NSTRUCTIONS EASTMAN KODAK CO. ROCHESTER, N. Y„ successors to BOSTON CAMERA MF'G COMPANY, BOSTON, KODA A Trade Mark, iSSS. EASTMAN KODAK CO. ROCHESTER, N. Y. MANUFACTURERS OF Kodaks, Kodets, Bullet Cameras, Bulls-Eye Cameras, Eastman's Solio Paper, Western Collodion Paper, Eastman's Dry Plates, Eastman's Permanent Bromide Paper, Eureka Bromide Paper, Eastman's Platino Bromide Paper, Eastman's Enameled Bromide Paper, Eastman's Transparent Film, Eastman's Transparency Plates, Eastman-Walker Roll Holders, View Cameras, Tripods and Other Specialties. CONTENTS. Part I. Loading the Camera. Part II. Making the Exposures. Part III. Removing the Film. Part IV. Developing. Part V. Printing on Solio Paper, IMPORTANT THINGS : : TO REMEMBER. About the light. — Don't aim toward the sun ; have your subject in the brightest light. Good snap shots cannot be made in doors ; neither can they be made out doors on dark, cloudy days. The sun must either be shining brightly, or behind light clouds. Dont push the spring with a quick jerky motion as it is liable to waver the Camera and cause a blurry picture, Hold the Camera firmly against the body as shown in the illustration, and press the spring gently until the shutter clicks. Be careful that you do not unroll or loosen the cartridge when loading or unloading the Camera. PART 1. ZtOading the Camera. Hp HE FILM for the Bulls Eye Camera is 1 furnished in light proof rolls and the instrument can therefore be loaded in day- light. The operation should, however, be performed in a subdued light, not in the glare of bright sunlight. To Load. I. Take a position at a table as far as possible from any window and press- ing on the bottom of the camera near the tripod socket with the left hand pull out the brass catch as indicated in cut and take the roll holder from the box. II. Slip the catch and pull out the brass rod which is in the recess at the front left-hand corner of the roll holder. 5 III. Put the full spool into this recess and slip the brass rod into place and fasten with catch. Be sure and get the "Top" at the top. Each spool is marked on the end. IV. Cut the gum slip that holds the end of the paper and holding the thumb of the left hand firmly against the roll as shown in cut ; thread the black paper under the first cross piece and pull out beyond the end of camera nine inches. Pass under the paste- 6 board flap ; under the second cross piece ; thread into the slot in Reel, being careful that the paper draws straight and true, and turn the Key until the paper is taut. Insert the camera body in the case once more. Throughout the foregoing operations, from the time the gum slip is cut on the fresh roll of film, until the roll holder is once more in place in the case, keep the thumb of the left hand bearing firmly on the roll otherwise the roll will slip and loosen sufficiently to fog the film* If an 1 8 exposure roll be used, special care must be taken to keep it rolled tightly. Read the special directions contained in the box of film, V. Tighten the thumbscrew at the bot- tom of the camera. VI. The roll of film in the camera is cov- ered with black paper and this must be reeled off before a picture can be taken. Turn the key slowly to the left and watch in the little red celluloid window in the back of camera. When 15 to 18 turns have been given the figure 1 will appear before the window. The film is now in position for making the first picture. 7 PART II. Fiff. I. Making the Exposures. Instantaneous Exposures. {"S?mp Shots:') The shutter is always set, and is operated by pushing the spring alternately to right or left. (See Fig. I.) The pointers on the shutter seen through the front indicate which way to push the spring, if in doubt ; (see Fig 2.) It is not, however, absolutely necessary to consult the pointers, as if the spring should be pushed the wrong way, the shutter would simply remain unmoved, and no " click " would be heard, thus indicating that the spring should be pushed in the oppo- site direction. (Fig. 2.) To take the most perfect instantaneous pictures, bright sunlight must be shining directly upon the # person or object to be photographed. It makes no difference whether or not the camera is in shadow, but never aim toward the sun which should be over your back or shoulder. Aim the camera at whatever you want to photograph, which will then be seen in the " finder " next to the key. Hold the Camera steady, and push the shutter spring to make the exposure. Turn the Film into Position. — sufficient to accomplish this. Repeat the foregoing operation for each picture. Time Exposures Indoors, i. Put the Camera in Position. (See Fig. 3.) Fig". 3- Turn the key slowly to the left until the next number appears before the win- dow. Three or four turns will be Diagram showing position of Camera. 9 Use some firm support, like a tripod or table. Set in such a position that the finder will embrace the view desired. The diagram shows the proper posi- tion for the camera. 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 Camera. To make a time exposure place the camera on a table or rest, and pull out the time-stop near finder, as shown in Figure 4 ; hold the camera steady and push the spring to release the shutter. A . Time stop. It will be seen that when the time- stop is pulled out, it strikes a pin on the shutter as it passes the lens, stopping it half way across, with the opening over the lens. Try this a few times, before winding 10 the film into position, to become accustomed to the operation. Turn a new film in position as described before. (See page 9.) For interiors, the following table is a good guide : Time Needed for Interior Exposures. White walls, and more than one window : bright sun outside, 2 seconds ; hazy sun, 5 seconds ; cloudy bright, 10 seconds ; cloudy dull, 20 seconds. White walls and only one window : bright sun outside, 3 seconds ; hazy sun, 8 seconds ; cloudy bright, 15 seconds ; cloudy dull, 30 seconds. Medium-colored walls and hangings, and more than one window : bright sun outside, 4 seconds ;j hazy sun, 10 seconds ; cloudy bright, 20 seconds ; cloudy dull, 40 seconds. Medium-colored walls and hangings, and only one window : bright sun outside, 6 seconds ; hazy sun, 15 seconds ; cloudy bright, 30 seconds ; cloudy dull, 60 seconds. 1 1 Dark-colored walls and hangings, and more than one window : bright sun outside, io seconds ; hazy sun, 20 seconds ; cloudy bright, 40 seconds ; cloudy dull, 1 minute 20 seconds. Dark-colored walls and hangings, and only one window : bright sun outside, 20 seconds ; hazy sun, 40 seconds ; cloudy bright, t minute 20 seconds ; cloudy dull, 2 minutes 40 seconds. The foregoing is calculated for rooms whose windows get the direct light from the sky, and for hours from three hours after sunrise to three hours before sunset. If earlier or later, the time required will be longer. Time Exposures Outdoors. When the light is very dull or weak, time exposures can be made outdoors. The time of exposure varies greatly from one-half a second under a porch to 5 or 10 seconds under thick trees in the middle of the day. No exact directions can be given, but a little experience will teach the proper time of exposure for various subjects. 12 Time exposures cannot be made while the camera is held in the hand. Always place it upon some firm support, such as a tripod, chair or table. In General. We recommend everyone to do their own developing. With our ABC outfit it is very simple and inexpensive, no regular dark room is required, and the operator can obtain proofs from the nega- tives as soon as they are dry. If, however, the camerist prefers to have us " do the rest," he can send his Exposures to us either in the camera by express, or take them out and send them by mail. We have larger and better facilities and more skilled operators than anyone else, and it is to our interest to get the best results from every negative. 13 PART III. Removing the Film. No dark-room is required to change the spools in the Bulls-Eye. The operation should, however, be performed in a sub- dued light. I. When the last film (No. 12 or 18 according to size of roll) has been exposed turn the key until it will turn no further. II. Provide an extra spool of film to fit this camera and take a position by a table as far as possible from any" window. III. Unloose the catch at the bottom and take the roll holder from the box. IV. Cut the black paper where it is attached to the empty spool, and 14 holding it taut, so as to wind tightly, turn the key until the paper is all on the reel. Note.— If a spool of 18 exposures be used, special care must be taken to keep it rolled tightly. Take the spring clamp that will now be idle on the empty spool and snap it over the full roll on the reel to prevent the paper from slipping. V. Hold the reel tightly with one hand to prevent the paper from loosening; moisten the gummed end of the paper and stick it down to prevent the paper from unwinding ; loosen the key by turning to the right and pull it out. VI. Remove the roll from camera by pulling out the cloth band which runs behind it. The band is attached to a removable rod (with thumb hole) the ends of which drop into slots at the top and bottom of camera. 15 VII. Remove the toothed wheel from the end of the reel and wrap up the roll immediately to prevent the light from injuring the film. VIII. Now pull out the rod which carries the empty spool, and attach the toothed wheel to the bottom end of this spool, slipping the three pins on the wheel into the holes in end of spool. This forms the new reel. Drop into place with tooth wheel at bottom of camera ; insert the key and turn to the left until it is screwed firmly into the reel. IX. Load as described in part one, page 5. The roll of exposures can now be mailed to us for finishing, or you can do the developing and printing yourself. PART IV. Developing. Provide an Eastman's A B C Develop- ing and Printing Outfit, which contains : i Eastman's Candle Lamp, 4 Developing Trays, i Glass Beaker, 14x5 Printing Frame, 14x5 Glass for same, 1 Stirring Rod, l /z Dozen Developing Powders, y z Pound Hyposulphite Soda, 2 Dozen Sheets 4x5 Solio Paper, 1 Bottle Solio Toning Solution, I Package of Bromide of Potassium, 1 Ounce Glycerine. Also provide a pair of shears, a pitcher of cold water (preferably, ice water), a pail for slops, and a dark room having a shelf or table. By a dark room is meant one that is wholly dark — not a ray of light in it. Such a room can easily be secured at night almost anywhere. The reason a dark room is required is that the film is extremely sensitive to white light, either daylight or lamplight, and ivould be spoiled if exposed to it even for a fraction of a second. Having provided such a room or closet where, when the door is closed, no ray of light can be seen. 17 1. vSet up on the table or f shelf the Orange Candle Lamp, and light it as directed in the circular which comes in the box in which the lamp is en- closed. The lamp gives a subdued yellow or orange light which will not injure the film unless it is held close to it. Set the lamp on the table at least eighteen inches from and with the side toward the operator. 2. Unroll the film and cut the expos- ures apart as shown in Fig. I. In unrolling the film preparatory to development, care must be taken that the end be not allowed to roll up over the paper. The exposures should be cut apart with the paper on top. Fig. II shows a cartridge unrolled with the film on top. To correct this simply turn back the film as indicated by the dotted lines, thus bringing the film under the paper. 3. Fill one of the trays nearly full of water, and put into it the exposures, one by one, face down; put them in edgewise, to avoid air bells, and immerse them fully. Cover the tray with a bit of brown paper to keep out the light from the lamp. Fig. II. WRONG. 4. Open one of the developer pow- ders and put the contents (two chemicals) into the beaker and fill it up to the ring with water. Stir until dissolved with the wooden stir- ring rod. 5. Take one of the exposures from the water and lay it, face up, in the second tray and pour upon it the developer. Rock it back and forth to prevent streaks and air bubbles ; in about 1 minute the film will begin to darken in spots, represent- ing the lights of the picture, and in about 2 minutes the operator will be able to distinguish objects in the picture. The developer should be allowed to act 5 to 10 minutes. The progress of the development may be watched by holding the negative, from time to time, up to the lamp. 20 6. Transfer the developed film to the third tray and rinse two or three times with water, leaving it to soak while the next film is being developed. A dozen negatives can be developed one after the other in one portion of developer ; then it should be thrown away and a fresh portion mixed. Only one negative should be developed at a time until the operator becomes expert, then he can manage three or tour in the tray at one time and the developer will answer for twenty-four films before being exhausted. As each successive negative is developed it should be put, with the preceding negatives, in the washing tray and the water changed twice, to prevent the developer remaining in the films from staining them. 7. Put two tablespoonfuls of Hypo- sulphite of Soda into the fourth tray, fill two-thirds full of water, and stir until dissolved. This is called the fixing bath. 8. Immerse the negatives one by one in the fixing bath until they are entirely clear of white spots and are transparent instead of milky by transmitted light. This will require about 10 minutes. 2 1 g. The yellow shade can be removed from the lamp as soon as all the exposures have been fixed. 10. Pour off the fixing solution into the slop bucket, and fill the tray with clear, cold water ; repeat this at intervals of five minutes, five or six times, keeping the negatives in motion, or transferring them back and forth to tray No. 3, one by one, to ensure the water acting evenly upon them. The fixing solution must only be used in tray No. 4. And the negatives, after fixing, must not be put in either No. 1 or No. 2 trays. Neither must any of the fixing solution be allowed to touch the films, through the agency of the fingers, or otherwise, until they are ready to go into the fixing bath, otherwise they will be spotted or black- ened, so as to be useless. n. When the negatives are thoroughly washed, put one-half ounce of glyc- erine into one pint of water (four portions measured with the devel- oper glass), stir well and soak the negatives in the solution for 5 min- utes, then remove them and wipe 22 off the surplus moisture with a soft, damp cloth, and pin them by the four corners, face up, to a flat sur- face to dry. The glycerine solution may be used repeatedly. The trays and beaker should now be rinsed out and set away to drain and dry. When the negatives are dry, they are ready for printing, as described in Part V. Defective Negatives. By following closely the foregoing direc- tions, the novice can make seventy-five per cent., or upwards, of good negatives. Sometimes, however, the directions are not followed, and failures result. To forewarn the camerist is to forearm, and we therefore describe the common causes of failure. Under-Exposure. Caused by making snap shots in- doors, or in the shade, or when the light is weak, late in the day, or by closing the lens too soon on time exposures. 23 Over-Development. Caused by leaving the negative too long in the developer. In this case the negative is very strong and intense by transmitted light and requires a very long time to print. The remedy is obvious. Under -Development. Caused by removal from the developer too soon. An under-developed negative differs from an under-exposed one, in that it is apt to be thin and full of detail, instead of harsh and lacking in detail. If the development is carried on as before directed, this defect is not liable to occur. Spots, Streaks, Etc. Air bells on the film in the developer or fixing bath are liable to cause spots ; and streaks are caused by allowing the film to remain uncov- ered in part by the various solu- tions while in them. White, milky spots are evidence that the negative has not been properly fixed, and the negative should be put back into the fixing bath and then re-washed. ?4 PART. V, Printing on Eastman's Solio Paper. HAVING found that amateurs can easily handle our Solio Paper we have now substituted it for the Ferro-Prussiate Paper, which we formerly furnished with the ABC outfits, as it makes far hand- somer pictures than the blue prints. Solio prints have a warm, brown tone and are usually mounted on card-board and highly burnished. Method of Printing. — Open the printing frame of the ABC outfit and lay the negative back down upon the glass (the back is the shiny side). Place upon this a piece of Solio Paper, face down. Replace the back of the frame and secure the springs. The back is hinged to per- mit of uncovering part of the print at a time to inspect it without destroying its register with the negative. The opera- tion of putting in the Sensitive Paper must be performed in a subdued light, that is to say in an ordinary room, as far as possible from any window. The paper not used must be kept covered in its envelope. 2 5 The printing frame, when filled as directed, is to be laid glass side up in the strongest light possible (sunlight pre- ferred) until the light, passing through the negative into the Sensitive Paper, has impressed the image sufficiently upon it. The progress of the printing can be examined from time to time by removing the frame from the strong light, and open- ing one-half of the hinged back, keeping the other half fastened to hold the paper from shifting. The printing should be continued until the print is a little darker tint than the finished print should be. Place prints without previous washing in the following combined toning and fixing bath : 2 oz. Eastman's Solio Toning Solution. 4 oz. Cold Water. Pour the toning solution into one of the trays and immerse the prints one after the other in the toning bath. Five or six prints can be toned together if they are kept in motion and not allowed to lie in contact. Turn the prints all face down and then face up and repeat this all the time they are toning. The prints will begin to change color almost immediately from reddish brown to reddish yellow, 26 then brown to purple. The change will be gradual, from one shade to another and the toning should be stopped when the print gets the shade desired. Six ounces toning solution will tone two dozen prints ; after that a new solu- tion should be made same as before. When the proper shade has been attained in toning bath, the prints should be transferred for five minutes to the fol- lowing salt solution to stop the toning : Salt, i oz. Water, 32 ozs. Then transfer the prints to the washing- tray and wash one hour in running water, or in 16 changes of water. The prints are then ready for mounting or they can belaid out and dried between blotting paper. 27 Price List. Bulls Eye Camera, for 3 1 / 2 x 3^ pictures, $8 00 Black Sole Leather Carrying Case, - 1 25 Staff Tripod, - - - 1 50 Spools of Transparent Film, 12 exposures vA x 3 l A, - :3> % 60 Spools of Transparent Film, g£ exposures 3*A X - - - 90 ABC developing and Printing Outfit, including Solio paper and Toning Solu- tion for 24 prints. - - I 50 Solio paper, 4x5, per dozen, - - 15 seconds " 44 per hundred, - 75 Combined Toning and Fixing Solution for Solio, per 8 oz. bottle, - - 50 Eastman's Eikonogen Developer Powders, per dozen, - - - 50 Mounts, maroon, gold level edge, per doz. 15 Mounts, primrose, " " u ** 41 18 Hyposulphite Soda, pmv%vized, per pound, 10 Bromide potassium, pe^loz. bottle, - 15 Developing and Printing only, each, 12 A Developing only, each, - - 06 Printing only, each, - - 08 On orders for developing and printing less than one dozen, 25 cents extra will be charged. Unlargem en ts. ir x 14 Bromide enlargements from Bullet negatives, mounted on card, - $1 25 14 x 17 Bromide enlargements from Bullet negatives, mounted on card, - - 1 50