Adox Adrette II (1950s)

A sleek survivor from a dark chapter in German industry, reborn in the 1950s as an honest little viewfinder with a soul older than its badge suggests.

Overview

Hold one of these in your hand and you’re touching history twice over — once for the camera, once for the story behind it. The Adox Adrette II isn’t just another 35mm viewfinder from the postwar boom; it’s a quiet echo of a forced corporate takeover, a design that outlived its original creators, and a testament to how good engineering can survive political upheaval. Originally the Wirgin Edinex, this compact metal-bodied camera was rebranded as the Adox Adrette after 1939 when the Jewish-owned Wirgin company was seized by the Nazi regime and handed over to Dr. C. Schleussner Fotowerke, the firm behind the Adox name. Production halted during the war, but by the 1950s, the design resurfaced — not as a relic, but as a budget-friendly option still being sold under the Adox-Edinex and Adrette II names well into the decade.

What you’re holding isn’t a technological marvel by 1950s standards, but it’s something rarer: continuity. While other companies raced to build rangefinders or slap new styling onto plastic bodies, the Adrette II stuck with the same proven scale-focus chassis, helical focusing (on later models), and compact 35mm film handling that made the original Edinex one of the earliest serious compact 35mm cameras. It’s small enough to slip into a coat pocket, built from solid metal, and operates with a satisfying mechanical precision that belies its modest price. There’s no meter, no automatic exposure, not even a flash sync on many versions — just a lens, a shutter, and a window to frame your world.

Despite its humble presentation, the Adrette II could be found with a surprising range of optics and shutters, depending on the year and configuration. Some carried the unassuming Adoxar f/3.5, others the more refined Steinheil Cassar or even Schneider-Kreuznach Xenar f/2.8 or Xenon f/2. These weren’t throw-in lenses; they were real glass, capable of producing sharp, character-rich images when stopped down. Paired with a Compur-Rapid or Prontor II shutter, the camera could handle 1/500 sec — fast for its class — and offered a B setting for night shots. It wasn’t a Leica, but it didn’t need to be. It was a working photographer’s backup, a student’s first serious camera, or a traveler’s discreet companion.

Specifications

Key Features

Helical Focusing and Mechanical Precision

The Adrette II marked an evolution from earlier Adrette models that used front-cell or telescoping focusing, where only the front lens element moved. The II introduced a proper helical focusing mechanism — the entire lens assembly rotates and moves forward smoothly, allowing for more accurate focus and better optical performance, especially at close distances. This wasn’t just a mechanical upgrade; it signaled that Adox, or whoever was assembling these in the 1950s, was still invested in refining a prewar design rather than just rehashing it. The focusing action is tight but fluid, with clear distance markings on the scale. Because it’s a scale-focus camera, depth-of-field estimation is essential — there’s no rangefinder patch, no split image. You guess, you zone, you stop down, and you learn. It’s slow, deliberate photography, the kind that makes you think before you wind.

Modular Build, Hidden Flexibility

One of the most fascinating aspects of the Adrette II — inherited from its Wirgin roots — is how modular it was at the factory. While sold as a fixed-lens camera, it wasn’t built that way. Wirgin and later Schleussner assembled these with interchangeable lens and shutter units, meaning two Adrette IIs could look identical but perform very differently. A model with a Radionar f/2.9 and Compur-Rapid shutter is a far more capable tool than one with a basic Adoxar and Prontor II, even if they wear the same badge. This makes collecting tricky — you can’t just buy “an Adrette II” and assume quality. You have to inspect the lens and shutter combo. The best versions, especially those with Schneider glass, can produce results that rival contemporary Zeiss Ikon models, while the budget builds feel like what they were: affordable, functional tools.

Compact Design with Prewar DNA

At a time when many 1950s cameras were getting bulkier, adding rangefinders or plastic trim, the Adrette II stayed true to its 1930s roots. The body is all metal, with a smooth, slightly curved top plate and a compact footprint that fits naturally in the palm. The film advance is via a knurled knob, not a lever — a throwback, but one that works reliably. The back opens with a hinged door (a later feature also found on postwar Edinex models), which makes loading easier than slide-off backs. There’s no self-timer, no multiple exposure prevention, not even a hot shoe on most examples. What you get is simplicity: point, focus, cock, shoot. It’s a camera that doesn’t distract, which is either a virtue or a limitation, depending on what you’re after.

Historical Context

The Adox Adrette II exists because of one of the darker episodes in photographic history. In 1939, brothers Henry and Josef Wirgin, Jewish industrialists who founded Wirgin in Wiesbaden, were forced to flee Nazi Germany. Their factory, tooling, and designs were seized and handed over to Dr. C. Schleussner Fotowerke, a Frankfurt-based company better known for photo paper and chemistry than cameras. Overnight, the Wirgin Edinex became the Adox Adrette — same tooling, same design, new badge. Production continued until wartime demands halted it around 1942. After the war, the Wirgin brothers returned, reclaimed their company, and eventually released updated Edinex models (including the Edinex II and III). But here’s the twist: Adox kept making and selling the old design. Whether they were using leftover parts, reactivated tooling, or had a separate production line, the Adrette II and Adox-Edinex name lived on into the 1950s, even as Wirgin moved on.

This makes the Adrette II a historical anomaly — a camera out of time. By the mid-1950s, the market was shifting toward rangefinders, SLRs, and more automated designs. Yet here was a prewar viewfinder, sold new for $18.95 in 1957 (about $210 today), competing with newer but often more fragile offerings. It wasn’t cutting-edge, but it was honest, durable, and capable. For budget-conscious buyers in Europe and the US, it was a solid entry into 35mm photography. It also served as a bridge — a way for Adox, a company rooted in chemistry, to maintain a presence in the camera market without investing in new designs.

Collectibility & Value

Today, the Adox Adrette II is a quiet favorite among collectors who appreciate underdog stories and functional design. It’s not rare in the sense of being scarce, but complete, working examples with desirable lenses (especially Schneider Xenar or Xenon) are increasingly hard to find. Most turn up on eBay or European auction sites in “as-found” condition — cosmetically worn, shutter sticky, lens cloudy. Fully serviced units with clean glass and accurate shutter speeds can command $150–$250, depending on the lens. A mint example with a Schneider f/2 Xenon might reach $400 at auction, but those are exceptions.

The biggest risk in buying one is assuming it works. These cameras are 70+ years old, and the leaf shutters — especially Prontor and Compur types — are prone to oil drying, sticking blades, or slow speeds. The helical focusing mechanism can seize if not used. Light seals are long gone, so expect light leaks unless replaced. The film pressure plate can warp, leading to uneven focus. And because many were sold without flash sync, don’t count on using one with strobes unless you’ve verified the circuit (if present).

Before buying, check that the shutter fires cleanly at all speeds, the lens elements are free of haze and separation, and the focusing ring turns smoothly. Look for the later helical focus models (Adrette II) over the earlier front-cell versions — they’re more reliable and optically better. Avoid any with heavy corrosion, dented bodies, or cracked viewfinder glass. And remember: this isn’t a camera you buy for daily use. It’s a project, a display piece, or a weekend shooter for when you want to slow down and earn your exposures.

eBay Listings

Collectible cameras Adox Adrette II C. 1940

$270

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