Antique & 19th Century Cameras
Antique & 19th Century Cameras
New Posts & Updates:
International Camera Show Listings - updated April 2026:
October 2026: ROC Premo Supreme If I were to nominate one camera as 'best in show' for a sci-fi alternate universe, steam-punk look, this would be it. It's a fascinating camera, but was hideously expensive in 1902. This particular camera is the very rare first version with engine-machined brass hardware.
October 2026: Blair Tourist Hawk-eye This is a camera I've had for a while. Nothing overly historic, but a nice-looking roll film folder with a concealed shutter.
October 2026: Flammang’s Patent Revolving Back Camera - Stereo Model A stereo version of Flammang's Patent Revolving Back Camera that is not listed in any factory catalogues. The wood & brass shutter is truly unique and spins to expose the lenses.
UPDATE - Flat Folding Kodak Two years ago, I mentioned my research paper was finished and everything would be added [soon] to the website. It's now finally posted. The investigation led me to conclude that this is an important camera that linked the Kodak's older designs to their future of new folding roll film cameras that dominated the industry.
UPDATE - Sears Plate Camera is now identified as the Delmar Folding Camera Special thanks to Jon Coffman (Sears, Roebuck & Co. camera expert) for pointing out this camera's proper model name. Jon also kindly gave permission to use an excerpt from his book about Sears and their cameras.
Newly Acquired Cameras: Check my Wanted page to see preview pictures.
2026 International Camera Show Listing My 28th annual show listing has 63 shows posted, and it surpassed 2025. I am still finding shows, and will add to the list. Feel free to contact me with information about shows that should be included: antiquewoodcameras@gmail.com
News and Info:
I am proud to announce the long-awaited update of this website:
IMPORTANT - IMPORTANT - bookmarked pages to the old website no longer work!
Photography (some pics updated, some not):
Collecting Statement - what it's all about:
Website Photography (because I am often asked):
It was long, long overdue. As a retired IT executive, I saw this coming but kept putting it off. After all, there were nearly 180 webpages to redevelop, not including the backlog of cameras to be posted. I estimated over 400 labor-hours to do the refresh. I wasn't wrong.
Anyhow, two technical events forced me to do this update, but I won't bore everyone with the details. This is the third website revision after 28 years online. That's not too bad if you think about it. So, let's call this the launch of Antique Wood Cameras v3.0.
This website now scales for easy viewing on smartphones and tablets - it's about time! If there is a display problem, it will most likely be on tablets viewing in landscape orientation because there are no screen standards.
I am honored with the large number of online sites with bookmarks and links back to my website, especially the International Show Schedule webpage. Sorry to say, but all of those links no longer work. That's the price of progress. The last major refresh was 2009 ... so, not a bad track record. Contact me if there is a specific webpage you are looking to link, or have questions.
During the refresh, I had the opportunity to replace old pictures with newer images from rephotographing the collection. In some cases, I used Lightroom to improve older photos. However, several very old posts feature cameras I sold long ago; while those webpages have noticeably cruder photography, the information remains accurate.
My collection is intentionally kept small, with every camera on display. What you see on this website (as well as on Facebook and Instagram) represents over 40 years of collecting, research, education, and refinement. Deeply exploring the lore and legacy of photographic apparatus—and documenting its stories—is a vital part of my collecting goals. Information in the camera posts goes beyond simple descriptions. They include historic context, personal anecdotes, etc.
The primary focus is on historically interesting American wood cameras, including those with odd designs that might appear to be worthless "dead-ends" but, surprisingly, contributed to photography's evolution. There are exceptions in the collection—for example, a couple of European cameras and others that I find interesting—plus some "go-with" accessories. All of this gives the collection context and depth. (At some point, I will add a Miscellaneous gallery for the non-camera and photo-related stuff.)
Acquisitions follow several distinct collecting themes with self-imposed guidelines. Each theme has a goal, but all fall under the umbrella of pre-1900 American wood cameras (though there are a few outliers in my collection).
The majority of my cameras stand on their individual merits, while others attain greater meaning when included in a larger group. Some attract attention due to their spectacular designs or because they were crafted by famous builders. Then there are the 'unassuming underdogs'—they do not shine or attract attention, yet they tell illuminating stories.
Over the decades, cameras were bought, sold, and upgraded, with a focus on premier models and pieces that represent the absolute high point of their respective body designs and historic contexts. These include apparatus made by established and unknown builders alike, such as E. & H.T. Anthony, American Optical Company / Scovill, Eastman Kodak, Frank Pearsall, William Gibbs, August Herzog, Simon Wing, and others. Common cameras also remain in my collection and are posted here; they remind me of my collecting roots, and prove that there is always something new to learn.
As it turns out, my collection includes many cameras—some with five or fewer known examples—that completely lack historical background. Researching them can be quick or take decades, but once completed, I document and share my findings with the collecting community through several outlets: this website, articles in photographic historical society journals, and social media.
The intent, when writing about cameras, is not to rehash features and general information, but to provide new knowledge and insights into what it actually contributes.
Background I've been into photography nearly my entire life, and interest in early cameras began accidentally in the late 1970s when I was gifted an amazing Century No. 7 studio outfit. Gazing at large expanses of finely finished wood accented with lacquered brass is intoxicating. Then there's the history of the cameras; each one has a story to tell.
I developed my first rolls of film at the age of 11 in my own darkroom, and I was shooting 8 x 10" negatives by the time I was 17. In 1980, I was accepted into and participated in one of Ansel Adams' famous Yosemite workshops. In some ways, I miss the wet darkroom process, but today I can do much more digitally. Honestly, applying Ansel's Zone System to digital shooting—something he could have never envisioned—is a wonderful thing.
My goal is to present each camera online as best as I can. Let's face it, my first digital camera was primitive, which you can see in the photography of my oldest posts. Since 2017, my setup has been a Nikon D850 with an incredible Tamron 90mm macro lens, all mounted on a Studio Titan stand.
Technical Overview I shoot in RAW using the sRGB color space. Cameras are staged on a table with an infinity wall and color-balanced softbox lights. Sometimes small details need auxiliary lighting; in 2022, I started using Lume Cube lights. Maximum front-to-back sharpness is achieved by focus-stacking instead of very small f-stops. It's more work, but the incredible sharpness from focus-stacking produces quality imagery. Image processing workflow primarily uses Helicon Focus, Lightroom, and Photoshop. For several years, I have been using a color-calibrated monitor that is also matched to the camera and lighting. FWIW, studio lights often make the cameras look different than they do under normal room lights. This is because the studio lights are "daylight" color-balanced (blue shift) in comparison to interior lighting (red shift). Colors have better rendition under daylight lighting conditions, the difference being that I can control light intensity and balancing shadows.