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Contents

Introdu ction J
Model 20 4
Model 40 5
Model 25 h

Model 44 7
Model 45 8
Camera location o
Seat the subject 9
The operation distance with camera
Models 20, 40,25 and 44 9
Basic portrait lighting technique 10/11
How to build up portrait lighting 12
The shutter seouence selector knob 13
Electronic flash illumination 14/15
Tungsten illu mination 1 6

Exposure control 16
Depth of field 17
How to make pictures 17
Holder 18
Loading 19/21
Guide to tab pulling 22
Accessories 22/23

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Introduction

The Cambo Passportrait multiple-image in- The Models20-25 have two lenses, giving two
stant picture camera is designed specially for pictures on each sheet. On each camera, the
making high quality identification pictures and lenses are accurately matched so that, if allthe
miniature portraits that are available to the cus- pictures on one sheet of film are taken simulta-
tomer moments after the exoosure is made. neously, the images will be virtually identical.
Time consuming and costly darkroom work is The lens aperture is set simultaneously for all
eliminated and, as the customer is handed his the lenses. The between-the-lens shutters are
prints right away, much tedious book work is designed to give each picture the same expo-
also made unnecessary. sure, either simultaneously or consecutively,
The camera uses Polaroid Land films, both co- as desired. The shutter speeds are 1/100 sec.
lour and black and white. and 1/50 sec., and there is a "8" setting which
There are five different models of Passportrait enables the shutters to be kept open for any
cameras - Model 40 - 20 - 25 - 44 and 45. Their desired length of time. The shutters are "X"
basic operation is identical, a'nd the Model40 is synchronized, for use with electronic flash.
featured throughout this book. lllustrations of The Passportrait camera has been designed
the other two models are also included, toge- for the easiest possible operation. lf you follow
ther with their major features. Wherever there the instructions in this book you need no great
are important differences in operation, these photog raph ic ski ll to produ ce quality identifica-
are pointed out. tion pictures or miniature portraits.
The Models 40 and 44-45 have four lenses and The serial number of each camera is located
produce four pictures on each sheet of film. next to the triood socket.

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M00el lu
1. Polaroid Land pack f ilm holder (removable) 7. Shutter cocking lever Focusing method: Measure distance. Focus
2. Cable release, with locking screw 8. Aperture control lever is f ixed on subyect at distance of 1 .20 m (48 in.)
3. Cable release socket 9. Shutter seouence selector knob from camera front.
4. Shutter control lever 10. Electronic flash contact
5. Optical viewfinder 11. Triood socket Film types used: Polaroid Series 100 Land
6. Two 125 mm f/8 lenses pack films.

Format of each image: 46 x 72 mm.

EACH PRINT PROVIDES 2 IMAGES.

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Model 40

1. Polaroid Land pack film holder (removable) 7. Shutter cocking lever Focusing method: Measure distance Focus
2. Cable release, with locking screw 8. Aperture control lever is fixed on subject at distance of 1 .20 m (48 in.)
3. Cable release socket 9. Shrrttersenuencc selector knOb from camera front.
4. Shutter control lever 10. Lens sequence numbers
5. Optical viewfinder 11. Electronic flash contact Film types used: Polaroid Series 100 Land
6. Four 125 mm f /8 lenses 12. Tripod socket oack films.

Format of each image: 36 x 46 mm.

EACH PRINT PROVIDES 4 IMAGES.

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6

Model 25

1. 4x5 camera back with ground glass 5. Optical viewfinder Focusing method: l,/easure distance.
focusing screen. Will take Polaroid 4 x 5 6. Two 125 mm f/B lenses a. Focus is fixed on subject at distance of
Land film holder or wet-process 4 x 5 f ilm 7. Shutter cocking lever 1.20 m (48 in.) from camera front.
holders 8. Aoerture control lever b. Ground glass focusing
2. Cable release, with locking screw 9. Shutter sequence selector knob
3. Cable release socket 10. Electronic flash contact Film types used: Polaroid Series 50 4 x 5
4. Shutter control lever 11. Triood socket Land film packets. Wet-process 4 x 5 f ilms may
also be used.
v 8 Format of each image: 88 x 56 nrm.

EACH FILM PACKET PROVIDES 2

IMAGES.

Mike Butkus
Digitally signed by Mike Butkus
DN: cn=Mike Butkus, o=Butkus camera manuals, ou=butkus.org,
email=mike@butkus.org, c=US
Date: 2022.01.19 17:29:12 -05'00'

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Model 44

1. 4 x 5" camera back with ground glass 5. Optical viewfinder Focusing method: Measure distance.
focusrng screen. Will take Polaroid 4 x 5" 6. Four 125 mm f /B lenses a. Focus is fixed on subject at distance o11.20
Land film holder or wet-process 4 x 5" film 7. Shutter cocking lever m (48 in.) from camera front.
holders 8. Aperture control lever b. Ground glass focusrng
2. Cable release, with lockinq screw 9. Shutter sequence selector knob
3. Cable release socket 10. Electronic flash contact Film types used: Polarotd Series 50 4 x 5"
4. Shutter control lever 1 1. Tripod socket Land f ilm packets. Wet-process 4 x 5" f ilms may
also be used.

Format of each image: 44 x 56 mm.

EACH FILM PACKET PROVIDES 4

IMAGES.

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Model 45

Focusing with camera Model 45 The focusing mechanism: Loosen the focus When you think the image has the right size,
This camera can be focused. either by locking knob (1). Focus the camera with the you focus with the focusing knob until the split
rangefinder or through the ground glass focusing knob (2). When the image is sharp, imaoe is amaloated.
-rr-^"-^^^^+; ^,-rI. ^rahlps vnrr tn fnr-rrg
screen. Before you focus. position the camera tighten the knob (1 ) agatn. I llCt IClll9UilllUUI UlrouruJ yuu ru ruuu WilhOUt
between 1 .20 and 4 m i4 and 12 ft.) f rom the removing the 4 x 5 filmholder from the camera.
subject. lf. after focusing you find that the This gives you a quicker operation than
image rs too smail or too large in the picture
lmage Control Model 45 controlling on the groundglass.
area srmply move the camera closer to or Rangefinder control.
further away f rom the subject, and refocus. The rangefinder has a built-in split image
f ocusing.

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The oneratinq distance with
Camera focation Seat the subject camer'a Moddls 40.20,25, 44

The camera should be set up in an area which A seat should be provided for the subject. The focus position of the lenses is fixed. For
is specially set aside for its use. With very Avoid chairs with high backs, as these willtend optimum image sharpness, the distance from
simple lighting, the space need be no larger to appear in the picture and thus create an ugly the f ront plate of the camera to the eyes of the
than about 3 x 2 m (about 10 x7 ft.). For the effect. A low backed chair is ideal, or a stool of a subject should be 1.20 m (48 in.). This is most
most efficient operation, it is important that the comfortable height will also do. The camera easily measured with a small chain, cord or
set-up remain undisturbed and that the camera should be set at such a height that its centre is ribbon, one end of which is tied to the tripod
and lighting are always ready for use. about level with, or just a little higher than, the and the other knotted at the correct distance.
Once the camera, the subiect's chair and the eyes of the seated subject. For measurement, the cord is held in a straight
lights are so positioned as to give you the line toward the subject's face, and the camera
lighting and exposure you want, they should is moved until the knot is level with the
not be moved. The correct oosition of each subject's eyes. Before measuring, be sure tlle
item can be marked on the floor, with masking subject is sitting as desired. Aftbr
tape or some other simple marking device. measurement, be sure there is no subject
movement before you take the picture. See
also DEPTH OF FIELD, on page 17.
10

Basic portrait lighting technique

There are four basic lights that make up (A) is the main light. lt generally casts distinct (B) is the fill light. lts purpose is to fill the
complete portrait lighting. These are shown shadows. lt is positioned in such a way as to shadows cast by the main light. This lamp
and described here. The function of each give the most pleasing and effective should give a diffused light, and it should
specific lamp is basically the same, no matter "modelling" to the face. Generally the best generally be aimed at the subject f rom near the
whether you are using electronic flash or position is to one side of the. camera, at camera viewpoint. lts distance f rom the subject
tungsten lighting. For identif ication and approximately the angle shown, and pointing must be adjusted carefully. lt should lighten the
miniature portrait photography, you can often down at the subject's head at an angle of about shadow areas sufficiently to permit these to be
make do with less than the full equipment 45 degrees from the horizontal. reproduced with some detail, but it should not
described here. See the next page, and also To soften the shadows and minimize lines and be brought so close as to eliminate the
the lighting set-up sketches on page12. wrinkles in a face, the lamp reflector can have a shadows altogether. Under no circumstances
diffuser placed over it. must the fill light be permitted to cast shadows
An effective way of getting a diffused light with of its own. Use of a large reflecting umbrella
electronic flash is to use a reflecting umbrella with the main light can often render the fill light
(see page 14). u nnecessary.
The main light should be no less than 2 m (6 to
7 ft.) from the subject. (C) is the rim light. lt is aimed at the subject
from behind, and generally well above. lts
purpose is to give a pleasing highlight to the
hair, or a rim light to a shoulder. ldeally, it
should be a smallfocusing spotlight. Care must
be taken that it is not permitted to shine straight
into the camera lens. lt must also be placed
carefully, so as to provide a highlight where
needed but not at the same time give an
unpleasant light patch to, for example, a
forehead.
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(D) is the background light. lt is used to the light from the main light, and reflect it back
lighten the background to the desired extent. lf into the shadows. The rim light will generally
the subject is a girl with long dark hair, for not be necessary in identification or miniature

'tLs), example, you may want a well illuminated

background, so as to make the subject stand
out against it. On the other hand, if the subject
has long blond hair, you may want to use a
portrait photography, unless you are aiming for
the utmost in lighting quality.
One main light, one reflector card, and
second light for the background are adequate
a

comparatively dark background. equipment for most photography with the

Generally, identification documents require Passportrait camera. lf space and equipment
photographs with a comparatively light are really limited, excellent results can be
/t background. obtained with just one electronic flash unit and

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A brightly-lit background should not extend
much beyond the actual area that will be
included in the picture. Also, the background
should not be unduly reflective.
a reflecting umbrella.

Reflections in eyeglasses: lf your subject

wears eyeglasses, watch carefully for
unwanted reflections. Moving the lamp slightly
Working with fewer lights: You do not need
\.y, to use all the lights described here. For
example, the fill light can frequently be
.
and/or the position of the head will generally
eliminate the problem.
The lens shades shown on page 23 are
effectively replaced by a white card or foil recommended for use on the Models 40 and
reflector, and sometimes even by a white wall. 45 at all times.
The reflector is placed so as to catch some of
12

How to "build up" portrait lighting

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Fiil,
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The shutter sequence selector knob

Camera Models 4O-44-45: The knob in the 1. To take four pictures simultaneously, set 3. To make two separate pairs of identical pic-
centre of the camera front plate enables you to the white dot on the knob opposite the white tures, first set the white dot on the knob oppo-
set the camera for shooting four identical dot on the camera front plate. Depressing the site the white dot on the camera front plate.
pictures simultaneously or for making four shutter release once will give you four identical Cover the two top lenses with their lens caps.
separate shots, one after the other, on a single pictures on one piece of film. Develop the By making one exposure, you can now take a
piece of film. picture, pair of identical pictures through the lower len-
ses. Do not develop yet. Move the two lens
2. fo take one picture at a time, set the white caps to the lower lenses. Recock the shutter,
dot on the knob opposite the lens marked 1. and make another exposure, to give you ano-
Make an exposure and recock the shutter. Do ther identical pair of pictures. Develop.
not develop the film yet. Rotate the knob so
that the white dot is opposite lens 2. Make an Camera Model 2O-25: The knob and the prin-
exoosure and recock the shutter. Repeat the ciple of its operation are as described above.
procedure, using lens 3, and then lens 4. After With this camera you can make either one pair
having made four separate exposures, of identical pictures simultaneously, or two se-
develop. parate pictures, one after the other, on one
The lower picture indicates clearly which image piece of film.
is made through which one of the camera
lenses. CAUTION: The knob will click into the right
position for each lens setting. Always followthe
click positions, and never set the white dol
exactly opposite the numbers on the camera
front plate.
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Electronic flash illumination

For colour pictures the use of electronic flash is 1. "Bounce" flash. This is achieved when 2. Direct flash. The flash is aimed straight at
recommended. Polacolor film is balanced for the light from the lamp does not strike the the subject. This method is recommended
average daylight conditions (colour tempera- subject directly, but is first reflected from a when using less powerful flash units with
ture approximately 5500 K). Almost all electro- large diffusing surface. Lighting umbrellas are colourfilm, where bouncing would severely cut
nic flash units give a light with daylight colour ideal for this purpose. Two simple and typical the intensity of the light reaching the subject,
characteristics. Thus, no filters need be used. bounce flash set-ups are shown. The basic thus causing underexposure. Follow the basic
The duration of electronic flash is short enough lighting principles described on page 10 apply. lighting principles described on page 10.
to stop virtually any subject or camera move- A rim light and a background light may be
menI. added, if desired. Bounce flash gives a soft
Electronic flash is also definitely recommen- light to the subject, minimizing lines and
ded for use with Polaroid Type '105 positi- wrinkles and avoiding deep shadows. lt also
velNegative Land pack film, which has a speed has the advantage of not needing absolutely
of approxim alely 75 ASA equivatent (1 9 DtN) exact positioning in order to achieve the
and Type 55 4 x 5 Land film, which has a soeed precise lighting effect wanted. This also means
of approximately 50 ASA equivalent (18 DtN). that the subject can move more without
spoiling the lighting effect-a feature which can
Two lighting techniques: Two distinct be particularly valuable when photographing
electronic flash techniques can be useo. restless children.

R EFL ECTOR

UMBRELLA
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The shutter of the Passportrait camera is Neutral density filters: When you change
synchronized for electronic flash. Connect the from 75 speed film to 3000 speed film, you can
flash synchronizing cord to the flash contact on compensate for the higher film speed by using
the camera. The shutter can be set to '1l50 or appropriate neutral density filters over each of
1il00 sec the camera lenses.
Set the lens f-number as indicated by the guide The Neutral Density Filter Kit will almost exactly
number of your electronic flash unit for the compensate for the film speed change. Thus
speed of the film you are using. The guide you can keep your camera setting and lamp
number will be in the instruction literature distances virtually the same. lf there shou ld be
provided by the manufacturer of the flash unit. a minor discrepancy, this can be easily correc-
This guide number will generally refer to a ted by slightly adjusting the lamp distances.
direct flash. For bounce flash, open the lens See ACCESSORIES on page 22 and 23.
aperture by 2 f-stops.
Make a test exposure. Correct the exposure, if
necessary, as described on page 16.
Having found the right exposure, leave the
camera, the subject's chair and the lights in
their positions. So long as you continue to use
thts set-up, your exposures should remain
satisfactorv.
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Tungsten illumination Exposure control

lf most of your work with the Passportrait Exposure: For initial exposure determination,
camera is to be on 3000-speed (36 DIN) black it is best to use an exposure meter. Take a
and white f ilm (or on Polaroid Type 52 or Type readrng and then set the camera to one of the
57 Land film with the Model 45 camera), shtttter sneed and anprtrrrp cnmIipgligng
tungsten lighting will be adequate. indicated by the meter. lf the meter indicates a
Use lamps intended especially f or speed/apertu re combination for which the
photography. such as photofloods or special camera cannot be set, then the subject is lit too
studio f loods, mou nted in appropriate brightly or too dimly. Bring the lights nearer to
reflectors. Keep the lamps at least 2 m (6 or 7 the subject or move them further away, until
ft ) from the subject, to avoid discomfort the subject brightness is such that the camera
caused by both their heat and their light can be correctly set for it. Having repositioned
rnlensrly. the lights and taken another meter reading, set
the shutter and aperture as required.
Lighting technique: See BASIC PORTRAIT Once you have found the right exposure, leave
LIGHTING TECHNIQUE on page 10 As the camera. the subject's chair and the lights in
indicated there, in identif ication and miniature their positions. So long as you continue to use
portrait photography you can generally achieve this set-up with the same film, your exposures
excellent results with less than the f ull liohtinc should remain satisfactorv.
r:omrrlement desr:ri bed.
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Depth of field How to take pictures

The depth of field, or the distance zone within 1. Seat the subject at approximately the 4. Depress the shutter cocking lever.
which the subject will be recorded with correct distance from the camera. The camera
acceptable sharpness, increases as you close and the subject's head should be at about the 5. Set the shutter sequence selector knob, as
down the lens aperture. Thus, it is advisable to same height. Use a chair with a low back that described on page 13.
always use the smallest possible lens aperture will not intrude into the picture area, or use a
(that is, the largest possible f-number). stool. 6. Now set the camera-to-subject distance
The table shows the approximate distance Have the subject lean forward slightly with the accurately (Models 40 and 20), or focus the
zone, measured from the front of the camera, forearms resting comfortably on the legs, or on image (Model 45), as page B.
within which the subject will be recorded the arm rests of the chair, if it has any. This
sharply at the various f-number settings. posture is most flattering to the majority of 7. Carefully frame the head and shoulders in
subjects, eliminating apparent double chins the bright-frame viewfinder.
Approximate depth of field and heavy necks. lt is at the same time a
position in which a subject can remain 8. Make the exposure by depressing the cable
Negligible on either side motionless for a longer period of time without release mounted in the hand grip. (Remember
t/8 of focused distance" discomfort. to first remove the dark slide f rom the pack film
holder.)
t/11 1 cm. (45-51 in.)
15-130 2. Arrange your lights as you want them.
9. When you have recorded four images on
t/16 10-140 cm. (43-54 in.)
'1
3. Set the shutter control lever and the one piece of film (two images in the case of the
aperture control lever for correct exposure. Model 20) you are ready to develop the picture.
f /22 105-145 cm. (a1-57 in.) For development with the Model 45 camera,
t/32 100- 150 cm. (39-59 in.) see the instruction book supplied with your
Polaroid 4 x 5 Land film holder.
'The locused distance is 1.20 m (48 in.)
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Holder

1. dark slide grip Mounting the holder on the camera The two mounting lips on the holder fit into the
2. mounting lips Put the holder in the right position and fasten two brackets at the camera.
3. door latch the holder at the camera by pushing the knobs
4. film tab slot (A) into the mounting apertures of the holder.
5. dark slide
6. mounting aperture
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Loading

With both thumbs, snap open the door latch on Before loading the pack film remove the steel Also inspect and clean the narrow slot on top of
the end of the holder, and gently open it. Note roller assembly (A) for inspection. The unit will the holder where the yellow film tabs emerge.
that the door does not open flat. Do not try to snap out of the holder if you apply a slight After cleaning, push the roller assembly back
force it. upward pull at the loops. lt is important to into position, until it locks firmly in place.
keep these rollers clean.
Loading

1. Hold the film pack so that the black paper 3. Push the pack gently into the holder. You 4. Make sure all the white tabs are free, as
safety cover faces the picture area. will feel it snap into place. shown, and are not trapped inside the holder,
or under the film pack.
2. Push the closed end of the pack into the
recess (A) against spring tension, until it
comes to a firm stop.

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Loading

5. Close the holder and lock it. The spring 6. Grip the black tab firmly and pull it straight lf no white tab is visible, remove the holder
latch will snap into place if you press it in the out. Pull it allthe way- it must come completely from the camera. Carefully open the holder in
center. out of the holder. When the safety cover has subdued light and, without disturbing or
been pulled out, a white tab (A) should stick out moving the pack, push the white tab into the
of the small slot. Do not pull the white tab at this opening. Close and latch the holder again.
time. Check that the white tab is protruding from the
slot.

IMPORTANT: The black paper tab of the

safety cover must extend out of the front slot ol
the holder. lf it does not, reopen the door and
straighten the tab so that it does stick out.
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Guide to tab pulling ACCeSS0lres

ModeltlO: The film tabs must be pulled straight Model 25-44-45: Please see the instruction Print Cutters will precisely trim the four and
downward from the camera. Adjust the tripod book supplied with the Polaroid 4 x 5 Land film two pictures made with the Models 40 and 20.
so there is ample clearance. lf the tripod is holder.
sturdy, there will generally be no need to hold
the camera while pulling the tabs. lf you do Model 20: Firmly hold the camera orthe tripod,
wish to hold the camera while pulling, it is as described above, while pulling the tabs out
better to grip the upper part of the tripod, rather sideways.
than the camera .
itself Never use the
viewfinder of the camera as a grip.
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Accessoires

Pack Film Holder, provided with your Neutral Density Filters will permit you to Lens Shades will enhance the quality of your
Passportrait pack film camera, is also available alternate between 75 speed and 3000 speed portraits by reducing the effects of flare and
as a separate accessory. With additional film without making major changes in the uneven illumination. They are recommended
holders of this type, you can easily interchange exposure or the lighting. for use on the Models 40 and 45. Included also
films, from black and white to colour, for is an extender for the lens selector knob.
instance, without film wastage. Supplementary Lenses reduce the image
size of your Passportraits. They enable you to
include more than one person in a single
frame. Or, they can be used for other special
com position requ i rements.