I came across this Agfa Billy-Clack and could not resist its Art Deco charm. The black enamel face with gold intersecting lines definitely earns this unit a place of honor in the art deco period of the 1930s. This particular unit is model nr. 74 and was produced in 1934. It yields 6x9 negatives on regular 120 film. The decor on the body was not in top shape as the front standard was, as part of the enamel had already peeled off, nevertheless the remaining chrome/enamel combination still had some of its charm very much alive. As a camera it is very similar to the Kodak Jiffy, its direct competitor, however it lacks the simplistic range focusing that the Jiffy offers. It has two shutter speeds, Time and Instant, accessed through a swing lever behind the front plate with the instant setting indicated by a period and the timed setting by a dash(curious indeed). The instant shutter speed is somewhere between 1/30s-1/40s. It also offers three aperture settings by the way of three waterhouse stops from f/11-f/22. Unlike in the Jiffy, Agfa took out the guess work and clearly identified the aperture values on the front plate next to the lever that activates them. The lens is a doublet type with two elements and obviously, uncoated. The focus is fixed and the images are sharp from 8 feet to ∞ Part of the fun when getting a simple camera like this, is the servicing and cleaning part. The seller was honest and had advertised the positives and the negatives properly. The aperture lever was stuck and the haze and dust had to be cleaned out of the body and lens surfaces. I removed the 4 screws on each corner and took off the front plate. That gave me access to the shutter, landscape and portrait viewfinder mirrors, and the stuck aperture lever. The front element also came loose in my hand as well. The aperture lever was simply stuck due to the common effect of metals binding together from extended period of non use. A couple of droplets of lighter fluid made the lever move again with slight pressure, and a tiny-tiny droplet of watch oil was applied to the moving joint. This ensured a smooth operation. The same process was followed with the shutter's tension spring after the ancient grit was wiped off. I cleaned up the mirrors, and both lens elements on both surfaces with Zeiss lens fluid. Once finished, I assembled it back together and had it ready for an outing. All photos were taken at the Coney Island boardwalk on Bergger 200 film. Coney Island Parachute Tower 1/30s, f/22 through Walz Yellow(Y2) filter on Bergger 200 Astroland Park 1/30s, f/16 through Walz Yellow(Y2) filter on Bergger 200 The School Bus Depot 1/30s, f/16 through Walz Yellow(Y2) filter on Bergger 200 A Dreary Day over 5th Avenue 1/30s, f/16 on Bergger 200 While I like the tones on the French made Bergger 200, the film base coils into a tight tube which makes the scanning process a nightmare. Just thought I'd let you know.