Kodak No. 3a Autographic camera User manual

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Manufacturers of Kodak Cameras, Brownie Cameras, Eastman Film, Kodak Film Tanks, Velox Paper, Solio
Paper, Kodak Dry Mounting Tissue, Eastman Velvet Bromide Paper, Eastman Royal Bromide Paper, . Eastman
Standard Bromide Paper, Eastman Enameled Bromide Paper, Eastman Matte-Enamel Bromide: Paper, Eastman
Tested Chemicals, Tripods and Other Specialties.

Trade Marks Reg. V. S. Pat. Office - January, 1 920

Velox Transparent Water Color Stamp Outfit

NO EXPERIENCE NECESSARY

The outfit consists of an Artist's Mixing Palette, three special Camel's Hair Brushes, and one book of Velox
Transparent Water Color Stamps ( 12 Colors). Price, $ .85 Price subject to change without notice

EASTMAN KODAK COMPANY, Rochester, N. Y.

Prints do not curl when mounted with .. Kodak Dry Mounting
Tissue

Just the Tissue and a Flatiron

Dry Mounting Tissue is incomparable for album work. The
leaves lie flat with perfect adhesion.

EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

Picture taking with the

No. 3A Autographic

Kodak

(Rapid Rectilinear and f.7.7 Anastigmat Lens)

Published by

EASTMAN KODAK COMPANY

ROCHESTER, N. Y.

Order Film by Number

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All Eastman Films may be distinguished by the numbers on the ends of the cartons. A-122 is the number of
film for this camera ( No. 3A Autographic Kodak) . The number appears on the carton, on the cartridge, and on
the Autographic door which is located on the back of the Kodak.

Autographic film can be used in old style Kodaks, old style film can be used in Autographic Kodaks, but to get
autographic results, Autographic film must be used in an Autographic Kodak.

IMPORTANT

When Autographing film, bear down with the stylus as heavily as the paper will stand without tearing.

Before Loading

BEFORE taking any pictures with the No. 3A Autographic Kodak read the following instructions carefully.
Make yourself perfectly familiar with the instrument, taking especial care to learn how to operate the shutter.
Work it for both time and instantaneous exposures several times before threading up the film.

The first and most important thing for the amateur to bear in mind is that the light which serves to impress the
photographic image upon the sensitive film in a small fraction of a second when it comes through the lens, can
destroy the film as quickly as it makes the picture. Throughout all the operations of loading and unloading, be
extremely careful to keep the red paper wound tightly around the film to prevent the admission of light.

EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

CONTENTS

PART I.

Loading the Camera . . . . 3

Loading with Film . . . . 3

Loading with Plates . . . 7

PART II.

Making the Exposures ...9

Operating the Shutter . . 10

Instantaneous Exposures . . 12

Time Exposures . . 24

Flash-Light Pictures . . . 30

The Rising and Sliding Front . . 33

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PART III.

Removing the Film . . . . 37

Finishing the Pictures . . . . 42

PART I

Loading with Film




         The film for the No 3A Autographic l.

        Kodak is furnished in light proof carriages and the
           instrument can therefore be loaded in daylight. The
           operation should, however, be performed in a subdued
             light, not in the glare of the bright sunlight. It should also
          be borne in mind that after the seal is broken care must be
          taken to keep the red paper taut on the spool, otherwise it
        may A-122 slip and loosen sufficiently to fog the film.





- The Autographic Film Cartridge is made with a thin red instead of the familiar thick red and black (duplex)
paper.

The thin red paper is not light proof in itself. Between it and the film is inserted a strip of tissue. The tissue
serves two purposes: To supplement the red paper in light proofing the cartridge, and to permit the recording, by
light, of the writing upon the film.

1. To load the Kodak, take a position where the daylight is somewhat subdued, and grasping the instrument with
the left hand remove the back by pressing in simultaneously with the thumb and second finger of the right hand
as indicated in Fig. I.



                                             2. The Kodak having been opened, an empty spool having
                                      a slit in it will be seen in the winding end of the camera.
                                      This forms the reel on which tile film is wound after
                                       exposure. The full spool is to be placed in the recess at the
                                        opposite end of the Kodak. To accomplish this pull out
                                       spool pins as shown in Fig. II.

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3. Drop the film cartridge into this recess. as
shown in Fig. III Be careful to get the top of the
spool at the top of the camera. The top is the
winding side of the camera. Each cartridge is
marked with the word "Top" on the red paper
near the top of the spool.

Note - If the cartridge is inserted wrong end up, the red paper instead of the film will be brought next to
the lens, resulting, of course, in the absolute loss of the pictures

Digitally signed by Mike Butkus
DN: cn=Mike Butkus, o=Butkus camera manuals,
ou=butkus.org, email=mike@butkus.org, c=US Mike Butkus Date: 2023.05.16 22:14:55 -04'00'

4. Push spool pins into place so that spool revolves upon
them.

5. Remove the gummed slip that holds the end of the red
paper, pass the paper over the two aluminum rollers and
thread into the slit in reel, as shown in Fig. IV. Be
careful in so doing that the paper draws straight and true.

To secure a tight grip on the red paper, do not unfold
the end, but thread it into the slit in reel with the
paper creased. By doing this the red paper will not be
liable to slip.

6. Give the key one or two slight turns - just enough to
bind the paper on the reel - and no more. See Fig. V.

The paper should now be in position indicated in Fig. (VI)7.

Replace the back on Kodak, being careful to put it on right side
up (the wide catch at the top), and snapping the springs at the top
and bottom fully into place. Care should always be taken to handle
the back of Kodak carefully, especially when it is detached from
camera, as even a slight bend would make it fit badly, resulting very
probably in a leakage of light and consequent loss of film.

Throughout the foregoing operation, from the time the gummed slip is cut on the fresh roll of film until the back
is once more in place, keep the red paper wound tightly on the roll. If it is allowed to loosen, light will be
admitted and the film fogged.

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8. The roll of film in the camera is covered with red
paper and this must be partly reeled off before a picture
can be taken. Turn the key slowly to the left and watch
the little red celluloid window at the back of the camera.
When 15 to 18 turns have been given, a hand pointing
toward the first number will appear, then turn slowly
until the figure 1 is exactly in the center of the red
window. Fig. VII.

The film is now in position for taking the first picture. Press in slightly when turning the winding key, so as to
make sure that the web on the key stays within the slot in the top of spool.

Loading with Plates

1. If using glass plates the plate holders must be loaded in a dark-room--that is, a room from which all white
light has been excluded. The only light permissible is a dark ruby light, such as can be obtained from a properly
constructed dark-room lamp.

2. Provide also:

No. 3A F. P. Kodak Combination Back.
No. 3A F. P. Plate Holders.
1 dozen Seed Dry Plates,
3 1/4 x 5 1/4. Kodak Dark-room Lamp.
A shelf or table on which to work.

3. Light the lamp and place it upon the table.

4. Remove the dark slides from the plate holders.

5. Open the box of plates by running a thin knife blade around the edge of the box.

6. Take out one of the plates and place it in the holder face up. (The face is the dull side.) Brush gently over the
face of the plate with a camel's hair brush to remove dust.

7. Replace the dark slide in the holder.

8. Repeat the operation until all the plate holders have been filled, then close up the remaining plates in the box,
wrap up securely and put them away in a dark drawer.

The remaining operations may be performed in daylight.

9. Remove the back from the camera as before described. (See page 4.)

NOTE - There must, of course, be no film in the Kodak when opening it for use with plates.

10. Remove the back of the adapter by pressing down on the inside spring catch and sliding same out. Then
insert ground glass panel for focusing, being sure that side marked front faces the lens. Snap the combination
back into place, taking care that the springs at each side engage with the catches and that the back is right side
up, i. e., the plate holder should draw from the end towards the Kodak handle.

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11. Focus carefully with the largest stop before the lens, and when the lines show sharp and true, close the
shutter, remove the ground glass, pressing down on catch at the bottom to remove it, and insert one of the plate
holders.

12. Pull out the dark slide. The plate is now in
position for making the first picture, and the
exposure should be made the same as for films.
After making the exposure re-insert the dark slide in
plate holder. Remove the plate holder from the
camera by means of leather lug, pressing back
slightly on same to start it.

Focusing with Scale When Using Combination Back

As it may sometimes be desirable to focus by scale when using plates, the Kodak may be focused in the same
manner as for films, the slight variation in focal plane being provided for by a supplementary focusing scale
situated directly under the film scale. Merely lift up the scale used for film, and the plate scale will appear.

PART II

The general instructions in this No. 3A Autographic Kodak manual apply equally well to the camera, whether
fitted with Rapid Rectilinear or f. 7.7 Anastigmat Lens.

Making the Exposures

Before making an exposure with the No. 3A Autographic Kodak, either time or instantaneous, be sure of four
things:

FIRST- That the shutter is adjusted properly. (For instantaneous, time or bulb exposure.)

SECOND - That the diaphragm lever is placed at the proper stop opening.

THIRD - That the camera is focused.

FOURTH - That an unexposed section of the film is turned into position. (Or a fresh plate is ready for
exposure.)

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This illustration shows the shutter on the
Kodak when it is equipped with the Rapid
Rectilinear Lens.

Note - Exposures are made by pressing push-
pin at end of cable release D or pushing down
on release C.

The shutter is self-setting.

Avoid making too sharp a bend in the cable
release, as by doing so it will be liable to kink.

Operating the Shutter

Perfect familiarity with the shutter is essential to successful picture taking with any camera. The following
directions should, therefore, be carefully read and the shutter operated several times before threading the film up
for use.

Instantaneous Exposures

FIRST- Set the lever A at 25, 50 or 100 (representing the speeds of the shutter), according to the time of
instantaneous exposure desired.

Note - The lever A should be used at 100, only
when taking moving objects in bright sunshine,
and lever B must always be placed at No. 4 or
f. 7.7 when taking this kind of a picture.

Second - Set the lever B at No. 8 or f. 11. Lever
B controls the Iris diaphragm and No. 8 or f. 11
is the proper opening for ordinary
instantaneous exposures in bright sunlight,
using speed 25.

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NOTE - For instantaneous exposures when the sunlight is unusually strong and there are no heavy shadows
such as in views on the seashore or on the water use diaphragm No. 16 and speed 50. With light clouds or
slightly smoky atmosphere use No. 4 or f. 7.7 and speed 25. With heavy clouds do not attempt instantaneous
exposures.

Third - Press push-pin or push down on release C. This makes the exposure.

Note - Press push pin with a firm, quick movement. At the same time be sure to hold the Kodak rigid, as a slight
jarring will cause a blurred negative.

Time Exposures

FIRST - Set the lever A at the point T (time). This adjusts the shutter for time exposures.

Second - Set the lever B at No. 4, 8, 16, 32, 64 or 128. If the Kodak is equipped with the f. 7.7 Anastigmat lens,
set the lever at f. 7..7, 11, 16, 22, 32 or 45. See instructions for the use of the stops for Interior Exposures as
given in table on page 26, also the table for Time Exposures in the Open Air, page 28.

Third - Press the push-pin. This opens the shutter. Time the exposure by a watch. Again press the push-pin. This
closes the shutter. Shutter may be opened by pressing release C and closed by a second pressure if desired.

Bulb Exposures

When it is desirable to make a very short time exposure this is best accomplished by making a "bulb exposure."

First - Set the lever A at the point "B" (bulb). This adjusts the shutter for "bulb" exposures.

Second - Set the lever B at No. 4, 8, 16, 32, 64 or 128. If the Kodak is equipped with the f. 7.7 Anastigmat lens
set the lever at f. 7.7, 11, 16, 22, 32 or 45. See instructions for the use of the stops for Interior Exposures as
given in table on page 26; also the table for Time Exposures in the Open Air, page 28.

Third Press push-pin or release C to open the shutter and release it to close the shutter. This makes the exposure.
The shutter will remain open as long as the push-pin or release C is under pressure.

Important

Do not oil any part of the shutter.

In case of accident return shutter to your dealer or to us for repairs. As a general rule, make exposures with the
cable release instead of with the release C, as the cable release is less likely to jar the camera.

Instantaneous Exposures

"SNAPSHOTS
When making ordinary instantaneous pictures the subject must be in the broad, open sunlight, but the camera
should not.
The sun should be behind the back or over the shoulder of the operator.

Focus on the Subject

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1. Press the concealed button as shown in Fig. I and push down
the bed of camera to the limit of motion.

2. Set the locking device on the index plate for the distance
desired, grasp the springs at the bottom of the front board and
pull out the front to the limit of motion. Fig. II.

On the camera bed will be found an index plate which is divided
for 6, 8, 10, 12, 15, 25, 50 and 100 feet. _ This is for focusing the
camera.

NOTE - The index plate is scaled both _ for feet and meters and
care should be taken not to confound them.

Except when photographing at_ a distance of 15 feet or less, it is not necessary to estimate the distance with any
more than approximate accuracy; for instance if the focus is set at 25 feet (the usual distance for ordinary street
work) the sharpest part of the picture will be the objects at that distance from the camera, but everything from
15 to 35 feet will be in good focus. For general street work the focus may be kept at 25 feet, but where the
principal object is nearer or farther away, the focus should be changed accordingly. Everything beyond 100 feet
is in the 100 feet focus. Nothing nearer than 6 feet can be focused without using the Portrait Attachment. See
page 27.

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Automatic Locking Device

The automatic locking device which is on the
right side of camera bed will be found a great
convenience in focusing.

By means of this device the front locks
automatically at 6, 8, 10, 12, 15, 25, 50 or
100 feet focus.

To set the focus, pull over and slide the lever shown in diagram, and set catch in the slot marked for the distance
desired. Then pull out front of camera lo limit of motion and the camera will be in focus for the distance at
which you have set the catch.

With Plates

When using plates with the combination back, the ground glass or the supplementary scale (see page 8) can be
used for focusing, as the Automatic Locking Device in this case cannot be employed.

Use Stop No. 8, or f. 11

For all ordinary out-door work when the sun is bright, use stop No. 8 or f. 11 and use speed 25. If a smaller stop
is used for ordinary snapshots, the light will be so much reduced that it will not sufficiently impress the image
on the film and failure will result.

When making portraits out of doors, when the sun is shining bright, place the subject in the shade of a building
or large tree, but with clear and unobstructed sky overhead,--then use stop No. 4 or f. 7.7 and use speed 25. By
following this rule unpleasant and distorting shadows on the face will be avoided.

In views on the water when the sunlight is unusually strong and there are no heavy shadows, diaphragm No. 16
and speed 50 may be used.

If a smaller stop opening than No. 16 is used for snapshots absolute failure will result, except that No. 32 or f.
22 may be used for extremely distant views, marine or snow scenes or clouds, in bright sunshine using speed
25.

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Locate the Image

Aim the camera at the object to be photographed
and locate the image in the finder. For a
horizontal picture hold the camera as shown in
Fig. III, reversing the finder, as indicated.
Always look into the finder from directly over it,
not at an angle. (Of course, when using plates
and the focusing glass is employed, the image
will be located on that instead of in the finder.)

For a vertical exposure the camera must be held as shown in
Fig. IV. The finder gives the scope of view and shows a
facsimile of the picture as it will appear, but on a reduced
scale.

Any object that does not show in the finder will not show in
the picture.

It will be noticed that the top of the finder is notched
as shown in Fig. V. This is done so that one finder
will correctly show the view included when the
Kodak is held in either horizontal or vertical position.
As the picture taken with the No. 3A Autographic
Kodak is oblong it will readily be seen that unless the
finder was made in this manner it could not correctly
show the exact view intended when held in either
position.

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Remember that only the view indicated in the dotted lines will show in the picture.

Fig. VI shows how to hold the camera when making
an exposure without the use of the cable release.
Grasp the bed of Kodak firmly with the left hand,
steady it with the right, and with the thumb of the
right hand lightly touch the exposure lever.

Hold It Level

The Kodak must be held level.

If the operator attempts to photograph a tall building while standing near it, by pointing the camera upward
(thinking thereby to center it) the result will be similar to Fig. VII, page 20.

When making this picture the camera was pointed too high. This building should have been taken from the
building opposite and at a level corresponding with the middle of the subject.

IMPORTANT

When making instantaneous
exposures, hold the instrument
firmly against the body, as shown
in illustrations, and when
operating the cable release or
pressing the exposure lever, hold
the breath for the instant.

The operator should hold the
camera level, after withdrawing
to a proper distance, as indicated
by the image shown in the finder
on the front of the camera.

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Note - The rising front may be used in helping to center high objects on
the plate. See page 33.

If the object is down low, like a small child or a dog, the Kodak should be
held down level with the center of the object.

When making the exposure:
--hold the Kodak steady,
--hold it level,
--press push-pin on cable release.

The Autographic Feature

The Autographic Kodak has a spring door on the back, covering a narrow slot through which the writing is done
upon the red paper. The slot is provided with an automatic safety spring border which operates when the door
is open to press the papers into contact with back of the film, thus securing the sharp printing of the image of
the writing and preventing the diffusion of light around the edges of the slot. This slot is located so that
normally the writing comes between the exposures.

The Autographic Record as a Guide

Many amateurs have distinctly improved the quality of their work by making notes, at the time of exposure, of
the prevailing conditions. As. Bright light, 1/25 sec., stop No. 8, which, by the way, can be easily abbreviated
to: B. 1/25, 8. By keeping such records the amateur can quickly find the cause of failure, if any. By comparing
negatives and records he will soon get a line on his errors and when he knows what his errors are, he can easily
rectify them. It is obvious that the best way to make these records is autographically - on the film, at the time.

The Operation

After the picture is taken, lift up the spring door with thumb (Fig.
VIII). Use the stylus, held in as upright a position as is convenient,
and write on the strip of exposed red paper any memorandum
desired, such as the title of the picture, the date, or details in regard
to the exposure, light, stops, etc. (Fig. IX).

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The "Autographic Negative" printed below is
merely to suggest a few of the thousand and one
ways in which autographic records may be used
to add value to your negatives.

To get a clear impression, press firmly on
both up and down strokes. While writing or
afterwards the sun should not be allowed to
shine upon the paper. The action of the stylus
so affects the tissue as to permit the light to
record the writing upon the film. After finishing
the writing, the door should be left open for the
printing, in accordance with the following table:

(Expose to the sky, but not to the sun.)

OUT OF DOORS INDOORS CLOSE TO WINDOW

BRILLIANT LIGHT 2 to 5 Seconds 5 to 7 Seconds

DULL LIGHT 5 to 10 Seconds 10 to 15 Seconds

INCANDESCENT LIGHT, distance 2 inches, 30 to 60 sec.

Welsbach Light, distance 6 inches, 30 to 60 sec.

Close the door before winding a new film into place.

Caution. In order to locate the writing accurately in the space between the negatives it is important that the film
should be turned so that the exposure number centers perfectly in the red window of the Kodak.

TURN A NEW SECTION OF FILM INTO POSITION: Press in slightly and turn the key in top of camera
slowly to the left, until the next number appears before the window. Three or four turns will be sufficient to
accomplish this. Fig. X. The warning hand appears before No. 1. Repeat the foregoing operations for each
picture.

Important. When you have used the last exposure on your roll of film and have made the autographic record of
it in accordance with the foregoing directions, turn the winding key of the Kodak until a letter (A) appears in the
center of the window in the back of the Kodak. Raise the spring-door and write your name on the red paper,
expose it to the sky the same as was done when making the exposure records, then close the spring-door and
finish winding film and red paper for removal from the Kodak. Your film is now ready to send to your finisher
and when developed will be readily identified by the autographic copy of - your name which you wrote on the
red paper.

Time Exposures

INTERIORS

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Set camera in such a position that the finder will embrace the view
desired.

The diagram shows the p rope r positions for the Kodak. It should not
be pointed directly at a window as the glare of light will blur the
picture. If all the windows cannot be avoided, pull down the shades
of such as come within the range of the Kodak.

To make a time exposure place the Kodak on some firm support, like a chair or table, and focus as before
described. Be sure, however, to place the Kodak not more than two or three inches from the edge so as to avoid
including part of the chair or table in the picture.

Fig. XI shows the Kodak in position for a vertical exposure. The Kodak is
also provided with tripod sockets and may be used on a tripod.

When it is desired to make a horizontal time exposure without the use of
a tripod, pull down lever at side of focusing scale and place Kodak in
position, as shown in Fig. XII (page 25).

Adjust the shutter for a time exposure as described on page 11.

All being in readiness, press the push-pin or once to open, close the
shutter. Time the exposure by a watch.

TURN THE KEY.

After making the autographic record, turn a new film into position as described before, (see page 23)

THE KODAK IS NOW READY FOR THE NEXT
INTERIOR EXPOSURE.

Follow the directions given heretofore for each
successive exposure.

When the last Interior Exposure is made, adjust the
shutter for Instantaneous Exposures as before directed.

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Time Needed for Interior Exposures

The following table gives the time of the exposure required under varying conditions of light for the Kodak
equipped with either the Rapid Rectilinear or Anastigmat Lens. The time given in the table is with the stop No.
16 in the lens. If the stop No. 8 or f. 11 is used, give only one-half the time, with No. 4 or f. 7.7 give one-fourth
the time, and if the stop No. 128 or f. 45 is used, give 8 times the time of the table. The smaller the stop the
sharper the picture. The No. 16 gives the best results for interiors:

White walls and more than one window:
bright sun outside 4 seconds;
hazy sun, 10 seconds;
cloudy bright 20 seconds;
cloudy dull, 40 seconds.

White walls and only one window:

bright sun outside, 6 seconds;
hazy sun, 15 seconds;
cloudy bright,
30 seconds;
cloudy duly 60 seconds;

Medium colored walls and hangings anti more than one window:

bright sun outside, 8 seconds;
hazy sun, 20 seconds;
cloudy bright, 40 seconds;
cloudy dull, 80 seconds.

Medium colored walls and hangings and only one window:

bright sun outside, 12 seconds;
hazy sun, 30 seconds;
cloudy bright 60 seconds; - .
cloudy dull, 120 seconds.

Dark colored walls and hangings and more than one window:

bright sun outside, 20 seconds;
hazy sun, 40 seconds
cloudy bright, 80 seconds;
cloudy dull, 2 minutes, 40 seconds.

Dark colored walls and hangings and only one window:

bright sun outside, 40 seconds;
hazy sun, 80 seconds;
cloudy bright, 2 minutes, 40 seconds;
cloudy dull, 5 minutes, 20 seconds.

The foregoing is calculated for rooms whose windows get the direct light from the sky, and for hours from three
hours after sunrise until three hours before sunset. If earlier or later, the time required will be longer.

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To Make a Portrait

Place the subject in a chair partly facing the Kodak (which should be located slightly higher than an ordinary
table) and turn the face slightly toward the instrument, having the eyes centered on an object at the same level
with the lens. Center the image in the finder. For a three quarter figure the Kodak should be from 6 to 8 feet
from the subject; and for a full figure from 8 to 10 feet. The background should form a contrast with the subject.

Kodak Portrait Attachment

The Attachment is simply an extra lens slipped on over the regular lens and in no way affects its operation
except to change the focus.

Use the Kodak Portrait Attachment No. 5, with the No. 3A Autographic Kodak when it is equipped with the
Rapid Rectilinear Lens.

Use the Kodak Portrait Attachment No. 7 when Kodak is fitted with the f. 7.7 Anastigmat Lens.

By means of the Portrait Attachment, large head and shoulder portraits of various sizes may be obtained. With
the Attachment in position and the Kodak set:

At 6 feet focus, the subject should be placed exactly 2 feet, 8 inches from the lens.

At 8 feet focus, place the subject 3 feet from the lens.

At 15 feet focus, place the subject 3 1/2 feet from the lens.

At 25 feet focus, place the subject 4 feet from the lens.

At 100 feet focus, place subject 4 1/2 feet from the lens.

Time Exposures in the Open Air

When the stop No. 128 or f.45 is in the lens the light admitted is so much reduced that time exposures out of
doors may be made the same as interiors, but the exposure must be much shorter.

With Sunshine - 1/5 second.
With Light Clouds - From 1/2 to 1 second will be sufficient.
With Heavy Clouds - From 2 to 5 seconds will be required.

The above is calculated for the same hours as mentioned for Interiors, page 27, but for objects in the open air
For other hours or for objects in the shadow, under porches or under trees, no accurate directions can be given;
experience only can teach the proper exposures to give.

Time exposures cannot be made while the Kodak is held in the hand. Always place it upon some firm
support such as a tripod, chair or table.

For exceedingly short time exposures as above described use the "bulb exposure." See page 11.

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"f." and "U. S." Systems

A lens is said to work at a certain "speed," this means that the lens will cut sharp to the corners, with an opening
a certain proportion of its focal length. It should be borne clearly in mind that this speed depends not upon the
size of the opening, but upon the size of the opening in proportion to the focal length of the lens (distance from
lens to plate when focused on infinity). The lens that will cut sharp with the largest opening is said to possess
the greatest speed.

Such openings are termed stop or diaphragm openings and for convenience in estimating exposures, are
arranged according to two systems, the f. system and the Uniform System or U. S. system, as commonly
abbreviated.

In the f. system, the proportional size or "value" of the stop opening is designated by "f." and is the quotient
obtained by dividing the focal length of the lens by the diameter of the stop.

Taking, for instance, a lens of 8 inch focus with a stop 1 inch in diameter, we find that 8 . 1 = 8; hence, 8 is the
f. value of the stop and would be designated f. 8. Suppose the stop is 1/4 inch in diameter, we would then have 8
. 1/4 = f. 32.

For convenience, the uniform system of marking stop openings has been adopted by nearly all manufacturers of
Iris diaphragms. Such convenience is at once apparent when we understand that each higher number stands for
an opening having half the area of the preceding opening, each smaller stop (or higher number) requiring
double the time of the one next larger.

With the f. system, each stop is a certain proportion of the focal length and not arranged with reference to the
other openings.

Diaphragms

As a number of exposure meters and similar devices for determining the proper exposure are based upon the "if'
system, we give the following table showing the "f" value for each of the Uniform System openings:

U. S. 4 = f.8 U. S. 16 = f.16 U. S. 64 =f.32

U. S. 8 = f.11 U. S. 32 = f.22 U. S. 128 = f.45

NOTE - U. S. 4 equals f. 8, but the speeds of f. 8 and f. 7.7 are so nearly identical that the same exposure would
be given in either case.

U. S. 4 = f. 8 f. 7.7 - For instantaneous exposures on slightly cloudy days, using speed 25.

U. S. 8 = f. 11 - For an ordinary instantaneous exposures when the sun shines and use speed 25.

U. S. 16 = f. 16 - For instantaneous exposures when the sunlight is unusually strong and there are no heavy
shadows, such as in views on the seashore or on the water, using speed 50; also, for interior "Time" exposures,
the time for which is given in the table on page 26.

U. S. 32 = f. 22 - For instantaneous exposures of extremely distant views, marine or snow scenes or clouds, in
bright sunshine using speed 25; also for "Time" exposures.

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U. S. 64 and 128 =f. 32 and 45 - For interiors. Never for instantaneous exposures. For or "Time" exposures
outdoors in cloudy weather. The time required for "Time' exposures on cloudy days with smallest stop will
range from 1/2 second to 5 seconds, according to the light. The smaller the stop the sharper the picture.

Absolute failure will be the result if you use the smallest stop for instantaneous exposures.

Flash-Light Pictures

By the introduction of Eastman Flash Sheets, picture taking at night has been wonderfully simplified. A
package of flash sheets, a piece of cardboard, a pin and a match complete the list of essential extras, although a
Kodak Flash Sheet Holder is a great convenience. With flash sheets, no lamp is necessary, there is a minimum
of smoke, and they are far safer than any other self burning flash medium, besides giving a softer light that is
less trying to the eyes.

Many interiors can be taken with the flash sheets that are impracticable by daylight, either by reason of a lack of
illumination or because there are windows in a direct line of view which cannot be darkened sufficiently to
prevent the blurring of the picture.

Evening parties, groups around a dinner or card table or single portraits may be readily made by the use of our
flash sheets, thus enabling the amateur lo obtain souvenirs of many occasions which, but for the flashlight,
would be quite beyond the range of the art.

Preparation for the Flash - The camera should be prepared for time exposures as directed on page 11 of this
manual (except that the No. 8 or f. 11 stop must be used) and placed on some level support where it will take in
the view desired.

Pin a flash sheet by one corner to a piece of cardboard which has previously been fixed in a perpendicular
position. If the cardboard is white it will act as a reflector and increase the strength of the flash.

The flash sheet should always 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 front of Kodak, the flash would strike the lens and blur the picture. It should be
placed at one side as well as behind, so as to throw a shadow and give a little relief in the lighting. The flash
should be at the same height or a little higher 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 Kodak. An extra piece of cardboard a
foot square placed under the flash sheet will prevent any sparks from the flash doing damage. However, by
using the Kodak Flash Sheet Holder, all these contingencies are taken care of, and we strongly advise its use.

The Kodak Flash Sheet

This holder may be held in the hand, always between you and the flash sheet, or it
may be used on any tripod, being provided with a socket for this purpose.

The sheet is placed in position in the center of the larger pan over the round opening
which has a raised saw tooth edge extending half way around it. Press with the
thumb on the sheet, so slight break is made and a portion of the sheet projects
partially through the opening. Then to insure the sheet being more securely fastened,
press around the notched edge, forcing this portion of flash sheet firmly into position
on the pan.

To set off the flash, merely insert a lighted match, from behind through the round
opening.

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NOTE - If you are not using the Kodak Flash Sheet Holder, place the match in a split stick at least two feet
long.

Taking the Picture

Having the Kodak and the flash sheet both in position, and all being in readiness, open the camera shutter, stand
at arm's length and touch a match from behind through the round opening in the center.

There will be a bright flash which will impress the picture on the sensitive film. Then close the shutter, make
the autographic record by following the table as given on page 23, and turn a fresh film into place with the key,
ready for another picture.

The Flash Sheet

The size of the sheet required to light a room varies with the distance of the object farthest from the camera, and
the color of the walls and hangings.

TABLE

For ten feet distance and light walls and hangings use one No. I sheet.

For ten feet distance and dark walls and hangings use one No. 2 sheet.

For fifteen feet distance and light walls and hangings use one No. 2 sheet

For fifteen feet distance and dark walls and hangings use one No. 3 sheet.

To Make a Portrait - Place the subject in a chair partly facing the Kodak (which should be located slightly
higher than an ordinary table) and turn the face slightly towards the instrument, having the eyes centered on an
object at the same level with the lens. The proper distance from the camera to the subject can be ascertained by
looking at the image in the finder. For a three-quarter figure this will be from 6 to 8 feet, and for a full figure
from 8 to 10 feet.

The flash should be on the side of the Kodak away from the face, that is, the subject should not face it. The flash
should not be higher than the head of the subject.

For using Portrait Attachment, see page 27.

To Make a Group - Arrange the chairs in the form of an arc, facing the Kodak, so that each chair will be
exactly the same distance from the camera. Half the persons composing the group should be seated and the rest
should stand behind the chairs. If the group is large any number of chairs may be used, but none of the subjects
should be seated on the floor, as sometimes seen in large pictures, because the perspective will be too violent.

Backgrounds - In 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 show up well against a lace curtain. For larger groups a medium light wall will be suitable.

The finder on the camera will aid the operator in composing the groups so as to get the best effect. In order to
make the image visible in the finder the room will have to be well lighted with ordinary lamplight, which may
be left on while the picture is being made, provided none of the lights are placed so that they show in the finder.

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