a picture format of 24 x 36mm and can take any 35mm film (Filmphotography.eu 2025). And as indicated, this camera was made for the 135 film format. Which is basically the 35mm film we use today. 

What makes it unique was that it came in a cartridge. It was first introduced in 1936 and is still being made (BCG Film and Photography). It was originally created for the Retina series and was also compatible with Contax and Leica cameras (NWMangum).

Examples of 135 film. Image Source:
https://thedarkroom.com/app/uploads/2020/06/135-format-film-and-cartridges.jpg

It is still popular due to it being smaller than what Kodak has released before and it was also “…made from unperforated 35mm motion-picture film…” (NWMangum).

To learn about how film works, please see my 200 Color Plus post.

And that is that. The Kodak 35 RF is an interesting camera, but it isn’t a favourite of photographers. One reason being that it seems that it was rushed into the market, instead of making a new camera. Because, as Vintage Camera Labs points out:

“…the RF doesn’t seem to be very well thought out. The controls are pretty awkward and the fact that you have to compose and focus from different windows is pretty annoying. Maybe it was the hasty decision to simply add a rangefinder onto the original Kodak 35 (which also suffered defeat at the hands of Argus) or perhaps Kodak was just too busy during WWII making cameras for the US Army Signal Corps (which, incidentally, were also based on the 35) and hand grenades for the intelligence agency that would later become the CIA.”

This camera is a bit awkward to hold and use, but Mat (2025) writes that with some practice this camera can become “easy-to-use” rangefinder. Despite its flaws and unbalanced proportions, I still think it is awesome.

It has a good lens and a cool steampunk look (although I still prefer the Falcon F and the Billy Record steampunk look). And at the beginning I compared it to Frankenstein’s monster and a mecha suit, because like these two things this camera has a unique and unforgettable style that I can’t even compare to other cameras. To put it in better terms I will quote Nakamura (2011), this camera: “…is so ugly... that you can only be charmed by it.”

And to me, even though (with my experience with Kodak cameras so far) this camera falls just below the standard that Kodak has set, it is still a must have for any collector. And besides how cool would it look if a film photographer pulls out this bad boy. It would certainly draw attention and help you stand out from the rest of the crowd.

What do you think? Do you like this camera? Is it a better looking steampunk camera then the others I mentioned and wrote about? Would you use this camera? Or should we stick to point-and-shoot cameras like the Praktica Sport and the Sinpo PQ-3? Or should we just use the professional 35mm cameras like the Olympus OM30? Or do you think it is all just a waste and we should stick with digital? Let me know in the comments.

And as always, thank you for making it to the end and I hope you enjoyed this as much as I did researching it.   

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List of sources:

BCG Film & Photography. The History of Kodak Roll Films. https://www.brownie-camera.com/film.shtml

Camera-wiki. Kodak Lenses. https://camera-wiki.org/wiki/Kodak_lenses

Eckman, M. 2015. Kodak 35 Original & Rangefinder (1939 & 1948). https://mikeeckman.com/2015/12/kodak-35-original-rangefinder-1939-1948/

Everything Vintage. 2022. The weird Kodak 35 Rangefinder camera. https://everythingvintage.uk/vintage-camera/kodak-35-rangefinder-camera/

Filmphotography.eu. Kodak 35 RF. https://filmphotography.eu/en/kodak-35-rf/

Grey, J. 2015. Kodak 35. https://blog.jimgrey.net/2015/03/30/kodak-35/

Grey, J. 2021. Adapting a Kodak Monitor Six-20 Anastigmat Special lens to a Fujifilm X-mount digital camera – the FrankenLens is alive! https://blog.jimgrey.net/2021/03/10/adapting-a-kodak-monitor-six-20-anastigmat-special-lens-to-a-fujifilm-x-t-mount-digital-camera-the-frankenlens-is-alive/

Matt. 2025. Kodak 35 Rangefinder. https://mattsclassiccameras.com/rangefinders-compacts/kodak-35-rangefinder/

McBruceer, J. 2020. The Humble Tessar. https://joshuamcbruceer.com/2020/07/06/the-humble-tessar/

Mike. Kodak 35 manual. https://butkus.org/chinon/kodak/kodak_35/kodak_35.htm 

Nakamura, K. 2011. Kodak 35 RF. https://www.photoethnography.com/ClassicCameras/Kodak35RF.html

NWMangum. History of Kodak Roll Film Numbers. https://nwmangum.com/Kodak/FilmHist.html

Oliver. 2006. Kodak 35 Rangefinder. https://camerashiz.wordpress.com/kodak-35-rangefinder/

Vintage Camera Lab. Kodak 35 RF. https://vintagecameralab.com/kodak-35-rf/