Film cameras
Kewpie Kameras User manual
User manual for Kewpie Kameras. 19 pages in English. Read the original PDF, download or print a copy without registration.
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Document details
- Brand
- Kewpie
- Model / document
- Kewpie Kameras
- Document type
- User manual
- Language
- English
- Pages
- 19
- File size
- 3.8 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 2 · Read text
www.butkus.us
Better Photosl'*bv \vITH
Kewpi" Karneras
SOLD ONLY BY
Sears, Roebuck and Co.
Chicago - Philadelphia - Dallas - Seatde
F3596View original page 2Page 3 · Read text
A Personal Word t
We want you to get the best possible results - from this camera and enjoy using it. Unless you
do, you will be disappointed, and so will we.
From our many years of photographic experi-
ence we know that most photographic troubles
arise because the working of the camera with its
adjustments is not fully understood. T.ry
We ask you to read these instructions carefully
before attempting to make any pictures. We
want you to practice with it until you know exactly
how every adjustment is made and operated. Be
especiallv sure that you understand how to adjust
and operate the shutter for instantaneous andtime exposures.
Upon fully understanding the camera and how
to handle it, and to correctry expose the sensitive
film, depends the making of successful and pleasing
pictures.
Sears, Roebuck and Co.
Cf,IICAGO PHILADELPHIA DALLAS SEATTLF
- 1--View original page 3Page 4 · Read text
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2 and pull the roll holder completely out as it
appears in Figure 1.
The No. 2 Kewpie is made with only two catches,
a broad one, C, clear across
the end of the camera, and
another, C2, on the side of
the camera (see Figure 3).
The winding key on the
No. 2A is located at the
bottom edge of the camera,
while on the other sizes it is
located at the top edge.
(Compare Figures 2 and 3.) Figure 3.
To Close the Camera
Put the roll holder, A, Figure 1, back in the
outer box, B, Figure 1, and fasten all of the catches
securely. For more complete directions for clos-
ing the camera after a film is inserted in the roll
holder see Figure 16, page 13.
The Shutter
The shutter on a Kewpie Kamera is always set.
It can be adjusted for instantaneous and time
exposures.
Operating the Shutter
Instantaneoua or Snapshot Exposures. To
make an instantarreous or snapshot exposure see
that the slide P is pushed down as far as it will go,
flush with the top of the camera, as shown in Figure
-4-View original page 4Page 5 · Read text
4. Then push the lever Q,
Figure 4, once in one direc-
tion in the slot. This makes
an exposure. Pushing it once
in the opposite direction
makes another exposure. The
length of this exposure is
about l6s of. a second. Figure 4.
Caution. Push the lever but once, in onedirection, fof ole exposure. Pushing it twice,once in each direction, for a snapshot, will
cause a double exposure and absolutelr' ruin the
picture.
Tirne Exposures. To make a time exposure,
pull the slide P up as far as it will go, as shown in
Figure 5. Push the lever Q once in one directionin the slot. This opens the shutter. Time the
exposure with a watch. Push the lever Q once inthe opposite direction from the one required to
open it. This closes the shutter.
Time exposures must be
made with the camera on
ggme steady solid support,
like a chair or table. A tri-
pod may be used with all sizes
except the Nos. 2 and 2A.
These two sizes are not pro-
vided with tripod socliets.
In making a time exposure
as just directed, thers is al-
Figure 5. ways some danger of jarring
-5-
rView original page 5Page 6 · Read text
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Depth of Focus
This has to do with the ability of a lens to give
sharp images of objects located at different dis-
tances from the camera on the same negative at
the same time. For example, in interiors there
may be an object within 4 feet of the camera and
othbr objects 20 feet from the camera which are
to be sharply defined on the negative. The ability
to secure sharp images of both at the same time
depends on the rlepth of focus.
The following table shows the distance, in feet,
after which everything will photograph sharply
for each of the different Kewpie Kameras. Every-
thing beyond these distances will photograph
sharply.
STOP
KAMERA No. 1- No. 2- No. 3- No. 4-
F:14 F:16 F:22 F:32
No. 2 ,I srk I
{
No. 24' I
No. 2C
No. 3
No. 3AView original page 6Page 7 · Read text
After determining the stop that must be used to
secure the desired amount of depth of focus, con_
sult Guide for the proper exposure .the -Exposure to give for the subject and pteviiling light con- ditions.
View Finders
Kewpie Kameras are provided with two view ^ finders, located on the camera as shown bv Fl and 4. One is for use in making p"rp".r- 12, i" Figure dicular pictures, those higher than they ?ie #id", and one for use. in ma[ing horizontil pictures,
those wider than they are high.
To use either view finder, depending upon the
sha.pe of the picture-, poilt the cameru aL thl objeci tg bg photographed and look straight down into
the finder. An exact duplicate of"the oUiect in
front of the lens will be seen in the find;;;-only
much smaller in size. Change the position of th!
camera until the view seen in the finder is exactlythe way it is desired in the picture. Then makL
the exposure as directed elsewhere.
Tripod Sockets
The No. 2C, No. 3 and No. 34' Kewpie Kameras
are provided with two tripod sockets, orre on the
bottom of the camera for use in making perpendic-
ular pictures and one on the side of"the iu-"ru.
opposiJe. the winding key for use in making hori-zontal pictures.View original page 7Page 8 · Read text
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PART II
Loading the Camera
All of our film cameras may be loaded in day-
light. It should be kept in mind, however, that
th1 sensitive film upon which the exposure
is made should be carefully handled, both
before and after the exposures' to prevent
asany light getting to it and that, so far
possib-ie, the loading and unloading of the
should be done where da1'light is
""rrr"ru. Figure6'Figure 6.somewhat subdued.
The film for Kewpie Kameras is in the form of
u ,on. It consists of a strip of sensitive film and lottg". strip of black, or red and blacF' Pu.O"' fastened with a"*"un8 together on a spool - ?ttd (See Figure 6.) The black, or redo"p"itti.ft"t.5"[ Ut..k, paper servel to protect the film from 7iisfit, which^ wbuld instantly ruin- it. In Figure
ifr% ioff is shown partly unwound to show the ar- I i;;- the paper andrung"*""t of film'and-paper.- - . H the film attached to
the paper by a gumme4
sticker, X, so that it
will roll up properly in
the camera, as the ex-
posed film is wound
onto another .sPool
Figure 7. after each exposure.
-10-View original page 8Page 9 · Read text
To Load the Camera remove the roll holder A
from the outer box B, Figure 1, as explained on
page 3.
The roll holder, shown sep-
arately in Figure 8, has two
spaces or compartments for
film spools, one, E, to hold
the unexposed roll of film, the
other, G, provided with a
winding key, K, to hold the
empty spool on which the film 8.is rewound as it is exposed. Figure
Each Kewpie Kamera is sent out with an empty
spool in the winding end of the spool holder, G,
as shown in Figure 8.
Before breaking the paper
seal, place the roll of film in
the roll holder as shown in
Figure 9, so that the pin on
the spring, J, fits into the hole
in the end of the spool. Gently
press the spool against the
spring until the hoie in the
Figure opposite end of the spool can
be slipped over the pin, L. The
spool should then revolve freely.
Be sure the spool is so placed in
the holder that the black, or red and
black, paper unwinds from the top
of the roll, as in Figure 10. If it
unwinds from the bottom, as in
Figure 11, no pictures can be se- Figure 10.View original page 9Page 10 · Read text
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cured, because the paper will come
in front of the film.
With the spool in place so it re-
volves freely, break the white paper
band and pull the black paper out
over the metal rollers, N, N, as in
! Figures 12 and 13, and thread it Figure 11. into the slot in the empty spool as 1
shown by Figures 14 and 15. Give the winding
key three half turns to start the black paper wind-
ing on the empty spool.
Be careful to start the paper
perfectly straight on the spool,
otherwise it will wind un-
evenly and tear both the black
paper and the sensitive film
so that it will stick in the
camera and ruin the entire
roll of film.
Figure 12. Now put the camera to-
No. 24 Kewpie. gether again so that the end of
the roll holder with the two metal rollers and
paper enters the box first as Ishown by Figure 16, other-
wise there may be some slight (difficulty in replacing the roll (holder on account of the black
paper bulging out over the
edges of the outer box, caus-
ing lhe paper to tear.
Fasten the catches securelv. Figure 13.Turn the winding key, D, is Nos. 2, 2C, 3 and 3.{ K€ffpie.
-12-View original page 10Page 11 · Read text
Digitally signed by mike butkus mike DN: cn=mike butkus,
email=mike@butkus.org, c=US shown in Figures 17 and 18, o=orphancameras, ou=29,
Date: 2018.01.06 17:31:31 butkus while watching the red win- -05'00'
dow, O. When fifteen to
eighteen turns have been
given, a hand pointing toward
1 the first number will appear; then turn slowly until the
1 figure 1 is exactly in the cen-
a ter of the red window. After
14' 'No. 1 is exposed, a few turns No'Fieure2A Kewpie' in" *i"aLg-[L/ *il b;G "rNo.2into place, and so on until the entire roll is used.
Removing the Exposed Film
After all the film on the roll has
been used, before attempting to
removethe exposed film from the
the camera, give the winding key
twenty turns. To 'remove the
exposed film, remove the roll
holder, A, from the outer box,
Figure 15. t Nos. 2, 2C, 3 and 3.{ Kewpie.
B,Figure 1, asexplain-d ed on page 3, and a windupallof theblack
or red and black,,
paper if there is still{1.
any remalnlng un-
wound.
Then press the roll
of film against the Figure 16.View original page 11Page 12 · Read text
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spring, J, Figure 9, until it can beremoved from the roll holder, -and fasten the loose end of the i
black paper with the gummed !
sticker which will be found on
the empty spool remaining in
the camera.
Remove the empty spool and
place it in the side from which
Figure 17.the exposed roll has just been
No.2.A' Kewpie. tak€r,
placingitso
the slotted end of the spool
fits over the tongue of the
winding key. The camera is
now ready to load again.
Nos.2,2C, 3 and 3.A Kewpie.View original page 12Page 13 · Read text
Fl
PART III
Making Exposures
t Before making exposures of any kind be sure
I of the following:
v First-That the shutter is adjusted for the
desired exposure-that is, for instantaneous or
time, as the case may be.
Second-That the proper stop opening is in
position in front of the opening to the lens.
Third-That an unexposed section of film is in
position to receive the exposure.
fnstantaneous and Snapshot Exposures
Before making an instantaneous exposure-
See that the slide, P, is down, as in Figure 4,
page 5.
See that a large stop, No. 1 or No. 2, is in place,
a as in Figure 4, page 5. If in doubt as to which
stop to use, use No. 1.
t In taking snapshot pictures the sun should be
t behind the back or over the shoulder of the operator
and should shine on the object to be photo-
graphed. Successful snapshot pictures cannot
be made in the house, under a porch, under the
shade of a tree or on dark days, or too early in the
morning or too late in the afternoon. (Consult
the Exposure Guide.) Under no circumstancesView original page 13Page 14 · Read text
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should the sun shine direct-
ly on the lens, as absolute
failure will be the result.
With the shutter set for
an instantaneous exposure
and the proper stop in
position, point the camera
Figure 19. directly at the subject to
be photographed, and lo-
cate the image in the view finder by looking into
it from directly above, and not from an ingle.
When the arrangement of the subject appears
satislactory in the finder, hold the camera iieady
qld level, as shown in Figure 4 for a perpen-
dicular picture, that is, one higher than i-t is
wide, and as shown in Figure 19 for a horizontal
picture, one wider than it is high, then make the
€xposure by pushing the exposure lever, Q, Figure4, once only inonedirec- ffition in the slot.
Avoid jerking or jarring
the camera when making
the exposure; otherwise it
will be blurred, as shown
in Figure 20.
If care is used to move
only the thurnb when
pushing the lever, there is
little danger of jarring the
camera.
Hold the camera as near-
ly level and plumb as pos-View original page 14Page 15 · Read text
sible. Otherwisepictures of buildings
witt look distorted and
twisted, as shown bY
Figure 21, ll'here the
camera was Pointed
upward, and in Figure
22, where the camera
was tipped sidewise.
Remember, Pictures
are made or sPoiled
when the exposure is
made, and that if the
lieht is poor, or too Figure 21.
small a stop is used, or
ttr"-the exposure isis mademade tootoo earlyearly tnin the.mornlnthe.mornlng re-sult "*po.ut"Late in the afternoon, the only ;r- toJ
*itt U" a failure. Practically nothing can -be done i" d"".foping and finishing the eiposed roll of film to overcome mis-
takes made in exPosing
it. (Consult the ExPo-
sure Guide for the cor-
rect exposure.)
After making an ex-
posure turn the winding
ket' until the Figure 2
appears at the window,
repeating the oPeration
afier each exposure until
the entire roll has been
Figure 22. exposed.View original page 15Page 16 · Read text
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{ lndoor Portraits
Lighting in Portraiture. Good results in the -t
making of portraits are entirely dependent upor:
the lighting; that is, the way in vitricft the light f^alls
upon the subject or sitter. There should be but
one so-urcq of light, and, if possible, this should be
aa northnorth windowwindow notnot shadedshaded byby treestrees oror buildings.buildings.
rrIf thereLrr.;.r.8 <r.rEare uLllcrother windowswrrluows inllr theIne room,room, theytney snoulclshoJld
bebe darkeneddarkened byby opaqueopaque curtains,curtains, andand thethe lowerlower
halfhalf ofof thethe windowwindow admittingadmittins thethe lightlioht toto therhe roomrr,nrrl
should be darken-
ed by covering it {
over with a dark
Icloth. With this
arrangement the light comes from ru@ IIone source only, Sutiectfand th at f rom \
above the head, V,$#e \ IIfthus striking the Isitter at an ingle \ ltfadov
of about 45 d-e- tI.,
grees. We can best fexplain the proper I
lighting and ttre
proper use of thebackground and re- I
flecting screen by
the aid of a di-
agram. (See Figure
23.) Inthis diagram
wehave illustrated, Figure 23.
-18-View original page 16Page 17 · Read text
thein a seneral way, the relative position of
camera] the sitter, the background, the reflecting
screen and the window from which the light is
admitted to the sitter.
While it is, of course, not necessaly that the
relative position of the camera, the sitter, reflector, ^maintainedetc., be exactly as shown in the dia-
gram, still this arran-gem-ent gives the best results
ir u general rule. In this diagr-am the sitter is
Zrh f&t from the window and the front of the chair
is Just even with the farther side of the window.
Tht background is 3 feet behind the sitter and the
reflector is 31h feet f rom the sitter.
18 A better method is to place a dark screen
inches square between the window and the sub-
ject, thui throwing the entire face into shadow.
This, of course, inlreases the exposure, but gives
better results.
Practice different methods of lighting by moving
the subject and screens, without attempting to
make .ty Much information may begained in this""posures.manner." Splendid portraits may be made on the shadow
side of a building with an open 9ky- overhead'
This is a fine method to photograph children, as
the exposures may be madb quite r-aPidly, although
a tripbd or something equally solid on which to
place the camera is ilways necessary. (See the
Exposurc Guide.)
Wh"n nosing the subject, do not neglect- the..background' Fisured *utt pip"t shodld be avoided. It hardly ever looks
th6 same in a picture as on the wall, and is nearly always
dispieasitrg in what otherwise might have been an artistic
picture.View original page 17Page 18 · Read text
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The straight hnes and knot holes in a frame house, or
the lines of mortar in a bricL building are also unsatisfactory
as a background for portraits, although not always so dis-
pleasing for large group pictures.
A sheet,, 2 or 3 feet behind the subject, forms a good -background if stretched enough to remove the wrinkles. If
this is not practical, if the sheet is held 2 or 3 feet back of
the subject and kept moving, the wrinkles will not photo-
graph.
A clump of bushes makes an ideal background for out-
door pictures, but the subject should not be too close to the
bushes. Do not use the sky as a background, as it gives a
light stronger back of the subject than on the subject, and
the results are not pleasing.
To test this, place a subject against a window and then
from a distance of 6 feet look at the subject and see how
indistinct are the features with the strong light behind the
subject. Then change positions and see how distinct the
features are with the strong light on the features.
In making portraits keep in mind that if the position and
lighting of the subject do not please before making the ex-
posure, they rvill probably please less after the picture is'finished.
Always use time exposures when making indoor portraitsor portraits in the shade, otherwise they will be underex- f
posed, and do not try to hold the camera in the hand for time
exposures. The camera must rest on something solid,
otherwise the pictures will be blurred, as shown by Figure
20 on page 16.
Interiors
Always u_se a time exposure and a small stop when making
interiors. See that the desired view shows in the f.nder.
Do not point the camera directly at a window when making
interiors, as the bright light or glare will often spoil the
picture. If this cannot be avoided, pull down the shades of
such as are included in the view. (Consult the Exposure
Guide for the correct exposure.)
-20-View original page 18Page 19 · Read text
Suggestions
Always see that the shutter is closed before loading the
camera.
Always wind another section of film into position immedi-
ately after making an exposure, whether you are ready to
take another picture or not. This habit once formed will
often prevent making two exposures on one section of film.
Before making an exposure of any kind see that an unex-
posed section of the film is in position and that the shutter
is properly adjusted for the desired exposure.
A separate Exposure Guide in convenient form to carry
in the pocket is included rvith these instructions. We advise
referring to this Exposure Guide whenever any question
arises regarding the correct exposure for any subject.
For those desiring to finish their own pictures separate
instructions are furnished. Those who do not care to do
their own finishing will find our work first class and the
prices given in our big General Catalog reasonable.
SEARS, ROEBUCK AND CO.
-2t-View original page 19From the M. Butkus archive. Original publisher and archive notices are retained.
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