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and CL'DY BRT (both black). These words have lines pointing to different f stops, depending on where the shutter speed is set. The
Aperture lever has 9 positive clicks labeled 3.5, 4, (black dot), 5.6, (red dot), 8, 11, 16, 22. The red dot indicated f 6.3. These exposure suggestions are based on ASA 10 (not 100!) film which in 1954 was still the standard film for color slides just as it had been when the Realist was introduced. The recommended setting for bright sun was a shutter speed of 1/50th with an aperture of f 6.3.
331:
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27:
201:, the Kodak had a self-cocking shutter. Like later model Realists it had built in double exposure prevention which could be overridden by the manual shutter cocking lever located on the bottom of the camera. Releasing the shutter also released the wind mechanism, so once a picture was taken the user needed only to wind the film to be ready for the next one. The rewind knob has a crank, which most consider an improvement over the ordinary rewind knob on the Realist.
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will give 18 stereo pairs, but there is no special marking as 24 exposure rolls of film were not standard at the time the camera was produced. Opposite the counter was another manually set dial which indicated whether the cameras was loaded with "Daylight" film or "type A", though it had no film speed indicator.
142:, the camera employed two lenses to take twin shots of scenes, which could then be viewed in dedicated image viewers. The lenses supported adjustable apertures and variable shutter speeds. The camera had a reputation for being easy to use, and sold approximately 100,000 units during the time it was produced.
272:
For a while the Kodak Stereo camera was outselling the Stereo
Realist and might have eclipsed the Realist in all time sales, had it been introduced sooner. But by the end of 1954 the public's fascination with stereo imaging was fading. Hollywood came out with only one 3D movie in 1955, and it was the
215:
The shutter speed and aperture controls are located at the top of the camera. Shutter speed control is through a sliding bar which is marked B 25 50 100 and 200. The number 50 is red, the other numbers are black. The other side, next to the f stop numbers, has markings that say BRIGHT (in red), HAZY
211:
The film counter was the countdown type, which would be manually set when film was loaded according to how many pairs the roll could take. The number 20 was in red and there were red marks at 15 and 28, for use with standard 20 and 36 exposure rolls of film. A properly loaded 24 exposure roll of film
268:
When The Kodak stereo camera was finally released at the end of 1954 it was an instant hit. The price tag, $ 84.50, about half the price of a
Realist, certainly helped, but so did the ease of use, especially the self-cocking shutter, rewind crank, and controls easily set from the top. When this was
253:
Another image strip from Kodak stereo camera. The last set of four images includes a blank frame as does the first set of four images. Image 36 is the left eye image of the final pair with the image to the right of the blank image E being the left eye image of the same pair. This image is complete
240:
Image strip from Kodak stereo camera. The Kodak Stereo camera has a notch above the left eye image between P1 and P2 and above the right eye image it has a two notches, one between P3 and P4 and another between P4 and P5. Image 28A is the right eye image with 30/30A being the left eye image of the
227:
The flash connector was different from other 50s era stereo cameras; instead of the then-standard old style hot shoe (usually called an "accessory clip") it featured a bayonet type connector, which was an emerging standard in the later 50s. Unlike the hot shoe, it couldn't support a flash unit on
161:
Format camera released late in 1954. It used 35mm slide film to produce stereo pair images in the standard 5P Realist format. This allowed Kodak Stereo Camera owners to use most accessories and services originally designed for the Stereo
Realist. It was the second best selling stereo camera of the
223:
stereo camera is done by turning a dial located on the lens mount. The two dials are ganged so that they focus together and they can be focused by turning either dial. The right lens focus dial is marked with distances 4, 5, 6, 8, 10, 15, 25, 50, INF. Behind this dial is an arrow pointing at the
311:
Several companies have announced digital stereo cameras which will hit the market soon. If history repeats itself, Kodak will wait till another company proves the ground before introducing its own offering. This time it may even catch on and stick around a while. It may well be that the "Stereo
288:
There was no deluxe model as with the
Realist and the design of the camera remained essentially unchanged throughout its run. Home mounting kits seemed to be against the philosophy of the Kodak stereo camera and by then third party support for stereo slide mounting and storage was pretty well
276:
The Kodak stereo camera was produced until 1959 and an estimated 100,000 were sold. Kodak continued its stereo slide processing service into the late 80s, but it may well be that over half the slides processed through it were taken with Stereo
Realists, which were produced until 1971.
224:
point of focus and red marks showing the range of sharp focus for 3.5, 5.6, (red dot) and 8. The red dot corresponds to f 6.3. This is very similar to the depth of field scale on later model
Realists. The left lens focus dial is marked "close ups", "groups" and "scenes".
264:
Kodak had introduced its mounting service in 1953 and in the summer of 1954 began a huge advertising campaign for it. At about the same time they introduced their
Kodaslide stereo viewers, but it wasn't until the end of 1954 that the Kodak stereo camera was introduced.
304:
It is nearly impossible to determine which camera was used to produce a mounted stereo slide after the fact, but at least some of the stereo slides now eagerly sought by collectors were snapped with a Kodak, including many taken after 1959.
273:
last of the era. The stereo photography market was not hit as hard or as abruptly as some other stereoscopic industries, but the market slipped considerably after 1955, and the downward spiral continued over the next several years.
297:
Kodak continued producing its
Kodaslide stereo viewers for several years after it stopped producing the Kodak stereo camera. Kodak stereo camera users could continue to use the Kodak mounting service into the late 1980s.
330:
308:
Kodak has not produced a stereo camera since 1959 and it seems unlikely that any film stereo will ever again bear the Kodak name. But Kodak's involvement with stereo imaging may not yet be over.
204:
The view finder lens was placed directly between the two taking lenses and placed at the same vertical level. This was made possible through the use of mirrors. This made framing shots easy. A
318:
285:
The Kodak Stereo camera didn't have as wide a range of accessories as were offered for the
Realist. Aside from the Kodaslide viewers already mentioned, Kodak also produced two flash units.
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Most third party support which Realist users enjoyed, including accessories and supplies, could be used with the Kodak stereo camera.
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Though it lacked a rangefinder the Kodak stereo camera is often considered to be easiest of the 50s stereo cameras to use.
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Standard mount used by Kodak after 1958, note the modern color scheme. Processing date was embossed on the other side.
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was visible in the view finder, making it easier to avoid camera tilt, one of the pitfalls of stereo photography.
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Standard mount used by Kodak through 1957. Note older color scheme. There was no embossed processing date.
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combined with the trusted Kodak name, it is not surprising that it was sold so well.
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Kodak Stereo camera from the bottom, note the manual shutter cocking lever.
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its own. A separate L bracket was needed to physically hold the flash.
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Kodak Stereo camera with the back removed, showing the film chamber.
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but is only partially shown due to the limits of the scanner.
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established. There was no Kodak Stereo projector either.
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Realist" of the 21st century will be a Kodak camera.
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162:1950s era, eclipsed only by the Stereo Realist.
399:Amazing 3D by Hal Morgan and Dan Symmes page 45
390:Amazing 3D by Hal Morgan and Dan Symmes page 49
138:produced between 1954 and 1959. Similar to the
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376:Kodak Stereo Camera users manual, page 28
367:Kodak Stereo Camera users manual, page 49
16:35mm film stereo camera produced 1954-59
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1359:You Press the Button, We Do the Rest
31:Front view of a Kodak Stereo Camera
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1283:Kodak v. Image Technical Services
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182:Kodak Stereo camera from the top
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940:Kodacolor (still photography)
1401:Products introduced in 1954
691:Z712 IS ZOOM digital camera
1417:
1396:Cameras introduced in 1954
716:Cine Special 16mm Cameras
24:
1006:Carousel slide projector
686:Z612 Zoom Digital Camera
471:ESL Federal Credit Union
1353:Union of Kodak Workers
1337:Eastman Color Positive
1332:Eastman Color Negative
935:Kodacolor (filmmaking)
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183:
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1224:Eastman Business Park
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1178:Leopold Godowsky Jr.
1051:Kodacolor Technology
1011:Cinema Digital Sound
1249:Kodak Picture Kiosk
1239:Kodak Park Railroad
961:High-Speed Infrared
129:Kodak Stereo Camera
21:
20:Kodak Stereo Camera
1183:Thomas J. Hargrave
1142:Four Thirds system
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1208:William S. Vaughn
1146:Micro Four Thirds
1076:Proofing Software
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827:
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814:Vest Pocket Kodak
699:
698:
451:Chinon Industries
125:
124:
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1254:Kodak, Tennessee
1244:Kodak Photo Spot
1001:Autographic film
996:Approval proofer
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219:Focusing on the
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1290:Vroegh v. Kodak
1276:Kodak v. Worden
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1203:Henry A. Strong
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819:Vigilant camera
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1386:Stereo cameras
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989:Other products
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140:Stereo Realist
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1391:Kodak cameras
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1198:Steven Sasson
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1066:Motorola Zine
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773:Retina Reflex
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461:Kodak Express
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438:
437:Eastman Kodak
431:
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155:Stereo Camera
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136:stereo camera
134:
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109:
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75:Sensor/medium
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63:
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50:
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40:
35:
28:
23:
1365:Sponsorships
1288:
1281:
1274:
1193:Kenneth Mees
1119:The Brownies
1111:
925:Eastmancolor
808:
444:Subsidiaries
395:
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310:
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275:
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206:spirit level
203:
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149:
128:
126:
1268:Court cases
1259:Kodak Tower
1137:DX encoding
918:Color print
832:Camera film
747:Kodak 35 RF
725:Rangefinder
281:Accessories
197:Unlike the
146:Description
89:Sensor size
80:Sensor type
1380:Categories
1233:Building 9
1128:Technical
1071:Picture CD
909:Kodachrome
904:Ektachrome
794:Instamatic
711:Ciné-Kodak
547:400 series
542:300 series
342:References
241:same pair.
70:Fixed lens
1300:Processes
1130:standards
1086:Starmatic
1056:Kodascope
1041:KAF-10500
1026:Ektaprint
804:Starflash
737:Retinette
592:EasyShare
582:Pro SLR/n
577:Pro SLR/c
495:DC series
293:Post 1959
133:35mm film
1096:Versamat
1021:Colorama
742:Kodak 35
166:Features
98:Focusing
37:Overview
1346:Related
1081:S-mount
1046:Keykode
1036:Gallery
954:B&W
886:Super 8
839:Formats
789:Brownie
572:Pro 14n
487:Digital
480:Cameras
260:History
199:Realist
159:Realist
121:Bayonet
1217:Places
1161:People
1091:Ultima
1016:Cineon
945:Portra
782:Others
766:Reflex
752:Signet
732:Retina
681:Pixpro
674:Others
655:DX7590
650:DX6490
645:DX6440
640:DX4530
635:CX4230
630:CX4200
508:DC3200
466:Qualex
157:was a
131:was a
106:Manual
55:Stereo
1105:Media
971:Tri-X
966:T-MAX
930:Ektar
757:Ektra
704:Movie
600:C1013
567:DCS 3
562:DCS 1
557:D6000
552:D2000
503:DC215
221:Kodak
152:Kodak
117:Flash
111:Flash
103:Focus
46:Kodak
42:Maker
1327:K-14
1322:RA-4
1312:C-41
1307:C-22
881:Disc
799:Pony
665:V570
660:P880
625:C813
620:C613
615:C340
610:C330
605:C300
529:DSLR
456:Creo
150:The
127:The
93:35mm
83:Film
66:Lens
60:Lens
52:Type
1317:E-6
1061:KPR
876:828
871:616
866:135
861:127
856:126
851:120
846:110
537:100
518:DCS
1382::
526:EF
522:NF
381:^
350:^
1361:"
1357:"
1235:)
1231:(
1148:)
1144:(
524:/
429:e
422:t
415:v
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