The Fulvueflex Synchroflash

Fulvueflex Synchroflash

The Fulvueflex Synchroflash was the last of the Ful-Vue models and a huge departure from its predecessors.  Released in 1957, this camera really flew in the face of what Ensign stood for - good build quality with excellent lenses.  Conceptually, it wasn't very different from the Super.  It was a pseudo TLR with flash sockets and a flip up hood to shield the viewfinder.  Unlike the Super, it took 120 film, didn't have a tripod bush, ruby window shield, or a three-point focusing mount. 

Fulvueflex viewfinder hood

Fulvueflex back

One of the major differences, however, was the build quality.  The body of the camera was made of polystyrene and the lenses, too, were plastic.  Not all Fulvueflexes bear the Ross Ensign name.  Some, unlike mine (pictured), bear the name Ensign India and were manufactured by Ensign (India) Ltd in Delhi.*

Source: http://www.ensign.demon.co.uk/ensign%20india.htm

A preview of the camera was announced in The Chemist and Druggist in March 1957.  It seems the camera was on display at a photo fair in April of that year:

The Chemist and Druggist, March 9th 1957

"What's all the rush about?

They're off to see their local dealer.

Every photographer today is wise to the importance of a first class lens on his camera. A fact which makes it easier to sell a Ross Ensign camera than any other, and one which will bring an unprecedented number of visitors straight from the Fair to your shop to buy the camera of their choice fitted with the best lens in the world.

But spare time to visit the Ross Stand yourself where you will find promise of even more exciting things to come. New Ross Ensign colour cameras and slide projectors, a new precision enlarger and a fine new series of inexpensive enlarging lenses.

See the new wide screen CinemaScope lenses for 35 mm still and 16 mm cine projection and the latest in low price Ross binoculars. And whatever you do, don't miss the pre-view of the new Ful-Vue – the FULVUEFLEX. It's brand new right through with a fully supporting range of profitable accessory lines. Stand 39. Photo Fair, April 11-17." p.9

Shutter release

The wide list of accessories that complimented the camera were advertised in the same publication in May 1957. As there was no focusing mount a separate portrait lens was required for close up shots. 

May 4th 1957

"There were several new models in the camera range of Ross Ensign Ltd., 3 Clapham Common North Side, London, SW4. A simplified and restyled version of the well-known Ful-Vue – the FULVUEFLEX – has a fixed-focus lens, large reflex view-finder with hinged hood and ever-set flash contacted shutter. It takes twelve exposures on 120-size roll film and at its price (£2 14s 11d) is likely to prove popular. A full range of accessories includes capacitor flash unit (£1 12s 6d), ever-ready case (15s 4d), lens hood (2s 5d), yellow filter (6s 11d), portrait lens (8s 4d) and folding direct-vision view-finder (14 7d)." p.487

Astaross lens and threaded mount

Another advert appeared in the same publication in August.  Interestingly it seems to suggest that the plastic Astaross lens supplied on the camera was one of its main selling points. 

August 10th, 1957 

"Give your Till a gold injection . . .

Here's everything the public wants from a snapshot camera – giant viewfinder, easy operation, modern styling and low price. But it is the Astaross lens on the Fulvueflex which is going to ring the till. Designed by Ross to give every amateur the certainty of success at every click of the shutter, the lens on the Fulvueflex is, optically speaking, quite unique among snapshot cameras at this price. With the Fulvueflex camera it is the lens that makes the picture and the sale.

Fulvueflex with Astaross Lens 54/11 inc. P.T." p.7

We can only wonder what they meant by 'optically speaking, quite unique'.

Flash sockets

A listing for the Fulvueflex Synchroflash in The Chemist and Druggist in May 1958 makes for an interesting price comparison with the Ful-Vue Super, which was still being manufactured and sold at the time.    

May 3rd 1958, p. 492 

"ROSS ENSIGN LTD

Cameras and accessories:

Fulvueflex 53 2
Capacitor flash unit presentation set (complete) 27 6
Presentation set (camera and E.R. case) 66 4
Les Hood 2 1
Filter 6 0
Close-up lenses 7 2

Ful-Vue Super 53 9
Capacitor Flash Unit presentation set (complete) 21 6
Presentation set (camera and case) 65 2
F.V. Super case 11 4

Ful-Vue II E.R. Case 6 3."

The Ful-Vue Super

Ful-Vue Super

 The Ful-Vue Super was a heavily restyled Ful-Vue with some added features.  Released by Ross Ensign in 1954, they boasted in its manual that:

"...in the Ful-Vue Super you have the result of over fourteen years research and development on one camera design." pp.2-3

"The Ful-Vue Super has all the best features of cameras in the luxury class at a fraction of th cost and with none of the complications which always baffle the amateur." p.3

The biggest design changes from the previous models were its viewfinder hood and filmloading cradle.  The hood lifted over the viewfinder and prevented bright sunlight from obscurring the image during composition.  The film loading cradle swung beneath the camera when the back was removed and greatly improved the ease of loading:

"Perhaps the most pleasant surprise in store for every Ful-Vue Super owner is the ease with which the film can be loaded thanks to its swing-cradle loading chamber."p.4

Loading cradle

The camera has a pressure diecast body, whilst the hood and back were made of pressed steel.  The flash socket, tripod bush, and and three-point focusing lens remain from the previous model, though the distances offered are now 2, 4, and infinity yards.  The mount also mentions metres, which are similar in length to yards and so it seems they are represented as roughly equivalent distances.

Ful-Vue Super, showing flash socket

Focusing mount

Tripod bush

The manufacturers stress the versatility of the camera in its manual:

"...the Ful-Vue Super can be used for flash shots, close ups and distant views, night photography and even action pictures." p.5

As with the model II, the Super has a ruby window shield, though the winding knob on the earlier model has been replaced with a pressure pad that winds the shield in place. 

Ruby window shield

In the image below, the shutter that covers the ruby window is partially closed.

Partially shielded ruby window

A departure from earlier Ful-Vue models was the use of 620 film in the Super rather than 120.  This meant smaller film spools and was possibly done to minimise the size of the camera.  620 spools can still be used by unwinding 120 film (in darkness) and rewinding onto the smaller spool. 





BJP Almanac, 1954

"A foldng viewfinder hood, swing cradle loading chamber and pressure die-cast body are some of the new and exclusive features of the 1954 Ful-Vue Super camera." p.66

"The most interesting news item is that an entirely original Ful-Vue is on its way. Known as the Ful-Vue Super, it will incorporate all the improvements and new features suggested by the manufacture of over a million of these cameras since the last model was introduced. The Ful-Vue Super will be the finest twin-lens box camera ever offered to the public." p.67

The Chemist and Druggist, June 25th, 1955

"GET INTO THE PICTURE YOURSELF"

"If it did no more than maintain its established reputation, the Ful-Vue would still be every dealer's best selling snapshot camera this season. But the Ful-Vue Super goes further much further. It has a new lens, new swing-cradle film loading and pressure die-cast body. It looks and handles like an expensive twin lens reflex and retails at a price which represents unbelievable value. If you have not already placed your new season's order for the Ful-Vue and other popular Ross Ensign cameras, ask our Sales Department to put you in the picture right away."

"Create additional sales by showing the Ful-Vue with its flash unit and ever-ready case. Retail Price: 59/8, Flash Unit 23/11, Ever-ready Case 12/8." p.39

The Chemist and Druggist, April 14^th, 1956

"ENSIGN FUL-VUE SUPER:

Twelve negatives on 620 film: die-cast metal body; large reflex view-finder with hinged hood; focusing lens; flash-contated shutter. £3 2s. 7d. In card box with ever-ready case and flashgun with “gift” labels. £5 0s. 9d." p.264

Popular Photography, April 1956

"Here's an excellent gif presentation that should be appreciated by any member of the family. It's an Ensign “Ful-Vue” box camera, taking 12 exposures on a 120 roll, packed in a heavy cardboard carrying case that's made like a suitcase, along with its own eveready case and a B-C flash unit. It also has a supply of stick-on labels suitable for any occasion. The Ful-Vue is a reflex type, with folding hood to protect its viewing lens, f/11 taking lens, and speeds of I, B and Flash. It's of light-weight metal alloy and the whole package lists at $10.50 from any London dealer. (Duty, about $4.35)" p122

The Ful-Vue II

Ful-Vue II

The model II was introduced in 1950, and while at first glance it looks very similar to the modified, 1946 Ful-Vue, there are some improvements.  Firstly, the shutter release was moved to the front of the camera, and was activated via an upward, rather than downward motion.

Ful-Vue II

A plastic front panel housed the new shutter assembly, which included a flash synch terminal.  Earlier model IIs featured Ensign's bayonet synch plug, while later models had the compur co-axial type.*  A Ful-Vue flash unit was released in 1951.

Ful-Vue flash unit instructions

The camera no longer had Ensign's 'All distance' lens, but rather a three-point focusing mount with the distances marked in yards.  The distances marked are 2, 3-5, and 6-infinity yards, though it remains to be seen how accurate these are.  Whereas before the lens mount was pulled out to enable close up shots, this one is rotated to the desired distance.

The plastic shutter assembly, with flash terminal and three-point focusing mount.

A further improvement came with the addition of a shield for the rear ruby window.  This was operated with a winding knob and prevented light from damaging the film. Some model IIs also came with tripod bushes on the base.  Coloured Ful-Vues 'a la mode' were released in 1953, which Adrian Richmond states were to mark the coronation of Queen Elizabeth II.*  Available colours were red, white, and blue,

left: Ful-Vue (c.1946) and Right: Ful-Vue II (c.1950)

Comparison of ruby window on both cameras.

The camera was featured in The Chemist and Druggist on 14th March, 1953.  

“Streamlined” and Simple. - The smart appearance of the Ensign Ful-Vue camera, which is modelled on the lines of an expensive twin-lens instrument, combined with its giant viewfinder, make it a ready seller among customers looking for a simple, fixed-focus camera taking twelve pictures on 120-size films. The camera is synchronised for flash. The makers are Barnet-Ensign-Ross Ltd., London, E17." p.257

Its popularity is made clear in an advert in the same publication on 13th March, 1954.

"THEY ALL START WITH A FUL-VUE"

"These popular Ross Ensign Models demand no expert knowledge to sell, involve no large capital outlay and ensure the quickest possible turnover in every district. It is not every chemist who has the capital to stock, or the time to sell expensive cameras. But every busy chemist is interested in popular cameras which sell themselves. More Ful-Vue and Snapper cameras are sold over the chemist's counter than through any other retail outlet, proving that the price and quality are absolutely right for every class of snapshot photographer."

"FUL-VUE – More than a million Ful-Vue cameras have been sold since 1939. This handsome camera with its giant viewfinder and easy operation is still the best box camera value at £2.9.9 tax paid." p.15

*Source: http://www.ensign.demon.co.uk/ful-vue.htm

Introducing the Modified Ful-Vue

Britain Can Make It poster designed by Ashley Havinden for the Council of Industrial Design - Public Domain.

In post-war Britain, there was a need to draw a line under recent years of austerity and look ahead to more prosperous times.  Sir Stafford Cripps, the President of the Board of Trade, proposed an exhibition to showcase the best of forward-looking British manufacturing.  The resulting “Britain Can Make It” Exhibition, was organised by the Council of Industrial Design and held in the Victoria & Albert Museum between September and October 1946.  Many manufacturers were invited to exhibit products that would play a role in creating a prosperous future economy through exports abroad.  The emphasis was very much on design and the role of the designer in maintaining a healthy and competitive market.  Products were exhibited from many different categories, including clothing, household goods, and office equipment.  Opened by King George VI, the exhibition attracted on average a staggering 20,000 visitors a day during its three month running.
 
Barnet Ensign Ltd introduced two new cameras to the public at the Exhibition. One, the Ensign Commando,  was a folding coupled-rangefinder camera that had been originally developed for military use during the war.  The other camera was a modified Ful-Vue with a strikingly futuristic appearance - a real departure from the standard box camera design.

Modified Ful-Vue c.1946

Instead of a back door, the inside of the camera is accessed through a lockable side panel. The camera kept its shutter speed of 1/30th of a second at f/11, and also its time and instantaneous settings.  The shutter release was moved to the front of the camera, and the provided ‘ever-ready’ case allowed pictures to be taken and film to be advanced without removing the camera.  A viewing window on the back of the case allowed the photographer to see the red window on the back of the camera.

The Ful-Vue was advertised in the October 1948 issue of Popular Photography:

“Roll film size 120: 12 exposures, 2 ¼ x 2 ¼; Ensign All-Distance lens with a two position focusing mount; reflex-type finder; single action shutter with Instantaneous speed and T; all metal construction.  Price $12.95, tax included.” p.117

It was also advertised in the Yorkshire Evening Post on Thursday 30^th June 1949:

“Happy Days! REMEMBER THEM WITH PHOTOGRAPHS. We can now offer the IDEAL FAMILY CAMERA – THE ENSIGN FUL-VUE
New streamlined design. Large illuminated view finder. Takes 12 pictures, 2 ¼ x 2 ¼ in. on size E20 film. Price (inc. of tax) - £3-8-2″. p.5

Modified Ful-Vue in its Ever-Ready Case

For more information about the Britain Can Make It Exhibition, see:
http://www.vads.ac.uk/learning/designingbritain/html/bcmi_intro.html

and
http://www.ensign.demon.co.uk/ful-vue.htm

How was the Ful-Vue camera different?

Ful-Vue Viewfinder

A few Ensign box cameras pre-date the Ful-Vue, such as the Ensign ‘Box-Form’, the ‘All-Distance’, and the ‘E29′. 
The Box-Form cameras are listed in the Ensign Handbook of Photography (c.1908), which gives the following description:

“The Box-Form Ensign Film Cameras are exceptionally well and strongly made. They give excellent sharp-all-over pictures.  There is nothing to go wrong, and their absolute simplicity makes success certain.” p.36

The Ensign Box-Form 2 ¼ B had an f/11 rapid achromat lens (variants had a meniscus lens), two reflecting viewfinders and a frame finder.
The All-Distance Ensign was introduced in 1927.  It had a meniscus “all-distance” lens, simple T and I shutter settings, two brilliant viewfinders and a frame finder, and a tripod socket.  Models in blue, red, and brown were introduced in c.1929.  In the accompanying manual, Instructions for Using the All-Distance Ensign Camera, it states:

“There are two outstanding features…The All-Distance Ensign Camera, as its name implies, permits of brilliant sharp pictures being taken at all distances in excess of 3 ½ feet from the camera (WITHOUT THE NECESSITY OF PURCHASING A SUPPLEMENTARY PORTRAIT ATTACHMENT).
Second - By a specially designed (Prov. Pat. 27103) internal spring pressure plate the film is held perfectly flat and thus the definition is as good as will be obtained with a glass plate.” p. 2-3

The Ensign E29 Box Camera (c.1930) was a wooden bodied camera finished in black or blue leatherette, with a simple T and I shutter, a meniscus lens and two reflecting viewfinders.  Close-up lenses were available as accessories.
So what about the Ful-Vue?  How did it differ from these earlier models?
Its main selling point was undoubtedly its large viewfinder (pictured).  A glance at newspaper adverts from the time of its release reveal as much.  On 24th March 1939, the Kent & Sussex Courier featured the following announcement:

“The New British Made Ensign “FUL-VUE” Camera takes 12 pictures 2 ¼ square on the usual No. 20 film, has specially brilliant new view finder so that picture can be clearly seen under all conditions.  Adaptable for Views and portraits and fitted with the Time and Instantaneous Shutter.  With a sling strap 25/-” p. 7

The same newspaper featured another advert on 12th May 1939:

“See your Picture at a glance…
Ensign FUL-VUE the CAMERA with the GIANT VIEW-FINDER
Taking good pictures is simpler and certain with the Ensign ‘Ful-Vue’ - the ideal camera for the beginner and the keen amateur.  CLOSE UPS AND DISTANCE VIEWS with the famous Ensign ‘ALL-DISTANCE’ LENS.
Takes 12 pictures 2 1/4x 2 ¼ in. on Ensign standard size E.20 film.
Get an Ensign ‘Ful-Vue’ to-day! Andalways use Ensign Film.  Only 25/-
BRITISH THROUGHOUT” p.7

Chemists were among the primary retailers of cameras at the time, so it was important for manufacturers to convince chemists that their cameras would sell well.  Ful-Vue adverts therefore appeared in issues of The Chemist and Druggist. Such an advert featured on the 4th February 1939:

“NEW ENSIGN BOX CAMERA - Ensign Ltd, 88-89 High Holborn, London, WC1, have introduced a new box camera which is described as the Ful-Vue, the main feature of which being the bigger, brighter and better viewfinder.  This model is very compact, measuring only 4 1/8 by 3 1/8 by 4 1/8 in.  It has an excellent finish in black ripple enamel, and it takes close-ups down to three feet.  In adition, it is economical to use, taking twelve 2 ¼ in. square pictures.  Stocks are available for immediate delivery.” p.122

It appeared again in the same publication on 1st April 1939:

“ENSIGN FUL-VUE CAMERA - A newly introduced box camera that bids fair to achieve a widespread popularity is the Ful-Vue  brought out by Ensign Ltd, Ensign House, High Holborn, London, WC1.  The important feature of this is a super-size, waist-level brilliant viewfinder giving an image 1 ½ in. square.   The camera, which is of metal construction, with all-distance lens is in two-position focusing mount, and time and instantaneous shutter, is designed to take twelve pictures (size 2 ¼ in. by 2 ¼ in.) on a standard 20 film.  Numbering of the exposures is viewed through  a centrally-placed ruby window in the back of the camera, and thus the camera requires no re-numbering device as on certain other models of the twin-lens type.”  p.382

Another advert appeared in the Sunday Mirror on 25th February 1945 and refers to the impact the war had had on Ensign in diverting its manufacturing efforts to the war effort:

“The easiest camera to use in the World is this popular Ensign Ful-Vue Model with its unique Picture size brilliant viewfinder.  When the skill now employed upon the manufacture of Aircraft cameras and similar precision instruments for the Services is available, the Ensign Ful-Vue will be even better, for like all Ensign Cameras the post-War models will incorporate the great advances made by Ensign in Optical Technique and precision Engineering.” p.5

A History of Ensign

The history of the manufacturers of Ful-Vue products is complex, full of mergers and consequently many different company manifestations. ‘Ensign’ began as a brand name in 1902, and had clearly gained enough prestige to be adopted as the company name in 1930.  As a result, the first Ful-Vue was made by Ensign Ltd, the modified model by Barnet Ensign, the model II by Barnet Ensign Ross, and the Ful-Vue Super and Fulvueflex Sychroflash by Ross Ensign.

The company certainly faced obstacles, one of the most severe being the bombing of its offices at 88/89 High Holbourn in London on 24th and 25th September 1940.  As the war continued, they were obliged to do their bit for the war effort and concentrate on the manufacture of items for the armed forces.

The company prided itself on the sale of high quality lenses in well-built cameras.  Their folding roll film cameras were prime examples of their craftsmanship.  Unfortunately though, they had an ongoing battle with the British public and the perception of British-made cameras as inferior to those made in Germany.  They were also victim to their own staunch refusal to embrace 35mm cameras, believing that 120 film was far superior.  As such they were unable to meet the increasing demand for 35mm cameras and by the early 1960s the company could no longer compete.

For more information, see: http://www.earlyphotography.co.uk/site/companies1.html#E

and: http://www.ensign.demon.co.uk/ensigncamerapage.htm

Ful-Vue Cameras

Ful-Vue Cameras

So, what are these Ful-Vue cameras? Well several different models were known as Ful-Vue and they were produced between 1939 and c.1959. These included:

Ful-Vue (1939-c.1943) - Maker: Ensign
Ful-Vue (modified) (1946-1949) - Maker: Barnet Ensign
Ful-Vue Model II (1950-1953) - Maker: Barnet Ensign Ross
Ful-Vue Super (1954-c.1959) - Maker: Ross-Ensign
Fulvueflex Synchroflash (1957-1959) - Maker: Ross Ensign
 
The two pictured are the earliest model (left) and the Model II.

The focus of this post will be the early, more conventional looking model.  Introduced in 1939, this simple pressed steel box proved very popular.  A key factor was surely its large viewfinder.  Adverts describe it as “bigger” and “better” and Ensign claimed it gave “a better idea than ever before of what the finished result is likely to be…”*.

The camera itself is a simple light-tight box with a crystalline enamel finish.  It has a fixed focus patent Ensign ‘all distance lens’, which takes sharp images of anything 8 feet away or more.  Sharp images can be achieved down to a distance of 3 feet thanks to a pull out lens mount.  The mirror for the viewfnder is a polished metal plate secured in place with screws.
The shutter has two settings.  ‘I’ (instantaneous) and ‘T’, for time exposures.  The first takes pictures with a shutter speed of 1/30th of a second.  The ‘T’ setting will keep the shutter open as long as you want. 
One reel of 120 film will produce twelve 6x6cm pictures.  There is a red window on the back of the camera that you look through when advancing the film.  Numbers will appear in the window, indicating when the film is advanced far enough.

The camera has a back door, which unclips from the top, allowing the inner part to be removed to load the film.

Technicalities aside, the camera is so delightfully simple it is virtually idiot proof.  There is no manual focus, no f-stops, no calibration metre, it really is a case of point and click. But the humble box camera was meant to be a camera that anyone, including children, could use. That’s not to say it can’t capture high-quality images, but without the advanced features of more expensive cameras, photographers are more reliant on favourable lighting and more restricted to stationary, or slow moving subjects.

*source: www.ensign.demon.co.uk/ful-vue.htm

Welcome

This little box camera dates from c.1939 and is the key protagonist of this blog.  Before it arrived in my letterbox a few days ago I had never held a box camera in my hands before, never mind considered blogging about one.  I was instantly won over by its simplistic charm and knew that this camera, which I had bought on a whim simply to look the part at an upcoming 40s Festival, was going to spark a long-lasting fascination with early photography.  Here I’ll be posting about box camera photography and I’ll share with you the photos I take.