Kodak No. 2 Tripod

This Kodak No, 2 tripod has a patent date of 1911, making the maximum age 111 years.  Because the tripod remained in the Kodak catalog through the 1930s it could be as little as 80 years old.  This one came from Goodwill with a ball head that did not have a manufacturer's name marked on it.  The ball head probably is not a Kodak product because I did not find a match in the old Kodak catalogs that were on line.  When I got it the legs were swinging loose, so I tightened the bolts holding the legs to the top of the tripod.  The legs are brass and the remaining parts are nickel plated steel.  The tripod fits cameras with a 1/4"-20 thread.  There is a leather case.  The ball head is chrome plated steel.  The legs have pointed feet.  Kodak did have rubber shoes for the feet to keep from scratching floors, but those are missing.  The legs extend to 49-1/2 inches.

Eastman Kodak Company used to make more than just film.  There was a wide range of cameras and photographic accessories ranging from commercial and industrial products to hobbyist products.  Their hobbyist handbook, "How to Make Good Pictures", even included formulas for darkroom chemicals.

Post-WWII Leica IIIc (1946-1951)

The Leica model IIIc was introduced by Leitz in 1940 and discontinued in 1951.  This model IIIc camera is a postwar version with a serial number in the low end of a range that was assigned in 1946-47.  The f/3.5 50 mm Elmar lens was bought separately and has a serial number from 1946.  The Leitz factory was located in the American zone of occupation and a great deal of the production at that time was for the Allied occupation forces.  The civilian export market really didn't get going again until currency reform and the creation of the Deutsche Mark in 1948.  The US list price of a Leica IIIc with a standard f/3.5 50 mm Elmar lens was $332.50 in 1948.  It was an expensive camera when it was new.  By 1950 the list price had dropped to $285.00  In 1951 the same combination was closed out at a still expensive list price of $259.00.

The wartime IIIc (1940-45) differs in a few details from the postwar IIIc (1946-51).  The most visible differences in the wartime version are a step in the top plate where the advance-rewind lever is positioned and a different shape of the range finder focusing lever.  The wartime cameras also have many variations in materials and finish.  Leitz made about 33,000 of the wartime version and about 100,000 of the postwar version.

Leica is a long running line of cameras.  The first Leica camera was designed by Oskar Barnack (1879-1936) about 1912.  It was further developed as a commercial product and introduced for sale in 1925.  Originally the Leica came with a non-interchangeable lens.  The first version with interchangeable screw-mount lenses came out in 1930,  and the bayonet lens mount came out in 1954.  Leica digital cameras are still in production today.  The screw-mount Leica is one of the most imitated of cameras.  Cameras inspired by the Leica were made in the USSR, Japan, China, the UK, France and the USA.  Some lenses and other parts were interchangeable among the various makes.  My camera happens to have a Canon (Japan) take-up spool.  Canon and Nikon lenses in Leica screw mount are well regarded.  Soviet lenses range from good to "won't even fit".

The top of the camera has the rewind knob, the focusing lever for the rangefinder eyepiece, the accessory shoe, the fast shutter speed dial, the film advance/rewind lever, the shutter button, the film advance knob and the exposure counter.  The front of the camera has the slow shutter speed dial, the lens mount and the windows for the range finder and viewfinder.  The back of the camera has the range finder and viewfinder eyepieces.  The bottom of the camera has the base latch and the tripod socket.  There are strap lugs on the left and right sides.  The metal parts are chromed and the black covering is textured vulcanite.  There is a little brassing on the knobs where the chrome has worn thin.

The f/3.5 50mm Elmar lens was designed by Dr. Max Berek (1886-1949) at Leitz about 1922.  The screw mount version of the lens was introduced in 1930 and discontinued in 1959.  It was the standard lens for Leica screw mount cameras.  It has four elements in three groups, resembling a tessar design but with the aperture diaphragm between the first and second groups  instead of between the second and third group.  My lens has anti-reflection coatings.  The lens mount has a 39 mm right-hand screw thread with a 26 threads-per-inch pitch.  Supposedly the thread pitch is from a British standard for microscope objectives.   Leitz made microscopes long before it made cameras, so this seems reasonable.  Inside the camera body is a roller that rides on a cam inside the lens and transmits the focus distance to the range finder.  The focusing lever on the lens locks at infinity.  To focus closer you press in the knob to unlock the lens and rotate the lens to focus.  The closest focus is 1 meter (3' 3-3/8").  A small tab on the front of the lens sets the aperture.  The aperture scale is marked from f/3.5 to f/16 (3.5, 4, 5.6, 8, 11, 16).  No click stops are provided, which lets you select intermediate apertures.  There is a depth of field scale on the lens barrel.  The Elmar lens is collapsible to allow the camera to fit inside a generous pocket.  To collapse the lens you rotate the barrel counterclockwise until it unlocks and push it in.  To extend the lens you draw out the barrel and rotate it clockwise until it locks.   You need to make sure the lens is extended and locked for picture taking or else your pictures will be badly out of focus.  The lens will take 19mm diameter screw-in filters (E19) or 36mm diameter slip-on filters (A36).  A Kodak No. 18 Series V filter adapter will screw onto the lens, and a Kodak 1-13/32" Series VI filter adapter will slip on.  An A36 slip-on filter or a Series adapter covers the aperture dial so you have to take off the filter or adapter to set the aperture.

The shutter is a horizontally running rubberized cloth focal plane shutter.  Winding the film advance knob advances the film and cocks the shutter.  Shutter speeds from 1/30 to 1/1000 second are set by lifting and turning the top shutter speed dial.   Slow speeds are set on the dial on the front of the camera.  The shutter needs to be cocked in order to line up the correct setting with the index mark because the shutter speed knob rotates when the shutter fires.  The top speed knob should be set to "1-30" to use the slow speeds.  The front speed dial should be set to "30" to use the fast speeds.  The front speed dial will lock at "30" to prevent an accidental bump from changing the shutter speed.  You press a small stud above the dial to unlock it.  The IIIc is not synchronized for flash.  Several different add-on flash synchronizers were available from Leitz and third party suppliers.  Some synchronizers took advantage of the fact that the shutter speed knob rotated to fire the flash at the correct time.  The shutter was synchronized for flash at 1/30 second with these attachments.  The succeeding model IIIf Leica (1950-57) had flash sync built in.

The Leica is a bottom loading camera. There is no hinged back (like most 35mm cameras) or removable back (like the Zeiss Ikon Contax) to make loading easier. The base plate comes off for loading film. The film should be trimmed to half width for about 4 inches to make a leader and hooked onto the take-up spool before the spool is placed inside the camera. You need to thread the film between the pressure plate and film gate and get the perforations onto the sprocket wheel by feel. The advance/rewind lever should be in the advance position to take pictures. When you advance the film you should see the rewind knob spin counterclockwise. The small black dot on the shutter button also spins around. You should advance the film twice, then set the exposure counter to zero. The exposure counter will count the number of pictures taken. There are templates available to help in trimming the film, but it is easy enough to cut freehand with scissors. The rationale for the solid back is that it makes the camera body more rigid.

To remove the film from the camera you switch the advance/.rewind lever to the rewind position and turn the rewind knob clockwise until all of the film is wound into the cassette.  Then you can take off the base and remove the cassette.

The viewfinder and range finder have separate eyepieces, with the viewfinder on the right.  The field of view of the viewfinder matches the field of view of the standard 50 mm lens.  An auxiliary viewfinder for a wide angle or a telephoto lens fits into the accessory shoe.  The rangefinder is a coincident type.  When the double image in the eyepiece merges into a single view the camera is in focus.  The range finder eyepiece magnifies about 1.5 times and has a focus adjustment for the clearest view of distant or near objects.

To use a standard cable release you need a "Leica Nipple" adapter that replaces the collar around the shutter button.  The same style adapter was used on some Yashica and Nikon cameras.  The tripod socket takes a 3/8" diameter thread.  You need a 3/8" to 1/4" adapter to use most modern tripods.

The peacetime Leica IIIc probably is the most affordable Leica as a user camera.  The wartime IIIc cameras tend to be expensive collectors' items.  Photographic technology has advanced quite a bit in the 70-80 years since the IIIc was new, and the camera is decidedly quaint.  It is definitely finely made and it still is a good picture taker.

 

Street signs near Nissan Stadium, Nashville, Tennessee
Kodak Portra 160, f/3.5 50 mm Elmar

Voigtlander Bessa 66 (about 1939)

The Voigtlander Bessa 66 is a folding camera that takes 2-1/4" square (6cm x 6cm) pictures on size 120 roll film.  It was made from 1938 until 1950 with an interruption due to WWII.  This one was made probably in 1939 and was an export model because the distance scale and the depth of field calculator are in feet.  The Bessa 66 came with a range of lenses, shutters and viewfinders.  The available lenses were the Voigtar (three elements in 3 groups), the Skopar (4 elements in 3 groups) and the Heliar (5 elements in 3 groups).  [An element is a single lens.  Groups are separated by air spaces and a group consists of either a single element or multiple elements cemented together.]  The available shutters were the Gauthier Prontor II (fastest speed 1/175 second), the Deckel Compur (1/300) or the Deckel Compur-Rapid (1/500).  The available viewfinders were a folding open frame finder, a folding optical finder and an enclosed optical finder.  The cameras with enclosed viewfinders also had automatic frame counters.  The features on this Bessa 66 include an uncoated f/3.5 Voigtar lens, a Compur-Rapid shutter, an enclosed optical viewfinder and an automatic frame counter.  The shutter is not synchronized for flash and does not have a self-timer.  Anti-reflective lens coatings, flash synchronization and self-timers appeared post-WWII.

The top of the camera has the film winding knob and the frame counter window.  The bottom of the camera has the lens door button, the 3/8" tripod socket, the base support and the depth of field calculator.  The front has the lens door and the viewfinder window.  The back of the camera has the viewfinder eyepiece, the frame counter start slider, and the little red window.  The red window has a shutter that you open and close using the knob next to the window.  The film back hinge is on the left and the film back latch is on the right.

The lens is an uncoated, f/3.5-f/16, 75 mm, Voigtlander Voigtar lens with front cell focusing.  A 32 mm Series VI filter adapter fits the lens.  The Voigtar is a Cooke Triplet design.  The Cooke Triplet was invented in 1893 by Harold Dennis Taylor (1862-1943) at the Thomas Cooke and Sons optical firm in England.

The shutter is a Compur-Rapid leaf shutter with speeds of 1, 1/2, 1/5, 1/10, 1/25, 1/50, 1/100, 1/250 and 1/500 second.  The shutter release is on the lens door and is interlocked with the automatic frame counter to prevent double exposures.  The socket for a cable release is on the top of the shutter release mechanism near the lens door hinge.  The shutter is manually cocked with a lever on the side of the shutter.

When you press the lens door button the lens door pops open and you can pull the lens door down until the lens struts click into place.  To close the lens door you press the curved plate under the lens to unlatch the lens struts and push the lens door closed.

To open the door to the film compartment you turn the base support to the front, squeeze together the latches and pull open the door.  The film door latches when you close it.  Turning the base support back under the base moves a tab under the bottom latch to keep it closed.

The frame counter has to be at zero in order to load film.  If the counter needs to be reset you rotate the toothed roller near the supply chamber to the left until you hear a click, then cock and release the shutter.  Repeat until the counter is at zero and the film winding knob turns freely.  The take-up spool goes into the cradle on the left under the winding knob.  The new roll of film goes into the cradle on the right side.  Thread the backing paper into the slot on the take-up spool, close the back and wind the film until the number 1 shows through the little red window.  You push the start slider to the left and a one will appear in the frame counter window.

To take a picture you set the aperture and the shutter speed, focus the lens, cock the shutter, aim and press the shutter release lever on the lens door all the way down to take a picture.  The lever then locks to prevent a double exposure.  The winding knob unlocks when you press the shutter release lever.  Turn the winding knob until it locks to advance to the next frame.  You need to advance to the next frame to unlock the shutter release lever.  After you have taken 12 pictures the frame counter resets to zero and the winding knob turns freely to let you wind up the roll of film to be ready to load a fresh roll.

The focusing scale has distant and near settings for snapshots.  When the aperture is set at f/8 and the focus is set to the circle symbol (about 32 feet or 10 meters)  on the focusing scale, the depth of field extends from 16 feet or 5 meters to infinity.  When the lens is set at the triangle symbol (about 11 feet or 3.3 meters) the depth of field extends from 8 feet or 2.5 meters to 16 feet or 10 meters.  Use the depth of field calculator on the bottom to estimate the depth of field for other settings.

For long exposures you can put the camera on a stable support and use a cable release.  You can turn the base support forward to set the Bessa 66 on a level surface without tipping over.  The tripod socket takes a 3/8" screw.  You need a 1/4" to 3/8" adapter to use most modern tripods.

The Bessa 66 folds to about the size of a 35 mm camera.  The Bessa 66 and Bessa 46 (4.5cm wide x 6cm tall pictures) were known as "Baby Bessas" because they were so compact.  The camera is entirely manual.  Scale focusing takes a little getting used to.  A hand held range finder helps with focusing.  An exposure meter helps with setting the aperture and shutter.  When the camera was new, 100 speed film was "fast."  The camera settings have enough range to use current 400 speed film on a sunny day.  The frame counter on this camera is a little cranky after 80-plus years and takes gentle handling.

Voigtlander started making scientific instruments in 1756 and made its first camera in 1840.  The camera factory closed in 1971.  After 1999 Cosina Co., Ltd., Japan, made products with the Voigtlander name. 

This picture was taken several years ago on ISO 100 Arista.edu Ultra film.  The Bessa 66 makes nice pictures.

View-Master Personal Stereo Camera (1952-1955)

You might remember looking through a View-Master viewer at a reel of scenic views or cartoon favorites on a reel of color stereo slides. You might not remember that you could have made your own View-Master reels with this View-Master Personal Stereo Camera. Sawyer's, Inc., Portland, Oregon, began producing View-Master reels and viewers in the 1930s. During the 1950s stereo photography boom, Sawyer's sold a home photography View-Master system consisting of a camera and a film cutter. The photographer would shoot a roll of 35 mm slide film, have it developed, and either send the film to Sawyer's to be mounted in View-Master reels or cut and mount the film at home using a View-Master film cutter and empty View-Master reels. The cameras were made for Sawyer's by Stereocraft Engineering Company, also in Portland, Oregon. Patents on the camera were filed by Gordon N. Smith and assigned to Stereocraft. Stereocraft Engineering Company made other products for Sawyer's and eventually merged with Sawyer's. Sawyer's merged with GAF in 1966. GAF got out of the photography business in 1977. View-Master viewers and commercial reels are still sold as toys.

The body of the camera is die cast metal with a small amount of chrome. The top of the camera has the winding knob, film length indicator, exposure counter, exposure calculator/aperture setting/shutter speed setting knobs, a flash connector and a film advance indicator. The bottom has the film loaded indicator, the tripod socket and a summary of the instructions for loading film. The front of the camera has the front lens of the viewfinder, two windows for the paired lenses, the A/B shift knob, the cable release socket and the shutter button. The back of the camera has the rear lens of the viewfinder. A spirit level is visible through the viewfinder. The film door is hinged on the left and has a latch on the right. The camera weighs 1 lb. 7-1/2 oz. (0.67 kg) without film. It is 6 in. wide by 3-3/4 in. high by 2 in. deep (15 cm x 95 cm x 5 cm). The camera came in either black or, uncommonly, brown.

The lenses are matched, fixed focus, View-Master f/3.5-f/16, 25 mm, coated anastigmats with three elements in three groups. The range of sharp focus depends on the selected aperture. Close focus is as close as 4 ft. with the camera set to f/16, and 10 ft. with the camera set to f/3.5. The best stereo effect is with the aperture set to f/11 or f/16 for the greatest possible depth of field. Subjects should be no closer than 6 or 7 ft. The lenses are spaced 2-7/16 in. (62 mm) on centers, which is about the average interpupillary distance for a natural stereo effect. The lenses are located behind plane glass windows that protect the shutter blades. The window mountings hold Series V drop-in filters. The camera came with retaining rings threaded into the window mountings. Wratten 85 color correction filters were commonly used with tungsten balanced Kodachrome A film outdoors in daylight.

The shutters are guillotine types located in front of the lenses. They function like the shutter on the Minox camera. Continuously variable shutter speeds run from 1/100 second to 1/10 second plus bulb.

The aperture and shutter speed knobs are coupled to an exposure setting calculator. You set the film speed (from ASA 5 to 100) to the season (Summer or Winter) and match the weather conditions to the brightness of the subject by selecting the aperture and shutter speeds. It is a very workable system. Stereocraft put the same calculator on the TDC Stereo Vivid camera they made for Bell and Howell.

The film advance and rewind are unique to this camera. Using a 36-exposure roll of 35mm color slide film, the camera makes 69 pairs of 12 mm x 14 mm pictures. Four pictures fit in the area taken up by one full frame 35 mm picture. 34 pairs of pictures are made on the lower half of the film as it moves forward from the film cassette to the take-up spindle. A knob on the front of the camera shifts the lenses from lower to upper, and the film transport from forward to reverse. 35 pairs of pictures are made on the upper half of the film as it moves back from the spindle into the cassette. The wind knob turns counterclockwise for advance and clockwise for reverse.

The shifting lenses on the View-Master Personal Stereo Camera

The shutter is open on the bulb setting to show the lenses.

When the camera was new photographers would send their Kodachrome film to Eastman Kodak for processing and have the processed film returned uncut. They then had the option of sending the film to Sawyer's or one of their dealers to be mounted on View-Master reels or cutting and mounting the slides themselves. Sawyer's sold a film cutter and blank, View-Master personal reels. The film cutter is a necessity for do-it-yourself mounting because it is difficult to cut the slides by hand to fit a reel. Blank View-Master reels are no longer made, but old stock still appears on eBay. It might be possible to cut your own reels on a paper craft cutter like the Cricut machine. Commercial View-Master reels from a thrift store could be reused by taking out the old slides. Some commercial reels are in demand as collectibles, making it a good idea to check prices before sacrificing one of your potentially valuable commercial reels.

The model FC-1 film cutter uses a 15 watt light bulb to illuminate the slides. The knob on the front advances the film through the cutter. Pressing the handle punches out the chips for one stereo pair. To keep from mixing up the chips from different stereo pairs you should mount the slides as you go along. To punch out the pairs of chips you feed the film from right to left with the emulsion side down. Once you finish one row of pictures you turn the film over and cut the second row, feeding the film from left to right with the emulsion side up. The View-Master camera has a square notch on the right film gate and a rounded notch on the left film gate so you can tell left from right, and the notches match the guides printed on blank View-Master personal reels.  If you are intending to make your own View-Master reels it is a good idea to find the somewhat uncommon film cutter first.

The chips can be slipped into a View-Master reel holding 7 stereo pairs. The personal reels have spaces to write descriptions of slides if you write small. A 36 exposure roll of color slide film makes enough pictures to nearly fill 10 View-Master reels.The same View-Master hand viewers for commercial reels work with personal reels. Sawyer's made a 3D slide projector for viewing reels in 3D with special Polaroid glasses. You also needed a special aluminized screen that reflected polarized light. Sawyer's also made 2D projectors that projected only one slide of a pair.

There is a matching flasholder that is unique in having a built-in range finder. You looked through the eyepiece at the top of the flasholder and turned the inner part of the dial to merge the double images into one. This measured the distance to the main subject. You then set the outer part of the dial to the guide number for the flashbulb and film you are using. You read off the aperture to use according to the tonal value of the main subject.

There also were close-up attachments, which I don't have, that focused at 36 inches or 24 inches.

Stereo-Tach Stereo Photography Attachment (about 1939-1951)

The Stereo-Tach (rhymes with attach) is a gadget for taking stereo pictures with just about any camera from 35 mm to 4x5 large format. It uses four front surface mirrors to put two pictures with slightly different viewpoints side by side on the same negative. The stereo pairs are in portrait format. The stereo baseline is about 70 mm, which is roughly the same baseline on most stereo cameras. To compose the picture through the camera viewfinder you have to remember that the image is only half as wide as a normal image. The waist level viewfinder can be used to compose the picture if the Stereo-Tach blocks the camera's viewfinder.  You also need to double the exposure.

A Series VI insert is attached. The inner recess is for a

Series V insert. The outer recess is for a Series VII.

The Stereo-Tach in the pictures has a Series VI insert to attach the Stereo-Tach to an adapter ring for the camera lens. Series V, VI or VII inserts and adapter rings could be used for lenses ranging from 3/4" to 2" in diameter. When an adapter was not available for the lens an adjustable mounting bracket could be used to attach the Stereo-Tach to the tripod socket on the camera body. The Stereo-Tach needed to be level with the camera and centered on the lens to work.

A matching slide viewer was available. The images of a stereo pair appear slide-by-slide on a standard 35mm slide. The viewer uses four mirrors to reflect the images and get the separation needed. The viewer could fit inside a unit with a battery powered light for illumination. A print viewer was available.

Stereo-Tach ad from the July, 1939, issue
of Popular Mechanics, page 144A

The Stereo-Tach was invented by Charles D. Austin. It was first made by the Commonwealth Manufacturing Co., Cincinnati, Ohio, and later by Advertising Displays, Inc., Covington, Kentucky. The list price for a set containing the Stereo-Tach and the slide viewer was $22.50 plus tax in 1948. The price was cut to $17.70 about 1950. Sets were made for cameras using 35 mm film, roll film and Polaroid film. The Stereo-Tach could not fit some cameras like the Kodak Bantam Special where there wasn't enough clearance around the lens for the attachment. The Stereo-Tach stayed on the market only a few years. The beam-splitter principle used in the Stereo-Tach was used in stereo attachments from other manufacturers including Kodak, Leitz and Zeiss. Pentax made one in the '70s for 35 mm SLRs.

A stereo pair made with a Stereo-Tach

The mirrors in a stereo attachment have to be precisely aligned so the images are not tilted, which would spoil the stereo effect. The mirrors in this example are a little out of alignment. Being part of that roughly 4% of the population without stereo vision owing to strabismus, I'm not sure how bad this one is.

David White Company Stereo Realist (1947-1971)

The Stereo Realist camera is the first 3D camera made for 35mm slide film. It was invented by Seton Rochwite and made by the David White Company. Seton Rochwite (1904-2000) was an electrical engineer (Marquette, 1929) and inventor. David White Company was a manufacturer of surveying equipment. About 125,000 cameras were made from 1947 to 1971.

The camera has a black and chrome, die cast aluminum body. The front of the camera has a flip up lens cover, a matched pair of lenses, the aperture rings around the lenses, the viewfinder window, the shutter speed dial around the viewfinder window, the shutter cocking lever and the two range finder windows. Under the lens cover is a depth-of-field table or an exposure table for Kodachrome film, depending on the particular version of the Realist. The back of the camera has the double exposure button, the film release button and the eyepieces for the viewfinder and rangefinder. The top of the camera has the rewind knob, the cable release socket, the shutter button, the shutter trip indicator, the flash shoe, the exposure counter, the film rewind/advance control and the wind knob. The bottom of the camera has the tripod socket and a latch to unlock the back of the camera. The focusing knob and a depth of field scale are on the right side. Strap lugs are on the left and right sides.

The lenses are coated, f/3.5-f/22, 35 mm cooke triplets. The camera is focused by moving the film plane, and the closest focus is 2-1/2 ft. The Realist makes two 23 wide by 25 mm high pictures of the same scene through a pair of lenses spaced about 70 mm apart. Pictures of one pair are 15 perforations apart on the film and the film is advanced 10 perforations for each pair. This interleaves the pictures on the film. The film gates and lenses are positioned so the lines of sight from the left and right lenses converge about 2 meters in front of the camera. This helps create the illusion of depth. Because the images are about five film perforations wide Realist format is also called 5P format. The Realist format was the most popular format for stereo slides and was used in stereo cameras from a number of other manufacturers.

The guillotine type shutters are located behind the lenses. Shutter speeds run from 1/150 second to 1 second plus bulb and time. The shutter is interlocked with the film advance to prevent an accidental double exposure. To make a deliberate double exposure or make a time exposure pull out the double exposure button.

To load the camera, turn the advance/rewind control to "R". Unlatch and remove the back. Push up the rewind knob, put the new film cassette in the film chamber on the left and push down the rewind knob, engaging the key in the film spool with the fork on the rewind shaft. Thread the film between the sprocket wheel and the guard, making sure the teeth on the wheel engage the sprocket holes on the film. Insert the film leader into the slot on the wind spindle. Turn the wind knob a little to make sure the film is moving properly. Replace and latch the back and turn the advance/rewiind control to "A". Press the film release button and turn the wind knob until it stops. Advance the film twice more. Turn the exposure counter counterclockwise to "1". It won't turn backward.

To take a picture, focus the camera, set the shutter speed, set the aperture, focus the camera on the subject, cock the shutter and press the shutter button. After taking the picture, press the film release button and advance the film for the next picture.

To unload the camera, turn the advance/rewind button to "R" and turn the rewind knob until the film is wound back into the cassette. Unlatch the back and remove the old cassette.

The flasholder uses three AA batteries and takes 5 or 25 bayonet base flashbulbs, or M miniature base bulbs using an adapter. The shutter syncs with flashbulbs at 1/25 second. A modern electronic flash adapter is available.

Series V drop-in filters fit the combination lens hood/filter holder. There also were available pairs of push-on haze filters for daylight film, flash filters for using tungsten balanced film with clear flashbulbs, and color correction filters for tungsten balanced film in daylight.

The film identifier was a gadget that let you shoot a picture of a 1-3/8 in. square card with information about that roll of film. The identifier slipped over the left-hand lens of the Realist. A positive lens in the identifier put the card in focus. An image of the card appeared on the otherwise wasted frame between the first and second stereo pairs at the start of the roll.

The Stereo Realist was made for 35mm Kodachrome slide film, which debuted in 1936. At the time Kodak had a monopoly on developing Kodachrome film, which required an specialized development process. Customers could have their film developed by Kodak and mounted in Realist 4 in. x 1-5/8 in slides by David White Co. or a dealer. Kodachrome is long gone, but the camera does have a wide enough range of settings for current Ektachrome or Velvia film. Stereo slide mounting is no longer commercially available. For do it yourself slide mounting I like to use the plastic slide mounts available on eBay from 3d-drt-3d. Transparencies can be viewed in a stereo slide viewer or projected. As an alternative to transparencies, you could use negative film and mount prints on stereo cards for viewing with a parlor stereoscopic viewer.

The stereo illusion is supposed to be strongest using the smallest aperture allowed by the available light in order to have the greatest of field, and with the nearest object about 2 meters or 7 feet in front of the camera. The camera needs to be level. Because the Realist has sharp edges, it is more comfortable to hold when it is in its leather case.

Minolta 110 Zoom SLR Mark II (1981-)

Minolta released an updated version of the 110 Zoom SLR (https://fourelementsinthreegroups.blogspot.com/2020/08/minolta-110-zoom-slr-1976-1979.html) in 1981. This model looks just like a small 35 mm SLR camera. According to a review in the March, 1981, issue of Popular Photography, the list price was $342 (not cheap). This example has the all lower case "minolta" on the nameplate. Later examples have the all upper case "MINOLTA" with the barred circle logo instead of an "O".

The top of the camera has the aperture and exposure compensation dial, the hot shoe, the exposure mode dial, the shutter release and the battery check/self-timer dial. The lens has the focusing ring, the zoom ring and the macro mode switch.

The bottom of the camera has the battery compartment, the tripod socket and the film advance lever.

The front of the camera has the battery check/self-timer LED.

The back of the camera has the eyepiece cover lever, the eyepiece diopter adjustment slider, the film door and its latch.

The left side is pretty plain, with only a strap lug.

A hand grip and strap lug are on the right side.

The lens is an f/3.5-f/16 25-67 mm zoom (equivalent to 50-135 mm on a 35 mm camera). The zoom ring is marked at 25, 30, 40, 50 and 67 mm. Apertures are set by a knob on the top of the camera. Apertures are marked at f/3.5, 4, 5.6, 8, 11 and 16. Click stops are at 1/2 stop intervals. The mormal close focusing distance is 1.1 meters (3 ft. 7 in.). With the macro function engaged the lens will focus from 200 mm to 890 mm (8 to 35 inches) to give 0.19x to 0.07x magnification. The lens has 12 elements in 10 groups, plus a macro focusing element that swings in when the macro function is engaged by moving the slider on the top of the lens.

The exposure mode is set by the dial on the top right of the camera. Functions are lock ("L"), auto ("A"), flash ("X"), and bulb ("B"). The lock setting turns off the camera and locks the shutter release. The auto setting lets the camera automatically set the shutter speed from 1/1000 second to 1/4 second according to the light level and film speed. The film speed is sensed by a feeler that reads a tab on the film cartridge and can be either "slow" (about 100) or "fast" (about 400). Flash mode sets the shutter to 1/125 second to sync with electronic flash. Bulb mode holds the shutter open for as long as the shutter button is depressed. The shutter button is threaded for a cable release. Pushing the BC-ST switch to the right starts the self timer. The LED flashes while the self timer is running. Pushing the switch to the left checks the battery. The LED lights to show that the battery has enough power.

The viewfinder has a split image focusing aid. Shutter speeds are displayed on the left for 1/1000, 1/500, 1/250, 1/125 and 1/60-1/4 second. Small triangles light at the top or bottom to show over exposure or too low a shutter speed. An eyepiece blind is provided to block stray light from coming through the eyepiece when using the self timer. The eyepiece can be focused for -1.1 to +0.8 diopter correction by a slider above the eyepiece. Stronger clip-in correction lenses were available in the range -4 to +3 diopters.

110 film comes in plastic drop-in cartridges. The cartridge only fits one way. The film advance is by the lever on the bottom left of the camera. The film advance stops automatically at the next picture. When the roll in finished you wind the film all the way onto the take up spool and send the cartridge the lab.

Minolta made the Auto 118X flash to go with the 110 Zoom Mk II. The flash had one automatic range for 100 speed film and another for 400 speed film. There also was a manual, full power, setting. On manual the flash had a guide number of 18 meters (59 feet) with 100 speed film. When the flash was turned on and ready to fire, an extra contact in the hot shoe received the flash ready signal to automatically switch the shutter speed to the 1/125 X-sync setting and light a flash ready LED in the viewfinder.. The manual X-sync setting on the camera was for use with flashes that did not have the dedicated flash ready signal.