Tag Archives: Analog

The Official Girl Scouts of America Camera

The Official Girls Scouts of America Camera was made in Chicago by The Herbert George Company in 1956. The camera is an Imperial Mark XII Flash camera that’s been re-branded. These plastic-bodied cameras were the first to be manufactured in several colors, and various face plates were installed. They also made the Official Boy Scouts of America Camera and the Official Brownie Scouts of America Camera. I found this camera at a thrift store, in the original box, with the original flash unit, original flash bulbs, original batteries, and one roll of exposed 620 color film.

The Official Girls Scouts of America Camera

The camera features a green plastic body, a fixed focus (about 6 feet – infinity), one shutter speed (about 1/30 – 1/60 sec) and a single aperture (about f/11). Composition is done with an eye-level viewfinder, creating a 6×6 image on 620 film. In a film changing bag, I re-rolled some expired Kodak T-Max 100 120 black & white film onto a 620 spool to test the camera. I developed the film in New55 R5 Monobath. The images make me think the lens is not lined up with the film plane inside the camera because they are blurry on the left side, but in focus on the right. It might be worth investigating and trying another roll of film. If you have some thoughts, please make sure to leave me a comment.


Miranda G – Part Two

It’s rare that I get a camera, quickly shoot a roll a film, enjoy the camera so much that I immediately move to another roll of film. Again, the Miranda G is such a great camera. Don’t believe me, go read my post from last week. The second roll of film I shot with was some Film Photography Project Edu 200 Black & White. At $3.99, you can’t beat the price. The only drawback is it’s a thin plastic and can be difficult to scan.

The Annual VW “No Show” in Kaysville, Utah, is one of my favorite car shows. Not because I own a Volkswagen, or know much about cars. It’s the people at the show and the variety of photographic opportunities. The car owners are great to talk with. They love to share their knowledge about VW’s, often pointing out specific details of a particular year or model. The show usually consists of about 100+ cars. And it only takes a few hours to see everything and visit with people. Brian Thomson and his fellow VooDoo Kruizerz do an awesome job at hosting a fun show each year. Below are some photos from the VW show, make sure to click on the images and view the whole gallery. And if you follow me on Instagram, you’ll see some cars from another show.

TDC Stereo Vivid

I traveled to San Diego, California, back in June and came across a great little camera store in the University Heights area called Camera Exposure. They have a great selection of used vintage cameras. I went in looking for some negative hanging clips, and a lens cap for my Minolta SR-T202. I left with those items, plus a new camera. I had been looking to try something different and decided that I wanted to try a 3D or stereoscopic film camera. A quick email to my friend Maurice for some advice on prices, and I was sold on the TDC Stereo Vivid.

Three Dimension Company (TDC) of Chicago, IL, was a division of Bell & Howell. They produced roughly 20,000 TDC Stereo Vivid cameras from 1954 – 1960. Not as popular as Realists or Kodak stereo cameras, but well-built. The TDC Stereo Vivid features a 35mm, f/3.5 lens with shutter speeds of 1/10th – 1/100th, plus bulb. The camera is a rangefinder focus with the film advance knob on the top. A spirit level is located in front of the rangefinder window, with a recessed shutter release button on the front of the camera with a cable release port. The camera originally sold for $129.50 in the US.

The TDC Stereo Vivid has all of the camera controls on the top surface of the camera body. The Expo Sure display lets the photographer control f-stop and shutter speed. It’s also an exposure guide that assists with shooting conditions from dull cloudy to bright sunny conditions. Using the Expo Sure makes it much harder to incorrectly expose an image. Another great feature is the red dot on the camera below the clear rangefinder focus knob. It indicates the distance of focus. A red line on the focus knob itself indicates the focus distance out to infinity. Two red triangles indicate the closest and furthest points of focus for the f-stop set. Why is this important? It’s important because you’re creating a 3D image. I’ve quickly learned that composing a stereo image goes beyond a quick focus and snapshot. To create an effective 3D image, it has to have a foreground, middle ground, and background. Depth of field isn’t just about focusing on the subject in the photo, it’s about helping your viewer find that focus point while enjoying the depth.

Keeping in mind that this is my first attempt with this type of camera, I have two issues with the Stereo Vivid. The first is film loading. I think TDC knew that loading and rewinding film in this camera was going to be an issue for photographers, so much that they actually printed the instructions on the bottom metal plate of the camera. To load film, the winding knob on the right must be rotated to the left until it stops. Next, rotate the middle sprocket, located between the film gates, to the left until it stops. When threading the film from the cartridge to the take-up spool, the film must go under the sprocket mentioned in the previous step. I admit I wasted two rolls of film before figuring out what I was doing wrong. The other issue are the size of the film gates inside the camera. The film gates are the area where the film is exposed, left and right lenses. They are too wide, resulting in images overlapping each other on the negative. I’ve confirmed this with other websites, and the only solution is to perform a creative crop in post.

Below are some images from the annual Peach Days Car Show in Brigham City, Utah, along with some rural images from the small farming town of Freedom, Wyoming. All images were shot on Kentmere 400 Film, processed at RepliColor and scanned with an Epson Perfection V600 Photo. I created the images using the free software, StereoPhoto Maker. To view the images in 3D, sit back from your display, keep your head and eyes horizontally level, and slowly cross your eyes. As you cross your eyes, focus on the middle image. The more you focus, and lock the image focus with your eyes, the easier it will be for you to explore the details of the image. If you feel that this is causing too much stress on your eyes, move further away from your display. And despite what your mom said when you were a child, doing this will not cause your eyes to stay this way. Click each image to make larger.

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days, Brigham City, Utah

TDC Stereo Vivid - Peach Days, Brigham City, Utah

TDC Stereo Vivid - Freedom, Wyoming

TDC Stereo Vivid - Freedom, Wyoming

TDC Stereo Vivid - Freedom, Wyoming

TDC Stereo Vivid - Freedom, Wyoming

If crossing your eyes has given you a headache, and/or you prefer to view some additional film photos from the auto show, check out Scott Smith’s images.



Expired, Retired, Still Fired

A few months ago my friend Maurice gave me a Watson Model 100 Bulk Film Loader. The bulk loader still had 35mm film in it! Kodak Plus-X Pan (ASA 125) that expired in 1979. Not knowing how to load my own cartridges and shoot expired film, I turned to the interwebs for some guidance.

Watson Model 100 35mm Bulk Film Loader - Kodak Plus-X Pan (Expired 1979)

Learning to bulk load is a simple and straight forward process: use some art tape to attach the film to the 35mm spool, placing the spool inside the cartridge, close the bulk loader, open the film gate, then slowly crank and decide the number of exposures on the roll. Is the expired film still good? To test the film, I loaded a cartridges with 12 exposures into my Canon Canonet G-III QL17. My conclusion, the film is good! There’s no haze or fogging, but the film definitely needs light. The best images from my test exposures surprisingly came from shooting at box speed, ISO 125.

Would you like a roll to test for yourself? Leave a comment on this post and tell me what camera you’ll use. I’ll pick a random comment on December 1, 2015, and send you a roll.

The images below are some of my favorites from a trip to Wyoming with Scott Smith in September. Along with some others from Utah and a family trip to Wyoming, Montana and Idaho in October.

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Kodak Brownie Hawkeye Flash

One of the most recognizable cameras in history is the Kodak Brownie. They made several models of the Brownie, but the Hawkeye Flash stands out because of its simple square bakelite body. The Kodak Brownie Hawkeye Flash was designed by Arthur H. Crapsey, and manufactured from May 1949 to July 1961. The cost, $5.00 USD for the camera, $7.00 USD with the flash.

This camera is easy to disassemble, clean, and reassemble. Even for a guy like me that barely knows which end of a screwdriver to use. Two screws on the top and two on the front of the camera can be removed to clean the viewfinder and front glass element. Two screws inside remove the entire film chamber giving you access to the shutter mechanism.

Over the course of the production, Kodak made some minor changes to the Brownie Hawkeye Flash. My version has a glass lens, but later models had plastic. The camera has an aperture of f/14.5 – f/16. Shutter speed is about 1/30 sec, along with a bulb mode. Focal length is approximately 75mm and the focal distance is about 5 feet to infinity.

The Brownie Hawkeye Flash uses 620 film. The only difference between 620 and 120 film are the size of the film spools. There are many methods for using 120 film in 620 film cameras depending on the make and model. Instead of re-spooling 120 film, or grinding down plastic 120 spools, I chose to modify the camera. I took a Drummel tool and ground out just enough of the bakelite so a loaded 120 spool would fit. Unfortunately, there’s not enough room in the camera to modify it to use a 120 take-up spool.

I wasn’t sure what to expect, but I have to admit I’m happy with the results. The images below were shot on Ilford Pan F Plus 50 BW Film, processed by RepliColor in Salt Lake City, and scanned on an Epson Perfection V600 Photo. It’s not very often that I share an entire roll of images, but I’m going to this time so you can see the accidental double-exposures. The Brownie Hawkeye Flash has a spring loaded shutter, so it’s always cocked and ready to go. My mistakes took place when forgetting to advance the film. Overall, the images are sharp. There’s some slight curving in the images, something I would expect, so it doesn’t surprise me.

You can find various Brownie Hawkeye Flash cameras on eBay. Some are in better condition than others. Some come with the flash attachment and others are a complete boxed kit. I wouldn’t pay more than $15 for this camera. It’s not a rare gem, but certainly fun to use. This camera and its limitations push you to slow down, compose the image, and think. Another benefit of the Brownie Hawkeye Flash is the number of resources available online. Check out the Brownie Camera Page, or Kurt Munger’s site for a detailed breakdown and cleaning guide.



Nikon EM

Nikon EM - 35mm Film (1979 - 1982)

The Nikon EM was produced in Japan from 1979 – 1982. The EM series of cameras was introduced as an entry-level SLR camera for budget minded photographers, $231 (USD). It’s interesting to learn, the EM was designed for, and marketed to, a growing market of female photographers. The camera weighs 16 ounces, has no manual exposure mode, and features a shutter speed from f/1 – 1/1000, bulb, and flash X-sync of 1/90 second. The thought was beginners had not mastered exposure, shutter speeds and f-stops. This section of the market was also moving up from rangefinders and compacts, but were intimidated by traditional SLR features. In the viewfinder is an exposure meter that beeps at the photographer if the exposure is too high or low, very cute. All Nikon F bayonet mount lenses can be used on the EM. To distinguish the EM from other Nikon cameras, the Series E line of lenses were created to differentiate between professional Nikkor ones. I bought this EM at a local pawn shop for $20. It’s the first Nikon product I’ve ever owned. Why? Not because I haven’t wanted to own a Nikon camera. It’s because every time I find a Nikon camera, they never have a lens! There’s nothing more depressing than a box of lensless Nikon cameras. You Nikon fanatics have the ability to hold on to your glass longer than any other camera manufacturer has allowed. I say that jokingly, but I mean it as a sincere compliment. I really enjoy this camera. I like the small footprint and weight. My first roll of film through the EM was 35mm Kodak Hawekeye Super Color, also known as Film Photography Project hand rolled Kodak Hawkeye Traffic Surveillance Film. Unfortunately, as you can see from photos, my EM has a light leak. I’m going to replace the light seals next week.


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Kodak No. 1 Panoram

This week we’re featuring a guest post from Maurice Greeson. I’ve come to know Maurice from visiting the Ogden Union Station Restoration Shop in Ogden, Utah. Each week, members of The Golden Spike Chapter of the Railway & Locomotive Historical Society volunteer time restoring, Denver & Rio Grande Western railroad steam locomotive #223 to an operational engine. Maurice is a talented photographer with a vast collection of vintage cameras. You can see more of his work on Flickr. Maurice has a Kodak No. 1 Panoram camera that was manufactured by Kodak from 1900 – 1926 and cost $10. This Model-D was made around 1915. A 6-exposure 2 1/4 x 7 film cartridge was $.40 or you could use a 3-exposure cartridge that was $.20.

Kodak No. 1 Panoram

Kodak No. 1 Panoram

The steam locomotive is No. 223, an 1881 Grant loco currently under restoration at Ogden’s Union Station. Photo by Maurice Greeson.

The steam locomotive is No. 223, an 1881 Grant loco currently under restoration at Ogden’s Union Station. Photo by Maurice Greeson.

This was shot on April 24th, 2015 at The Union Station, Ogden, Utah, with a one hundred year old Kodak No. 1 Panoram camera.   I’ve had this camera sitting on the shelf for a few years and finally decided to try it out. I’m not sure where or when I acquired it. (Old cameras seem to float in and out of my life) Originally using Kodak No. 105 roll film it seemed a perfect candidate to modify for 120. Too easy! All that was necessary was to file down a slightly protruding metal piece in the bottom of the supply chamber. It also helped to sand down the plastic Fuji 120 spool on one end. (The older metal 120 spools could be a problem) The next thing was to figure out the number spacing. Since the negatives from the Kodak are 7” long it wasn’t too hard to figure out that 2,5,10, & 14 would work. I just laid out a discarded paper backing from a 120 roll film and saw that the numbers for shooting 16 shots with a 1 5/8” x 2 ¼” camera would be under the red window. Although touted by Kodak as being able to shoot hand held, I used a tripod.   Keeping the camera level is a good thing although shooting up or at an angle might give some interesting effects. I still haven’t figured out the shutter speeds or f/stop, but the simple meniscus lens does a pretty nice job on a sunny day. This is a fun camera to use, even if it is a bit fiddly. You have to cock the lens by moving a lever on the top of the camera to the left or to the right. Pressing the release button lets the lens swing to give you the 112 degree picture. The only down side is that it costs about $1.25 per exposure. Shot with Fuji Acros negative film size 120 and developed in a home brewed MQ developer. Yup… D76!   If you haven’t tried making up your own developer from scratch just give it a try. There are only four chemicals in D76! The steam locomotive is No. 223, an 1881 Grant loco currently under restoration at Ogden’s Union Station.


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Camera Collection

For the past month I’ve been running test film through various cameras so I can share the results here. This week, I want to show off some of the most recent additions to my collection.

Yashica A - 120 Film (1959 - 1969)Yashica A – 120 Film (1959 – 1969)


Pentax Spotmatic - 35mm Film (1964 - 1973)Pentax Spotmatic – 35mm Film (1964 – 1973)


Nikon EM - 35mm Film (1979 - 1982)Nikon EM – 35mm Film (1979 – 1982)


Pentax ME Super - 35mm Film (1980 - 1986)Pentax ME Super – 35mm Film (1980 – 1986)


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Holga 120S

My film camera collection is starting to be an obvious fixation. Last fall, a friend posted a comment on my Facebook page indicating that a local was selling a bunch of Holga cameras. The truth is, I saw the post a few minutes prior on another page and had already contacted the seller. Up to this point I knew I wanted to get a Holga, but didn’t feel like paying full price for plastic camera. When I met the seller downtown Salt Lake City, she told me that she had purchased a mixture of items from an estate sale. One of the items in the lot was a case of Holga 120S cameras. She decided to keep one for herself and sell the rest for $15 each. I purchased the last two from her, one for me, and the other for my friend Scott. They were both new cameras, each in a box, but one had been barely used. The seller told me that one of the two had been loaded with film and she didn’t know anything about it. When I met with Scott to give him a camera, I purposely mixed the boxes up, told him that both cameras were new, but one was loaded with film, and let him make a blind choice. Neither one of us cared because both were identical. I ended up with the camera loaded with film. I could see that the film had only been advanced to the second shot, but whoever had used it knew what they were doing because the body of the camera was carefully sealed with gaffers tape to prevent light from leaking into the film. The biggest part of the mystery was not knowing what film was loaded. How long had it been in the camera? Was it color or black and white? What brand and speed was it? I decided to take my chances and complete the remainder of the roll over the next month.

Holga’s history goes back to 1981 in China. The Holga was introduced to the Chinese as an inexpensive medium format camera. Despite Holga’s attempt to mainstream their 120mm camera, smaller and cheaper 35mm cameras dominated the market within a few years. However, the popularity of the all plastic Holga remained, and even grew. Holga sold more than 1 million cameras by 2001. The unique Holga look is created by a plastic lens, plus the possibility of artistic light leaks.

There’s really not a lot to say about the specs of the Holga 120S. It was the original Holga model produced in 1981, and has since been discontinued. It has a fixed shutter speed of about 1/100 sec, adjustable focus, a plastic 60mm f/8 lens, a two-position f-stop switch, hot shoe for external flash, and a 6×4.5mm film mask. It’s cheap, plastic, toy camera.

During the month of November, I took the Holga with me everywhere. Not knowing what film speed was loaded, I did my best to guess the amount of light needed. I used an old flash on a few shots. When I finished the roll, I found that the mystery film loaded in the camera was Kodak T-Max 400. My favorite images were done during a senior photo shoot. I admit that when I’m working on a paid shoot, I use my Canon DSLR. However, I’ve been slowly introducing film into my sessions. The next time I use my Holga, I’ll probably load it with some Lomography 120 film that I received from my wife and kids for my birthday.

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Argus C3

I found this Argus C3 at a local thrift store for $10. It’s one of the cleanest thrift store finds I’ve purchased. The camera and case were in excellent condition. Someone really cared for this camera. And I was surprised to find one because I had only ever seen one once before, the previous day. A friend showed me his father’s Argus C3 that he used in the Philippines during World War II. The leather case was heavily worn and one of the three aperture leafs was missing. Not a functional camera, but a sentimental item; a wonderful reminder of his dad and his service in the military.

Part of the enjoyment from collecting and using vintage cameras is learning about the people and companies that made them. The history of Argus takes place during the Great Depression in Ann Arbor, Michigan, USA. In 1929, local inventor Charles A. Verschoor and the Mayor of Ann Arbor, William E. Brown Jr., created a radio manufacturing business that was funded by local bankers. The company was named the International Radio Company and produced the Kadette, the first radio that used a series of tubes instead of a large transformer. The name of the company was changed in 1935 to the International Research Corporation. In 1936, Verschoor traveled to Europe and returned with an idea of producing a rangefinder camera, like the Leica. In 1940 the company released its first camera and renamed itself International Industries. By 1941 the company concentrated on cameras and was renamed Argus Cameras Inc. The name Argus comes from the mythical Greek god of 1,000 eyes. During the 1940’s, Argus expanded its products from cameras to other optical equipment and held several contracts with the U.S. Government during World War II and the Korean War. Argus was responsible for a prosperous community in Ann Arbor, employing 1,300 people and occupying 2 city blocks during the peak of operation. In 1959, Argus was acquired by Sylvania, an American tube and semiconductor manufacturer. Argus was sold again by 1969 and the name was used throughout the 1970’s on camera products that were re-badged. Today the original Argus manufacturing facility and offices are used for various departments by the University of Michigan.

The Argus C3 is a 35mm rangefinder camera that was mass-produced from 1939 to 1966. It earned a nickname as “The Brick” because of its shape and size. The C3 has a reputation for being a rugged camera. There’s even a US Army Service Manual that details how to field strip and repair an Argus. More than 2 million C3 cameras were sold during its 27-year production. The body is made from Bakelite, features a 50mm f/3.5 – 16 Cintar anastigmatic triplet lens, and has a rangefinder focus. The C3 out-sold most American competitors, including Kodak’s 35 Rangefinder, and several inexpensive Japanese SLR’s in the 1960’s. The C3 is also known as “The Harry Potter Camera.” In the movie series based on J.K. Rowling’s books, the character Colin Creevey is a muggle-born wizard that uses an Argus C3 Matchmatic at Hogwarts School of Witchcraft & Wizardry.

During manufacturing, Argus gave each camera a serial number. After doing some research online, I found that the serial number on mine indicates it was made in 1956. That makes my camera 59 years old! The C3 has a cold shoe, but has a two-pin connector on the side for a dedicated flash unit. I believe the cameras were originally sold with a flash gun. The flash took C-batteries and used common 25b flash bulbs. The shutter speed is controlled by rotating the dial on the front right-hand side of the camera. Rotating the dial counter-clockwise allows shutter speeds of 1/10th to 1/300th of a second. Bulb mode can be enable for long exposures by twisting the dial that surrounds the shutter release to ‘B’.

I didn’t find the rangefinder focus on the Argus C3 any more or less difficult to use than any other rangefinder camera. Since buying my C3, I’ve see others in thrift and antique stores. A common issue I find is a cloudy rangefinder window and a stiff focus wheel. If the camera has mold or other issues within the focus window, I’m not sure how easily that would be to repair. That’s not something unique to this camera, but all vintage cameras. The focus on the C3 is geared between the focus wheel and the lens. When the focus wheel is stiff, it can literally peel the skin off your fingers while trying to focus. I found that applying a few small drops of WD40 really helped. I emailed Mark Dalzell from the Film Photography Project who gave me this advice on cleaning an Argus C3:

Hi Shaun – to clean out the old C3, you’ll need to take the lens off. Not a big deal – they made multiple lenses and it was designed to swap them out. Set the camera to infinity and unscrew the dome-headed screw on the gear between the lens and focus gear. Then lift out the gear and you should be able to unscrew the lens from the body. You can now scrub any moving parts with naphtha (you can buy it at any good hardware store or as Zippo-style lighter fluid). It won’t hurt anything in a C3 so you can use a good amount. After that you can flush it all out with 99% alcohol (available at pharmacies or for a lifetime supply in gallon jugs at nail salon supply stores). The alcohol will flush out any naphtha residue and won’t leave a trace. The camera should work fine after this but you can rub a tiny amount of machine oil on the threads to loosen them up even more.

Because my C3 is in such good condition and the back of the camera seals very tight, I decided to bypass a cheap test roll of 35mm film. My first roll through the C3 was some Kodak Tri-X 400. On the top of the C3 is a manual frame counter. To advance the film, the film catch switch is clicked to the left and the winding knob is turned clockwise. This turns the frame counter one complete rotation as the gear block assembly moves the film from the canister to the take-up spool inside the camera body. At some point during my initial test, I forgot to advance the film. What resulted was a triple exposure of an old truck, the ceiling of my local Apple store, and an iBooks display from the same store. Using the cocking lever on the front of the camera was another failure on my part. No less than a dozen times did I hold the camera up, frame my shot, focus, and then press down on the shutter release only to find that I hadn’t cocked the camera. Based on my last two examples, I’m telling myself again how digital photography has really spoiled us.

The Argus C3 has quickly become one of my favorite cameras. I’ve kept it in my backpack every day since I purchased it last July. When I sent off that first roll of film to the lab, I didn’t know what to expect. I admit that I was surprised by the results. I guess I was expecting less than average images from an old mechanical camera. I’ve read other reviews online about the C3 and compared notes. There are many who prefer other rangefinder cameras for various reasons, but you can’t argue with 2 million C3’s sold over a 27-years. This was the camera of choice for many Americans into the 1960’s. I think there’s a certain pride that Argus collectors have and it goes beyond the ability to create a good photo. The company was formed in one of the worst economic times in American history. Then went on to employee 1,300 people and sustain an entire community. And like many private companies, helped the United States in a time of war. Argus created something that made people proud to be American.

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