Box Camera

Kodak introduced in 1888 with the Kodak No. 1 specifically out a camera to sell his roll film. This camera was of simple construction, in order to appeal to prospective technically untalented. So you had to either flip the camera apart, much to adjust it.
This was a lot more for the successor to No. 2 of 1901. Exposed the No. 1 images still circular, so there were now rectangular format negatives in 21 / 4 "x 31 / 4", which is 6 cm x 9 cm corresponded. New at number two was also the case material, cardboard was not yet in front of camera design. Thus, this apparatus could, in contrast to expensive no one offered an unusually cheap and thus to the gigantic success. After 20 years, he was at that time still in production, were already sold 2.5 million copies. The immediate use of the camera also expressed in the slogan: You press the button then, do the rest! , thus freely translated: Press it once and do it from then everything else . When it was still No. 1: ! You press the button, we do the rest , it was this model that is still on the photo retailer and got it back later, along with newly inserted film, negatives and prints.

In Germany, the correct term "roll-film box camera" would have been. Box cameras were already at the beginning of photography, it was the simple counterpart of the complex Balgkameras. Towards the end of the 19th Century spoke often of the photo catalogs student cameras. These devices still used glass plates, which carry separately and deploy complex before the patient came. In the case of the new models roll film but once you took the term "box" from overseas.

Since the housing had to be finished easily and without expensive tools, it was preferably made of sheet steel, with expensive cameras ever made of lightweight aluminum and tin, with cheap cardboard. Plastic case was rare, since the heyday of this material only began with the end of the box era.
The typical structure was as follows: There was a front plate on which the lens, the viewfinder and the shutter was attached. With some cameras, this plate was fixed to the sides and the rear wall could expand or diminish either. Then let the film unit for guidance and spools holders take out what you had to toggle Filmtransportrad or pull out easily. In the expanded unit was then clamped a film. In particular, the Agfa-box cameras were set up. In another variant, the left front plate from the housing. In this case, the film guide was sitting on the front panel, then was pulled out of the housing.

In the case of a lens was a meniscus, also called Monocle, to use, so a convex-concave lens. This lens could be before or - then rotated by 180 ° - arranged behind the iris. In the latter case, there was usually a protective glass in front of the aperture and shutter. On the imaging quality of the lens position has no influence, but had to distortion. Before they created a panel attached pincushion, behind a barrel-shaped distortion. The latter meant a tube that protruded into the camera. This led to the perfect square, but also very large case.
An acceptable image quality could be achieved only with a small aperture ratio. At the film format 6 x 9, the limit is 1: 11, who was then also found frequently. Because the image quality of a meniscus to the screen out and fell off rapidly at this square format 6 x 6 was less far away, it could be the opening to 1: 9 enlarge.

The distortion of the meniscus was demonstrated by the use of two such lenses to compensate, which were arranged symmetrically around the aperture. Because of the higher costs but this was rarely used.

With very few box cameras came a achromat used, two cemented lenses, the chromatic aberration compensated. This effort could be realized only in the less popular upmarket.

Mostly had box cameras no distance setting, ie, a fixed-focus lens . At 6 x 9 was then mapped everything sharp from about 3 to 4 meters. For the range of 1 m to 2 m, there were so-called portrait lenses. There are few cameras could be set at a distance two or three stages. A sliding lens meant, however, been a considerable effort, which was not cheap for the models in question. There was also the danger that inexperienced users create then ever with the wrong attitude blurred images.

Virtually all cameras were dim, what usually happened in the beam path by a Swing-hole plate. In most cases, the panels were 11 and 16 to choose from, sometimes up to 3 f-stops. The values ??themselves were, however, as the shutter speed is often not specifically stated. Stopping the put at a meniscus lens, a significantly larger (and in medium format acceptable) picture quality with it. The so achieved greater depth of field was a by-product, partly served the aperture, shutter speed along with the simple, easy to control the exposure. Some boxes also was a close-up lens or a yellow filter mounted on the shutters and could as easily be selected.


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