Kodak Beau Brownie No. 2A

Good news! My Displate store is online with 10 posters and more on the way. And even more good news, my Picfair store has new images available for digital purchase.

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Not only will you get some cool merchandise, but you will also be supporting this online museum.

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

Jumping back into the Kodak Brownie series with one of their most eyecatching designs, the Kodak Beau Brownie No. 2A camera.

I went through Kodak’s history in my Kodak 200 Colorplus film post and the history of the Brownie series in my Brownie Model 1 post. So, let’s jump straight into the camera at hand.

There were two versions made for this camera, the No. 2, which was the small 120film camera and then the larger No. 2A 116film camera, which is the camera discussed in this post.

Size comparison of the Brownie Beau No. 2A (left) and Beau No. 2 (right).
Image Source: https://images.squarespace-cdn.com/content/v1/58ef86c9c534a563176f86ac/1e635e74-a7ad-408f-8028-717b0cdeb1c0/Beau-Brownie-Camera-2-2025_54.jpg?format=2500w

The camera was made in collaboration with “...industrial designer Walter Dorwin Teague, a frequent Kodak collaborator…” (Stamler 2022). Walter Dorwin Teague is “…referred to as the ‘Dean of Industrial Design’…” and is made famous for his designs in New-York’s World fair, the Ford Building, other cameras with Kodak, such as the Bantam Special and the Steinway piano with steel legs (Wikipedia).  

Kodak Bantam Special. Image Source:
https://farm4.static.flickr.com/3514/3823983053_bbe4b85c9c.jpg

The Henry Ford (2025), also writes that “Teague pioneered the merging of art and industry during this period -- his collaboration with Kodak was just one of his many commercial partnerships.”

The camera was manufactured in 1930-1933 and is described as “The basic Brownie’s chic and cosmopolitan cousin, the ‘gaily dressed’ Beau Brownie—in the words of one contemporary advertisement—featured a modernist faceplate inspired by art deco’s geometric forms and lines…” (Stamler 2022). And as mentioned this camera came in two variations. But there doesn’t seem to be that much of a difference between the two cameras, other than the size difference and the fact that the No. 2 takes 120film and the No. 2A takes 116film.

But let’s have a closer look at the Beau Brownie No. 2A. The body is metal and other than its large size, it looks like a basic box Brownie camera. It has a size measurement of 92 x 135 x 130 mm and a weight of 620g (Art Deco Cameras 2020).

These cameras also came in different colours: “black, tan, green, rose, and blue” (Stamler 2022) with “textured letherette to match one of the colours in the face plate” (Art Deco Cameras 2020), but according to Cuny (2025), the rose and green colour are the rarer of the five, with them only being made in 1931. And The Henry Ford (2025) write that these colours were only available for three months! The camera of this post is the black variation.

Colour variations of the Beau Brownie. Image Source:
https://images.squarespace-cdn.com/content/v1/58ef86c9c534a563176f86ac/82565275-e3bb-4a75-b35f-ec7572f4f0af/Beau-Brownie-Camera-2-2025.jpg?format=2500w 

 Now for the front of the camera-

This is the one reason why people want this camera, because of the faceplate that has a “…2-tone enamelled geometric Art Deco design…” (BCG Film and Photography) also known as an “Art Deco geometric façade” design (Art Deco Cameras 2020). For this camera the design uses chrome and enamel with a colour combination of black and maroon (Pacific Rim Camera). This face plate is truly a marvel and a perfect addition to anyone’s art deco collection/home decoration.

Next the lens-

The lens is a doublet lens that “…allowed a shorter body than usual Brownie box cameras…” (BCG Film and Photography).  A doublet lens is also known as an achromatic lens or achromatic-doublet lens and is basically two lenses (a flint glass and crown glass) cemented together. To explain it in better terms here is an excerpt from Sinoptix:

“Every optical material is subject to chromatic dispersion, defined by their Vd value. This chromatic dispersion will cause scattering of a signal at different wavelengths. The objective of manufacturing a doublet lens is two uses to ‘complementary’ dispersing material to compensate the chromatic dispersion and have a resulting doublet lens with identical focusing power on its whole wavelength range…” and that “…Doublets improve the optical quality of a lens reducing both chromatic dispersion and spherical aberration.” 

It achieves this through the flint glass that causes the light to scatter and the crown glass that gives it a low dispersion (Sinoptix).

Doublet lens diagram. Image Source:
https://upload.wikimedia.org/wikipedia/commons/4/46/Achromat_doublet_en.svg

The lens is also fixed and has a focus range of 10mm – infinity and a focus length of a 100mm (Art Deco Cameras 2020).

The above the lens to the left-

This is the viewfinders or brilliant finders (see Brownie Model 1 and Brownie No.2 posts). And like the two other Brownie cameras, the Beau has two, one for landscape pictures and the other for portrait pictures.

Then on the side-

Is the landscape brilliant finder. Under that is the shutter release or the exposure lever. 

This sets off the shutter by pushing the lever down, like the Brownie No.2, but unlike the Brownie No.2, the Beau’s lever jumps back into its original position once it is let go. The shutter it uses is the same as the Brownie Model 1, Brownie No.2 and the Halina Roy. That being a Rotary shutter.

At the bottom is one of the two catches that locks the film compartment.

Unfortunately, this one is broken.

Next to that is the winding key or film advance key. This is used to move the film to the next frame once a picture is taken.

This winding key also locks the film compartment in place. On the key is also where one can tell what film this camera uses and what model Beau Brownie it is.

Then on top-

This is where the portrait brilliant finder is.

Next to that is the two slide controllers, that are similar to the Brownie No.2.

 The wider one is used to set the f/stop. According to Art Deco Cameras (2020), there are three aperture settings: f/11, 16 and 22. And just like the Brownie No.2, as well as the Sinpo PQ-3, the Agfa Clack and the Solar DX-3, the camera doesn’t have aperture leaves, instead the f/stop is changed with a plastic/metal plate that has three different holes punched in it. This type of aperture is also known as a Multihole (Art Deco Cameras 2020).

Then the narrower slide control is the exposure/shutter speed setting. When it isn’t pulled out it set the camera to the fixed shutter speed of 1/30 second (Art Deco Cameras 2020). And when it is pulled out it sets it to the B setting. Meaning that the shutter stays open for as long as the user holds down the shutter/exposure lever.

Next to and behind that is the second catch that locks the camera.

Then there are the two studs that holds the strap (that is also missing like the others) in place.

Behind the camera-

Is the film counter window.

Then on the side and the bottom of the camera are the tripod sockets. One is to align the camera to take a landscape (side) picture and the other (bottom) for portrait.

Then finally, we have the film compartment.

This one is different from the other two Brownies, in that it doesn’t have a latch or cover on the back. But instead, the film holder/carrier is attached to the front part of the camera. And the holder is covered up by the metal casing/box.

The film carrier/holder is similar to the Pucky 1 camera, in that it can’t be taken out and is attached to the front. And has an image size of 2 ½ x 4 ¼ inches.

Loading the film is the same as with the other two Brownies, the Pucky 1 and the Ricohflex IIII. But unlike those cameras, this camera takes a pretty big film stock, the 116 film.

116 film size comparison. Image Source:
https://thedarkroom.com/app/uploads/2020/06/Film-Format-Chart-TheDarkroom-2025.5.jpg

The 116 film is 70mm wide and was introduced by Kodak in 1899. Then in 1932, came the same size, but slimmer core, 616 film. Both film stocks were discontinued in 1984 (Film Photography Project 2025).

116 film. Image Source:
https://thedarkroom.com/app/uploads/2020/07/116-Film.jpg

616 film. Image Source:
https://lightandtimeart.com/cdn/shop/products/il_fullxfull.2734372462_hm5q.jpg?v=1691493433&width=1946

616 spool (left) and 116 spool (right). Photo by Bryan Chernick.
Image Source: https://www.shoot70mm.com/images/616%20and%20116%20spools-web.jpg

I should also note that for the folding Brownie cameras, Kodak released the A-116 film, that were the same as the 116 film but “…but instead of red and black duplex paper, the film was wound with a sheet of carbon paper and thin red paper. This film used in an Autographic Kodak camera allowed a brief message to be written on the film in the space between the pictures. Pressure of a stylus on the backing paper transferred the carbon to the red paper and light passing through these lines in the carbon paper would photograph the message onto the film…” (NWMangum).     

The 116 film also has a very interesting and long history. From its use in the war and used in space exploration, it is amazing what this wide format film has been used for. Please check out Horton’s (2023) article to get the full story:

https://www.shoot70mm.com/history.html

But I will give you a brief overview of the 616 film from an excerpt from The Darkroom (2025):

“During the early days of photography negative size was much more important than now because of the grain size and thus enlargement limitations. Larger negatives meant sharper pictures plus the added benefit of contact printing with is printing photos without having to enlarge it. In 1932 Kodak introduced two new negative format, 620 and 616, the latter being 70 mm wide. The 616 format was the same as the existing 116 film format, but the negative stock was wound on smaller spools in order to fit smaller cameras, that was, at least officially, the reason for introducing yet another format. The real reason might have been that Kodak owed the patent for this roll size and thus was the only one selling film for this format and when you already own the camera, you need fitting (Kodak) film too, right? The first “6” comes from “6 pictures per film”. Later versions were longer, and 8 pictures would fit on the film, but the name remained the same. This film format lasted up to 1984 when it was discontinued. If you respool 120 film onto 116/616 spools, 120 films can be used with cameras designed for 116 and 616, as can 70mm film. When developing, remember to ask the lab for your 116/616 spools back or they’ll be thrown away.”

The film has 6 exposures with a frame size of 6.5 x 11cm (Horton 2023), making it perfect for a carte-de-visite (Andres 2023). But according to Art Deco Cameras, this camera can take the 8-exposure film (Art Deco Cameras 2020). The change from 6 exposures to eight when the “…620 and 616 films were designed in 1931, considerable thought was given to the numbering. These films were for the same picture sizes as 120 and 116 but the spool diameters were smaller to allow them into thinner cameras. The ‘6’ was to indicate the number of pictures per roll but by the time this product had reached the market, the decision had been made to increase the number of pictures on this size and on sizes 120 and 116 to eight exposures so the ‘6’ became meaningless…” (NWMangum).

Now the reason why the Beau still says 116 film instead of 616, is because as mentioned this camera came out in 1930, two years before the release of the 616. But since the 616 is the same size as the 116, both can be used.

To learn how film works, please see the Kodak 200 Colorplus post.

And that it the Beau Brownie No. 2A. What it comes down to is that this camera is a basic box camera, but as BCG Film and Photography write: “It's Art-Deco design truly reflects the period it was released. Though it's a basic box Brownie, it is a work of art.”

This camera is perfect for any household that is going for the art deco look, and it is easy to see where the name Beau comes from because it is absolutely Beautiful!

What do you think? Would you display this in your home or are you more into the steampunk look of the Agfa Billy Record or Falcon Model F? 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 or my Picfair store to but digital or physical copies of my work. Thank you for the support.

List of sources:

Andres, M. 2023. 116 Cameras – Shooting Wide Aspect Ratio on a Shoestring. https://www.35mmc.com/12/12/2023/116-cameras-shooting-wide-aspect-ratio-on-a-shoestring/#google_vignette

Art Deco Cameras. 2020. Kodak No.2A Beau Brownie. http://www.artdecocameras.com/cameras/kodak/beau-brownie-2a/

Art Deco Cameras. 2020. Restoration of Beau Brownie. http://www.artdecocameras.com/restoration/beau-brownie/

BCG Film and Photography. No.2A Beau Brownie. https://www.brownie-camera.com/55.shtml

Cuny, D. 2025. Kodak Beau Brownie Camera. https://www.dancuny.com/camera-collecting-blog/2025/2/26/kodak-beau-brownie-camera

Film Photography Project. 2025. 116/616 Film. https://filmphotographystore.com/collections/116-616-film

Horton, Z. 2023. History. https://www.shoot70mm.com/history.html

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

Pacific Rim Camera. Kodak No. 2 and 2A Beau Brownie. https://www.pacificrimcamera.com/pp/kodakbeau.htm

Sinoptix. Doublet lens: a complete guide. https://sinoptix.eu/doublet-lens-complete-guide/#:~:text=What%20is%20a%20doublet%20lens,is%20also%20a%20common%20name.

Stamler, H. 2022. How Kodak Created a Fashion Accessory. https://www.neh.gov/article/how-kodak-created-fashion-accessory#:~:text=The%20enormous%20commercial%20success%20of,Teague%2C%20a%20frequent%20Kodak%20collaborator.

The Darkroom. 2025. 116 and 616 roll film. https://thedarkroom.com/film-formats/kodak-116-616-roll-film/

The Henry Ford. 2025. Kodak Beau Brownie Camera, 1930-1933. https://www.thehenryford.org/collections-and-research/digital-collections/artifact/337223/

Agfa Isolette I camera

Good news! My Displate store is online with 10 posters and more on the way. And even more good news, my Picfair store has new images available for digital purchase.

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

To buy prints or digital copies of my photos on Picfair: https://photosbybfenn.picfair.com/ 

Not only will you get some cool merchandise, but you will also be supporting this online museum.

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

Jumping from one camera that can’t fold, to one that does. This post will be looking at the Agfa Isolette I.

I already went over the history of the Agfa company in my Agfa Clack post, so I will jump straight into this camera.

The Isolette I is part of a series of Isolette cameras made by Agfa. The first one was brought out in 1936 (Moss 2023) and was called the “Isorette (embossed in the leatherette of the front door/lens bed as JSORETTE ), but the name was changed to Isolette (again, marked on the camera as JSOLETTE) within a year, with no significant change to the camera itself…” (Camera-wiki). The use of the J instead of the I is briefly explained in the Agfa Billy Record post. This camera was produced up until 1942 (Camera-wiki). This camera is very similar to this post’s camera, except it used the Compur shutter (Raul 2010).

Agfa Isolette/Jsolette/Isorette camera.
Image Source: https://camarasclassicas.blogspot.com/2010/08/isolette.html

The second camera, was the Isolette 4.5, in 1945-1950 and was the first Isolette to be made in the post-war era and unlike the first Isolette (which was a bakelite/trolitan body, Moss 2023 and Camera-wiki), the 4.5 was made from an aluminium alloy, the reason for this could be that during WWII, all the metal and aluminium was used in plane construction, leading to most cameras being made from plastic, but this is just speculation (Hille 2016). This camera differs from the first and the Isolette I, is that this camera uses a Prontor shutter and an Apotar lens (Raul 2010).

Agfa Isolette 4.5. Image Source:
https://camarasclassicas.blogspot.com/2010/08/isolette.html

The third was the Isolette V in 1950-1952 (Schneider 2016), and according to Camera-wiki, this camera was sold in the USA as the Ansco Speedex 4.5 camera. This camera is similar to the 4.5 and also has an Apotar lens. The one difference, to the 4.5 is that, like the Isolette I, it uses a Vario shutter (Raul 2010).

Agfa Isolette V. Image Source:
https://schneidan.com/wp-content/uploads/2016/11/agfa-isolette-front-open.jpg

Ansco Speedex 4.5. Image Source:
https://collectiblend.com/Cameras/images/Ansco-Speedex-4.5.jpg

The third is the Isolette I, the camera of this post, which I will go over later in this post.

Then came the Isolette II, in 1950-1960 (CollectiBlend 2025). It had a “little switch next to the viewfinder that allows you to make time exposures…” and came with a self-timer (Gary 2015). Another difference with this camera, is that it uses an Apotar lens and a Prontor-S shutter (Raul 2010). This camera was also sold under another name in the US market, the Ansco Speedex 4.5 Super (Camera-wiki).

Agfa Isolette II. Image Source:
https://filmadvance.com/wp-content/uploads/2015/01/DSC_2604m.jpg

Ansco Speedex 4.5 Super/Special. Image Source:
https://i.ebayimg.com/images/g/KfcAAOSwjDVma1jA/s-l1200.png

After that was the Isolette III, in 1951-60 (Grey 2015). What made this one different was the Apotar lens and the Prontor shutter (Raul 2010). But the biggest feature that sets it apart is the “…uncoupled rangefinder. That’s the knurled knob to the right of the accessory shoe. To use it, look through the viewfinder and turn that knob until the image in the rangefinder patch lines up with the viewfinder image. This is where the “uncoupled” part comes in: you then check the distance on that knob and set the lens to the same distance…” (Grey 2015). This camera was also sold under the name Ansco Speedex 4.5 Super R (Camera-wiki).

Agfa Isolette III. Image Source:
https://camarasclassicas.blogspot.com/2010/08/isolette.html

Ansco Speedex 4.5 Super R. Image Source:
https://www.flickr.com/photos/mario_groleau/2296337223/in/pool-camerawiki

Then came the Super Isolette in 1954-1960, that also came with a rangefinder. This camera also had a “75mm F3.5 Agfa Solinar lens” and came with a Compur shutter (Hofstatter 2024). The rangefinder was a coupled rangefinder (uses a push-rod), which is where the Super in the name comes from (Camera wiki). And “Film loading is semiautomated, and there is no red window in the back of the camera; the film is loaded in the camera, and it advances until the first frame, then advances one frame at a time. The double-exposure prevention interlock, has an indicator window by the shutter release. The film advance knob is on the right of the top housing. There is a film-type reminder on the left, in a knurled disc matching the film-advance…” (Camera-wiki).

Agfa Super Isolette. Image Source:
https://farm3.staticflickr.com/2299/2414600560_3398c24d4b.jpg

Now one thing that is confusing is that some say the Super Isolette is the last in the series, but that doesn’t seem to be true seeing that there is another, the Isolette L, that came out in 1957-1960 (CollectiBlend 2025). This Isolette featured no rangefinder, but it had a “…built-in non-coupled light meter and masks for a 24x36mm slide format on special CT18 slide film which had a backing paper and gave 24 slides. The finder has a lever to put in the according mask…” (120folder.com). Then there is also the Color-Apotar lens and the Pronto shutter (Raul 2010).

Agfa Isolette L. Image Source:
https://collectiblend.com/Cameras/images/AGFA-Isolette-L.jpg

Now time to look at the camera at hand, the Agfa Isolette I.

This camera came out in 1952-1960 (Nelson 2016) and “is an inexpensive German medium format folding camera…” (Lauro 2004). Lauro (2004) writes further: “This one might be one of the latest because the depth of field indicator is located opposite to the rewind knob.”

This camera is like the Isolette V and is and entry level camera, but the difference between the V and I, is that the I has a body shutter release (Junktion 2025). It is mostly made from an aluminium alloy. According to Camera-wiki, this alloy is called hydronalium, an aluminium-magnesium alloy.

It has a size of 142 x 95 x 40 mm and a weight of 504g (Kamerastore 2025). Its size has also been described as “pocketable” (Nakamura 2011) and “…a folding camera, which means that the lens and film are protected by a collapsible bellows which are folded up when the camera is not in use. This design is what makes the camera compact and easy to carry, I simply pop it in my pocket, making it ideal for travel and outdoor photography…” (Moss 2023).

Now let’s have a closer look at the camera itself.

The front-

Here is the cover that protects and keeps the camera bellows back inside.

Then when unfolded, there is the lens.

It is an Agnar 1;4.5 85mm lens. And according to Nakamura (2011), since it is an Agnar, it has a three-element coating (see Polaroid SX-70 for more information). But what is an Agnar? According to Marx (2023), it is a triplet lens similar to the Cooke and Anstigmat (see the Argus C2 and Agfa Billy Record post). And according to Ansco cameras, and Agnar is basically an anastigmat. The Agnar label is to let the user know that this Anastigmat is made by the Agfa company, using their own equipment.

On the lens is the focus settings on a focus ring, which go from 3-30 feet and infinity.

Above the lens is the shutter speed settings on an outer ring.

There are four settings, 1/25, 1/50, 1/200 second and B.

And speaking of the shutter-

The shutter release is in two locations. The first one is next to the lens, in a lever mechanism.

Underneath the camera, is where it mentions the type of shutter, a Vario.

 This shutter, according to Camera-wiki, was made by the Gauthier company in 1912 and is a leaf shutter. It was first released with only two blades, but by 1929, came with five, which this camera has. Many people, like Marx (2023), point out that what sets the Vario apart from other shutters is that it only comes with three speeds, like the Isolette I.

On top of the lens-

The f/stop settings on the diaphragm lever are f/4.5, 5.6, 8, 11, 16, 22, and 32. Like many cameras with fixed lenses, the aperture petals are positioned behind the shutter.

In front of the f/stop slider, is the lever that cocks the shutter and prevents any accidental double exposure.

Right of the f/stop, is the PC flash connector, to synchronise the shutter and flash. 

Nakamura (2011) recommends using the Agfalux flash.

Agfa Isolette I with an Agfalux flash. 
Image Source:
https://photoethnography.com/ClassicCameras/AgfaIsolette.html

Then left of the f/stop is the remote shutter cord socket, nestled right next to the first shutter release.

Then above the lens is the viewfinder, also known as a reverse-Galilean viewfinder (Camera-wiki), which is “…the dominant design found in vintage and modern cameras, this is because it is a relatively simple two piece design, consisting of a front plano-concave (PCV) element, and a rear, plano-convex (PCX), or dual-convex (DCX) lens. The idea behind the design is to create an afocal system, this means that the effective focal length of the assembly is infinite, so the rays end up parallel after exiting the assembly, the light is collimated and magnification is reduced (if you reverse the design you create a Galilean telescope, increasing magnification)…” (Panomicron 2020).

The side-

This is where the bellows can be seen. They can extend and retract into the camera for easy storage. And like the Agfa Billy Record, this camera has Chamfered corners (please see the Billy Record post for more information).

Then next to the bellows is the film compartment cover release or sliding lock. When the user presses down on the slider towards the arrow, it opens the film compartment.

On top of the camera-

Is where the second shutter release is, this time it is a button connected to a lever that pulls on the first shutter release.

The reason for the two shutter releases is to accommodate the user and helps them choose how to hold the camera and whatever makes them feel comfortable. Or at least that is how I see it.

But it could be argued since the manual only refers to this one as the only shutter release, I could be wrong. But my point still stands, that if you feel awkward using this shutter, you can just use the release next to the lens.

Next to that is the accessory shoe plate, then the release button or the camera opening button to open the front cover and unfold the camera.

 Then finally the film transport knob.

Underneath the camera-

Is the tripod socket.

Then lastly the back-

Here is the film department cover (unlocked with the slide on the side).

On this cover is the red film counter window.

Above that is the “Optical direct-vision viewfinder” according to the manual.

Then there is the film compartment, which is simple to load, like a 35mm.

This camera takes 120 film (see Agfa Clack post), and can take “…twelve 6×6 cm (2¼-inch square) pictures (or sixteen 4.5×6 cm (2¼×1⅝ inch) pictures…” (Junktion 2025).

And that is that. Overall, this camera is similar to the Billy Record, except the Isolette I is more manual and has more precise settings for the focus, is smaller and has a bigger lens aperture. But I still prefer the Billy Record because it looks cooler.

What do you think? 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 or my Picfair store to but digital or physical copies of my work. Thank you for the support.

List of sources:

120folder.com. Agfa Isolette L. https://www.120folder.com/agfa_isolette_l.htm

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

Camera-wiki. Agfa Record. https://camera-wiki.org/wiki/Agfa_Record#:~:text=Lens%20is%20always%20a%20multicoated,fitted%20to%20the%20lens%20bed.

Camera-wiki. Super Isolette. https://camera-wiki.org/wiki/Super_Isolette

Camera-wiki. Vario. https://camera-wiki.org/wiki/Vario#:~:text=The%20Vario%20is%20a%20long,%2Dblade%20dial%2Dset%20type.

CollectiBlend. 2025. AGFA: Isolette II. https://collectiblend.com/Cameras/AGFA/Isolette-II.html

CollectiBlend. 2025. Agfa: Isolette L. https://collectiblend.com/Cameras/AGFA/Isolette-L.html

Gary. 2015. Favourite Cameras: Agfa Isolette II. https://filmadvance.com/2015/02/favourite-cameras-agfa-isolette-ii/

Grey, J. 2015. Agfa Isolette III. https://blog.jimgrey.net/2015/09/28/agfa-isolette-iii/

Hille, C. 2016. The Agfa Isolette 4.5. https://all-my-cameras.com/2016/12/04/the-agfa-isolette-4-5/

Hofstatter, M. 2024. This forgotten 70-year-old medium format camera captured my childhood. https://blog.markus-hofstaetter.at/2024/10/this-70-year-old-medium-format-camera-captured-my-childhood/

Junktion. 2025. Agfa Isolette I. https://junktion.co.nz/products/agfa-isolette-i-1?srsltid=AfmBOorplhT-QAkdeAk90RCgEQkGoef0RdNAmI47-ClXTSAAffj37Y0S

Kamerastore. 2025. Agfa Isolette I – Camera. https://kamerastore.com/products/agfa-isolette-i?srsltid=AfmBOooXJzu5gd0bbBtGLYwVaXfpsTym-hw6jKJ5jRFjcj9AMLeTrw_Z

Lauro, R. 2004. Agfa Isolette I 6x6. https://thecamerasite.lauro.fi/03_Folder_Cameras/Pages/agfailette.htm#:~:text=The%20Isolette%20series%20of%20cameras,cameras%20begun%20to%20take%20over.

Marx, W. 2023. Vintage Folding Camera Photography. https://wernermarxphotography.com/agfa/

Mike. Agfa Isolette I manual. https://butkus.org/chinon/agfa/agfa_isolette_i/agfa_isolette_i.htm

Moss, K. 2023. REVIEW OF THE AGFA ISOLETTE CAMERA. https://keithmossphotography.co.uk/blog/f/review-of-the-agfa-isolette-camera

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