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A Personal Word
PART I. Page
VIEW FINDERS.............................. 9
LOADING THE CAMERA WITH FILM ......10
REMOVING THE EXPOSED FILM ............13 Indoor Portraits
.................................18
To Open the Camera
The No. 2 Kewpie is made with only two catches, a
broad one, C, clear across the end of the camera and another, C2, on the side of
the camera (see Figure 3).
The winding key on the No. 2A is located at the bottom edge of the camera,
while on the other sizes it located at the top edge. (Compare Figures 2
and 3.)
To Close the Camera
Put the roll holder, A, Figure 1,
back in the outer box, B. Figure 1, and fasten all of the catches securely. For
more complete directions for closing the camera after a film is inserted in the
roll holder see Figure 16, page 13.
The Shutter
The shutter on a Kewpie Kamera is
always set. It can be adjusted for instantaneous and time exposures.
Operating the Shutter
To take an instantaneous or snapshot exposure see that the slide P is
pushed down as far as it will go, flush with the top of the camera, as
shown in Figure 4. Then push the lever Q, Figure 4, once in one direction
in the slot. This makes an exposure. Pushing it once in the opposite
direction makes another exposure. The length of this exposure is about
1/25 of a second.
Stops or Diaphragms
The stops control the volume of
light passing through the lens to act on the sensitive film, and this volume of
light is controlled by the size of the diameter of the stop opening.
KAMERA STOP Pages 9 through 12 are missing!
shown in Figures 11 and 18, while watching the red window, O. When
fifteen to eighteen 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. After No. 1 is exposed, a few turns of the winding key will
bring No. 2 into place, and so on until the entire roll is used.
Removing the Exposed Film
PART III
Before making exposures of any kind be sure of the following:
Instantaneous and Snapshot Exposures
Before making an instantaneous
exposure --- See that the
slide,
P. is down, as in Figure 4, page 5. See that a large stop, No. l or
No. 2, is in place, as in Figure 4, page 5. If in doubt as to which stop use,
use No. l.
Indoor Portraits
Good results in the making of portraits are entirely dependent upon the
lighting; that is, the way in which the light falls upon the subject or
sitter. There should be but one source of light, and, if possible, this
should be a north window not shaded by trees or buildings. If there are
other windows in the room, they should be darkened by opaque curtains, and
the lower half of the window should be darkened by covering it
over with a dark cloth. With this arrangement the light comes from one
source only, and that from above the head, thus striking the sitter at an
angle of about 45 degrees. We can best explain the proper lighting and the
proper use of the background and reflecting screen by the aid of a
diagram. (See Figure 23.) In this diagram: we have illustrated, in a
general way, the relative position of the camera, the
sitter, the background, the reflecting screen and the window from which
the light is admitted to the sitter.
Interiors
Always use a time exposure and a small stop when making interiors. See that the
desired view shows in the finder. Do not point the camera directly at a window
when making interiors, as the bright light or glare will often spoil the
picture. If this cannot be avoided, pull down the shades of such as are included
in the view. (Consult the Exposure Guide for the correct exposure.)
Suggestions
Always see that the shutter is
closed before loaning the camera.
SEARS, ROEBUCK AND CO.
MADE FROM ORIGINAL
- all pages
version of this HTML page
- Missing pages
We want you to get the best possible results from this camera and enjoy using it
Unless you do, you will be disappointed, and so will we.
From our many years of photographic experience we know that most photographic
troubles arise because the working of the camera with its many adjustments is
not fully understood.
We ask you to read these instructions carefully before attempting to make any
pictures. We want you to practice with it until you know exactly how every
adjustment is made and operated. Be especially sure that you understand how to
adjust and operate the shutter for instantaneous and time exposures.
Upon fully understanding the camera and how to handle it, and to correctly
expose the sensitive film, depends the making of successful and pleasing
pictures.
Sears, Roebuck and Co.
CHICAGO - PHILADELPHIA - DALLAS SEATTLE
CONTENTS
THE CAMERA .............................3
To Open the Camera ....................3
To Close the Camera ..................4
THE SHUTTER .............................4
Instantaneous Exposures ..............4
Time Exposures ..........................5
THE LENS....................................... 6
Stops ...........................................7
Depth of Focus............................ 8
TRIPOD SOCKETS ................ 9 PART II. Page
PART III
MAKING THE EXPOSURES .............15
Instantaneous Exposures .... .............. 15
Interiors ............................................. 20
SUGGESTIONS ............................... 21
Part 1
The Camera
A Kewpie Kamera consists of two parts
(see Figure l, an outer box (B), which contains the lens, shutter and
finders, and an inner box (A), containing the winding mechanism for the
film. In these instructions we will refer to the inner box (A) as the roll
holder.
To remove the roll holder, except in
the case of the No. 2 Kewpie, push the three nickeled catches, C1, C2 and
C3, Figure 2, as far as they will go as shown by the illustration. Hold the
camera and grasp the winding key as shown in Figure 2 and pull the roll
holder completely out as it appears in Figure 1.
Instantaneous or Snapshot
Exposures.
Caution.
Push the lever but once, in one direction, for one exposure. Pushing it twice
once in each direction, for a snapshot, will cause a double exposure and
absolutely ruin the picture.
Time
Exposures.
To make a time exposure, pull the slide
P up as far as it will go, as shown in Figure 5. Push the lever Q
once in one direction in the slot. This opens the shutter. Time the exposure
with a watch. Push the lever Q once in the opposite direction from
the one required to open it. This closes the shutter.
Time exposures must be made with the camera on some steady
solid support, like a chair or table. A tripod may be used with all sizes
except the Nos. 2 and 2A. These two sizes are not provided with tripod
sockets.
In making a time exposure as just directed, there is always some danger of
jarring the camera when opening and closing the shutter. We therefore
recommend the following method because it permits the exposure to be made
without touching the camera.
After the camera has been placed in the proper position for the exposure, with
the slide P up as far as it will go, as shown in Figure 5, hold some dark
object, such as a book, cardboard or a man's hat directly in front of the lens
and as close to the camera as possible without touching the camera. With the
lens thus covered, open the shutter by pushing the lever Q once. Then,
without touching the camera at all, uncover the lens, covering it again as soon
as the proper length of exposure has been given. Then, with the lens still
covered, close the shutter by pushing the lever Q once.
The Lens
This camera is equipped with a single achromatic lens. It is located back of the
shutter and can only be seen from the front when the shutter is open, as for a
time exposure.
Keeping the Lens Clean.
If the lens is dirty or dusty it
will not produce good pictures. They will be dim, indistinct and under timed. To
clean the lens, remove the roll holder from the outer box and clean the rear of
the lens in the outer box with a soft linen cloth. To clean the front of the
lens, open the shutter as for a time exposure and clean it with a soft linen
cloth on the end of a small blunt stick or pencil.
There are four stops on a Kewpie, and they are brought into position in front of
the lens by revolving the metal diaphragm dial containing the openings, which we
will designate as No. 1, No. 2 No. 3, and No. 4, illustrated as S1, S2, S3 and
S4 in Figure 5. The stop must be brought exactly to the center of the opening to
the lens, which position is easily recognized, because at just the right point
the dial catches with a little click.
The "F" Value of the Kewpie Stops
Stop No. 1, the largest opening, is equivalent to Stop F:14 of the F
system of numbering stops used with the Exposure Guide supplied with these
instructions. No. 2 is equivalent to F:16, No. 3 to F:22 and No. 4, the
smallest, to F:32
The stops have a decided effect on the sharpness of the pictures
produced by a lens, as a small stop increases its covering power and depth of
focus.
Because of these facts, the smaller the stop opening used the
sharper the picture will be, but a small stop opening admits less light than a
larger one; consequently, it requires a correspondingly longer exposure. For
this reason it becomes practically impossible, except under unusual conditions,
to make a snapshot or instantaneous exposure with a small stop or diaphragm.
(See the Exposure Guide for the correct exposure.)
Depth of Focus
This has to do with the ability
of a lens to give sharp images of objects located at different distances from
the camera on the same negative at the same time. For example, in interiors
there may be an object within 4 feet of the camera and other objects 20 feet
from the camera which are to be sharply defined on the negative. The ability to
secure sharp images of both at the same time depends on the depth of focus.
The following table shows the distance, in feet, after which everything will
photograph sharply for each of the different Kewpie Kameras. Everything beyond
these distances will photograph sharply.
No. 1 - F:14
No. 2 - F:16
No. 3 - F:22
No. 4 - F:32
No. 2
8
7
5 1/2
4
No. 2A
10
9
7
5
No. 2C
11 1/2
10
8
6
No. 3
10
9
7
5
No. 3A
13
12
9
7
After all the film on the roll has
been used, before attempting to remove the exposed film from the camera,
give the winding key twenty turns.
To remove the exposed film, remove the roll holder,
A, from the
outer box,
B, Figure 1, as explained on page 3, and wind up all
of the black or red and black, paper if there is still any remaining
unwound. Then press the roll spring, J spring, J. Figure 9, until it
can be removed from the roll holder, and fasten the loose end of the black
paper with the gummed sticker which will be found on the empty spool
remaining in the camera.
Remove the empty spool and place it in the side from which the exposed roll has
just been taken, placing it so the slotted end of the spool fits over the tongue
of the winding key. The camera is now ready to load again.
Making Exposures
First-That the shutter is adjusted for the desired
exposure-that is, for instantaneous or time, as the case may be.
Second-That the proper stop opening is in position
in front of the opening to the lens.
Third That an unexposed section of film is in
position to receive the exposure.
In taking snapshot pictures the sun should be behind the back or over the
shoulder of the operator and should shine on the object to be photographed.
Successful snapshot pictures cannot be made in the house, under a porch, under
the shade of a tree or on dark days, or too early in the morning or too late in
the afternoon. (Consult the Exposure Guided Under no circumstances should the
sun shine directly on the lens, as absolute failure will be the result.
With the shutter set for an instantaneous exposure and the proper
stop in position, point the camera directly at the subject to be photographed
and locate the image in the view finder by looking into it from directly above,
and not from an angle. When the arrangement of the subject appears satisfactory
in the finder, hold the camera steady and level, as shown in Figure 4 for a
perpendicular picture, that is, one higher than it is wide, and as shown in
Figure 19 for a horizontal picture, one wider than it is high, then make the
exposures by pushing the exposure lever,
Q, Figure 4, once only in one direction in the slot.
Avoid jerking or jarring the camera when making the exposure; otherwise it
will be blurred, as shown in Figure 20.
If care is used to move only the thumb when pushing the lever,
there is little danger of jarring the camera.
Hold the camera as nearly level and plumb as possible. Otherwise
pictures of buildings will look distorted and twisted, as shown by Figure
21, where the camera was pointed upward, and in Figure 22, where the camera
was tipped sidewise.
Remember, pictures are made or spoiled when the exposure is made, and that
if the light is poor, or too the exposure is made too early in the morning
or too late in the afternoon, the only result will be a failure. Practically
nothing can be done in developing and finishing the exposed roll of film to
overcome mistakes made in exposing it. (Consult the Exposure Guide for the
correct exposure.)
After making an exposure turn the winding key until the Figure 2 appears at the
window, repeating the operation after each exposure until the entire roll has
been exposed.
Lighting in Portraiture.
While it is, of course, not
necessary that the relative position of the camera, the sitter, reflector, etc.,
be maintained exactly as shown in the diagram, still this arrangement gives the
best results as a general rule. In this diagram the sitter is 21/2 feet from the
window and the front of the chair is just even with the farther side of the
windows The background is 3 feet behind the sitter and the reflector is 31/2
feet from the sitter.
A better method is to place a dark screen 18 inches square between the window
and the subject, thus throwing the entire face into shadow. This, of course,
increases the exposure, but gives, better results.
Practice different methods of lighting by moving the subject and screens,
without attempting to make any exposures. Much information may be gained in this
manner.
Splendid portraits may be made on the shadow side of a building with an open sky
overhead. This is a fine method to photograph children, as the exposures may be
made quite rapidly, although a tripod or something equally solid on which to
place the camera is always necessary. (See the Exposure Guide.)
When posing the subject, do not neglect the background. Figured wall paper
should be avoided. It hardly ever looks the same in a picture as on the wall,
and is nearly always displeasing in what otherwise might have been an artistic
picture.
The straight lines and knot holes in a frame house, or the lines of mortar in a
brick building are also unsatisfactory as a background for portraits, although
not always so displeasing for large group pictures.
A sheet, 2 or 3 feet behind the subject, forms a good background if stretched
enough to remove the wrinkles. If this is not practical, if the sheet is held 2
or 3 feet back of the subject and kept moving, the wrinkles will not photograph.
A clump of bushes makes an ideal background for outdoor pictures, but the
subject should not be too close to the bushes. Do not use the sky as a
background, as it gives a light stronger back of the subject than on the
subject, and the results are not pleasing.
To test this, place a subject against a window and then from a distance of 6
feet look at the subject and see how indistinct are the features with the strong
light behind the subject. Then change positions and see how distinct the
features are with the strong light on the features.
In making portraits keep in mind that if the position and lighting of the
subject do not please before making the exposure, they will probably please less
after the picture is finished.
Always use time exposures when making indoor portraits or portraits in the
shade, otherwise they will be underexposed, and do not try to hold the camera in
the hand for time exposures. The camera must rest on something solid otherwise
the pictures will be blurred, as shown by Figure, 20 on page 16.
Always wind another section of film into position immediately after making an
exposure, whether you are ready to take another picture or not. This habit once
formed will often prevent making two exposures on one section of film.
Before making an exposure of any kind see that an unexposed section of the film
is in position and that the shutter is properly adjusted for the desired
exposure. ~
A separate Exposure Guide in convenient form to carry in the pocket is included
with these instructions. We advise referring to this Exposure Guide whenever any
question arises regarding the correct exposure for any subject. '
For those desiring to finish their own pictures separate instructions are
furnished. Those who do not care to do their own finishing will find our work
first class and the prices given in our big General Catalog reasonable.