Film cameras
Kodak 66 Model III User manual
User manual for Kodak 66 Model III. 24 pages in English. Read the original PDF, download or print a copy without registration.
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Document details
- Brand
- Kodak
- Model / document
- Kodak 66 Model III
- Document type
- User manual
- Language
- English
- Pages
- 24
- File size
- 5.9 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 3 · Read text
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filrns ror youF KODAK 66 CAI,{ERA rtrod, general-purpose=! film 'Kodacolor' Film. After exposure, this 'Verichrome' Pan Film. A film is developed to give colour negatives for photography under almost all daylight con- which are then printed to produce large-size ditions or by artificial light - ejther flash or
prints on paper. The speed of 'Kodacolor' balancedflood. Highcolourspeed,sensitivitygreat exposureensure latitudethe highestand Film is comparable with that of fine-grain proportion of successlul pictures. Excellent black-and-white films: it can be used. without en.largements can be made from negatives on light filters, either in daylight or with clear this film.
flashbulbs as the only source of light. It has
such a wide exposure latitude that inex-
perienced users will find no difficulty in 'Panatomic-X' Film. This medium-speed pan-
achieving a high proportion of satisfactory chromatic film has an unusually thin-coated and
colour prints. fine-grain emulsion, and is capable of producing
rEktachrorne' negatives of extreme image sharpness. Thia Daylight Filrn. This is a will only be appreciated to the full when high daylight type film givin-c direct colour trans- magnification enlargements are made. parencies. It has the same speed as 'Koda-
color'Frlnr when used in daylight. The main
difference in use is that for flash photography 'Tri-X' Film. A very fast film of balanced blLre flashbulbs must be used indoors as weil sensitivity and capable of image sharpness
as outdoors. For consistent results carefully quite remarkable in a film of this hieh sneed.
follow the exposure table packed with the film For use under difficult lighting conditi-ons,' par- Instantaneous artificial ticularly in light. or given on the inside back cover, or else use a exposures qre possible by ordinary domestic or reliable exposure meter. industrial lighting at apertures of f|5.6 or J'14.5.
lhe slze_of negative that this camera procruces is 2f, inches square.
Black-and-u,hite prints can be mqde to any size. use oniy 120 size film.View original page 3Page 6 · Read text
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Get to knour yorrl. carrr(erra and its controls
before you load witlr filrn.
Press the oprNrNc BUTToN - the camera springs ready for use.
Move the cocxrNc LEvER in the direction of the cable
release socket - until it locks.
Hold the camera as shown, firmly but comfortably, with your
finger over the sHUTTER BUTToN.
Look through the vrEwnNDER - keep it close to your eye so that
you see all four sides of the front of the finder. It is the front that
frames the view that the camera will take.
To take a picture press the suurrER BUrroN right down - gently, so as not to jerk the camera (the shutter button will not
go down if the red end of the BUrroN RELEASE is projecting.
This is a warning that the film needs winding on, as follows).
(See also page 13.)
After taking a picture, wind the film on by turning the
wrNDrNG KNoB (there is more about this on page 9, when
you have a film in the camera).
Winding on also frees the shutter release for the next picture.
To close the camera, press down on the centre hinges of both
srRUTs and close the baseboard until it latches.View original page 6Page 7 · Read text
f ilrn into yor'rr GarTreraLoading a lz-o-
I ?
Always loacl and rurloacl x,ith the cantera and Pull on the spoor- RELEASE knob and give a
film well shaded fi'ont bright lisht. quarter-turn to hold it out. Afterexposingeach
Slide out the LArcH in the bright-plated end of film, the empty spool is left in this recess; take
the camera. Lift open the camera back. the spool out.
\View original page 7Page 8 · Read text
www.butkus.us ..; dB, Turn the wrNorN(i KNot| anti-clockwise and Check whether the rrllr REMTNDER is set for draw it outwards. Put the entpty spool in this the filnr you are going to use. Only when the recess, slipping one end on to the bearing pin spool release knob is out can the renrinder opposite the knob. Push the knob in while disc be turned to bring the name of the filnt turning. Make sure the key engages the slot in against the dianrond pointer on the top of' the spool end. the cantera.View original page 8
Page 9 · Read text
Fit the new 120 filnr into the errpty recess, Break the seal and draw the backing paper
with the tapered end of the coloured backing across to the empty spool. Thread the tapered
paper on top, and pointing towards the empty end through the longer of the two slots in the
spool. Press the spool down and turn the spool spool. Centre the paper between the flanges.
release knob until the spindle springs into the Give the wtNDlNG KNoB three .full turns,
end of the spool. making sure the paper winds evenly.
www.butkus.usView original page 9Page 10 · Read text
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After taking the 12th picture
See that the latch is still 'open'. Close the Turn the winding knob until the end of the
canlera ancl slide the latch in. Wind the filrn film is well past the red window. In a shaded
and watch the recl window. Afier a warning place, open the camera. pull out the winding
arrow has passecl. the nante ol- the filrn will be knob. Press sideways on the spool flange u*oy
seen. Then contes figurc '| ' - and when it is from the winding knob, and keep the film
centrecl, you can take the first pricturc. tightly wound as you tift it our. Fold under the
€9ll
5'o
dg
clo
99
tapered end of the backing paper and seal itA with the gummed strip. Keep the film out of
bright light untilyou hand it to a Kodak dealer A for developing and printing.
9View original page 10Page 12 · Read text
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Focus for. shan;r pictrrres
With the lens locused at '.15', as recommended according to the lens aperture setting.
for snapshots, the sharpest part of a picture The scales on the cantera show you the
will be that showing a subject that was | 5 leet depth of field for any camera setting. Having
from the camera. To be sure of the sharpest set the focus distance, look on both sides of
picture of any subject, first estimate irs dis- the diamond pointer for the numbers that
t, tance in feet lrom the camera, and turn the correspond to the aperture setting; these num-
lens focus scale to the corresponding figure. bers indicate, on the focus scale, the depth of
But, in practice, a sharp enough picture will field. As an example, in the picture below,
be made of objects some distance nearer and with the 'snapshot setting' (t5 leet and
farther than the point for which the lens is aperture '16'), the depth of field is shown
focused. The range of distances 'in focus' is opposite the numbers't6'and extends from
called depth offielr/. This'field'varies in depth about 8 feet to the lar distance 1oo).
according to the distance focused upon, andView original page 12Page 13 · Read text
Lens a;rentrrnes and slrr.rtten speeds
The light necessary for taking photographs
will vary in brightness according to the
weather, time of day and season. Subjects
themselves vary a lot in brightness. These vari-
ations have to be allowed for in setting the
camera controls ifyou want perfectly exposed
pictures. Both the lens aperture and shutter
speed controls have an effect upon the expo-
sure. Settings suitable for various circum-
www.butkus.us stances are given in tables later in the book.
In poor light you may have to move the
LENS APERTUR.E pointer to '4.5', to set the aper-
ture wide open (just as the iris of your eye
opens in dim lieht). In bright light, or to get a
large depth offield, you might use the'16'or
'22' setting. Settings that give half or double
the exposure oftheir neighbours are said to be
'l stop'.apart. You car? set the aperture any-
where between the marked settings. Aperture
numbers are usually written with an 7' in
front: fl8, fll6, etc., though the / is not uscd
on the camera or in the tables in this manual. Note: Set norch to opeilure markView original page 13Page 14 · Read text
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NOTE. You must press the shutter button
right down the button release to operate -for correctly. lfthe shutter button locks without
the shutter operating hold in the button
release whilst making another attempt with-
out wrndrng-on.
The expo,sure times given by each speed
setting are shown in the diagram. Most Com-
monly used is '50'. In bright light you can use
'100' or '200'-and be more sure of sharp pictures moving subjects. of In poor light tl ,10'. need may even '25', or :Oat m' + * Ssecond briefI imc you Note lhat high scene brightness is allowed for by seiling
a high nmber for aperture and speed. Iaw brightness Turn the sHUrrER spEED ring to bring the requiles lov setting numbers.
desired 'speed' opposite the pointer. Do not _. Ifyou have no flash equipment in very bad
set between the marked speeds. Wind the light you will need to set the shutter to 'B; for aI shutter by pushing the cocKrNG LEVER across 'time'exposure. At 'B'and '10', the camera and
until it locks. Press the SHUTTER rurror.r right thesubjectmust bestationary. The camera can
down to take the picture. Ifthe red signal on be held rigidly on a tripod screwed into theI the BUrroN RELEASB is visible, immediately bush under thecamera, ahd theshutterreleased without a tremor by means of a cable release.
below the shutter button, the button will not This should have a standard tapered thread, operate - this warns you to wruo-ox to the which will screw into the crnr,rnELEASB socKBT
next numbr in the red window. provided.
l3View original page 14Page 15 · Read text
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The nrost successfut photographs are the result
of careful consideration of lighting and ex-
posure. The tables later in this book suggest
lettings which will ensure the correct level of
exposure for most normal subjects. But the
same exposure level can be obtained from
different combinations of aperture and shutter
speed. The most suitable combination at any
one time depends on what you are wishing to
photograph.- A fast-moving subject will need a higher
speed setting than a normal subject. This must
be compensated for by setting a low'er aperture
number.
To bring near and far objects into sharp
focus, a higher aperture number may be
needed. This will entail setting c, lov'er shutter
speed.
Rementber, a full 'stop'change in aperture
balances a halving or doubling of shutter
speed - in a see-saw manner!
t4View original page 15Page 16 · Read text
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For pleasing plctrrnes
p o Hold the camera still. Do not jerk it when you some of the desired picture.
I release the shutter. You can support the o Watch the background - if it is not important, I camera steadily on a tripod, or on a firm flat keep it plain. To bring your subject against
I surface. the sky, hold the camera low, e.g. take the
r oHold the camera straight and level-judge photograph from a kneeling position.
this from the horizon or vertical buildings. o Preferably, take fast-moving subjects ap-
r o Generally, stand with the sun behind and to proaching or receding, rather than passing
one side of the camera for good modelling. close in front of you - unless you follow the
If the sun is directly behind the camera, the movement by swinging the camera.
even lighting tends to flatten contours, and o Wind on to the next film number as soon as
dazzle the subject, while your shadow may be you have taken a picture, but do not cock the
cast on the foreground of the picture. shutter until you want to take another picture.
does not shine directly o Keep the lens clear of dust, finger-prints or, o Make sure that the sun
i on to the lens. A lens hood is essential for spray; if necessary, gently wipe with a camel- I 'against the light' photographs. hair brush or a clean, soft cloth. Never use
scenes, include a nearby figure or silicone-treated lens cleaners. Dust out the I o With distant some object in order to give scale and depth to inside of the camera regularly.{
the picture. o Keep the camera protected, yet ready for use,
, r With close-ups, keep the subject away from in the specially designed carrying case that I the top of the viewfinder, or you may cut off your Kodak dealer can show you.
II l5
iView original page 16Page 17 · Read text
Lens accessories
A range of simple accessories in the 'Kodisk' against it. Your dealer will tell you the uses of
series is available to help to improve your other'Kodisk' Filters.
photographs. The size 320 accessories may be Close-up lens: Your camera already focuses as
fitted singly, or in any combination, on to the close as 3l feet; add a'Kodisk'Close-up Lens
lens focus ring. and you will be able to photograph objects
Filters:' Kodacoktr' and'Ektachrome' Films: between 22 and 4O inches from the camera,
With these films filters are unnecessary for e.g. for table-top models or flower studies.
daylight or flashbulb photography. Do not use L,ens hood: It is important to prevent the sun
any filters other than those recommended in from shining on the lens, so, when you are tak-
film instructions. ing against-the-light shots (particularly when
Black-and-white -film: A 'Kodisk'Cloud Fil- using a filter or close-up lens) fit a lens hood.
ter slightly darkens the blue of the sky and ll/hen ordet'ing 'Kodisk' filters, close-up lens,
so makes clouds and other subiects stand out or lens hood, ask.for size 320.
sf
f,View original page 17Page 18 · Read text
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Photogralrhy with flaslr
When there is no adequate natural light, keep
your camera in use with the help of 'flash'. Fit
a'Kodak'Flasholder Model II by means of a
Flasholder Bracket and Flasholder Cable
Type J. Your Kodak dealer will supply these,
and also batteries and flashbulbs. An adapter
is also needed for fitting capless flashbulbs.
This camera, when set at '10' or'25', is syn-
chronized for PFl, No. l, PF5 and No. 5
bulbs. With electronic flashguns, any shut{pr}i
;[:eii: ] "' If a bulb lliil','":ffifails to fire, ilwheqthe l#pgr*-*shuttdf-ilfi
released. there is no need
posure. The shutter button
a further attempt on the same
holding in the sHUrrER B
pressing the shutter button.
l7View original page 18Page 19 · Read text
Flash indcDCDFs after dank Use clear flashbulbs for black-and-white and In a small room with light walls you can use , 'Kodacolor' films indoors but only 6/ae bulbs the next lens aperture lower down the table. for'Ektachrome' Film (Daylight Type1. Set Bounced Flash gives softer, more natural the shutter to '25', to use all the flash. The results, without the hard shadows that direct lens aperture should be varied according to flash often produces. Detach the Flasholder the distance of the flash from the subject. from the camera (leave the cable connected), The table opposite gives all the camera then direct the Flasholder at a nearby light setting information you need to get good wall. or a large white card, or at the ceiling. results. Three films and the two most popular The lens should be wider open by 2-3 steps sizes of flashbulbs are listed. The tableassumes higher up on the table. nornral subjects in average sized rooms. Out of doors at night, or in large rooms, and for darker than usual subjects or surround- ings, preferably use the next lens aperture higher up in the table.View original page 19
Page 20 · Read text
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Dinect llash
Set shutter to'25'.
In the appropriate film and flashbulb column find the most suitable flash distance.
Then read off the lens aperture on the left of the table.
tVerichromet 'Ektachrome'
'Kodacolort Daylight Pan 'Tri-Xt
Lens PFI PFs PFll97 PF5l97 PFI PF5 PFI PFs
aperture No.l No.5 No,lB No.58 No.1 No. 5 No.1 No.5
4.5 l3ft 20ft* I 1ft 18ft* lSft*
5.6 lOfr 16ft* 9ft 15ft I 5ft
7ft l2ft 6ft 10ft 1Oft I 8ft* 16ft*
ll 5ft 8ft 4.5ft 7ft 7ft 13ft 1 lft 20ft*
t6 3.5ft 6ft 3ft 5ft 5ft 9ft 8ft l4ft
4ft 3.5ft 3.5ft 6.5ft 6ft 1oft
*This table isfor normol subjects in average sized rooms;.for other conditions see opposite page.
The distances for'Kodacolor' can be used for'Panatomic-X' Film.
t9View original page 20Page 21 · Read text
tr i I E - i : r ii i ar :s; ['.r rJL.]i J'i ] I : - Lt r'? ! i g I t !
Direct sunlight usually gives harsh 25
and most people tend to screw up their eyes
when facing it. You can turn the subject round No.lB 'Ektachrome'so that the sun is at the side and no longer
dazzling. Then, to brighten the heavy shad- PFI or 'Panatomic-X' No.lows. use the fill-in flash method. Use a PFI or
No. I flashbulb for black-and-white films but PFI or 'Verichrome'Panonly ltlue bulbs PFI 197 and l B for'Kodacolor' No.l
and'Ektachronle' films. Set the shutter to'25'. *Preferably with a'Kodisk' Cloud Filter ovcr the lens.
The camera with Flasholder should be be-
tween 6 and l0 feet fronr your subject depend-
ing on how bright you wish the shadows to be.
Use the table alongside. The nearer you are,
the brighter will be the shadow.
For distances 3.5 - 6 feet, drape one thickness
of a white handkerchief over the Flasholder.
'Tri-X'Film is not included as it would be
over-exposed if used on'25' sec. in bright sun.
electronic however,With flash, there is no t.r speed, upon the shutterlimitation and'Tri-X' l.rFilm can then be used with a shutter speed of
'200'and aperture of '16'.
20View original page 21Page 22 · Read text
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Photollood indoons
For portraiture, table-top work and indoor instruction book let). The'Kodafl ector' Assem-
subjects not likely to move rapidly, the use of bly allows more flexible lightingset ups. It con-
Photoffood lamps will allow greater control sists of two lamps on an adjustable stand
over lighting than with flash. Moreover, Photo- wbich can be raised to 7 feet or lowered almost
flood lamps willenable you to judge the effect to the ground. Use the Assembly as the main
before exposure. lighting (above and to one side of the camera)
It is possible to use one No. I Photoflood and the Standette close to the camera to relieve
lamp in a 'Kodaflector' Standette and a white the shadows. This is the arrangement assumed
card reflector (as explained in the'Kodaflector' in the table below.
Film and Lantp-to-subiect
shutter speed di.stance in feet
lens 4.5 5.6 rJ ll 16
'verichronr"'lgt r08643 76432 Pan Film fi 5432
10t 1513 9 7 5
'Iri-X'Film 25 f08643
50 76432
tsupport camera firmlyView original page 22Page 23 · Read text
Shutter and lens settings for black-and-white daylight photography
Assuming front lighting of the subject (sun behind camera)
For use from one hour after sunrise to one hour before sunset
Winter settings in the table assume no snow is present
Shutter settings : black figures l,ctrt strtirr<, l,lrrr' ligtl,
Bright sun Hazy sun Cloudy bright Dull or shaded
sharpshadows softshadows noshadows
flffi+n:[rr-
'Verichrome' Pan f00 16 f00 l I 100 tt 100 S.tr
'Tri-X' 200 16 200 I I 2N ll 100 ll
't. 'Panatomic-X' 50 t I 50 lt 50 5.6 50 {.5
'Verichrome'Pan 100 fl r00 8 100 5.6 100 J.5
'Tri-X' 200 tl 20/.u.8 200 l. fi 100 5.rr
'Panatomic-X' 50 tt 50 s.6 50 {.5 25 t.5
Side or back lighting of close-up subjects - in bright sun - set the shutter or lens to the next
one or two numbers smaller.
Early or late (within one hour of sunrise or sunset) set the shutter or the lens aperture to the
next smaller number.
Snow scenes in winter can be exposed as summer subjects.
22View original page 23From the M. Butkus archive. Original publisher and archive notices are retained.
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