The History of CMF Bencini Cameras: Reliability and Vintage Charm

The company was founded in 1937 by Antonio Bencini. Initially, it was named CMF (Costruzioni Meccaniche di Precisione, which means Precision Mechanical Constructions), but later it was renamed to Bencini. 

CMF Bencini was known for its simple yet reliable cameras, which were produced from the 1940s to the 1970s. They specialized in manufacturing affordable cameras for the general public, characterized by their high-quality metal construction and ease of use.

One of the most famous lines was the Bencini Comet cameras. The first model in this series appeared in 1948 and quickly gained popularity due to its compactness and affordability. The Comet cameras used 127 film and could take pictures in 3x4 or 4x4 cm formats. They were made of cast metal, which provided durability. These cameras had minimal settings — a shutter with one speed (1/50 second) or a "B" mode for long exposures, and (in most models) a manually focused lens.

In addition to the Comet series, CMF Bencini also produced other popular models, such as the Koroll, which used 120 film and offered larger picture sizes. Bencini cameras were known for their reliability and durability, making them popular among amateur photographers. The Comet III model, which had a vertical orientation and allowed for horizontal shots, stood out for its unique design.

Although CMF Bencini could not survive the digital revolution and ceased to exist in the 1980s, its legacy remains significant in the history of photography. Today, Bencini cameras are valuable items for collectors seeking vintage cameras with historical significance.

 

Online information about Bencini feels like time travel. Sources state different, sometimes contradicting activity and model dates. Antonio Bencini seemed engaged with everything camera-related in Italy in the early 20th century. He was involved with FIAMMA and Filma before branching independently with ICAF, later renamed CMF.

From his work, it seems that Bencini liked acronyms, classical music, and astronomy. His venture names were acronyms, the cameras he made were variations of the same motif as his paisano Corelli's La Folia variations, and he had a particular interest in comets. Much like Ferrania, another entry-level camera maker of that time, Bencini cameras were simple, cheap, and repetitive. Perhaps this is the reason Ferrania kept buying him out of his ventures. Early cameras were plain box models with three (?) klapp models; then, post-war, he began making no-frills, simple metal-bodied viewfinder cameras.

In 1965, after all possible basic Comet and Koroll variants were exhausted, the company ventured into Instamatic-type cameras, which lasted for about a decade. Around 1973, a line of pocket cameras in #110 format appeared, which also lasted a decade. Around the same time, the company introduced another Comet camera line, reshaped and made of plastic instead of the legacy aluminum casting. The swan song was a 1978 line of fully featured compact 35mm cameras, still called Comet, this time named Comet Electronic or Comet Automatic. The last model of the final series is said to have survived until the mid-1980s, although they are rarely seen for sale. Bencini also sold some cine cameras; it is suspected that these were rebrands.

Bencini cameras are not attractive to collectors, as evidenced by the low prices they fetch when purchased. Very few models fetch over $100, not for being groundbreaking but for being rare, attracting specialized collectors. An exception is the interesting Comet III model.

The Comet, Relex, and Koroll models were sold in the UK by Boots, possibly also in other markets, as well as the Comet III or an early Comet found labeled Scheinsstern.

An anecdote suggests that Bencini named two early models after his children, Gabriella and Roberto: Gabry and Roby. The Fascist National government did not approve of this, as the vowel "Y" is not part of the Italian alphabet, so the models were renamed to Gabri and Robi.

It seems that Bencini fired the designer as soon as production started, as they all follow the same design pattern. It appears that the designer had only a carpenter's square, which was used in all directions.

All four bodies are made of cast metal, nicely chrome-finished, and have stood the test of time well, with no signs of corrosion, which is more than can be said for other cameras of better lineage made at that time. The skins are another matter. All four cameras had either peeling skins or parts thereof missing. At that time, glue was made from horse bones, so perhaps there weren’t enough dead ones, or Bencini tried a new glue composition. All four shutters click nicely, considering they are self-cocked, spring-loaded simple mechanisms with speeds of either B or 50; this should be expected. The focusing thread on three was stuck; assume the lubricant had dried up. It needed some attention through force and a shot of lighter fluid. Speed selector on all is simple: either a lever or an arm selecting between the two speeds. All models have a flash connector. The back cover opens via a slider lock on the side. On the Comet II, the slider lock pulls up; the slider pulls down on the rest. Wonder why.

The Comet models using the #127 format were the earliest, with the last of the series introduced in 1953. The shape is innocent of design aspirations: a rectangular body with a superimposed viewer hunch. On top two pull-up knobs, allowing for the installation/removal of the feed and take-off spools. The larger knob is the one to use, and the smaller is just for looks. A punched steel base supports a cold shoe mount. A threaded trigger completes the top.

The Comet S has a fixed lens barrel, and the Comet II, which came out three years later, has a retractable lens. Here, the lens has to extend for the trigger arm to engage with the trigger mechanism. The backs have two red lens windows, and unlike German or US models, they are not covered against penetrating light.

The #120 format sisters, the Koroll 24 and 24 S, look as if the earlier models were blown to size; same design, but heftier and larger in all directions. Both offer the same speeds, whereas a younger sister, the Koroll II of 1961, has four speeds, from B to 100. The pop-up knob holding the feeding spool is no longer, so there is only one knob to bother with. The Koroll 24 S has two aperture settings, 9 & 16, and the speed selector lever differs from the rest. See pictures. Else is similar to the #127 format Comet models. The viewer window remained tiny throughout the models.