Sepia Saturday 219: Vacation Days are Kodak Days

Almost five years ago Bill Nelson shared several images with me from a large, fascinating set of nitrocellulose negatives taken during a grand tour of Europe during the summer of 1904, and very kindly offered me the use of them for future Photo-Sleuth blog posts. It's taken me a while, and I'll admit they did slip off the radar a little in the mean time, but at last I've found an opportunity to use a few of them. Hopefully I'll be able to share more of them in the next few months.

I first obtained them as a packet of nitrocellulose negatives in glassine sleeves, approximately 12 cm x 9.25 cm. Through a little sleuthing of my own, I was able to establish that they were taken beginning in May, 1904 and throughout the summer in England, France, Netherlands, Germany, Austria, and, in one instance, Czechoslovakia. Unfortunately, I have not been able to determine the identity of the photographer. I'm working on it.

One thing about these images I find remarkable is that the quality is quite high - I've cleaned them up in some cases, but the images are sharp enough to enlarge to 40 cm x 50 cm. Another is that the images themselves are not typical tourist photos but rather more documentary in character.

Stephansdom from the Graben, Wien, 1904
Nitrocellulose negative film, 3½" x 4¼", 118- or 119-format
Image © and courtesy of Bill Nelson
None of the views were annotated, but this one was immediately recognisable to me as the Stephansdom (St Stephen's Cathedral) in Wien (Vienna) with its characteristically patterned roof tiles. Further investigation via Google Earth indicates that, in spite the photographer presumably being an amateur - judging by the content, rather than quality, of the remaining images in the collection - he has taken the trouble to find a suitable viewpoint above street level, in fact on the first floor of a building in the Graben.

The usual horse-drawn traffic which still plies the area around the cathedral today - albeit carrying tourists rather than trade goods - is evident and the streets are mercifully free from thronging hordes. Conveniently overlooking the square in front of the cathedral are the offices of Thomas Cook & Son, and I am very sad to report that the Riedl Hotel Royal is now occupied by none other than ... you guessed it, MacDonalds.


Stephansdom, Wien, October 1989
Kodachrome colour positive film, 35mm
Image © 1988 Brett Payne
Having visited Vienna in October 1989 and again in June 1993, I was very much taken with the striking mosaic of roof tiles. Although the impressive interior of the domed roof of the Library of Congress Reading Room depicted in this week's Sepia Saturday Photochrom image is quite different architecturally, it too has a pattern to it that both pleases the eye and emphasizes its slope and expanse.


Stephansdom, Wien, October 1988
Kodachrome colour positive film, 35mm
Image © 1988 Brett Payne

Stephansdom, Wien, c. 1901
Photochrom image by Detroit Photographic Co.
Indeed, the Detroit Photographic Co. had published their own colourised photographic view of Stephansdom a few years earlier using the Photochrom process under license.


The Asparagus Seller
Nitrocellulose negative film, 3½" x 4¼", 118- or 119-format
Image © and courtesy of Bill Nelson
This wonderful photograph is also from Bill's series of negatives, showing two women selling asparagus and what are probably roast chestnuts wrapped in chestnut leaves from the street in front of a large building. Although it too has no title, I feel there is a distinct possibility that it may have been taken in front of Vienna's famous cathedral.


Stephansdom, Wien, c. 1905
Image courtesy of Wikipedia
Another photograph of Stephansdom taken around the same time shows figures in front of the cathedral who may similarly be touting their wares to tourists and other passersby.


Two Gentlemen in London, 1904
Nitrocellulose negative film, 3½" x 4¼", 118- or 119-format
Image © and courtesy of Bill Nelson
As usual when I am looking at early amateur photographs, my mind turned to the camera which might have been used to produce such high quality images. Bill was thinking along similar lines when he emailed me this convivial snapshot from the same series:

I can't believe this never occurred to me in all the years I've been looking at these photos. Look at the "Two Gentlemen" photo [taken in London]. The guy in the straw boater. Do you think that might be a camera case he has slung over his shoulder? The camera was obviously on a tripod for this photo- the shutter speed was too slow for a hand-held shot. I wonder if the photographer himself stepped in front of the camera and had a companion trip the shutter?

The shape of the case looks to me more like one for binoculars than a camera, but to provide a more definitive answer I looked at the size of the negatives. Bill told me that they vary in size to a certain extent, but are generally "approximately 3.6 in. x 4.75 in. or about 92.5 x 120 mm." I presume that these are the maximum dimensions of the cut negatives, which could be expected to vary somewhat, depending on how they were cut. If so, then the actual photographic image dimensions would be a little less, and should be more regular, being defined by the size of the camera body.

Comparing this to the range of roll film available at that time (i.e. 1904ish), I think it most likely that it equates to a size of 3½" x 4¼" (89 x 108). There were several film sizes produced with these dimensions, but the two most likely candidates are the 118 and 119 formats, first manufactured by Kodak in 1900.


No 3 Folding Pocket Kodak Model C3
Several cameras used this film, and the most commonly available ones at the time those photographs were taken were:
118 format: No 3 Folding Pocket Kodak, Models A to C-3 (1900-1907) & Deluxe (1901-1903), No 4 Folding Pocket Ansco
119 format: No 3 Cartridge Kodak (1900-1907)


No 3 Folding Pocket Kodak with leather case
The No 3 Folding Pocket Kodak was produced in huge numbers (over 288,000 between 1900 and 1915, when it was replaced with the No 3 Autographic Kodak), and I think is most likely what was used for the duration of the unidentified photographer's "grand tour." The images above show the camera opened up as well as folded and with its typical leather case. The shape is quite different from that carried by the man in the London street photograph. I am aware, however, that there were other roll film cameras around, as well as more sophisticated plate cameras which had been adapted with roll film backs.


The Pringle sisters in the garden, Ontario, Canada, c.1909-1912
Toned silver gelatin print, mounted on album page, 5½" x 3¼"
Image © and courtesy of Gail Perlee
Coincidentally, fellow Sepian Gail Perlee posted a family photograph on her blog Songs of a Nightingale last week of a group of young women posing in a garden. One of these women carries a leather case on a strap around her shoulders which I tentatively identified - because of its size - as being for a No 3A Autographic Kodak Special, slightly larger than the No 3. Gail confirmed the dimensions of the print:

I have the orig. prints. First 2 pix are 3 1/4 x 5 1/2. Shows how astute I am! I thought she was carrying a purse. A 2nd look, of course, shows a camera case!

The 5½" x 3¼" size equates to the 122-format film used by the No 3A.


No 3A Autographic Kodak Special, Model B, 1916-1919
Image © 2014 Brett Payne
The No 3A Autographic Kodak Special above, still in excellent condition although sadly without a case, is from my own collection. It is probably very similar to the camera used to take the group portrait in the garden, although manufactured just a few years later. Unfortunately this size film is no longer available, or I would have very much liked to try it out myself.


The Folding Pocket Kodaks, Advertisement, 1901
Courtesy of Duke University Advertising Ephemera Collection Item K0014
Actually, it wasn't a lack of astuteness which led Gail to think she was carrying a purse. As Nancy Martha West discusses in her book, Kodak and the Lens of Nostalgia, the Kodak pocket folding cameras of the 1890s and early 1900s were specifically marketed towards women, and designed to look as much like a purse or pocketbook as possible.


There's more to the Vacation when you Kodak, Advertisement, 1908
Courtesy of Duke University Advertising Ephemera Collection Item K0074
In a series of advertisements appearing widely in newspapers, magazines and even in literature published by the Eastman Kodak Company, the image of the Kodak Girl became synonymous with the amateur photographer.


Bring your Vacation Home in a Kodak, Advertisement, 1905
Courtesy of Duke University Advertising Ephemera Collection Item K0521
Likewise, images of leisure activity in the country, on the beach, at fairs and travelling on holiday overseas pervaded Kodak advertising. I am struck by the similarities in content between several of the images in Bill's 1904 album and the themes commonly portrayed in the Kodak advertising of the time. Compare, for example, this 1905 advertisement of two Kodak girls on a dockside in the Netherlands, one using a Folding Pocket Kodak, the other a Box Brownie, with the photograph taken of two men and a girl wearing clogs in Marken by our anonymous visitor in 1904, reproduced below. All that's missing in the latter is a windmill. There were several similar scenes taken at Marken and Volendam, at least one including a windmill.


Men and Girl on the Docks, Marken, Netherlands, 1904
Nitrocellulose negative film, 3½" x 4¼", 118- or 119-format
Image © and courtesy of Bill Nelson
Since this brings us back to the 1904 album, albeit by a somewhat circuitous route, I'll leave it there for now. I'm very grateful to Bill and Gail for permission to use the images from their respective collections. The rest of the negatives from the Grand Tour set can be seen on his FlickrStream here. Once you've seen those, head over to Sepia Saturday to check out the remainder of this week's contributions.

Sepia Saturday 185: Ready with the Bulls-Eye, come rain or shine

A couple of weeks ago I used scans of a couple of amateur lantern slides to illustrate an article on Dovedale. This week's Sepia Saturday prompt of a rainy street scene gives me an opportunity to use a couple more from the same set, as well as featuring another recent purchase, a popular box camera which preceded the ubiquitous Brownie by almost a decade.


Unidentified couple seated on bench, c.1900-1905
Lantern slide (83 x 83mm) by unknown photographer
Image © and collection of Brett Payne
The delightful image depicts a couple enjoying what might have been a quiet glass of beer, seated on a bench outside a pub, if it hadn't started to rain. At least I think the white, nearly vertical streaks must be rain drops; after some deliberation I've decided that if they were merely scratches made during processing, they wouldn't all be roughly the same length (about 10cm). Since rain drops fall between 7 and 18 miles per hour (Source: Yahoo Answers), I estimate that this corresponds with a shutter speed of between 1/30 and 1/60 second. What has made this photograph possible is the bright, albeit slightly dappled, sunlight which accompanies the light shower of rain. The lack of self-consciousness in this candid snapshot is unusual, considering it was probably taken around 1900-1905.


Unidentified group seated on lawn, c.1900-1905
Lantern slide (83 x 83mm) by unknown photographer
Image © and collection of Brett Payne
From what I've been able to tell, the very wide-brimmed and low-crowned straw hats in this second lantern slide were popular shortly after the turn of the century, which correlates well time-wise with the high-collared, wide-sleeved white blouses and long dark skirts. Here a group of three women and a young girl, the last facing away from the camera, are seated on and around a picnic blanket, placed in the middle of a well-clipped lawn surrounded by shrubs and trees. They are boiling a small kettle on a primus stove and a teapot waits patiently on the corner of the blanket. Presumably they're in a private garden, as two chickens can be seen making an appearance from the left hand edge of the picture.


No 2 Bulls-Eye Kodak
Image © and collection of Brett Payne
The image would probably have been produced by contact printing from the original negative onto a thin glass plate, thus producing a positive transparency. Unless a portion of it was masked off - an unlikely scenario, given the composition of the shots - the original negative would therefore have been roughly the same size as the slide. The 83 x 83mm measurements of the square slides equate to the 3½" x 3½" format of 101 roll film and the short-lived 106 cartridge roll holder. The No 2 Bulls-Eye Kodak, originally manufactured by the Boston Camera Manufacturing Company in 1892, but later taken over by Kodak from 1895, was the first camera to use numbered paper-backed roll film. Both this and the No 2 Bullet Kodak, introduced in March 1895 in competition with the Bulls-Eye, used 101 format film, as did a number of other box cameras:

Camera	Film Format	Dates of Manufacture
Boston Bull's-Eye	3½" x 3½"	1892-1895
No 2 Bullet Kodak	101	Mar 1895-1902
No 2 Bulls-Eye Kodak	101	Aug 1895-1913
No 2 Eureka	106	Jun 1897-1899
No 2 Falcon Kodak	101	Sep 1897-Dec 1899
No 2 Bullet Special Kodak	101	May 1898-Apr 1904
No 2 Bulls-Eye Special Kodak	101	1898-Apr 1904
No 2 Flexo Kodak	101	Dec 1899-Apr 1913
No 2 Plico Kodak	101	Mar 1901-1913

Rotary shutter, No 2 Bulls-Eye Kodak
Image © and collection of Brett Payne
Of all these models, the No 2 Bulls-Eye was the most successful, Coe (1988) estimating a total of roughly 257,000 to have been manufactured, and rivalled in sales during the 1890s only by its diminutive cousin the Pocket Kodak, which used the smaller 102 format film. Although I haven't found anything definitive about the rotary shutter used in the Bulls-Eye, other Kodak box cameras were manufactured with shutter speeds of 1/35 to 1/50 seconds, which corresponds well with my calculations of the exposure time using rain drop tracks.


Bulls-Eye held by Grand Duchesses Olga (left) and Anastasia (right)
Taken by unknown photographer, Imperial Yacht Standart, c. 1911
Images courtesy of Royal Russia & Jos Erdkamp
Jos Erdkamp has a wonderful example of a No. 2 Bull's-Eye Kodak, complete with its original carrying case, a film cartridge, an instruction booklet, and a portrait lens attachment. He has also written an account - unfortunately in Dutch, of his detective work (Erdkamp, 1995) unearthing an intriguing fact, that the Romanov family were amongst the many enthusiastic users of the Bulls-Eye camera.

References

No. 2 Bull's-Eye Kodak (1896), on Antique Kodak Cameras from the Collection of Kodaksefke.

f/Stops and Shutter Speeds, on The Brownie Camera Page.

RUSSIAN IMPERIAL YACHTS: On Board the Imperial Yacht Standart, on Royal Russia.

Coe, Brian (1978) Cameras: From Daguerreotypes to Instant Pictures, United States: Crown Publishers.

Coe, Brian (1988) Kodak Cameras: the First Hundred Years, East Sussex, United Kingdom: Hove Foto Books, 298p.

Erdkamp, Jos (1995) De Romanov Kodaks, in Photohistorisch Tijdschrift, Issue 3 of 1995.

Sepia Saturday 177: Let the Children Kodak, the beloved Brownie camera

Among a group of old photographs given to me a few years ago by a friend, collected by her father in New Hampshire, are several mounted prints of identical size which, judging by the clothing worn by the subjects, appear to have been taken in the first few years of the twentieth century. The prints measure roughly 2¼" x 3¼" (58 x 80mm) and are mounted on card about 4" x 5" (100 x 125mm) in a variety of colours, including white, cream, grey and green. Sadly none of these four photographs have the subjects identified, and the provenance has long been lost, so all I have been able to deduce is that they are probably from New Hampshire or Massachusetts, and that the last two are of the same person.


Unidentified mother and daughter, undated estd. c.1900-1905
Silver gelatin print (83 x 56mm) mounted on card (128 x 102mm)
Image © and collection of Brett Payne Some Rights Reserved
The first, rather charming glossy print is in what we would now refer to as landscape format, and is pasted on a gray and white coloured card with an embossed pattern of wavy lines and two series of loops, and with a bevelled edge. The young girl and an older woman, who look alike enough to be mother and child, are kneeling/crouching on a leaf-strewn lawn adjacent to a narrow path which curves along a hedge and behind them under the shade of a tree, and then disappears around a corner. The narrowness of the path suggests a private garden, and the fallen leaves presumably imply that it is autumn. The woman's long skirt, light-coloured blouse with slightly puffy sleeves narrowing at the elbow and pompadour hairstyle, together the girl's large-sleeved jacket and a bow at the top of her head all point to a date in the early 1900s, say between 1900 and 1905.

It's worth noting that there appears to have been some light leakage, either in the camera or during film removal, causing a wavy band of over-exposure - or fogging - along the top edge of the print. The photographer has chosen a good viewing angle so that the sun, to the right of and slightly behind the camera, and already fairly high in the sky (so probably taken in the late morning or early afternoon), casts some shadows on the subjects's faces and clothing, illuminating them with relief rather than flattening the tonal variation.


Unidentified girl with dog, Undated, estd. c.1905-1915
Silver gelatin print (83 x 56mm) mounted on card (128 x 102mm)
Image © and collection of Brett Payne Some Rights Reserved
The second photo, in portrait format, is also marred with a little over-exposure along the upper left-hand edge and in the lower half of the image, although the fact that it is not just confined to the edges suggests that it may be due to a poor choice of lighting angle, rather than careless handling of the rollfilm. The mount is dark greenish-grey coloured card (it looks greener in the scan than in reality, due to my enhancing the rather faded image) with a neatly printed white rectangle framing and drawing attention to the print.

This teenaged girl wears a long skirt and a pouch-fronted top with a sailor-style collar, the broad lapels tied at the front, and a large bow at the back of her head. Although still from the first decade or two of the twentieth century, I suspect this dates from a little later than the first photo, say between 1905 and 1915. She is standing by a staircase leading up to a clapboard house with wooden shutters. A creeper growing up the side of a pillar on the edge of a verandah has very few leaves, so perhaps this is was also taken in autumn. The dog appears to have been caught in mid-scratch, but it's in the middle of the over-exposed bit, so even if I did know more about dogs I probably wouldn't be able to identify the breed.


Unidentified woman and shrubbery, Undated, estd. c.1905-1910
Silver gelatin print (83 x 56mm) mounted on card (128 x 102mm)
Image © and collection of Brett Payne Some Rights Reserved
The next two portraits show the same young woman, perhaps in her mid-twenties to early thirties, posing amongst palms, ferns and succulents, probably originating from a much warmer climate. Despite the external view of a series of second-storey windows in the background, I have come to the conclusion that both snapshots were taken in a conservatory or glass-roofed courtyard, as there is plenty of light coming down from directly above, but it looks too well manicured (one of the potted plants even has a label) to be outdoors. Besides, she appears to be dressed for winter weather, rather than the warm conditions necessary for the cultivation of such fauna. Perhaps this accounts for her slightly unhappy demeanour - the humidity in there is causing some discomfort.


Unidentified woman and shrubbery, by undated estd. c.1905-1910
Silver gelatin print (83 x 56mm) mounted on card (128 x 102mm)
Image © and collection of Brett Payne Some Rights Reserved
Both are mounted on greyish card with bevelled edges, although of slightly different shades and ornamentation - one has a fancy patterned white border around the print, the other a simple embossed, grey rectangular border. The woman's clothing consists of a high-necked blouse, a double-breasted full length coat with velvet collar and sleeves which are wide at the shoulder but tapering towards the elbow. She is wearing leather gloves, a large corsage of roses, and a wide-brimmed hat with substantial floral-style decoration on the top to match the flowers. All of these combine to suggest to me an approximate date of between 1905 and 1910.

Neither photo looks over-exposed, the fuzzy patches of light in the second image probably being due to the dappled sunlight. Both prints have a matt finish, with the slight silvery sheen in darker areas characteristic of many silver gelatin prints from this era, produced by degradation of the emulsion.


"Let the Children Kodak"
1909 Advertisement by Eastman Kodak Co.
Image © and courtesy of Duke University Libraries Digital Collections
Besides the print/mount size and the fact that they were taken in bright sunlight, there is another common feature that the sharper-spotted of readers may have noticed - all four are taken from an approximately waist-high viewing position. With regard to the print size, since by far the majority of photographs were contact printed during the pre-War years, we can assume that it equates to the film size. The 105 and 120 roll film formats produced by Eastman Kodak Ltd., both measuring 2¼" x 3¼", were introduced in 1897 and 1901, respectively, narrowing the type of camera likely to have been used to one or more of the following new models introduced around the turn of the century:

• the Folding Pocket Kodak (1897-1899) & No 1 Folding Pocket Kodak (1899-1915) both used 105 film
• the No 2 Brownie (1901-1933) & No 2 Folding Pocket Brownie (1904-1915) both used 120 film

No 2 Buster Brown box camera, 1906-1923, by Ansco
Image © and courtesy of the Tauranga Heritage Collection
There were also several competing companies which produced similar models, such as Ansco's No 2 Buster Brown box camera introduced in 1906. A feature included with all of these devices was the prismatic viewfinder, which enabled a user to frame a picture by holding the camera at waist level, in either portrait or landscape orientation, and looking vertically downwards, just as the child is doing in the 1909 advertisement for a Brownie above.


"The Brownie Family"
1909 Advertisement by Eastman Kodak Co.
Image © and courtesy of Duke University Libraries Digital Collections
The first Brownie was introduced in February 1900, and was soon joined by a range of models, initially marketed very firmly towards use by children. The No 2 Brownie, ostensiby being operated by the young girl with two bows in her hair, second from right in the above advertisement, was by far the highest selling. First sold in October 1901, by the time the Model F was discontinued in 1933 several million had been manufactured.


"There's no better fun than picture taking ... The Brownie Family"
1909 Advertisement by Eastman Kodak Co.
Image © and courtesy of Duke University Libraries Digital Collections
Kodak advertisements appearing throughout the first decade of the twentieth century reinforced the message that the family of Brownie cameras belonged in your family, and that there was a Brownie for every age and pocket. The No 2 Brownie cost a mere $2.00, and the more versatile No 2 Folding Pocket Brownie just $5.00. For the first time, cameras and photography were within the reach of almost everyone.


No 2 Brownie Model F, 1924-1933, by Eastman Kodak Co
Image © and courtesy of the Tauranga Heritage Collection
This No 2 Brownie from the Tauranga Heritage Collection is a Model F, manufactured a couple of decades after the four photographs displayed above were taken, but the overall design had changed little. The phenomenal success of the Brownie, originally marketed for children in a massive media campaign, meant that within a decade a huge number of American and British families owned a box camera, even if the majority of them were not actually being used by children. The claim that by 1910 a third of all Americans owned a camera (Jenkins, 2005) seems hardly credible, but certainly by 1921 over 2.5 million No 2 Brownies alone had been produced (Coe, 1978), making this by far the most popular of the models which used this film format.


View of river scene with building and boat, undated
Silver gelatin print on Velvet Velox paper (2¼" x 3¼") mounted on embossed "Brownie" brand brown card (4" x 5") with bevelled edges
Taken with No 2 Brownie camera, by an unidentified photographer
Image © and courtesy of Jos Erdkamp
These two images (above and below) show the front and reverse of another example of a mounted print from a No 2 Brownie, displayed by antique camera enthusiast Jos Erdkamp on the web site which documents his collection of early Kodaks. Jos, who very kindly took the trouble to send me detailed scans and gave me permission to reproduce these images, writes:

It is not rare, it is not expensive, it even is not pretty, but it is the camera that recorded our history during the first part of the 20th century. The No. 2 Brownie was made in large numbers: several million and at least 2,500,000 before 1921. Together with the 2A Brownie, which took a slightly larger photo and was also made in several millions, it was the camera that could be found in most families. In all the snaps these cameras have taken, the small and also not so small events of the first half of the last century are documented. For this it deserves a place of honor in camera history.

Reverse of No 2 Brownie card mount (4" x 5")
Image © and courtesy of Jos Erdkamp
The printed text on the back states:

Velox print showing the size and quality of negative made with the No. 2 Brownie Ccamera and No. 2 Folding Pocket Brownie Camera - Mounted with Kodak Dry Mounting Tissue - Eastman Kodak Co. Rochester, N.Y.

This, together with the text "Velvet Velox" inserted on the print itself, suggests to me that the photo may have been a commercially produced promotion sample, rather than an ordinary amateur snapshot. However, the colour and embossed frame of the mount is very similar to that of the fourth print in my own collection, and was obviously a commonly used design.


No 2 Folding Pocket Brownie, 1904-1915, by Eastman Kodak Co
Image © and courtesy of the Tauranga Heritage Collection
The other camera mentioned is the No 2 Folding Pocket Brownie, the smallest of the simple folding Brownies produced by Kodak in these early years. It is shown being used by a young lad, perhaps 9 or 10 years old (fourth from right), in the 1909 advertisement above, and also took 120 format rollfilm. Along with its predecessor the No 2 Folding Brownie, only 250,000 were produced between 1904 and 1915.


Bullock cart, Philippines, 1898
Silver gelatin print (2¼" x 3¼") on glossy embossed card mount (4" x 5")
Taken with Folding Pocket Kodak camera, photographer unidentified
Image © and courtesy of Jos Erdkamp
Another possibility for the 2¼" x 3¼" format print are the Folding Pocket Kodak (1897-1899) and its successor the No 1 Folding Pocket Kodak (1899-1915), both of which used 105 rollfilm and sold for $10, some 200,000 of which were produced. Jos Erdkamp has a very nice example of such a photograph, taken in the Philippines in 1898, which is mounted on glossy white card conveniently embossed with the words, "Folding Pocket Kodak." The style of mount, using glossy pale grey card embossed with a zig-zag pattern, is similar to that used for the first of my examples above.

During and after the Great War (1914-1918) the range of camera models which used 120 format film expanded dramatically, although the No 2 Brownie continued to enjoy great popularity for many years. At the same time, the fashion for mounting prints appears to have changed somewhat, and it became far more common to supply the customer with loose unmounted prints, which were of course a lot cheaper. However, if you have similar mounted prints dating from before the war, it may also be possible to identify the camera with which they were produced. I welcome contributions, so if you find any in your own family collection, please do get in touch - they may provide interesting material for a follow up article.

I hope to feature more film/print formats in the future, as I feel the matching of prints to cameras is a poorly studied field in photohistory. In the mean time, I expect a visit to Sepia Saturday's other contributers this week will reveal a few more child-oriented themes.

References

Coe, Brian (1978) Cameras: From Daguerreotypes to Instant Pictures, United States: Crown Publishers, p 89-91, 99-102.

Erdkamp, Jos (nd) No 2 Brownie (1901) and Folding Pocket Kodak, on Antique Kodak Cameras from the Collection of Kodaksefke.

Frost, Lenore (1991) Dating Family Photos 1850-1920, Victoria, Australia: Lenore Frost, 127pp.

Gustavson, Todd (2009) Camera, A History of Photography from Daguerreotype to Digital, New York: Sterling, 360pp.

Jenkins, Karen (2005) Brownie, in Encyclopedia of Twentieth Century Photography, Warre, Lynn (ed.), London: Routledge.

West, Nancy Martha (2000) Kodak and the Lens of Nostalgia, University Press of Virginia.