GRAFLEX Cirkut User Manual

VOLUME 14 ISSUE 3 THIRD QUARTER 2009

GRAFLEX
HISTORIC

QUARTERLY

FEATURES

No. 5, No. 6 and No . 16 Cirkut Cameras by Bill McBride…………...1
The 3 1/4 x 4 1/4 Speed Graphic of 1935-1939 by Ken Metcalf….…..5
GRAFACTS….Graflex Slave/Sync and Graflex Booster/Analyzer
by Bill Inman………………………………..……………..…….7

Speed Graphic article, xl advertisement...………………..……....Insert

Since 1996

No. 5, No. 6 and No. 16

Cirkut Cameras

By Bill McBride

Part 1

T

his article (previously published in The Photographist)
covers the Nos. 5, 6 and 16 Cirkut Cameras. Future articles
will cover the No. 10 Cirkut Camera and the No. 6 and No. 8
Cirkut Outfits.

The No. 5 Cirkut Camera (Figure 1) was first offered in 1915
and was available until 1923. It was the smallest and most
compact Cirkut manufactured. William F. Folmer of the Fol­mer & Schwing Division, Eastman Kodak Co., applied for a
patent in 1915 and received it (number 1,251,494) on January

1, 1918. The No. 5 Cirkut patent has the best detailed draw­ings of any Cirkut camera, and sheets from this patent are in­cluded as Figure 2. It was manufactured by the Folmer &
Schwing Division of the Eastman Kodak Co.

The No. 5 Cirkut was provided with a triple-convertible Gund­lach Manhattan Optical Rapid Rectigraphic lens with 6¼", 11"
and 14" focal lengths. A rising and falling front is furnished to
balance the negative for the required sky and foreground. The
body of the camera is constructed of selected mahogany, with
all exposed wood parts ebonized to harmonize with the rich
gun-metal finish of the exposed metalwork, and the camera
body is covered with the finest grade of Morocco leather.

An internal spring mo­tor, which revolves the
camera on the tripod
head and winds the
film, is controlled by
an internal variable­speed governor. Expo­sure speeds that range
from 1/2 to 1/12 of a
second are regulated by
a dial and pointer, and
a release lever that
starts and stops the
exposure (Figure 3).
Also shown in Figure 3,

are the nine pinion
gear wheels, stored
along with the wind­ing key, in a “pocket”
on the right side of
the camera. An indi­cator on the body top
shows, in inches, how
much film has been
used during an expo­sure. The back panel
is provided with a
perforating button to
mark the film when

Figure 1. No. 5 Cirkut Camera made by the Folmer &
Schwing Division of Eastman Kodak.

Figure 4. The No. 5 Cirkut with the back
open, with the ground glass in position to
focus.

Figure 3. The No. 5 Cirkut Camera
open, showing gear storage compart­ment, governor speed control dial, and

making more than one picture. Figure 4 shows the camera back
open with the focusing ground glass in the focusing position.
The back panel will not close unless the ground glass is shifted
to the right to reveal the vertical exposure slot. One disadvan­tage of this model Cirkut is that the photographer cannot refo­cus once the film has started through. The No. 5 Cirkut could
use 5" film, up to 42" in length. The No. 2 Crown tripod legs,
along with a geared 7-inch diameter aluminum tripod top, were
provided for the No. 5 Cirkut, and the bellows length is 12
inches.

There were approximately 400 No. 5 Cirkuts produced, in at
least two batches, where the first production run in 1915 con­sisted of approximately 100 cameras that had serial numbers of
434xx, and the largest cluster of these cameras had serial num­bers from 467xx to 469xx, where, in 1918, a total of close to
300 cameras were manufactured. The No. 5 Cirkut serial num­ber was stamped on, and located inside on, the fold-down front
bed at the rear center. The camera and all its apparatus came in
a single sole leather case weighing 19 pounds.

The 1915 Graflex catalog had the No. 5 Cirkut priced at
$100.00. The 1917 Standard Photo Supply Catalog, Eastman
Kodak Co., New Orleans, listed the No. 5 Cirkut complete out­fit at $118.00. The 1920 Graflex catalog priced the No. 5 Cirkut
at $151.59 (an odd amount!), where a 5" x 42" white label roll
of Cirkut film sold for 85¢*. The 1929 Central Camera Com­pany of Chicago catalog had the No. 5 Cirkut listed at $83.65,
to dispose of the cameras that
they had left in their inventory.

The No. 6 Cirkut Camera
(Figure 5 and Figure 6) was
the same general design as the
No. 5 Cirkut, but used 6" roll
film and was manufactured by
the Folmer Graflex Corpora­tion of Rochester, New York.
Folmer Graflex realized that
the No. 5 Cirkut was limited to
42-inch lengths of film, so the
No. 6 Cirkut was made to ac­commodate roll film up to 15
feet long. The No. 6 Cirkut
was supplied with a Wollensak
Anastigmat Series IA Raptar

triple convertible f/7.7 lens
of 7", 10" and 15½" focal
lengths. The No. 6 Cirkut
was sturdily constructed of
selected mahogany and
brass. All outside wood parts
were covered with black
grained Morocco leather,
and the metal parts were
mounted on the top of the
body and finished in dull
gray duco. A convenient

Figure 5. The No. 6 Cirkut Cam­era, showing the extra sharp
Wollensak triple convertible lens.

Figure 6. The No. 6 Cirkut open,
exposing the nine pinion gears.
Notice it is taller than the No. 5
Cirkut shown in Figure 4.

spirit level was provided to level the camera. The tripod setup
for the No. 6 Cirkut was the same one used on the No. 5 Cirkut.
The No. 6 Cirkut camera, complete, was fitted into a single
well-made, very sturdy wood case that was covered with a cloth
imitation leather material on the outside, and the inside com­partment surfaces were lined with a purple velvet fabric. The
outfitʼs total weight was 23 pounds. There were a total of 127
No. 6 Cirkuts manufactured. The serial numbers of the No. 6
Cirkut were 178529 through 178653, 180454, and 180455,
where they were available from 1932 through 1949. To find the
No. 6 Cirkut serial number, open the camera back, and it will be
stamped on the body wood at the bottom, in front of the film
winding drum. In 1932 the No. 6 Cirkut camera was priced at
$275.00, and in 1938 it was listed at $293.50, where the net
price was $205.45. In 1932 a 6" x 15' roll of non-curling day­light film could be purchased for $4.35, while Verichrome, in
the same size, cost $5.20.

The No. 16 Cirkut camera was the largest Cirkut roll film cam­era commercially produced. The article on the No. 10 Cirkut
will describe the merger of the companies that manufactured
the No. 16 Cirkut camera. There were two types of No. 16
Cirkuts manufactured; one that used air-resistance fans to con­trol the camera rotational speed, and the other which utilized an
internal variable-speed governor to control the camera rota­tional speed.

The first No. 16 Cirkut, a fan-type, was manufactured by the
Rochester Panoramic Camera Co. in 1905. The camera came in
three carrying cases, one for the body, one for the back and one
for the tripod and gears, where the whole outfit weighed 90
pounds. The tripod top was 20 inches in diameter, and it pro­vided a flat surface for the rollers on the camera bottom to ro­tate. A triple convertible Turner-Reich Anastigmat lens made
by Gundlach-Manhattan Optical Co. was supplied with 15", 24"
and 36" focal lengths. A set of nine camera gears (three for each
focal length) was furnished, along with five air resistance fans
which provided shutter speeds of 1/3, 1/6, 1/10, 1/25 and 1/30
of a second. This No. 16 Cirkut was the only one made that had
an adjustable exposure slit of 1/8", 1/4" and 1/2". The camera
was constructed of mahogany and covered with Morocco
leather. The exposed wood was varnished natural, the metal
parts nickel plated, and bright red leather bellows (39 inches in
length) were provided for this camera. The lens could be raised
or lowered to arrange the amount of sky or foreground required
in the picture. The lensboard could be tilted when making nega­tives of groups of people where the subjects occupied several
rows, to get these rows in the proper perspective in the picture.
The film back was provided with a perforating button to mark
the roll film when taking more than one picture. The film made
available for the No. 16 Cirkut was 8", 10", 12" and 16" in
width up to 20' long. When using the 36-inch focal length lens,
a 360-degree picture would produce a negative 18 feet long.

From 1905 to 1907, the No. 16 Cirkut was manufactured by the
Century Camera Company of Rochester, N.Y., who purchased
the Rochester Panoramic Camera Company in 1905. The Cen­tury Camera Co. No. 16 Cirkut was identical to the Rochester
No. 16 Cirkut, except that the exposure slit was fixed at 1/4" in
width, and three fans of 1/3, 1/6 and 1/10 of a second shutter

2

speed were pro­vided instead of
five fans on the
previous version.
Figure 7 shows the
front view, and Fig­ure 8 illustrates the
open film box of a
Century Camera
No. 16 Cirkut. In
1907 the Century
No. 16 Cirkut was

priced at $425.00,
or the same could be
purchased without
lens and shutter for
$350.00. A roll of
film 16 inches by 20
feet was listed at
$12.80.

In 1907 Eastman
Kodak Co. created
the Century Camera
Di vi sion wh i ch

manufactured the
next version of the
No. 16 Cir k ut
(Figure 9). The No.
16 Cirkut made by
the Century Camera
Division was the
same as the one pre­viously produced by
the Century Camera
Co., except that the
scissors-type mecha-

nism, for raising and
lowering the lens, was
redesigned to use a
rack and pinion-type
mechanism. Also, the

spring for the motor

was made larger and

more powerful. To

focus the camera, the

film box is removed,

and the internal

ground glass is ex-

tended as shown in

Figure 10. The fan-

type No. 16 Cirkuts

had a wide range of

serial numbers, so it

appears the company
manufactured cameras
when they received
orders for some.

The Century Camera Division redesigned the No. 16 Cirkut
about 1915, to replace the air fan speed control system with
an internal variable governor speed control system which had
speeds of 1/2 through 1/12 of a second available. The speed
control dial and start and stop lever were similar to the one
shown in Figure 6. The camera was made of mahogany cov­ered with Morocco leather, the exposed wood parts were
painted with an ebonized finish, and exposed metal parts
were oxidized to give a nice gun metal-type finish. This 1915
governor-type model serial number range appears to be
68370 through 68390. The Century Camera Division catalog
listed the No. 16 Cirkut, complete, at $425.00 or without a
lens and shutter at $350.00. The 1916 Graflex catalog listed
the No. 16 Cirkut at $629.85, where a 16" x 20' roll of film
was available for $15.20.

In 1917 the Folmer & Schwing Division of the Eastman Ko­dak Co. manufactured the same governor drive No. 16 Cirkut
as the Century Camera Division of Eastman Kodak Co. The
only difference was the nameplate. The Folmer & Schwing
Division produced the last batch of No. 16 Cirkuts and of 36
governor-type cameras in 1917, which had serial numbers
ranging from 80737 to 80772. The 1917 Standard Photo Sup­ply Co. catalog, Eastman Kodak Co., New Orleans, had the
No. 16 Cirkut, complete, priced at $445.00 or without lens
and shutter at $370.00. In 1920 the roll film of 16" x 20' cost
$15.20, which included the war excise tax. The Folmer &
Schwing No. 16 Cirkuts were available until 1924.

Because the No. 16 Cirkut was listed in catalogs from 1905
through 1924, it would appear that many were made, but it
was bulky to handle, and it was an expensive camera to pur­chase for the average photographer. Just how many No. 16
Cirkuts were manufactured is not known, but from informa­tion that exists, the total production of the No. 16 Cirkuts,
which includes the fan and governor speed control types, is
approximately one hundred cameras. There were about 43
fan-type and 57 governor-type No. 16 Cirkuts constructed.
Nearly a third of them have survived today.

The text is based on the best information and materials avail­able at the time of writing. The writer would appreciate any
additional information available and/or comments on this
article. Bill McBride, [phone] or [e-mail].

*On the Cirkut Cameras, the exposure slot is in the back of
the film box, while on the Cirkut Camera Outfits, the expo­sure slot is on the front of the film box. Thatʼs why the films
are wound differently for each type of Cirkut Camera.

Figure 7. The Century Camera Co. No. 16
Cirkut.

Figure 8. The Century Camera Co. No. 16
camera with open film box.

Figure 9. The Century Camera Division of
Eastman Kodak Co. No. 16 Cirkut front
view. Notice that the scissors mechanism
shown in Figure 7 has been deleted.

Figure 10. The No. 16 Cirkut with the film
box removed with the ground glass ex­tended to focus on the next picture.

3

Figure 2.

4

The 3¼ x 4¼ Speed Graphic of 1935-1939

By Ken Metcalf

R

ichard Paine, in his essential Graflex book, A Review of
Graflex, wrote that “The 3¼ x 4¼ Speed Graphic appears to
have been reintroduced [ten years after the “top handle” was
discontinued in this size in 1925] for the purpose of providing a
more economical size than 4x5. It could also have represented a
practical effort to compete with European and especially British
markets, where 3¼ x 4¼ was most popular.” I think both state­ments are true. According to George Eastman House Curator,
Todd Gustavson, in 1935 the price of film was about 25%
higher for 4x5. Regarding foreign competition, press photogra­pher historian Reg Holloway writes that the 3¼ x 4¼ was in­deed popular in Britain and elsewhere in Europe. Although I
have not been able to find specific evidence about U.S. compe­tition, the Zeiss Ikon Ideal and the Linhof Technica appear to
have been popular. If readers have information on this issue,
please let me know.

During the cameraʼs five-year life, approximately 5,600 were
produced, while for a comparable time, approximately 12,000
4x5s were produced. Although less than half the production of
the 4x5, I would consider the camera a success. It was sold in
both the Graflex retail catalogs and the Kodak professional
catalogs. The format, including its generous 12ʺ focal capacity,
was successful enough to be carried forward to the Anniversary
model of 1940.1 Also, see the insert for an announcement in the
1935 issue of The Camera magazine.

Graflex improvements and new products made their mark on the
camera: First, it initially took only Graflex-style film or plate
holders; second, it started with a fixed lower lensboard retaining
bar before it became adjustable; third, it was fitted with a short­lived 2¼ x 3¼ revolving back; and finally, a lock for the focal
plane shutter, vernier focusing scales and a parallax-correcting
tubular viewfinder were added in its last year of production
(Figure 4)2. The camera was introduced with an accessory uncou­pled Leitz rangefinder (Figures 1 and 2)3, then, along with its 4x5
sibling, a coupled rangefinder
from Kalart and others, and
finally, during its short life,
flash synchronization was in­troduced and fitted to the cam­era by Kalart and others. In
1934 and 1935, a direct reading
light meter (GHQ Volume 13,
Issue 2) could be purchased as
another accessory for all Graflex and Graphic cameras (except the
National). Add to this an auxiliary wide-angle bed (GHQ Volume
8, Issue 2), and the purchaser had a wide range of options.

A physical comparison of the 4x5 and 3¼ x4 ¼ cameras shows
that the tracks, plus speed and tension mechanisms, were the
same, as well as other minor parts. Although some major parts
were interchangeable with the 4x5, it is clear that Graflex com­mitted substantial time to developing this format.

First, the Graflex-style film and plate holders. The 1948 8th edi­tion of Graphic Graflex Photography states that “The first 3¼ x
4¼ models, which appeared in 1935 and 1936, were equipped
with a Graphic Back designed to accept the Graflex rather than
the Graphic holders, which were not available at that time. Cam­eras of this model supplied after 1936 have the standard Graphic
Back for Graphic attachments.” Actually, according to the 1935
Graflex catalog, the camera could be fitted with either the Graphic
or Graflex back, thus allowing the Graflex-style holder to be used
with either back. If fitted with the Graphic back, you received a
spring back with a velvet-lined opening and a vertical brass ridge,
both standard features of the Graflex back. The Graphic back ac­cepted only the standard Graflex-style holder.

According to Graflex employee Tim Holden, because Graflex did
not anticipate a large demand for this format, they did not initially

Figure 1

Figure 2

Early and
late focus­ing scales.

5

produce Graphic holders in this size. Tim also thought that there
were a lot of complaints about tearing the velvet, and that the
ridge was not high enough to keep the holder in place. Given that
Tim started working for Graflex in 1935, it was hard to disagree
with him. There is some evidence to suggest that Graflex removed
the velvet lining while retaining the Graflex holder feature. It is,
however, possible that Graflex wanted to standardize their holders
by eliminating the Graphic-style. A definite oops! There are some
cameras within the following serial number range that do not have
the Graflex-style back, which could be due to a later conversion.
If you have a camera with a serial number between 185403 and
197082, I would like to find out the type of back.

Second, the adjustable lower lensboard slide bar. This feature
allowed lensboards to be removed without tilting and was carried
forward to the Anniversary model. According to Tims notes, two
telephoto lensesʼ “Back cells [were] too large for early models.” It
seems reasonable that the adjustable lower bar was added to allow
for this type of lens.

Third, the 2¼ x 3¼
revol ving back
Spe e d G r aph i c
(pictured right).
Although a separate
article will be writ­ten on this interest­ing camera, it was
basically a revolv­ing back attached to
a standard 3¼ x 4¼
Sp e ed Graph ic.
This back, a varia­tion of a revolving
back used on early
Cycle Graphics and Graflex-style cameras, was fitted to the Speed
in 1937, and the camera was sold through 1938, when a ground­up redesigned Miniature Speed Graphic was introduced.4

The Leitz rangefinder. Leitz historian and collector, Rolf Fricke,
gave interesting details about this accessory. The top-mounted
rangefinder, called the FOKOS, was made from 1933 through
1945 and was the only Leitz rangefinder that came equipped with
a stud in the center for insertion into a socket on the camera. Leitz
also offered such a socket with a foot for insertion into the acces­sory shoe of Leica cameras which did not have a built-in range­finder. Graflex and other camera manufacturers, who offered their
cameras with the FOKOS, made their own socket for the stud on
the body of that rangefinder, like the Wirgin Edinex, Adox
Adrette, certain Welta cameras, and others. It was made in three
finishes, but it appears that the black and nickel finishes were sold
by Graflex.

Possibly to compete with rangefinder-equipped cameras, Graflex
offered the Leitz FOKOS from 1935 until the Anniversary model
was introduced in 1940, although by 1936 the coupled Kalart
rangefinder was available, and by 1939 the Kalart and
Magnascope rangefinders were sold and installed by Graflex. Al-

though the 4x5 Speed Graphic was available in 1935, the “built
on” rangefinder was offered only for the 3¼ x 4¼ format until
1937, when it was sold, uninstalled, for all formats. Interestingly,
the 1935 camera that is shown in Figure 1 (serial number
185,513), which was purchased with the rangefinder mount, does
not have footage scales on the camera bed. A major “go figure.”
One fine example of this camera was purchased with its original
case, and a camera-top mount was included in the case for range­finder storage.

The Auxiliary Wide Angle Bed (GHQ, Volume 8, Issue 2). This
snap-on device was sold from 1935 to 1938 but was not the cor­rect width for the earlier “top-handle” model and was not needed
with the Anniversary model, as the Anniversary had a movable
two-piece link, or “tandem,” track for focusing. According to
Graflex historian, Tim Holden, it was not necessary to use this
track for lenses 90mm or longer, but anything shorter, such as an
80mm lens, required the add-on bed. Also, because the front stan­dard could not be moved with the focusing knob on this bed, it
was considered only a modest improvement.

Finally, picture at right shows
Speed Graphic (serial number
226,085), made in 1937, fitted
with Kalartʼs first mechanical
synchronizer, the Micromatic
Speed Flash mounted with a
Kalart-provided foot. The flash
could also be mounted vertically
using the tripod socket under the
camera handle.

I believe the 3¼ x 4¼ Speed
Graphic of 1935 deserves a
prominent place in the history of
Graflex and in any collection of
their press cameras.
_________________________

1

Today, this and the 4x5 version are called “pre-Anniversary,” which

was not used at the time.

2

This 1939 camera (serial number 238,238) was purchased used without

a sports finder system.

3

When I tried to duplicate the advertising brochure photograph, it be-

came apparent that Graflex had taken a heavy hand with the air brush and
had lightened the gray hardware to show off the rangefinder.

4

Like the Cycle, Auto, Speed and Compact names, the company again let

the buyers know how they wanted their camera to be perceived.

Figure 4
Late model tubular
finder model.

6

Analyzer into one unit (GHQ Vol. 13, Issue 3), the Booster/
Analyzer for the new Graflex Electronic Flash System intro­duced in 1968 and 1970. It was specially designed for the
Graflex Strobomatic 500 HV unit and the Graflex Strob 250,
but with the Stroboflash Adapter cord, Stroboflash power
Packs could also be
tested.

Features:

• The Booster ex­tends the life of the
dry battery of the
Strobomatic 500 HV
and the Strob 250 HV
units (10 minutes for
each hour the power
pack was connected
to the lamp head, and
5-10 minutes for each
flash). Do not boost
batteries over 12 hours (Illustrations la and 2a).

• The Booster reforms the power pack capacitors if the power
pack has been out of service for a prolonged time. This also
boosts the battery in the power pack at the same time. Boost
for one hour (Illustrations 1b and 2b).

• The Booster also serves as an emergency power supply
when connected to the power pack and lamphead when con­nected to the 117 AC outlets (Illustrations 1b and 2b).

• The Booster can be used to test and boost the batteries of
the Stroboflash I, II, III and IV units, with the addition of the
Stroboflash Adapter cord Catalog No. 2260 (Illustrations 3a
and 3b).

• The Analyzer determines the condition of the batteries (See
the voltage chart.) and can check the recycling time of the
unit when the lamphead is connected to the power pack
(Illustration 3b).

• The Analyzer can determine the condition of the capacitors.
A rapid voltage drop indicates a bad capacitor.

The Graflex Booster/ Analyzer was produced by Graflite
Photo Products after 1973.

This completes my articles on the new Graflex Electronic
Flash System.

References:
Graflex Booster/Analyzer guide book.
Graflex Slave /Sync Instructions manual.

GRAFACTS..........

Graflex Slave/Sync and

Graflex Booster/Analyzer

Copyright William E. Inman, Sr.

T

he Grafle x Slave/ Sync
(Catalog No. 2265) was intro­duced in 1968, replacing the
Stroboflash Phototube assembly
(Catalog No. 2147, GHQ Vol. 13,
Issue 3).

It is a solid-state plug-in photo­electric triggering device for re­mote light-actuated slave opera­tion of electronic flash equipment.

Features:

• Operation under high ambient light conditions.

• Excellent sensitivity master flash excitation at 150 feet or
more to only 1000 BCPS (Strob 250).

• Light actuated silicon-controlled rectifier guarantees long life
and positive switching.

• Compatible with all electronic flash units.

• Efficient out-of-doors in bright sunlight.

When you need more than one electronic flash unit, use the
Slave/Sync. First of its kind that is unaffected by high ambient
light. No chance of triggering by bright or close lighting fix­tures. Trigger reliability at a flash source distance of 50 feet at a
150º arc about its major direct-input axis. A tripod socket al­lows versatile standard mounting on tripods or adapter devices
designed by the user. Can be used with Graflex Stroboflash and
Strobomatic models, and many other electronic flash units.

Specifications:
Weight: 1¾ ounces.
Dimensions: 1¼" wide, 7/8" high, 1-1/8" deep
Color: Bright yellow for identification in darkness. (The Gra-

flite version was black with a clear bubble dome.)
Construction: Encapsulated construction of molded epoxy
resins of weather tight reliability. Cadmium-plated brass con­tact blades 5/8" long with standard placement. Molded Lucite
jewel provides necessary optical characteristic and protection of
the light sensor element.
Electrical: Operates independently of the lamphead shutter
contact voltage under termi­nal conditions from 25 to 210
volts. Circuitry functions in
temperatures from 0º to 120º
F.

Th e Grafle x Booster/
Analyzer accessory (Catalog
No. 2294) combined the
original Stroboflash Booster
and the original Stroboflash

7

Graflex Historic Quarterly

The Quarterly is dedicated to enriching the study of the Graflex company, its his­tory, and products. It is published by and for hobbyists/users, and is not a for-profit
publication. Other photographic groups may reprint uncopyrighted material pro­vided credit is given GHQ and the author. We would appreciate a copy of the re­print.

Editors: Ken Metcalf and Les Newcomer

One-year subscription: mail US$14
email Free
[Payable to Ken Metcalf]

Contact:

Ken Metcalf
94 White Thorn Dr.
Alexander, NC 28701-9792
E-mail: [e-mail]

Les Newcomer

33922 Grand River Avenue
Farmington, MI 48335-3432

E-mail: [e-mail]

Folmer Graflex brochure, 1935.

Code Letters for Wooden Lensboards

Code Board Size Camera

A 3¼ x 3¼ 3A Graflex (later model)
3¼ x 5½ Compact Graflex
3¼ x 4¼ Super D Graflex
4x5 Auto Graflex (later model)
2¼ x 3¼ Speed Graphic (pre-Anniv.)

3¼ x 4¼ R.B. Series D
3¼ x 4¼ R.B. Telescopic Graflex
3¼ x 5½ Speed Graphic (top handle)
4x5 Speed Graphic (top handle)

B ¾ x 3¾ 4x5 R.B. Auto Graflex
4x5 R.B. Telescopic Graflex
5x7 Speed Graphic (top handle)
4x5 R.B. Series D and Super D

C 4x4 4x5 R.B. Telescopic Auto Graflex
4x5 Speed Graphic (pre & Anniversary)
4x5 Crown View
5x7 Auto Graflex
5x7 Compact Graflex
5x7 Speed Graphic

D 2¼ x 2-3/8 1A Graflex

E 2¾ x 2¾ 3¼ x 4¼ Auto Graflex (earlier model)

F 4x4 5x7 Press

G 5x5? 5x7 Home Portrait (probably later model)

H 2½ x 2½ 3¼ x 4¼ Speed Graphic (top handle)

Early cameras did not have coded lensboards, and the starting date for these
boards is uncertain, possibly in the late 1920s. Coded boards were not pro­vided for the Cycle Graphic, molded and metal lensboards. Super D models
were not listed, possibly because special machining was require.

8

Ad c.1968-1970.

From The Camera, April 1935 courtesy Bob Landsale.