Kinax III (1951)

The Kinax III is a medium format folding camera made by Kinax S.A. of Paris between 1951 and 1956, part of a lineage of Kinax folders produced by Établissements Jousset, a French photographic company with roots stretching back to lawyer Gustave Jousset's pre-war camera ventures. The Kinax III sits one step below the top-tier Super Kinax III in the company's lineup and is notable for being a tri-format camera, capable of shooting 6x9, 6x6, or 6x4 exposures on 620 roll film using interchangeable masks, all paired with a 105mm f/4.5 SOM Berthiot triplet lens. Like many mid-century French folders, Kinax likely fell victim to the broader collapse of domestic European camera makers once German and Japanese optics became affordable again by the late 1950s.

The author acquired this copy incidentally through an eBay "vintage camera lot" and was immediately taken by its chrome-heavy, all-metal build and deep blue lens coating, despite its hefty 854-gram weight. Handling revealed a surprisingly feature-rich camera for its class: a complex two-piece optical viewfinder with parallax correction and folding frames for the smaller formats, triple exposure-counting windows, double-exposure prevention tied to a body-mounted shutter release, a secondary shutter-mounted release for intentional double exposures or re-cocking, and even a self-timer on the IPO leaf shutter (1–1/350s plus bulb, apertures f/4.5–f/45). Loading is standard folder procedure, though the camera is strictly limited to 620 film and predates foam light seals. Testing with expired Kodak Portra 160NC in the 6x9 format (the only masks the author had) produced accurate exposures on all but one frame, with pleasing color shifts complementing the fall scenery. However, image quality revealed the camera's major flaw: while sharp centrally, the SOM Berthiot triplet showed severe edge softness—described as "mush" rather than mere softness—the worst the author has encountered, suggesting the lens was better suited to the smaller 6x6 or 6x4 formats.

Overall, the author's verdict is positive despite the lens shortcomings. The Kinax III performed flawlessly mechanically, with a light-tight bellows, accurate shutter, and an unexpectedly upscale set of features—parallax-corrected viewfinder, double-exposure lock, self-timer, and manual shutter release—rarely found on economy-class folders of the era. The author suspects original buyers primarily used the smaller formats and thus rarely encountered the mushy edges seen in 6x9 mode. Ultimately, the piece concludes that the Kinax III was an enjoyable, reliable camera to shoot, and one the author is glad exists and would recommend trying.

AI-generated summary. May not capture every detail — read the full article below for the complete picture.

This is a Kinax III, a medium format folding camera produced by Kinax S.A. in Paris, France between the years 1951 and 1956. The Kinax III was a tri-format camera, shooting eight 6cm x 9cm, twelve 6cm x 6cm, or sixteen 6cm x 4cm exposures on 620 format roll film and although it can be found with a variety of different lenses, they were all 105mm f/4.5 designs. In order to accommodate three different exposure sizes, the Kinax III had an unusually complicated viewfinder, which when using either of the two smaller sizes needed a folding frame that indicated the exposed area. The Kinax III was the second highest spec folding camera in Kinax’s lineup, one step below the Super Kinax III which came with a more advanced viewfinder and a faster f/3.5 lens.

Film Type: 620 Roll Film (eight 6cm x 9cm, twelve 6cm x 6cm, or sixteen 6cm x 4cm exposures per roll)
Lens: 105mm f/4.5 SOM Berthiot Paris 3-elements
Focus: 2 meters to Infinity
Viewfinder: Scale Focus with Folding Frames for 6×6 and 6×4 Images
Shutter: IPO Leaf
Speeds: B, 1 – 1/350 seconds
Exposure Meter: None
Battery: None
Flash Mount: None
Weight: 854 grams
Manual (in French): https://cameramanuals.org/pdf_files/kinax_iii-french.pdf

The name Kinax refers to a series of folding cameras made by Kinax S.A. in Paris, France between 1946 and 1956. The Kinax company was part of a group of French photographic entities called Anciens Établissements Jousset, Société Industrielle de Photographie et d’Optique, or Établissements Jousset for short. The name Jousset refers to a French lawyer named Gustave Pierre Jousset. Jousset is linked to a variety of photographic companies from around the turn of the century to the mid 1920s. At one point pairing up with his friend Auguste Dumont and later, another man named Hébert to form a short lived company called Jousset and Hébert. This era of French camera making is quite confusing and difficult to follow, but a short history exists on Sylvain Halgand’s website which you can read if you’d like to learn more.

The front page of a catalog showing several Kinax models.

Prior to World War II, Gustave Jousset produced a variety of inexpensive cameras such as the Jousset Chambre and Précision series. These cameras were of traditional folding plate and roll film design usually covering 9×12 and 6×9 sizes. Many of the later Jousset cameras featured Boyer lenses, but earlier ones had lenses by other manufacturers.

The war disrupted the entire French optical industry and production of Jousset cameras stopped. By the time the war ended, Gustave Jousset was in his mid-70s and had left his company to his son, André and his other children. The company was reborn as Établissements Jousset in 1945 at which time a patent for a camera called the Kinax was made.

A French ad showing that the Kinax III was available with your choice of 3 or 4 element lenses.

The first Kinax models debuted in 1946 with a Baby Kinax models, but an almost constantly evolving series of larger 6×9 folding models followed. The Kinax I and II were released in 1946, but a third model in the series, called the Kinax III didn’t come out until 1951. As the years passed, each model added features, but kept the same basic formula. Sylvain Halgand’s website shows a total of a dozen Kinax models, the highest spec being the Super Kinax, which despite the use of the word “Super” it did not have a rangefinder, as was the typical naming convention of other European camera brands of the era.

The Kinax series seems to have been moderately successful but was rarely sold outside of Europe. At least one model called the Kinax Normandy was exported to the French speaking Canadian province of Québec. I found no evidence of this camera being sold in the United States, although some English language literature does exist.

Kinax S.A. appears to have ceased camera production in 1956, never to release another model. While I could not find any information regarding why the company went out of business, many French, Italian and non-German European camera makers saw a similar fate in the late 1950s to early 1960s.

The reasoning is that after the war, German cameras and lenses were still considered to be the best, however economic ruin in Germany and elsewhere in Europe made their products difficult or impossible to get. Even after some Germany factories resumed production, countries like France, Italy, and Spain levied severe economic penalties and tariffs on German goods. Even after new German cameras became available, they were unaffordable by the average citizen. As a result, a huge number of smaller factories in these other countries filled the void with their own domestic cameras. Brands like ATOMS, Royer, OPL, SEM, and MIOM produced a large number of affordable French cameras and other optical products.

By the late 1950s, as economic sanctions were lifted and less expensive German and Japanese optical goods became easier to get, the need for so many domestic makers disappeared, ending production of many cameras like the Kinax.

I was not searching for a Kinax III or had ever heard of Kinax cameras before I picked this one up in a lot of other cameras.

Like many of the cameras I’ve reviewed, the Kinax III wasn’t a camera I was looking for when it came to me. One night while doomscrolling eBay, I had come across a “Vintage Camera Lot” with a variety of mid century cameras and a few folders which I did not recognize. I put in a bid on the entire lot as I wanted a couple of them and figured everything else was a bonus. I ended up winning the auction and when the box arrived, I was thrilled to see the Kinax III in excellent condition and I set it aside to shoot some day.

Without knowing much about the Kinax of the company who made it, I was immediately drawn to the deep blue lens coating on the SOM Berthiot lens and the overall appearance of the camera. Weighing in at 854 grams, the Kinax III is not a svelte camera. The body is entirely made of non-weight saving metal, and nearly every control has a deep and shiny chrome covering.

The side of the camera with the viewfinder also has the shutter and front door releases.

Pressing the large chrome door release on the side of the camera with the viewfinder, a chain reaction of events quickly unfolds. First, the door swings open with a strong thud, extending the bellows, shutter, and lens all in one swift motion, but also two pieces of the flip up viewfinder automatically open. The viewfinder on this camera is no cheap wire frame, but a rather complex design with two pieces of glass and a parallax correction feature which is not something you see on every folding camera.

The flip up optical viewfinder is well designed and superior to metal frame finders.

While researching this camera, I found a great deal of good information on Sylvain Halgand’s camera website, but his page on the Kinax III has a strange error in which he says that once the viewfinder opens, if you accidentally fold it shut, you cannot reopen it without pressing in a very tiny piece of metal on the side of the viewfinder to reopen it. This is not true, as simply re-pressing the door release with the door already open will re-open the viewfinder again. I’ll give Sylvain a pass though as everyone makes mistakes, even me!

The rear of the camera has three exposure number windows for each of three exposure sizes.

Around back we see the rear eyepiece of the viewfinder, but more interesting is the triple exposure counter window. In case you forgot, the Kinax III is a triple format camera and is capable of 6×9, 6×6, and 6×4 images depending on which mask you have in the film compartment. To accommodate three different exposure sizes, three different windows are used. The Kinax III is designed for Kodak’s 620 film which had all three sets of exposure numbers printed giving you 8, 12, or 16 exposures depending on which one you are using.

Depending on which door is open, a reminder will appear telling you what size exposure you are making.

Next to the three windows is a very long slider with four positions. Each of the first three open one at a time for 6×9, then 6×6, then 6×4, and a fourth position keeps all three windows shut. Conveniently, in each of the three exposure sizes, a printed reminder appears in another window showing which one you’ve selected.

Loading film is like most other roll film cameras. Make sure you do not lose the exposure masks.

A chrome latch on the side of the camera below the leather strap unlocks the film door which swings open to reveal the film compartment. Loading film into the Kinax III is like any other folding medium format camera. First, you must decide which film format you’re using. For 6×6 or 4.5×6, insert the appropriate mask (assuming you have them), and for 6×9, you just remove the masks. Next, you’ll need to move the an empty spool to be the new take up spool, and then insert a fresh roll of film on the opposite side. Stretch the paper leader from the new spool to the take up, attach it and give it a few winds and then close the door. With the door securely shut, continue to wind the camera until the number 1 appears in which exposure size you intend to use. Unlike some cameras which can support both Kodak’s 620n film format, and the more universally accepted 120 format, the Kinax III only works with 620. You cannot insert a 120 spool into the camera because it won’t fit. The Kinax III predates the use of light seals, so there will be no crumbly foam to deal with.

Next to the film advance key is a double exposure prevention warning.

The longer I handled the Kinax III, the more excited I was to use it. The camera has a lot of neat features that you didn’t always expect to see on mid century folding cameras. In addition to the triple film format, body mounter shutter release, double exposure prevention, and optical viewfinder with parallax correction, the camera has two less obvious features. The first is a little red indicator next to the film advance key. When this indicator is red, the double exposure prevention feature is enabled and the body mounted shutter release is locked. The only way to remove this lock is by advancing the film to the next exposure, at which point, the red indicator disappears.

A secondary shutter release can be used for intentional double exposures.

In the event you want to intentionally make a double exposure, or if you tried to fire the shutter but forgot to cock the shutter, you can manually cock the shutter and then use a shutter mounted release near the front corner of the front door to manually fire the shutter. This secondary shutter release can be used in place of the body mounted shutter release if you so choose, but it will not prevent you from making double exposures. While this is not something I think a lot of people would have used, having a backup to re-cock the shutter and fire it without wasting an exposure was smart thinking by whoever designed this camera.

One final feature that isn’t completely obvious is that the IPO shutter has a self timer. An unlabeled lever on the shutter’s left side (when looking at it from the front) is used to engage the self timer. Press it down as far as it will go and it will lock into position. Pressing the normal shutter release will not start the timer. A third, very small lever above the self-timer lever is used to start the countdown. With the shutter cocked and the camera ready to make an exposure, push down on this small lever, and approximately 10 seconds later, the shutter will fire.

Focus distance, shutter speeds, and aperture f/stops can all be set from this side of the shutter.

When it comes time to take photos, shutter speeds, aperture f/stops and focus distances can all be seen from the side of the shutter that faces the leather handle. This is not ideal for when you are holding the camera in landscape orientation, as you need to momentarily turn the camera, but thankfully, everything is in one location. Focus distances from just under 2 meters to infinity are on the front lens grouping. The IPO leaf shutter has speeds from 1 to 1/350 seconds plus bulb, and a small slider near the bellows allows you to choose aperture f/stops from f/4.5 to f/45. From this angle, you can also see the shutter cocking lever which when not engaged is above the 1 second mark.

For my test roll of film in the Kinax III, I chose a roll of 10+ year expired Kodak Porta 160NC. At the time, I had several rolls of this film all from the same source and I knew that it shot pretty close to box speed with a bit of color shift, but should still give some interesting results. In the event the colors were way off, I could always grayscale them and pretend like I used black and white film!

I didn’t bother shooting the Kinax III at any of the smaller image formats as I didn’t have the masks needed to crop the images, so I used the largest 6×9 format and got eight exposures. As expected, the expired Portra film had some color shifts, but combined with the fall colors that I was shooting, I actually think the slightly altered color palette works well. I shot the entire roll at box speed and exposure was correct on all but one image (the one of the swamp with green moss on the shore).

The f/4.5 SOM Berthiot triplet has a beautiful blue coating but unfortunately produces images with extremely mushy edges.

A quick look at each of the eight images and although sharpness was quite good in the center, I now see why Kinax offered smaller image formats for this camera. The 105mm f/4.5 SOM Berthiot triplet had severe softness near the edges. While some softness and vignetting is common on all triplets, the lens on this camera has the worst I’ve ever seen. In fact, I don’t even know that I would use the word “softness” to describe it, as its more like “mush”. I definitely think this lens belongs on a 6×6 or even a 6×4 camera as it really struggles to resolve details beyond the very center of the image. An additional benefit to shooting smaller images would have been the additional economy of 12 or 16 images instead of eight images where nearly half of the visual real estate is wasted.

Beyond image quality concerns of the lens, shooting the Kinax III was actually quite nice. All of the camera’s tactile controls are nicely chromed, giving the camera an upscale feel. If I consider the Kinax III to be an economically priced camera with the poorly performing SOM Berthiot lens, there were a surprising number of nice features that you wouldn’t expect to find on a lower end folding camera. The viewfinder side of the camera has a body mounted shutter release which also has a double exposure prevention feature. The shutter release is not coupled to the shutter so you still need to manually cock it before each exposure, but these are nice features to have, and weren’t always standard on folding cameras from the early 1950s.

The viewfinder has a manual parallax correction feature for closeups.

The film advance key on the opposite site of the camera works as expected and deactivates the double exposure lock. Three separate red windows on the back of the camera make counting exposures easy regardless of which size image you are shooting. The flip up glass viewfinder has a parallax correction device which is also unexpected of a camera in this class. Since I didn’t shoot either of the two smaller film formats, I had no need for the swing out mask, but had I needed it, it seems to have worked well.

The Kinax III is designed only for 620 film, and won’t work with 120 roll film.

The Kinax III is a nice camera with a good list of features, but a strangely poor lens. In all of the contemporary literature I’ve seen for this camera, the tri-format feature was heavily touted, so I suppose that the typical French photographer in 1951 when this model came out likely probably bought this model for that specific purpose and have never witnessed the mushy edges of the largest image size.

I enjoyed shooting the Kinax III and perhaps the best compliment I can pay it was that I had no operational failures, the bellows were still light tight, the shutter was accurate, and aside from the sharpness issues and color cast from the expired film, I was happy with my images. Overall, I was happy with the Kinax III and predict that original owners of this model were happy as well. I don’t know how many of these cameras were sold, but I am glad they exist as I had fun shooting mine and think you would too if you ever have a chance.

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