Doug Kerr
Well-known member
In 1923, Eastman Kodak introduced 16 mm motion picture film and a camera to use it, the Ciné-Kodak. This, in the US, first made practical what came to be known as "home movies". The Ciné-Kodak was followed by a long line of motion picture cameras (the original Ciné-Kodak became known as the "Ciné-Kodak Model A" after the emergence of the next camera in the line, the Ciné-Kodak Model B). The 16 mm camera line was later joined by 8 mm cameras, and then there came into being cameras using pre-loaded film magazines, eventually both in 16 mm and 8 mm formats.
In 2018, through a curious "accident", I became interested in the Ciné-Kodak line, and began to acquire specimens. Eventually,we had one of almost every model (one notable exception being the Ciné-Kodak Model A - specimens of that are just too rare and costly).
Also missed by our dragnet was the Ciné-Kodak Model E, which I didn't consider "very interesting". But just recently I had the opportunity to acquire a Model E in (mostly) very good condition, and it is now on the display shelf with the rest of the line.
Here we see out Ciné-Kodak Model E:
Douglas A. Kerr: Kodak Ciné-Kodak Model E camera
This specimen is the variant that had interchangeable lenses, usually supplied with a focusing 25 mm f/1.9 lens. It can accommodate 100 foot film spools.
The camera is driven by a spring-wound motor, wound with a large winding key. That key is missing from this specimen. The only practical way to get one is to buy another camera in "for parts only" condition. (And sadly, the camera serial number is on the winding key, so . . ..)
Important predecessor models such as the Model B and Model K, also accommodating 100 foot film spools, had the supply and takeup spools "face to face", leading to a body that was not extremely high. In the model E, the more classical arrangement was used, with the two spools in the same plane. But rather than the two spools being one directly above the other, as in many other manufacturers' cameras, here they were diagonally disposed, leading to the unique case shape we see. This was described as being intended to allow a photographer wearing a brimmed hat (who would go on a backyard shoot without one) to put his eye to the eyelevel viewfinder eyepiece lens without interference between his hat brim and the camera.
We see the interior of the camera here, with the loading door removed:
Douglas A. Kerr: Kodak Ciné-Kodak Model E camera—interior
We see a single sprocket which meters the motion of the film both on its way toward the exposure gate (far left) and also on its way from the exposure gate. The intermittent motion of the film is done with a single-tooth claw moving in an oval pattern under control of a pair of cams.
Best regards,
Doug
In 2018, through a curious "accident", I became interested in the Ciné-Kodak line, and began to acquire specimens. Eventually,we had one of almost every model (one notable exception being the Ciné-Kodak Model A - specimens of that are just too rare and costly).
Also missed by our dragnet was the Ciné-Kodak Model E, which I didn't consider "very interesting". But just recently I had the opportunity to acquire a Model E in (mostly) very good condition, and it is now on the display shelf with the rest of the line.
Here we see out Ciné-Kodak Model E:
Douglas A. Kerr: Kodak Ciné-Kodak Model E camera
This specimen is the variant that had interchangeable lenses, usually supplied with a focusing 25 mm f/1.9 lens. It can accommodate 100 foot film spools.
The camera is driven by a spring-wound motor, wound with a large winding key. That key is missing from this specimen. The only practical way to get one is to buy another camera in "for parts only" condition. (And sadly, the camera serial number is on the winding key, so . . ..)
Important predecessor models such as the Model B and Model K, also accommodating 100 foot film spools, had the supply and takeup spools "face to face", leading to a body that was not extremely high. In the model E, the more classical arrangement was used, with the two spools in the same plane. But rather than the two spools being one directly above the other, as in many other manufacturers' cameras, here they were diagonally disposed, leading to the unique case shape we see. This was described as being intended to allow a photographer wearing a brimmed hat (who would go on a backyard shoot without one) to put his eye to the eyelevel viewfinder eyepiece lens without interference between his hat brim and the camera.
We see the interior of the camera here, with the loading door removed:
Douglas A. Kerr: Kodak Ciné-Kodak Model E camera—interior
We see a single sprocket which meters the motion of the film both on its way toward the exposure gate (far left) and also on its way from the exposure gate. The intermittent motion of the film is done with a single-tooth claw moving in an oval pattern under control of a pair of cams.
Best regards,
Doug
