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com
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t:
TO
prot ect Kodak amat eurs, and t o pro-
I t ect Devel opi ng anC Pri nt i ng houses
t hat endear cr ro gi ve t hei r cust omers t he
best possi bl e resul ' s, we have made Vel ox
paper i dent i f i abl e. The t rade name
"Vel ox" i s pri nt ed, f ai nt l y, on t he back of
every sheet. Look for i t.
Insi st on Vel ox-the paper that exactl y
meet s t he requi rement s of amat eur nega-
t i ves-and know you' re get t i ng t he best
resul ts possi bl e frorn your fi l ms.
The Velox Book tells the working of a sitnple
|aDer i n si mbl e terms-a aal uabl e
fhoto-
sralhic help. Free
from
u,s or your decler.
EASTMAN KODAK COMPANY
P'ict'ttre tak,ing witii, the
No.2-A
Folding
Autographic
Brownie
Camera
Rapi d R ecti l i near Lens
EASTMAN KODAK COMPANY
RocnBsrnn, N Y.
-i
Tcl ox
now identtlfable
il
0,,
,
RocHBSTER, I {. Y.
#
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Kodak Camer as.
Kodak Fi l m,
Vel ox Paper,
Browni e Cameras,
Kodak Fi l m Tank- s.
Sol i o Paper ,
.
"Kodak"
TRADE \ , {ARK
1888
EASTNI AN KODAK CCT\ I PANY
RocHBsrER. N. \ -.
Manufacturers of
. . KODAKERY' '
A monthly magazine that teaches how to
i
make better pictures,
wilt be sent FREE OF
I CHARGE to anyone uho buys one oI our
tt
smateur cameras
from
a dealer in photo-
l{raphic
goods,
if this btank is
fitled
out and
:
sent to us utithin 30 days
trorn
the date the
camera was purchased.
EASTMAN KONEK COPTPENY.
TO THE EASTM, q. I . I KOOAK CO. , ROCHNSTER, N. Y. :
Accepting your offer, pleo.se put
,ny name on the
tnailing list
for "KODAKERY" (with the understanding
that there is to be no cost to me), I ha,vin{ bought a
NorB-The magazine will
h,e
sent for one year
only on this
offer. After that the subscription price
wiil be
-60
c""tr
-
u
year,
b]t_yog are not under- the sl i ghtest obl i gati o" to r"-
new. - E. K. Co.
For m No. 337. 24.
td
E
lrl
I
|I.
tr
o
tr
ld
F
Browni e Enl argi ng Cameras,
East man Royal Bromi de
paper,
East man St andard Bromi de
paper,
East man Vel vet Bromi de
paper,
East man Bri l l i ant Vel vet Bromi de
paper.
East man Mat t e- Enamel Br omi de
paper .
East man Enamel ed Br omi de
paper ,
Kodak Dr y Mount i ng Ti ssue,
East man Test ed Chemi cal s,
Tri pods and Ot her Speci al t i es.
Trade Marks Ree. L-. S.
pat .
Of f .
I
1 l
I
I
I
I
Y
-1
I
I
I
I
i
Oct ober . 1924.
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I
l
I
l
P,icture tak'ing w'ith the
No. 2-A
Folding Aurographic
Browni e Camera
Rapid Rectilinear Lens
Publi.shed. by
EASTMAN KODAK COMPANY
RocnnsrBn. N. Y.
I
I
I
J_
q
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Order Film
by Number
All Kodak Films are distinguished
by
the numbers on the ends of the cartons.
A 116 i s the number of the fi l m for thi s
camera (No.
2-A Fol di ng Autographi c
Browni e).
Tfi s number i s on the carton,
on the cartridge, and on the back of the
camera.
Autographic
film can be used in the
earl i er model s of Browni es, "N.C."' fi l m
can be used in Autographic Brownies, but
to get autograph,ic results, Autographic film
must be used in an Autographic Brownie.
IMPORTANT
When Autographing
film, bear down
with the stylus as heauily as the
paper
will stand without tearing.
Before Loading
D
EFORE taking any pictures with the
L)
No. 2- A Fol di ng Aut ogr aphi c
Brownie Camera, read the following in-
structions carefully. Make yourself famil-
iar with the camera, taking especial care
' to
learn how to operate the shutter. Work
it for both time and instantaneous ex-
posures several times before loading the
camera wi th fi l m.
The first thing for the beginner to bear
in mind is that the light, which serves to
impress the photographic image upon the
sensitive film in a fraction of a second when
it comes through the lens, can destroy
the film as quickly as it makes the picture.
Throughout the operations of loading and
unloading, be very careful to keep the
red paper wound tightly around the film
to prevent the l i ght stri ki ng i t.
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f
CONTENTS
Penr I
I.oadi ng the Camera
Penr II
Making the Exposures
Operati ng the Shutter
Instantaneous Exposures ..
Focusi ng
Di aphr agms
Usi ng the Fi nder
Autographi c Feature
Time Exposures-Interiors
To Make a Portrait
Time Exposures-Outdoors
Fl ash-l i ght Exposures
Penr I I I
Removing the Film
Fi ni shi ng the Pi ctures .
PART I
Loading the Camera
THE
fi l m (A 116) for the No. 2-A Fol di ng Auto-
r
graphi c Browni e Camera i s furni shed i n a
l i ght-proof cartri dge and the camera can be l oaded
i n dayl i ght. Thi s shoul d be done i n a
subdued light, not in the glare of bright
sunl i ght. It shoul d al so be borne i n
mi nd that after the seal i s broken, care
must be taken to keep the red paper
ti ght on the spool , or i t may sl i p and
l oosen suffi ci entl y to rui n or fog the fi l m.
1. To l oad the camera, take a posi -
ti on where the dayl i ght i s somewhat
subdued, not i n the di rect sunl i ght, and
remove the front of the camera. To do thi s, push
the metal l ock to the ri ght, Fi g. 1, page 6. Then
take the front of camera by the two metal edges
and l i ft i t upwards, fi rst l i fti ng the end on whi ch
the l ock i s fastened, Fi g. 2, page 6, and remove
that part of the camera enti rel y. The camera i s
now ready for l oadi ng.
2. At each end of the camera there i s a recess
for hol di ng the fi l m spool s.
,.l
1 1
1 1
l 4
15
r 7
19
25
29
3+
36
37
43
48
J-*,
THo Frr.u,
No. A 116
. / )
"qb
www.orphancameras.com
There i s an empt y
t he camer a; t he f r esh
t he opposi t e end.
Fi g. 1
spool at t he wi ndi ng end of
cart ri dge i s t o be i nsert ed i n
The empt y spool ,
whi ch i s used as t he
reel , must now be re-
moved. Thi s i s done
by fi rst drawi ng out
t he wi ndi ng key t o
t he l i mi t of mot i on,
whi ch wi l l rel ease t he
spool , i t can t hen be
r e a d i l y r e n r o v e d .
F i g . 3 .
Fi g. 3
3. Br eak and r emove t he gummed band t hat
hol ds t he end of t he r ed paper , unf ol d t he end and
t hread t he red paper as f ar as i t wi l l go, i nt o t he
l onger openi ng of t he sl i t i n t he empt y spool , . ro
that the slot
'in
the end of tlte spool w'ill be at the top,
wh'ile at the same t'ime the slot at the end of the
full
spool wi l l be at the bottom of the cartri dge. Then gi ve
t he empt y spool t hr ee or f our t ur ns, unt i l t he
bl ack l i nes on t he out si de of t he paper are reached.
Be caref ul t hat t he paper draws st rai ght and t rue.
See Fi g. 4.
I.-i g. 2
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4. The camera may now be l oaded by fi rst
unrol l i ng about f our i nches of t he red paper and
t hen pl aci ng t he t wo spool s i nt o t he f i l m pocket s
at each end of t he camera. Fi g. 5.
t r l g. . \
Important
when i nsert i ng t he spool of f i l m be sure t o get
t he t op of t he spool at t he t op of t he camera (each
spool i s marked wi t h t he word "Top, " on t he red
paper near t he t op of t he spool ). The wi ndi ng
k"y i s on t he t op of t he camera. I f t he spool of
f i l m i s i nsert ed wrong end up, t he red paper i nst ead
of t he f i l m wi l l f ace t he l ens, resul t i ng i n t he t ot al
l oss of t he pi ct ures.
5- Af t er t he spool s have been pl aced i n t he
pocket s, push t he f ul l spool as f ar back as possi bl e
so t hat t he t ensi on spri ng may hol d i t securel y
i n pl ace, creat i ng suf f i ci ent drag t o keep t he f i l m
t aut .
Press i n on t he wi ndi ng key i n t he t op of camera
and t urn i t t o t he l ef t , unt i l t he web on t he key
f i t s i nt o t he sl ot i n t he t op of t he empt y spool , whi ch
i s t he r eel . Fi g. 6.
Caution
I f t oo much of t he red paper i s
t he camera i s cl osed, some of t he
covered, f ogged and rui ned.
reel ed off bel ore
f i l m wi l l be un-
Fi g. 6
6. The camera must now be cl osed, reversi ng
t he operat i on shown i n Fi gs. 1 and 2. When re-
pl aci ng t he f ront of t he camera af t er i t i s l oaded,
f i rst i nsert t he end opposi t e t he l ock, t he edge of
box must be i n t he met al groove at t he end of t he
f ront , t hen drop t he end on whi ch t he l ock i s f ast -
ened i nt o pl ace. Push over t he met al l ock andl
rnake sure that i t i s fastened securel y.
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Throughout t hese operat i ons f rom t he t i me t he
gummed band i s broken on t he f resh rol l of f i l m
unt i l t he camera i s cl osed, keep t he red paper
wound t i ght l y on t he rol l . I f i t i s al l owed t o l oosen
l i ght wi l l be admi t t ed and t he f i l m rui ned.
7. The red paper must be part l y reel ed of f
bef ore a pi ct ure can be t aken. Turn t he key t o
t he l ef t and wat ch t he l i t t l e red wi ndow i n t he back
of t he camera. When about t en or t wel ve t urns
have been gi ven, an i ndex hand wi l l appear. Thi s
hand i s a warni ng t hat t he
f i rst number i s approach-
i rg. Then t urn t he k"y
sl owl y unt i l f i gure 1 ap-
pears i n t he cent er of t he
red wi ndow.
Press i n on t he wi ndi ng
key whi l e t urni ng i t , so
as t o keep t he web on t he
k"y, i n t he sl ot i n t he end
of t he spool , and t o pre-
vent t he key l ooseni ng and
al l owi ng t he f i l m and red
paper t o unwi nd.
The f i l m i s now i n posi -
t i on f or t he f i rst pi ct ure.
PART I I
Making the Exposures
I ]
EFORE maki ng an exposure wi t h t he No. 2-A
' t -'
Fol di ng Aut ographi c Browni e, ei t her t i me or
i nst ant aneous, be sure of f our t hi ngs:
Fi rst-That the sh utter i s ad
j
usted properl l '
;
f or an i nst ant aneous, t i me or "bul b" exposure as
desi red.
Second-That the di aphragm l ever i s pl aced at
t he proper st op openi ng.
Thi rd-That t he camera i s f ocused.
Fourt h-That an unexposed sect i on of t he f i l m
i s t ur ned i nt o posi t i on.
Operati ng the Shutter
Fami l i ari t y wi t h t he shut t er i s necessary f or suc-
cessf ul pi ct ure t aki ng wi t h any camera.
The f ol l owi ng di rect i ons shoul d be caref ul l y read
and t he shut t er operat ed several t i mes bef ore l oad-
i ng t he camera wi t h f i l m.
The shut t er i s sel f -set t i ng. Exposures are made
by pressi ng t he push-pi n of t he cabl e rel ease D or
pushi ng down t he exposure l ever C. See di agram
of shut t er on page 12.
Do not make too sharp a bend i n the cabl e rel ease
or i t wi l l be l i kel v t o ki nk.
1 1
www.orphancameras.com
Snapshots"
For al l ordi nary Instantaneous Exposures
Fi rst-Move the l ever A to 25 or 50 (represent-
i ng the speeds of the shutter), accordi ng to the
ti me of i nstantaneous exposure desi red. Thi s ad-
j usts
the shutter for Instantaneous Exposures.
Second-Move the l ever B to U.S. 8. Lever
B control s the i ri s di aphragm and U.S. 8 i s the
proper opening for ordinary outdoor work, such as
street scenes, nearby vi ews, etc., when the subj ect
i s i n bri ght sunshi ne, usi ng speed 25.
Thi rd-Press the push-pi n of the cabl e rel ease D
or push down the exposure lever C. Tbis makes
the exposure. Be sure to hol d the camera ri gi d,
a sl i ght
j ar
wi l l cause a bl urred negati ve.
t 2
Time Exposures
Fi rst-Move the l ever A to the poi nt "T"
(ti me).
Thi s adj usts the shutter for Ti me Exposures.
'
Second-Move the l ever B to U.S. 4, 8, 16, 32
or 64, accordi ng to the ti me of the exposure and
the nature of the subj ect. See i nstructi ons for
the use of the di aphragms or stops as gi ven on
page 17, al so the tabl e for maki ng Interi or Ti me
Exposures on pages 32 and 33, and the tabl e for
Ti me Exposures Outdoors, page 36.
Third-Press the push-pin of the cable release D
or push down the exposure lever C. This opens
the shutter. Time the exposure by a watch. Again
press the push-pi n or the exposure l ever. Thi s
closes the shutter.
Bulb Exposures
When it is necessary to make a very short time
exposure thi s i s best accompl i shed by maki ng a
"Bul b" Exposure.
'
Fi rst-Move the l ever A to the poi nt "8"
(bul b).
Thi s adj usts the shutter for "Bul b" Exposures.
Second-Move the l ever B to U.S. 4, 8, 16, 32
or 64. See i nstructi ons for the use of the di a-
phragms or stops as gi ven on page 17, al so the
tabl e for maki ng Interi or Ti me Exposures on pages
32 and 33, and the tabl e for Ti me Exposures Out-
doors, page 36.
Third-Press the push-pin of the cable release D
or push down the exposure l ever C, to open the
shutter, and rel ease i t to cl ose the shutter. Th,i s
makes the exposure. The shutter wi l l remai n open
as l ong as the push-pi n or the exposure l ever i s
under pressure.
Important-Nezter oil, the shutter. In case of
acci dent, return the camera to your deal er or to us
for repairs.
13
AS
- { ' *
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As a general rul e, make exposures wi t h t he cabl e
rel ease i nst ead of wi t h t he exposure l ever C, as t he
cabl e rel ease i s l ess l i kel y t o
j ar
t he camera.
Instantaneous Exposures
"Snapshot s"
When makl ng i nst ant aneous exposures or snap-
p. hgt r, t he subj ect shoul d be i n t he broad, open sun-
l i ght , but t he camera must not . The sun shoul d
be behi nd t he back or over t he shoul der of t he
operat or. I f i t shi nes di rect l y i nt o t he l ens i t wi l l
bl ur and f og t he pi ct ur e.
Speci al i nst ruct i ons f or maki ng port rai t s i ndoors
are gi ven on page 34.
Use St op U. S. 8 and Speed 25
For al l ordi nary out door work, such as st reet
scenes, nearby vi ews, et c. , when t he subj ect i s i n
! l r"
bri ght sunshi ne, use st op I J. S. 8 and speed 25.
I f a smal l er st op i s used f or ordi nary snapshot s, t he
l i ght wi l l be so much reduced t hat i t rn' i l l not suf -
f i ci ent l y i mpress t he i mage on t he f i l m, and f ai l ure
r vi l l r esul t .
I n vi ews at t he seashore and on t he wat er, when
t he sunl i ght on t he subj ect i s unusual l y st rong and
t here are no heavy shadows, st op I l . S. 16 and i peed
50 shoul d be used.
l 4
Focus on the Subject
Pul l up t he l ever on t he f ront of t he camera,
at t he wi ndi ng end, see Fi g. 1. Thi s unl ocks t he
bed of the camera. Then pul l the l ever foru' ard
and push down t he bed of t he camera.
Fi g. 1. Openi ng t he Fr ont .
At the front of the camera bed and at one si de
there i s a focusi ng scal e whi ch i s to be used for
f ocusi ng t he camera. The f ocusi ng scal e has t hree
sl ot s, marked 8, 25 and 100 f eet .
NorB-The focusi ng scal e i s marked both for feet and for
met ers and care shoul d be t aken not t o conf use t hem.
It i s not necessarv to esti mate the di stance wi th
more than approxi mate accuracy; for i nstance, i f
the focus i s seC at the sl ot marked 25 feet (the usual
di stance for ordi nary street work), everythi ng from
about 15 feet to about 50 feet wi l l be i n good focus.
When the camera i s focused i n thi s manner, i t may
be used as a regul ar fi xed-focus camera, provi di ng
l ever B, cont rol l i ng t he st ops, i s pl aced at U. S. 8.
Where the pri nci pal obj ect i s nearby or at a great
di st ance, t he f ocus shoul d be changed accordi ngl y.
For di st ant vi ews, set t he f ocus wi t h t he i ndi cat or
1 5
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#
i n the sl ot marked 100 feet. and when the subi ect
i s about 8 feet from the l ens. set the i ndi catoi i n
the sl ot marked 8 feet. When the subi ect i s cl ose
to the l ens, then use a Kodak Portrai t Attachment,
see page 35, or use a smal l stop openi ng, see tabl e
bel ow.
What Depth of Focus Means
Suppose that the l ens i s used at i ts ful l openi ng,
U.S. 4, and the focus i s set at ei ght feet, an obj ect
ei ght feet di stant wi l l be sharp, but obj ects seven
and ten feet di stant wi l l not be sharp. Stop the
l ens down to U.S. 16 and those obj ects each si de of
the exact poi nt of focus wi l l i ncrease i n sharpness.
Go farther and use stop U.S. 64, and everythi ng
from about five feet and one-quarter to about seven-
teen feet wi l l be sharp.
It wi l l ' thus be seen that the smal l er the stop the
greater the depth of focus, that i s, the greater the
power of the l ens to defi ne sharpl y, at the same
ti me, obj ects nearer the camera and farther from
the camera than the pri nci pal obj ect i n the pi cture,
whi ch, of course, i s the obj ect focused upon. But
i t i s obvi ous that wi th the smal l stops the exposure
must be correspondi ngl y i ncreased.
The fol l owi ng tabl e wi l l be a hel p i n fi ndi ng
the range of sharp defi ni ti on or depth of focus when
the No. 2-A Fol di ng Autographi c Browni e Camera
(when i t i s fi tted wi th the Rapi d Recti l i near Lens)
is focused with different stops:
u. s. 4 u. s. 8 u. s. 16 u. s. 32 u. s. 64
u.s. 4
u.s,
g
u.s.
16
u.s.32
u.s.64
COPYRI GHT 1 9 2 2 ,
g Y
EASTMAN KODAK CO.
Diaphragms
The di aphragms, somet i mes cal l ed st ops, shoul d
be used as f ol l ows:
U.S. 4-For instantaneous exposures on slightly cloudy days,
use speed 25; also for portraits out of doors, when the sun
i s shi ni ng, see page 14.
U.S. 8-For ordinary outdoor work, such as street scenes,
nearby views, etc., when the subject is in bright sunshine,
use speed 25.
U.S. 16-For open views, etc., when the sunlight on the
subject is unusually strong and there are no heavy shad-ows,
such as views at the seashore, and on the water, use speed 50;
for ordinary landscapes, in bright sunshine, rvith clear sky
overhead, use speed 25; also for Interior Time Exposures,
the time for which is given in the table on pages 32 and 33.
U.S. 32-For instantaneous exposures of extremely distant
views. marine. snow scenes and clouds, in bright sunshine,
use speed 25; also for Time Exposures.
U.S. 64-For Time Exposures Outdoors in cloudy weather.
Neaer
for
instantaneoils ex|osures. The exposure required for
time exposures on cloudy days with smallest stop will range
Thi s di agram shows the
actual si zes of the stop
openi ngs or di aphragms of
the shutter used on the
No. 2-A Fol di ng Autogra-
phi c Browni e, when the
camera is fitted with the
Rapid Rectilinear Lens.
It clearly shows the rel-
ative sizes of the various
stop openi ngs and the
di fference between thei r
areas.
.l
V
o
o
o
o
4
I
J
Distance
I
Focused
I
Upon .l
RANGE OF SHARPNESS
Ft. Ft. Ft. Ft. Ft. Ft. Ft. Ft. Ft. Ft.
"Inf." i s the abbrevi ati on for Infi ni ty-meani ng an i nfi ni
di stance from the l ens.
t o I nf . l 2l t o I nf .
I
17 t o I nf . l 12 t o
%t o68 l l l %
t o I nf .
|
| | t o I nf . l 9 t o
r o9%l 6% t o l o%l 6 t o 13
l 5/ a
t o
5
I
to Inf.
|
2
t o 4 6
l l
r o 9 %|
100 Ft.
135
25 Ft.
lt7 %
8Ft . | 7%
{
I nf
I nf
t 7
#
16
t 7
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f rom one second t o ei ght seconds, accordi ng t o t he l i ght , see
page 36. The smal l er t he st op t he sharper t he pi ct ure,
see
page 16.
Tot al
f ai l ure wi l l be t he resul t , i f t he smal l est st op (U. S. 64)
i s used for i nstantaneous exposures.
NorB-I n al l t he i nst ruct i ons i n t hi s manual where t he
subj ect i s out of doors, the exposures gi ven
are cal cul ated for
hours from 2/2 hours after sunri se unti l 2/z hours before sun-
set. If earl i er or l ater the ti me requi red wi l l be l onger. For
obj ect s i n t he shadow, under porches
or under t rees, no accurat e
di rect i ons can be gi ven; experi ence onl y can t each t he proper
exposure t o gi ve.
Drawing Out the Front
Draw out t he f ront of t he camera bv means of
the round post on the sl i de pl ate, to the i l ot marked
f or t he di st ance desi red, 8, 25 or 100 f eet , and t he
camera wi l l be i n focus for the di stance at whi ch
you pl ace t he cat ch. Fi g. 2.
The catch or l ocki ng devi ce i s on the l eft si de at
t he bot t om of t he f ront st andard. To set t he f ocus.
Fi g. 2
Dr awi ng out t he Fr ont .
press the l ever, and draw out the front of camera
to the di vi si on marked for the di stance desi red.
How to Use the No. 2-A Fol di ng Autographi c
Browni e as a Fi xed Focus Camera
SBr Focus Ar 25 FBBI .
I JsB SpBBo 25.
SBr DrnpnnAGM AT I J. S. S.
By fol l owi ng the above suggesti ons thi s camera
can be used as a fi xed focus camera, wi th the addi -
ti onal advantage of bei ng i nstantl y converti bl e
to a focusi ng camera when condi ti ons cal l for i t.
It must be remembered, however, that when usi ng
thi s camera as a fi xed focus type, i t i s necessary
t hat t he subj ect be i n bri ght sunl i ght , i n order
t o obt ai n a f ul l y t i med exposure.
The range of sharpness when the camera i s ad-
j ust ed
as above wi l l be f ound i n t he t abl e on page 16.
Expl anati on
A l ens i s often spoken of as havi ng a fi xed focus.
There i s no such thi ng as a fi xed focus l ens, but
i n certai n cameras, 3
%
i 4/ and smal l er (equi pped
wi th short focus l enses), the l ens i s i mmovabi e,
-that
i r, qet at
,a
di stance that i s a compromi se, as to
i ts focus, between far and near poi nts. A camera
wi th a l ens so focused, used i n cbmbi nati on wi th a
rel ati vel y smal l stop, i s desi gnated a fi xed focus
camera.
Using the Finder
Poi nt t he l ens at t he obj ect t o be phot ographed
and l ocate the i mage i n the fi nder whi ch i s pl aced
on t he f ront of t he camera.
For a vert i cal exposure hol d t he camera as shown
i n Fi g. 3, page 20. For a hori zont al pi ct ure t he
camera must be hel d as i n Fi g. 4, page 20, t urni ng
t he f i nder as i ndi cat ed.
18
1 9
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Fi g.
Hol d t he camera st eady, -hol d i t l evel as shown
i n i l l ust r at i ons, and pr ess t he push- pi n of t he cabl e
rel ease. Thi s makes the exposure.
Al ways l ook i nt o t he f i nder f rom di rect l y over
i t , not at an ongl e. The f i nder gi ves t he scope of
vi ew and shows a f acsi mi l e of t he pi ct ure as i t wi l l
appear, but on a reduced scal e.
I t wi l l be not i ced t hat t he t op of t he f i nder i s
not ched, as shown i n Fi g. 5. Thi s i s done so t hat
t he one f i nder wi l l correct l y show t he vi ew i ncl uded
r, r, ' hen t he camera i s hel d i n ei t her t he vert i cal or
the hori zontal posi ti on.
\ I I EW I NCLUDED WHEN VI EW I NCLUDED WHEN
N{ AKI NG A VERTI CAL MAKI NG A HORI ZONTAL
PI CTURE. PI CTURE.
F i g . 5
Remember t hat onl y t he vi ew i ncl uded wi t hi n
t he rvhi t e area of t he di agrams wi l l shou- i n t he
pr ct ur e.
Fi e. 6
Fi g. 6 shows how t o hol d t he camera when mak-
i . g an exposure wi t hout t he use of t he cabl e re-
l ease. Hol d t he bed of t he camera f i rml y wi t h t he
l ef t hand, st eady i t wi t h t he ri ght and wi t h t he
t humb of t he ri ght hand press t he exposure l ever.
2 l
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( ,
Important
When maki ng i nstantaneous exposures wi th
any camera, hol d i t f i rml y agai nst t he body as
shown i n i l l ustrati ons. When operati ng the
cabl e rel ease or pushi n$ down the exposure
l ever, hol d the breath for the i nstant-
www.orphancameras.com
Hol d the Camera Level
f ' he camera must be hel d l evel .
I f an at t empt i s made t o phot ogr aph a t al l bui l d-
i ng whi l e st andi ng near i t , by poTt rt i ng t he camei a
u. pwards (t hi nki ng
t o cent er i t ), t he rl sul t wi l l be
si rni l ar t o Fi g. 7 .
-
Effect produced
i l r;*;,L,"* the carnera.
when rnaki ng
t hi : .
pi ct ure
t he camera was poi nt ed
ypwards. Thi s bui l di ng shoul d have been t aken
f rom a bui l di ng opposj t g, and at a l evel . orr". ponJ-
i ng wi t h t he ml dci l e of t he subj ect .
The operat or shoul d hol d t he camera l eael , af t er
wi t hdrawi ng t o a proper di st ance, as i ndi cat ed by
t he i mage sh, own i n t he f i nder.
I f t he obj ect i s l ow, l i ke a smal l chi l d or a dog,
t he camera shoul d be hel d down l evel wi t h t he
cent er of t he obj ect .
The Autographic Feature
The Aut ographi c Browni e has a spri ng-door on
t he back coveri ng a narrow sl ot t hrough whi ch t he
u' ri t i ng i s done upon t he red paper. The sl ot has
an aut omat i c saf et y spri ng border whi ch presses t he
papers i nt o cont act wi t h t he back of t he f i l m when
t he door i s open, t hus secur i ng t he shar p pr i nt i ng
of t he i rnage of t he wri t i ng. Thi s sl ot i s pl aced so
t hat normal l y t he wri t i ng comes bet ween t he ex-
posur es.
The Autographi c Record as a Gui de
Many amat eurs have di st i nct l y i mproved t he
qual i t y of t hei r work by rnaki ng not es, at t he t i me
of exposur e, of t he pr evai l i ng condi t i ons, as: Br i ght
l i ght , |
125
sec. , st op I J. S. 8, whi ch can be easi l y
abbr evi at ed t o: B, 1125, 8. By keepi ng such
records t he amat eur can qui ckl y f i nd t he causes of
f ai l ure, i f any. By compari ng negat i ves and
records he wi l l soon get a l i ne on hi s errors and
u, hen he knows what hi s errors are, he can easi l y
correct t hem. I t i s obvi ous t hat t he best way t o
nrake these records i s autographi cal l y-on the
fi l *,
at the ti me.
24
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4lh, B,toorh Taritt 6'.e,C,
if*Afit
tsa^d. Cctnqn:l
,@
PK,
"lrllf
T{ood,r&Je, Pqr.
th
I
ti-0,eg
p.ttL.
trwqu eaenrA 0ralfr,t f
iodlto
,ltoW
,rn{are,r- ,Ctu.te-*par,
fcrs fuorlg
Tntnnrrg fbaa,
$l f'u$fl1 O^rt,
,
*lfl.l'fl'
AUTOGRAPHI C Rt r CORDS
The Method
The Autographi c Records above are merel y to
suggest a few of the thousand and one ways i n
whi ch t hese may be used t o add val ue t o your
negati ves.
Fi g. 9
Posi t i on of st yl us when wri t i ng record dat a on
Aut ographi c Fi l m used i n Aut ographi c Browni e.
Af t er t he pi ct ure i s t aken, l i f t up t he spri ng-
door on t he back of t he camera wi t h t he t humb
(Fi g.
8). Use t he st yl us, hel d i n as upri ght a posi -
t i on as i s conveni ent ( Fi g. 9) ,
and wr i t e on t he st r i p
of exposed red paper any memorandum desi red, such
as t he t i t l e of t he pi ct ure, t he dat e, or det ai l s i n
regard t o t he exposure, l i ght , st ops, et c.
To
$et
a cl ear i mpressi on, press fi rml y on
both the up and down strokes. Whi l e wri ti ng
or afterwards the sun shoul d not be al l owed
t o shi ne upon t he paper. The act i on of t he
st yl us permi t s t he l i ght t o record t he wri t i ng upon
t he f i l m. Af t er f i ni shi ng t he wri t i ng t he door shoul d
be l eft open for the pri nti ng, i . accordance wi th
t he f ol l owi ng t abl e:
Expose to the sk!, but not to the sun:
our oF DooRS .torl*?3o'li*oo*
BRTLLTANT LrcHT 2 t o 5 Seconds 5 t o 7 Seconds
DULL LrcHr 5 t o 10 Seconds 10 t o 15 Seconds
"\,
ilI
L,
il
2 7
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Expose to Artif,cial Light:
I xcrxoESCENT ErBcrnt c Lt cut , di st ance t wo
i nches, 30 t o 60 seconds.
Wnrsnacn Ge. s Lt cut , di st ance si x i nches, 30 t o
60 seconds.
Cl ose t he spri ng-door bef ore wi ndi ng t he next
sect i on of f i l m i nt o pl ace.
Caut i on: To pl ace t he wri t i ng accurat el y i n t he
space bet u' een t he negat i ves i t i s i mport ant t hat t he
f i l m shoul d be t urned so t hat t he exposure number
i s i n t he cent er of t he r ed wi ndow i n t he back of
t he Br owni e.
Turn a new sect i on of f i l m i nt o posi t i on:
Press i n sl i ght l y on t he wi ndi ng key i n t he t op of
t he cam era, and t urn i t sl owl y t o t he l ef t , unt i l t he
next number appears i n t he red wi ndow. Three or
f our t urns wi l l be suf f i ci ent t o accompl i sh t hi s. See
Fi g. 10. The warni ng i ndex hand appears onl y
bef ore No. 1 of each rol l of f i l m.
Repeat t hese operat i ons f or each pi ct ure.
F i g . 1 0
Turni ng a new sect i on of f i l m i nt o posi t i on.
2 8
I t nport ant -when you have made t he exposure on t he l ast
sect i on of t he f i l m and have made t he aut ographi c record of
i t , t urn t he wi ndi ng key of t he Browni e unt i l t he l et t er A appears
i n t he cent er of t he wi ndow i n t he back of t he camera. Rai se
wrot e on t he red paper.
Time Exposures-Interiors
Di agram,
showi ng posi t i ons f or Camera.
Pl ace t he camera i n such a posi t i on t hat t he f i nder
wi l l i ncl ude the vi ew desi red. The di .g;;; ;h;;,
t he proper posi t i ons
f or t he camera.
"
I t shoul d
t gt
.
b. " poi l t gq
di rect l y. at a wi ndow, os t he gl are
of l i ght wi l l bl ur t he pi ct ur e. I f al l ' t he *i "8o*.
29
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cannot be avoi ded, pul l down t he shades of such as
come wi t hi n range of t he camera.
Fi g. 1 1 shows t he camera i n posi t i on f or a vert i cal
exposure. The camera al so has t ri pod socket s and
may be used on a t r i pod.
Fi g. 11
To rnake a hori zontal ti me exposure wi thout the
use of a t ri pod, pul l down t he same l ever at t he
f ront of t he bed of t he camera, t hat was used f or
t he support when t aki ng a vert i cal exposure and
pl ace t he camera i n t he posi t i on as shown i n Fi g. 12.
Adj ust t he shut t er f or a Ti me Exposure, as de-
scri bed on page 13.
Al l bei ng ready, press t he push-pi n of t he cabl e
rel ease, or press the exposure l ever, once to open and
agai n t o cl ose t he shut t er. Ti me t he exposure by
a wat ch.
Fi s. 12
Another Method
Anot her met hod of maki ng short t i me exposures,
whi ch has much t o recommend i t , i s as f ol l ows:
Hol d the hand or a card cl ose to the front of
t he camera, so as t o cover t he l ens and excl ude al l
l i ght (Fi g. 13, page 32). Push down the exposure
l ever t o open t he shut t er; remove t he hand and
gi ve t he proper exposure; repl ace t he hand i n f ront
of t he l ens and agai n press t he l ever t o cl ose t he
shut t er .
Caut i on: I f usi ng t he hand be caref ul not t o
t ouch t he l ens or i t wi l l l eave a mark.
Some experi enced amat eurs pref er t hi s met hod as
i t pract i cal l y does away wi t h al l danger of
j arri ng
t he camera duri ng exposure, and t hus bl urri ng t he
pi ct ur e.
Turn the Wi ndi ng Key: After maki ng the
aut ographi c record, press i n sl i ght l y on t he wi ndi ng
k"y and t urn t he next sect i on of f i l m i nt o posi t i on,
as descri bed on page 28.
The camera i s now
Exposure.
ready f or t he next I nt eri or
3 1
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Fol l ow t he di rect i ons gi ven f or each successi ve
exposu re.
When t he l ast I nt er i or Exposur e i s made, adj ust
t he shut t er f or an I nst ant aneous Exposur e, see
page 12.
Exposure Table for Interiors
The f ol l owi ng t abl e gi ves t he approxi mat e t i rne
of t he exposure requi red under varyi ng condi t i ons
of l i ght . The t i me gi ven i n t he t abl e i s wi t h st op
I J. S. 16 i n t he l ens. I f st op U. S. 8 i s used, gi ve one-
hal f t he t i me; wi t h st op I - I . s. 4 gi ve one- f our t h t he
t i me; wi t h st op I J. S. 32 gi ve t wi ce t he t i me; and i f
st op U. S. 64 i s used, gi ve f our t i mes t he exposures
gi ven i n t he t abl e. The smal l er t he st op t he shar per
t he pi ct ure, see page 16. St op I J. S. 1 6 gi ves t he
best average resul t s f or I nt eri ors:
WrurB Warl s AND MonB THaN ONB Wrxoow:
bri ght sun out si de, 4 seconds;
hazy sun, 10 seconds;
cl oudy bri ght , 20 seconds;
cl oudy dul l , 40 seconds.
WnrrB Wnrl s AND ONt -v OxB Wrxoow:
bri ght sun out si de, 6 seconds;
hazy sun, 15 seconds;
cl oudy bri ght , 30 seconds;
cl oudy dul l , 60 seconds.
MBoruu Col onBo Wal rs AND H, q. xcrxcs AND
MonB THI N OxB Wr Noow:
br i ght sun out si de, 8 seconds;
hazy sun, 20 seconds;
cl oudy br i ght , 40 seconds;
cl oudy dul l , 80 seconds.
MBoruu CoronBo Warr-s AND Hexcrxcs AND Oxrv
OxB Wr Noow:
br i ght sun out si de, 12 seconds;
hazy sun, 30 seconds;
cl oudy bri ght , 60 seconds;
cl oudy dul l , 120 seconds.
Drnx Col onBo WaI LS AND He. xcrxcs AND MonB
Tnax ONB Wr xoow:
bri ght sun outsi de, 20 seconds;
hazy sun, 40 seconds;
cl oudy br i ght , 80 seconds;
cl oudy dul l , 2 mi nut es, 40 seconds.
Danx CoronBo War. r-s AND Hawcrxcs AND Oxrv
OxB Wr Noow:
bri ght sun outsi de, 40 seconds;
hazy sun, 80 seconds;
cl oudy br i ght , 2 mi nut es, 40 seconds;
cl oudy dul l , 5 mi nut es, 20 seconds.
33
32
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The exposure table on page 33 is calculated for
rooms where windows get the direct light from the
sky, and for hours from three hours after sunrise
unti l three hours before sunset. If earl i er or l ater
the time required will be longer.
To Make a Portrait
Have the subject in a chair partly facing the
light, and turn the face slightly towards the camera
which should be a little higher than an ordinary
tabl e. The eyes of the subj ect shoul d be centered
on an object at the same level with the lens. Ar-
range the image in the finder. For a three-quarter
figure the camera should be about 8 feet from the
subj ect and for a ful l -l ength fi gure about 10 feet.
The background should form a contrast with the
subject. When making portraits indoors, a light
background usually gives a more pleasing effect than
a dark one.
SUBJ ECT
To obtain a satisfac-
tory i l l umi nati on of the
face, have the subject,
camera and wi ndow i n
the posi ti ons
as shown i n
the di agram. It i s ad-
visable to use a reflector,
to obtain more detail in
the shaded part of the
face. A white towel or
sheet thrown over a
screen or high piece of
furni ture wi l l make a
suitable reflector; place it at an angle and in the
position as indicated in the diagram.
For instructions describing other methods to
produce various lighting effects, ask your dealer
or wri te to us for a copy of the bookl et: "At
Home wi th the Kodak."
Instructi ons for maki ng portrai ts outdoors, when
the sun i s shi ni ng, are gi ven on page 14.
Kodak Portrait Attachment
By using the Kodak Portrait Attachment, large
head and shoulder portraits of various sizes may
be obtai ned.
The Attachment is simply an extra lens slipped
over the regular lens, and affects in no way the
operation of the camera, except to change the focus.
With the Attachment over the lens and the focus-
ing indicator placed at the proper point on the scale,
the subj ect must be at the exact di stance from
the l ens, as gi ven i n the tabl e bel ow:
8 feet point 2 f.eet 9 inches
25
( . . (
1 0 0 " " . . . . . 4 " 2 "
Use Kodak Portrait Attachment No. 3 with
the No. 2-A Fol di ng Autographi c Browni e Camera.
Kodak Diffusion Portrait Attachment
The Kodak Diffusion Portrait Attachment is a
supplementary lgns used in exactly the same manner
as the regul ar Kodak Portrai t Attachment. It
produces a true, soft-focus effect entirely free from
objectionable "fuzziness" or out-of-focus appear-
, ,
_"*
3
o
o
z
;
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ance. By usi ng thi s Attachment, portrai ts are
made more artistic, due to the softening effect of
diffusion.
Use Kodak Diffusion Portrait Attachment
No. 3 wi th the No. 2-A Fol di ng Autographi c
Browni e Camera.
Time Exposures-Outdoors
When the smal l est stop (U.S. 64) i s used, the
l i ght admi tted i s so much reduced that ti me ex-
posures out of doors may be made the same as
i nteri ors, but the exposures must be much shorter.
For very short time exposures as described below,
use the "Bul b" Exposure, see page 13.
Wi th Sunshi ne-The shutter can hardl y be
opened and cl osed qui ckl y enough to avoi d over-
exposure.
With Light Clouds-From one to three seconds
wi l l be suffi ci ent.
With Heavy Clouds-From four seconds to
ei ght seconds wi l l be requi red.
The above table is calculated for hours from
2r/ hours after sunrise until 2)4 hours before sun-
set, and for obj ects i n the open. For other hours
or for obj ects i n the shadow, under porches or under
trees, no accurate di recti ons can be gi ven; experi -
ence only can teach the proper exposure to give.
Time Erposures rnust not be tnadewhile the
cafttera is held in the hands. Always place it
upon some
firm
sutrport, such as o triltod,
table or chair.
Flash-light Exposures
By usi ng Eastman Fl ash Sheets, pi cture taki ng
at night is very easy. A package of flash sheets,
a pi ece of cardboard, a pi n, a spl i t sti ck about two
feet l ong and a match compl ete the l i st of essenti al
extras, al though a Kodak Fl ash Sheet Hol der i s a
great conveni ence.
Wi th fl ash sheets there i s a mi ni mum of smoke
and they are far safer than any other sel f-burni ng
fl ash medi um, besi des gi vi ng a softer l i ght that i s
l ess tryi ng to the eyes.
Many i nteri ors can be taken wi th the fl ash
sheets that are i mpracti cabl e by dayl i ght, ei ther
by reason of a l ack of i l l umi nati on or because there
are wi ndows i n a di rect l i ne of vi ew whi ch cannot
be darkened suffi ci entl y to prevent the bl urri ng of
the pi cture.
Eveni ng parti es, groups around a di nner or card
tabl e or si ngl e portrai ts may be readi l y made by
the use of the fl ash sheets, thus enabl i ng the ama-
teur to obtai n souveni rs of many occasi ons whi ch,
but for the fl ash-l i ght, woul d be i mpossi bl e.
Preparation for the Flash-The shutter should
be adj usted for a Ti me Exposure, as descri bed on
page 13 (stop U.S. 8 must be used), then pl ace
the camera on some firm, level support where it
wi l l i ncl ude the vi ew desi red, see pages 29 and 30.
Pin a flash sheet by one corner to a piece of card-
board which has previously been fixed in a perpen-
di cul ar posi ti on. If the cardboard i s whi te i t wi l l act
as a refl ector and i ncrease the l i ght on the subj ect.
37
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The flash sheet should be placed two feet behind
and two or three feet to one side of the camera.
If placed in front, or on a line with the front of
the camera, the light from the flash would strike
the l ens and bl ur the pi cture. It shoul d be pl aced
at one side as well as behind, so as to throw a shadow
and give a little relief in the lighting. The flash
shoul d be a l i ttl e hi gher than the camera. The
support upon which the flash is to be made should
not project far enough in front of it to cast a shadow
in front of the camera. An extra piece of card-
board a foot square placed under the flash sheet
will prevent any sparks from the flash doing damage.
By usi ng the Kodak Fl ash Sheet Hol der, however,
all these contingencies are taken care of, and we
strongly advise its use.
The Kodak Flash Sheet
Holder
This holder may be held in
the hand, always'between you and'
the
fl,ash
sheet, or it may be used
on any tri pod, i t bei ng provi ded
with a socket for this purpose.
The sheet is placed in position in
the center of the larger pan over
th,e round opening, which has a raised saw-tooth
edge extending half-way around it. Press with the
thumb on the sheet, so a sl i ght break i s made and a
portion of the sheet projects partially through the
openi ng. To i nsure the sheet bei ng more securel y
38
fastened, press around the notched edge, forci ng thi s
portion of the flash sheet firmly into position on
the pan.
To set off the flash, insert a lighted match, from
behi nd, through the round openi ng i n the center.
Taking the Picture
With the camera and flash sheet in position and
al l bei ng ready, open the camera shutter, stand at
arm' s l ength and touch a match from behi nd,
through the round openi ng i n the center of the
hol der.
If the Kod.ak Flash Sheet Holderis not used,, place
the match in a spl'it st'ick at least two
feet
long.
There will be a bright flash which makes the
pi cture. Press the push-pi n or push the exposure
l ever to cl ose the shutter. Make the autographi c
record by fol l owi ng the tabl e as gi ven on page 28,
and turn the next section of film into place with
the wi ndi ng key, ready for another pi cture.
The Flash Sheet
The si ze of the sheet requi red to l i ght a room
varies with the distance of the object farthest from
the camera, and the col or of the wal l s and hangi ngs:
For ten feet di stance and l i sht wal l s and
hangi ngs, use one No. 1 sheet; wi th dark
wal l s and hangi ngs, use one No. 2 sheet.
For fifteen feet distance and light walls and
hangi ngs, use one No. 2 sheet; wi th dark
wa$s and hangi ngs, use one No. 3 sheet.
\
Neaer use ?nore than, one sheet at a time in the
'
Kodah Flash Sheet Holder.
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To Make a Portrait-Have the subject in a
chai r partl y faci ng the camera (whi ch shoul d be a
l i ttl e hi gher than an ordi nary tabl e) and turn the
face slightly towards the camera, having the eyes
centered on an obj ect at the same l evel wi th the
l ens. The proper di stance from the camera to the
subj ect can be ascertai ned by l ooki ng at the i mage
i n the fi nder. For a three-quarter fi gure thi s wi l l
be about 8 feet and for a full-length figure about
10 f eet .
For use of the Kodak Portrait Attachment. see
page 35.
The fl ash shoul d be on the si de of the camera
away.{rom the face, that i s, the subj ect shoul d not
face it: The flash should be at about the same
hei ght or a l i ttl e hi gher than the head of the subj ect.
To Make a Group-Arrange the chairs so that
each chai r wi l l be at the same di stance from the
camera. Hal f of the group shoul d be seated and
the rest shoul d stand behi nd the chai rs. If the
group i s l arge any number of chai rs may be used,
but none of the subj ects shoul d be seated on the
fl oor, as' the resul t woul d not be pl easi ng, because
the perspecti ve woul d be too vi ol ent.
Backgrounds-When making single portraits or
groups, care should be taken to have a suitable
background against which the figures will show in
relief, a light background is better than a dark one,
and often a single figure or two will shqw up well
againS't a lace curtain. For larger groups a medium
l i ght wal l wi l l be sui tabl e.
The fi nder on the camera wi l l be a hel p i n com-
posing the picture so as to get the best effect. To
make the i mage vi si bl e i n the fi nder the room wi l l
have to be wel l l i ghted. The l i ghts may be l eft
on whi l e the pi cture i s bei ng made, i f none of them
show i n the fi nder.
Eastman, Fl ash Sheets burn more sl owl y than
fl ash powders, produci ng a much softer l i ght and
are, therefore, far preferabl e for portrai t work; the
subj ect, however, shoul d be warned not to move,
as the picture is not taken instantaneously, about
one.second bei ng taken to burn one sheet.
Eastman Flash Cartridges
Eastman Fl ash Cartri dges may be substi tuted for
the sheets i f desi red. We recommend the sheets,
however, ad more conveni ent, cheaper and capabl e
of produci ng the best resul ts. The cartri dges are
better only when instantaneoers work is essential.
Closing the Camera
To disengage the front from the lock on the focus-
ing scale so that it may be pushed back, press in
wi th the fi nger on the catch, whi ch i s l ocated
j ust
above the focusing scale, then slide back the front
a short di stance. The catch may then be rel eased
and the front pushed back i nto the camera box.
Close the camera by pressing down the arm locks
.
at each si de of the standard and rai se the bed as
\ shown i n the i l l ustrati on, Fi g. 14, page 42.
. 4 1
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Fi g. 14
Cl osi ng t he Bed of Camer a.
Caut i on
Bef ore cl osi ng t he bed of t he carnerd. make sure
t hat t he f i nder i s i n t he posi t i on f or maki ng a vert i cal
exposure or i n t he upri ght posi t i on. The f ront
st andard must be pushed back t o, and onl y t o, t he
l i mi t of mot i on.
I f t he f i nder and f ront st andard are i n proper
posi t i on t hey wi l l not i nt erf ere wi t h t he bed i n
cl osi ng.
Do not make t oo sharp a bend i n t he cabl e rel ease,
rvhen cl osi ng t he camera, or i t wi l l be l i kel y t o ki nk.
PART I I I
Removing the Film
\ I / HEN
changi ng t he spool s of
f
l - i n t he
Y Y
Browni e Camera, do not make t he change
i n t he d, i rect sunl i ght . I t can be done i n t he open,
but t o avoi d al l l i abi l i t y of f oggi ng t he edges of
t he f i l m, i t shoul d be done i n a subdued l i ght .
1. When t he l ast sect i on of f i l m has been exposed
and t he aut ographi c record of your name has been
nrade, accordi ng t o i nst ruct i ons on page 29, gi ve
t he wi ndi ng k"y about t wel ve ext ra t urns. Thi s
covers t he f i l m wi t h red paper agai n.
Fi g . 1
Hol di ng r ed paper t aut whi l e
t urni ng kel ' .
43
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2. Provi de anot her spool of f i l m (No. A 1 16)
t o f i t t he camera, t ake a posi t i on where t he dt y-
l i ght i s somewhat subdued, not i n t he di r ect sunl i ght
and remove t he f ront of t he camera as descri bed on
pages 5 and 6.
3. Hol di ng t he paper t aut so as t o wi nd t i ght l y,
t ur n t he key unt i l t he paper i s al l on t he r eel . See
Fi g. 1, page 43.
4. Hol d t he ends of t he r ed paper and t he
st i cker t oget her, t o prevent t he paper f rom l oosen-
i ng on t he r ol l . I f t he st i cker f ol ds under t he r ol l ,
when rn' ound, t urn t he wi ndi ng key t o bri ng i t up.
5. Dr aw out t he wi ndi ng key as f ar as i t wi l l go,
and l i f t out t he rol l of f i l m as shown i n Fi g. 2.
6. Fol d over about hal f -an-i nch at t he end of
t he red paper (t o make subsequent breaki ng of t he
seal easy) and t hen seal wi t h t he st i cker.
Fi g. 2
Li fti ng out rol l of exposed fi l m.
7. Wrap up t he exposed f i l m i mmedi at el y t o
prevent t he possi bi l i t y of l i ght bei ng admi t t ed. I t
i s now ready f or devel opi ng and pri nt i ng.
8. Remove t he empt y spool and l oad t he cam-
era wi t h f resh f i l m as descri bed i n Part I , page 5.
Important
Fi l m shoul d be devel oped as prompt l y as possi bl e
af t er exposure. The qual i t y of t he i mage on al l
sensi t i zed product s i s ret ai ned by i mmedi at e de-
vel opment af t er exposure.
Load your Brownie with Kodak Film.
Look for thi s Trade Mark on the box:
"If it isn't Eastmart,
it isn' t Kodak Film."
EASTMAN
44
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"Ci nch" Marks
I f t he f i l nr and paper l oosen up a t ri f l e when t aken
f rom t he camera, t here i s an i ncl i nat i on t o t ake
t he cart ri dge i n t he hand and wi nd i t as cl osel y as
possi bl e, "ci nchi ng" i t t i ght l y wi t h a t wi st i ng
mot i on. There' s not hi ng more l i kel y t o i nj ure t he
negat i ves t han t hi s t i ght drawi ng of t he f i l m, as i t
rubs t he surf ace, maki ng f i ne paral l el scrat ches
runni ng l engt hwi se of t he f i l m, whi ch, i r some
cases, wi l l rui n t he negat i ves. Do not "ci nch" t he
cart ri dge. I t si mpl y needs t o be wound t i ght l y
enough t o keep t he red paper i nsi de t he f l anges
of t he spool .
Keep Dust Out of the Camera
Defecti ve negati ves are someti mes caused by par-
t i cl es of dust whi ch have col l ect ed on t he i nsi de of
t he camera and set t l e upon t he f i l m. Thi s dust
produces smal l , l i ght spot s on t he negd. t i ves whi ch
make dark spot s on t he pri nt s.
I t i r, t heref ore, wel l t o wi pe out t he i nsi de of
camera and bel l ows occasi onal l y wi t h a sl i ght l y
damp cl ot h. I f t he camera has not been used f or
some t i me, t hi s needs speci al at t ent i on.
Clean Lensed
Di rt y or dust y l enses are somet i mes t he cause of
poor pi ct ures. The pi ct ures on page 47 i l l ust rat e
t hi s poi nt cl earl y. The gray, f l at , i ndi st i nct pi c-
t ure at t he t op of t he page was t aken wi t h a di rt y
l ens, t he surf aces of whi ch were covered wi t h an
accumul at i on of dust . The shar p, cl ear , di st i nct
pi ct ure was made by t he same l ens af t er i t had been
caref ul l y cl eaned.
DI RTY L ENS
Lenses shoul d be
freq uentl y exam-
i ned. Remove t he
front of the camera
f rom t he back, as
descri bed on pages
5 and 6 (when
t here
i s no f i l m i n i t ) t hen
open and draw out
t he f ront of t he
camera. Adj ust t he
shut t er as when
maki ng a Ti me Ex-
posure and open i t ;
the l argest stop
(I J. S.
4) shoul d be
i n posi t i on. Hol d
the camera so that
the front i s towards
t he l i ght , t hen l ook
t hrough t he l ens
CLEAN LENS
f rom t he back of
t he camera, and i f t he l ens i s di rt y, i t shoul d be
rvi ped, both front and back, wi th a cl ean, soft l i nen
handkerchi ef
.
Large spot s of dust or di rt on t he l ens wi l l cause
def ect s i n t he pi ct ure, whi l e i f t he l ens i s evenl y
covered wi t h a f i l m of dust , di rt or moi st ure, t he
effect wi l l be to cut off a great deal of l i ght and
nrake the pi cture gray and fl at.
16
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Finishing the Pictures
TIHERE
are two di sti ncf steps i n the maki ng of
r
photographs-the pi cture taki ng and the pi c-
ture
f,nishing.
In order to free our instruction
books from al l unnecessary detai l s, whi ch mi ght be
confusi ng, we furni sh wi th the camera the di rec-
tions for p'icture
tak,ing only.
The i nstructi ons i n thi s bookl et are ampl e for
the mani pul ati on of the camera under every condi -
ti on that i s l i kel y to be encountered. Si mi l arl y,
those who wi sh to do thei r own devel opi ng and
pri nti ng wi l l fi nd equal l y ful l i nstructi ons accom-
panyi ng the Kodak Fi l m Tanks (for devel opi ng i n
dayl i ght), or our Outfi ts for tray or dark-room use.
To devel op Fi l m (No. A 116) used i n the No. 2-A
Fol di ng Autographi c Browni e Camera, provi de,
preferabl y, a 2/z-i nch Kodak' Fi l m Tank. (Thi s
film may be developed in the larger Tanks that are.
made for use with films of longer spool length-but
not so economi cal l y.)
If the dark-room method of devel opment i s pre-
ferred, an Eastman A B C Devel opi ng and Pri nti ng
Outfi t shoul d be obtai ned.
In keepi ng wi th our pl an and purpose to provi de
the users of our cameras wi th every hel p i n the
production of good pictures, we will be glad to
furni sh such devel opi ng and pri nti ng i nstructi ons,
at any time, whether a tank or outfit is purchased
or not.
Wi th the Kodak Fi l m Tank and Vel ox paper,
many amateurs fi nd as great pl easure i n the fi ni sh-
i ng of the pi ctures as i n the taki ng of them, and are
abl e to produce, by the si mpl e methods we have
perfected, work of the hi ghest order.
We never lose interest in the purchaser of a
Browni e. We are not onl y wi l l i ng, but are anxi ous
at al l ti mes, to hel p sol ve any probl ems that he
may encounter, ei ther by sendi ng.on the necessary
pri nted i nstructi ons or by i ndi vi dual correspondence,
through our Servi ce Department. Such customer,
i n avai l i ng hi msel f of the knowl edge of our experts,
puts hi msel f under no obl i gati ons to us. He i s
si mpl y avai l i ng hi msel f of one of the thi ngs that he
i s enti tl ed to when he buys a Browni e or a Kodak-
and that i s. Kodak servi ce.
EASTMAN KODAK COMPANY,
RocnesrBn, N. Y.
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PRI CE LI ST
Aurocnepnrc Frr,u CenrnrocB, No. A 116,
2% x 4%, t 2 exposur es.
6 exposures. . . .
CennvrNc CasB for the No. 2-A Fol di ng
Autol raphi c Browni e Camera
Kooer Ponrnarr ArrecnuBNT, No. 3, for
use wi th the No. 2-A Fol di ng Autographi c
Browni e Camera.
Kooar< Drppusrow Ponrnarr ArrecnnrpNr.
No . 3
.
: . \ .
Kol er Cor,on Fnrnn, No. 3.
Kooer Sxy Frr,rBn, No. 3. . . .
Kooer< Frr,u TeNx, 2/-inch
Duplicating Outfit for above Tank.
DBveLopBn' PowoBns for 2
t/-inch
Kodak
Fi l m Tank, si x powder s. . . .
EasrueN A B C DBvBroprNG AND PnrNr-
rNc Ourrn, for dark-room devel opment
and pri nti ng (4 x 5 or smal l er), compl ete
Konex Acro FrxrNc PownBn, one pound. .
Hal f pound
Qu a r t e r p o u n d . . . : . - .
VBrox Paron, 2% x 4/, one d,ozen
Nspenl Sor,urroN, for developing Velox,
4 - o u n c e b o t t l e
. . . ; . .
Konar,orn PnrNrrxc Mesx, No. 4, for use
wi th 2/ x 4% negati ves.
*Price
includes Excise Tax,
Vn r o x Tn e Ns p e RENT
We r Bn Co r . o n
Steues, compl ete bookl et of 12 col ors. . . $ .4S
VBrox TnexspenpNr
We:rpn Cor,on Sreup
Outrn, consi sti ng of Arti st' s Mi xi ng
pal -
ette, three speci al Camel ' s Hai r Brushes.
and one book of Vel ox Transparent
Water
Col or St amps ( 12
col or s) . . . . . . 1. 00
EesrnreN Reoucon aNo Srerw Rruovnn,
pac k age of 5 t ubes . . . . . . . : . 50
Vnrox Re-onvBr-oeen, package of. 12 tubes 1.0g
Sorro PeeRn, 2% * 4/, two dozen .25
Col rerNBn ToNrNc eNo Frxrxc Sor,urroN
non Sorro, 8-ounce bottl e.
.50
4-ounce bottl e
.30
Eesrl reN Pyno DBvBropBn
powoBns.
i n
seal ed gl ass tubes, box of fi ve tubes .25
Eesrnrau HvonocnrNolr DBvBropBn
pow
DERS, i n seal ed gl ass tubes, box of 5 tubes .30
Eesrulw Spncrer. DBvBr,opBn
pownnns,
i n seal ed gl ass tubes, box of fi ve tubes. . . .35
EesluAN Pyno DBvelopBn PowoBns. six
p o wd e r s
. . . . . .
TnnRuoruBrBn Srrnnruc Roo
, 25
1. 50
Kooex Danr<-nooM Leur, No. 2,
l6-inch
wi ck.
t . 2S
EesrlreN Fr.tsn Snee:rs, No. 1, package of
r /
d o z e n .
. . . . . . . . . . . 3 5
1,,
. 60*
' 30*
l
1; 60
' . / J
1. 25
1. 15
1 . 1 5
4.50 t---'
2. 25
. / -
. 25 -/
2. 00
. 25
' . . .
. 1 5
. 10
. 15 L-
)9,
---
I
t
,t
, - ' \
. t o . ' /
No. 2, package
of.
/
dozen..
\
No. 3, package
of.
/
dozen..
Kooer Fr,asn SnnBr Hor,oBn.
. 56
.84
1. 25
5 1
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EasrueN Frru DBvELopTNG CLrps
(ni ck-
e l e d ) , 3 / - i n c h , p e r p a i r . . . . . . . . . . $
Kor er
JuNr on
Fr l u Cr r ps, No. 1, ' each. . .
Kooax Tnrul rrNc Boeno, S-i nch.
Kooar< Murar. Tntron, No. 0
No. 1
No. 2
LBarHBn Ce.nnvrNc Cese, for Kodak Metal
Tri pod Nos. 0, 1 or 2.
Fr Bx o Tnr poo. . . . . . i
Oerreoo, for attachi ng camera to the edge
of a t abl e, chai r , f ence, et c. . .
Kooeron, for attachi ng camera to a tree,
fence or si mi l ar rough surface..
EAsrM,rr{ Frllr NBcATIvE Alnuu, to hold
100 2% x 4% negat i ves. . . .
:
. .
Kooe,x Dnv MouNrrNc Trssuo, 2% x 4%,
three dozen sheets
EasrueN Pnoro BrorrBn Boor for bl ot-
ti ng and dryi ng pri nts.
Barrrc MouNrs for pri nts 2/x4/, per 100
P e r 5 0 . . . . . . .
RnooBs Atnuu, fl exi bl e l eather cover, l oose-
l eaf , wi t h 50 bl ac k l eav es , s i z eT x 11. . . .
Cloth cover
Kcioax PnrNr RorLEn,
Flexo PnrNr RoLr.ER,
d o u b l e , 6 - i n c h . . . . .
si ngl e, 4- i nch
52
"How ro MarB Gooo PrcruREs," an i l l us-
trated book for the amateur, that i ncl udes
many hel pf ul suggesti ons; i t shows vari ous
nethods of maki ng exposures, devel opi ng,
p r i n t i n g , e n l a r g i n g , e t c . . . . . . . . . . .
$ . 4 0
Developing, Printing and Enlarging
Devel opi ng Fi l m, twel ve exposure cartri dge,
2%* 4%. . . 35
Si x ex pos ur ec ar t r i dge. . . . . 20
Vel ox Pri nts, 2% * 4y' a, unmounted, each. . .07
Mount ed, each. . 09
All
|rints furnished
unmounted unless otheywise specified.
NorB-When mailing film for development, mark the pack-
age plainly with your name and address, and write a letter of
instructions,
.with
remittance.
6 x 10 Bromi de Enl argements, mounted on
c a r d s , e a c h . . . $
1 . OO
7 x 12, each. 1. 40
8 x 14, each. 1. 75
On enlargement orders, if, in our opinion, an enlargement
wi l l be i mproved by doubl e mounti ng, we wi l l do so at an
addi t i onal char ge of 10 cent s, or t r i pl e mount ed at . 15 cent s.
Al l bri ces subj .ect to change uti thout noti ce,
EASTMAN KODAK COMPANY,
RocnBsrpn. N. Y.
. 30
. 12
. 75
2. 75
4. 50
5. 00
2. 70
2. 00
t . 25
r. 7s
v
1. 25
. 10
. 50
2. 80
1. 40
2. 7 5
1. 25
1..00
. 35,
www.orphancameras.com
i
i IJo* to n' aLe
{- 1 r f , }
u{}Oct r l ctures
I
A Bork f*r
the*ma{eur
llhorugruphrr
:
I
I
1
A
PRACTI CAL book f or t he ar nat eur .
f t I t descri bes i n a si mpl e, underst andabl e
way every phase of phot ography t hat t he
amat eur i s l i kel y t o be i nt erest ed i n, such as
vari ous met hods of maki ng exposures, de-
vel opi ng, pri nt i ng, enl argi ng, maki ng l ant ern
sl i des, col or i ng, et c. Pr of usel y i l l ust r at ed.
1 68 pages.
EASTMAN KODAK COMPANY
At yot t r deol er' s Rocnesr ER, N. Y.
\
S tr RVIC tr
DtrPARTMtrI\T
Aoor r r oNAt - Asst sr ANCE I r oR
MTKTNG Bpr r nn Pr cr u RI t s
A
LTHOI JGH we gi ve i n t hi s manual
' ' ( I
al l t he essent i al di rect i ons f or
usi ng t he car ner a i t accompani es, t her e
ar e amat eur s who wi sh f or f r r r t her
knowl edge of phot ography.
The Ser vi ce Depar t ment i s at t hei r
servi ce, your servi ce.
Do not hesi t at e t o cal l on us f or i n-
f or mat i on on any phot ogr aphi c subj ect .
We are at your serai ce, wri te
to us-there i s no charge,
no obl i gati on.
Addr ess al l Communi cat i ons
SuRvrcp DppanrMENT
EASTMAI\ KODAK COMPAI\Y
RocrrESTER, N. Y., IJ. S. A.
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