An Interview With Antique Wood Camera Collector Rob Niederman
July 14th, 2008
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By Maribeth Keane, Collectors Weekly Staff (Copyright 2008)
In this interview Rob Niederman talks about collecting antique wood cameras from the late 1800s. Based in Minnesota, Rob can be reached via his website, Antique and 19th Century Cameras, which is a member of our Hall of Fame.
How did I start collecting cameras? Actually, I had an interest in photography as a kid and owned a darkroom by the age of 12 or 13. My interest in photography grew. I spent lots of time in a Chicago gallery learning about black and white photographs by the old masters and was very fortunate to study with Ansel Adams in one of his workshops in the mid 1970s. My first exposure into antique cameras occurred in the late 1970s. I was given a beautiful, large wooden Century No.7 studio camera as a birthday present. As it happened, the studio camera had quite a history and was used by a portrait photographer in Oconto, Wisconsin who photographed the townsfolk in the early 1900s.
The Folding Montauk, Style 1, c. 1899 by G. Gennert Company
I became fascinated with the concept of a wood camera. It looked nothing like the metal cameras that I was familiar with, and it certainly didn’t use rollfilm. Most people don’t stop and think that before metal and plastic cameras, cameras were made out of wood. The great expanses of polished wood set with brass hardware and knowing that highly skilled craftsman lovingly hand-built wood cameras was intoxicating.
A little later on I was traveling in Door County, Wisconsin and happened to stop into a camera shop to pick up 35 mm film. Behind the counter I spotted an old wood and leather camera. The body was covered in dark, deeply pebbled black leather while the interior glowed from what appeared to be highly polished rosewood adorned with bright nickel plated hardware. My curiosity was piqued and I had to know more. The camera was a 1907 Conley that included lots of original developed glass plates showing images of times gone by. It then occurred to me that cameras had a story to tell and I decided to seek them out.
As time went on, I started seeing the diversity in their designs. About 10 years ago I met other collectors who shared the enthusiasm of wood and brass cameras. They also knew a great deal of the history of pre-1900 apparatus. It was my first exposure to learning the true history of photography, and as a result, I got serious and passionate about collecting. Having been raised around antiques most of my life, I realized that to fully understand older cameras, research needed to be done. And with the explosive growth of the Internet and e-mail, it became much easier to make new acquaintances and learn from those who had already been collecting for years if not decades.
I’m not collecting just to collect; I have very specific themes that give me direction on what to seek out. I want to understand the lore and legacy of the camera itself, to know more than just who made it and the approximate date of manufacture. Each camera has a story that enriches the collecting experience. I want to know why it was made, who it was marketed to, and if there’s any historic background to it. This type of information is beyond what appears in antique references and books.
Pearsall Compact Camera c. 1883 by New York Photographer, Frank Pearsall
Case and point, I acquired a camera earlier this year, an 1883 Compact View made by a well known Brooklyn photographer by the name of Frank Pearsall. The camera is quite rare with only three known examples. The collecting community already knew of Pearsall as a prominent artist and that his Compact View was historically important because it set forth an innovative design pattern that literally fostered in a new era of portable cameras. Was there more to learn, I asked myself? As it ended up, the answer is a resounding “yes!”
Diligent research uncovered a great deal of fascinating information about Frank and Alva Pearsall, brothers who had competing studio / galleries in 1880s Brooklyn, NY. But an unexpected bit of information slowly disclosed itself. Frank had a connection to American baseball in the late 1880s. Aside from being an avid fan, he was also the personal photographer to Henry Chadwick, widely regarded as the “father of baseball.” Pursuing this further, I uncovered information in an obscure book by baseball historian Peter Nash that included a comment by Chadwick noting that, “Pearsall had invented a portable camera appropriate for baseball.” From there it started to come together.
Quta Photo-Machine c. 1904 - 1911 by Quta Camera & Plate Company, New York
From a historic point of view, it simply didn’t make sense for a studio artist to suddenly create a portable camera for use outside of the studio, let alone a design that changed the industry and fostered a new generation of cameras in the 1890s. Uncovering new information like this is incredibly exciting, especially when it links two collecting communities together. And once you start digging deep into the history and legacy of these things, surprises abound.
Ironically, two months after making this connection, I was contacted by a baseball historian doing research for a new book he was writing on a rare series of 1880s baseball cards. He wanted to learn more about the photographic equipment used to create cabinet photographs of players that were used to produce the baseball cards. He also felt it was important for baseball historians to understand the photographic “tools of the trade” that produced baseball cards and decided to include a side-bar in his book on the topic. After explaining what I uncovered about Pearsall and his connection to baseball, the author also found this information exciting. In summary, we both learned a lot and I ended up authoring nearly the entire side-bar for the new book; which will also include a picture of the Pearsall Compact Camera.
Collectors Weekly: Are many of your cameras one of a kind?
Niederman:As I became more immersed in the history of photography, a greater appreciation for rare and historically interesting items grew. It is a common “symptom” with serious collectors; the desire to move your collection up the antiques food chain so to speak. At this time, my drive is to acquire the best rare examples of interesting cameras, especially those that are relatively unknown and have good stories to tell. As it happens, these are often the most difficult to find because very few exist and that other collectors may already have acquired the pieces.
Collectors Weekly:What are some of your favorite models?
Niederman: The camera that really turned me from an aimless collector into a passionate historian is an 1891 model of a self-casing camera by the American Optical Company called the Henry Clay Camera. There are estimated to be three known examples of this particular 1891 model. When first acquired, I didn’t realize its significance or that it had an odd design. Upon realizing that it was an undocumented model and unknown to the collecting community, I felt compelled to find answers. It was hard work at the time because not everyone was using e-mail.
The Henry Clay Camera c. 1891 - 1899 by American Optical Co., Scovill & Adams Co., props
I have a couple other favorites. One is the Pearsall Compact Camera that I spoke of earlier. It’s historically important because this is the camera with a new design that launched a whole new style of cameras. Kind of like the first mini van, that opened up a whole new realm of car design. Part of the love of collecting is that you get these unexpected crossovers. Besides, Pearsall’s camera is simply gorgeous.
Another favorite of mine is an 1882 Blair Tourograph, of which there are also only three examples known. This camera is almost borderline mythical and a good example of a great idea for amateur photographers that was poorly executed. It was made at about the same time as the Pearsall camera, but was unnecessarily complicated for to use. Even though it’s historically important, it was an utter failure as a camera and its design became an evolutionary dead-end.
Another camera I acquired, a Trick Camera made by DeMoulin Bros., is not even a real camera. It’s an early version of a squirt camera. Part of the fun is not being so serious about collecting. It was so silly and fun when I saw it at auction; I decided I had to own it. Even though I like to target pieces made before 1900, I thought, “how can you not love a wooden camera that squirts water?” And the camera really works. One evening I loaded it up with water and tested it on my son. The darn thing squirts about 10 feet with the power of a super soaker! How fun is that? Not everything has to be serious.
Collectors Weekly:How do you find these cameras? Do you research them first or just come across them?
Trick Camera c. 1910 - 1930 by DeMoulin Bros. & Company
Niederman: It’s both. I have themes and a focus as well as a wish list. But I do come across some unexpected items, like the Trick Camera. Before eBay, you had to meet people, scour magazines and visit antique shows. Today, the best way to get the super rare, interesting cameras is through a network of contacts. I do that because I don’t want them to appear on eBay and have to fight over them. The five most recent cameras I acquired had nothing to do with eBay. That doesn’t mean something nice doesn’t show up from time-to-time on eBay, the problem is that eBay has done a great service to collecting communities and educated a lot of people. And it’s good for the seller when a lot of people fight over a highly desired item, yet it can also get to the point where inexpensive cameras sometimes go for a lot of money.
Last year was a bad year for me, I think I only acquired a couple cameras; but this year I’ve already acquired five significant pieces. These latest cameras became available privately through a network of contacts. For example, one collector and close friend is slowly selling off his collection. We have a special relationship and he has kindly given me and a few others an opportunity to pick and choose items that fit our collecting themes. In this particular situation, the seller feels that the integrity of the buyer and his dedication to collecting (as opposed to being a dealer) is an important factor in making a decision to part with a camera. Although it’s a difficult decision to sell any camera, the seller is happy because he can “visit” his former cameras on my website.
Collectors Weekly: Where do you end up finding most of the information about these rare cameras?
Shew Xit c. 1898 by James F. Shew in London
Niederman: The Bible of camera collecting is McKeown’s Price Guide to Antique and Classic Cameras. It is an imposing book and the latest edition typically costs over $100. This reference has become a reliable source for collectors because of the number of people who contributed their knowledge over the years. I am also a major contributor to McKeown’s. There are 12 editions from probably over 24 years. It covers just about the complete history of cameras and includes over 10,000 photos and probably information on over 30,000. It’s a terrific reference, but like everything else it might be right or wrong, and therefore should be treated as a “guide.”
I also try to buy the original catalogs and other references issued by the camera manufacturers. Some makers issued books on how to make photographs. These have a wealth of information and often include large sections of advertisements, articles about the cameras, information about newly issued patents, and profiles of new cameras introduced to the market. You can learn a lot not only from the manufacturer’s ads but from retailers catalogs, so I try to buy as many as possible.
I also get a lot of information from books that have been scanned and presented in Google’s books area. While it takes the challenge out of the hunt, Google’s impressive book search service makes things go a lot faster. You still have to do a lot of work and dig around, but it is much easier today. I also know the technology curator at the George Eastman House and have been out there a couple times to go through their library. I can also email him for research assistance. Another source of information is from my network of friends. The camera collecting community is pretty friendly and we help each other out a lot. There are also discussion boards. Even with the new technology search tools on the Internet, you still have to work hard to search out information on early wood cameras because it’s not like going to Barnes n Noble and looking for a book on Nikon cameras.
Collectors Weekly: How do you keep your cameras in such good condition?
The Clifton Camera c. 1898 - 1906 by E. & H.T. Anthony & Co.
I do what I call preservation. Cameras that are over 100 years old will have dry leather that might need a bit of TLC. Not wanting to cause harm to a rare camera, I contacted some leather and restoration experts for advice on how to care for antique leather. Some cameras may have leather that is already deteriorating, and once started, it cannot be stopped. But I do want to slow the process of deterioration through careful preservation. The problem with getting cameras in the best possible condition is that you end up paying a higher price. It’s not about what makes it expensive, it’s about what makes you happy. As a collector and a historian I’m a purist.
Collectors Weekly: How do you display your cameras?
Shure Shot Detective Camera c. 1897 by Robert H. Ingersoll & Bro. (shown with dry plates)
Niederman: I’m in my office right now, and every camera I own, I can see. I also contracted a carpenter to build a display case, however many are on tables and a couple in book shelves. Nothing is hidden away in drawers. I know people that have over 4,000 cameras, but how do you enjoy them if they can’t all be on display? The fragile cameras are under glass.
I have a rule; any camera I own is on display. If I ever reach a point where I have cameras stuffed away in drawers, I’ll have too many cameras, or too little room. Not everybody agrees with that, but it keeps me from becoming a junk collector. I am also starting to add a couple knick-knacks like ground glass viewers and early meters.
Collectors Weekly: Any other advice for someone just starting out with camera collecting?
Niederman: My advice is really no different than recommendations for anyone new to collecting. First and most important, take the time to learn about what you want to collect and seek out information from others. The more you know the better prepared and protected you are. Focus and spend some time on developing a theme or collecting direction. Don’t collect as an investment because you’ll never win. Collect what you really enjoy and make it something you want to live with, but don’t collect because you think it’s going to go up in value. Just make it fun and enjoy the experience. In many cases, others will not understand our collecting passion, so be patient and don’t try to impress everyone. Finally, join collector groups, read books, and go to shows.
Collectors Weekly: Can you give some examples of “themes”?
Niederman: If someone says they collect cameras, the first question I’ll ask is what kind of cameras they collect. Many collectors do not have a theme or focus, and I’ve heard several tell me that they buy anything with a lens. In contrast, my focus is on wood cameras, preferably pre-1900 cameras – and that’s still a big theme. Although I like to cap off around apparatus built up to the year 1900, anything newer is not considered unless it’s really strange, rare, or historically interesting. I also have sub-themes such as acquiring the very first models of self-casing cameras by each major American manufacturer. After nearly 10 years in pursing this target, I have managed to acquire first version examples made by Kodak, American Optical, Blair, Scovill and others.
Tourograph c. 1880 - 1882 by The Blair Tourograph & Dry Plate Company
This also brings up an interesting collecting conundrum in deciding what first to buy. Collectors often find themselves unable to afford interesting items – including me! One internationally famous collector summed it up best when I asked him about it. His reply was to go after the most difficult and rare cameras first, and after that everything is easier. I found this to be excellent advice that shaped my collecting habits. I became more selective and patient. Instead of buying cameras that I know will appear several times a year for years on end, I put money aside in preparation for rare cameras on my “most wanted” list. I am happy to say the strategy works and I’m enjoying collecting and researching cameras more than ever.
Collectors Weekly: Thanks, Rob!
(All images in this article courtesy of Rob Niederman’s Antique & 19th Century Cameras website)
Hello,
I have a Blair tourograph 8×10 view camera –without a lens—and I was wondering if you know if its worth anything without the lens and if there’s a possibility of me being able to purchase a lens for this camera.
Thanks for your time
Steve S
Hi Steve … sorry about the slow reply. The value of your camera depends on the model and overall condition. The good news is that it is possible to find an appropriate lens for the camera. Feel free to e-mail pictures of the camera and we’ll take it from there. – Rob
Hello: I am building a small model of the eye, which will be enlarged for a large museum exhibit, walk-thru version.
For the model, I am trying to locate a shutter leaf diaphram, one that opens and closes (creating a central occulus) approximating the iris of an eye. From diagrams I have seen, the mechanism consists of, say, 5 shutter leaves whose motion is controlled by a perimeter actuating ring. The drive element can be hand operated (in fact that wld be preferable for the model.)
Do you have a shutter leaf diaphram (it’s size might be 5 to 6″ dia) or can you suggest other sources?
I appreciate your help…….thank you.
Anita M
Hi Anita. What you need is an iris shutter made from an extremely large studio camera. When the shutter is set to “T” (time) to remain open, you can turn a ring (“rimset”) or move a lever and watch the diaphragm blades open and close. Alphax, Betax and Ilex are shutter brands that come to mind, but I am not aware of versions with 5″ – 6″ openings. For example, the largest commonly found shutter size is a “No.5″ (2.5 inch iris opening). A No.6 would have a 3″ opening. Post 1900 shutters aren’t my expertise, but even so, I’m not sure if bigger shutters were ever made. – Rob
Rob: On google, I just found your response to my query about iris shutters! To clarify my request for information: I want to build a small model of the eye, for a much larger version for a museum exhibit. I wanted to obtain an iris shutter, only to use as a template/construction guide. All drawings I have seen are too schematic, and so are not helpful. Do you know of any historical(?)drawings/engineering details, which describe the mechanics of the iris shutter?
I’m wondering if I cld impose upon you to e-mail your response directly to me @ above address. Thank you for your consideration. Anita
I have an antique camera that I am trying to date. The leather handle has the markings of NSCo which I took to be ansco and from which I began researching. I know they were only known as Ansco from 1902 until the later part of the 1920s. I have had no luck dating it or finding this camera’s history. It looks like the Eastman Kodak Brownie camera but an earlier version.
Do you know where I can find a lense for Century 7A Kodak studio camera?
Hi Anita. There a plenty of inexpensive iris shutter (or lenses with iris apertures) on eBay. Taking them apart will give you a good idea on how they work. You e-mail is not in the note, but you can e-mail me directly from my website. Thanks. – Rob
Hi Joy. If you can e-mail pictures of the camera, I should be able to assist in identification. – Rob
Hi Eluria. I assume the camera is 8×10 in format. For a studio camera such as this, you can go with a vintage of contemporary lens. As an FYI, I like the softer contrast of vintage lenses. Portrait lenses in the Petzval formula are very nice for portraits (if you like softer edges and some light drop off). Otherwise, vintage and contemporary lenses often appear on eBay. I also have a Ross No.3 Cabinet that might cover 8×10, but would need to check. -Rob
Good afternoon. While cleaning in a family members attic, I found a Kodak Ektagraphic EF VisualMaker in excellent condition, complete with all original accessories and gray carrying case, also in perfect condition. I could find only one other for comparison on the internet, and that was on Ebay. I was wondering if you knew anything interesting about this item and curious of its value (if indeed there is any) and how to best go about advertising it for sale (besides Ebay).
Thank you,
Ryan
Hi Ryan; Sorry, I don’t have information about the Ektagraphic EF VisualMaker or it’s value. – Rob
I have a 5×7 rapid rectilinear field camera optical lens by Wollensak Co.
It is still in the orginial box, has two plates and the hood. I was wondering if this is worth anything and how would I go about selling it?
It is my parents camera and they wanted me to see if it was of any value.
e-mail address is sshima@nc.rr.com
Thank You Janet
Hi Janet; The information you provided appears to only be the lens/shutter of the overall camera. These were popular and sold on many different types of cameras. I can assist if you e-mail pictures of the camera. Refer to my website for the e-mail address to contact me. – Rob
Hello.
Looking directly at the front of the camera,I am seeking the right hand locking unit,& central’springy’pull for an otherwise mint Sanderson Junior plate camera. Can you assist, or point me in the direction of someone who can? For any and all help, thank you.
Roger
Hi Roger. Try contacting Lionel Hughes (a well known U.K. based camera dealer) at: lhp@glowbox.demon.co.uk … he probably sees a lot more Sanderson cameras than we do in the U.S. – Rob
Although this is about a wooden enlarger I am wondering if you know or can point me to find out more information about a solid wood enlarger in beautiful shape made by ansco company I am guessing from 1907 -1928. I can not find any information on the internet on antique darkroom equipment.
Thanks!!
Amber
Hi Amber. Unfortunately I am not aware of any references or other information about vintage enlargers or darkroom equipment. – Rob
I have a Century Studio Camera #7A on a #1A Semi Centenial stand. It is frome the Eastman Kodak Co. The shutter says #5 Universial Sync. I would like to find out more about it and what it might be worth. Thank you for any input.
Darlene
I was given this old camera recently and I am trying to find out something about it. It is marked Kodak Master Camera 8×10. It has bellows and folds up. It appears to be very old. Most interesting is the lens that is attached. It is marked Carl Zeiss Jena, Tessar, Nr. 3550474, 1:9 = 375mm.
I know nothing about cameras or lenses. I find lots of info re Carl Zeiss Jena, but nothing about this particular size. Can you help me? Thanks for any info. Janet
Hi Darlene: Century studio cameras were popular ‘work horses’ used from 1904 through the early 10’s. Many of these cameras were used for decades and the Universal Sync shutter is probably something that was added much later. Value is very much a consideration of completeness, condition, and usability. Century studio cameras do not have much appeal to collectors because of the display space needed. For example, I’ve seen many fine Century Studio cameras on stands fail to attract interest at $250 – $350. At this time, there is a renewed interest in large format film work by a small group of users. However, they are looking for something very inexpensive to see what it’s like to shoot vintage equipment. – Rob
Hi Janet; The Master View is a metal bodied large format camera that replaced the wooden 2d (1920s – 1950s). The camera is much newer than something I would normally research, but a quick check on the Internet yielded lots of information. It appears to have good value even in this digital age – but I’m not sure why. And most websites cite dates in the mid-1950s. Lenses were chosen by each photographer, but a ’standard’ 8×10 lens is typically 360 mm. This means that the Zeiss Tessar is the appriate size for the camera. – Rob
My father was a camera buff. He left me a wooden box camera in really good condition. I am trying to find out about it. Blair Camera Co. manufactured Boston Mass USA. On the outside of the wooden camera it has a sticker CornBelt Exposition Sept 28th to Oct 6th. Inside when you pull the plates out (total of 5 plates) on the plates it states patented May 15, 83. Do you know what the worth would be or give me some idea
Hi Anne; Blair cameras are among my favorites. Unfortunately I’ll need need to see JPG images of the camera to assist. Blair-as with most any prominent American camera company-made hundreds of cameras and model variations. The vast majority of Blair cameras are inexpensive models, yet there are a rare few with significant value. Go to my website (www.antiquewoodcameras.com) and use the e-mail link to send images. I look forward to seeing your camera. Be sure to take good, clear shots showing the various sides. And of course I would love to see a pic of the CornBelt Exposition sticker! – Rob
i have a antique wood developing exposer box dovetail in excellent shape i am wondering who built this devloper and what year they started using electricity it has mazda light bulbs and the craftmanship of the box is extremly well done the only marking i have found is on the switch
it seems to be around 130 yrs old.the guides for the photo appear to be silver. i can send a email with pictures
thank you
Hi Jerry; There were quite a number of these boxes made in a variety of countries. It would be best to e-mail me pictures. – Rob
Hi, I recently purchased a Kewpie 2C which requires #130 Eastman film or #260 Vulcan film. Do you know if I can still get either of these film sizes??
I’ve looked online without any luck so far. Or are there any substitute sizes that would work in a box camera? Other than no film, it’s in really good condition and I’d love to use it!
Thanks, Amanda
Hi Amanda; If you haven’t already done so, maybe contact “Film for Classics” (www.filmforclassics.com)? I don’t see 130 rollfilm listed but suggest contacting them regardless. They might be able to do custom spooling or suggest options. – Rob
Hi
I have acquired a mahogany bellows stereo camera with the plate of ‘Ross London’ on the front.
The aperture size is 7 3/4 inches by 9 3/4 inches.
I cannot seem to find any reference to it any where have you any ideas?
It comes with two telephoto lenses and the focusing is by the front rack and pinion.
I have looked in the McKeown’s guide, nothing. We are beginning to wonder if it is a prototype.
I have a kewpie 2c camera. Can someone please tell me where I can take this particular camera to be properly cleaned and get ready for use.
you can email me at hoookline_sinker@yahoo.com
Hi Elaine; Ross is one of the earlier English builders but around for a long time. McKeown’s price guide pretty much tracks cameras with verifiable sales, therefore not all models are listed. Wood cameras are not as well documented as later apparatus, yet the presence of a maker’s label would confirm your camera to be a production model. Interestingly, many early stereo models were made by other builders (such as Ottewill) to Ross’ specifications. As a suggestion, check with Lionel Hughes a well known U.K. dealer. He can be found in a Google search. – Rob
Hello,
T have a rochester NY. wood camera with aunicum lens,boush&lomb opt pat. jan 6,91. pony premo d.It is in mint condition nothing broken. Also has a slide for it. Where can I find more about this camra?
Hi Tammy; The camera dates to around 1900 and is stereotypical American self-casing camera. The “Pony” series of cameras was sold as a lower end version of the well known Premo series. The Unicum shutter with Bausch & Lomb lens was standard. If you would like an estimated value, feel free to e-mail images of the camera. – Rob
Greetings,
I own a R O & C Co Tele-Photo Cycle POCO B 4×5 passed down from my father.
The leather on the body and red bellows are in good shape. The lenses are
Bosch & Lomb. There are two glasss negative holders and a film pack
adapter (last used by me in the 50s). The leather case leaves something to be desired since it has dried out and the lacings have broken. There is also a Wollensak wide angle lens. Should I put it on eBAY?
Hi John; The condition of the camera itself is more important than the leather case. The specific model is not historically important or valuable, but there are always collectors looking for nice examples. If you send me images, I can assess the value and then you will have enough information to decide if eBay is a good place to sell. Then again, eBay has been a pretty good venue! – Rob
Hi Rob;
I was wondering if you knew the value on a historic camera of E.H.T anthony .I think it is a anthony wooden bellow plate camera no tripod with it.it does have the gold plate in front with the E&H.T.logo the bellows are dusty but not rip or torn..Glass is fine Lens intact .Can you tell me anything about this camera .There is one on ebay now that is the exact same but with a tripod.
thank you
LInda
Hi Linda; I’ve owned numerous Anthony cameras and tracked their value for many years. However given the number of different models (and variations), it would help if you could e-mail images of your camera. Although the camera might look like the one appearing on eBay (either an NPA or Champion), there could be subtle differences (i.e. lens, condition, format size, model variation) that influence its value. For example, the eBay camera is in fair condition and has a lens that probably came from a “New Model View” by an Anthony competitor (Rochester Optical). It should instead have an Anthony lens with ‘EA’ marking, or better yet, an Anthony Achromatic ‘cone’ style lens. – Rob
Sir: I was given in 1965 a wooden Kodak enlarger. I was told the enlarger
was made in 1929. How can I get info on this item.
Hi Estban; Unfortunately I do not have information about Kodak enlargers and not aware of any references or resources to assist. – Rob