Argus Model A2B

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

Sticking with the theme of going over variations of cameras, this post will be looking at the fourth variation of the Argus A, this post will be looking at the Argus Model A2B.

I already went through the history of the Argus company in my Argus C2 post and the history of the Argus A series in my Argus A post.

Being part of the Argus’ A series, the Argus A2B was a cheaper alternative to Kodak’s Retina series (Grey 2011).

Some examples from Kodak's Retina camera series.
Image Source:
https://www.leitz-auction.com/media/c7/70/ec/1705308799/12231_1.jpg

The A2B, like the A, has different versions, three to be exact and they are also classified as prewar A2B or postwar A2B. 

First version of the Argus A2B. Image Source:
https://i0.wp.com/c4.staticflickr.com/8/7431/27624244411_bf0031fa35_c.jpg?ssl=1

Second version of the Argus A2B. Image Source:
https://lh6.googleusercontent.com/proxy/Y_0Ah1-cAEoEQJ5rQlxoEfRDuwJeyQNhu2VJjS65rpDEv5BdIOtOs8bf2GOEsEvUE-h6Fu_8Bxpwb0ECPwR-XX3B0GRtD-KoFr9YK0U6oGnv8_li5g

According to Grey (2011 & 2016), it gives two methods on how to tell the difference between prewar and postwar A2B. One, which is unconfirmed, is that prewar A2Bs had a shutter speed that went up to 1/2000 second and the postwar A2B models only went up to 1/150 second (2011).

The second method to tell if it is pre- or postwar is to see the lens is coated. Because according to Grey (2016), “…Some postwar A2Bs even featured a coated lens.” And if we apply these to tell-tale signs to the A2B in this post, we can see that it is a postwar A2B camera.

Like the last post (the Brownie Movie Camera II 2.7), I will be comparing this camera to the camera that it is based off of, this being the Argus Model A.

So, let us get into it!

The Argus Model A2B was released in 1939-1950 and is the same as the Model A, except this camera came with a “…Built-in Extinction Meter and Exposure Calculator…” (Argus Collectors Group). The camera is mostly made from plastic, most likely Bakelite. It has a weight of 430g and a size of 120 x 68 x 54 or 66 with lens extended (Art Deco Cameras 2020).

Now time for a closer look. Starting with the front-

The lens-

The Model A2B has an Anastigmat 50mm f/4.5 coated lens. Let’s break down what this means.

I already went through what Anastigmat lenses are in my Agfa Billy Record 7.7 Pocket Camera post and Argus C2 post. And in my Polaroid SX-70 post what it means when a lens is coated. And then finally the 50mm is its focal length and because it only has the 50mm indication that means this camera has a fixed focus lens (Elek 2015), similar to the Olympus OM30, and the f/4.5 is its maximum aperture opening.

The A2B, like the A, can take lens adapters. On the Argus A2Bs there are threads where a portrait adapter can be screwed in. But this camera, a postwar A2B, is a bit different, for one can unscrew the lens to reveal more threads where other adapters and lenses can go.

Another thing that the A2B has in common with the A, is that the A2B also has a “…collapsible lens barrel, which controls focusing…” (Grey 2016). The lens is spring loaded (Art Deco Cameras 2020), and is extended by turning the barrel right and lose from the tabs that hold it in place, then it is turned left to lock it in place and then when collapsing it the user just pushes the barrel in and right. Then push it in towards the body and then to the left to lock it in place with the tabs (Elek 2015).

This extend and collapsible “quirk” (Grey 2016), allows for two different focus range settings: 18 feet to infinity in the collapsed position and 6-18 feet when extended (Art Deco Cameras 2020).

On the side of the lens is the shutter/exposure lever, also called a “plunger-style button” (Grey 2016). This camera uses a leaf shutter system known as a “Wollensak Alphax leaf shutter” (Grey 2011).

Which according to Wollensak’s care and operation manual is a “…photographic shutter is a highly precise instrument that has been built to the same exacting tolerance as a fine watch…” and is “…An accurately fitted train of watch gears and pinions, working in connection with a series of levers and carefully tempered springs, assure uniform and properly timed exposures-the essence of good and well-timed negatives. In designing the Alphax Shutter, every consideration was given to the fact that instruments of this type are sometimes subjected to continuous and often, hard usage…” (Pacific Rim Camera).

Inner workings of an Alpax Shutter. Image Source:
https://pheugo.com/cameras/alphax/alphax4.jpg

But the user should use the shutter with care. Because as the manual (Pacific Rim Camera) goes on to state that: “It, nevertheless, is a sensitive instrument, and should be handled carefully, the same as any valuable timepiece.” This is because it is so sensitive that according to Mitchell (2008) it: “…should not submerge the entire shutter or flood it with solvent. The shutter blades are not made of metal and can swell if they get wet.”

Then underneath the plunger-style shutter button is the cable release socket.

 

On the barrel above the lens are the shutter speed settings, which have a T and B setting, that holds the shutter open for as long as the button is held down (in B setting) or until the button is pressed again to close it (in the T setting). Then there are the different speeds which are 1/25, 1/50, 1/100 and 1/150 second.

Then under the lens is the f/stop settings: 4.5, 6.3, 7.9, 12 and 18. And just like the Argus A, the aperture petals are behind the shutter.

On top-

We have the same components as the Model A. There is the film advance knob.

Then there is the film frame counter that is connected to the single film frame sprocket and the film spacing and release button, which should be held down when advancing or rewinding the film.

Then finally the one thing, that separates it from the Model A, the  eye level optical viewfinder (like the Falcon F), but accompanying the viewfinder is the Extinction Meter or a Sunny 16 Exposure Calculator (Art Deco Cameras 2020). 

Usually, the extinction meter comes with a bridge or slider, which this camera is unfortunately missing.

Argus A2B example of an extinction meter with a bridge/slider.
Image Source:
https://www.collection-appareils.fr/argus/images/argus_A2B_detail.jpg

“…through them, looking for the darkest one that still lets you see light, and then set the aperture and shutter speed according to an index atop the camera…” (Grey 2011).

This meter has a series of windows that contain small pieces of celluloid (Art Deco Cameras 2020) or grey filters (Grey 2011) and each window has a different opacity. The user then looks through these windows “…towards the scene and shift the bridge to the one where light is just visible…” (Art Deco Cameras 2020) and while the user peers “…through them, looking for the darkest one that still lets you see light, and then set the aperture and shutter speed according to an index atop the camera…” (Grey 2011).

On the bottom-

Is the rewind knob, (which can be pulled out to help insert and hold the film cartridge) and the tripod/strap socket.

Then on the sides, like the Model A, is the hook and pressure plate that holds the film compartment cover in place.

Speaking of which…

The back of the camera-

Is the film compartment cover, complete with pull-out tab.

The cover also has, like all Argus A cameras, except for the Argus AF (Halgand 2024), has the iconic geometric design.

Argus A series geometric design. Image Source:
http://www.artdecocameras.com/images/argus/a2b-pre-war/geometric-back.jpg

But as one can see this camera’s design is covered by a sticker, that most likely came with the camera. This sticker shows the right shutter speed that should be used for which weather condition and f/stop, as well as the exposure values.

This sticker can also be a part of the Sunny 16 rule. A method used when the user doesn’t want to use the extinction meter (Art Deco Cameras 2020).

Sunny 16 guide. Image Source:
http://www.artdecocameras.com/cameras/argus/a2b-pre-war/

The cover comes off completely and also has or had a piece of foam that held the film cartridge in place (Elek 2015).

Foam piece to hold film in place. Image Source:
https://www.youtube.com/watch?app=desktop&v=jKlK0NPAi4s

And then there is the pressure plate that holds the film down and flat (Elek 2015).

 

Pressure Plate to hold film frame in place. Image Source:
https://i.etsystatic.com/9129297/r/il/89f4e0/1818348340/il_570xN.1818348340_4r9b.jpg

Then there is lastly the film compartment, which is exactly the same as the Model A. A 35mm film type, which is fed from right to left instead of left to right. It also takes image sizes of 36x24mm (Art Deco Cameras 2020). The only difference is that the take-up spool is plastic and not metal.

To learn how film works please see my 200 Colorplus post for more information.

And that is that. Not much of a difference between the A2B and the A, except for the shutter speed and the meter. But like the Model A, the Argus Model A2B is still a beautiful piece of photography ingenuity.

This camera is also similar to the Falcon F, but the Falcon is a bit more advanced and unlike the Model A and the Falcon F, the Argus Model A2B leans more towards the art deco style than the steampunk style. According to Art Deco Cameras (2020): “It's curvilinear design, horizontal stripes and restrained decoration give it an Art Deco Streamline Moderne character.”

I like the simple black and white colour scheme, but I still prefer the look of the Argus A, but I still think the Falcon F did it better.

The A2B is a simple and easy to use camera, I would recommend this camera for those who want to venture into the 35mm world. It is small and easy to pack. But this wouldn’t be the first camera I would recommend for film beginners, for that I would rather recommended that 35mm amateurs use the easier point-and-shoot cameras, like the Sinpo PQ-3, the Praktica Sport AF or the Sounex YN9000. 

What do you think? Do you agree that the Falcon F looks better? Do you agree that new comers to the film world should start with a point-and-shoot? Or should they just jump in with the Argus A and A2B? And do you think I should’ve included the awful Solar DX-3 point-and-shoot in my recommendation? 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.

If you want to help this site out, please consider joining my Patreon: patreon.com/OnlineCurator

Please see the Please help this site post on this blog, for more information.

Or if you want to help in another way, please visit my Displate Store. Thank you for the support.

List of sources:

Argus Collectors Group. Argus "A" Series Cameras. https://www.arguscg.org/reference/a.shtml

Art Deco Cameras. 2020. Argus A2B Pre-war. http://www.artdecocameras.com/cameras/argus/a2b-pre-war/

Elek, M. 2015. Argus A2B. https://www.youtube.com/watch?v=jKlK0NPAi4s

Grey, J. 2011. Argus A2B. https://blog.jimgrey.net/2011/10/06/argus-a2b/

Grey, J. 2016. Another Argus A2B. https://blog.jimgrey.net/2016/08/03/another-argus-a2b/

Halgand, S. 2024. Argus A2B. https://www.collection-appareils.fr/x/html/camera-2741-Argus_A2B.html

Mitchell, D. 2008. Alphax Shutter. https://pheugo.com/cameras/index.php?page=alphax#:~:text=The%20Wollensak%20Alphax%20is%20an,the%20shutter%20is%20the%20same.

Pacific Rim Camera. The Care and Operation of THE WOLLENSAK ALPHAX SHUTTER. https://www.pacificrimcamera.com/rl/03193/03193.pdf 

Kodak Brownie 8mm Movie Camera II f/2.7

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

So for a metal print of my drawings on Displate: https://displate.com/artist/BFennSW?art=66e809bf952d9

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:

This post will be looking at the second or sister version of the Kodak Brownie 8mm Movie Camera II f/2.3, the Kodak Brownie 8mm Movie Camera II f/2.7.

I did go through the history of the Brownie series in my Model 1 post and the history (or at least what I could find) in my Brownie 8mm Movie Camera II f/2.3 post.

Similar to the Instamatic 33, there doesn’t seem to be much information on this specific camera. Probably due to it like the Instamatic 33, it is one of many cameras in a long running series. Although the Brownie 8mm Movie Camera II f/2.7 is part of a small group of cameras, it was released in the late 1950s alongside many other 8mm cameras (BCG Film and Photography).

And it appears that this camera wasn’t as popular as its f/2.3 counterpart, because both were released in 1956, but the f/2.7 camera stopped production in 1968 and the f/2.3 stopped in 1960 (BCG Film and Photography). And according to BCG Film and Photography, the f/2.7 was also cheaper than the f/2.3.   

The f/2.7 is basically the same as the f/2.3, with a few changes to the body, which points out why this camera had a lower price tag!

Now without a further ado, let’s have a look at the camera at hand, the Kodak Brownie 8mm Movie Camera II f/2.7. I should also note that most of this post will be comparing this camera to the f/2.3 camera.

The Brownie 8mm Movie Camera II f/2.7 is mostly made from metal and is the same size and weight as the Brownie 8mm Movie Camera II f/2.3. As mentioned this camera was released in 1956-1958. Which is a short time, but this isn’t the shortest time, because that honour goes to the Brownie Movie Camera Turret f/2.3, which was released in 1958 and only lasted three months (BCG Film and Photography).

 

Brownie Movie Camera Turret f/2.3 (with broken turret). Image source:
https://i.ebayimg.com/images/g/SesAAOSw8ANoJnbd/s-l1200.jpg

Anyway, let’s get into it. Starting with the front.

The lens-

The lens is the same as the Brownie 8mm Movie Camera II f/2.3. It is a 13mm Cine-Ektanon lens, with the only difference being the f/stop that is 2.7.

The lens is also threaded meaning that it can take adapters like the f/2.3.

Next to the lens is the f/stop or exposure dial and the “sky guide” which is similar to the f/2.3. But unlike the 2.3, the f/2.7 doesn’t have a pointer. So, the user would have to read off of the sky guide and move the dial to the correct f/stop number.

But the sky guide only shows what f/stop is best for what lighting condition under f/8. According to the manual, the user must use the exposure guide that comes with the film to know when to use the settings that are above f/8.

Now the dial also has dots that indicate half stops between each clear indicated numerical value. The half stops also start after f/2.7.

The dial indicates that there are six f/stop settings (eleven including the half stops) and these settings are f/2.7, 4, 5.6, 8, 11 and 16. And like the Fancy DX-3, Sinpo PQ-3, Brownie No.2, Beau Brownie, the Agfa 54 and the Brownie 8mm Movie Camera II f/2.3, this camera has a multi-hole aperture setting (a plastic disk with holes punched in it, instead of using aperture pedals).

But the dial has an extra setting that the f/2.3 doesn’t have, that I think is awesome, and that is the lock setting that prevents the camera from running. What I also like is that it has a safety mechanism that also prevents the camera from running, “If the lens is set between a white dot and marked lens opening…” (according to the manual).

The reason why I like this is because, when the dial is set between a dot and a numbered setting the lens opening is blocked and thus the film won’t be exposed and the user will have a film reel that is just blank. What is more interesting is that the f/2.3 doesn’t have this safety feature.

Then underneath the lens-

Here is the film counter, which is round instead of square. It is the same as the f/2.3, it measures in feet and goes up to 25 feet and has an L (for loading) and E (for empty) indicators.

But there is something I forgot to mention in my Brownie 8mm Movie Camera II f/2.3 post concerning the film counter, which the Kodak Brownie 8mm Movie Camera II f/2.7 also has. And that is the toothed wheel, behind the film compartment cover, which is used to manually reset the film counter.

Next to the film counter is the exposure or shutter release. Unlike the f/2.3, the f/2.7 doesn’t have a switch-like button lever, instead is a flat toothed metal piece that must be held down to expose the film. According to the manual it has a shutter speed of 1/35 second or 16 fps.

But Worth Point (2025) does have an example of a Kodak Brownie 8mm Movie Camera II f/2.7 that has a shutter release and sky guide just like the Kodak Brownie 8mm Movie Camera II f/2.3.

Brownie 8mm Movie Camera II f/2.7. Image Source:
https://thumbs.worthpoint.com/zoom/images3/1/0315/22/vintage-kodak-brownie-model-8mm-movie_1_ca8902aa8c51c1393a8d93c4700719a3.jpg

Now for the top of the camera-

Here is the viewfinder, or “folding Sports Viewfinder” (Kodak Verzameling 2025). Which is similar to the f/2.3, but very different. In fact, the only thing that has stayed the same is the Peep sight.

The manual describes this viewfinder as an open frame/sports type and that means there are no glass or lenses that have to be cleaned.

The manual goes on to explain how it is used:

Page 12 & 13 from the manual.

Left side-

Is the winding key, which works the same way as the Brownie 8mm Movie Camera II f/2.3. 

On the other side-

Is the film compartment cover.

Here the user can see on big difference: there is no cold shoe. But this doesn’t mean that this camera doesn’t have a flash. Because the Brownie 8mm Movie Camera II f/2.7 did come with a lamp light, which was attached at the bottom of the camera. The lamp was screwed into the tripod socket underneath the camera.

Brownie 8mm Movie Camera II f/2.7 with lamp light.
Image Source:
https://u-mercari-images.mercdn.net/photos/m78758927614_3.jpg

But there is an exposure guide holder, with an exposure guide!

Then next to that is the latch that holds the cover in place, but unlike the f/2.3, the f/2.7 has a pressure plate instead of a slider. And above and below the latch is a quick guide to help users set the right f/stop.

Then we have the film compartment, which works and looks the same as the Brownie 8mm Movie Camera II f/2.3.

This camera can also take Double 8 film and normal 8mm film, but it was specifically made for Kodachrome film. Which I will briefly go over from Wallace’s article:

Kodachrome was brought out in 1935, by Kodak (you don’t say), and was the first successful colour film. It was first released as a 16mm film, then 8mm film and then used in the making of still photography, when it was released in 35mm format. But with its complex processing, a legal ruling that prohibited this process and competition from other companies like Fuji’s Fujichrome and even Kodak’s release of their Ektachrome film, which was easier to process, Kodak saw a decline in Kodachrome sales. Not to mention the introduction of digital cameras that further hurt the film market.

Wallace concludes his article with:

“Up until its discontinuation in 2009, Kodachrome was the oldest selling brand of colour film in existence. A remarkable feat that featured 74 years of success in various formats for both still and motion picture cameras.”

Kodachrome 8mm film. Image Source:
https://i.ebayimg.com/images/g/TigAAOSwfCVjH4Fk/s-l400.jpg

But what I find interesting about Kodachrome is that even though it is a colour film, it can be processed in Black and white (on8mil).

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

And that seems to be it. The Kodak Brownie 8mm Movie Camera II f/2.7 is an interesting and fun camera, but a bit of a downgrade (with the exception of the lock setting on the f/stop dial) compared to the f/2.3. But at the end of the day, they are both very similar.

In my last post I wrote that the Brownie 8mm Movie Camera II f/2.3’s look didn’t really impress me, well I will take it back here, because the f/2.3 looks much better than the Brownie 8mm Movie Camera II f/2.7.

At least the Brownie 8mm Movie Camera II f/2.3 had leatherette on the sides and a silver chrome shine to it. Whereas the Brownie 8mm Movie Camera II f/2.7 has a frankly boring stone/dark beige colour. But in the right setting and décor it would look pretty cool. But just like the f/2.3, the Brownie 8mm Movie Camera II f/2.7 is a must have in any camera collector’s or filmmaker’s collection.

But what do you think? Do you agree that the Brownie 8mm Movie Camera II f/2.3 looks better than the Brownie 8mm Movie Camera II f/2.7? Or do you think that the world is better off just sticking with digital cameras? Let me know in the comments.

Thank you for making it to the end and as always I hope you enjoyed this as much as I did.

If you want to help this site out, please consider joining my Patreon: patreon.com/OnlineCurator

Please see the Please help this site post on this blog, for more information.

Or if you want to help in another way, please visit my Displate Store. Thank you for the support.

List of sources:

BCG Film and Photography. The List of Brownie Movie Cameras & Brownie Movie Projectors. https://www.brownie-camera.com/moviecam.shtml

Collections Library Indiana. Brownie Movie Camera f/2.7 manual. https://collections.libraries.indiana.edu/IULMIA/files/original/7a34eb4b89c0287ad8d286e965539ba3.pdf

Kodak Verzameling. 2025. Kodak Movie Cameras. https://www.kodakverzameling.nl/kodak-movie-camera-s-projectors

On8mil. 8mm Vintage Film Processing + HD/UHD Scan. https://www.on8mil.com/product/vintage-film-processing-incl-hd-scan/

Wallace, D. The History of Kodachrome. https://kodakdigitizing.com/blogs/news/the-history-of-kodachrome?srsltid=AfmBOop-lLPNb5X7DGvG-iP0bXyrPFfsG2aRXD7HcJlzYk0N8l0XK8xI

Worth Point. 2025. Vintage Kodak Brownie Model 2 8mm Movie Video Camera f/2.7 No 78 Original Box. https://www.worthpoint.com/worthopedia/vintage-kodak-brownie-model-8mm-movie-1749401824