Kodak Pocket Instamatic 60
Introduced as one of a set of 5
revolutionary "Pocket Instamatic" cameras in 1972, the Kodak Pocket
Instamatic 60 set the world of photography, especially subminiature
photography, on it's ear. With its introduction, Kodak announced the 110 Pocket
Instamatic cartridge film format, a small negative, instant load, drop in
cartridge modeled along the lines of its enormously successful predecessor, the
126 Instamatic film cartridge system.
I don't believe Kodak ever seriously thought they could effectively
compete with the likes of the incomparable miniature Minox cameras, nor do I
think they intended to; indeed, an ironic Minox advertisement shortly after the
introduction of the Pocket Instamatics shows a tiny Minox next to the huge (in
comparison) Model 60, with a coyly worded caption to the effect of "Minox
welcomes the Pocket Instamatic to the world of miniature
photography"...that said it all for many people.
On the other hand, seeking to capitalize on the success of the 126
cartridge in the mass consumer market, Kodak went head to head against the
hugely successful 16mm miniature cameras, as represented most notably by the
Minolta 16 line. It is no coincidence that the success of the 110 cameras
effectively killed off the 16mm competitors, and sadly, Minolta permanently
withdrew from the subminiature camera product field shortly thereafter.
In order to immediately win mass acceptance of the new film format,
Kodak had to demonstrate a solid commitment to it, and more than any other
camera, the Model 60 was Kodak's unqualified statement to the world at large
that 110 film was a "serious" format, one that could produce
excellent results quickly, easily and inexpensively. It is no exaggeration that
the Model 60 sealed the success of the new format, as over 20 million Pocket
Instamatics have been produced over the years from just about all the
well-known camera producers around the world.
At the time of its introduction, the Model 60 was the premier, flagship
model in a line of 5 brand new cameras: the Models 20, 30, 40, 50 and 60...the
model 10, completing the series, would be added retroactively a few years
later. At the low end, the Model 20 was a simplistic box camera shrunk down to
pocketable dimensions; at the high end, for that time, the Model 60 could
almost be considered professional grade in terms of quality of construction and
advanced features previously unheard of in such a small camera.
All of the Pocket Instamatic (PI) cameras were revolutionary in terms of
their sheer size and light weight: they were not concealable by any means, in
comparison to the Minox that could disappear into a closed fist, or even a
Minolta 16, which could be completely covered by the palm of most hands. Covert
or ultra candid photography was not what the PI cameras were designed for;
however they were eminently portable cameras, the most portable, hugely mass
marketed cameras made to date, and this was a keystone to their ultimate
success. Small (less than 6" long), flat (only 1" high), and light
(measured in ounces, not pounds), these cameras fit comfortably in the smallest
of ladies purses and easily in any man's suit jacket breast pocket. They
actually fit quite handily in a shirt pocket, save for the obvious danger of them
slipping out onto the floor if you bent over suddenly. The drop in cartridge,
and revolutionary new 4 shot "Magi-cube" flash cube system made these
cameras instantly appealing to the public...a worthy predecessor to the 126
Instamatic cartridge cameras millions had grown to love.
It was the Model 60 that truly awed the photographic world at the time
of its introduction, with a feature set never before seen on a camera this
small. A fully functional, coincidence rangefinder focusing system stunned the
photographic press at the time; add to that a super fast and ultra-sharp F/2.7
glass lens, 
a fully coupled CdS exposure
meter system that would automatically set the aperture and the electronically
timed shutter for speeds from a high of 1/250th of a second all the way down to
4 full seconds for low light photography, and a small, flat, proprietary K-size
battery specially developed for these cameras and you had something that was
very special.
But there was more: for the first time, the PI cameras used the newly
introduced, percussion fired 4 shot square flashcubes called Magi-cubes (or
sometimes marketed as “X-Cubes”). When the shutter was tripped, a small plunger
rose up from the camera body into the flashcube, pushing a tensioned spring off
a post. This piece of metal would then slam into a small crystal, using the
"piezo-electric" effect to generate the electrical spark that fired
the flash bulb...completely without batteries! Each single stroke of the new thumb
wind slider on the underside of the camera advanced the film and automatically
rotated the next flash bulb into position until all four of them had been
expended. Rapid, automatically exposed flash photography was a breeze with this
new camera! Note, however, that the Magi-cubes do NOT fit on older cameras that
take electrically fired flash cubes (you can identify these by the little
vertical wires arranged around the base of the flash cube – Magi-cubes have no
such wires) and vice versa: attempting to force an older electric flashcube
down into a Magi-cube socket will break the camera.
My thanks to Wendell Webb,
who provided invaluable support and encouragement to me in fostering my new
found interest in high end 110 cameras, for reminding me of this extremely
useful little trick. You can make a simple but highly effective flash cube
function tester out of a fully expended Magicube (do NOT, UNDER ANY
CIRCUMSTANCES, attempt this with a flash cube that has even one bulb left
unfired for important safety reasons!), and by carefully removing both the
outer clear plastic shell and the four expended bulbs, create a reusable socket
base to test the camera with. Simply take a pair of tweezers to grip the little
springs, and lift them back over their retaining posts, in effect, “cocking”
them again for reuse. Now, having fitted the base to the camera to be tested,
simply advance the film winder and trip the shutter. If the camera is operating
properly, the little plunger will rise out of the cameras flash cube socket and
up through the slot in the base of the flash cube to lift the spring off it’s
post and allowing it to slam forward. You should see this, and be able to hear
an audible click as this happens. Advance the film wind again: the front edge
of the flash cube should be perfectly aligned in parallel to the front leading
edge of the camera – if either of these things fail to happen, the camera’s
flash cube socket module is defective and needs to be replaced.
Other features quickly stood out when you handled the camera, and these
were correctly interpreted by the public as part of Kodak's dramatic and
serious commitment to the new camera and film format: the solid metal
construction rounding out the plastic chassis, as evidenced by the metal top
and bottom deck plates - they project a feel precision fit and finish, a
sturdiness that invites you to carry the camera out into the real world with
confidence.
A tripod socket was thoughtfully included, as was a threaded cable
release socket: low light photography was not an afterthought with this camera.
A green battery check LED was located on the bottom deck, next to a small,
recessed green button to activate it. Unusually by today's standard, the camera
featured red and yellow over and under exposure warning lights respectively,
not in the viewfinder, as later cameras would locate them, but in the
viewfinder eyepiece frame. The bright frame marks outlining the picture area in
the viewfinder included two small, inner marks on the right side, for more accurate
framing of subjects in the 3 – 6 foot range.
The shutter button actually slid a 1/4" to the left to lock the
button against accidental tripping; while a nice touch, I've always considered
shutter button locks to be of dubious value: I tend not to walk about with my
shutter cocked and under tension unless in an action situation where a
photographic opportunity is imminent - nevertheless, while I wouldn't use it,
it was doubtless gratefully appreciated in 1975.
Look
carefully at the front face of the camera for some other professional grade
touches: both the lens and the CdS metering cell are recessed in the front
fascia, well guarded against stray fingerprints; more important though, is the
fact that the lens and meter frame are both coloured matte black and beveled,
reducing to almost nothing any stray reflections, and providing a very
effective lens shade in the process. A small, almost unnoticed touch, but a
strong statement about attention detail in producing a truly superlative first
effort at a new camera type. The lens is also situated behind an optical grade
panel of glass for further protection against the elements.
The top deck has a slider bar just forward of the shutter release
button: the focus slider. To the left of the bar is a clearly marked scale
depicted in feet (white), while to the right of the slider bar another scale
clearly depicts distance in meters (yellow), from a close focus distance of 3
feet/.9 meters to 
Infinity. But the true
measure of the focus is the unparalleled yellow coincidence rangefinder patch
visible in the centre of the viewfinder. Slide the focus bar to the left or
right and watch the double image in the yellow patch converge into one, and
know that you've quickly achieved sharp focus. Previously available only on
35mm and larger cameras, it was a joy to behold for the first time in something
this small.
It is
almost funny, and ironic to think about it in today's modern age, but the most
subtle and dramatic statement of the serious quality inherent in the PI Model
60 was the stamping into the metal top deck of an innocuous little symbol whose
meaning carried great weight with the professional and serious amateurs who
recognized it: a small circle bisected horizontally by a single line. You don't
see them on very many cameras anymore, and back then, it might even have been
taken as a bit of arrogance on Kodak's part, but I think it was a wonderfully
subtle and effective statement.
This
symbol was a "focal plane mark", where the line indicated the precise
position of the film in the film chamber, at the focal plane. This was included
on high-end cameras for the truly serious and/or professional photographer that
needed to make the most incredibly precise focusing measurements possible for
the most critical work. It's practical value on the PI 60 is arguable at best,
but the subtle impact of the statement can't be overlooked: Kodak clearly aimed
at the professional and serious amateur market with this camera.
And they responded: so many of them purchased the Model 60 that it's
lower priced sister camera, the Model 50 sold in very small numbers in
comparison. Functionally and cosmetically identical in every respect save one,
the Model 50 lacked the rangefinder focusing, relying on scale focusing instead.
By shaving $30.00 off the cost at that time, Kodak hoped to entice those who
wanted more than the Model 40 provided, but weren't quite ready to spend the
over $120.00 1975 dollars needed to buy a full blown Model 60. They were
doubtless surprised by the huge number of people who decided that rangefinder
focusing for an additional $30.00 was well worth it, consequently Model 50
cameras sold in far fewer numbers, and are far less often seen today.
Within
a year or so of it's introduction, Kodak introduced a limited, special edition
Model 60 in satin black finish, a highly desirable collector's item if you can
find one.
Back in the '70's, one of the most significant
measures of any camera's success was the number of after market accessories
specifically produced for it by 
companies that specialized
in these products. Considering the commitment in money to fund research,
development, production and marketing of these accessories, the target camera
had to have already proven itself to be an unquestioned success in terms of
sales before such accessories would be developed for it.
While I'd known that the Model 60 was extremely successful, I was
surprised to find that not one, but two different companies had produced and
marketed an auxiliary lens set specifically for the Model 60/50 cameras:
Kalimar and Burleigh Brooks Optical Company. Both lens sets consist of an
attractively cased wide-angle and telephoto supplemental lens that mount
directly to the camera via a machined metal bracket that is secured to the
camera body - the supplemental lens is then screwed into the bracket, gently
(very gently) snugging right up against the protective glass in front of the
camera lens itself.
While both lens sets are of equivalent quality of construction (very
nicely done with machined metal barrels and high quality optical glass, with
the Brooks set heavily finished in a semi-gloss black), the approach taken by
their companies in producing them are subtly different, producing a distinct
set of advantages and disadvantages in each. Both sets require you to
compensate in focus by resetting the focus slider to a converted distance read
off from a chart. Photographic quality is uniformly excellent between both
sets, however, the Brooks set has a significantly more powerful telephoto and
noticeably wider wide-angle lens, which accounts for why the Brooks lenses are
also significantly larger than the Kalimar lenses. The Brooks set edges the
Kalimar set out in precision of manufacture, having a heavier construction, and
deeper finish. The Kalimar lenses have a silk screened conversion chart printed
on a metal band that encircles the lens tube, riveted in place. All in all, I
sense that the Kalimar set, being easier, smaller, lighter and perhaps a wee
bit more enjoyable to use in terms of having an auxiliary viewfinder, is
probably more of a hobbyist’s kit. The Brooks set, I feel, is more of a
professional grade kit and gives better results in return for slightly more
effort in carrying and using it.
In
this respect, I find the Kalimar set very fun to use, being much easier to work
with in a field setting. First, Kalimar provides the two lenses, a mounting
bracket, and an auxiliary viewfinder that slides onto the top of the bracket to
clearly show you the effective field covered by both supplemental lenses. 
Second, and just as
important, the compensating distance scale is clearly marked on the
supplemental lens barrel itself, meaning that you can quickly and easily read
it off the lens barrel and transfer it to the slider bar on the camera. The
disadvantage to the Kalimar set is this: the mounting bracket (felt lined to
guard against marring the camera finish) secures to the camera by means of a
plastic tipped screw that gently screws down against the film counter window on
the back door of the camera film loading chamber. What this means effectively
is, you have to remove the entire bracket in order to unload film and reload a
new cartridge. Depending on how much shooting you do on a particular outing,
this may or may not be a significant factour to you. I certainly consider the
ease of use and auxiliary viewfinder more than enough compensation to the
mounting system to allow me to thoroughly enjoy using it. The lenses,
viewfinder (marked with wide and tele bright frame lines) and mounting bracket
are very small, and easily packed in a small fitted leatherette zippered case.
Oddly enough, there is not a trace of a mention of the dioptre or other focal
rating for either of the two lenses on the box, on the lenses themselves, or
anywhere in the printed instruction sheet. The Kalimar set I was lucky enough
to stumble upon for $6.50 on eBay was marked in pencil with the figure $45.00
on the box, a good indication of the mid-70’s cost for the set. Considering the
time, that was a serious investment in enhancing what was perceived as a high
end camera.
The Brooks supplemental
lens system, by comparison, has a wonderful mounting bracket system, one that I
wish Kalimar had copied. The felt
lined bracket secures to the camera via a large thumbscrew that screws into the
tripod-mounting socket. Thoughtfully, this screw is itself threaded for a
tripod, so 
you can use both together.
You can, if you are so inclined, leave this bracket permanently in place as it
interferes with none of the functions of the camera, something I greatly
appreciate. The disadvantage of this system is that there is no auxiliary
viewfinder - you determine your field of view based on a chart provided in the
instruction sheet. The converted focusing distance can be read off either from
a chart in the instruction sheet, or from an equivalent chart affixed to the
bottom of the mounting bracket for quick reference.
The Brooks lenses are much larger than the Kalimar ones, noticeably so.
The instruction sheet clearly indicates that the wide-angle lens is a 0.78X
lens giving you 128% of the normal viewing area, while the telephoto lens is a
2X telephoto giving you 50% of the
normal viewing area. The heavy-duty vinyl snap closure case has separate compartments
for the two lenses and the mounting bracket, excepting the fact that my
mounting bracket would not fit into the case at all. A close comparison of the
mounting bracket pictured in the instruction sheet with the one I actually got
showed me that Burleigh Brooks had improved the mounting bracket greatly: the
original bracket was foreshortened and lacked the ability to screw into the
tripod socket of the camera, which is why it would fit in the case. The longer,
improved mounting bracket screwed into the camera’s tripod socket, but could no
longer be fitted into the kit case. Overall, it makes the system a bit of a
chore to use, but again, the capabilities of wide-angle and telephoto lens
capability in a small camera package are not to be understated. If you want it,
and don't have it, it's the only way to fly...and since the bracket can be left
permanently mounted, and the high quality lenses are thoughtfully provided with
sturdy plastic end caps for both ends, you can easily slip them into your pocket
and leave the kit case at home.
What were my impressions in shooting this little wonder? Initially, a
little low, and then suddenly much higher as I began to put things into proper
perspective. My first successful 110 photography recently was accomplished with
the superlative Canon 110ED 20 camera, and with that frame of reference, I
found myself inevitably comparing the Model 60 to it.
This is wrong: you cheat yourself and fail to do justice to a superb
camera by comparing it to one that came along after Kodak had done all the hard
work of research and development, showing the world what could be done with
such a tiny package. While there's no question that the Canon is a superb
camera, it wasn't there when the PI cameras were first introduced to the world.
Back then, the Model 60 was all there was if you wanted the best camera in that
format that your money could buy...and it, more than any other camera, secured
the subsequent success of the new film format. With that fresh perspective,
let's look at some subjective impressions:
The camera was a delight to hold and handle: the controls are few,
rugged, and function well (shutter button, film wind and focus slider) - this
would be a joy for a new shooter. The slider bar on mine sticks just a wee bit,
but I suspect that is solely a result of age and gummed up lubrication - a good
clean, lube and adjust by a competent technician would restore it to its
original, silky smooth function. A second Model 60 I purchased not long
afterward confirms this, being joyfully smooth. While smooth in operation, both
camera’s focus sliders stay put when there is no positive finger pressure on
them, which prevents accidentally jogging the camera out of focus – a very nice
point.
I must
comment that the shutter release button is positively stiff in comparison to
other cameras of the type, but not objectionably so...it just surprises you
momentarily if this is the first of these camera models you're trying.
Obviously mechanical, it would compare somewhat to the difference in trigger
release between a single action and double action pistol, if you're familiar
with that analogy. I’ve since discovered a surprising facet of the shutter
button’s operation: the shutter does not stay open for as long as the
exposure meter would indicate if you don’t hold it down until the picture is
completely taken. This means that in a low light situation, if you’ve
mounted your camera on a tripod and the exposure meter has set a 3 second
exposure for the shutter, releasing your finger from the shutter button (or
thumb from the plunger of the cable release, I assume, if you’re using one)
while the shutter is open will immediately close it: you must keep your finger
down for the entire time until the exposure meter closes the shutter automatically
to ensure you get the proper exposure time. This is not a problem at all in
practice, but it is something you need to know to get the most out of the
camera.
The rangefinder focusing patch in the viewfinder seems to be a bit smaller
than what appeared in later camera models, but it is still clearly visible and
highly effective, even with my 46-year-old eyes. It makes all the difference in
the world in handling and using this fine camera, and quickly points up why the
scale-focusing Model 50 cameras weren't as successful in terms of overall
sales. The bright frame line marks for framing are still clearly visible and
easy to use.
Overall, I found myself liking this camera enormously: it looks and
feels both sleek and stylish, as well as rugged and dependable. It was not
intrusive at all in my pocket, and being readily available without undue
thought or consideration ensures that it will be used a lot. I would have been a bit happier with a
built in, sliding lens cover, but a case will do just fine in keeping dust away
from the lens. Bearing in mind that the sample photographs reproduced below are
not as sharp as the originals due to low resolution scans to keep file sizes
reasonable, I think they speak for themselves in regard to a highly
satisfactory level of quality.
|
Fuji Superia 200, normal
lens, January 2003 |
Fuji Superia 200, normal
lens, February 2003 |
|
Brooks Wide Angle
Auxillary Lens, Fuji Superia 200, February 2003 |
Brooks Telephoto Auxillary
Lens, Fuji Superia 200, February 2003 |
|
Kalimar Wide Angle
Auxillary Lens, Fuji Superia 200, February 2003 |
Kalimar Telephoto Auxillary Lens, Fuji Superia 200, February 2003 |
There are a few considerations to bear in mind: these cameras are keyed
only for the original ISO 80/100 films available in 110 cartridges back in 1975
- they weren't designed for the ISO 400 cartridges available today, however,
the Model 60 is just wonderful when fed with Fuji Superia 200 film (you can
actually put the Kodak brand ISO 400 film cartridges into the Model 60, as
these cartridges actually key the camera for ISO 100 film speed - the
photofinisher compensates accordingly when processing the film). The
proprietary K battery is impossible to find anymore (new, good ones, that is);
however, I've recently learned how to inexpensively and easily rebuild them and
can keep this camera shooting for years (see step by step article on this site,
"The K Factour"). While I have plenty of Magi-Cubes, they aren't
being made anymore, and I'm not certain if I feel like scrounging for more,
although you can certainly find them easily enough at camera shows, swap meets
and on eBay...on a personal level, I've made an informal decision to use this
primarily as a daytime and low available light camera, which isn't nearly as
limiting as it might seem at first thought.
On a hugely positive side, one that can't be overstated, the Model 60
represents arguably the finest deal available on eBay today: they appear to be
the most readily available and undervalued opportunities in camera collecting
around. In the past few weeks, I've seen one sold in excellent condition for
$1.00, another for $3.00, and I've purchased one as a complete boxed kit with
accessories and the full auxiliary lens set for $15.00. Any Model 60 you can
find in excellent condition for $10.00 or less represents a truly fantastic
shooting experience for virtually nothing by today's standards, and an
opportunity to own and appreciate a piece of American photographic history that
rocked the photographic world at it's introduction.... not too bad a price to
pay for all that.
|
Kodak Pocket Instamatic 20, 30 & 40 |
||
|
Minolta Autopak 470 |
||
|
Rollei A110 & E110 |
|
|
|
|
© 3 February 2003, by D.
Scott Young - all rights reserved