In the 1940s and 1950s, Ansco offered a line of folding cameras with Speedex in the name, all of which made square photographs on 120 film. Ansco manufactured some of the models while Agfa manufactured the rest, which makes sense as Agfa and Ansco were one company. Speedexes were available with a number of lens and shutter combinations of increasing capability. Ansco manufactured this one, the Ansco Standard Speedex, in 1950, and it was closer to the bottom of the range.
The Standard Speedex is refreshingly simple. It features a 90mm f/6.3 Ansco Anastigmat lens, set in a self-cocking Ansco leaf shutter that operates at 1/25, 1/50, and 1/100 second, plus time (press the shutter button once to open the shutter, and again to close it). It focuses from 3½ feet to infinity. That’s it.
Press the button right next to the viewfinder on top to pop the door open, and pull the door down until it locks to extend the bellows. Dial in aperture and shutter speed, dial in subject distance, compose, and press the shutter button. The viewfinder isn’t huge, but it doesn’t feel cramped, and it gives a clear view.
The wind knob is big and sure. I thought surely its reverse cant would make it hard to use, but I was wrong. It reads “B2/120” because Ansco used its own size codes for its films, and B2 is equivalent to 120.
If you like medium-format folding cameras, check out my review of the Ansco B2 Speedex (here), the Certo Super Sport Dolly (here), the Kodak Monitor Six-20 (here), the Kodak Tourist (here), and the Voigtländer Bessa (here). Or check out all of my camera reviews here.
I like folding cameras of this size and shape. I also like making square photographs. I do not, however, like having a top shutter speed of only 1/100. 1/250 is better, and 1/500 is better still, because they let me more easily shoot fast films and get shallow depth of field with slow films. The similar Ansco B2 Speedex has a top shutter speed of 1/250 and is available on the used market for about the same money as this Standard Speedex.
The slowest film I had on hand was Ilford FP4 Plus at ISO 125. That meant on a sunny day I was going to be shooting at f/16 and f/22. Everything within a mile of that lens would be in focus. But that was probably the design goal of a camera like this. For an amateur photographer, it would have been a step up from a box camera. Shooting 1/100 and f/16 meant it wasn’t critical to get focus exactly right, as you’d have huge depth of field. The wide exposure latitude of consumer films like Kodak Verichrome Pan (also ISO 125) meant that you didn’t have to get exposure exactly right, either. It was perfect for the everyday shooter.
Snapshooters who bought the Ansco Standard Speedex were looking for a better lens than they’d find in a box camera, but to get it they had to learn a little about exposure. Surely, most of them just used the Sunny 16 rule. That’s what I did for most of this roll.
You could get Kodak Panatomic-X film then, too, which was ISO 25, 32, or 40, depending on when it was manufactured. That film would have allowed photographers to get shallower depth of field for portraits if they wanted it. I’ve not been able to find any information about the speeds of Ansco’s own films.
The lens’s f/6.3 minimum aperture means that with an ISO 100 or 125 film, you’re not making low-light photographs. But you could shoot your family picnic under an overcast sky and be fine. I never put this Standard Speedex to that test as I was fortunate to have bright, sunny days while I had film in it.
As I began riding my bike this season, I carried the Standard Speedex in the saddlebag. I’ve carried other cameras that way, usually little 35mm point and shoots. I can fire off a shot almost on the fly with one of those cameras, but not so the Standard Speedex. It takes a minute to open it, make sure the aperture and shutter speed are right, and then frame. At least I didn’t have to also cock the shutter, as is common on cameras of this type. The shutter button takes a little effort to press, but mine could be a little gunky after 70 years. The red window on the back gave a commanding view of the frame numbers on the film’s backing paper.
I wasn’t able to find any information about the lens’s design, but as an anastigmat lens it’s bound to have more than one element. I got a fair amount of contrast straight off the scanner. I toned it down a little in Photoshop.
Before I loaded this camera with film, I tried to identify pinholes in the bellows by taking into a dark room and shining a bright flashlight inside. I found a couple and dabbed black fabric paint on to close them up. This is probably only a temporary fix, but it’s good enough for testing the camera. I missed at least one, however, as several of my images showed light leaks. Oh well.
To see more photos from this camera, check out my Ansco Standard Speedex gallery.
Cameras like the Ansco Standard Speedex are easy to come by and don’t cost much. Mine was a donation to the collection, but these go for 20 bucks on eBay all the time. As you can see, it is capable of good, sharp images. It’s easy and pleasant to use. But you can buy the Ansco B2 Speedex for about the same money, and it has that 1/250 second shutter rather than the Standard Speedex’s 1/100 second shutter. I’d choose the B2 Speedex if I were in the market.