The 75 is the final evolution of the Argus Argoflex. The first Argoflex models were inexpensive TLR cameras that had adjustable
focus, aperture, and shutter speeds. Eventually these features disappeared until the Argoflex was nothing more than a fancy-ass
620 box camera that sported two lenses.
The Argoflex 75 was produced from 1949 until 1958 at which time Argus began producing the very similar Argus 75. The only
significant difference between the Argoflex 75 and the Argus 75 was the name and that the Argus 75 had a brown finish while
the Argoflex 75 was black. The Argus Super 75 has an adjustable focus, similar to its predecessor, the Argoflex 40.
Argoflex 75 features included:
- Coated fixed focus (7.5 feet infinity) f/13 Lumar 75mm
- Black Bakelite construction with a hinged metal back door
- Large brilliant viewfinder with a folding metal hood
- Automatic shutter cocking with film advance (to prevent double exposure)
- Argus "Red-I-dot" in lens indicates shutter is cocked
- Instant/Time exposure switch
- Tripod socket
- Built in Saran carrying strap
- Flash synch
- Dimensions: 4 3/8 x 3 ¼ x 3 3/16 ", 12 oz.
Argoflex 75 accessories included:
- Ever ready leather carrying case
- Plug in flash gun
- Close up lens attachment
Like the similar Kodak Brownie Hawkeye, the Argoflex 75 is a 620-film camera. Unlike its Kodak cousin, the 75 will not
accommodate a modern 120 film spool in either the source or take-up film compartment. Therefore, it is necessary to either
buy pricey "620 film" from online retailer Film For Classics, cut down the flanges on a 120 spool in order to make it fit in the 75s film source compartment, or respool 120 film onto
the smaller 620 film spool prior to using this camera. I prefer respooling as this is easily done in a darkroom or in a dark
changing bag. Some suggest taking the exposed film on the 620 spool to the film processor, requesting that the lab returns
spool be returned with the photos. I dont like to take chances with my rare 620 spools. I prefer to take the time to respool
the exposed film back onto its 120 spool before taking it to the lab. Respooling is not nearly as difficult or time consuming
as it may seem
Respooling film from a 620 spool to a 120 spool is remarkably simple. Working in the total darkness, first wind the unexposed
film completely off of the 620 spool. It will coil around itself as you remove it from the spool, so its easy to minimize
touching the actual film surface. Once the film is completely off of the 620 spool, begin winding it onto the 120 spool starting
with the end that came off of the 620 spool last. When respooling either unexposed or exposed film onto another spool, the
only tricky part occurs when you get to the spot where the actual film begins as you wind it onto the new spool. The paper
backing on 120 film is longer than the film that is attached to it. When you begin winding film onto a spool you will only
be winding the paper backing. Once you get to where the film starts, you have to be careful that it wraps onto the spool,
as it is not attached on that end to the backing paper. The film will have the tendency to separate from the paper backing
and curl alongside the spool unless you are careful to start it onto the spool. .
Also, when winding unexposed film from a 120 to 620 spool, you will have to untape the film from the paper backing
and then retape it to the backing when you get to the end (start) of the film. This is due to the smaller diameter of the
620 spool compared to a 120 spool. I recommend checking out either Glenn E. Stewarts page on Respooling 120 Film onto 620 Spools or Doug Wilcoxs page on how to use 120 Film in a 620 Camera prior to attempting respooling.
