Brownie 2A – a final follow up.

By Tony Warren

This the last chapter in my experiencing these early consumer cameras. It has been quite an enlightening exercise and demonstrates what the simplest of equipment can produce. It has also given me an idea of the impact these basic cameras must have had in the late 19th and early 20th centuries.

The camera.
The camera.

In my first post about the Brownie 2A I had discovered that the faded red window and the small gap along the sides of the 120 film’s length might be the cause of the fogging I had experienced. After some head scratching, I decided that a mask and taping the red window between wind-ons, to be done in shade, might eliminate the problem.

The solution

Simple mask to reduce the width to 56mm, the 120 film's image width.
Simple mask to reduce the width to 56mm, the 120 film’s image width.

Making a mask was a simple matter with some thin card and double sided tape. The card sits below the film path and so would make no difference to the focus.

The mask in place.
The mask in place.

Based on the first results and so that I could use the smaller apertures I decided to use Rollei Superpan 200 film. This would need a base Sunny 16 exposure 2 stops reduced at a shutter speed of 1/50th sec, so f22 with a 2x yellow filter to maximise depth of field and give good contrast. Stronger filters can also be used, orange on f16 and red on f11.

Results

These frames from the second film were taken at home or off my balcony. The weather has been dreadful recently I’m afraid. The mask and care with winding on seems to be the answer to the fogging. There is some along the film margin and the worst on the last frame when I mustn’t have been as careful winding off.

No visible fogging and no filter at f8.
No visible fogging and no filter at f8.
With 2xYellow at f16 with strong flare.
With 2xYellow at f16 with strong flare.
No filter at f16 but highlighting the simple lens construction with strong barrel distortion.
No filter at f16 but highlighting the simple lens construction with strong barrel distortion.
Tripod mounted with orange filter at f16.
Tripod mounted with orange filter at f16.
Tripod mounted again with red filter at f11 showing more detail in the sky. The film edge shows some fogging is present but doesn’t seem to have impacted the image. The stepping is caused as I wound the film.
Tripod mounted again with red filter at f11 showing more detail in the sky. The film edge shows some fogging is present but doesn’t seem to have impacted the image. The stepping is caused as I wound the film.

The film number window is still a problem and will have to be replaced.

In final conclusion

As I have already said, using this camera with 120 is mostly an academic exercise for me and it will not replace my 6×12 for that format, even though it is close at 5.6cm x 11cm on 120. If I didn’t have that other camera though it would be a viable alternative. The achromat lens is a step above the usual simple meniscus found on these types of camera, especially stopped down. The feature image is an approximate 60% cropped section with basic tone and mild sharpening applied.

Share this post:

About The Author

By Tony Warren
In my 60 or so years of serious involvement in photography I have seen the demise of the viewfinder, the rise of the SLR and the eclipse of them all with the meteoric development of the digital camera. Through it all, however, and above all else, the image is what it is all about so I now use film alongside digital. Whatever is the most appropriate or practical. My contributions will hopefully be useful for anyone interested in using film and also how a died-in-the-wool antique like me is continuing his life-long addiction in the digital age, using both platforms. The major benefit of an extended retirement is that I can spend most of my time nowadays with photography and writing about it.
Read More Articles From Tony Warren

Find more similar content on 35mmc

Use the tags below to search for more posts on related topics:

Donate to the upkeep, or contribute to 35mmc for an ad-free experience.

There are two ways to contribute to 35mmc and experience it without the adverts:

Paid Subscription – £2.99 per month and you’ll never see an advert again! (Free 3-day trial).
If you think £2.99 a month is too little, then please subscribe and I can manually edit the subscription value for you – thank you very much in advance if this is what you would like to do!

Subscribe here.

Content contributor – become a part of the world’s biggest film and alternative photography community blog. All our Contributors have an ad-free experience for life.

Sign up here.

Make a donation – If you would simply like to support Hamish Gill and 35mmc financially, you can also do so via ko-fi

Donate to 35mmc here.

Comments

Geoff Chaplin on Brownie 2A – a final follow up.

Comment posted: 28/08/2025

One thought (a bit late in the day): the red window probably wouldn't be a problem with ortho film but could be a cause of fogging on pan film. Taping over is a partial solution but has to be removed for winding on. I guess back in the day films were mostly ortho. True or not?
Reply

Leave a Reply

Your email address will not be published. Required fields are marked *


Leave a Comment

Leave a Reply

Your email address will not be published. Required fields are marked *