Picture Taking with the Brownie Camera No. 3 – December 1909

About this edition

This is a transcription of Eastman Kodak Company’s December 1909 manual for the No. 3 Brownie Camera. It reproduces historical instructions and product claims, rather than current operating or chemical-safety guidance. Original terminology and spelling are retained; line-break hyphenation and table layout have been adapted for web reading.

The full printed edition is included: covers, unnumbered preliminaries and printed pages 3-48. Repeated source captures of pages 44-45 appear once. Later pencil annotations are not part of the printed instructions and are not reproduced.

Credit: Science History Institute, Picture Taking with the Brownie Camera No. 3. The institution identifies the work as Public Domain Mark 1.0. Courtesy of Science History Institute.

Picture Taking with the Brownie Camera No. 3

Price 10 Cents

EASTMAN KODAK CO.
ROCHESTER, N. Y.

KODAK

Trade Mark, 1888

EASTMAN KODAK COMPANY
ROCHESTER, N. Y.

Manufacturers of

• Kodaks
• Brownie Cameras
• Kodak Film Tanks
• Kodak Dry Mounting Tissue
• Velox Paper
• Eastman’s Solio Paper
• Eastman’s Sepia Paper
• Eastman’s Ferro-Prussiate Paper
• Eastman’s Velvet Bromide Paper
• Eastman’s Royal Bromide Paper
• Eastman’s Standard Bromide Paper
• Eastman’s Enameled Bromide Paper
• Eastman’s Matte-Enameled Bromide Paper
• Eastman’s Platino Bromide Paper
• Eastman’s W. D. Platinum
• Eastman’s N. C. Film
• Eastman’s Dry Plates
• Tripods and Other Specialties

December, 1909.

Picture Taking with the Brownie Camera No. 3

Price Ten Cents

EASTMAN KODAK CO.
ROCHESTER, N. Y.

Notice

The Duplex paper (black on one side, red on the other) now used in Kodak cartridges is superior to the black paper formerly used, in that it has no deleterious effect upon the keeping qualities of the film and absolutely does away with number markings.

In watching for numbers through the red window, one should now look for black numbers on red paper, instead of, as formerly, white numbers on black paper.

Wherever the term “duplex paper” is used in this manual, reference is made of course, to this black and red paper.

Before Loading.

Before taking any pictures with the No. 3 Brownie Camera read the following instructions carefully, and make yourself perfectly familar 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. After the film has been developed and all developer thoroughly washed out, it may be quickly transferred in subdued white light to the fixing bath without injury. Throughout all the operations of loading and unloading, be extremely careful to keep the duplex paper wound tightly around the film to prevent the admission of light.

EASTMAN KODAK COMPANY,
Rochester, N. Y.

Contents.

• Part I – Loading.
• Part II – Making the Exposure.
• Part III – Removing the Film.
• Part IV – Developing with the Kodak Film Tank.
• Part V – Dark Room Development.
• Part VI – Printing on Velox Paper.
• Part VII – Mounting.
• Part VIII – Formulas.

Part I. Loading the No. 3 Brownie Camera.

The film for the No. 3 Brownie Camera is put up in light tight cartridges, and the camera can, therefore, be loaded in daylight.

This operation should, however, be performed in a subdued light, not in the glare of bright sunlight.

To Load.

1. Take a position at a table as far as possible from any window; face the light, place the camera in the position shown in the cut and pull up on the winding key as in Fig. I.

2. Now push inward on spring catches, just in front of winding key, and to the left of the handle, as shown in Fig. II and III.

This will permit of the withdrawal of the roll holder as shown in Fig. IV.

3. Examine this roll holder carefully and it will be seen that in each forward corner, (just behind the shutter compartment) there is a recess that will just hold a spool of film.

   In the recess on the right side will be seen an empty spool, which is to be used as the reel.

4. Place film spool in recess opposite the winding end, Fig. V, and spring out the spool pins, as shown in Fig. VI.

This will permit the spool to drop fully into the recess; then push the spool pins back into place so film spool will revolve upon pins.

The winding end may always be distinguished by the small hole in the side of the roll holder.

Important.

Be sure and get the top of spool at top of roll holder (each spool is marked on the end) when inserting, otherwise your film will come on the wrong side of duplex paper when reeled off and total failure will result.

You can readily tell the top side of roll holder, as it contains the opening in the winding end through which the key is inserted in the reel.

5. Now remove the gummed slip that holds down the end of duplex paper and pass duplex paper across opening in the back of the roll holder (Fig. VII), and thread the duplex paper through the slot in the reel as shown in Fig. VIII, being extremely careful to have the paper drawn straight and true, and give the spool two or three forward turns (to the left from the key end). The spool may be readily turned by revolving flange of spool with the thumb.

Caution.

If you turn off too much of the duplex paper, before the camera is closed, the film will be uncovered and ruined.

6. The camera is now to be closed reversing the operation shown in Figs. I to IV and pages 5, 6 and 7. In reinserting the roll holder in the outside box remember that the slotted end of winding reel which shows through round hole in side of roll holder, must be inserted so as to come opposite winding key in outside box.

7. Press down on, and at the same time, turn the winding key until it fits into position, the web at lower end of key fitting into slot in spool end (Fig. IX).

   This is a reversal of operation shown in Fig. I, page 5.

8. Turn the key slowly to the left and watch in the little red window at the back of the camera. When 15 to 18 turns have been given, a hand pointing toward the No. 1 exposure will appear, then turn slowly until the figure 1 appears before the window.

The film is now in position for taking the first picture.

Load your Kodak with Kodak Film

Look for this trade mark on the box

Part II. Making the Exposures.

Section 1. – Instantaneous Exposures.

“Snap Shots.”

The shutter of No. 3 Brownie Camera is always set and is operated by pushing the lever alternately to right or left with the thumb.

If the lever stands at the right hand side of slot simply push it to the left and vice versa.

If the spring should be pushed the wrong way, the shutter would simply remain unmoved, and no “click” would be heard, thus indicating that it should be pushed in the opposite direction.

To take instantaneous pictures the object should 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.

Use the Largest Stop.

Snap shots should only be made when the largest stop is before the lens. If a smaller stop be used, the light will be so much reduced that it will not sufficiently impress the image on the film and failure will result. In making snap shots both of the slides shown in Fig. II, page 16, should be pushed down to the limit of motion.

Slide A controls the time and instantaneous exposures. For snap shots this slide must be down.

Slide B controls the stops, of which there are three. When it is clear down the largest stop is in place. This is the one to use for all snap shots, except where the sunlight is unusually strong and there are no heavy shadows, such as views on the water or in tropical or semi-tropical climates, when the middle stop may be used. The smallest stop must never be used for snap shots. (See Fig. II, page 16.)

Aim the camera at the object to be photographed and locate the image in the finder. There are two finders, one for vertical and the other for horizontal exposures.

For a vertical exposure the camera should be held as shown in Fig. I, page 12.

For a horizontal exposure the camera should be held as shown in Fig. II, page 13.

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

All being in readiness,

Hold the Camera Steady and Level

as shown in Fig. I or II, and press the shutter lever to one side with the thumb of the right hand.

Turn a New Film into Position.

Turn the key slowly to the left until the next number appears before the window.

Note: – The warning index hand appears only before No. 1.

Repeat the foregoing operation for each picture.

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. III.

Section 2. Time Exposure Indoors.

Put the Camera in Position.

Use some firm support, like a chair or table. Set in such position that the finder will embrace the view desired.

The diagram (Fig. I) shows the proper positions 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 range of the Camera.

Pull out the time slide (A) on left hand side of camera front as shown in Fig. II. When this slide is pulled out the shutter strikes it as it passes the lens, stopping half way across with the opening opposite the lens.

All being in readiness steady the camera with one hand and push the lever to open the shutter; give the proper time (using a watch if more than two seconds) and press the lever in the opposite direction to close the shutter.

Turn a new film into position as described before. (See page 15).

For interiors the following table is a good guide:

Time Needed for Interior Exposures.

This table is for the largest stop. When the second stop is used double the time; when the smallest stop is used give four times the time of table.

Interior exposures – printed pages 16-17

Walls and windows	Bright sun outside	Hazy sun	Cloudy bright	Cloudy dull
White walls and more than one window	2 seconds	5 seconds	10 seconds	20 seconds
White walls and only one window	3 seconds	8 seconds	15 seconds	30 seconds
Medium colored walls and hangings, and more than one window	4 seconds	10 seconds	20 seconds	40 seconds
Medium colored wall and hangings and only one window	6 seconds	15 seconds	30 seconds	60 seconds
Dark colored walls and hangings, and more than one window	10 seconds	20 seconds	40 seconds	1 minute 20 seconds
Dark colored walls and hangings, and only one window	20 seconds	40 seconds	1 minute, 20 seconds	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 until three hours before sunset.

If earlier or later, the time required will be longer.

To Make a Portrait.

Place the sitter in a chair partly facing the light, and turn the face slightly toward the camera (which should be at the height of an ordinary table). For a bust picture the camera should be five feet from the figure; for a three-quarter figure seven feet, and for a full figure ten feet. The back ground should form a contrast with the sitter.

In making portraits where the subject is less than eight feet from the camera, use the smallest stop and time accordingly. (See page 16). As a general rule use the middle stop for portraits.

Kodak Portrait Attachment.

By the use of a Kodak Portrait Attachment this instrument may be used with a focus of only three and one half feet, thus enabling the amateur to obtain large head and shoulder pictures equaling in size those of an ordinary Mantello photograph.

The attachment is simply an extra lens slipped on over the regular lens and in no way affects the operation of the camera except to change the focus. Price, 50 cents. Be sure and specify what camera the attachment is to be used with when ordering.

Time Exposures in the Open Air.

When the smallest stop is before 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 – The shutter can hardly be opened and closed quickly enough to avoid over-exposure.

With Light Clouds – From one-half to one second will be sufficient.

With Heavy Clouds – From two to five seconds will be required.

The above is calculated for hours from three hours after sunrise until three hours before sunset and 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 exposure to give.

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.

Stops.

1 The Largest – For all ordinary instantaneous exposures.

2-3 The Middle – For instantaneous exposures when the sunlight is unusually strong and there are no heavy shadows; such as in views on the seashore, in extremely high, dry climates or on the water or in tropical or semi-tropical climates; also for interior time exposures, the time for which is given in the table on pages 16 and 17.

1-4 The Smallest – For time exposures out doors in cloudy weather. Not for instantaneous exposures. The time required for time exposures on cloudy days with smallest stop will range from one-half second to five seconds according to the light. The smaller the stop the sharper the picture.

When setting the stops always see that the one to be used is brought to the center of the lens where it catches.

If you use the smallest stop for instantaneous exposures absolute failure will result.

Section 3. Flash Light Pictures.

By the introduction of Eastman’s 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.

The cost then is:

One package Eastman’s Flash Sheets, No. 1, 25c.

With flash sheets no lamp is necessary, there is a minimum of smoke and they are far safer than any of the self-burning flash powders, 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 the 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 to obtain souvenirs of many occasions which, but for the flash light would be quite beyond the range of the art.

Preparation for the Flash.

The camera should be prepared for the time exposure, as directed on page 15 of this Manual, (except that the largest 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 reflector and increase the strength of the picture.

The flash sheet should always be placed two feet behind and two to three feet to one side of the camera. If placed in front on a line with front of camera, 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 light 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 camera. An extra piece of cardboard a foot square placed under the Flash Sheets will prevent any sparks from the flash doing damage.

Taking the Picture.

Having the camera 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 which has been stuck into the end of a split stick at least two feet long, to the lower corner of the Flash Sheet. There will be a bright flash which will impress the picture on the sensitive film. Then push the lever to close the shutter and turn a fresh film into place with the key, ready for another picture.

The Flash Sheets.

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

When two or more sheets are to be used they should be pinned to the card-board, one above the other, the corners slightly overlapping.

Table.

Distance	Walls and hangings	Sheets
10 feet	Light	1 sheet
10 feet	Dark	2 sheets
15 feet	Light	2 sheets
15 feet	Dark	3 sheets
25 feet	Dark	4 sheets

To Make a Portrait – Place the sitter in a chair partly facing the camera (which should be at the height of an ordinary table), and turn the face slightly toward the camera. For a three-quarter picture this will be seven feet, and for a full figure ten feet.

When using the portrait attachment for flash lights the subject should be only three and one-half feet from the camera.

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

To Make a Group – Arrange the chairs in the form of an arc, facing the camera, 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 would 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 effects. 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.

Eastman’s Flash-Sheets burn more slowly than flash powders, producing a much softer light and are therefore, far preferable in portrait work; the subject, however, should be warned not to move, as the picture is not taken instantaneously, about one second being required to burn one sheet.

Eastman’s Flash Cartridges and Flash Powders.

Eastman’s Flash Cartridges or Flash Powder may be substituted for the sheets, if desired. We recommend the sheets, however, as more convenient, safer, cheaper and capable of producing the best results. The powder or cartridges are only superior when absolutely instantaneous work is essential.

Part III. Removing the Film.

No dark room is required in changing the spools in the Brownie Camera.

The operation can be performed in the open air, but to avoid all liability of fogging the edges of the film, it had best be performed in a subdued light.

1. When the film has been exposed, give the key twenty-four extra turns. This covers the film with duplex paper again.
2. Provide an extra spool of film to fit this camera, taking a position at a table as far as possible from any window.
3. Remove the roll holder as shown on page 7.
4. Hold ends of duplex paper and sticker together to prevent paper from loosening on reel. Spring out spool pin and lift out reel. Fig. I.

   Note – If sticker has been wound under reel, revolve spool to bring it up.

5. Fold over half inch at end of duplex paper (so as to make subsequent breaking of the seal easy) and then seal with sticker.
6. Wrap up immediately to prevent the possibility of light being admitted.
7. Now take the empty spool from the recess on the left side of camera and transfer to the winding side, bringing the slotted end into which the key is to fit, opposite the key hole.

Load as described in Part I, Page 7.

The roll of exposure can now be mailed to us for finishing or you can do the developing and printing yourself.

“Cinch Marks.”

If the film and paper loosen up a trifle when taken from the camera, many amateurs are likely to take the cartridge in the hand and wind it as closely as possible, cinching it tightly with a twisting motion. There’s nothing more likely to injure the negative than this tight drawing of the film as it abrades the surface, making fine parallel scratches running lengthwise of the film, which, in some cases, will ruin the negative. Do not “cinch” the cartridge. It simply needs to be wound tightly enough so that the duplex paper keeps inside the flanges.

Part IV. Developing.

There is no necessity of working in a darkroom or waiting until night to develop film. It can be done in daylight at any time and place. And the daylight methods of developing film give better results than the dark-room way.

Film may be developed in daylight by the Kodak Film Tank method. Detailed directions for developing will be found in the manual which accompanies the goods.

We recommend the Kodak Film Tank method particularly for its simpleness, and the uniformly good negatives which it gives.

Developing with the Kodak Film Tank.

Provide a 3½-inch Film Tank for use with No. 3 Brownie Film.

The Kodak Film Tank consists of a wooden box, a light proof apron, a “transferring reel,” a metal “solution cup” in which the film is developed, and a hooked rod for removing film from solution. There is also a dummy film cartridge with which one should experiment before using an exposed cartridge. The various parts of the outfit come packed in the box itself.

1. Take everything out of the box. Take apron and Transferring Reel out of solution cup.
2. Insert the axles marked C and D in the cut, in the holes in the front of box. The front will be toward you when the spool carrier in end of box is at your right.
3. The axle “C” must be pushed through the hollow spindle which will be found loose in the box. The two lugs on this spindle are to engage the hooks at end of apron. The axle “D” must be pushed through the hollow rod of the Transferring Reel to hold reel in position as indicated in the illustration. The flanges at each end of the Transferring Reel are marked “Y” in the illustration.
4. Attach one end of the apron to spindle through which axle “C” passes by means of the metal hooks which are to be engaged with the lugs on the spindle. (Fig. II). The corrugated side of the rubber bands is to be beneath the apron when it is attached. Turn to left on axle “C” and wind entire apron on to spindle, maintaining a slight tension on apron in so doing by resting one hand on it.
5. Insert film cartridge in spool carrier and close up the movable arm tight against end of spool. Have the duplex paper (“B” in Fig. I) lead from the top.

Important.

Film to be used in the Kodak Film Tank must be fastened to the duplex paper at both ends. All films are fastened at one end at our factory. For instructions on how to fasten the other end, see Film Tank Manual.

6. Break the sticker that holds down the end of duplex paper, thread the paper underneath wire guard on transferring reel through which axle “D” passes and turn axle slowly to right until the word “stop” appears on duplex paper.
7. Now hook apron to lugs on axle “D” in precisely the same manner that you hooked the opposite end to axle “C” except that axle “D” turns to the right.
8. Turn handle half a revolution so that apron becomes firmly attached and put on cover of box. Turn axle “D” slowly and steadily until duplex paper, film and apron are rolled up together on transferring reel. As soon as this is completed the handle will turn very freely.
9. Prepare developing solution in solution cup according to directions in Kodak Film Tank Manual.
10. Remove cover from box and draw out axle “D,” holding apron and duplex paper with other hand to keep end of apron from loosening.
11. Remove entire Transferring Reel (now containing apron, duplex paper and film) which is freed by pulling out axle “D,” and insert immediately in the previously prepared developer.

In removing reel do not squeeze the apron but hold it loosely or slip a rubber band about it to keep from unrolling.

Using the Solution Cup.

12. Having filled Solution Cup, lower Transferring Reel into Cup, with end containing cross-bar up (Fig. III.) Let reel slide down slowly. The operation of removing reel from box can be done in the light of an ordinary room, but for safety it is well that the light should not be too bright. The total length of time for development is twenty minutes. Allow development to proceed for about two minutes with the cover of the solution cup off then place the cover on the cup (Fig. IV), putting lugs on cover into grooves and tighten cover down by turning it to right.

    Now turn entire cup end for end and place in tray or saucer to catch any slight leak from the cup; after seven minutes reverse it so cover will be up. At fifteen minutes invert the cup.

    Turning the solution cup allows the developer to act evenly and adds brilliancy and snap to the negatives.

    The developer reaches all parts of the film immediately.

13. The wire hook is to be used for lifting the reel out of the cup (Fig. V). Hook on to the cross bar in one end of reel. When the end of reel containing cross bar is at the bottom of cup, the hook is just long enough to catch the cross bar.

    Note – Immediately after lowering reel into solution cup catch it with the wire hook and move gently up and down two or three times but not allowing reel to come above surface of developing solution. This is to expel air bubbles.

14. When development is completed pour out developer and fill cup with clear, cold water and pour off three times to wash the film. Then remove Transferring Reel, separate film from duplex paper and place immediately in Fixing Bath which should be in readiness, prepared in accordance with directions on page 37.

The film may be separated from duplex paper in light of an ordinary room if the developer is thoroughly washed out.

The operation of separating film and duplex paper should be done over a bowl or bathtub or sink.

If another roll of film is to be developed wipe the apron thoroughly.

If the Film Tank is not to be used again immediately the apron and tank should be washed and wiped dry. The apron will dry very rapidly if immersed for a moment in very hot water.

Keep apron wound on Transferring Reel when not in use. Never leave apron soaking in water.

Developing Several Rolls of Film at Once.

Several rolls of film may be developed at the same time if the operator wishes. To do this it is necessary to have a “Duplicating Outfit” consisting of one Solution Cup, One Transferring Reel and one Apron for each additional roll of film to be developed. The extra rolls of film may then be wound on to Transferring Reels as previously described and immersed in the Solution Cup.

Time and Temperature for Tank Development.

It sometimes happens that the amateur is not able to obtain or maintain the standard or normal temperature of 65 degrees Fahr. when using the Kodak Tank Developer Powders. In such cases the following table will be found of value:

Time and Temperature for Tank Development – printed page 32

Temperature (degrees Fahr.)	Time – one powder (minutes)	Time – two powders (minutes)
70	15	8
69	16
68	17	9
67	18
66	19
65 (Normal)	20 (Normal)	10 (Normal)
64	21
63	22
62	23	11
61	24
60	25
59	26	12
58	27
57	28
56	29	13
55	30
54	31
53	32	14
52	33
51	34
50	35	15
49	36
48	37
47	38	16
46	39
45	40	17

Transcription note: empty two-powder cells are empty in the printed table; no intermediate values have been added.

Temperature of Developer must not exceed 70 degrees Fahr., as above that point there is danger of the film frilling. 45 degrees Fahr. is the lowest temperature at which the developing powders can be dissolved and even at this temperature the powder must be finely crushed and added slowly to the water.

It is best to use the normal temperature (65 degrees) when possible as the use of a developer that is colder than normal has a slight tendency to increase the contrast in a negative while the use of a developer warmer than normal slightly flattens the resulting negatives.

Clean Lenses.

Dirty or dusty lenses are frequently the cause for photographic failures. These pictures illustrate this point clearly. The sharp, full timed picture at top was taken with the lens clean and in good order. To produce the effect shown in the picture at bottom, the operator lightly touched the face of the lens with his thumb, which was slightly damp with perspiration.

Lenses should be frequently examined by looking through them, and if found to be dirty, should be wiped, both front and back, with a clean soft linen handkerchief. It is well also to occasionally wipe out the inside of camera with a slightly damp cloth. In summer weather this needs special attention. Large spots of dust or dirt on the lens will cause defects in the picture, while if the lens is evenly covered with a film of dust, dirt or moisture, the effect will be to cut off a great deal of light and make the picture undertimed.

Part V. Developing in the Dark Room.

Provide an Eastman A B C Developing and Printing Outfit.

The Outfit Contains:

Item	Price
1 Kodak Candle Lamp	$.25
4 Developing Trays	.40
1 4-oz. Graduate	.10
1 4 x 5 Printing Frame	.25
1 4 x 5 Glass for same	.05
1 Stirring Rod	.05
1 Box (5 tubes) Eastman’s Special Developing Powders	.25
½-Pound Kodak Acid Fixing Powder	.15
2 Doz. Sheets 4 x 5 Velox Paper	.50
1 2-oz. Bottle Nepera Solution	.15
1 Package Bromide Potassium	.05
1 Instruction Book	.10
Total	$2.30

Price complete, neatly packed, $1.50.
This outfit cannot be shipped by mail.

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 would 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, set upon the table or shelf the Kodak Candle Lamp.

The lamp gives a subdued red 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 the operator.

1. Fill one of the trays nearly full of water (first tray.)
2. Open one of the developer powders, then put the contents (two chemicals) into graduate and fill it up to the four-ounce mark with cold water. Stir until dissolved, with the wooden stirring rod and pour into the second tray.
3. To develop film unroll the film and detach the entire strip from the duplex paper.
4. Pass the film through the tray of clean cold water as shown in the cut, holding one end in each hand. Pass through the water several times, that there be no bubbles remaining on the film. When it is thoroughly wet with no air bubbles, it is ready for development.
5. Now pass the film through the developer in the same manner as described for wetting it and shown in cut. Keep it constantly in motion, and in about one minute the high lights will begin to darken and you will readily be able to distinguish the unexposed sections between the negatives, and in about two minutes will be able to distinguish objects in the picture. Complete development in the strip, giving sufficient length of development to bring out what detail you can in the thinnest negatives. There is no harm in having your negatives of different density. This can be set right in the printing. The difference in density does not affect the difference in contrast.

Keep the strip which is being developed constantly in motion, allowing the developer to act 5 to 10 minutes. The progress of development may be watched by holding the negatives up to the lamp from time to time.

When developing Eastman’s N. C. Film, use a red lamp and take care not to hold the film close to the lamp for any length of time. This film is very rapid and is orthochromatic, therefore liable to fog unless handled very carefully.

6. After completing development cut the negatives apart with a pair of shears, transfer to the third tray and rinse two or three times with clear, cold water.

Fixing.

Provide a box of Kodak Acid Fixing Powder and prepare a fixing bath as follows: Remove the cover from the box and pour into the cover enough of the Fixing Powder to fill the cover level full. Put this into a tray (fourth tray of an A B C developing outfit) or wash bowl and add eight ounces of cold water. When the powder has thoroughly dissolved add to the solution as much of the Acidifier, which you will find in a small box inside the large one, as will fill the cover of the small box level full. As soon as this has dissolved the Fixing Bath is ready for use. Any quantity of Bath may be prepared in the above proportions.

Pass the film face down (the face is the dull side) through the fixing solution, as shown in cut on page 36, holding one end in each hand. Do this three or four times and then place one end of the film in the tray still face down and lower the strip into the solution in folds. (If the negatives have been cut apart immerse them singly.) Gently press the film where the folds occur, not tightly enough to crack it, down into the solution a few times during the course of fixing. This insures the fixing solution reaching every part of the film. Allow the film to remain in the solution two or three minutes after it has cleared or the milky appearance has disappeared. Then remove for washing.

N. C. Film must always be fixed in an acid bath. There is nothing superior to the Kodak Acid Fixing Bath, but the formula on page 44 may be used if desired.

Note – If you are using an A B C developing outfit 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 blackened so as to be useless.

Washing.

There are several ways of washing film. It may be placed in tray or wash bowl of cold water and left to soak for five minutes each in five changes of cold water, moving about occasionally to insure the water acting evenly upon it, or it may be given, say two changes as above and then left for an hour in a bowl with a very gentle stream of water running in and out.

Drying N. C. Film Negatives.

After tank development when thoroughly washed, snap an Eastman Film Developing Clip on each end of the strip and hang it up to dry or pin it up. Be sure, however, that it swings clear of the wall so that there will be no possibility of either side of the film coming in contact with the latter.

In tray development when the film has been cut up, pin by one corner to the edge of a shelf or hang the negative on a stretched string by means of a bent pin, running the pin through the corner of film to the head, then hooking it over the string.

Part VI. Printing on Velox Paper.

Eastman N. C. film negatives yield beautiful, soft black and white effects when printed on the Regular Velvet Velox developing out paper furnished with the A. B. C. Outfit.

Manipulation.

Velox prints may be successfully made, using daylight for exposure. Select a north window, if possible, as the light from this direction will be more uniform. Owing to its sensitiveness the paper should be handled in subdued light, otherwise it will be liable to fog. Proper precaution should be taken to pull down the window shades and darken the room sufficiently during manipulation. If the light is too strong for printing it should be subdued or diffused by the use of several thicknesses of white tissue paper. Owing to the varying intensity of daylight uniform results are not as certain as when using artificial light. In the following instructions for manipulating Velox, it must be understood that artificial light, preferably gas with a Welsbach burner, will be the light used. A kerosene lamp, fitted with a round burner (known as Rochester burner) may be used, but owing to the decidedly yellow light this affords, a considerably longer exposure will be necessary than when using a Welsbach light.

The comparative exposure with Regular Velox with various sources of light is as follows:

Regular Velox comparative exposures

Size of negative	Distance from light	Welsbach burner	32 C. P. Elec. or 6 ft. gas burner	16 C. P. Elec. or 4 ft. gas burner	Average oil lamp
Regular Velox 4 x 5 or smaller	7 inches	40 sec.	80 sec.	2 min.	3 min.

Having provided a suitable light and a convenient place to work, arrange three trays before you on your work table in this order:

1. 1 oz. Nepera Solution; 2½ oz. Water.
2. Clean Water.
3. Kodak Acid Fixing Bath as directed on page 37.

A towel is placed between trays 2 and 3.

Proper temperature is important and for best results the developer should be 70 degrees Fahr. and the fixing bath and wash water 50 degrees Fahr. If the developer exceeds 70 degrees the prints are liable to fog and the emulsion soften. If too cold, chemical action is retarded, resulting in flat, weak prints.

Printing.

Velox may be safely manipulated ten feet from the ordinary gas flame.

Having everything in readiness, open the printing frame of the A. B. C. outfit and lay the negative back down upon the glass – (the back is the shiny side). Place upon the negative a sheet of the Velox paper face down.

The paper curls slightly, the face or sensitive side being concave; an absolute test is to bite the corner of the sheet; the sensitive side will adhere to the teeth.

The paper not used must be kept covered in its envelope.

Place the printing frame the correct distance from the artifical light used, holding the frame away from the burner a distance equal to the diagonal of the negative. See exposure table, page 39.

We suggest before making the first exposure the cutting of a piece of Velox paper into strips about an inch wide and placing one of them over the important part of the negative make the exposure, using your best judgment as to the distance from the light and the time of printing. Develop it, and if not satisfactory try another strip varying the time as indicated by the first result. When the desired effect is secured, you can make any number of prints from the same negative, and if the time of exposure, distance from light as well as the time of developing are identical, all the prints should be equally good. By comparing your other negatives with the one you have tested, you will be able to make a fairly accurate estimate of exposure required by any negative.

After taking the exposed piece of paper from the printing frame, in a safe place previously selected, it is ready for development. The dry print should be immersed face up in the developer (Tray No. 1) and quickly and evenly covered with the solution. Regular Velox should be developed not to exceed fifteen seconds; No exact time can be given as the strength of developer used would make a difference in the time.

As soon as the image has reached the desired depth remove from the developer to the second tray and rinse for a moment, turning the print several times, then place it in the acid fixing bath (Tray No. 3) keeping the print moving for a few seconds, the same as was done when rinsing, so as to give even and thorough fixing, preventing stains and other troubles. Leave the print in this solution until thoroughly fixed; this will take about fifteen minutes. When fixed remove from the fixing bath and rinse thoroughly for about an hour in running water, then dry. After drying, prints may be trimmed and mounted.

Do not use a fixing bath that has been used for fixing film.

You should be systematic in working, remembering that cleanliness is essential in photography. Care must be taken to prevent the Hypo fixing bath in any way getting into the tray containing the developer. Have a clean towel when beginning the work and wipe your hands each time after you have handled prints in fixing bath.

Details.

Clean Dishes, Clean Hands: The faintest trace of Hypo-Sulphite of Soda will spoil the prints, if it gets into contact with them before the proper time. Great care should therefore be used to have both hands and trays clean.

Developer once used should not be carried over and used the next day or subsequently.

Don’t.

Don’t use a tray for developing which has previously been used for hypo solution, pyro developer or final washing.

Don’t use an old fixing solution, it is liable to cause trouble.

Difficulties. Their Cause and Remedy.

Veiled Whites: Caused by forcing development, fogged paper.

Remedy: Give more time, screen light. Also caused when image flashes up in developer by too much exposure, in which case give less time.

Muddy Shadows: Caused by developer being used for too many prints. Remedy, use fresh developer.

Contrasty Prints: Caused by insufficient time or negative too harsh. Remedy, give more time; make softer negatives.

Flat Prints: Caused by overtiming or negatives flat. Remedy, give less time in first instance, and if trouble is with negatives, give negative less time; develop further.

Stains: Caused by forcing development, or chemically dirty dishes or hands, insufficient fixing, foreign chemicals. Remedy, do not allow chemicals other than those given in formulas to come in contact with paper; use fresh fixing bath; keep prints in constant motion the entire fifteen minutes they remain in fixing, and if due to forcing development give more time in printing.

Round, White Spots: Caused by air bells which form on face of print when developer is first flowed on. Remedy, use more developer, break air bells with finger.

Part VII. Mounting.

The most satisfactory method for mounting prints of any size is by the use of Kodak Dry Mounting Tissue, as by the use of this tissue the print lies perfectly flat in absolute contact even on the thinnest mount and absolutely without curl.

The tissue comes in flat sheets, dry, not sticky, and easy to handle, and being water proof protects the print from any impurities in the mount stock. The process of mounting is as follows: Lay the print on its face and tack to the back a piece of tissue of the same size by applying the point of a hot flat iron to small spots at opposite ends. Turn the print face up and trim to size desired, and place in proper position on mount, then cover the print with a piece of smooth paper and press the whole surface with hot flat iron. – Press, don’t rub. The iron should be just hot enough to siss when touched with the wet finger. If the iron is too hot the tissue will stick to the mount and not to the print, if too cold the tissue will stick to the print and not to the mount.

Part VIII. Developer Formulae.

Those who wish to prepare their own developer may do so but care must be exercised in securing absolutely pure chemicals and correct weights.

For 20 Minute Development.

3½ inch tank.

• 22 grains Pyro.
• 66 grains Sulphite of Soda, Desiccated.
• 44 grains Carbonate of Soda, Desiccated.

Dissolve the chemicals in order named in five or six ounces of lukewarm water, then add cold water to fill tank to embossed ring.

For 10 Minute Development.

3½ inch tank.

• 44 grains Pyro.
• 132 grains Sulphite of Soda, Desiccated.
• 88 grains Carbonate of Soda, Desiccated.

Dissolve the chemicals in order named in five or six ounces of lukewarm water, then add cold water to fill tank to embossed ring.

Correct temperature of developer 65° Fahr.

Acid Fixing Bath.

Eastman N. C. Film must always be fixed in an Acid Fixing Bath.

There is nothing superior to the Kodak Acid Fixing Powders, but the following formula may be used:

Acid Fixing Bath

Ingredient	Quantity
Water	16 oz.
Hypo Sulphite of Soda	4 oz.
Sulphite of Soda, Desiccated	80 gr.

When fully dissolved add the following hardener:

Hardener

Ingredient	Quantity
Powdered Alum	⅛ oz.
Citric Acid	⅛ oz.

This bath may be made up at any time in advance and be used so long as it retains its strength, or is not sufficiently discolored by developer carried into it as to stain negatives.

If the time of development and temperature of developer have been correct and the exposures within the latitude of the film, good negatives must result, but if error has been made in development the cause and remedy will be found in the following:

Over-Development.

Over-development may be caused by a mistake in leaving films in the developer too long, by using solutions too warm or by those who mix their own developer in getting the developing agent too strong.

In this case the negative is very strong and intense by transmitted light and requires a very long time to print. The remedy is to reduce by use of Eastman’s Reducer or by the following method:

Reducer.

First soak negative 20 minutes in water, then immerse in:

Reducer

Ingredient	Quantity
Water	6 ounces
Hyposulphite of Soda	½ ounce
Ferri-Cyanide Potassium (saturated solution)	20 drops

Rock tray gently back and forth until negative has been reduced to the desired density, then wash 10 minutes in running water or in four changes of water.

Negatives may be reduced locally by applying the above solution to the dense parts with a camel’s hair brush, rinsing off the reducer with clear water occasionally to prevent its running onto the parts of the negative that do not require reducing.

Under-Development.

This defect would be caused by a mistake in removing film from developer too soon, by using solution too cold or by an error in compounding chemicals. It is obvious that neither of these defects will occur in Tank Development, if instructions are properly followed.

Intensification by Re-Development.

There are a number of different processes for intensifying under developed negatives, the most common being by means of Bichloride of Mercury, and Sodium Sulphite or Ammonia.

This method, though simple to use, has its disadvantages, as it builds up the highlights out of proportion to the weaker portions of the negative, and also, unless carefully handled is apt to produce iridescent stains, or granular markings that are impossible to remove.

While the method of intensification by redevelopment is only comparatively new, the now common use of Velox and Royal Re-developer for Sepia tones on Velox and Bromide prints will make this the most effective means of intensification.

Velox or Royal Re-developer may be used in exactly the same manner as for producing Sepia tones on developing paper.

Negatives intensified by re-development are built up evenly, without undue contrast and without the chance of staining.

The advantage of being able to use the chemicals for two different purposes (Sepia toning prints or intensifying negatives) is obvious, the result in either case being all that could be desired.

Price List.

Printed page 47 – prices as printed in the 1909 edition

Item	Price
No. 3 Brownie, capacity 12 exposures, 3¼ x 4¼, not loaded	$4.00
Carrying Case for same with shoulder strap	1.00
Kodak Portrait Attachment for use with No. 3 Brownie	.50
N. C. Film Cartridge, 12 exposures 3¼ x 4¼	.70
Do. six exposures	.35

Order Film correctly – Ask for No 3 Brownie Film.
Uses the same spool as the No. 3 Bulls-Eye Kodak.

Price list continued

Item	Price
Kodak Film Tank, 3½ inch	5.00
Duplicating Outfit for same	2.50
Kodak Tank Developer Powders, for 3½ inch tank per pkg. ½ doz.	.20
Kodak Acid Fixing Powder, 1 pound pkg.	.25
Do. ½ pound pkg.	.15
Do. ¼ pound pkg.	.10
Velox Paper, 3¼ x 4¼, per doz.	.15
Nepera Solution, 4-oz. bottle	.20
Solio Paper, 3¼ x 4¼, per pkg. 2 doz.	.20
Combined Toning and Fixing Solution for Solio, per 8-oz. bottle	.50
Do. 4-oz. bottle (in mailing case, including postage, $.50)	.30
Eastman’s Sepia Paper, 3¼ x 4¼, 2 doz.	.15
Eastman’s Ferro-Prussiate Paper (blue-print), 3¼ x 4¼ per 2 doz.	.16
Bullet Tripod	.70
Eastman’s Hydrochinon, Eikonogen, or Pyrogallic Developer Powders in hermetically sealed tubes, per box of 5 tubes	.25
Eastman’s Reducer, per pkg., 5 tubes	.25
Velox Re-Developer, per pkg.	.50
Eastman’s Flash Sheets, No. 1 per pkg. ½ doz.	.25
Kodak Dry Mounting Tissue, 3¼ x 4¼, 3 doz.	.10

Printed page 48 – price list continued

Item	Price
Eastman’s Photo Paste, per 3-oz. tube	.15
Do. 5-oz. tube	.25
Eastman’s Film Developing Clips, nickeled, per pair, 3½ inch	$.25
Kodak Film Clips (wooden) 5-inch, per pair	.15
Kodak Candle Lamp	.25
Eastman’s Kodak Dark Room Lamp, No. 2, ⅝-inch wick	1.00
Bevplane mounts, for prints 3¼ x 4¼ per 100	.85
Do., per 50	.45
Artist’s Album, No. 1, 2 and 3, Black, White or Sepia leaves, for 20 2½ x 4½ prints	.20
Developing and printing on Velox, 3¼ x 4¼ per doz.	1.38
Do., mounted	1.50
Developing only, 3¼ x 4¼, each	.06
Printing only, 3¼ x 4¼, on Velox, unmounted	.07
Do., mounted	.08

On orders for developing and printing less than one dozen 25 cents extra will be charged.

All prints furnished unmounted unless otherwise specified.

Bromide enlargements mounted on cards

Size	Price
8 x 10	.75
10 x 12	1.00
11 x 14	1.25

EASTMAN KODAK CO.,
Rochester, N. Y.

Be Sure to Use Pure Chemicals.

To get the best negatives from your films – to get the best prints from your negatives – it is imperative that the chemicals which you use be absolutely pure.

For all our film and papers we furnish powders and solutions mixed in just the proper proportions and compounded from the purest chemicals, rigidly tested in our own laboratories.

But we go even further than this. For those who prefer to mix their own solutions by formula, we have prepared a line of carefully tested standard photographic chemicals.

Don’t mar good films and plates and good paper with inferior chemicals.

This seal is a guaranty of the highest purity. Be sure it’s on the package before purchasing.

EASTMAN KODAK CO.
Rochester, N. Y.

Make Enlargements

From Your Best Brownie Negatives

Brownie Enlarging Cameras

Are as easy to operate as are the Brownies and they make splendid enlargements too

Brownie Enlarging Camera No. 3

Makes 6½ x 8½ Enlargements
from 3¼ x 4¼ Negatives

PRICE $3.00