dennis2146 Loc: Eastern Idaho

When you mentioned the Wisner name I recalled I have two wooden field cameras, one fairly heavy and the other much lighter, both 4X5 format and both in great condition, one looking as if it had never been used at all. I am pretty sure one is a Wisner and I can't recall the name of the other or the lenses for each one. I am in Colorado and the cameras are back in Idaho. It may be a month or so before I get back to Idaho. I have a 120 film back for 4X5 cameras so hope to put them to use sometime soon. One of my favorite uncles was a photographer and gave them to me before he passed away last year.

Dennis

JBuckley

For many professional wedding photographers. That simple camera, was their go-to tool for weddings. Our wedding (in 1968) was recorded, exclusively, with that camera.
The photos we received from the photo studio were simply, (I believe), color contact prints, and were not blown up in the darkroom.
Very sharp shots.

JBuckley

The negatives from that camera, appear to be (seen in the background), at least 4 to 5 inch films.

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Unless you mean a few posed studio group shots, then theres absolutely no way your wedding was shot with anything like that.

How would I know, if I wasnt there .......

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No, they are actually a bit smaller.

How would I know, if I wasnt there ......

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Youre kidding, yes ?

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As with a skeleton, is no "inside". WYSIWYG.

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That size was quite common. If it were too weird, Kodak wouldnt be making film for it. Kodak even made pack film in that size for normal press cameras. There was even roll film in that format.

The OP says he has some Plus-X for it.Thaz modern film. IOW the format was in regular use looooong after that camera was built.

imagemeister Loc: mid east Florida

The only 3 1/4X4 1/4 I have seen are the Graflex versions (circa postwar) and NEVER seen/heard of anyone actually using them - just sayin....so, not very COMMON .....and it is too weird - Kodak making that size film is why they are out of business now ! 8-(

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Its a pretty crude build even for its era, so its unlikely to have an identity that shows in the historical records. It appears to lack even a drive mechanism for the focus. Nearly all of the names of any significance were absorbed into Kodak and so a lot of info was preserved. By its construction I think your maker was a rather casual small shop such as a sideline of some cabinet maker or a similar trade.

imagemeister Loc: mid east Florida

Definitely NOT a high-end camera/lens

MJPerini

Sheet film was readily available in 2 1/4 x3 1/4. 3 1/4 x 4 1/4 , 4x5 5x7, 8x10 11x 14" 8x20" & 12x20" off the shelf until about the 1960's then many sizes were special order or got rare.
Since it is a film camera (not glass plate) it is probably from the 1920's through 40's
It would not have a graflock back so could not take roll film, it does not have front focus or front movements other than what appears to be a bit of rise & fall. Something like a Home Portrait Camera
It appears to have non standard film holders which pushes it more toward the 1920's 30's
Graphlex made press cameras in most of those sizes

It is a nice 'curiosity. but not worth much. (if the bellows & Film holders are light tight you could put film in it)

Re Fred Picker, he first sold a rebranded (Wista or Takihara), then made a deal with Ron Wisner who made fine cameras but rarely delivered on time,(Ron even made a 16x20) so Fred made his own very fine cameras in 4x5 & 8x10 and even did gold plated hardware--- I still own one of those, a beautiful folding camera with great movements and interchangeable bellows. All the cameras he sold were good cameras

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You would hafta look closely, but it does have front focus. Maybe its not overly visually clear to see it, but what *IS* visually very clear is that it does NOT have any rear focus, so what would that tell you ?

Timmers Loc: San Antonio Texas.

Loads of information for you to read and be thrilled about, fun to read but much of it in the words of the period of this camera's creation, "Pure Guff".

Film. It would take either glass plate or sheet film. Your photo shows both. The film "size". This 'film' size is referred to as Lantern Size. Tis referred to the pre- photography era when images (not photographic) were projections of glass plate images projected by a device referred to as a Magic Lantern, illumination was by a candle or a liquid with a wick. Fast forward to post WW II, Edwin Land adopted this size for his early Polaroid cameras and later gave the film a name calling it as Pack Size films. Today, Fuji makes the same size film to fit into the backs of the old Polaroid cameras and holders tat use Pack Size films. In science, as a glass plate vary slow emulsion (slower than modern photographic print paper) is still available in this size called AR Plates (Auto Radiograph Plates, two types, with and with out contrast).

The camera body was made both as the size you give and as a 4X5 inch film/plate. It is referred to as a folding camera because it folds up flat.

Obscure literary reference, The Handbook of Photography has probably the most detailed and accurate reference source of lenses and shutters ever published. Assembled by the University of Texas, Texas A&M University, this was the primary text produced by the university as a text book for all levels of photography. ne f it's editors is the famous Dr. Mees, director of the research arm of Eastman Kodak and the brains and force behind Eastman Kodak Co. The many other editors reads like a who's who of photography between the two Word Wars and into modern times. The book details all aspects of photography, including chemistry, flash, artificial light and shutters and lenses. The review on optics and optical development is extensive and accrue.

The lens you have is the Plano Anastigmat. meaning that it is a well designed lens that is corrected for the red region but being of an Anastigmat design it is mainly corrected for the green region. It is of the original Zeiss Tessar design, vary typical of that period.

The shutter is the best for environmental (and scape) work design. It is referred to as a pneumatic piston design. One places the camera (shutter/lens) into the environment and let it acclimate to temperature and humidity. After tis te shutter is set for One Second. The shutter is cocked and the moving brass cylinder is allowed to move easily in the steel tube that it is housed in. After a second or so the shutter is released. The travel time is then observed, if it is traveled the one second (second hand watch is necessary) that the shutter selector is set to all is ready. If the time is slower or faster there is a small flat blade screw on the front of the shutter, usually to the left of the lens outer ring and close to another screw that anchors the lens closed. This screw will easily turn right or left allowing resistance f the shutter to be adjusted faster or slower. The brass travel cylinder needs to be allowed proper time to travel through the steel cylinder so that it settles and an accurate travel will occur. The beauty and power of this type f shutter is that regardless of temperature AND humidity conditions the shutter can be adjust to produce accurate timed exposures in 130F to -50F, The other great advantage is the lack of any vibration from the shutter. The user can 'repair' a fault cylinder by dis-assembling the shutter and use extremely fine emery cloth (600 to 900 grip) polish the brass plunger and wiping the wear particles out of the steel travel cylinder, then re-assembling the shutter (this of course is a last resort necessity done only rarely).

Watch the bellows, they are old and fragile. The value of museum quality gear is that it is original. Keep the camera partly open, but never fully extended to insure the best for the old leather.

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What youve seen or heard has nothing to do with actual facts. Bluntly, you know nothing. Nothing of RB Graflexes, pack film, nor 118 size roll film. Beats me why youre posting anything at all.