Film cameras
Kodak Rainbow Hawk-eyes User manual
User manual for Kodak Rainbow Hawk-eyes. 23 pages in English. Read the original PDF, download or print a copy without registration.
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- Brand
- Kodak
- Model / document
- Kodak Rainbow Hawk-eyes
- Document type
- User manual
- Language
- English
- Pages
- 23
- File size
- 1.8 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 2 · Read text
SERVICE
DEPARTMENT
ADDITIONAL ASSISTANCE FOR
MAKING BETTER PICTURES
ALTHOUGH we give in this manual the essential directions for using the camera
it accompanies, there are amateurs who wish for further knowledge of photography.
The Service Department is at their service, your service.
Do not hesitate to call on us for information on any photographic subject.
We are at your service, write to us--there is no charge, no obligation.
Address all CommunicationsView original page 2Page 4 · Read text
IMPORTANT
BEFORE taking any pictures with your camera, and before loading it with film read these instructions carefully;
Take especial care to learn how to operate the shutter.
While loading and unloading, be very careful to keep the protective paper wound tightly around the film to
prevent light striking it. The camera can be loaded or unloaded in daylight. This should be done in a subdued
light, not in direct sunlight.
TO LOAD
Use film number 120 for the Rainbow Hawk-Eye
No. 2; number 116 for the Rainbow Hawk-Eye
No. 2A.
Slide back the lock. Take the front of the camera
by the edges and lift the end on which the lock is
fastened, , drawing out that part of the camera as
illustrated.
Draw on the winding key as far as it will come,
and remove the empty spool.
Remove the paper band, unfold the end of the
protective paper and thread it as far as it will go,
into the longer opening of the slit in the empty
spool. Each spool has one end slotted and the
protective paper must be inserted in the empty
spool so that the slotted ends are on opposite
edges of the paper.
The word "TOP" printed on
the protective paper must be
next to the slotted end of the
reel. Give the empty spool
three or four turns, enough to
bind the paper on the reel. The
paper must draw straight, and
the full spool must not loosen.View original page 4Page 5 · Read text
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Place the two spools into the
film pockets at each end of the
camera, keeping the paper
taut, as shown above.
Important: The empty spool or reel must be placed in the winding key end of the camera with its slotted end
towards the winding key.View original page 5Page 6 · Read text
Push the full spool into the other
pocket as far as it will go, so that the
tension spring grips it.
Press in and turn the winding key
until it fits into the slot in the empty
spool or reel.
After the camera is loaded, replace the front, first inserting the end opposite the lock; the edge of the box must
fit into the groove on this end of the front. Press the end on which the lock is fastened into place, and push over
the lock.
Press in and turn the winding key and watch the red window. After a few turns, a warning hand will appear,
then turn the key slowly until the figure 1 is in the center of the window.
The film is now in position for
the first exposure. After each
exposure be sure to wind the
film, bringing the next number
into place. This prevents
making two pictures on the
same section of film.View original page 6Page 7 · Read text
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OPENING THE FRONT OF CAMERA
Raise the lever near the winding key, and draw down the bed of the camera, until the bed braces catch.
Draw out the lens standard by the knob on the slide plate, to the slot marked 100 feet, where it will lock
automatically.
Instantaneous Exposures
"Snapshots"View original page 7Page 8 · Read text
f/stop 4 5.6 8 11 16 22 32 45
U.S. 1 2 4 8 16 32 64 256
1 2 3 4
If you are using a light meter... Opening 1 would be an F4, 2 a F5.6,
Move the indicator A to 25 or 50 according to the time of Instantaneous Exposure required, and move the lever
B to the correct stop opening, see the Exposure Guide on the back cover, or the table on pages 15 and 16.
Press the push-pin of the cable release D or press the exposure lever C. This makes the exposure.
Time Exposures
Move the indicator A to the letter "T" (time).
Move the lever B to No. 1, 2, 3 or 4 depending on the time of the exposure and the nature of the subject. See
tables on pages 15, 16, 27, 28 and 32.
Press the push-pin of the cable release D or press the exposure lever C. This opens the shutter. Time the
exposure by a watch. Again press the push-pin or the exposure lever. This closes the shutter.
For short time exposures of ten seconds or less, "Bulb" Exposures are recommended.
"Bulb" Exposures
Move the indicator A to the letter "B" (bulb).
Move the lever B to No. 1, 2, 3 or 4. See tables on pages 15, 16, 27, 28 and 32.
Press the push-pin of the cable release D or press the exposure lever (I, to open the shutter, and release it to
close the shutter. This makes the exposure.
Never make Time or "Bulb" Exposures with the camera held in the hands.
Important: Never oil the shutter.
In case of accident, return the camera to your dealer or to us for repairs.View original page 8Page 9 · Read text
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TO FOCUS THE CAMERA
On the bed of the camera is a focusing scale, with slots marked 8, "Fixed" (25 feet) and 100 feet. The scale is
marked both for feet and meters and care should be taken not to confuse the figures.
When the lens standard is drawn out to the slot marked 100 feet, the camera is in focus for anything 100 feet or
beyond.
To adjust the focus for subjects at distances nearer than 100 feet, press the spring catch or locking device on the
side at the bottom of the lens standard, and draw out the standard to the slot marked 8 or "Fixed" (25 feet),
depending upon the estimated distance between the camera and the principal object to be photographed, see
Depth of Focus Tables on page 13.
The distance between the subject and camera can be estimated without measuring, unless the subject is close to
the camera; for instance, if the focus is set at the slot marked "Fixed" (the usual distance for ordinary street
scenes), everything from about fourteen feet to about seventy-five feet will be in good focus. When the camera
is focused in this manner, it may be used as a regular fixed focus camera, see page 12. When the principal
object is nearby or at a great distance, the focus should be changed accordingly.View original page 9Page 10 · Read text
For distant views, set the indicator in the slot marked 100 feet, and when the subject is about eight feet from the
lens, set the indicator in the slot marked eight feet. When the camera is focused for eight feet, the subject can be
about five feet from the camera if the smallest stop opening is used, see table on page 13. A time exposure will
be necessary when using the smallest stop opening. The subject can be closer than five feet to the lens if a
Kodak Portrait Attachment is used, see pages 30 and 31.
How to Use the Rainbow Hawk-Eye
No. 2 or No. 2A Folding as a Fixed Focus Camera
SET THE Focus AT "FIXED."
MOVE STOP OPENING LEVER TO NO. 1.
USE SPEED 25.
When using the camera as a fixed focus type, nearby subjects must be in bright sunlight, to obtain fully exposed
negatives.
The range of sharpness when your Hawk Eye is adjusted as a fixed focus camera will be found in one of the
tables on page 13.
DEPTH OF FOCUS
Depth of focus is the distance from the nearest to the farthest objects that will appear sharp in the negative or
print. The depth of focus of any lens depends upon the size of the stop opening used. The smaller the stop
opening the greater the depth of focus. See the following tables for the depth of focus or range of sharpness of
the Rainbow Hawk-Eyes Nos. 2 and 2A Folding:View original page 10Page 11 · Read text
www.butkus.us
These circles are the same size as the stop openings of the shutters on the Rainbow Hawk-Eyes Nos. 2 and 2A
Folding, when they are fitted with the Single (Meniscus Achromatic) Lens. They show the relative sizes of the
stop openings and how their areas differ.
The above diagram shows the relative lengths of exposure required with the different stop openings.
STOP OPENINGS
The stop openings regulate the amount of light passing through the lens. The openings are enlarged or reduced
by moving the lever B. see page 9.
Each opening marked with a higher number is half the size of the preceding opening marked with a lower
number, and admits approximately half the light. No. 1 is the largest opening.
The exposures must be doubled for each succeeding higher number (smaller stop opening). For example: If the
correct exposure using stop No. 1 is speed 50, the equivalent exposure using stop No. 2 will be speed 25. See
comparative exposures using different stop openings given on page 27.
No. 1 --For all ordinary outdoor pictures, such as nearby landscapes showing little or no sky, groups and street
scenes, when the subject is in bright sunlight, use speed 25; for moving objects in bright sunlight, use speed 50.
No. 2 --For open views, when the sunlight on the subject is unusually strong and there are no heavy shadows,
such as views at the seashore and on the water use speed 50, for ordinary landscapes, in bright sunlight, with
clear sky overhead, use speed 25; also for Interior Time Exposures, the time for which is given in the table on
page 28.View original page 11Page 12 · Read text
No. 3 --For instantaneous exposures of extremely distant landscapes, marines, snow scenes with no prominent
dark objects in the foreground, and clouds only, in bright sunlight, use speed 25; also for portraits outdoors, see
pages 29 and 30, and other Time Exposures, see pages 27 and 32.
No.4 -- For Time Exposures Outdoors on cloudy days, see page 32. For portraits outdoors, see pages 29 and 30;
and for Interior Time Exposures, see page 27. Never for instantaneous exposures.
The smaller the stop opening the greater the depth of focus, see page 13.
Failure will result, if stop No. 4 is used for instantaneous exposures.
All the exposures given for outdoor subjects are for the hours from two and a half hours after sunrise until two
and a half hours before sunset. If earlier or later the exposures must be longer.
For subjects in the shadow, under porches or under trees' no definite directions can be given; experience only
can teach the correct exposure to give.
THE FINDER
The finder shows what will appear in the picture, but on a much reduced scale.
Look into the finder from directly over the center of it and include what is wanted by turning to the right or left,
see illustration on page 18.
To make a vertical picture, hold the camera as shown above. Only what
is seen in that part of the finder shown as white in the diagram, will
appear in the picture.View original page 12Page 13 · Read text
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When making instantaneous exposures or snapshots
with any camera, hold it firmly against the body as
shown. When pressing the push-pin or the exposure
lever, hold the breath for the instant. If the camera is
moved during the exposure, the picture will be
blurred.
To make a horizontal picture, turn the finder and hold
the camera as shown above. Only what is seen in that
part of the finder shown as white in the diagram, will
appear in the picture.
MAKING INSTANTANEOUS EXPOSURES OR SNAPSHOTS
When ordinary instantaneous exposures or snapshots are made, the subject should be in the broad, open
sunlight, but the camera must not. The sun should be behind your back or over the shoulder. If it shines directly
into the lens it will blur and fog the picture.
Special instructions for making portraits are given on pages 21, 29, 30 and 31.View original page 13Page 14 · Read text
HOLD THE CAMERA LEVEL
The camera must be held level. If all the subject cannot
be included in the finder without tilting the lens
upwards, move backwards until it is all included with
the camera held level.
If the subject is below the normal height, like a small
child or a dog, the camera should be held down level
with the center of the subject.
After an exposure has been made, turn the winding key slowly, a few
times, until No. 2 or the next number is in the center of the red window.
Turn the film immediately after making each exposure; this prevents
making two pictures on the same section of film.
CLOSING THE CAMERA
Release the spring catch on the lower
part of the lens standard, from the slot
in the focusing scale, and slide back the
lens standard as far as it will go.
Place the cable release around the
shutter, press the bed braces at each
side of the standard and raise the bed.
Caution: The lens standard must be
pushed back as far as it will go, or it
will interfere with the bed when
closing.View original page 14Page 15 · Read text
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REMOVING THE FILM
After the last section of film has been
exposed, turn the winding key until the
end of the paper passes the red window.
In a subdued light, remove the front of
the camera as described on pages 3 and
4.
Hold the end of the paper taut and turn the key until all but about an inch of the paper is on the roll. If the
sticker folds under the roll, turn the winding key to bring it up.
Take hold of the ends of the paper and sticker to prevent paper from loosening. Draw out the key and remove
the roll of film. Fold under about half-an-inch of the protective paper, and fasten it with the sticker.
"Cinch" Marks: After removing the
film from the camera, do not wind it
tightly with a twisting motion, or the
film might be scratched.
Wrap up the exposed film. It is now
ready for development. This may be
done by a photo finisher, or by yourself.
If the latter is desired, you may write to
our Service Department, mentioning the
size of the pictures made with your
camera, and we will send you a list of
the necessary materials which can be
ordered from your dealer.
Important: Film should be developed as soon as possible after exposure. The quality of the image on all
sensitized products is retained by prompt development after exposure.
Remove the empty spool and place it in the winding end of the camera.
Replace the front of the camera as described on page 6.
The camera is now ready for reloading.
It is a good plan to reload the camera as soon as an exposed film has been removed, to be ready for the next
pictures. Load with Kodak Film.View original page 15Page 16 · Read text
TIME EXPOSURES--INDOORS
Open the front of the camera as described on page
8. For time exposures the camera must always be
placed on a firm support like a tripod, Optipod,
table or chair, never hold it in the hands. It has two
tripod sockets for use with a tripod or an Optipod.
Place the camera in such a position that the finder will include the view desired. The above diagram shows three
positions for the camera. It should not be pointed at a window as the glare of light will blur the picture. If all the
windows can not be avoided, draw the shades of those within range of the lens.
If the camera is placed on a table, use the locking lever 2, as a support. The camera must not be more than two
or three inches from the edge of the table.
For horizontal pictures, turn the camera finder
and locking lever 2, as on page 26.
Focus the camera as described on pages 11 and
12.
Adjust the shutter for a time exposure, see page
10.
All being ready, press the push-pin or the
exposure lever carefully, once to open, time the
exposure by a watch, and again press the push-
pin or the exposure lever to close the shutter.View original page 16Page 17 · Read text
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After making a time exposure, turn the winding key until the next number appears in the red window. If no
more time exposures are to be made, adjust the shutter for an instantaneous exposure, see page 9.
Another method of making time exposures is to hold the hand or a card close to the shutter, open the shutter and
take the hand away for the length of exposure required, return the hand and close the shutter. See illustration at
bottom of page 26.
Exposure Table for Interiors
The table on page 28 gives suitable exposures for varying conditions of light, when using stop No. 2.
With stop No. 1, give one-half;
" " No. 3, " twice;
" " No. 4, " four times the exposures given in the table.
The smaller the stop opening the greater the depth of focus, see page 13. Stop No. 2 gives the best average
results for Interiors.View original page 17Page 18 · Read text
TO MAKE A PORTRAIT
The subject should be seated in a chair partly facing the light with the body turned slightly away from, and the
face turned towards the camera which should be a little higher than an ordinary table. The subject should look at
an object level with the lens, or directly at the lens. Compose the picture in the finder. For a three quarter figure
the camera should be about eight feet from the subject; and for a full length figure about ten feet. When the
subject is ten feet from the camera, place the focusing indicator in the slot marked eight feet and use stop No. 2,
see tables on page 13. The background should form a contrast with the subject; a light background usually
gives a better effect than a dark one.
To get a good light on the face, follow the
arrangement shown in the diagram. A
reflector helps to get detail in the shaded part
of the face. A white towel or tablecloth held
by an assistant or thrown over a screen or
other high piece of furniture will make a
suitable reflector; it should be at an angle and
in the position indicated in the diagram.View original page 18Page 19 · Read text
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Making Portraits Outdoors
When making portraits outdoors, with the sun shining brightly, the subject should be in the shadow of a
building or a large tree, but with clear and unobstructed sky overhead. Place the camera on a tripod or other
steady support, use stop No. 3 or No. 4 and make a "Bulb" Exposure of about one or two seconds. By following
this rule unpleasant and distorting shadows on the face will be avoided.
Kodak Portrait Attachment
The Kodak Portrait Attachment makes head and shoulder portraits. It can also be used for photographing
flowers and similar subjects.
Place the Attachment over the lens opening and compose the picture in the finder.
The subject must be at one of the distances from the camera, given in the table below. Measure the distance
carefully from the lens to the face, and place the focusing indicator according to the table:
DISTANCE BETWEEN SUBJECT AND THE FOCUSING INDICATOR MUST BE
LENS MUST BE MUST BE SET AT
2 feet 9 inches 8 feet
3 ' - 8 " "Fixed"
4 ' - 2 " 100 feet
When making portraits, the most pleasing results are obtained with the subject four feet two inches from the
lens and the focus set at 100 feet. For flowers and similar subjects the shorter distances will be more
satisfactory.
The exposure when using the Attachment is the same as without it.
Use Kodak Portrait Attachment No. 8 with the Rainbow Hawk-Eye No. 2 Folding; and use No. 3 with the
Rainbow Hawk Eye No. 2A Folding.
Kodak Diffusion Portrait Attachment
The Kodak Diffusion Portrait Attachment is a supplementary lens used in the same manner as the regular
Kodak Portrait Attachment. It produces a true, soft-focus effect.
Use Kodak Diffusion Portrait Attachment No. 8 with the Rainbow Hawk-Eye No. 2 Folding, and use No. 3 with
the Rainbow Hawk-Eye No. 2A Folding.
"AT HOME WITH THE KODAK" is a booklet containing many diagrams and illustrations showing various
lighting effects. It gives suggestions for making pictures, in and around the home.
"PICTURE TAKING AT NIGHT" is a booklet that describes in detail the methods of making flash-light
exposures, campfire scenes, fireworks, lightning, moonlight effects, silhouettes and other novel and unusual
pictures.
These two booklets are free, and copies of them will be sent upon request to our Service Department.View original page 19Page 20 · Read text
TIME EXPOSURES--OUTDOORS
When the smaller stop openings (NO. 3 or No. 4) are used, the light passing through the lens is so much reduced
that very short time exposures outdoors may be made.
For short time exposures as described below, use the "Bulb" Exposure, see page 10.
With Light Clouds--From one to three seconds will be sufficient.
With Heavy Clouds--Four seconds to eight seconds will be required.
With Sunshine--The shutter can hardly be opened and closed quickly enough to avoid over-exposure.
CARE OF THE CAMERA
Caution: Prolonged exposure to direct sunlight might cause the colored covering of the camera to fade. Do not
use alcoholic solvents for cleaning the camera.
Keep Dust Out of the Camera
Wipe the inside of the camera and bellows, occasionally, with a slightly damp cloth, especially if the camera
has not been used for some time.
Clean Lenses
The pictures at the top
of page 33 illustrate
the difference between
the results with a dirty
and clean lens.
Lenses should be cleaned as follows:
Remove the front of the camera, see pages 3 and 4, then open the front as described on page 8. Adjust the
shutter for a Time Exposure and open it; the largest stop opening (No. 1) should be in position. Wipe the front
and back of the lens with a clean handkerchief. Never unscrew the lens.
EASTMAN KODAK COMPANY,
ROCHESTER, NEW YORK.View original page 20Page 21 · Read text
www.butkus.us PRICE LIST KODAK FILM CARTRIDGE, No. 120, for the Rainbow Hawk-Eye No. 2 Folding 2 1/4 x 3 1/4 of, six exposures $ .25 KODAK FILM CARTRIDGE, No. 116, for the Rainbow Hawk-Eye No. 2A Folding, . 21/4 x 41/4, twelve exposures .60 Six exposure $ .30 KODAK PORTRAIT ATTACHMENT, No. 8, for the Rainbow Hawk-Eye No. 2 Folding .75 No. 3, for the Rainbow Hawk-Eye No. 2A Folding .75 KODAK DIFFUSION PORTRAIT ATTACHMENT, . No. 8 $1.25 No. 3 $1.25 KODAK SKY FILTER, No. 8 $.75 No. 3 $1.15 KODAK COLOR FILTER, No. 3 $.75 No. 3 $1.15 KODAK METAL TRIPOD, No. 0 $2.75 N 0. 1 . ........... ... .$4.50 No. 2 $. . . . . .. 5.00 LEATHER CARRYING CASE, for Kodak Metal Tripod Nos. 0, 1 or 2 2.70 OPTIPOD, for attaching camera to the edge of a table, chair, fence, etc $1.25 KODAPOD, for attaching camera to a tree fence or similar rough surface $1.75 KODAK SELF TIMER, fits on the cable release and automatically presses the push-pin enabling the photographer to be included. $1.25 KODAK NEGATIVE ALBUM, to hold 100 21/4 x 31/4 or smaller negatives $1.25 KODAK NEGATIVE ALBUM, to hold 100 2 1/4 x 4 1/4 or smaller negatives $ 1.25 KODAK TRIMMING BOARD No. 2, capacity 7 x 7 inches $1.00 KODAK DRY MOUNTING TISSUE, 2 1/4 x 3 1/4 or 2 1/2 x 4 1/4, three dozen sheets $.10View original page 21
Page 22 · Read text
RHODES ALBUM, flexible leather cover, size 7 x 11, loose-leaf, 50 black leaves $2.75
Cloth cover, size 7 x 11 $1.25
VELOX TRANSPARENT WATER COLOR STAMPS, booklet of twelve colors $.50
VELOX WATER COLOR OUTFIT, consisting of Artist's Mixing Palette, three Camel's Hair Brushes and one
book of Velox Trans parent Water Color Stamps (twelve colors) $1.00
"How TO MAKE GOOD PICTURES, an illustrated book of helpful suggestions. It describes various methods
of making exposures, developing, printing, enlarging, coloring, making lantern slides, and other interesting
subjects $.50
All prices stabled to change without notice.
EASTMAN KODAK COMPANY,
ROCHESTER, NEW YORK
Velox now identifiable
To protect Kodak amateurs, and to protect Developing and Printing houses that endeavor to give their
customers the best possible results, we have made Velox paper identifiable. The trade name "Velox" is printed,
faintly, on the back of every sheet. Look for it.
Insist on Velox--the paper that exactly meets the requirements of amateur negatives--and know you're getting
the best possible results from yow films.
The Velox Book tells the working of a simple paper in simple terms--a valuable photographic help. Free from us
or your dealer.
The Kodak Portrait Attachment
Fits your Rainbow Hawk-Eye for head and shoulder portraits--it enables you to approach closer to the subject
and get a larger image, sharply focused at short range.
At your dealer's
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
A PRACTICAL book for amateurs. It describes in a simple, understandable way every phase of photography
that they are likely to be interested in, such as various methods of making exposures, developing, printing,
enlarging, coloring, making lantern slides, and other interesting subjects. Profusely illustrated.
EASTMAN KODAK COMPANY
Sold at your dealer's ROCHESTER, N.View original page 22From the M. Butkus Camera Manual Library. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
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