Kodak 35 RF camera

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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/