rassa5 wrote:
I am trying to identify this old camera which belonged to my father, and I have had for many years. It has no identifying marks at all. It is approx. 6 inches square, when folded and has removable wooden film holders for either glass plates or film, 3 1/4 inch * 4 1/4 inch size.
Around the lens it says "Aldis Plano Anastigmat 68 No. 2A. I also have the original wooden tripod, and carry case. There is a leather strap at the top of the camera for carrying it.
Is it worth anything?
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.