Film cameras
Seneca Roll Film User manual
User manual for Seneca Roll Film. 26 pages in English. Read the original PDF, download or print a copy without registration.
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Document details
- Brand
- Seneca
- Model / document
- Seneca Roll Film
- Document type
- User manual
- Language
- English
- Pages
- 26
- File size
- 2.4 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 2 · Read text
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SUCCESSFULPICTURE
MAKING with the
ROIL FILM
Sn,XECA
PRICE. IO CENTS
SenecaCamera Mrg. Company
Rochester, N. Y.. U. S. A.View original page 2Page 4 · Read text
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Contents
PART l-Loading the Camera
PART Il-Making the ExPosure
PART lll-Removing the Film
PART lY-DeveloPing the Film
PART V-Making the Prints
PART Vl-Greater Possibilities
Before Loading
Before attempting to take pictures with the Roll Film
Seneca Camera, read these pages and learn exactly how
to operate its many parts correctly. Familiarize yourself
with the lens and shutter, understanding the significance
and exploring the operation of the several working parts'
Although the camera may be loaded in direct sun-
shine, it is safer to perform this part in subdued light'
Sufficient ligtrt ivill pass through the lens in a small frac-
tion of a second to change the sensitized surface' In the
same amount of time a tay of sunshine may penetrate the
loosened wrapping and destroy the result of much patient
efiort to produce pictures you will afterwards cherish'
Again we say it,-read the directions carefully and
investigate the use of every part before the film is loaded
in the camera. Finally, see that the shutter is closed be-
fore loading.
Warning
I{tltile the camera is loaded, d.o not expose the lens to
a strong light until the bellows is extended'
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PART I
Loading the Camera
I-Hold the camera in the left hand and with th e
right turn the metal kev in the center of the back. Se e
Fig. I.
Fig. I
II-The back will fall out readily. Especially while
the back is free from the camera, ii shouid be handled
carefully, since a slight pressureis liable to bend it. Such
a chanqe ryou]{ probably allorv the light to leak through
and spoil the film.
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Fig. II
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Fig. III
III-Pull out the spool pin at either side. See Fig.
iI. Place the empty spool at the end of the camera by the
winding ke,v',taking care that the slot in the end of the
spool is near the winding key. After pulling out the spool
and the lvinding ke1', turn the vi'inding key until it slips
into the slot of the emptv spool. Push in the spool pin.
IV-After pushing out the spool pins in the now
emptv end, drop in the film cartridge rvith the number on
the right hand side. See Fig. llI.
Fig. IVView original page 6Page 7 · Read text
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V-Break the gummed sticker and extend the paper
strip through the slot of the emptl' spool. See Fig. IV. If
the paper is not perfectl.v straight, the film will run over
the spool flanges on one side just like a curtain which is
not rolled from the cord at the center.
VI-'lurn the lvinding key two or three times to bind
the paper. See Fig. V.
Fig. V
Vll-Replace the back and turn the metal key to a
crosswise position. It is now securely attached.
VIII-Turn the winding key until a hand appears in
the ruby window. A few more turns will bring No. 1 into
the center of the windorv, at which time the lilm is in
position for making the first picture.
\ryARNING
While tlte comera is loaded, do not expose the lens
to o strong ligltt until the belloq.csis extended.View original page 7Page 8 · Read text
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PAR]- II
Making the Exposure
S N A P SHOTS
l-Pless the concealed button which allows the bed
of the camera to spring forward. See Fig. VI. Now pull
Fig. VII tw
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II-Press firrnly upon the ear clamps at the base of
the standard until the1.f.ield and then pull forward to the
desired focus ; i. e., to the number on the scale which up-
proximatesthe number of feet from the obiect to be ohoto-
graphed. See Fig. VII.
Fig. VIII
III-'fo take a verticai picture, hold the camera level
just at the *.aist lirre, lift the hood of the finder and look
dorvn into it frrim directll' above. See trig. VIII. The
rectangle LENG-I'HWISE, not crosswise, rvill show ex-
actly' 'w.hat objects will appear in the picture. The spirit
level indicates \yhen the camera is held correctly.
IV-To take a horizontal picture, hold the camera
horizontally at the 'ivaist line. See Fig. IX. Turn the top
of the finder to the ieft and look dorvn again from directly
above, using the rectangle CROSSWISE, not lengthwise.
Be sure that the spirit level shows that the camera is held
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Fig. lX
V-Before attempting. to make an exposure, get ac-
quainted rvith the use and operation of every part of the
shutter. Be sure that
First-The ttpper indicator points to the proper
time lactor.
Second-Zhe lower indicator is set at the proper
diapltragm stop.
Third-Arc ttnexposed section ol flm is turned
into position.
VI-A rvide varietv of shutters is furnished. The Uno,
Trio, Victo and Autic Shutters are alwa],s ready for
use,a firm pressure upon the push cord releaie or the push
button being all that is required to operate them. The
push button on the opposite side of the shutter from the
push cord release on the Duo and Optimo Shutters must
be set before the pressure upon the push cord release or
the push button operates it.
Besides the usual time and bulb exposures,the Uno
Shutter permits instantaneous exposures only; the Trio
fractional speeds ol l-25, 1-50 and 1-100 seconds; the
Victo 1-tO besides I-25, l-50 and 1-100 seconds and the
Autic I, l-2, I-5, l-25, 1-50 and 1-100 seconds. The Duo
has the same speeds as the Autic, while the Optimo has
these speeds and also 1-300 second.
SNAP SHOTS
Exposures at the f ractional speeds can be made
rvhen the camera is held in the hand. The 1-100.1-50 and
1-15 denote the approximate fractions of a second durine
rvhich light is allorved to pass through the shutter to thi
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film. At 1-100, "snap" a speeding automobile at a dis-
tan-ce;at 1-50, include children at play or a man running
swiftly; at l-25, take pictures of cattle grazing in a pas--
ture or of a man walking slowly.
When the camera is equipped with the Uno Shutter, ttlnst"use for all instantaneousor snapshot work. lt is
probable that in most cases it will stop all motion, or in
other words, prevent a moving object from being blurred.
TIME EXPOSURE,S
At T the shutter remains open after the first pressure
until a second pressure closes it. At B the shuttir stays
open until the pressure is released. These two factors
with.the l, l-2 and 1-5 exposures are used when light
conditions are so poor that it is necessary to allow 1n
exposure longer than 1-25th of a second. f'he subiect
must be stationary, since the slightest motion witt
cause a blur. It is essential that the camera be placed
upon some rigid base. A support is provided foi both
vertical (See Irig. X) and horizontal (See Fig. XI) pic-
tures.
Fig. X
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Fig. XI
Because a satisfactor')' support is not alu'ays avail-
able, the metal tripod will be found to be indispensable.
Sockets for attaching the head of the tripod are to be
found upon the side and bed. Since all interior pictures
must be made by time exposure, its convenience in placing
the camera in desirable positions is unequaled. The fol-
lolving tables have been compiled for the amateur's ref-
erence. Use the 16 stop.
White Walls and More than One Windovr
Bright sunlight outside. 4 seconds
H a z l ' s u n 1 0 ( '
C l o u d y b r i g h t . . . . . 2 0 . (
C l o u d y d u l l . . . . . . . 4 0 ( (
White Walls and Only One Window
Bright sunlight outside. 6 seconds
Hazy sun . . 1 5 ( (
Cloudy bright . . 3 0 ( (
Cloudy dull . . . 6 0 ' (
Medium Colored Walls and Hangings
and More than One Window
Bright sunlight 8 seconds
H a z y s u n . . . . 20
Cloudy bright +0
C l o u d y d u l l . . 8 0 .::l'11.........
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Medium Colored Walls and Hangings
and Only One Window
Bright sunlight o u t s i d e . . . .. . . . t2 seconds
Hazy sun .. . . 3 0 a (
C l o u d y b r i g h t . . . . . 6 0 "
C l o u d yd u l l . . . . . . . 1 2 0 "
Dark Colored Walls and Hangings
and More than One Window
Bright sunlight outside. . . . 20 seconds
Hazy sun .. . 40 "
Cloudy bright . . . . 8 0
Cloudy dull . ...2 minutes, 40 "
Dark Colored Walls and Hangings
and More than One Window i
Bright sunlight outside. . . . 40 seconds h ( ( H a z y s u n . . . . . ( . . . . . . . . . . 8 0 J
C l o u d y b r i g h t . . . . . i . . 2 m i n u t e s , 4 0 C l o u d y d u l l . . . . . . . . . 5 " 2 0 " I
VII-If the lens is an anastigmat, the markings be-
neath it will be | 6.3, 8, 11, 16, 22, 32 or f 7.5, tt, 16,
22,32. Set the shutter at T, open it and watch the rela-
tive size of the diaphragm stops while the lower indicator
is moved. When the indicator is at 8, the diameter of
that opening is very close to 1-8 of the distance from the
diaphragm to the film; at 16, approximately 1-16 of the
distance from the diaphragm to the film, etc. This is the
basic principle of the f System. Since the diameter of
l8 is twice that of f 16 and the area of a circle varies
as the square of the diameter, four times as much light
will pass through the l8 opening in a given interval oftime as will pass through the I 16 opening. On that ac- ;{I
count, the lens working at f 8 is four times as fast as
when working at | 16. However, the diameter of the / 11 ;
opening is such that the area and accordingly the speed
are one-half that of the f 8 opening or twice that of the
f 16 opening. r
With the greater speed possibie by the use of the
anastigmat lens at its greatest apertur€, the lens loses
proportionately in its ability to image clearly objects both
near and far from it. This inability of lenses working at
high speeds to have great "depth of focus" is not a new
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discovery nor a variable quantity, but is the result of a
mathematical ratio which is as rigid as "two times two
make four." If the user wishes to take a snapshot under
unfavorable light conditions and consequently to use the
lens at a great speed, he must be very accurate in esti-
mating the distance to the object. Speed is gained only
at a loss in depth of focus. However, if the diaphragm is
set at a smaller stop so that the lens works at a slower
speed, the depth of focus immediately increases. Extreme
accuracy in estimating the distance to the object is not so
necessary.I
If the lens is not an anastigmat, it is marked accord-
ing to the scale +, 8, 16, 32 and 6*. This Uniform System
(U. S.) was designed to show more clearly the relation
between the speedsof the lens at each of the various stops'
which ratio is shown by the numerical value. For in-
stance, U. S. 8 is only twice as fast as U. S. 16.
Anastigmat Lenses are marked according to the I Syt-
tem, other lenses by the U. S. System. The table shows
the relation between the most commonly used stops of both
systems:
u . s . 4 8 1 6 3 2 6 4
f 8 1 1 . 1 6 2 2 3 2
Keep this relation clearly in mind in order that the
indicators may be intelligently set for each exposure.
As a basis to work from, set the stop at 16 for pictures
of objects in direct sunlight if taken in the middle of the
day. Use the U. S. 8 or f t1 stop for objects in direct
sunlight earlier in the morning or later in the afternoon.
When the light seems bright, 1--50 is satisfactory, but
otherwise use 1-25. The anastigmat lens may be usedIrI with the largest opening for snapshot work under un-
favorable conditions, but the lens which is not an anastig-
mat cannot get the pictures under such conditions exceptill" by time exposure. Do not adhere too closely to these
directions; they are only general suggestions for use in
making the first exposures. The user's experience will be
the best guide.
milled head in toward VIII-Push the the standard
XII. The lens may be raised and turn. See Fig. or loW- j,,
ered. Let go and see the milled head spring out again, I
automatically locking into position. When the little notch 1 1 ,
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I
Fig. XII l
on the right standard is in the middle of the slidirrq
clamp, the lens is directl-v before the center of the film.
lf the plane of the negative is not parallel with that of
the object, lenses rvill produce distortion. Distortion is
the twisting ol oltjects and lines out of their normal per-
spectioe or out of tlte *^ay they appear to the eye. Con-
sequently, in order to keep the negative parallel with the
object and avoid distortion, the lens must be placed in a
line between the center of the film and the middle of the
object. This is accomplished by raising or lowering the
lens. For instance, in order to take the upper stories of a
building, the camera should be placed level and the lensraised to point at the center of the area desired. The I
finder is no longer serviceable, since that corresponds u'ith
the lens only r,vhen the lens is centered. The only accur-ate method of finding the exact scope of the lens is by- i
using a ground glass before the camera is loaded. Man1.
amateurs, however, sight along the side of the camera
with satisfactory accuracy.
IX-Before closing the camerao make sure that the
lens is centered. See that the hood of the finder is closed.
Press in upon the ear clamps again until they yield and
push the standard back as far as it will go. Wind the
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push cord release up over the finder and down the other
side. 81' pressing down upon the side arms, the bed rvill
close readilv. See Fig. XIII.
Fig. XIII
PART III
Removing the Film
I-After making the six or more exposures, turn the
rvinding _key until all the paper is wrapped around. the
exposed film.
Il-Remove the back as before and take out the ex_
posed roll.
III-Use the gummed sticker in the now empty spool ,
to keep the exposed roll tightly rolled.
iV-Do not twist the film on the spool in order to
tiqhten-it; it is likely to rub the emulsion ind consequently
to spoil your pictures.
V-Replace the back upon the camera in readiness for
use upon the next occasion.
case y-ou are developing vour-If own pictures, , fI-J"
the film is ready for the dark room. you are having
1.our pictures developed and printed, ask-your dealer ti
show how you may secure mbre pleasure from the time
spent in photographic work by doing .r.our own finishing.
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PART IV
Developing the Film -i
These directions for developing are not to be re-
garded as absolute, but only as general hints from which
ihe amateur should deviate at the first moment he obtains
more pleasing results. Remember that the value of any
rule in photo[raphy is gauged by the excellence or medi-
ocrity-anotheroi the iesult seeuied by following that rule. If you
find way of getting a better or even the same
result, use the new way at once; you are widening your
acquaintance in picture making.
I-Empty-eightthe contentsof the developing tube (both chem-
icals) into ounces of water and place in a tray at I
your left. i
II-In the center place a tray of cleaf, cool water for
rinsing.
*
. III-At the right set the tray of acid hypo solution,
complete directions for which are given upon the box.
IV-Exclude all rays of white light from the room
and let the ruby light be at least onJ and one-half feet
from the developing tray.
DEVELOPING
I-Unroll the film and detach the entire strip from
the protecting black PaPer.
II-With one end of the strip in each hand, pa-ss it I
c o n t i n u o u s l y t h r o u g h t h e d e v e l o p e r . I n a b o u t o n e m i n u t €
the blank spacesbetween the pictures will begin to show.
By two minutes the images will show somewhat clearly.
Ill-Continue the development for five or ten minute. tr
until the contrast between the light and dark parts of the
negative has become very distinct or the image begins to
shdw on the back of the film. If some of the negatives,
as you hold them between your eye and the ruby light, are .
d a i k e r t h a n o t h e r s , t h e y h a v e b e e n e x p o s e d f o r a l o n g e r
time, but this difierence will be easily taken care of in the i
priniing. It is only nec€ssary to watch . the degree of
contrast.
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I nrNsrNGF
I-After developing sufficiently,rinse three or four
times in the middle tray of water before you.
II-If desired, the exposures may be cut apart and
fixed separately.
FIXING
I-Pass the negatives face down through the solution
two or three times before completely submerging them in
the hypo solution.
II-If the negatives were not cut apart, fold the strip
several times without allowing it to crack at the ends.
Press these down so that the solution will reach all parts
of the film. Two or three minutes after the last trace of
milkiness has disappeared, it is safe to admit white light
to the room. Allow the negatives to remain in the hypo
solution for ten minutes longer.
III-Remove the negatives to running water andl allow them to remain there for an hour. In case running
: water i3 not available, change the water five times the
first ten mirrutes, moving the films occasionally, and then
allow them to soak for an hour. If desired, the water may
be changed four or five times during a half hour of wash-
}, ing. It is essential that the negatives be thoroughly
washed.
IV-Suspend the wet negatives in such a way that
neither side will come in contact with anything while dry-
t - ing. The Defender Film Clip will be found to be very
convenient for this purpose as well as for handling the
films while developing.
t DEFECTS IN hIEGATIVES
Veiled Whites or Fog
Film handled too close to ruby light.
Exposed to rays of white light.
Muddy Effects
Exhausted developer.
Forcing under-exposed negatives in development.
Too warm a developing solution.
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Irregular Light Spots
Uneven development due to failure to keep all parts
of the negative evenly moistened during development.
Uneven immersion in the developing solution.
Over-exposure.
Air bells upon the film during development.
Milky Spots or Negatives
Failure to keep negatives entirely covered by fixing
bath or insufficient iime Tor fixing.
DONT'S
Don't start until the chemicals are thoroughly dis-
solved.
Don't use a tray foir developing if it has previously
been used for pyro developer,hypo solution or final washing.
Don't use chemicals after their strength is gone. A
hypo solution is exhausted when air bells settle around q
the edge of the tray and remain there. When the de-
veloping solution loses its strength, it turns brown.
Don't allow one ray of white light to enter the room.
Don't hold the strip too close to the" ruby lamp ; it may
cause fog.
Don't let a trace of _hypo reach the developer; a drop
may spoil the whole solution. Wipe your handr-upon a
clean towel each time after taking them from the hypo
solution.
Don't remove the negatives from the hypo until they
are thoroughly fixed. Too long is better thin too shori.
Don't blame the materials; read the directions over
again or ask your dealer.
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PART V
Making the Prints
I-Mix the contentsof the developing tube (both chem-
icals) thoroughly with four ounces of dater ai about 70.
Fahr. and place in the tray at the left.
II-In the center have a tray of. clear cool water for
rinsing the prints after developing.
Ill-Dissolve thoroughly the acid hypo according to
the directions upon the box and set the iray to the ,[t t.
IV-Darken the room to semi-darkness. It is urr-
necessary to have the room completely dark,'ansince Argo
Paper can be handled safely ten feef from ordinaiy
gas jet.t DEVELOPING
I-PIace the smooth side of the negative against the
glass of _the-printin-g frame, allowing tf,e dull 5r picturell side of the film to face up.
II-Take one sheet of the developing paper from rts
light-proof wrapping- and lay it concive-sid. do*., upon
the, negative. This allows the dull surface of the rr.suiirr"
to come into contact with the concave side of the faper.
For a negatiwe of normal contrast use Norrnal'Aroo-or
to obtain best results. When the negatiq.,e is weak
th.in,.use Hard 4rso. If the dark plaies (the high tights
of the negative) are eery dense aid the contras{ betqieen
the light and dark portions aerJ, marked, double tlte
anrount of water and use.soft Argo. The time of expo-
s.ure and. development will be somewltat lengthened.' It
ts q.)er! important that paper with tlte correct degree ol
contrast be used with each c.lass of negative. A-soft or
weak paper, f or instance, with a contrasty negatiie'will #,'.t
produce the same result as a contrasty pafer with a weak V''
negatiwe. The Normal Argo meets the a,uerage require-
nents of an amateur rnore closely than any oiher iegree
ol contrast.
'
- III-Clamp the back of the printing frame into place
and expose to artificial light for severil seconds.
With an ordinary gas light and a negatizte of aoer-
age density expose Argo Paper about eight seionds-
counting one hundred, two hundred, etc.
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IV-After exposure to the bright light, hide the. ex-
oo.rd paper until'the room has been darkened enough to
i.t-it'iti being handled safely-again. Remove the qaper
iio- th. fram-e and immerse it ln the developer -with a - t I
quicL .ia.o"ise motion so that the solution reaches all parts l'"F
of tn. paper at approximately the same time' The room
;"y ;"; be lighted again to inable the operator. to foliow
ihe" dev.lopin{ more iloselY.
V-Leavs the paper in the developer until the picture
has come up to thi right shades of black and white' The ,1,'t
Ipicture wilf begin to Jppear in about six seconds'
the shad"ows ori-ligttt or .f2ggy and appear^ slowllt,
the p'aper'hand,has not been ixposed long. enough' -If , on tlte
othir the shado'u)s are wery intense and come-.up
q'"irWi,'anl thi exPosure has been too long' Before making
exbosure, crtt a sheet of paper into strips and make
iri"ol ,iposures. You will ioi11 fi'n( wltat exposure. gittes
lni'"io"ittrri reswlts. Not only wilt this sa.z)ea considerable
67 paper, but it will enabte lou to obtain pleasinq
results more quicklY.
RINSING
I-At this point take the print from the developer
quickly and rinse it in the middle tray.
FIXING
I-submerge the print in the hypo solution and allow
it to remain for-fifteen minutes. See that the prints do not
L."o.. matted, since in that case the hypo solution will I
not fix them evenly. I
II-Wash the prints in running water for an hour,
taking care again ihat they -do not become matted. If 8L il '
ru.niie wateiis not available, change the water ten or
twelve times during a half hour. Be sure that the prints
are thoroughly washed.
III-PTaci the prints face down on either stretched
cheesecloth or a bloiter. The time necessary for drying -?
may be shortened by first laying them upon aliece.of
clein glass.and pressing ou! the surplus water. Then dry
them upon cheeseclothor blotters as before.
DEFECTS IN PRINTS i
Foggy Whites ,
Paper handled in too strong a light: il
Paper too old.
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Muddy Effects
Forcing development of under-exposed prints.
Exhausted developer.
Irregular Light Spots
Llneven development due to failure to keep print fulll'
submerged during development or to immerse print
evenly.
Over-exposure to light.It Stains
Over-development.
Forced development.
Chemically dirty dishes or hands.
Failure to fix a sufficient length of time.
Round White Spots in Clusters
Air bells upon the print after being immersed in de-
veloper. Rub the print lightly with the finger to scatter
them.
:,.l Oval Dark Spots in Clusters
Air bells upon the print after being immersed in the
fixing bath face downward. Immerse them face upward
and move about to displace the bubbles.
F-i DONT'S
Don't start until the chemicals are thoroughly dis-
solved.
Don't use a tray for developing if it has been used
for pyro developer, hypo solution or final washing.
Don't use chemicals after their strength is gone. A
hypo solution is exhausted when air bells settle around
the edge of the tray and remain there. When the de-
veloping solution loses its strength, it turns brown.
Don't have the lights too bright while the print is in
the developer; it may cause fog.
Don't fix the prints too long; it has a tendency to turn
them brown.
Don't let a trace of hypo reach the developer; one
drop may spoil the whole solution. Have a clean towel
handy after taking the hands from the fixing bath.
Don't blame the materials if your first results are not
as good as you expected; read the directions over again
or ask your dealer.
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