At Home with the Kodaks - 1925 User manual

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EASTMAN KODAK COMPANY
ROCHESTER, N.Y.    TheKodakCit1,

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               An Erclusiue PartY
                                                seriesII withEnrargedrrom Negative                        #?ui"T:tl_*fr   i*f   "f.rf.u"u

At Home with the Kodak
          The Storu of LIs
  How Mary Josephine has changed in the last year!   It seems
like yesterday that  she was using baby  prattle-and,   by a
seeming day  after tomorrow, she will be having her  hair
done up.
    It is only when we look over the old Kodak album    albums,
rather-that  we realize the changes and the importance  of
                                           filling the new ones. There's
                                 Dick, chubby and rosy, as he
                               trudged off for his first day of
                                 school, full  of a strange ex-
                               citement  and  importance.
                          And  here he  is  again-a
                               broad-shouldered husky who,
                            on  last  Saturd ey, dodged
                          down the  field for a touch-
                          down that brought ten thou-
                             sand roaring maniacs to their
                                      feet. How  it fusseshim when
                         we prove by the old Kodak
                                negative with the autographi c
                                date that he was "sueh a cute
                                                 little angel" at seven.
                         How  comfortably  grand-
                             mother grew old and how
                                    beautifully the pictures show
                                                      it.  There she is by the win-
                          dow with her knitting, smilirg
                                     at the present, but somehow
                            you know, as you look at the
                             serene face, that she is living
                                      in the past.
               Sis.
        A Brownie Snapshot

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  And even the house; how the vines have improved  it.   \{'e
must have another picture;it  Iooks more like a new home now'
And could you believe it, the way those maples_have grown in
just a few years?  That.picture  reminds me that when they
*"r"   first set out, Dad used to call our street the Avenue de
Bean Pole.
  Nimrod,  you lazy old rascal, get away flom  that  fireplace
Iong enongh to come over here and see what a disreputable
p"p"yoo  *".t..  Here you are, caught in the very act of shaking
uU't[ru sawdust out of Mary  Josephine's new doll.  No-you
won,t move?   I suspect from the look beneath your uplifted
eyebrows that  you are only  interested  in  that  thumb-worn
old hunting album of Dad's.
  These intimate  pictures-thanks   to the family Kodak and
Dick,s Brownie-were  fun in the making.  There was an eager
joy when the  finished  prints_ came home,  bttt now they are
p,iitttttt.  They  are a record because they  tell the truth and
t..urrr.  the autographic dates and titles on the negatives are
indisputable.  But they are more than a record. Each album
ir a.itapter  in a story, io,rs the most fascinating of all stories-
the story of us.
         Making the Pictures
  The purpose of this  little book is to help the reader in the
making of ihose entertaining pictures of friends, and-family,
and hJme, that make a Kodak album a picture-diary of endless
interest.  The Kodak way of making pictures is so simple that
anyone can make them  after reading the  brief  instructions
 that  are contained  in the manuals which accompany every
 camera. But there is a lot more fun in photography than just
 ,,pressing           the buttsl"-31fl   much of  it  lies in planning the
 pictutes"before they are made. Here is the chance for artistry,
 ingenuity and tectrnique, and in this little book are suggested
 .oir.  of ihe ways in which very delightful home pictures-may
 be made.  Actual photographs are reproduced and explana-
 tions given of how ittey were planned and taken.   All of them
 were irade on Kodak  film with either a Kodak or a Brownie,
 as indicated.
                            4

The Junior  Partner
Made with a 3A SpecialKodak bv Mrs. H. D. Eaton



                       o

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        Indoor Portraits by Daylight
   Portraits can be made by daylight  in any room that has a
window through which the unobstructed  light from  the sky
can enter.
  An excellent portrait  lighting  can be obtained by drawing
down the shades on all but one of the windows, and then plac-
ing the subject a few feet from the window through which the
light is coming, in the position shown in the diagram below.
  When a subject, placed in the position S, looks squarely  at
a camera that  is at position C, the light  will  fully  illuminate
the side of the face that  is nearest to the window, and  it  will
also illuminate,  with  almost  equal brightness, a part  of the
cheek on the other side of the face.
  The lighting  effect thus obtained can be seen by standing
directly in front  of the camer&. We should now observe the
shadow cast by the nose.   If this shadow extends downwards
and sideways, the lighting  will prove satisfactory, for  it  will
give the desired effect of roundness to the face.   rf, however,
the shadow extends sideways
only, the  light  is coming too
much from  the side and too
little  from  the top.  Such a
lighting   will  make  the  face
look flat. To remedy this diffi-
culty the lower half of the win-                            $.-rr1-.
dow should be covered with a                                               \       t*'
sheet or with a piece of muslin,        R\
so a,sto cut off some of the side
light and thus make the light
eome downward at about a45
degree angle.
  A sheet of white  cloth  or
white paper, three feet square         C
 or larger, should now be placed
 at position R (see Diagram 1)    S-Subject     C-CameraDiagram 1    R-Reflector

A Close-upMade  with  a                                        Exposure:
3A Kodak  and                                        3 seconds. Stop 8
Kodak   Portrait  Attachment

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                                              for  reflectitrg  light  to
                                       the shadow side of the
                                     face.  The  reflector
                             may be held by an as-
                                          sistant or may be sup-
                                     ported on two T-shaped
                                           sticks, which  can be
                                           tied  to the back of a
                                           chair.
                                  The angle at which
                                       the reflector faces the
                                       subject is important, for
                                                                        it should reflect light to
                                       the front as well as to
                                       the side of the face.  If
                                                                       it  reflects light  to the
                                       side of the face only,
                                       the lighting  will not be
                Babe                   pleasing, for the ear on
          Made  with  a 3A  Special  Kodak           the shadow side will be
     B:40P. M lftj;*X):"#second, r.6.8                                more  brightly   illumi-
nated than  the depression be-
tween the high part of the cheek
and  the  nose.  The  angle  at
which  the  reflector should be
placed is shown in Diagram 1.
  The  lighting  we  have  de-
scribed is similar to those used
for making the pictures on pages
2, 7 and 18.
  The  subject  of  the  portrait              c
on  this page was sitting  on a
window  seat.   The   reflector
that  helped  to  illuminate  the
shadow side of the face was a                 Diagram   2
                                                                           'W-WindowC-Cameralarge piece of white paper which       R-ReflectorS-Subject

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                        Good M orning
       Made  with  a                                    Exposure 1/5 seeond
        3A  Special  Kodak                                            f.6.3 Sunny day
dow (Diagram 3) a foot or more from the lens. The cardboard
should be moved well out of the view of the finder.   If  it shows
in the finder, it  will show in the picture.





                         10

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  Should plain backgrounds be preferred, &Dy color of cloth
that shows no pattern may be used.   It should be placed not
less than 3 feet behind the subject.  The cloth should be free
from wrinkles or creaseswhich would show in the picture.   It
may be hung from the picture moulding  or suspended in any
other convenient way.
Exposunn.   While  portraits  can be made indoors on sunny
days with exposures as short as one-fifth second, when an/.6.3
lens is used, and the subject is not more than 3 feet from the
window,  it  is always best to give a more ample exposure when
it  is possible to do so. On bright days the exposures recom-
mended, when rectilinear or anastigmat lensesare used with the
largest stop, are from 1 to 3 seconds. With single lens cameras
the exposuresshould be from 2 Lo 6 secondswith the largest stop.
Tnrpoo.   Since indoor  pictures must be made  with  time
exposures, it  is necessary to place the camera on a tripod, or
some other  rigid  support,  to  prevent   it  from moving and
blurring the picture while the exposure is being made.
          Portraits by Flashlight
  The part of room that furnishes the most desirablesetting
for a portrait may receiveso little light from the windows that
it cannot be usedfor making portraits by daylight. The lighting
problem can, however,nearly always be solved with flashlight.
  By using an instantaneousflashlight we can make portraits,
and also story-telling pictures, in a small fraction of a second.
In fact, we can easily make flashlight pictures of the members
of the family, engagedin their home pursuits,which could not
be made by daylight, even closeto a window, in any ordinary
living room.
  When flashlight pictures are rightly made they will look
exactly like pictures made by daylight. The staring eyesthat
are sometimesseenin flashlight portraits are as unnecessa,ryas
they are objectionable. They are, in almost every case,the
result of making the portraits in rooms that are too dark.
                          T2

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Made by tbu light  o-f one Eastman Spreader
      Flash Cartridge, see page 18

held 7 feet above the floor.  Lens stop No. 8 was used and a
Kodak  Portrait  Attachment  (the use of which is explained on
page 19) was placed in front  of the lens. The position of the
ifurn sheet in  relation  to the  subject, and the distance the
sheet was held from the subject,, are shown in diagram 5 on
page 13.
  The staircase, shown in the picture on page 14, was 10 feet
from the nearest window.  This picture was made with a 3A
eamer& (using lens stop No. 8) by the light  of an Eastman
Spreader Flash Cartridge.  The flash was ignited 7 feet above
the floor and 8 feet from the subje ct, at, position  tr' shown in
diagram 6.  A white muslin screen, about 3 feet square, was
placed about a foot in front  of the flashlight.  This was used
ior diffusing, or softening, the light  that passed through  it.
  T h e m e t h o d  a d o P t e d   f o r
securing  this  picture  suggests
one of the many ways that  will
induce young  children  to  as-
sume the position wanted when
they  are being photograPhed:
The mother was at the toP of
the staircase calling to the child.
As soon as the baby had reached
the  first step her father asked
her where she was going.  The
camera shutter, which was set
 for a time exposure, was oPened
the instant she turned, then the
 flashlight was ignited  and  the
 shutter immediately  closed.
  Diagram 7 on page 17 shows
how  the   story-telling   picture
 on page 16 was made by  the  Diagram  6, of the room in which- the picture
 light of a No. 1 Eastman Flash  S-Subject  on -ClCamerapage 14 was madeF-Ilqshlight
 Cartridge.                                    R-Reflector    D-Doors       W-'W-indows
                         .
                         15

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                                     (( -and   the li,ttle rabbit-"
 I-rom   Negative   made  with  2C  Kodak   Special  by  the  light   of one  No.  1 Eastman   Flash
             Cartridge.    The  table  lamp  wbs  lighted.    SeJ diaeram   on page  17

  Almost any  lighting  effects that may be desired can be
secured with flashlight, owing to the facl that the flash can be
so placed that  its light  wilt illuminate the subject from any
direction.  While nearly every lighting problem can be solved
with  flashlight,  it should be remembered that the light  of a
flash is so intensely brilliant  that  it wilt fog the film  if  it shines
on the lens. Before makin g a flashlight always observe wheth-
er the lens can be seen from the position where flash is to be
ignited.   ff  it can be seen,the lens should be shaded by placing,
or havitg someonehold, a sheet of cardboard, or anything else
that is a foot square, or larger, about a foot from the lens, to
prevent the light from shining on it.
  fnstantaneous exposures can be made with Eastman Flash
Cartridges and also with Eastman Spreader Flash Oartridges,
                           16

the  latter  being adapted for use in the Eastman spreader
          Flash Cartridge  Pistol.
            With Eastman Flash Sheets time exposures of from one or
         two seconds,depending on the size of sheet used, can be made.
           As all flashlight preparations are inflammable, they should
         be handled carefulty.  They should never be ignited  closer
          than  3  feet  to
           walls, ceilings,
            curtains, draper-                               ,S
           ies or any paper.
          B e  s u r e   t o'tII
          read and observe          (          the  precautions            that  the manu-      X,
           facturers recom-                      L s /
        mend in the in-            C
           structions   that
        accompany  all                                                                    - Diagram 7 showing how the pieture on paEe-D-DiffusingScreen16 was made
            flashlight goods.    S-Subject,  C-_C_amera__LS-CardboardF-Flashlightfor shadine lcns
             Indoor Story-telling Pictures
           The chief difference between a portrait  and a story-telling
           picture is that the former records the likeness of a person while
          the latter tells a story about a person.
           Mother busy with her sewing, Dad reading the paper, the
           children at play-suggest  but a few of the possibilities of this
            field of work.
              In a story-telling picture the portrait  is not only secondary
            to the story, but the picture can tell its story without showing
          the face of the subject.  Any  picture  that shows someone
           actually doing something  will  tell a story, but a picture  that
        shows the subject looking at the camera, instead of attending
           to the work in hand, may be, but more probably will not be, a
            story-telling  picture.
               Alt but young children can understand why they should not
          look at the camera while the picture is being made. There will
                                           t7





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                     A   lt{atural  Pose
Made  with No. 3A Kodak  with Kodak  Diffusion  Portrait  Attaehment
                      over lens. See diagram Page 6

                      18

always be moments when children will pay no attention to the
photographeror to the camera, if they are permitted to play
in their own way with things that especiallyinterest them,
and it is during thesemomentsthat the picturescan be secured.
  The subject should never be requestedto "look pleasant,"
to "hold that position," or to do anything else.  It  is always
best to let the subjectaloneand to make the exposure,without
warning, at the instant when the story that you wish the
picture to tell is being enacted.
  Thesepictures can be made indoors, with the samelightings
that are usedfor portraits. The illustrationson pages2, 5,9,
10, 16, 29 and 30 are story-telling pictures.
  Theseare the types of pictures that will most vividly remind
us of the many interesting incidents that occur in the daily
routine of the home life.  Children are excellentsubjects,and
they find it great fun to have their picturestaken. They are
always delighted with pictures of themselvesthat were made
without their knowledge.
    Kodak Portrait Attachment and
  Kodak Diffusion Portrait Attachment
  These two attachments are supplementarylenses,mounted
in light metal cells,which can instantly be slipped into place
over the regular cameralens. Both attachments serve the pur-
poseof short range work, i.e., bringing the cameraup closeto
the subject to securea large image, but each gives a different
rendition of the subject. The operationof the cameraas well
as the length of exposureremainsunchanged.
  The Kodak Portrait Attachment rendersa sharp'imageclose-
up and makes possiblehead and shoulderportraits, such as the
one on page 7.   It   is, as well, indispensablefor photo-
graphing all sorts of small objects at short range, such as
flowers,bric-a-brac,etc.
  The Kodak  Diffusion  Portrait  Attachment  yields very
pleasing results in sofi tocus, (see opposite page), faithful to
                            r9




                   .adL"       ."etr         " :                                                                                              " l

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the subject in every detail, but with  just enough diffusion  of
unpleasantly sharp lines and glaring highlights  to  artistically
soften and enrich the picture, when such effects are desired.
  These attachments are made in all the sizes that are needed
for use with the various models of Kodaks and Brownies, and
instructions for their use are furnished with each attachment.
The price of the Kodak Portrait Attachment  is 50 or 75 cents
and  of  the  Kodak  Diffusion  Portrait  Attachment  $1.25
or $1.50 (according to size). Exact designation of camera and
lens and shutter equipment is necessary when ordering either
attachment.
          Kodak Self Timer
  On many occasionsthere is need for some device whereby a
picture can be taken without  having anyone at the camera
to make the exposure. This problem of how to make a picture
and also be included in  it  is easily solved by a Kodak  Self
Timer, a little device that can be used with any camera fitted
with a cable release.
  When attached to the cable release, the Kodak Self Timer
can be so adjusted that   it  will "press the button"  anywhere
from  7f second up to one minute  after the operator has left
the camera.  The Kodak  Self Timer  is only intended  for
making automatic exposures,that  is, exposuresthat are made
               with a single pressure on the push button  of
               the cable release.
                For making  indoor  portraits  with  the  Self
              Timer,  it  is advisable to use a camer& that has
             a cable release shutter which  will make auto-
              matic exposures of half a second or one sec-
              ond, but as a one-half second, or even a one
             second exposure is a brief one for indoor por-
                 traiture,  it  will be necessary to use the largest
               stop and make the portraits on a bright day,
               with the subject close to a window which re-
               ceives the unobstructed light from the sky.
  Kodak Self Timer   The price of the Kodak Self Timer is $1.25.
                          20

Interiors by Daylight
              fn  our picture making  in and about the home we should
          not overlook photographing the rooms in which we live.   It  is
         probably because these pictures can be made at almost an5r
          time that we are apt to postpone making them, and the rooms
       may be papered, painted, newly furnished or remodeled before
       we remember that no pictures were taken, showing them as
          they were before the changes were made.
           But  a small percentage of the people who have reached
         middle age have any pictures that show the interior of the home
           of their  childhood, and they keenly  realize how imperfectly
        memory can recall the many details which only pictures can
          accurately record.
          The  interior  of a living room must be photographed by
          giving a time exposure, since the  light  is so much weaker
         indoors than  it  is under the open sky, and, as pictures of in-
           teriors are made with the camera close to the subject, some parts
           of which may be only a few feet, while other parts may be sev-
           eral feet from the lens, a small stop must usually be used in order
           to obtain sharpimages of allthe objects thatthe picture records.
                    It  is 4,lways best to arrange
          the furniture  of a room as nearly
         as possible in the way  it is cus-
          tomarily  placed for home use,
         and  then make  two  or more
           pictures of the room from differ-
          ent viewpoints.    If  a room  is
           to  be photographed from  one
          viewpoint   only,  the  tempta-
           tion to crowd a lot of furniture
           into  a  small space may  pre-
          sent   itself,   but   this  should
         always  be  avoided,   for  the
           picture  will be far more pleas-
           ing    if    it  suggests the  com-               Diagram 8
                                             2l

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forts of a  living   room  than  if  it suggests the storage of
furniture.
  There should, whenever possible, be enough clear space
between the lens and the nearest piece of furniture that is to be
photographed, so that nothing but the floor can be seen in the
immediate foreground.  The reasons for this are, that any ob-
ject which is very close to the lens will appear unduly large in
comparison with  objects that  are farther away, and when a
large object is much too close to the lens it  will be impossible
to include the whole of  it within the picture area.
  For photographing interiors the camera must be placed on a
tripod or on some other rigid support, and it should be placed
a little lower than is desirable for outdoor work, so that more
of the floor than of the ceiling can be seen in the finder.   If the
picture shows more ceiling than floor it  will look top-heavy.
    If the furniture and walls are dark in tone  it may sometimes
happen that the outlines of the furnishings cannot be clearly
seen in the finder.  This difficulty can easily be overcome by
having an attendant hold a lighted candle or a pocket flashlamp
near the wall.  As the light  will show brightly  in the finder,
the outlines of the area that  will be included in the picture c&n
        /-                     \    cl       /\l     ,/'\l                                              lilt   /\l
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              Diagram 9