Purma Guide

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WTTY WRITE A BOOK ABOUT IT?
There i s no i deal att-round camera; every camera i s the
resul t of a compromi se between performance and pri ce-
whet her you measur e t he pr i ce i n t er ms of speed, con-
veni ence, or si mpl y pounds, shi l l i ngs and pence. The box
camera, the mi ni ature, the refl ex, and the stand camera,
offer certai n characteri sti c advantages accompani ed i n each
case by equal l y characteri sti c di sadvantages.
I n t he Pur ma Speci al we have t he r esul t of a new t ype of
compromi se-a compromi se between the desi re to take
good photographs and a strong rel uctance to go to any
troubl e over them. l t l s, i n fact, a l azy man' s cahera, and
t hose who condemn i t on t hat gr ound i gnor e t he t r emend-
ous contri butl on to human progress made by men who were
too l azy to be happ)r doi ng thi ngs the hard way.
The shut t er speed i s t he onl y t hi ng about t he Pur ma
Speci al whi ch can be adj usted, and even thi s operati on cal l s
for nei ther knobs nor l evers, i t i s regul ated si mpl y by the
manner of hol di ng t he camer a. Ever yt hi ng el se i s ei t her
done for you or i t cannot be done at al l . The l ens has not
onl y a fi xed focus, but a fi xed aperture, and i t i s nei ther l uck
nor coi nci dence that thi s combi nati on of di stance and stop
l s the very one whi ch the good photographer uses most
on four days out of fi ve. The good photographer arri ves
at thi s setti ng after some del i berati on, consul tati on of an
exposure meter or gui de, and fi nal l y, two separate adj ust-
ments of focus and aperture. Thi s camera del i vers i t ready-
made.
In many ways the Purma Speci al i s the i deal camera for
novi ces but i ts utter si mpl i ci ty i s responsi bl e for i ts frequent
appearance i n more exal ted company. More than one
Fl eet Street ace carri es the Purma Speci al as a sort of
i nsurance pol i cy for the occasi ons when spl i t seconds can
rob the Dai l i es of a scoop.
Nat ur al l y, t hi s si mpl i f i cat i on l s a mi xed bl essi ng: t her e
-
ar9 many thi ngs that the camera wi l l not do and as man),
{ others that i t does i ndl fferentl y. No attempt i s made to
gloss over the very obvlous llmltatlons of the camera In the
i ol l owi ne
pages.
' l t
i s, i n fact, very necessary for these
l i mi t at i o- ns' t 6
be under st ood i f consi st ent l y
good r esul t s
are to be expected. Thi s i s one answer to those who ask
"l f the Purni a Speci al i s such a si mpl e affai r, why wri te a
book about i t ?"
The other answer i s-read the book and fi nd out.
T}IE PT'RMJT SPECIAIJ
The Purma Specl al l s a mi nl ature camera taki ng l 6 square
pi ct ur es l f x i i i n. ( 3. 2
x 3. 2 cm. ) on st andar i V. P. ' f i l m
(No.27 or 127). l t wei ghs l 2 ozs. (340 grms.) and measures
6 x2[ xZt i n. ( 15. 3
x 5. 7
x
7 cm. ) .
The body of the camera i s wl der
-at
the mi ddl e than at
the ends to accommodate the speci al metal focal pl ane
shutter.
The top carries the built-ln optical dlrect-vlslon view-
f i nder , f i l m- wi ndi ng knob, shumer i et t i ng l ever , and shut t er -
rel ease button.
- Th"
ori gi nal Purma camera, known as the Purmo Speed,
f {
q metal -body and si x Instantaneous speeds from |
125
to
l /200 sec. l t i s now obsol ete.
The lrens
The lens is a Beck anastigmat with a fixed aperture of
f
6.3, and afocal l ength of 2d In. (5.7 cm.). Al l sui faces wtth
the excepti on of the outsi de of the front and back el ements
are "bl oomed" to reduce i nternal refl ectl ons.
When not i n use, t he l ens i n i t s cyl l ndr i cal pl ast i c mount
retracts and i s hel d down by a bl ack pl asti c cap whi ch screws
on to a threaded boss on the camera body. Unscrewi ng the
cap al l ows a spri ng to sl i de the l ens out i nto the woi ki ng
posi ti on.
-
Thi s posi ti on i s fi xed. to gi ve a sharp l mage of al l obj ects
from l 0 ft. i n front of the camera to the hori zon.
Suppl ementar)r l enses descri bed l ater are avai l abl e for
photographi ng subj ects at l ess than l 0 ft. from the camera.
The Shutter
The shutter has no means of external adj ustment. tts
speed i s deci ded sol el y by the manner of hol di ng the camera.
Ther e ar e t hr ee speeds- Sl ow ( l 125 sec. ) , Medi um
( l / f 50 sec. ) and Fast ( 11450 sec. ) . When t he camer a i s hel d
l evel , the shutter automati cal l y sets i tsel f to work at l /150
sec.; wi th the camera on i ts l eft si de, the shutter speed
,#
*
THE SHUTTER
aH
Gtm
1,ffi
Cut-away vlew of focal plane shutter. A pivoted weight controls the width of the
shutter sl i t. Iop: Sl ow Speed (l /25 sec.). Camera on l eft.si de; sl i t wi dest; wei ght
opposi ng shutter spri ng. Centre: Medi um Speed (l /150 sec.). Camera l evel ; sl i t
narrower; weight neutral. Bottom; Fast Speed (l/450 sec.). Camera on ritht sidc;
sl l t narrowest; wcl ght hel pi ng spri ng.
HOW IT VYORKS
l. Before
pressing
the
releose button. A plate
behi nd t he l ens
"caps" it to stop
light from reaching
t he f i l m whi l e t he
shutter i s bei ng set.
2. First
pressure
on
releose button. Cao-
ping plate moves awiy
and allows llght to
pass into camera. 3.
Finol
pressure
oD ft-
leose button. This
rel eases the shutter
and as the sl i t moves
across light passes
through and exposes
the film. 4,
tMhen
the
releose button is
freed.
The capping plate
covers the back of the
lens.
becomes ,
l 45O
sec.; and on i ts ri ght si de, l /25 sec. As the
pi ct ur e i s squar e, t he shape i s. not al t er ed by t ur ni ng t he
camera to set the shutter sPeed.
The shutter i tsel f i s of the focal -pl ane
Pattern, -That
i s, i t works cl ose
to the actual fi l m surface and admi ts l i ght to the negati ve through. a
i f i t n fri i tt travel s-wi th
the camera i n the l evel posi ti on-across the
oi i tu." from ri ght to l eft when the shutter rel ease i s pressed'
' - t t ' t "
sl i t i s f oi med i n a cur ved met al
pl at e whi ch r uns i n gui des. . A
met al vane, at t ached t ot hi s
pl at e and l i nked t o a pi vot edt r ass wei ght '
nar r ows or wi dens t he sl i t ' accor di ng t o t he posi t i on of t he camer a'
var vi ns t l l e wi dt h f r om about
r k
i n. i n t he Fasi posi t i on t o about
{
i n.
i n i tre"stow. As the
pi voted wi i gtrt i s attached to the mai n shutter
oi "t o. i t al so hel ps t o t ont r ol t he i ot e at whi ch t he shut t er t r avel s. I n
l t t oi t or , n
posi t i dn i t act s ogoi nst t he shut t er spr i ng; i n t he Medi um
Dosi ti on
i t' has no effect, andi n the Fast posi ti on i t acts wi th the.spri ng.
' - A
r ur "i ai i c cover s t he back of t he l eni aper t ur e t o
Pr event
l i ght f r om
r eachi ng t he f i l m when t he shut t er i s be. i ng set . Thi s. di sc i s swung out
of the
r}ay
by the
,' fi rst
pressure" on the shutter rel ease button.
The shi t t 6r par t s ar e' of r ust - pr oof met al .
A moul ded
pl asti c
l ever, fi tted fl ush wi th the uPPer
surface of the camera to the ri ght of the vi ew fi nder wi ndow,
sets the shutter. l t has a whi te arrow on toP to show the
di r ect i on i n whi ch t o set i t . The met hod of set t i nS i s t he
same for al t shutter speeds. Once the l ever has been set
i t can be r et ur ned t o i t s or i gi nal posi t i on onl y by r el easi ng
the shutter wi th the press button. Any attemPt to force
i t back wi l l damage t he shut t er .
The shutter rei -ease button l i es i n a recess on the toP
sur f ace of t he camer a. When t he l ens i s hel d i n t he r et r act ed
posi ti on by i ts cap, the shutter rel ease button i s auto-
hrati cal l y l dcked to prevent acci dental exposure. The rel ease
but t on must nevei be pr essed unl ess t he l ens i s i n t he
wor ki ng posi t i on.
The Viewfinder
The vi ewfi nder
i s of the oPti cal di rect' vi si on type
Sl vl ng
a reduced-scal e i mage of the fi el d covered by the l ens.
Wi th the eye cl ose tol he fi nder and l ooki ng strai ght through
the centre, the vi ew seen framed by the square aPerture i s
8 correct for al l subj ects beyond ten feet from the camera.
!
p
I
h
When takl ng
photographs o{ subi ects nearer than thl s wi th the ai d
of one of the i uppl erneni ary l enses, the fi nder i s no l onger accurate.
(See pp. 54 to 57.)
As a gui de t o t he manner of hol di ng. t he camef t o adj ust
the shu-tter speed, FAST, and SLOW are m.arked to the
r i ght and l ef t ' of t he vi ewf i nder , each wor d. bei ng uPr i sht
when t he camer a i s hel d f or t he cor r esPondi ng
speed.
The Body
The body i s made up of two bl ack pl asti c moul di ngs.'
9.ne
car r yi ng t he l ens, shut t er mechani sm, vi ewf i nder and f i l m
wi nd, a- nd t he ot her f or mi ng a det achabl e back and car r yi ng
t he f i l m
pr essur e pl at e and number wi ndows.
A curved steel
pl ate across the i nsi de of the body
Protects
t he shut t er mechani sm and f or ms t he f i l m gui de and aper -
ture. At each corner of the curved fi l m aperture the metal
frame i s rai sed so that the fi l m l i es fl at agai nst the pressure
pl ate. Spri ng steel cl i ps at each end of the back hol d i t i n
i osi t i on
when i t i s pr essed home.
'
The word TOP, stamped on the
Pressure
pl ate on the
detachabl e back i ndi catei the correct way round for repl ace-
ment, the top of the camera bei ng the face carryi ng the
vi ewfi nder, rel ease, etc.
Red wi ndows ar e nor mal l y f i t t ed i n t he f i l m- number aper t ur es, but
i f
panchr omat i c
f i l m i s t o be' used, t he gr een t r ansPar ent di scs suppl i ed
wi th the camera must be fi tted i nstead. To change the di scs, the spri ng
r et ai ni ng r i ngs shoul d be eased out wi t h t he poi nt of a penkni f e.
ITJTNDTING THE PIIRMA
Before you put a fi l m i nto the camera, spend some ti me
pfacti si ng wi th i t unti l you are fami l i ar wi th the operati ons
of hol di ng and shoot i ng.
How to toad the Purma
l. Free back at both ends.
2. Remove back.
3. Insert
gnpty,spool at wi ndi ng end.
4. Insert ful l rol l bf fi l m.
5. Break papgr seal and pull off 5 in. of paper.
6. Attach en4 of paper td empty spool.
T. Wi nd unti l taut.
8. Replace back.
9. Wind to first exposure.
l . Lever the back free by pressi ng your thumbnai l Into the recesses
at each end of the bodi .
2. sl i de both ends of the back out at the same ti me: do not ooen i t
l i ke a book or you
wi l l damage t he body or t he sDr i ns cl i os. '
3. Drop the
pl ai n
end o.f the g.pty spool ' i nto the hol ei ppbsi te the
wi ndi ng knob and pul l out t he- knod t o al l ow t he sr ot t ed i nd of t he
spool to fal l i nto pl ace. Rel ease the knob and turn i t unti l i t ensaees
wi th the sl ot. l f the knob does not go back fl ush wi th the top dr i tre
camera the spool
!.s
not correctly fitted.
4. The ends of the ful l spool fi t i nto the sl ots at each si de of the recess.
When the spool i s pressed down i t i s hel d i n
pl ace
by the
pl ated
spri ng at the back of the recess. Bl ow out any dust fro' nr i nsi j e the
camera before you thread the fi l m.
5. Do not break the seal before the fi l m i s i n the camera, or i t may sl i p
from your fi ngers and unrol l .
5. Thread the tapered end of the backing paper
into the wide side of
t he sl i t I n t he wi ndi ne soool .
7- Make sure that
-the
-uai ti ng
paper ti es absol utery fl at and runs
smoothl y on to the wi ndi ng Jp6oi whi l e you gi ve thl knob a coupl e
of turns.
8. Brush.awa)'
.anl
sqe9k9 of.dusr or fl uff from the edges of the ri ght
trap_where the back
i oi ns
the body. Look for the wor-d TOp stami ed
o.n the fi l m pressure pl ate, and pi ace thi s edge opposi te the faci of
the camera whi ch carri es the vi ewfi nder and shutter control s.
push
.^
both ends of the back i nto pl ace
at the same ti me and make sure
l U that i t i s pressed
wel l home.
r
r$
tft
HOW TO IOAD THE PUR]' fA
:
l. Free the back at both ends.
2. Remove back.
3. tnsert an empty spool at wi ndi ng end.
1. Insert a rol l of fi l m at feedl ng end.
5. Pull off 6 in. of backing paper.
5. Push end of backi ng paper through wi de si de of sl i t.
l . Wi nd unti l taut.
8. Rcplace back with TOP at top.
9. Wind flgure I into first wlndow.
it
^
N.g,gr press
on the shutter releose button
with the lens coD In
Dloce.
z. wl ".n the cap i s unscrewed,
the l ens sl i des out i nto' trre
,fuorti nq
posi ti on
and unl ocks the shutter mechani sm.
Do not;;t;ffi ?
the sl i ghl si de pl ay between
the l ens mount and i ts housi ng' ;
th6 i a
normal . Put the cap i n your pocket,
or you
."v i "r" i i .
-
3. The shutter i s s:t by pustri ng
the revei ;b"i l i i .,;;;.a punme
i n
the di recti on of ths whi te ai row.
Make a habi t of setti ng-the shutter i mmedl atel y
before you
want to
shoot. lf you set it ear-iler, you run the rlsk of ilt"r"inJit
accidently,
Tl.:lt:r:.I::
think of the two acrions or Jttinf'anJ-r-;i;ilf;
together, you wi l l never be sure whether
the shuttEr i , s"t or not.
ll*"I:
use. your
right forefinger
for setting the shutter and then
lejp
rr weil away. from the setting lever. The lever flies back to the
sare posrtron-as
the shutter i s rel eased,
and i f your
fi nger i s i n the
-
y.ay, you
wi l l spoi l the pi cture.
4. Pl ant your feet-fi rml y
od rhe ground,
and make your
body l nto a
steady supporr for th-e camera.- Hold the ."r"ta
i"""1
"nJ'orlii,r-
il
!r!'Try
agatnst your
nose and forehead.
lf the horizon
showj rn ine
p!ctu1'e,. make sure that it is p^arallel
to the top and bottom
of ihi
v-iewf,nder
9r
y?:_yl!,y3l1t"
p.tcrure
space.In s,iuarinjii
i,l i"iir."-
5"gp
ygy-t forefinger
bent w6[ over the rtruti"-r rei"Le or you
wirl
flnd tt dtfficult to appry
the flnar pressure.
press
aown .iJ;t,';;
not
j erk.
The rel ease button moves fai rl y easi l yfor about
*
i n., and then, when
about to refease,-?-u.pllt_:r-yeiy
mu'ch harder ;,
il;;:
latil;;;
I3:T.:lr]I::-may
shake the iamera at the inGrla oi-exposure.
e
firm, but not fierce, grip on the camera, and slow, steady squeezinq
of the rerease button ii the answer..
gbcaudoiiti-*diinl;ii;:
shutter, there is a sharp impact at the
"nJ
oi ia; ;;;";i;
d'ut
"s
tr,is
occurs ofter exposure, ii dods no harm.
5. l f the number i s showi ng i n the.fi rst wi ndow, wi nd unti l you
see the
same number i n the sei ond wl ndow. tf the numb"i
i i tn.*i "q
i i
the second wi ndow (nearest
to the wi ndi n! kn;ti ' *i ;l "i "i i i tri l
next number shows i n the fi rst wi ndow.
-
The-i ppearance
of i
number i n ei ther wi ndow l s.preceded
by a l i ne
"ftr,.""
or four
dots. Always wind to a fresh frame.imriediateiy-aftei
,"[ing-.n
, f,|los,ure,
or,you may forget and spoil two picturLs.
o. I ne snutter tock does not come i nto operi ti on unti l the tens cao
has been screwed right down. rf you tra'i" r"iir," itiiiti,,ii"ij'tnTfi
not made an exposure, you can-rel ease
the setti ni i ever
uv un-
screwing the lens cap a
{uarter
of a turn and prJrrini-tr,"
,;i.,'".ili
release button.
How to Unload the Purma
l .
14 2.
Wind
end of paper
to second window.
Take ofr bacli of camera.
HOW TO SHOOT WITH THE PURMA
HOW TO UNLOAD
THE PURMA
l . Turn fi l m wl ndi ng
knob unti l end of
paper shows i n second
wlndow.
a Remove camera back,
easing off both ends
together.
3. Stlck down paper seal
and remove roll.
4. Transfer empty spool
t o wi ndi ng end and
replace back of camem,
TOP to top.
l . Unscrew l ens cap.
2. Push settint lever in
direction of arrow.
3. Si ght subj ect In vi ew-
flnder and prss
shutter release.
lL
Wlnd film to ncxt
frame.
Sti ck down seal and remove rol l .
Transfer empty spool to wi ndi ng end.
Replace back of camera.
3. Fol d about hal f an Inch of the backi ng paper under, and turn the
wi ndi ng knob unt i l onl y t he end of t l i e- gummed paper seal i s l ef t
sti cki ng out. Moi sten the gum and presi the seal bri to the rol l as
you conti nue to wi nd, then remove the seal ed rol l . In thi s way there
i s no ri sk of l etti ng the unseal ed rol l sl i p from your fi ngers. l f the
fi l m i s not goi ng to be devel oped i mmedl atei y, retui n i t to i ts
wrappi ng foi l and carton.
3.
4.
5.
16
FIIMS AIVD FILTERS FOR THE PIIRMA
The Purma takes V.P. (Nos. 77 and 127) fi l ms wi th a
number ed
paper backi ng wound on a met al . spool .
Fi l ms
of thi s si ze' are mai ufactured by most makers of
phot ogr aphi c mat er i al s i n t wo t ypes- of
emul si on- or t ho-
i hrom"ati i
and panchromati c-ai d
i n a range of speeds.
Wi thout
underi tandi ng
the effects of the type of fi l m,
whether
orthochromat-i c
or panchromati c, and i ts speed,
good photography i s i mPossi bl e.
Orthochromatic
Films
A
photographi c fi l m does not resPond egual l y to al l the
r . vs i r f l i shi whi ch f al l on i t when t hd shut t er i s open. Some
r"yt
".t
-upon
the emul si on very strongl y, whi l e others are
ml ch *ui k"r . Or t hochr omat i i c
or oi t ho f i l m i s hi ghl y
sensi ti ve
to bl ue l i ght, l ess so to yel l ow, green and orange,
and oracti cal l y
not-at al l to red. For thi s reason' an ortho-
chr omat i c f i l m may be devel oped by a r ed dar kr oom l i ght .
Moder n r esear ch
' has
pr odui ed f i i ms of t hi s t yPe wi t h
gr eat l y
i mpr oved sensi t i vi t y t o t he yel l ow, gr een and or ange
i .vt. *hi .h ei ve
a better 6l ack ani l whi te renderi ng of the
coi out t
of 6ur
phot ogr aphi c subi ect s. These f i l ms ar e
sener al l y
i ndi cat dd by
7' - chr ome"
at , t he end of t he br and
i . r . und t h. i r hi gh i peed and good phot ogr aphi c
qual i t i es
make t hem pr obabl y t he most popul ar f l l ms t or amat eur use.
Panchromatic
Films
Panchr omat i c
or pan f i l m i s al most equal l y sensi t i ve t o
al l col ours and for that reason i t
gi ves a better al l -round
renderi ng of the average photograp-hi c
subi ect. Because of
t hei r sen"si t i vi r y t o l i g6t 6f at t i ol our s,
panchr o. mat i c f i l ms
shoul d be opei red an-d processed i n compl ete darkness or
by a ver y di m gr een saf ei i ght . The hi gh speed. panchr omat i c
fi i ms ..6 e*."fsi vel y sens' i ti ve to red- l i ght wi th the resul t
t hat r ed t ones i n t h6 subj ect may come out unnat ur al l y pal e.
PUR-8
t 7
Film Speeds
The speed of the fi l m i s al ways stated on the carton i n fi sures whi ch
may refer to any one of a numbi r of di fferent cl assi fyi ng syst-ems. These
s),stems.are based on di fferent methods of measuremen-t i nd whi l e they
cannot be accuratel y compared, the tabl e gi ven bel ow can be regardei
as a sati sfactory practi cal gui de.
COMPARISON OF FILM SPEED RAI'N6S
B.S. ond
A.S.A.
lndex
B..S..Log Weston G.E. H. & D. Europeon Americon
DrN
lndex
Schiiner Scheiner
t 2l t 0
t 4l t 0
r 5/ r 0
t 7l t 0
r 8/ r 0
r el r 0
2t
l t 0
221t0
24l t o
t 0
t 6
20
32
40
64
80
t 25
160
2l o
230
240
26
270
29"
300
32
330
I
, 2
t 6
24
32
48
64
96
t28
t 2
t 8
24
36
48
64
96
130
t 90
400
660
800
| 300
| 600
2400
3000
4800
6400
230 |
g"
250 21"
26" 22
270 24
29" 25"
300 27"
32" 2go
33" 300
350 320
As the Purma has gnl y
three shutter speeds, i t cannot take i nto
account smal l di fferences between one fi l m speed and the next. Thi s
al l ows^a much. si mpl er cl assi fi cati on of fi l m sp' eeds.
Al l fi l ms bel ow 24' Sch. (European) are too sl ow to be of much use
t o t he Pur ma whi ch cannot gi ve dn ei posur e l onger t han l / 25 sec. The
r emai ni ng speeds can be gr ouped i nt i r t hr ee: Low speed' ( 24o Sch. t o
26"- S: L. ) : Mi ddl e speed ( 27' Sch. t o29o Sch. ) and Hi gh spei d ( 30. Sch.
t o 32o Sch. ) .
, ,The
Low speed fi l ms are roughl y hal f as fast as the Mi ddl e speed fi l ms
(they the.refore.requi re twi ce the exposure) and the Hi gh si eed fi l ms
are roughl y
tql cg
as fast as the Mi ddl e speed fi l ms (t-hey' therefore
requi re onl y hal f the exposure).
Latitude
-
The fi l m i s.gpabl e of. respondi ng tol a very wi de range of l i ght varues,
from very dul l to very bri ght-a much wi ddr range thi n i s found i n the
average subj ect. l t i sthus general l y possi bl e
to stray from the so-cal l ed
correct exposure-and sti l l be wi thi n the range of the fi l m' s power to
r epr oduce t he l i ght and shade of t he subj ect . Thanks t o t hi ; l at i t ude
t he t hr ee shut t er speeds of t he Pur ma wi l i usual l y i ncl ude one whi ch i s
near enough tg the correct exposure for practi -cal purposes.
As the
l ati tude of the fi l m extends more-above than bel ow thecoi rect exposure,
i t i s a safe rul e, when the correct exposure l i es between two Shutter
speeds, to choose the sl ower,-i .., t6 over-expose.
18
Grain
The black parts of the negative are formed of microscopic grains of
metal l i c si l ver. These grai ns are too smal l to show i n contact pri nts or
smal l enl argements, but i n bi g enl argements they can appear as a
general spotti ness whi ch breaks up the defi ni ti on of sharp l i nes and
destroys detai l .
The si ze of the grai n usual l y vari es wi th the specd of the fi l m. Low
speed fi l ms have a rel ati vel y fi ne grai n and gl ve the best enl argements.
Hi gh speed fi l ms have a much coarser grai n whi ch shows more when
enl ar ged t o t he same degr ee.
Some devel opers tend to l eave the negati ve wi th a coanser grai n than
others. Ordi nary devel opers, sui tabl e for rol l fi l ms l arger than V.P.,
are unsatisfactory for negatives as small as those of the Purma. For
al l ordi nary si zes of enl argement any of the propri etary fi ne grai n
devel oper s wi l l do, but f or mi ni mum gr ai n si ze, one of t he ul t r a f i ne
grai n formul ae must be used. The di sadvantage of the l atter i s that they
may requi re up to three ti mes as much exposure, whi ch practi cal l y
rul es them out for Purma photography.
When to Use Which
The best fi l m for eveq/day use i s undoubtedl y the Mi ddl e
speed panchromati c ki nd. Thi s i s not too sl ow for bri ght
wi nter days and not too fast for strong summer l i ghti ng.
It has a grai n si ze fi ne enough for al l normal enl argement and
i t s t one r ender i ng of nat ur al col our s i s t he best possi bl e.
Its bal anced col our sensi ti vi ty makes i t excel l ent for
portrai ture, parti cul arl y of chi l dren and young women whose
compl exi ons woul d be reproduced i n undul y dark tones by,
orthochromati c fi l m. Di sadvantages: l t must be handl ed i n'
compl ete darkness or by a veD/ weak green safel i ght, andj
i t costs more than orthochromati c fi l m.
Next i n order of al l -round useful ness comes the Mi ddte
speed orthochromati c fi l m. l t has most of the good qual i ti es
of i ts panchromati c rel ati ve, but i t has not the same
bal anced col our sensi ti vi ty. However, average subj ects are
suffi ci entl y wel l rendered. When used for portrai ture, i ts
l ack of sensi ti vi ty to red means that i t darkens fl esh tones
and sun tan, and i s apt to emphasi se faci al bl emi shes. On the,
other hand, i t costs l ess.
The Hi gh speed panchromati c fi l ms shoul d be reservedJ
for such speci al occasi ons as photography i n the dul l wi nter
months, i ndoor and arti fi ci al l i ghti ng work, and to al l ow the 19
fastest shutter speeds to be used for moving subfects.
Agai nst the very hi gh speed of such fi l ms must be set
coarser grai n, need for greater care i n handl i ng, pal eness of
red tones, and l ast but not l east, hi gher cost than of ortho-
chr omat i c f i l m.
Low speed fi l ms gi ve the fi nest grai n, but they l i ml t the
use of the Purma to a narrow range of subj ects and l i ghti ng.
FILfiIS FOR THE PURMA
Groin
Ensi gn:
Ul trachrome
Gevaert:
Panchromosa
Super chr ome
l l ford:
Sel ochrome
Sel o H. P. 3
Kodak:
Pl us X
Ver i chr ome
Super XX
Panatomi c X
Mi ddl e speed or t ho Medi um
Mi ddl e speed pan Fi ne
Mi ddl e speed or t ho Fi ne
Hi gh speed pan Medi um
Mi ddt e speed pan Fi ne
Hi gh speed pan Medi um
Low speed pan Very fi ne
What is a Filter
A fi l ter i s a col oured gl ass di sc whi ch i s fi tted i n frcnt oi
the camera l ens to prevent some of the l i ght from reachi ng
the fi l m. l t i s used to correct the tendency of the fi l m to
: see some col our s dul l er t han we do, and some br i ght er .
A f i l t er t ends t o br i ght en i t s own col our . l t t ends t o
darken al l other col ours.
Ni ne t i mes out of t en you wi l l want t o use a col our f i l t er
t o dar ken t he bl ue of t he sky and make whi t e cl ouds, and
the yel l ow, green and brown of the l andscape, stand out i n
t hei r t r ue nat ur al br i l l i ance.
Thi s can be done by a yel l ow or green fi l ter; the parti cul ar
col our and dept h of t i nt dependi ng uPon t he sor t of f i l m
20 you are usi ng i nd how dark you want the bl ue sky to l ook.
TAIffNG
THE PHOTOGRAPH
Knowl ng how to use the three shutter speeds of the
Pur ma wi l l not hel p you t o t ake phot ogr aphs
unl ess you
know when to use ttrdm.
l f you. shoot beach scenes wi t h a Hi gh speed f i l m i n your
camer a i n st r ong sunl i ght wi t h sl ow shut t br speed you' wi l l
pro.dqce an al mosr bl ack negati ve, whi l e i f you
shoot on a
dul l December
morni ng wi th a Low speed fi l m ar Fast
speed you wi l l get an al most cl ear negati ve. Both wi i l be
q.ul te usel ess: what i s wanted, i s a ndgati ve whi ch shows
the b.ri ghtest parrs of the subj ect as ndt qui te opaque and
the darkest as not qui te transparent,
wi th al l the Inter_
medi ate tones re-produced i n propofti on-i .e.,
a negati ye
wtri ..l has been gi ven the correcr exposure.
What is the correct exposure?
ilefore we can answer
thi squesti on
we must fi rsd know two thi ngs: the speed of
the fi l m, and the srrength of the l i ght.
The Effect of Film Speed
.. fo
produce the same degree of bl ackeni ng of the negati ve,
l i ght must act for a l onger ti me on a sl ower fi l m than on a
faster one-i .e., the sl ower fi l m needs a l onger exposure
under t he same l i ght i ng condi t i ons.
^. As
gr ouped. f or t he Pur ma user ( see p. l B) Low speed
f i l ms need t wi ce as much exposur e as Mi aat d speed hl ms
and f our t i mes as much as Hi gh speed f i l ms.
The Strengrth of the light
The strength of dayl i ght vari es accordi ng to the month
and t he t i me of d^y. I n- wi nt er t he l i ght i s- weaker t han i n
summer ; at mi d- day i t i s st r onger t hi n i n t he mor ni ng or
eveni ng.
.
The phot ogr aphi c val ue of t he sunl i ght al so depends upon
how. much of i t gets through the cl oul s and haze. l f there
ar e heavy. cl ouds. obscur i ng
t he sun, t he l i ght at mi d- day i n
Jul y can be weaker t han on a cl ear December mor ni ng.
tr
lffi
i
So the weather must be taken Into account In deci di ng
what exposure to gi ve.
Bear i dg i n mi nd- t he l i mi t ed r ange of t he Pur ma shut t er ,
onl y three very broad types of l i ghti ng need be consi dered
at any t i me of year : -
Bri ght: Sun shi ni ng i n a cl ear skY.
Goi d: Normal fi ne weather wi th thg sun
i ust
strong enough to
Dr oduce
f ai nt l y vi si bl e shadows.
'
Dul t:-Sky dompl etel y covered wi th cl oud through whi ch the sun
cannot be seen.
Good l i ght needs three ti mes as much exPosure as Bri ght
l i ght . Dul l l i ght needs t hr ee t o si x t i mes as much exPosur e
as Good l i ght.
The Type of Subject
A photograph is made by light reflected from the sub.iect.
The
' l i ght
i efl ected from' a whi tewashed cottage wi l l act
upon t-he fi l m much more strongl y than the weaker refl ec-
ti bn from a dark-ti mbered barn,-ai though the same dayl i ght
may be i l l umi nat l ng bot h subl ect s equal l y. The bar n, t her e-
for' e, wi l l need a l onger exposl re than the cottage. Si mi l arl y,
an open l andscape or seascape wi l l need a much shofter
exposur e t han one wi t h heavy masses of bui l di ngs, t r ees,
or groups of peopl e i n i t, parti cul arl y i f they form the
i nterest of the pi cture.
Here agai n, dhree groups are sufi i ci ent for the si mpl i fi ed
t echni que of Pur ma phot ogr aphy: -
Li ght: Open l andscapes wi thout i mportant foreground. Snow scenes.
Normol i Open l andscapes wi th i mportant foreground fi gures or
obj ects. Wi de streets and squares.
Dork: Fi gures and bui l di ngs i n narrow streets' under trees or i n very
wel l -l i t i nteri ors. Portrai ts i n shade.
Normal subi ect s need t wo t o t hree t l mes t he exposure
f or Ll ght . Dark subj ect s t hree t o si x t i mest he exposure f or
Nor mal .
Controlling Exposure with the Shutter
The ri ght exposure for any photograph depends upon the
factors al ready di scussed:
4I'
l . The Fl l m Speed (Low, Ml ddl e or Hi gh).
2. The Daylight (Bright, Good, Dull) for the particular time of day
and year.
3. The Subject (Light, Normal, Dark).
In practi ce, once the fi l m has been chosen, exposure l s
cont r ol l ed by var yi ng t he si ze of t he l ens aper t ur i and t he
shutter speed. Most cameras al l ow control of both l ens
aper t ur e. and shut t er speed, but t he Pur ma l ens aper t ur e i s
fix:d and exposure is controlled by the shutter speed olone.
The t hr ee shut t er speeds ar e: Sl ow- l 125 sei . , Medi um-
l / 150 sec. , and Fast - l / 450 sec.
Another way of putti ng thi s makes i t easi er to understand
what_ happens w_| ren a change i s made from one speed to
another, i .e.: Sl ow-18145:0 sec., Medi um-31450 sec.,
fast-1i 450 sec.
I n changi ng over f r om Medi um t o Sl ow, t her ef or e, t he
exposure becomes si x ti mes sl ower-i .e. from 3 to l g-and
i n goi ng from Medi um to Fast, the exposure becomes three
ti mes
foster-i .e.
from 3 to l .
Practical Exposure Guide
l f you cannot be bot her ed wi t h t echni cal i t i es, or have no
t i me t o be exact ,
- t he
f ol l owi ng r ul e wi l l gi ve you a veD/
hi gh proporti on of sati sfactory negati ves:
-
. .-i!.4tu. _lPpy_a__r!ry _!
Good Light
+
Normot Subject
-
MEDIUM SHUTTER SPEED.
For ot her f i l ms, l i ght i ng and subj ect s, st ep up t he shut t er
speed to Fast when at l east two of the othei factors go up a
st eP:
_-A!cI.l.PgZa_fil1_+_Bright
Lisht
+ Normol Subject
-
FAST SHUTTER SPEED.
Step down to Slow when at least two of the other factors
go down a st ep:
-.\i.d.dt-9 Lp_.:_a_
FltgJ Dull Light
* Dork Subject:
SIOW SHUITER SPEED.
42
EXPOSURE GUI DE FOR THE PURMA
&ocr - r i AR
,
ip
(
^- speed
F
(
Middtespeed
lr*o
speed
Sel ect,upperor.l ower tabl e for season. Pi ck out subj ect (Li ght, Normal ,
or Dark);
for l i ghti ng
(9i .s.ht,
Good,,or Dul l ). use camera poi i ti on opposi te
your fi l m
speed ( Low,
Mi ddl e, or Hi gh) .
r ; d z
'
)G
Bright
' l
*
&
Light
l- |
srow
)*
+
Good
lF I
Ncrmot
i5 8,,0,,",|H
EE
Dut t
) -
$
Dar k
) '
3
Fost
) '
w nt
d
w
aaaa
E
AE zt n H
g
H
d a
na
w
n
H at w H
a
al l- l- l- l- l-.f-T:]
aa a
G'
I
g
ua a
,
A step up in one factor
cancels out the effect of a steo
down i n one or both of the others and reaves the tti rti "' ,
speed unal t er ed:
"HiJ,fitl"
ii F,lp,i r}tt.t
Li ght
+ Li ghtsubject =o
The cl assi fi cati on
of
.dayl i ght
i nto Bri ght, Good, and Dul l shoul d be
used wi th some thought
tol he
ti me of"Ji y ;;J y";;.
--"
The above exposures appry to the mi ddre of the day rn summer.
A more accurat e
gui de t o exposure i s gi ven bel ow.
EXPOSURE
GUIDE FOR THE PURI4|A
f . Find the Subject-Weother
Facar
Subj ect
Weather
Bri ght
Good
Dul t
4
5
6
3
4
5
2. Add the Light Factor
Month
Time of Day
9 a.m.- l l a.m.-
-2
p.m.-
4 o.m.-
l l a. m.
2 p. m.
a
b. m.
6
b; .
3. Add the Film Foctor
Fi l m
Factor
Low speed
3
2
I
Mi ddl e speed
{ 4
Hi gh speed
1. Add the Fllter Foctor
Fi l t er Factoi'
No. I Yel l ow
No. 2 Orange
No. 5 Li ght Green
5.
f
the lotol is:
Fast shutter speed
Medi um shut t er speed
Sl ow shut t er speed
"In
Between" Shutter Speeds
l f you use a meter or chart, showi ng a range of shutter
speeds and l ens aper t ur es, you wi l l have t o use t he shut t er
speed shown opposi t e t he l ens aper t ur e,
f
6. 3 of t he Pur ma
l ens. Thi s speed wi l l not al ways be an exact Pur ma speed.
For or di nar y snapshoot i ng you wi l l be saf e i n usi ng t he Pur ma
speed bel ow- i . e. , sl ower t han t he one i ndi cat ed by your
meter or chart.
To get a more accurate adj ustment of exposure you can
use a sui t abl e f i l t er , or adapt your vi ewpoi nt t o t he l i ght i ng.
When you use a xZ
fi l ter
i n front of the l ens, i t hal ves the
amount of l i ght r eachi ng t he f i l m. Thi s aut omat i cal l y hal ves
t he exposur e and i s t hus a usef ul adj ust i ng devi ce, al ways
provi ded that the effect of the fi l ter i s acceptabl e.
l f, for exampl e, your mecer gi ves the correct exposure as l /50 sec.,
you can use the Sl ow shutter speed ( l /25 sec.) arrd add a x 2 fi l ter. The
same f i l t er woul d enabl e you t o use Medi um shut t er speed when t he
subj ect needs l / 300 sec. , and so on. Remember t hat al t hough you ar e
shorteni ng the exposure, the shutter speed has not been al tered, so that
you cannot use thi s tri ck to hel p you to photograph fast-movi ng subj ects.
The whol e r ange of "i n bet ween" speeds gi ven by f i l t er s i s shown i n
the tabl e on page 46.
I or 2: Use
3 or 4: Use
5 or 6: Use
45
ADlUSflNG EXPOSURES
W|TH F'rrERS
Exposure
Reguired
Shutter
Speed
With Ortho Films With Pon Fitms
odd Filter
add Filter
I
lzs
ri so-ri 60
l / r00-t
/
t 2s
None
Yel l ow
Sl ow
Sl ow
Sl ow
None
Yel l ow or
Li ght Gr een
Orange
l / r s0
r
/300
r
/s00-
|
/7s0
Medi um
Medi um
Medi um
None
Yel l ow
None
Yel l ow or
Li ght Gr een
Orange
r/4s0-t
/s00
r / e0Gt / t 000
None
Yel l ow
Fast
Fast
None
Yel l ow or
Li ght Green
,
Tl"
.exact
exposure dep.ends on the proportions
of light ond
shode i n t he pi ct ur e, and t her ef or e on i he di r ect i on- of
t he
l i ght i ng. l f you st and wi t h your
back t o r he sun so r har
your subj ect
.i s .strongl y
l i gl i ted from the front, you can
gi ve two-thi rds the.expo:j rre
that you wourd use for d subj ect
l i ght ed f r om t he si de. l f you sh6ot t owar ds t he sun, mosr
of your subj ect wi l l be i n shadow and wi i l need at l east twi ce
asr nuch exposur e as t he same subj ect l i ght ed f r om t he si de.
Thi s i s another way of
.maki ng
tl i e subfect fi t the exposure
when you cannot make t he exposur e f i t t he l i ght .
,_!oIpl":,lf
the,exposure. given by your meter for a subject lighted
from,the. si de i s l /100..sec., by choosi n-g your vi ewpoi nt so that th-e sun
! s ?g. nl l o
you' you wi i l be abt e t o use Medi um speed. (213 of l / 100 sec.
i s l / l 50. sec. )-
9t . uy
shoot i ng agai nst t he ri ght you can' gi ve srdw rpl ud
ar t ne ri sk ot st i ght over-exposure.
(l / 100 sec. doubl ed i s l Tso set . ;
However, most f i l ms al l ow so much l at i t ude i n exposure
t hat you wi l l be saf e, ni ne t i mes out of t en, i n rnorl i i ng t o
t he nearest Purma shut t er speed.
tighting Angles
How the l i ght fal l s on the subj ect does not onry affect the
exposure, i t deci si vel y control s the oppeoronce of ti e subj ect:
I
46
T
f
*
I
I
Frontol Lighting eliminates shadows, destroys texture and
makes the subj ect l ook fl at. l t i s, however, useful for pl ayl ng
down faci al wri nkl es.
Side lighting gives a good balance of light and shade,
emphasi ses r el i ef , and adds model l i ng.
Bock Lighting suggests depth and space and is good for
stri ki ng and dramati c effects.
High- Angle Lighting casts marked vertical shadows which
are bad for portrai ture and general l y unnatural .
Low Angle Lighting addr pictorial quality, and casts long
si deways shadows, enr i chi ng t ext ur e and model l i ng.
The same r ul es hol d good by ar t i f i ci al l i ght and al t hough
the Purma i s fi rst and foremost an out-door camera, those'
who want t o wor k i ndoor s wi t h i t can do so wi t hi n l i mi t s.
SHUTTER SPEEDS FOR PHOTOFLOOD'I.IUII4INAT'ON
Lomps in good reflectors shining at on overoge angle of 45" to comera-
subject line. High speed
Pan film.
Distoncee One Lomp
Lamp-Subject
in
feet
Light Med. Dark
Two Lomps Three Lomps
Light Med. Dark Light Med. Dork
r
*
M+ S+
s-
2 M+S
-
4S-
6 -
M+
s+
M+ M+ S+
S+S
-
s-
Where the l i ghti ng i s srong enough to al l ow for a bl ue fi l ter, tht
shut t er speed i s shown t hus: M+, S+.
Why a Lrens Hood
The lens hood prevents unwanted light from fatllng onthe
front of the l ens, and i s probabl y the most i mportant
"extra" that can be carri ed. Stray l i ght i s apt to stri ke the
l ens from so many unsuspected quarters that the onty
real l y safe rul e i s: ol woys use o l ens hood, no matter where,
when, or what you are photographi ng.
It i s even more i mportant to use the l ens hood wi th a
col our fi l ter or suppl ementary l ens, si nce both add refl ect-
ing surfaces which increase the effect of stray l,ight. 47
The Purma l ens hood i s a bl ack pl asti c moul ded tube
whl ch screws on to the front of the camera i n pl ace of the
l ens cap. The open end narrows, formi ng a real hood i n
contrast to the conventi onal funnel -shaped fi tti ng. The
method of attachi ng the l ens hood makes i t i ndependent of
any fi l ter or suppl ementary l ens i n use at the ti rne.
#
wfIEN
THE
SUBIECT
IS MOVTNG
No Purma
photograp-her
shoul d
be content
to thi nk
only in ,"flt_ of static effects'
es when
f.to matter
how
qui ckl y the shutter
oPeratl
ph"l ogffi i ng
.- ttJ' 1s
i ub;ect'
i t remai ns
oPen
for a
def i ni t e
t engt h
"f
i i r .
di r i ng
whi ch_t he
subi ect moves
and
;;;Jr:"t
"' bl urri nt
of the i i l rage'
But so l 6ng
as the bl ur
i r;;;;rl t
i o Uu sEen by the ni ked
eye i t does not matter.
So, by keepi ng
i [.- Ul t" smal l
"nough'
we can "arrest"
movement
i n t he pi ct ur e.
Factors
that control
the amount
of blur
are the speed
of
the subi ect,
i ts di stance,
and i ts di recti on'
When *. t no*- i t l "t "
t hr ee t hi ngs' .
we can. wor k
out
the sl owest
shuti er
rf""a
that wi l l pfuduce
no vi si bl e
bl ur'
Speed
The movi ng
subtects
you.wi l l
want to shoot wi l l be any-
thi nq-from
sl ;w-movi ng
wal kers
to fast-movi n$
fi l otof-cofS,
;;' ?;;h' t"i ti -."ti
r"'
"' di ff.' "nt
shutter
speed'
The Purma
tr.t ontv three ,huta"t
speeds
to deal wi th them'
however'
;il i;;ii; t"k;
;i simpiicitv
three grouPs
will serve'
Eosy: Up to l 5 m.p.h.
Wal kers,
cycl i sti '
ani mal s
movi ng at normal
speed. , t ^^^ ^- - . , - r ^
'
Bri sk: l 5 to 30 m.P.h.
Peopl e i n-a hurry on foot or cycl e' waYes' and
r".hi n"t-trai ns,
motor cari not i n a hurry'
"' ?iiiiil1.
rc ;;ed ;:;:h. moi"' cars
and raiiway trains in a hurrv.
Qulck
subiects
need the shortest
9"P?t-' -r1.Brisk
can be
gi vi n t wi ce
as. much,
and Eosy f our
t i mes
as mucn
Distance
from
the Camera
Movement
near the camera
cal l s for a hi gher
shutter
speed to arrest
i t than the same movement
at- a greater
;Ts;;
F;;;;;;";i "n.",
the di stance
of the subj ect
from
t he camer a
can be di vi ded
i nt o t hr ee zones:
Neor: l0 to 20 ft. (3 to 6 m' ).
Mi dwoY: 20t o40f t .
( 6 t o 12 m' ) '
For : 4bt o
80f t .
( 12 t o 24m' ) '
PUR-C
ri
For the same subj ect, the exposure
can be doubl ed for
each zone goi ng away from the i amera.
Direction
There i s more apparent
movement i n a subi ect whi ch
i s cr ossi . ng t he l i ne' df si ght at r i ght angl es t han' when i t i s
1ft.:i :hi ng
ol .Soi ng .*..f. Thre6 condi ti ons are enough to
meet t he pr act i cal
r equi r ement s
of
pur ma
phot ogr apF' y:
Across: su_bject moving across_fierd
at right angres to the line of sight.
Obl i gue.' Subj ect movi ng at 45o to l i ne"of si g' hi ,
- -"-
"
,n Lrne: subi ect movi ng
al ong l i ne of si ght.
Gi ve t he shor t est
exposur e
f or t he f i r st ; t wi ce as l ons
for. the second,
and three ti mes as l onq for tt u-i f,i rA.- i ?
makes no di fference
whether
the subi ect"i s
movi nq forwards
or backwards,
to the ri ght or to thd l eft.
c'
The sl owest shutter Jpeeds
whi ch wi i l arrest movement
f or t he whol e r ange of ' speeds,
di st ancet , . nd Ji r ect i ons,
ar e gi ven on page
5l .
Swinging
the Camera
ff a fast moving s,ubject
moves. os o whole, it wilt appear
s^ha1p i f you swi ng the comero to keep i t steady i n the
"i .n-
f i nder . I n swi ngi ng
t he camer a, si eht - t he
subi 6ct and cent r e
i t i n t he vi ewf i nder
wel l i n advani e of t he ai t ual exposur e.
I n t hi s way you wi l l have t i me t o become accust omed t o t he
t ^t i gf of hol di ng t l r u subj ect and movi ng t he camer a wi t h i t .
A l i t t l e bef or e t he spot wher e you *ant t he shut t er t o
re.l ease, start squeezi ri g
the rel eai e button, and i et i t cl i ck
when i t wi l l . You may be a l i t t l e l at e or a l i t t l e ear l y, but
I p1
yi l l q: t
. . shar p. - pi ct ur e
of your subj ect , , eas. i naUi y
pl aced i n t he, vi ewf i nder .
l f you t r y t o r el 6ase t he shut t er
l t 3
v.ery defi ni te poi nt you-wi l l f6rgq to keep swi ngi ng,
ferk.the
camera,
ari d hav6 nothi ng to"show on t' h. nl ni uu-i
an i l l ust r at i on
of how not t o do i i .
By swi ngi ng
t he camer a you
can use a st ower shut t er
speed. Your backgr ound
wi [ ] , however , be bl ur r ed.
EXPOSURES TO ARREST MOYEMENT
!'."*
E|MEDTuM
H
**
The slowest shutter speed that will give a sharp picture of a movlng subiect
depends upon: t. How' fast the subj ecti s movi ng. 2. How far i t i s from the camera.
3. Whethdr i t i s movi ng atong, aci oss, or at an-angl e
1o.the
si ghti ng.l i ne. Wi th
the Purma, the shutter-speedi s al ready fi xed by the-l i ghti ng-condi ti ons'
so
)' ou
must tackl e movement by adj usti ng your posi ti on and angl e of shooti ng.
i
Changing Motion
_, M1ny.
movement s, have
easi l y r _ecogni sed
. , dead
spot s, , .
The. hi gh- j umper
as he cl ear s t he bar , - t he gol f er at t he end
of hi s swi ng, __t he
hor se and r i der
l ust
ovei t he hur dl e, ar e
e.xampl sy of
"dead.spors"
where the movemenr i s retati vel y
sl ow. These are thd i nstants to choose for shooti ng, parti -
cul arl y *h:T you are forced to use a stow shuttei ' s' peed.
Practi ce wi th the empty camera unti l you have masi ered
t he knack of t aki ng_up' t he
f i r st pr essur e on t he shut t er
rel ease so that a fi nl l squeeze wi l l ' make i t cl i ck.
Wal ki ng, r unni ng, cycl i ng, and r owi ng ar e exampl es of
movement whi ch need speci al treatmeni .
The bodv of a
man doi nF a! \ . of t hese dhi ngs may be movi ng sl owl y, but
the speed o-f hi s. arms and l Egs wi l l cal l for i very short
exposure.
.For
thi s reason, sh6ts of peopl e movi ng i t ti ght
angles to the camera and less than dwenty feet ri".y musr
be taken at the
.Fast
shutter s.peed.
As' Fasr can dnl y be
gi ven under i deal l i ght i ng condi r i ons, i r i s bet r er t o shoot
t hi s sor t of subj ect - at
an angl e, when Medi um speed wi l l
arrest the enti re movement.
52
AT TESS TTIAN
TEN FEET
The Purma l ens gi ves a sharp pi cture of al l .obj ects beyond
l 0 f t . , but near er i han
t hi s obi - ect s ar e no l onger shar p.
To work cl oser, however, we can use suppl ementaD'
l enses-al so
cal l ed "portrai t
attachments"-whi ch
fi t i n
front of the camera l ens.
The Purma SupplementarY
Lenses
There are si x l enses, coveri ng al l di stances from l 8 i n.
(46 cm.) to l 0 ft. (3 m.).
H
l . For subi ects l 8 i n. (46 cm.) from th-e camera.
2. For subi ects 24i n. (61 cm.) from the camera.
3. For subi ects 32 i n. (82 cm.) f.rgq the camera.
4. For subi ects betwedn 3{ ah{ 5 ft..(l -1.5-m.} fl om the camera.
5. For subi ects between
l tnd 1{
ft: (i :5:2.-3 m.) from the camera.
6. For subj ects between 7f and 10 ft. (2.3-3 m.) from the camera.
These l enses are mounted i n the same way as the col our
fi l ters-i n
a bl ack pl asti c ri ng wi th a spri ng
Qa.nd
curved
t o
gr i p
t he l ens moi r nt . Lens and mount ar e sol d t oget her ,
the-outer face of the mount has the worki ng range of the
l ens pr i nt ed on i t .
To' attach a suppl ementary l ens, si mpl y remove the camera
l ens cap and pi 6ss t he spr i ng cl i p. over t he camer a l ens
mount ' f r om
t he si de. To' r emove
t he suppl ement ar y l ens,
si mpfy pul l i t off
forwards.
Th6 iurfaces of-these supplementae/
lenses. are as delicate
as t hat of t he camer a l eni i t sel f . Avoi d dul l i ng t hem wi t h
fi ngermarks and keep them away from dust.
The vi ewf i nder of ' t he Pur ma i s l I i n. above t he camer a
l ens so that the
pi cture i t sees i s al ways
i ust
that amount
above the pi ctu16 that the l ens sees. Thi s effect, known as
paral l ax,
i s too smal l to be noti ced i n photographs of obi ects
beyond l 0 f t . , but when wor ki ng wi t h suppl ement ar y l enses
i t i an be seri ous. When taki ng photographs at cl ose range,
therefore, al l ow a l i ttl e extra room at the top of the pi cture
i n the vi ewfi nder.
53
Thi s hol ds for the Medl um speed posi ti on.
Wi th the
camera i n the Fast or Sl ow speed- posi ti ons, the fi nder i s to
the si de of the l ens. so al l ow that-extra
room i n the fi nder
on the si de away from the camera.
Using the Supplementary Lrenses
.
A. suppl emenr ar y l ens wi l l gi v. e a. shar p i mage of ever yt hi ng
i n the range of di stances marked on
' the
ri ount. l i goei
f ur t her t han t har ; i t r epr oduces t he subi ect as i t sees i t f l om
i t s unnat ur al l y cl ose
i oi nt
of vi ew, ar i d t he f i nal pr i nt i s
apt t o be di sappoi nt i ng.
l f the photograph i s a portrai t, then the features that
were cl osest to i he camera i ppear exaggerated i n proporti on
to the rest of rhe face.
The cl oser t he vi ewpoi nt , t he gr eat er t he di st or t i on; t he
ef f ect i s mor e obvi ous wi r h t he l 8 i n. l ens t han t he 5 t o7*f t .
l ens. Thi s di sadvant age i s common t o al l such l enses i nd
shoul d al ways be bor ne i n mi nd when usi ng t hem.
The r ange of suppl ement ar y l enses f or t he
pur ma
can
be di vi ded i nt o t hr ee gr oups:
SUPPLEMENTARY LENSES: 18 i n., 24 i n.,32 In. (46 cm., 6t cm.,
82 cm.). The i mportant thi ng wi th these l enses i s tb avoi d subj ecti
where some parts are very much cl oser to the camera than others.
A perfectl y.fl at.surface presents no di ffi cul ti es, and such subj ects as
.".ry9d panel s where the carvi .ng i s not more than an i nch or two deep
wi l l be reproduced wi thout di storti on.
The zone of sharpness i s very narrow, and the di stance from the front
of t he l ens t o t he subj ect shoul d be measur ed and not
guessed.
A very ful l exposure (about twi ce normal ) must be
gi ven
when work-
i ng as cl ose as thi s because shadow detai l i s much m6re necessary i n a
cl ose-up than i n a di stant shot. In most cases the use of a whi te refi ector
t o l i ght up t he shadows wi l l i mpr ove t he pi ct ur e.
Portrai ture wi th any of these l enses needs care to avoi d fore-
shorteni ng.
SUPPLEMENTARY LENS: 3{ t o 5f t . ( t t o t . 5 m. ) . The di st or t i on
at thi s di stance i s_not seri ous i n photogri phs
of smai l ani mal s, fl owers
and al l subj ects. where there i s not more i han l 2 i n. (30 cm.) between
the nearest and most di stant parts. When taki ng photographs
of pets,
l i e down on t he gr ound. t o br i ng. t he camer a l eve- l wi t h t - he i ubl ecd and
arrange for the gi neral l i nes of-the ani mal ' s body to be across the l i ne
F,
of si ght. In thi s way, al l parts of the subj ect wi l l 5e sharp and i n reason-
O|l abl e
ProPortton.
I
WHAT HAPPENS WHEN YOU USE SUPPLEMENTARY
LENSES
Wl th a suppl ementary l ens the camera works at l ess than l 0 feet and sees l ess of
t he subj ei t ' but on a' bi gger scal e. The cl oser t he l ens wor ks, t he nar r ower i t s
zone of i harpness. Thi s i i -shown by the depth of the bl ack bands opposi te each l ens.
Even thi s l ens works too cl ose to the subj ect to gi ve good
.human
portrai ts
except perhaps
i n profi l e.
SUPPLEMENTARY
LENSES: 5 t o
f t
f t . and 7* t o r0 f t . (r. 5
t o 2. 3 m.
:l j -i l ^::-l
.:l :_ Suppl ementary
Gnses are' often
ci l ' "J
;;fi r;;;
arracnment s"'
suggest i ng.
t har ponrai t s
are a f orm of
, , ct 6se-uf ; ;
photography.
The truth i s that' the
most natural port..i t,
are taken
wi th the camera at l -e_as1 12 feet away.from
.h;,i ri ;.-' i i -y"u
want a
l arge i mage wi th these supprementury
renre, you must be prepared
for
some di storti on.
.
Lgok out for promi nent
features
and don' t ret them pornt
towards
the tens. Avoi d i hooti ng a ui ! i rri n f' ;;; i .*;;;;;i ,i ' i o.
"
shakes-
peari an
brow from a hi gh onel At thi s di stancu,
too,
l ori ri tt".' s arms
and hands wi l l be i n t hJpi ct ure
and wi i l . . t i roi ' . i *' f Ji ; r; ; t ument
or
t hey wi l l l ook unnat urai l y
l arse.
These l enses
are useful ' for
i rchi tectural
detai l and such subj ects
as
ext eri or carvi ngs and scul pt ure.
Snapshooters-shoul d,
cai ry the 5 to 7f ft. l ens, i n parti cufar,
as a
st andard
i t em i n t hei r ki t .
f f you l vant t o use a corour f i rt er wi t h a cl ose-up
l ens,
r emove t he r et al ni ng
r i ng f r om t he f i l t er mount ,
" na
t i t . oui
ll".ll,:l_gl.::: ,Pui
it o-ver the camera tens befor" you .lip
on t he cl ose- up l ens.
56
w
SNAPSHOOTING WITH THE PURMA i
whv
When any camer a cl ai ms t o be uni ver sal , t her e i s usual l y
one
j ob t hat i t wi l l do bet t er t han ot her s, and wi t h t he Pur ma
t hat ' j ob i s unquest i onabl y snapshoot i ng. l n a cl ass of phot o'
graphy that cal l s fi rst and foremost for speed i n getti ng i nto
i cti on, i t can be qui cker
"on the draw" than an), other
camera, however expensi ve.
I t i s an i deal camer a f or snapshoot i ng because: ( l ) l t
does not have to be focused. (2) l t has a fi xed aPerture.
(3) The shutter speed adj ustment i s automati c. (4) l t can
6e used on most dut-door occasi ons throughout the year.
How
You can snapshoot your subi ect wi th the Purma wi th
l i ttl e more troubl e than i t takes to l ook at i t' but you
won' t take good snapshots unl ess you understand the
l i mi t at i ons of t he camer a and how t o over come t hem.
Ther e ar e t hr ee t hi ngs t o r emember :
Everything beyond l0
ft.
(3 m.) is shorp.
Everything under l0
ft.
is blurred.
The negotive is very smoll.
EVERYTHI NG BEYOND l 0 FT. l S SHARP. When you
l ook at somethi ng that i nterests you, you are onl y vaguel y
aware of the background and sui roundi ng. obj ects. When
the Purma l ens l ooks at the same subj ect, however, i t sees
t he whol e of t he
pi ct ur e ar ea wi t h t he same i mpar t i al
cl ar i t y. l t l ooks beyond t he smi l i ng
) ' oung. l ady
i n t he deck
chai r' and sees the unti dy garden fehce, the corner of the
chi cken house, and the ndxt--door nei ghbour' s wi rel ess pol e,
al l equal l y sharp. Al most certai nl y the snapshot wi l l show
the wi rel ' ess poi e growi ng out of the young l ady' s head and
you
ar e al so i i kel y t o f i ndt hat a pat ch of br i ght sunshi ne on
i he end of t he . hi . kun house has st ol en t hd pi ct ur e. Thi s
fai l i ng i s shared by al l fi xed-focus cameras a1d
!s
part of the
pri ce-that has to
5e pai d for doi ng away wi th the troubl e of
focusi ng.
ry:. I'
Si nce t he whol e of t he pi ct ur e l s shar p, i ncl udi ng t he
subj ect, you must get ri d of the thi ngs you don' t want to
come out i n t he snap i n one of l he f ol l owi ng ways:
.
C.hoo;e a plain background for your zuU;ect-a grass)'
banK, t he wal l ol a house, t he sea.
Shoot from a l ow angl e and use the sky as your
back-
gr ound. Dar ken t he bl ue sky wi t h a f i l t 6r and you wi l l
i mpr ove t he pi ct ur e even mor e.
Work cl ose to yo.ur subj ect so that the unwanted obj ects
do not appe?r i n the pi ci ure. The further you are away
f r qT youl subj ect , t he i nor e of t he scene you f ncl ude.
Shoot from a vi ewpoi nt that shows your subj ect agai nst
a dark area of the si ene. There i s usual l y some patl n of
shadow-under trees or on the shaded si d6 of the street-
agai nst whi ch a wel l - l i ght ed subj ecr wi l l st and out .
EVERYTHI NG
UNDER l 0 FT. l S BLURRED.
Do not be
decei ved by the sharp appearance of near obj ects i n the
vi ewf i nder ; t he camei a l ens l ooks at t hi ngs di f i er ent r y and
sees nothi ng sharp l ess than l 0 ft. away. tearn to esti mate
thi s di stance correctl y, or be on the saf6 si de and
pace
i t out.
Thr ee l ong st r i des f r om your subj ect wi l l put you
at t he
mi ni mum wor ki ng di st ance. Remi : mber t h' at t he negat i ve
wi l l have to be enl arged, and an)' trace of bl ur wl l l be
magni fi ed i n the fi nal -.photograph.
You can make your
subj ect as. bi g as you l i ke by Enl ' ar gi ng, pr ovi ded t hat i t i s
sharp.on the. negati ve,.but
i f you try to i ncrease the si ze by
shoot i ng at l ess t han l 0 f t . , 6ven a cont act pr i nt
t he sam!
si ze as t he negat i ve wi l l be bl ur r ed.
Fo.r cl ose-u.p portrai ts or subj ects too smal l to gi ve a
sati sfactory pi cture on th.e negati ve at l 0 ft., however, you
can use an extra l ens wi th the camera (see p. 53).
THE NEGATIVE l s VERY SMALL. As the negati ve taken
b.y th9 Purma i s onl y l f i n. square-or j ust
ovi r trni ce the
si ze. of a-postage stamp-a contact pri ntTrom
i t i s too smal l
t o be of much use, and you wi l l ' al most al ways
want t o
enl ar ge i t . The bi gger you make an enl ar g"meni ,
t he mor e
I gu
ar e t r oubl ed by t he gr ai n of t he
- f i l m
( see p. l 9) ,
bl emi shes caused by dust ani i scratches on the nLgati ve, an' d
5B
unshar pness.
Al l t hese i mper f ect i ons
become l ess ser i ous
i f t he amount of enl ar gemel t
can
! e
kept down, and t he way
t o do t hi s i s t o ma. ke t he subj ect f i l l t he whol e of t he pi ct ur L
fpace..Work
as cl ose to.the. subj ect as possi bl e and drrange
i t i n t he vi ewf i nder wi t h t he i <i ea of i nl ar gi ns t he who' i e
of the
19qa9i v9,
not merel y a bi t of i t. The vi ari i ng to keep
beyond l 0 f t . f r om your subj ea does not mean t hai you wi i l
get twi ce as good a pi cture at20 ft. So don' t fal l l nto the tazy
habi t of al l owi ng a wi de margi n of safety. tf there arL
hor i zont al l i nes i n t he pi ct ur e, see t hat dhey ar e par ai l el
to the top and bottom e.dges of the vi ewfi nd6r or ybu wi l l
waste negati ve space when you square them up' i n the
enl ar ger .
What
There i s no cl ose season for out-door snapshooti ng
wi th
t he Pur ma, and al most no l i mi t t o your ch6i ce of sdbl ect .
Sl i pped i nt o your pocket , or sl ung' i n f r ont of you
i l i i t s
Ever-ready case, your Purma i s al ways on cal l for
i otti ng
down photographi c memoranda of peo-pl e, scenes, and' eventi
that i nterest you. For thi s type of woi k there i s no need to
bur den your sel f wi t h an el abor at e ki t : t he Pur ma, a l ens
hood, and a
x2 Yel l ow f i l t er and per haps one of t he
suppl ement ar y l enses ar e al l you need- t o t r bubl e about .
SNAPSHOTS AT HOME. Most of your snapshooti ng
at
home wi l l be done i n the garden. Avoi d fussy batkground-s-
an easy matter when shooti ng a conventi onal poi trai t, but
not so easy when you want to get unposed shots.
You
shoul d, however,. try for. unposed effects because peopl e
al ways photograph best when they are busy.
When you take snapshots of chi l dren or pets, get down
t o t hei r l evel , or t hey wi l l l ook st unt ed. Wai t unt i l your
subj ect has l ost i n.terest i n you and yo.ur camera before-you
shoot and you wi l l get a nat ur al r esul t .
SNAPSHOTS AWAY FROM HOME. Make a r unni ng
r ecor d of t he t hi ngs you wi l l want t o r emember and t al k
about when you get back. Make i t a personol
record or
)rou
59
ml ght
fust
as wel l buy pi cture postcards and save yoursetf
the troubl e of carryi ng b cameri . Don' t waste fi rm on the
magni fi cent vi ew you -l i mbe.d to admi re.
Make your s
l uo6r nr r r r nr .
yr ew
/ eu
ci l t l t ( ) eq f q aqml r e. l - l aKe your
snap-
shot s on t he way: t he acquai nt ances
who shar ed t he cl i m6;
the party
-getti ng
thei r breath before the steep secri on;
t he gl ass of beer out si de t he i nn on t he way back. ' Leave t he
famous vi ew to the speci al i st photographdr.
l f you wa.nr to t-ake snaps of bui l di nl s that i nterest you,
l r ) r , t o
avoi d poi nt i ng youi camer a- up i t t hem or t hey' wi l i
l ook as though they were toppl i ng backwards. rf
you
cannor
l _ook as though they *6re toppl i ng babkwards. rf you
cannor
l i l g
l , vi ewpoi nt
hi gh enough. t g i ncl ude t he whol e bui l di ng
took as though thy were toppl i ng backwards. l f you
cannor
t i nd. a vi ewpoi nt hi gh enough t o i ncl ude t he whol e bui l di ng
wi th the camera poi nti ng l el el , be sati sfi ed wi th a characterl
i sti c bi t of i t.
The appear ance of t he bui l di ng wi l l depend ver y much on
how the l i ght stri kes i t. Snap-i t i f yoti can wi dh the sun
r.l ri ni l q at
?l
angl e so that i t shows up the archi tectural
detai l i n rel i ef.
And on to Pictures
.
J.us_tas the penci l i n your wai stcoat pocket i s equal l y good
at j otti ng
down an i nteresti ng quotat' i on,
wri ti ni an essay.
or pr oduci ng
a ser i ous wor kbf ar t , your
pur ma"
wi l l t ui n
out
.casual
snaps or seri ous pi ctures i ccordi ng
to how you
use i t .
However good your techni que, unl ess your pi cture
has
t_?T::l i rt
!o l .)rl
i t wi l l be ei th6r a meani ng' l ess
ai rangemenr
ot l i ght and shade, or a stal e repeti ti on oT what sori ebody
el se has al ready rendered second-hand.
But,the. i mportant
l hi ns
i s the i dea. Good pi ctures
are
T?d"
by si mpl i ci t y and cl ar i t y of expr essi on
;
t hi r i k about
t he
thi ngs you want to pho^tograph;
seek them out and photo-
gr aph t hem wher e you f i ni l t hem, st r i vi ng t o show
j ust
what
i t i s about them that sti rs you.
WhEn you
sti cceed
i n
g*::l1g:?-T:_.ling
that really satisfies you,' it
wiil prouabty
De a
tooo Ptcture.
60
o
o
c
' Y
o0
c
?
c
;
E
l!
Slow
I
O
How to lood: poge l0 a How to choose the
frlm:
poge 19
O How to expose: poge
12 O How ro use the
filters;
poge 23
) How to unload:
Poge
14 O How to toke close-ups: poge
53
FOR FULL REFERENCE SEE PAGE 6I

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