Navigating the line of Kodak Junior Six-20 and Six-16 cameras is a convoluted little adventure. This is, in part, because Kodak had previously made cameras that sported the "Junior" name, as far back as the 1890s. But it is further complicated by the fact that these later Juniors were being made in three different locations globally: Germany, Britain, and the USA - with all three locations producing variations different from one another.
At their heart, the Kodak Junior Six-20 and Six-16 are medium format folding cameras produced between 1933 to 1940. They are designed to use either 616 or 620 film to produce a 2.5" x 4.25" or 2.25" x 3.25" images, respectively. They are fitted with an assortment of simple lenses (typically in the neighborhood of 12cm and with max apertures of f/6.3 or f/7.7), mounted in simple shutters that usually allow 2-3 shutter speeds, generally topping out around 1/100th, along with Bulb and Time modes. The German and UK versions have rounded shutter faceplates, while the American-made cameras are notable for their octagonal faceplate. The cameras usually have two finders: a simple, folding finder, mounted on the camera body, along with an optical finder, mounted on the shutter, that could be rotated 90 degrees to use in either portrait or landscape orientation.
Over their production runs, three different series of these cameras were made with only fairly minor cosmetic changes setting them apart. The Series I has a foot at the end of the bed that simply swings out to support camera when it is unfolded. The Series II has a slightly updated foot that serves as a quick release bar for unfolding the camera. And finally, the Series III has streamlined bed supports.
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Kodak Junior Six-20 Series II and "Work"
"What we do during our working hours determines what we have; what we do in our leisure hours determines what we are."
~ George Eastman
We work in a camera store here at Blue Moon. Monday through Sunday, for most of the daylight hours, you'll find us here. We'll be printing, scanning, developing, testing, appraising, repairing, selling, coding, and planning. All of it, centered around cameras and photography, sometimes with too little rest and too much coffee, but almost all in good cheer.
When we do leave the camera shop, on our days off, the camera shop never really leaves us. We'll head out to the coast, the park, the grit of industrial Portland, or even just to our basement darkroom. There we'll keep "working," but in a different fashion, one that is as much play as work, passion as purpose. We love what we do, and thus we do it all the time. Sometimes we're "on the clock" and sometimes we're off, but you can bet that we are never more than five feet from a film camera at any one of those moments.