v.

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CONTAFLE
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POCKET COMPANION
by Joseph D. Cooper
UNI VERSAL PHOTO BOOKS
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2. 1
2. 2
2. 3
2. 4
2. 5
2. 6
2. 7
CONTENTS
Chopter I The Contofl ex Sysl em 5
l . Cur r ent Comer q Model s 5
l . l Conl qf l ex Super 5
.
1. 2 Cont qf l ex Pr i mo 5
2. Eqr l i er Cqmer o, Model g. l 2
Cont of l ex Ropi d 12
/ '
Cont of l ex l V l 2
Cont of l ex l l l 12
Cont of l ex bel o 12
Conl of l ex ol pho l 3
Conl of l ex l l l 3
Conl of l ex I I 3
3. Lens Sysl ems 13
3. I Conver t er l enses l 3
3. 2 Sf er eo oi t ochment l 4
3. 3 Monoc ul or ol t oc hment l 5
3. 4 Cl ose- up ot t och meni s I 5
4. Mi scel l oneous dccessor i es l 6
4. 1 [ enshoods l 6
4. 2 Eyesi ght cor r ect i on l enses 17
4. 3 Fi l f er s ( see Chopt er l l l )
4. 4 Fl osh uni l ( s ee Chopt er l l )
4. 5 Mi cr oscope ot l ochment 17
4. 6 Ri ght ongl e f i nder 17
Chopt er l l Operot i ng t he Cqmero
l . Loodi ng ond Unl oodi ng l 8
Openi ng l he comer o l 8
l oodi ng f i l m 19
Prepori ng f i rsl exposure 2O
Unl oodi ng 23
Cossel t es 23
2. Meosur i ng f he [ i 9ht 24
2. 1 Shut t er speed r i ng 24
2. 2 Aul omot i c exposure conl rol 25
2. 3 Monuol sei f i ngs 26
2. 4 Snopshot set t i ng 26
l 8
Copyri ghr @ 1962
Uni ver sol Phol o Books, I nc.
New Yor k 10, N. Y.
At T RI GHTS RESERVED
I i brory of Congress Cot ol og Cqrd No. 62-j 4417
Monuf oct ur ed i n l he Uni f ed St oi es of Amer i co
l . l
1. 2
1 . 3
1. 4
1. 5
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3. Pi ct ur e- l oki ng
3. 1 Hol di ng i he comer o 27
3. 2 Shut t er r el eose 27
3. 3 Rongef i nder f ocusi ng 28
3. 4 Gr ound- gl oss scr een f ocusi ng
3. 5 Dept h- of - f i el d scol e 29
3. 6 Del oyed- oct i on r el eose 30
3. 7 I nl er c hongi ng l ens c omponent s
4. Fl osh Pi cl ur es
Fl osh equi pr vr eni 32
Syn ch r o n i zot i on 32
5. Cont of l ex Ropi d
51. Si mi l or i l i es t o Cont of l ex Super
5. 2 Exposur e vol ue sysl em 34
6. Cont of l ex l V ond l l l 35
7. Conl of l ex bel o ond ol pho 35
8. Conl of l ex l l ond | 35
Chopt er l l l Ft t MS AND FI LTERS
36
l . Bl oc k - ond- whi t e Fi l ms
l . l Fi l m chor oct er i st i cs 36
1. 2 Sl ow f i l ms 37
f . 3 Medi um f i l ms 37
1. 4 Hi gh- speed f i l ms 37
1. 5 Ul t r o- hi gh speed f i l ms 38
1. 6 Spec i ol f i l ms 38
2. Bl ock ond- whi t e Fi l t er s
2. 1 Purposes of B-W f i l t ers 3g
3. Col or Fi l ms
3. 1 Col or f i l m chor oct er i st i cs 4l
3. 2 Doyl i ghl r ever sol f i l ms 42
3. 3 Tungst en r ever sol f i l ms 42
3. 4 Fl osh r ever s, ol f i l ms 43
3. 5 Negot i ve col or f i l ms 43
4. Col or Fi l m Fi l t er s
4. 1 Conver si on f i l t er s 43
4.2 Correclion fihers 44
4. 3 Pol qr i zi ng f i l t er s 44
Chcpter lV A-Z HOW-TO-DO-|T
45
Appendi x A. l deos f or
pi cl ur es
91
Appendi x B. Tr ovel suggesl i ons
92
Appendi x
C. Cor e of Comer o ond Fi l m 93
Appendi x D. Pi ct ur e Tr oubl es ond Couses 95
Chopter
I
THE CONTAFTEX SYSTEM
l . Cur r enl Comer q Model s
l . l Cont of l ex Super
a) Lens.' Zei ss Tessar
f /2.8,' ' 50mm
standard
l ens, i nterchangeabl e front el ement.
b) Shutter.' Synchro S-Compur, shutter
speeds "B", 1 t o 1/ 500 second. "X" and
({M"
synchroni zed fl ash contact. Bui l t-i n del ayed-
acti on devi ce runni ng for 8 seconds. Spri ng-
l oaded pre-sel ect or
di aphragm.
c) Automatre etposure control ,: Coupl ed to
shutter. Control vi si bl e on camera body as'
wel l as through vi ewfi nder.
d) Rangefi nder: Both spl i t-i mage range-
fi nder and fi ne-screen ri ng.
e) Vi eusfi nder: Paral l ax-free i mage seen
upri ght and l ateral l y correct, al most natural
si ze.
f) Fi Im aduance.' Rapi d-wi nd l ever opens
di aphragm, tensi ons shutter and advances
fi l m. Doubl e exposure preventi on.
g) General "
features.'
Frame counter, fi l m
type i ndi cator, fi l ter corrector, accessory shoe,
semi -automati c fi l m unl ocki ng for rewi ndi ng,
rewi nd knob wi th countersunk crank.
1. 2 Cont qf l ex pri mo
a) Lens.' Zei ss Ikon Pantar
f/2.8,
45mm
standard l ens, front el ement i nterchange-
abl e.
27
29
3 l
32
34
34
4. 1
4. 2
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. Rel eose knob
2. Fr ome count er
3. Ropi d wi nd l ev er
4. Accessor y shoe
5. Wi ndow of exposur e
met er poi nt er
6. Rewi nd knob wi t h coun-
i er s unk c r onk
7. Fi l m t ype i ndi cot or
8. Li ght s el ec t or di s k
9. Fi l m s peed s et t i ng
10. Eyel et st r ops f or cor r yi ng
coSe
l l . Fl o s h c o n t o c t
12. Shut t er s peed s el i i ng
k nob
13. Foc us i ng k nob
14. Locki ng powl f or f r ont
I ens el ement
15. Lock f or f l osh l ever
t 4
I . ] . I . CONTAFLEX
SUPER, FRONT VI EW
I . 1. 1. CONTAFLEX
SUPER, BACK VI EW
' 16.
Vi ewf i nder eyepi ece
19' Set t i ng l ever f or M' X
i i . f o. t i ng key' { or comer o
f i osh cont oct ond V
bock Jnd f i l m unl ocki ng { sel f ' t i mer )
, | 8.
Tr i pod bush
20' Locki ng key f or bock
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I . ] . 2. CONTAFLEX PRI MA, FRONT VI EW I . I . 2. CONTAFLEX PRI MA, BACK VI EW
l . Rel eos e k nob
2. Fr ome count er
3. Ropi d wi nd l ever
4. Accessory shoe
5. Exposur e i ndi cot or
6, Rewi nd k nob wi t h cr onk
7. Fi l n t ype i ndi cot or
8. Eyel et s f or cor r yi ng st r op
9. Fl osh cont oct
10. Exposur e set t i ng di sc
l l . Shut t er speed/ oper t ur e
r i ngs
12. Locki ng powl f or f r ont
l ens el ement
' 13.
Di st once set t i ng mor k
i 4. Lever f or X, M, ond V
( sel f - t i mer )
set t i ng
15. Vi ewf i nder eyepi ece
Comer o bock l ocki ng
key ond f i l m r ewi nd
unl ocki ng cot ch
Tr i pod bush
Fi l m speed set t i ng scol e
Comer o bock l ocki ng key
16. 17.
' t 8.
19.
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b) Sltutter: Prontor Reflex. Shutter speeds
"B", 1 t o 1/ 300 second. "X" and "M" syn-
chroni zed fl ash contacts. Bui l t-i n del ayed-
acti on devi ce runni ng for 8 seconds. Pre-set
spri ng di aphragm.
c) Erposure control : Coupl ed to shutter
setti ng, i ndi cato,r on camera body onl y.
d) Other detar,Ls.' Same as Contafl ex Super.
2. Eor l i er Cqmer o Model s
2. 1 Cont qf l ex Ropi d
Identical to Contaflex Super but does not
i ncl ude bui l t-i n exposure meter.
2.2 Contofl ex l V
The Contafl ex IV i s si mi l ar to the Super
wi th the fol l owi ng di fferences:
1. The bui l t-i n exposure meter i s not
coupl ed to the l ens.
,2.
Instead of a rapi d-wi ndi ng l ever, a
knob i s used for fi l m transport and shutter
tensi oni ng.
3. The film rewind knob has no crank.
4. There i s no bui l t-i n accessory shoe; a
separate one can be fi tted to the camera.
2. 3 Cont of l ex l l l
The Contaflex III is identical to the IV
except that i t has no bui l t-i n meter.
2.4 Contofl ex beto
The physi cal
appearance and operati on of
the beta i s very much l i ke that of the Conta-
12
I
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I
-
-
fl ex IV. The l ens and shutter system are very
much l i ke that of the Contafl ex
pri ma'
2. 5 Cont of l ex ol pho
Si mi l ar to Contafl ex beta, but no bui l t-i n
exposure meter.
2. 6 Cont of l ex l l
a) Lens; Zei ss Tessar
f / 2. 8, 45mm
st andard
l ens, front el ement i nterchangeabl e.
.
b) Shutter: Synchro Compur, shutter speeds
"B",
1 to L/500 second, XM-synchroni zed.
Bui l t-i n del ayed-acti on devi ce runni ng for
8 seconds. Spr i ng- l oaded
pr e- sel ect or
di aphr agm.
c) Er posur e met er : Bui l t - i n, but not
coupl ed t o shut t er.
d) Other
features.'
Same as Contafl ex IV.
2. 7 Cont of l ex I
Si mi l ar to Contafl ex II wi thout bui l t-i n ex-
posure meter and wi thout del ayed-acti on
rel ease.
3. Lens Syst ems
3. 1 Converl er l enses
a) Pro-Tessor Syst em; Used wi t h Cont a-
fl ex Super, Rapi d, IV and III. Front el ement
of Tessar removed and exchanged for 85mm
l ong-f ocus Pro-Tessar
f / 4
or 35mm Pro-Tes-
sar
f/4.
b) Pantar sgstem; Used wi th Contafl ex
pri ma, bet a and al pha. Front component of
Pantar l ens removed and repl aced by ei ther
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l - 3. ' l o. Pr o- Tessor l ens i s
used on comer o t o moke
1: l r epr oduct i ons.
30mm Pantar
f/4
wi de-angl e component or
75mm Pantar
f/4
tel ephoto component.
3.2 Stereo ottochment
a) Operati on: Stereo attachment produces
t wo hal f - i mages , 16 x 23mm, s i de- by - s i de
wi thi n normal i mage fi el d of camera. The
twi n pi ctures
are bound l i ke normal sl i des,
wi thout havi ng to cut them apart.
b) Steri tar-A.. For Contafl ex I and II;
hel d i n front of camera l ens wi th speci al
attachment.
c) Steri tar-B.' For use wi th al l Contafl exes
whi ch have 50mm (standard)
Tessar l enses.
Attached i n pl ace
of front l ens component.
d) Steri tar-D.. For use wi th al l cameras
whi ch have 45mm Pantar l enses as standard;
attached i nstead of front l ens component.
e) Cl ose-up Steri tar-B.. Si mi l ar to Steri -
t ar-B, but desi gned f or cl ose worki ng di s-
tance of 8 ft. to 27 i n.
14
l - 3. 2b. St er eo ot t ochment
mokes t wo hol f - i moges on
r egul or 35mm f i l m f r ome.
3. 3 Monocul qr
qt l ochmeni
Zei ss monocul ar attachment 8 x 308 i s a
compl ete
pri sm monocul ar and can be used
i ndependentl y as a tel escope. When attached
to any Contafl ex wi th 50mm l ens, i t converts
the opti cal system i nto a tel e l ens
f /L4,
400mm. The front l ens component remai ns
i n pl ace.
3. 4 Cl ose-up ot t ochmenl s
a) Pr or ar I ' enses; 5Omm Tessar l enses
focus down to 27 i nches, 45mm Tessar l enses
focus down to 36 i nches, and 45mm Pantar
l - 3. 3. Zei ss 8 x 308 mo-
nocul or conver t s 50mm l ens
i nt o 400mm l / 11 l ens.
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l enses focus down to 40 i nehes. For shorter
di stances, suppl ementary l enses
(Proxar) can
be sl i pped onto l ens and focused normal l y
wi thout affecti ng any exposure adj ustments.
Fi ve Proxar l enses are avai l abl e: 100cm f or
di stances down to 2L i nches, 50cm for di s-
tances down to l SYz i nches, 30cm for sub-
j ects
down to l \t/+ i nches, 20cm for subj ects
down to 63/+ i nches, and 10cm for subj ects
down to 3r/z i nches. Lens apertures shoul d
be stopped down to at l east
f/5.6; f /8
and
f/LL
arc preferabl e.
b) Pro-Tessar M 1: 1 Lens: A t hree-com-
ponent front el ement, whi ch, when i nserted
i nto the camera, wi l l make a si x-el ement
l ens focus to a 1: 1 i mage scal e. For maki ng
bl ack-and-whi te
negati ves from col or trans-
parenci es but can be used whenever natural
l . : 1 si ze i s desi red.
c) Copai ng stand.' An upri ght arm whi ch
cl amps to a tabl e top. Has a sl i di ng bracket
to whi ch camera i s attached. Used mai nl y
for copyi ng documents and
photographi ng
smal l obj ect s.
4. Mi scel l oneous
Accessor i es
4. 1 Lenshoods
Avai l abl e for al l Contafl ex l enses, they
pre-
vent fl are and fog i n pi ctures taken agai nst
the l i ght. In bad weather they al so
protect
the l ens agai nst rai n and snow. They can be
mounted wi th fi l ters or Proxar l enses i n
pl ace.
1 6
4. 2 Eyesi ght correct i on l enses
Correcti on l enses can be mounted to eye-
pi ece to compensate for defects of vi si on so
that focusi ng and composi ti on can be per-
formed wi thout the ai d of
gl asses. An opti -
ci an' s prescri pti on i s needed.
4. 3 Fi l i ers (See Chopt er l l l f
4. 4 Fl qsh uni t (See Chopt er l l )
' "_
4. 5 Mi croscope ot l ochment
Speci al attachments and tubes avai l abl e to
connect Contafl ex to eyepi ece of mi croscope
to make photomi crographs.
4. 6 Ri ght ongl e f i nder
Attachment to vi ewfi nder eyepi ece whi ch
enabl es camera to be hel d at chest l evel or
l ower wi th eye l ooki ng downward i nstead
of st rai ght ahead as at eye-l evel f ocusi ng po-
si ti on. Parti cul arl y useful when camera i s
mounted on copyi ng stand or when l ow
angl es are desi red. Al so used to take pi ctures
i n one di recti on whi l e vi ewi ng i n another,
wi thout bei ng observed.
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Chopfer l l
OPERATING
THE CAMERA
Notn: The procedures which follow are
for the Contafl ex Super. Procedures for
the Contafl ex
pri ma are i denti cal except
for some sl i ght di fferences i n secti on 2.2,
Automati c exposure control . Whi l e hand-
l i ng of al l Contafl ex cameras i s basi cal l y
t he same, t her e ar e di f f er ences f r om
model to model , and these are expl ai ned
at the end of thi s chaPter.
l . Loqdi ng ond Unl oodi ng
l . l Openi ng t he comerq
Hol d camera i n teft hand wi th back faci ng
upwards. Locki ng keys at base of camera
shoul d be fol ded outwards wi th ri ght hand
and turned away from center of camera'
Back can now be removed.
l l - l . l Fi r s t s t ep i n openi ng
comer o i s t o l i f t l ocki ng
key ond l ur n i t cl ockwi se.
1. 2 l oodi ng f i l m
a) At t ach. i ng
f i Lmt o
spool : At t ach f i l m end
t o t ake-up spool by hooki ng one perf orat i on
hol e over t he smal l l ug. Thi s can be done
wi t h spool i n camera or i n hand. Fi l m cart -
ri dge and t ake-up spool shoul d t hen be i n-
serted i nto the two fi l m chambers so that the
t wo prongs engage t he cores of t he spool s.
Rot at e t ake-up spool wi t h t he ri ght hand
unti l the perforati ons
of the fi l m on boi h si des
engage t he t eet h of t he t ransport sprocket .
l l - 1. 2o. Fol l ow t hi s pr ocedur e when l oodi ng o
f i l m i nt o your comer o.
r ol l of new
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b) Cl ' ose the carnerar
Wi th l eft thumb'
frofi fi l m i n contact
wi th sprocket
whi l e
rfi ai "g
camera back i nto
grooves of camera'
d*i ";ki ng
keys on base toward each other
and fol d them up. If keys cannot
fol d' back
i s not
ProPerl Y
Posi ti oned'
I . 3 Prepori ng f t rst exPosure
a) Fr ame count er :
The f r ame count er '
wtri ctt i s
part of the fi l m-advance
mechani sm'
shows th-e number of unexposed
frames re-
mai ni ng i n the camera.
Wi th a 20-exposure
""tt"i OE"
i n
your camera' set the whi te i ndi -
cator ml ark opposi te the red tri angl e between
20 and 25. W' i ah a 36-exposure
cart ri dge, , set
i he whi te i ndi cator to the red di amond be-
tween
1 and 36. Now, swi ng rapi d-wi nd
l ever
ai ou"a
wi th ri ght thumb unti l i t butts agai nst
si op.
press
the shutter down to rel ease i t'
Repeat thi s sequence once more. The whi te
mark wi l l then appear opposi te ei ther the
20 or the 36 and thereafter wi l l i ndi cate the
number of frames avai l abl e.
b) Fi Lm- ut nd c hec k uP: As f i l m i s ad-
vanced, rewi nd knob shoul d rotate i n opposi te
di recti on to engraved arrow. If i t does not,
unfol d smal l crank i n rewi nd knob"and turn
sl owl y i n di recti on of arrow unti l a- di sti nct
resi stance i s fel t. Thi s wi tl rewi nd any sl ack
i n the fi l m i f i t i s properl y attached to the
take-up spool . If no resi stance i s fel t after a
few turns, open camera back to make sure
fi l m i s properl y secured to take-up spool .
c) Enteri ng
fi l ' m
speed, Contafl "er Super:
Speed of f i l m i n use
(see
Chapt er I I I ) shoul d
then be transferred to the automati c exposure
control of the camera. Press the fi l m speed
scal e i n the i i ght sel ector di sc i nwards and
turn i t unti l the desi red ASA number coi n-
ci des wi th the bl ack tri angl e. When usi ng fi l -
ters, the fi l m speed may be set opposi te the
fi l ter factor i ndi cator, 2X or 4X.
l l - 1. 3c. Pr ess speed scol e
i n l i g h t s e l e c t o r d i s c i n '
wor ds ond t ur n i t unt i l r e'
qui r ed ASA f i gur e coi nci des
wi t h bl ock t r i ongl e.
I
l l - l . 3o. Af t er l oodi ng o 36' exposur e
r ol l of f i l m i nt o t he com'
er o, set f i l m count er so t hot r ed di omond f oces whi t e t r i ongl e'
Then moke t wo bl onk exPosur es'
20
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d) Enteri ng fl Im
speed" Contafl et
pri ma:
Fii;1 tp""a sJale is underneath
iens' Press in
rr""if-i"""r
and turn ring to left or right
in
;;;; io uti"e desired
ASA number opposit-e
;;;;61";
indicator
mark' If fiIters are used'
;th;effi
tpu".a opposite
fllter factor 2X or
4X, as approprl ate.
e)
Fi l ' m tApe i nd' t' cator:
Turn fi l m type di al
ori rewi nO
kl ob unti l i ndi cator
mark for type
oi nf - bei ng used appears
opposi t e
ASA re-
mi nder
scal e.
o o
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l l - 1 . 3c . Ty pe of f i l m ond i t s
ASA r oi i ng s houl d be en-
t er ed on f i l m t YPe i ndi cot or .
l l - 1 . 3 d . ASA r o t i n g s
f o r
f i l ms or e di ol ed i nt o Con-
t of l ex pr i mo on scol e ot
bose of l ens mount '
1. 4 Unl oodi ng
I f camera i s l oaded wi t h a commerci al cart -
ri dge, t he f i l m must be rewound i nt o t he cart -
ri dge bef ore unl oadi ng. The l ocki ng key on t he
back marked "R" i s f ol ded up and t urned so
t hat i t poi nt s t o t he l et t er "R". Fol d out t he
count ersunk crank f rom t he rewi nd knob and
turn i t i n the di recti on of the arrow unti l a
sl i ght
pul l i s f el t , whi ch wi i l si gnal t hat t he
ntm fri s been rewound i nto the bartri dge.
Then, remove t he back and t ake out t he cart -
ri dge. Remove any dust or f i l m part i cl es l ef t
i nsi de t he camera.
l l - 1. 4. To unl ood comer o, l i f t l ocki ng key ond t ur n i t t o f oce
R. Then f ol d out count er sunk cr onk ond wi nd i t i n di r ect i on
of or r ow.
1. 5 Cosset l es
a) Use; The casset t e i s a l i ght proof f i l m con-
t ai ner whi ch can be used i n pl ace of t he t ake-
up spool or whi ch can be l oaded wi t h f i l m and
used i n pl ace of a commerci al cart ri dge. I f
desi red, t wo casset t es can be used; one as t he
fi l m suppl y and the other as the take-up.
When a casset t e i s used as a t ake-up, i t i s
not necessary t o rewi nd t he f i l m af t er t he l ast
o a
\ 7'
exposure. I nst ead, t he camera back i s opened
and the fi l m i s detached from the suppl y cas-
set t e. The use of a t ake-up casset t e makes i t
possi bl e, al so, t o change f rom one f i l m t o
another even though the fi rst fi l m i s not ful l y
exposed. The oni y fl l m l oss i s the short l ength
bet rveen t he t ake-up and suppl y. Cri t i cal
workers fi nd that they mi ni mi ze scratchi ng
by not havi ng t o rewi nd f i l m. Some phot og-
raphers prefer to l oad thei r fi l m for greater
vari ety as wel l as for economy.
b) Changi ng
f i Lm:
When changi ng an i n-
compl et el y exposed f i l m, prot ect t he l ast ex-
posure by further exposi ng two bl anks. Then
the camera can be opened safel y. When thi s
fi l m i s restored, remember that the two bl anks
must be advanced i nt o t he t ake-up bef ore new
exposures are made.
c) Rerni ndt ng i nt o casset t es; I f f i l m i s t o
be rewound i nt o a casset t e, t he end of t he
f i l m must be secured t o t he cent er sl ot of i he
spool bef ore t he f i I m i s l oaded i nt o i t .
2. Meosur i ng t he Li ght
2. I Shul t er speed r i ng
Fi gures t o t he ri ght of "8" denot e f ract i ons
of a second
( 60 - 1/ 60 second, et c. ) .
' ( 8"
stands for "bri ef ti me." It al so stands for 2
seconds as a requi red exposure t i me. Al l green
f i gures, as wel l as "8", are t i me exposures.
None of them operates automati cal l y through
t he shut t er mechani sm. They merel y i ndi cat e
the i ength of ti me the shutter rel ease i s to
t o be hel d depressed.
ot .
2. 2 Aut omoi i c exPosure cont rol
a) Contafl er Super.' Turn shutter speed
ri ng t o desi red set t i ng. I f apert ure scal e
teaches i ts fi nal val ue, conti nue turni ng shut-
t er speed ri ng i f necessary. Now, observe
posi -
t i on of poi nt er i n wi ndow on t op of camera or
on si de bf vi ewf i nder screen. Turn l i ght sel ec-
tor di sc one way or the other unti l the
poi nter
i s i n the center of the ci rcul ar mark on top
of t he camera or oppcsi t e t he cent ered set t i ng
mark i n the vi ewfi nder.
Thi s operati on auto-
mat i cal l y set s t he l ens apert ure. You now can
make any sel ect i on of mut ual l y rel at ed shut -
t er speeds and l ens apert ures merel y by t urn-
i ng the shutter speed ri ng. When
you tur.n
to"a tri gtrer shuttei speed,
you wi l l automati -
cal l y op"t t t he l ens apert ure wi der
(smal l er
f / number),
whi i e i f you t urn t o a sl ower shut -
i er speed,
you wi l l automati cal l y
narrow the
l ens apert ure
(l arger
f / number).
b) Contafl et
pri ma; Whi l e hol di ng camera
hori zontal l y
(even though
you l ater turn i t
verti cal l y), ai m camera at subj ect and turn
l l - 2. 1. Top of l ens mount
shows shut t er sPeed r i n9,
f , / si op scol e, dePt h of f i el d
scol e, ond f ool oge i ndi co-
i or.
25
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l l - 2. 2a. Aut omot i c ex po-
sur e cont r ol i s moi nt oi ned
by ol i gni ng needl e i n wi n-
dow on t op of comer o.
exposure setti ng di sc so that the two poi nters
of t he exposure met er coi nci de. Now t urn
shutter speed ri ng to fi nd most sui tabl e shut-
ter speed/aperture pai ri ng.
2. 3 Monuql set t i ngs
a) Contafl "er Super.' Sel ect desi red shutter
speed fi rst. Then, turn l i ght sel ector di sc unti l
desi red l ens apert ure appears opposi t e i ndi -
cat or mark and shut t er speed.
b) Contafl .er prtma; Sel ect desi red shutter
speed fi rst. Then, di sengage coupl i ng of l ens
aperture ri ng and turn to desi red l ens aper-
t ure.
2. 4 Snopshol set t i ng
a) Contafl "er Super; To be ready for the
greatest
vari ety of pi ctures wi thout havi ng
to focus for each one, pre-set the camera for
t hat shut t er speed- f / number combi nat i on
whi ch i ncl udes
f /8.
F/8 i s marked i n red. Di s-
tance shoul d be set at 20 ft., al so marked i n
red. Everythi ng between 10 ft. and i nfi ni ty
wi l l be recorded sharpl y.
26
l l - 2. 4o. Set f oot oge i ndi -
cot or t o 20, f , / st oP scol e
t o 8 f or dept h of f i el d f r om
l 0 f t . t o i nf i ni i Y.
b) Contafl .er
pri nLa; Same as Super but
setti ngs arc
f /8
and 15 ft. Everythi ng between
8 ft. and i nfi ni ty wi l l be recorded sharpl y.
3. Pi ct ur e- t oki ng
3. 1 Hol di ng t he comer o
a) Hor i zont al
pl ct ur es: Hol d camer a
cradl ed i n both hands wi th ri ght i ndex fi nger
rest i ng over shut t er rel ease. Hol d camera
snugl t agai nst cheekbone, usi ng i t as
part of
support for camera. Legs shoul d be sl i ghtl y
api rt, one foot forward for
greater stabi l i ty
i n order to reduce i i kel i hood of movement
duri ng exposure.
b) Verti cal
posi tt' ou Hol d camera snugl y
agai nst f orehead f or added support . St and as
above.
3. 2 Shul t er rel eose
F' ress shutter rel ease down fi rml y but
gent-
l y. Do so wi th a squeezi ng rather than a tap-
pi ng moti on. Abrupt
pressure on shutter re-
i ease mi ght cause movement and bl urri ng of
1s tlf-o r5ro
27
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l l - 3. 1. Pr oper pos i t i oni ng of c omer o ond honds f or hor i z ont ol
ond ver t i c ol
pi c t ur e- t ok i ng.
i mage. Shut t er rel eases as sl ow as 1/ 30 second
. """U"
hand-hel d al t hough
I / 60 shoul d be
o.ai tt".V
l i mi t. Shutter speeds sl ower than
i Ti O ttt"""Id be on sol i d support
or tri pod
si rl ufa be used. If hand-hel d,
l ean agai nst
wal l , t ree, back of chai r, et c'
3. 3 Rongef i nder f ocusi ng
In i nnermost ci rcl e of vi ewfi nder
you wi l l
observe two i mages separated
from each other
by a thi n l i ne' When
you turn the di stance
ri ng, these move i n opposi te di recti ons'
The
di sl i nce i s correctl y set when the two
parti al
i mages are exact l y al i gned
?t t d
f orm one
si ngf e undi st ort ed
i mage. Look-f or a sharp
per:pendi cul ar l i ne wi thi n the subj ect such as
^"
ti "" or the edge of a house or the si de of
the face on whi ch the correct al i gnment shoul d
be checked.
When taki ng
pi ctures verti cal l y,
a hori zontal l i ne shoul d be chosen.
28
l l - 3. 3. Spl i t - i moge r ongef i nder shows out - of - f ocl s i moge ot
l ef t , i n- f ocus i moge ot r i ght .
3. 4 Ground-gl oss screen f ocusi ng
Wi th obj ects whi ch have no di sti nct verti cal
l i nes, f ocusi ng wi t h t he spl i t -i mage range-
fi nder wi l l not be sati sfactory.
You wi l l al so
have di ffi cul ty i f the subj ect moves too ra-
pi dl y. Then the fl ne-screen ri ng shoul d be
used for focusi ng i n the same way a normal
ground-gl ass screen i s used. Do not f ocus wi t h
i he area outsi de the ci rcul ar fi ne-screen ri ng.
3. 5 Dept h-of -f i el d scol e
a) Zone of sharpness.' Sharpness of the
pi c-
ture i s not l i mi ted to obj ects at the exactl y
focused di stance. The sharpness wi l l al so cover
a certai n range nearer and farther from thi s
poi nt. At the ful l aperture of
f /2.8,
thi s zone
of sharpness i s comparati vel y smal i but as
the l ens i s stopped down to smal l er apertures,
the zone of sharpness
grows deeper. Thi s zone
of sharpness i s cal l ed the depth of fi el d.
b) Dept h-of -f i "el d scal e. ' Bet ween t he l ens
aperture ri ng and the di stance scal e,
you wi l l
noti ce two sets of
f/numbers
on ei ther si de
of the i ndi cator mark. These numbers
gi ve
29
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l l - 3. 5b. Cl os e- up of dept h-
of - f i el d scol e showi n g20 l t .
s ei t i ng mor k ed i n r ed.
you an approxi mate zone of sharpness at any
gi ven l ens apert ure. You can set t he camera
i n t he ordi nary way and t hen l ook f or t he l ens
apert ure number on bot h si des of t he i ndi cat or
mark. Opposi t e t he t wi n apert ure numbers,
you can read of f t he t wo di st ance scal e num-
bers (or
approxi mat e di st ances bet ween t he
numbers) and you wi l l have t he near and
far poi nts of sharp focus. If you prefer, you
can predet ermi ne
t he dept h of f i el d desi red
and sel ect t he l ens apert ure needed t o obt ai n
that depth of fi el d.
3. 6 Del oyed-oct i on rel eose
At t he base of t he l ens, you wi l l f i nd a
VXM set t i ng l ever. At t he "V" set t i ng t he de-
I ayed-act i on rel ease (or
sel f -t i mer) i s brought
i nt o act i on. When t he rel ease knob i s de-
pressed, a ret ardi ng mechani sm i s set i n mo-
t i on whi ch opens t he shut t er at about 8 sec-
onds af t erwards. Ti me exposures cannot be
made wi t h t he sel f -t i mer. I f f l ash l amps are
connect ed t o t he shut t er. set t o "V" and t he
del ayed-act i on mechani sm wi l l f i re t he f l ash
30
l l - 3. 6. VXM set i i ng l ever ot
bose of l ens i s set ot X, i n-
di cot i ng use of el ect r oni c
f l osh.
as t hough i t were set at t he "X" set t i ng. The
synchro-l ever can be set t o "V" ont y when t he
shut t er has been t ensi oned and t he l ever
depressed.
l l - 3. 7b. Pr oper met hod f or
i n s e r t i n g i n t e r c h o n g e o b l e
l ens el ement s.
3. 7 I nl er chongi ng l ens component s
a) Remoui ng
f ront
el "ement ; Hol d Cont a-
fl ex i n l eft hand and press the l ock pawl i n
. di rect i on of l ens wi t h t humb. The mi l l ed f ront
ri ng of st andard l ens i s t hen t urned wi t h ri ght
hand t o t he l ef t unt i l i t comes t o a st op; a
sl i ght resi st ance has t o be overcome. Li f t t he
f ront el ement upwards f rom i t s bayonet
mount .
2. 84 5. 68l l
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b) Inserti on: Red dot of front l ens uni t
must be opposi t e red dot of l ock pawl . Lens
uni t i s pressed home wi th a ri ght turn unti l
an audi bl e cl i ck i s heard.
4. Fl osh Pi cl ur es
4. 1 Fl osh equi pmenl
a) I kobl rt z
4:
The I kobl i t z 4 B-C f l ash uni t
i s made of al most unbreakabl e pl asti c mater-
i al . It sl i ps di rectl y i nto the accessory shoe
and after bei ng attached to the fl ash contact
i s ready for use.
b) Other
fl ash
uni ts.' Any other fl ash uni t
for fl ash bul bs or el ectroni c fl ash can al so be
used wi th the Contafl ex for attachment to the
base of the camera wi th an adapter bracket
or for di rect attachment to the accessory shoe.
The fl ash uni t must have a conti nental P-C
connect or t i p or an adapt er.
4.2 Synchroni zofi on
a) X or V set t i ngs onl , g. ' M2, M2V, M25,
M25B, AG-l and AG-I B bul bs shoul d be set
at I / 30 second or sl ower. SF or SM bul bs
shoul d be set at I / 125 or sl ower. El ect roni c
fl ash can be set at any shutter speed.
b) M set t i ngs. ' 5, M5, M5B, 25, 258 can be
used at any speed bet ween 1/ 60 and 1/ 500.
c) Opt i onal " V" set t i ngs: When bul bs
whi ch ordi nari l y are used at "M" setti ng are
used at "V" set t i ng, shut t er shoul d be set at
r/ 30.
q a
Tabl e of Exposure Ti mes f or Fl ashbul bs
Synchr o- Lever set i o
Fl o s h b u l b
X o r V I
M
Osr om
XM I , XM 5, SO, SO bI UE
X MI B , X M5 B
PF I , PF 5, PF 60
F l / bl ue, PF 5/ bl ue
PF 60i bl ue
PF ] 00, PF 100/ bl ue
Gener ol El ect r i c ond
West i nghouse
5 , 8 , l l
, 2 2 ,
M 5
M 5 B
M 2 , M 2 8 , M 2 5 B
SM
50
Syl vo n i o
No 0, No 2, Bont om 8,
Press 25, 40, M 5
M 5 B
M2 , M2 B , M2 5 , M2 5 8 ,
SF
3
El ect r oni c f l osh
1l
n--1 lsoo
1l
oo-1 lns
lioo-rlsoo
1l
co-1lns
1l n-1l oo
1/oo-r/soo
l
loo*1lns
t ;
l/oo-r/soo
l
lao-1 lns
I
-rleo
'I
-r
/:o
' l-1/so
I
-rl:o
'|
-1/t
s
I
-rlso
I
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' l -1/ oo
1-1l ns
I
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s
' l-1/so
I
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' l
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5. Cont of l ex Ropi d
5. 1 Si mi l ori t i es t o Cont of l ex Super
Al l physi cal
det ai l s of t he Cont af l ex Rapi d
are the same as those of the Contafl ex Super
except f or t he omi ssi on of t he exposure met er
and t he addi t i on of an exposure val ue scal e.
Accordi ngl y, t hose st eps i n t he precedi ng ma-
t eri al whi ch rel at e t o aut omat i c exposure
cont rol shoul d be i gnored. Al l ot her opera-
t i ons, except as next i ndi cat ed, are i dent i cal .
5. 2 Exposure vol ue syst em
By pressi ng t he expcsure val ue set t i ng knob
l ocat ed adj acent t o t he shut t er speed ri ng,
t owards t he body of t he camera, t he adj acent
red dot shoul d be moved unt i l i t coi nci des wi t h
t he requi red val ue on t he red exposure val ue
scal e. I nt ermedi at e or hal f -val ues can al so be
set . As t he ri ng wi t h t he red dot can onl y be
moved t o a l i mi t ed degree, i t wi l l somet i mes
be necessary t o move t he apert ure and shut t er
speed set t i ng ri ng as wel l . The exposure val ue
i s det ermi ned f rom t he exposure t abl e packed
wi th the fi l m or through the use of an ex-
posure met er whi ch gi ves exposure val ue
readi ngs. Once t he exposure val ue i s set on
t he i ens mount , aI I apert ure and shut t er speed
set t i ngs are coupl ed so t hat t hey can be pai red
f or desi red combi nat i ons of l ens apert ures
and shut t er speeds. I f manuai l y adj ust ed set -
t i ngs are desi red, i ndependent of t he exposure
val ue syst em, t he shut t er speeds shoul d be
set f i rst . Then, t he l ens apert ure can be set
by uncoupl i ng t he apert ure ri ng.
6. Cont of l ex l V
qnd
l l l
These t wo model s preceded
t he comespond-
i ng l at er model s Super and Rapi d. The bui l t -
i n exposure met er of t he Cont af l ex I V i s not
coupl ed. The Cont af l ex I I I has no met er at al l .
I n general ,
operat i on of bot h t hese model s
i s si mi l ar t o t hat of t he Cont af l ex Rapi d, de-
scri bed above. Fi l m advance, hori rever, i s
t hrough use of a knurl ed knob rat her t han a
rapi d-wi nd l ever. The rewi nd knob does not
have a sel f -cont ai ned crank.
7. Cont of l ex bet q ond ol pho
The bui l t -i n exposure met er of t he bet a i s
not coupl ed t o t he l ens. The al pha has no
bui l t -i n met er. The l ens, shut t er, f ocusi ng and
dept h-of -f i el d scal es are si mi l ar t o t he Cont a-
f l ex pri ma. Fi l m advanci ng and rewi ndi ng'
are si mi l ar t o t he Cont af l ex I V and I I I .
8. Cont of l ex l l ond I
Basi c procedures
of l oadi ng and unl oadi ng
fi l m, focusi ng fl ash synchroni zati on and de-
l ayed-act i on rei ease are t he same as f or al l
subsequent model s. Fi l m advance and rewi nd
procedures are si mi l ar t o t hose of t he Cont a-
fl ex IV and III. One mi nor di fference i n focus-
i ng i s t hat t he f ront l ens cel l i s t urned rat her
t han t he ent i re l ens mount . The l ens apert ure
and shut t er speed ri ngs are not cross-coupl ed.
They are set i ndependent l y. No exposure
val ue scal e i s i ncorporat ed. The f ront l ens
cel l s are not removabi e. A t el e at t achment
was avai l abi e cal l ed t he Tel eskop convert i ng
t he st andard l ens t o a 3-i nch l ens. The Cont a-
f l ex I I had a bui l t -i n uncoupl ed exposure
met er.
Er
T
i
T
I
=F
@
Eq
Ffl
a r
.) t)
\ r
Chopt er l l l
FI LMS AND FI TTERS
(t onal
range). Usual l y, t he f ast er t he f i l m,
t he more grai n,
and t he l ess acut ance and
t onal range.
1. 2 Sl ow f i l ms
For bi ggest enl argement s, sharpest i mage
cont ours, f i nest grai n.
Amp1e sensi t i vi t y f or
vast maj ori t y of pi ct ures i n dayl i ght . Ten-
dency t oward bei ng cont rast y; poor wi t h
cont rast y subj ect s but good
f or subj ect s of
I i t t l e cont rast .
l . Bl oc k - ond- whi t e
Fi l m
t . l Fi l m chor oct er i st i cs
a) Ft t m speed' ;
Fast er f i l ms more sensi t i ve
t o l i ght ; requi re l ess exposure
under i dent i -
cat c"ondi ti ons
than sl ower fi l ms' Sl ower
fi l ms
usual l y have f i nest
grai n and sharpest
i mage
cont ours.
Fast er f i l ms usual l y are
grai ni er,
l ose cont rast .
b) Gr ai ni ness:
Smoot hness
or coar seness
of t onal areas of f i l m when enl arged or
pro-
j ect ed.
Fi ne-grai n
f i l m smoot her
t ext ure t han
. t ". t "-gt ai n
f i l m. Fi neness of
grai n hel ps
preserve i mage det ai l s.
c) Cont our
sharpness
(acut ance): Ref ers
t o sharpness
of t onal separat i on
bet ween
aarf .
"t t a
l i ght obj ect s' Sharpest
i s kni f e-
"Jg"
t "p"rat i -on.
I n poorest , t onal areas sof t en
i ni o each ot her' Good cont our
sharpness
hei ght ens ef f ect of i mage sharpness
apart
f rom f i neness of
grai n.
d) Fi I ' m cont rast . ' Cont rast
ref ers t o range
of di f f erence
bet ween l east dense and most
dense
(or dark) areas' Cont rast y
f i l m
j umps
i rom t i ght t o dark i n very f ew st eps' Fi l m. o-f
i ; ; col nt rast
has short er t onal scal e wi t h
rot t "t
gradat i on. Fi l ms are
popul arl y char-
act eri zed
by t hei r speed,
grai n st ruct ure'
acut ance,
cont our sharpness,
and
gradat i on
36
Nome of Fi l m
Adox KB- 14
Agf a I sopan-FF
I l f ord Pan-F
Kodak Panat omi c-X
Perut z Pergrano-14
1. 3 Medi um f i l ms
Best al l -around f i l ms. Excel l ent grai n. Very
good
cont our sharpness. Best t onal scal es.
For pract i cal l y
al 1 dayl i ght subj ect s, f l ash
and some i ndoor l i ght i ng.
Nome of Fi l m
Adox KB- 17
Agf a I sopan-F
Gevaert Gevapan-27
Perut z Peromni a-21
ASA Exposure I ndex
4A
25
40
50
ASA Exposur e I ndex
BO
100
64
100
I . 4 Hi gh- speed f i l ms
For wi de vari et y of condi t i ons, l eani ng t o-
ward adverse l i ght i ng. Best "avai l abl e l i ght "
EA
ar y
www.orphancameras.com
\
r
f i l ms ; r eas onabl y f i ne
gr ai n, good i mage H
cont r ast .
Nome of Fi l m
Adox KB- 21
Agf a I sopan-SS
Gevaer t GevaPan- 30
Gevaert GevaPan-33
I l f ord FP-3
Kodak Pl us- X Pan
Per ut z Per omni a- 25
1. 5 Ul t r o- hi gh speed f i l ms
Unusual l y sensi t i ve, f or adverse l i ght i ng'
such as dusk out doors, i ndoor l i ght i ng wi t h-
out f l ash, st reet i l l umi nat i on. Grai ny, rel a-
t i vel v l ow cont rast .
ASA Exposur e l ndex
r25
200
I25
250
t25
160
250
ASA Exposur e l ndex
400
1250
500
500
400
800
400
b) Dwect posi t i ue
f i Lrns. '
For posi t i ve pro-
j ect i on
t ransparenci es when devel oped ac-
cordi ng t o manuf act urer' s i nst ruct i ons. Kodak
Di rect Posi t i ve Panchromat i c ASA exposure
i ndex 64.
c) Infrared
fi l .ms:
Used when i mportant to
cut through haze, when ni ghtti me effects de-
si red duri ng dayl i ght exposure and f or spe-
ci al medi cal and sci ent i f i c purposes. I nf rared
f i l t er requi red. Not n: Af t er f i ndi ng di st ance
through rangefi nderr or physi cal measure-
ment , use "R" on l ens mount as poi nt er t o
desi red di st ance.
2. Bl qck- ond- whi t e Fi l t er s
2. 1 Purposes of B-W f i l t ers
Col ored f i l t ers hol d back compl ement ary
col ors. Thus, green f i l t er hol ds back red l i ght
t hereby maki ng red obj ect s darker and green
obj ect s l i ght er i n f i nal pri nt . Conversel y, red
f i I t er hol ds back
green and renders red ob-
j ect s
l i ght er, green obj ect s darker. Cert ai n
f i l t ers excl ude excessi ve ul t ravi ol et radi at i on
whi ch ot herwi se creat es hazi ness.
FI LTER TABTE
( Bl qck- ond- whi t e
f t l ms)
Fi l t er
Yel l ow
Fi I l er f ocl or
Uses Doy
Darken bl ue sky, bri ng
out cl ouds, ot her l i ght
obj ect s agai nst bl ue sky.
Snow: reduce excessi ve
bi ue sky refl ecti on.
Reduce hazi ness of di s-
t ant scenes. 1. 5-2
Nome of Fi l m
Agf a I soPan Ul t ra
Agf a I soPan Record
Ansco SuPer HYPan
Gevaer t GevaPan- 36
I l f ord HP-3
I l f ord HPS
Kodak Tr i - X Pan
1. 6 Speci ol f i l ms
a) Copyi ng f i l "ms. '
For copyi ng l i ne mat e-
ri al s. Very cont rast y. Not recommended
f or
ot her
put pcses. General l y avai l abl e i s Kodak
Hi gh Cont rast CoPY Fi l m.
:i8
E=r
tr=r
39
7
A
A
@
2-3
'!k,,
Yel l ow-
Green
Orange
Bl ue
Ul t ra-vi ol et
Red
Pr ef er r ed f or out door
port rai t ure when dark-
e n e d s k y d e s i r e d ;
doesn' t l i ght en l i Ps.
Li ght ens
green f ol i age.
Ot her uses si mi l ar t o
yel l ow fi l ter.
Si mi l ar t o
yel l ow, but
mo r e
p r o n o u n c e d
effects.
Darkens
green f ol i age;
l i ght ens aut umn f ol i age.
Subdues f reckl es.
Si mul ates ni ght effects,
dayt i me, wi t h sl i ght
u n d e r e x p o s u r e
a n d
overpri nt i ng.
Co p y i n g , t o d a r k e n
f a d e d o r
y e i l o we d
handwri t i ng.
Washes out bl ue sky
compl et el Y.
Reduces hazi ness caused
by excessi ve scat t eri ng
of ul t ra-vi ol et l i ght .
Landscapes, seascapes,
hi gh al t i t udes.
0' I ' 2
Ext reme cont rast s; si m-
i l a r b u t mo r e
Pr o -
nounced i n ef f ect t o
orange fi l ter.
"Washes out" l i ps and
ski n t ones i n pi ct ures
of peopl e.
Pol ari zi ng
I nf rared
(wi t h I R
fi l m)
Vari abl e f act or; brack-
et ed exposures recom-
mended. 6-25
Reduces or el i mi nat es
refl ecti ons from water,
gl ass or ot her pol i shed
surf aces.
Al so used i n col or
pho-
t ography.
"
2. 5-3
Haze penetrati on, most
effecti ve.
Document phot ography.
Medi cal phot ography.
Si mul ated ni ght effects
made duri ng dayt i me. 6-100
3- 5
1. 5
3. Col or Fi l ms
3. 1 Col or f i l m choroct eri sl i cs
a) Reuersal
fi .l ,ms.'
Devel oped as transpar-
enci es f or di rect or
proj ect ed vi ewi ng. Bal -
anced for speci fi c types of l i ghti ng, i ncl udi ng
dayl i ght , t ungst en
(art i f i ci al l i ght ) and cl ear
fl ash. These di fferent types of l i ghti ng shoul d
not be mi xed i n same scene. Norr: Bl ue f l ash
bul b and el ectroni c fl ash consi dered same as
dayl i ght. If fi l m i ntended for one type of
l i ght i s to be used wi th another, conversi on
fi l ter must be used over l ens.
(See III-4.2.)
b) Negat i ue col or
f l Lms:
Can be used wi t h
di fferent types of l i ght.
(Bal anci ng fi l ters
used when enl argement s are made. ) Al t hough
you can mi x l i ghti ng sources on same fi l m,
Aou
cannot mi r l "i gl fti ng sources i n ang one
LO
E==r
T 7
4 t
www.orphancameras.com
\3,
\
erposure. Whenever possi bl e, advi sabl e t o
adhere t o one l i ght i ng source t hroughout t o
mi ni mi ze error when processi ng col or pri nt s.
3. 2 Doyl i ght reversol f i l ms
a) Medi um speed: Fi nest grai n wi t h me-
di um speed f i l ms, part i cul arl y Kodachrome I I .
Nqme or Fi rm Doyri shr Exposure ' ror,
t(' J9n' ;' ,:,i [;Ti l l $'
Agfa 50
Hi gh Speed
Ektachrome
TypeB 64'
125"
l
With Wratten fllter B5B
2
With Wratten filter 85
3
Slequires 3200o K lighting.
3. 4 Fl qsh reversql f i l ms
Intended for use wi th cl ear-type fl ash
bul bs. See fi l m i nstructi ons for conversi ons'
Anscochrome Fl ash TYPe
Kodachrome TYPe F
Ektachrome TYPe F
3. 5 Negol i ve col or f i l ms
Doyl i ghf Tungst en
Exposure I ndex Exposure I ndex
Anscochrome
Ekt achrome
Kodachrome
32
32
10
B
10
6
I 2
H
T
T
T
H
Kodachrome I I 25
Perut z 50 Col or 50
b) Hi gh speed
f i l , ms. '
For act i on as wel l as
f or uncert ai n dayl i ght condi t i ons.
Super
Anscochrome 100 25
Hi gh Speed
Ekt achrome 160
-
3. 3 Tungsl en reversql f i l ms
For use wi t h art i f i ci al l i ght , t ungst en-t ype,
as i ndi cat ed:
Doyl i ght Exposur e I ndex Tungst en
Nome of Fi l m ( wi l h conver si on f i l l er ) Exposur e I ndex
Super
Anscochrome
Kodachrome
Type A
l.
0)
Nome of Fi l m
Agf a Negat i ve CN-14 20
Agf a Negat i ve CN-17 40
Kodacol or 32
16
32
24
100 B0'
4. Col or Fi l m Fi l t er s
4. 1 Conversi on f i l t ers
a) ssC (TUpe F): Use wi t h Type F Koda-
chrome, Ektachrome or Anscochrome when
shooti ng outdoors i n dayl i ght.
b) 85 (TApe A): Use wi t h Kodachrome
Type A when shooti ng outdoors i n dayl i ght.
c) 80A (PF, Phot of l ood); Use wi t h Koda-
chrome, Ekt achrome or Anscochrome Day-
l i ght to take pi ctures wi th photofl oods. 10' 16
4. )
7
x
\
4.2 Correcti on fi l ters
a) 81A (SkULi gLl , t ): Wi t h dayl i ght col or
fi l ms, absorbs excessi ve bl ue found at hi gh
al t i t udes and at seashore. Reduces bl ueness
of open shade and adds
general warmt h t o
t ransparenci es.
b) 81C
( Fl ash) : Use wi t h Type A Koda-
chrome when usi ng cl ear f l ash bul bs.
c) 82A
( TEpe FP) . ' Use wi t h Type F Koda-
chrome, Ektachrome or Anscochrome when
usi ng phot of l oods.
4. 3 Pol ori zi ng f i l t ers
No effect on col or tones. Onl y means of
darkeni ng bl ue sky when usi ng col or fi l ms.
Wi th col or fi l ms as wel l as bl ack-and-whi te
fi l ms, reduces refl ecti ons from surfaces of
water, wi ndows, furni ture and other non-
met al l i c obj ect s. Avai l abl e i n t wo mount s:
(1)
engraved mount wi t h ref erence num-
bers f or set t i ng pol ari zat i on pl ane and
(2)
swi ng-out rot at i ng mount whi ch l et s you see
exact
pol ari zi ng effect of fi l ter i n front of l ens.
Chopter
l V
A. Z HOW-TO-DO-I T
Ref erence not es
1. Unnumbered ref erences are t o al -
phabet i cal
i t ems i n t hi s chapt er. " Some-
t i mes t hese appear as di rect ref erences
i n t ext os, f or exampl e,
"See Bounce
Fl ash. " Some ref erence may be part of
readi ng mat t er as, f or exampl e, "Bounce
f l ash gi ves
best exposure l at i t ude, et c. , '
I n ei t her case, you woul d l ook up
"Bounce Fl ash" i n al phabet i cal sequence
of t hi s chapt er.
2. Numbered references refer to other
chapt ers. For exampl e I I -6. 3c means t hat
t he ref erence i s i n chapt er I I , subchapt er
6, sect i on . 3, paragraph
c.
Acci dent s
Phot os are very i mport ant as evi dence, t o
det ermi ne responsi bi l i t y. Obj ect i ve i s t o show
condi t i on of vehi cl es and i nj ured part i es
so
as t o poi nt up cause and ef f ect as wel l as
responsi bi l i t y. Suggest ed pi ct ures:
1 . Condi t i on of car ( s ) f rom f ront , si de
and rear, as necessary. Condi t i on of obj ect s
st r uck and r el at i onshi p t o vehi ct e( s) . Cl ose-
up i nsi de vehi cl e, i f personal
damage, when
appropri at e, usi ng 6 f t . set t i ng. Cl ose-ups of
vi ct i m and debri s i f hi t -and-run.
2. Ti re ski d marks, st art t o f i ni sh, hol di ng
camera as hi gh as possi bl e.
Over-al l vi ew of
ent i re scene, f rom t op of bui l di ng i f possi bl e.
E
ET
F
H
H
GT
H
45
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