2026-08-21 Brian's Plastic Cameras—The Elgin and The Argus Super Seventy-Five—Part 2 of 2

Returning to the Elgin Miniature camera because its film system was pretty clever.

    As you can see the camera seems extra wide for its depth.

    That is because the camera has a narrow film frame. The clever manufacturer didn’t waste the space. Instead they used the space between the gate and the feed spool to store an extra roll of film. But that doesn’t answer why they had to design the camera that wide to start with.

    The answer to that question is the pair of film exposure windows marked “A” and “B”. 
    The frame numbers are placed in rows on the paper backing back of the roll of film. Each row has a different spacing for the numbers. One row would be for eight 4 x 6 cm images. The other row was for twelve 4x4 images. 
    But what would happen if you wanted exactly half the 4x6 cm image?
    You could label two windows A (on the right) and B. The film is feeding from right to left, so if you stop with the number “1” in the A window the film is lying with the leading half over the internal film mask. After taking the first image you can wind the film on so the number 1 centers in the B window. This should give you two 1.6 inch H x 1.2 inch W  (4 x 3 cm) images on each 4 x 6 cm frame. You wind on to 2 in the A window for the third exposure. Then 2 in the B window gives you the fourth exposure.     Using this spacing you would get 16 exposures a roll.
    Only the frame numbers are critical. The lead in arrows and wind off dashes can just stream through both windows as you load and unload.
    It is no small feat to get twice as many photographs from a roll of film!

    The back is clever having two different sized latches so the back has to go on only one way around. See how one end has two studs running lengthwise and the other end has two latch studs running perpendicular. Both latches are spring loaded so the design was pretty clever.
    

    Unfortunately the back is also so thin and poorly fitted that the middle of the back springs a gap. You can get a better fit by repeatedly going around the back pressing the edges together.
    And while on the subject of things not right—the image showing the front of the camera shows the slightly rectangular viewfinder chrome frame in landscape orientation. It is a simple matter to remove the surround and replace it so it makes the display vertical to match the interior film chamber.

The Argus Super Seventy-Five

Although the Argus Super Seventy-Five was mentioned first in the list off the top of Part 1 it wasn’t really featured in the rest of the piece, That was an oversight that will be corrected here.
    There is a difference to American cameras. Particularly inland cameras made away from Kodak and Polaroid influence. Originally founded as International Research Corp. in Ann Arbor Michigan they changed their company name to Argus, the name of their popular cameras.
    The Argoflex twin-lens-reflex-style cameras started in 1940 with an focusing three element f/4.5 / 75 mm Varex Anastigmat. The camera had shutter speeds of T, B, 10-200 sec. Four cameras later with the Argoflex 40 they had stopped coupling the focusing to the fixed viewing lens.
    In 1949 the first of the Argus 75 cameras was introduced with a plastic body and fixed focus. This line had an Australian version!
    It should be noted none of the Argoflex cameras are considered collectable. They can be purchased for between $1-10 dollars. But then we get the Argus Super Seventy-Five introduced in 1954 and sold for four years. These cameras were selling used for $15-25 (compared to the earlier cameras, but not considered a valid price now).
    You have to hold a Super Seventy-Five in your hands and play with it. Although mostly made of plastic it feels really substantial in your hands.

    Opening the hood to use the brilliant viewfinder is smooth and the view is shockingly clear.

    Printed inside the hood shield there are instructions for average conditions and for flash pictures.

Noting on the flash instructions the reference to “Match the f/NO color to the footage color”…

    You can see the distance scale has green (f/8 in the aperture scale under the lens (to the right in the image)) working from 12-18 feet. Red (f/11) works from  9.5-12 feet and yellow (f/16) works from 6-9.5 feet. You do have to guess the distances because the viewfinder has no focusing aids, but once decided on you can custom set the camera up for that flash shot. It must be mentioned the focus action is outstanding for smoothness.

    And speaking of smoothness the press into the body vertical shutter release is smooth too. The lack of a cable release is a tad irritating, particularly because the camera does have a tripod fitting and the shutter only has Time and Instant. Not shown is the shutter has a red blade showing from the front that tells you the camera shutter has been fired and you have to advance to the next exposure.

    Inside the camera in the film take-up spool compartment there is this relatively massive shutter cocking arrangement. Advance the film wind knob a fraction of a turn and the shutter is cocked for the next exposure! Simple, brilliant and extremely well made to boot!

    While inside the camera film area note the robust and well finished film feed roller just before the film gate. The film comes off the roll in the bottom of the camera and has to turn 90º to advance up to the take-up spool at the top of the gate. The top of the film frame doesn’t have the same roller and attention because the film is feeding in a straight line to the take-up spool.

    Note the beautiful curves and finish to the body design. That dimple in both the hood and the body makes opening the hood natural and easy… 

…as well as sheltering the film back latch from accidentally opening. You have to really pry that tab up to release the back but closing the back is as simple as pressing the back shut until it snaps in place.

    While on the subject of brilliant engineering look at this latch for the flashbulb holder (sold with the camera).     The bulb has two pins that slide down that bronze claw forcing it back until the pin reaches the end of the slot.

    Then the claw can snap down trapping the bulb in the socket. A red button on the top of the flash holder opens the claw and the spring loaded base contact pops the bulb out. While you are here, admire the fine finish and robust screw heads. All the hardware on the camera is well made and well finished.