Film cameras
Bolex Zoom Reflex P2 User manual
User manual for Bolex Zoom Reflex P2. 36 pages in English. Read the original PDF, download or print a copy without registration.
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Document details
- Brand
- Bolex
- Model / document
- Bolex Zoom Reflex P2
- Document type
- User manual
- Language
- English
- Pages
- 36
- File size
- 5.9 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 2 · Read text
t. Your Gamera has been delivered equipped with: 1 empty take-up spool 1 rewind hand crank I sunshade I lens cap 1 rubber eyepiece I zoom lever 1 depth-of-field chartView original page 2
Page 3 · Read text
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BOLEX ZOOM
REFLEX P2 CAMERA
I N S T R U C T I O N M A N U ALView original page 3Page 4 · Read text
FOREWORD
You are now the lucky owner of a distinguished camera. The name BOLEX
is known throughout the world as a hallmark of technical perfection and precision crafts-
manship, and that is Swiss watch precision.
Your Bolex Zoom Reflex P2 ranks among the most versatile cameras on the market
today. Easy and pleasantto handle, it is equipped with all the latesttechnical perfections
which will allow you to make first-rate pictures full of life and movement.
But before getting to work with your Bolex Zoom Reflex P2, and whenever you
have any doubts, consult this instruction manual carefully. This will serve you as an
aid. for better movies.
PAILLARD S. A.
Sainte-Croix (Switzerland)View original page 4Page 6 · Read text
GET TO KNOW YOUR CAMERA
Battery Control Exoosure retaining of variable Release index dial cao shutter selector Film plane
Filming speed
setting
Rewinding
hand-cran k
lodging
Windinq key Serial number Socket for Release and
trigger handle, cable release
wriststrap, socket
monopod
or tripodView original page 6Page 8 · Read text
HOW TO UNDERSTAND YOUR CAMERA IN A HURRY
Read these instiuctions carefully and you will discover that the Bolex Zoom Reflex P2 is
a nrit-rlie camera with which you can do wonders, even if you are not a professional
cameraman.
a moment, that you have a normal color film in your pocketr But let us imagine, just for want to try out your marvellous new camera:I and that you
1. First adjust the eyepiece to your vision (p.21),.and make sure that the
variable ihutter levei is locked in the open' position !l (lever horizontal)
(p.24).
2. Load your camera, following the instructions on pp. 8-10.
3. Turn the exposure dial until 18f.p.s. (indicated by- means of a wide strqke)
is opposite the figure for the exposure rating of your film (pp. 14-16).
4. Set the filming speed dial to 18 f.p.s. (p. 12).
5. Push the release selector down to the normal running position (p. 13).View original page 8Page 9 · Read text
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6. Look at the subject through the viewfinder and frame it by moving the
zoom lever (p. 18).
7. Adjust the focus of the lens and turn the diaphragm lever untit the needle
coincides with the triangular cut-out in the viewfinder mask (pp.21,22
and 15).
And now start filming!
In case.you still have any hesitation when pressing the
release-button, consult the instruction manual. We believe
having answered in the following pages all questions that
could possibly arise.
Good luck to you !
We would recommend you to shoot
a roll of film and check the results
before filming a holiday trip or other
important occasion. This will allow
you to become familiar with your
camera and will show you if you are
correctly following the indications in
this instruction manual. When in
doubt, see your retailer for advice or
help.View original page 9Page 10 · Read text
HOW TO LOAD YOUR CAMERA
Before loading your camera, try out the important controls without film: winding, retease
selector, filming speeds, exposure index dial, focal lengths control lever, variable shu^tter,
rewinding, releasd. Familiarize yourself with your camera in order to avoid wasting film.
While it is not difficult to operate the camera, a certain amount of experience is necessa-
rily required for good results.
lmportant run at more-thanWhen32 f.p.s.,your ascamerathis couldis notcauseloaded,damagenevertolettheit
mechanism.
WINDING
Lift the winding key and mo.ve it back and forth until a definite
stopping point is reached. The motor is now fully wound and
will run o.ff about7ft. of film. This gives you about 31 seconds
of filming at a speed of 18 frames per second.
To prevent the motor running down during an important shot
it is advisable to re-wind after every shooting.
To avoid any risk of fogging the film, the camera should
be loaded in the shade, or better, in semi-darkness.
TO OPEN THE CAMERA
Lift up the hinged semicircular ring, turn it to position O and lift
the door.View original page 10Page 11 · Read text
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TO INSERT THE FILM INTO YOUR CAMERA
Place the open camera with the hinged door towards you and open the pressure-pad
by moving the lever (ng. 1).
Remove the empty spool from the camera.
Hold the full spool in your right hand in such a manner that the film cannot become
loose. Unwind about 10 inches of film, and stip the full spool on its spindle, guiding the
film through the gate as illustrated (fig. 2).
Close.the pressure-p.ad. FV plshing the lever while holding the full spool in its place withyour right hand (fig.3)..(4 safety device makes it impossib-le to closd the door unleis thepress.ure-pad is closed.)
Now take the enlOtV spool. with the side marked I facing you' and
insert the end of the film into the slit which is berow ti6 mark I
(!S..4). Wind 2 to 3 turns of filmon the spool,rotating itin aclockwise manner.
P!qg. the.take-up spqol on its spindle disregarding the position
of the notches (fig. S).
The dark, shiny side of the film must be facins towards
you, and the light side towards the lens.
9 ffiView original page 11Page 12 · Read text
Before closing the camera door, press the release for a fraction of a second to check
that film is running correctly.
Now close the door and lock it bY turning the semicircular ring to-F. Push the ring
back so that the single point mark is uncoiered to indicate that the film is on its first
25 ft. run.
N. B. When the first half of your doubte-run film has been exposed, turn the film
over in order to expose the other half.
FILM FOOTAGE COUNTER
The film footage counter on the back of the camera
automatically in-dicates the amount of film that has been
exposed.
The film being loaded, the letters ft. (feet) will appear
behind the window, because the indicator automatically
returns to the starting point when the pressure-pad lever
is operated in the cburse of loading-or unloading the
camera.
Press the release and run the film until the figure 0
The 4 ft. film leader i\g appears opposite the white notch. has now been run off.View original page 12Page 13 · Read text
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HOW TO INVERT YOUR FILM
An audible end-of-film signal indicates that the full
length of the film has now been exposed (the indicator
shows 25 ft.). The spool should now be turned over to
expose the other half of the film.
Proceed as follows:
The motor should be allowed to run until 10 c/rc/<s of
the audible warning signal have been counted. The
trailer is now fully wound on the take-up spool.
Open the camera away from the direct rays of the sun, to avoid fogging the film.
The two spools may then be taken out and the camera can be reloaded by placing the
full spool bn the upper (film feed) spindle, with the side marked ll uppernio'st.
After closing the camera door, push the semicircular ring back so as to leavethe 2 points
uncovered to indicate that the film is on its second 25 ft. run.
HOW TO UNLOAD YOUR CAMERA
When the film has been fully exposed, the original BOLEX spool supplied with the
camera, now on the upper spindle, will be empty again.
Remove the full spool, observing the same caution as you did while inverting the film.
Send it to the processing laboratory in accordance with the manufacturer's instructions.
11View original page 13Page 14 · Read text
FITMING SPEEDS
seven The control dial has speed settings - 12, 16, 18, per 24, 32, 64 frames second. 48 and
The usual filming speed nowadays is 18 frames per
second. lt replaces 16 f.p.s. as the international standard
for filming as well as for screening. Movements are
thereby reproduced smoother and if a magnetic sound
track is to be added to the film, the sound will be purer
and clearer.
When the film is projected at normal speed, films shot at
a slower speed (12 f.p.s.) produce an illusion of acceler-
ated motion on the screen, while films shot at higher
speeds (2a/6a f.p.s.) will produce a slow motion effect.
To set filming speed, turn speed control dial to
corresponding set{ing in front of the notch.
Do not forget that altering the filming speed necessitates an adjustment of the
exposure index dial (see page 14).
12View original page 14Page 15 · Read text
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RELEASE SETECTOR
According to the effect desired, use either normal or single-
frame exposure6. These are controlled by the release selector
which also locks the camera:
@ Locked camera
Normal position when the camera is not in use.
@ Single.frame exposure
Used {ortitles, cartoons, scientific films, trick effects, extreme
speed-ups (clouds, sunsets, comical effects, etc.).
The exposure is made as the release is fully pressed.
@ Normal running
Normal filming po:cition. The camera runs as long as you
press the release fully.
Cable release
accessory. When- A thiscableisreleasescrewedfi(tedintowiththe ashutterlockineieleasesc?ew socketis available(3ee onas
page 4)-it _enibles normal operation and aingle-frame exposurei to Uetaken. lf, during normal operbtion, the cable ielease screui is tiohtened.
then th-e c_amera operates continuously until the sclew i3 loocened agaii(or until the motor runs down).
Exposure Times: See table page 31.View original page 15Page 17 · Read text
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3. Sight the scene you intend to film and, keeping your
eye to the viewfinder, turn the diaphragm lbvei lrntil the mobile needle is pointing straighl downwards
and coincides exactly with the triangular cut-out of
the mask visible in the viewfinder field-.
The diaphragm is now set for accurate exposure.
Small movements of the needle are of no importance.
So long as it remains within the limits of the cul-out, the
maximum deviation is limited to * t/. stop for films of norm.al spgqq (19 _to 25 ASA inclusive), add to { 1 stop tor films of 200 ASA, so that the diaphragm remainb
at its correct setting.
CAUTION be carefulnot to depress- Whilethe releasesetting theevendiaphragmsiightit. Otherwise
the measurement will be inaccurat6.
Notes: The diaphragm is adjusted before shooting and
the photo-electric cell is automatically out of use as
soon as the release is depressed. As a consequence the
needle swings to the very left and will stay thbre during
the shooting.
lsi I
-)View original page 17Page 18 · Read text
For a pan (panoramic) shot adjust the diaphragm to an average setting for the
whole take.
For zoom efiects (see pp. 19-20) set the diaphragm for the whole take, using the
13 mm focal length setting as you adjust the diaphragm.
open .thelf for any reason, you are filming with the shutter half closed (see ^p. 24)diaphragm one sto-p or set the ASA rating against twice as fast a filming speed as
that being used.
FOR SINGLE FRAME EXPOSURE set the exposure meter so that12f.p.s. isopposite
the ASA rating of your film, regardless of the position of the filming speed control dial.
FILM EXPOSURE
Films with a rating not higher than 200 ASA can be used
at any filming speed with the shutter fully open.
Films rated 250, 320 and 400 ASA can be used at speeds
higher than 12 f.p.s. Use the three strokes engraved at
the end of the exposure scale on the fixed collar of the
dial.
The first corresponds to 250 ASA the second to 320 ASA;
both are used for filming speeds of 18f.p.s.and above.
The third corresponds to 400 ASA for 24 f.p.s. and above.View original page 18Page 20 · Read text
CHECKING AND REPLACING
THE BATTERY
Your photo-electric cell is operated by a battery
with an extremely long life. But you should
nevertheless check its condition from time to
time.
so To do
wide the index- Set (18the f.p.s.)exposureon theindexinnerdial sodiskthatis
opposite 25 ASA.
Look through the viewfinder and press the small
lever protruding through the front plate of the
camera above the lens. As long as the mobile
needle is not to the left of the triangular cut-out rT of the mask, the battery is in good' condition. II
-
lf not, it must be replaced. Ask your photo dealer for a MALLORY
RM 450 W.
Unscrew the retaining cap and replace the used battery, taking care
to insert the new battery head first with the smooth end towardsthe cap. When you have replaced the- cap, repeat the test described
above.
To ensure that the batteries last as long as possible, protect your
camera from the light when not in use by keeping it in a carrying case
or covering the lens with a lens cap.View original page 20Page 21 · Read text
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THE LENS
Your camera is equipped with a built-in lens:
The famous SOM Berthiot Pan Cinor, a Zoom lens with a range of focal lengths varying
from 9 mm to 30 mm, allowing you thus to switch rapidly from the focal length of a wide-
angle lens (9 mm) to that of a telephoto lens (from 20 to 30 mm) or to choose any inter-
mediary focal length between these two extremes.
Your Zoom lens will allow you:
- toaccuframeratelythe; subject you wish to film quickly and
- toof lifemake,andbymovement;varying the areas covered, films full
- toillusionachieveofeasymovingand perfecttowardszoomor awayeffects,Iromi.e. thethe
subject or moving with it.
But before going further, take a good look at the
setting and the controls of your lens,
A. Focusing ring with distances lrom 3 tl ft (1 m) to infinity.
B. Focal length scale; the engraved fi9ures correspond to the
standard focal lengths.
c. Zoom lever.
D, Diaphragm setting ring graduated from f/1.9 to f/16.View original page 21Page 22 · Read text
WHAT ARE THE VARIOUS FOCAL LENGTHS FOR ? ;
9 mm The focal length of a wide-angle tens for long shots or when it is difficult to stand back from the subject- (buildings, interiors, etc.).
Gives heightened perspective.
13 mm The focal length of a standard lens for ordinary shots. Gives nor- ' mal perspective. -
20, 25,30 mm The focal lengths of telephoto lenses for close-ups shots of more or less distant subjects; also produces very- effective extreme close-ups.
Gives flattened perspective.
ZOOM EFFECTS
Zoom effects are so called to distinguish them from dollying shots made with the camera
on a moving platform (a carriage, car, train, etc.). Here the camera stays in the same
place and only the focal length is changed. This is the technique used by newsreeland
television cameramen when they want a detailed or extensive shot or have to follow a
moving subject (sports scenes, for example) without altering the position of the camera.
'4,"View original page 22Page 23 · Read text
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zoomZoom out in and
and smoothlyslowly so as- toWithoutcreate theshiftingeffecttheof camera,moving turntowardsthe yourzoomsubjectlever carefully,or away
from- it. On the projection screen the subject will get steadily bigger or smaller. The
effect is called zoom in if the camera appears to be approaching the subject, and
zoom out in the opposite case.
Optical follow shot
Using the same technique, and if necessary panning the
camera, you can create the effect of following a moving
subject by keeping the subject the same size through-
out the whole shot.
Always use the Bolex Declic trigger handle
You will get even better results by fixing the camera to a
tripod; it is most important to keep the camera absol-
utely steady.
A tripod is essential when using focal lengths longer
than 25 mm.
Whenever it is not possible to use a tripod, the mono-
pod should be used instead. lt is manoeuvrable, easy
and versatile and instantly ready for propping against
any solid surface.View original page 23Page 24 · Read text
THE REFLEX VIEWFINDER
The reflex viewfinder makes it easy to choose the best framing for your scene.
It is one of the outstanding features of your camera. While you are shooting you see
exactly the scene_that will be reproduced on the screen. You will enjoy the bri!htness
and.sharpness of the image in the reflex viewfinder (whic'h has an ehlhrgement of 1:1
at about the standard focal length - 13 mm)
The rubber.eyepiece makes sighting more comfortable and cuts off sidelights that might
otherwise dim the image.
ltfarnj4g ! .lt ygu happen to film without placing your eye to the viewfinder, be careful not to let any direct light f-all on the-eyepiecg, gtherwise stray light may reach the film thrdugh the reflex viewfinde-r system, with a risk that it will be fogged.
ADJUSTING THE EYEPIECE
With the focal length of the lens set at 30 mm and the focusing
ring at infinity (oo), sight a distant subject and turn the ring F
Q, until the subject is perfectly sharp.
lf your vision is normal, the longest line engraved on the ring F
will be opposite the mark on the body of the viewfinder. lf not,
you will be able to use one of the shorter lines engraved on the
ring as a guide.
lf you are the only person to use the camera, you can lock the eyepiece
at the appropriate se(ting for your vision by turning the small screw (G)
with a watchmaker's screwdriver. To reach the screw, first remove the
rubber eyepiece.View original page 24Page 25 · Read text
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FOCUSING
The quality of your lens will make it possible to achieve
a remarkaSle oier-all sharpness of ydur pictures. There-
fore, with the lens set at 15 ft., you can obtain in sunny
weather a sharp picture from approximately 3 ft. to infinity
without the need for focusing.
However, in order to obtain the best results we recom-
mend you to estimate the average distance at which the
subjeci will be filmed and to adjust the focusing ring of
the lens accordingly.
For close-ups it is necessary when filming with a focal
length over 25 mm to set the exact distance between
sub-ject and film and it is particularly advisable when
filming with larger diaphragm apertures.
IDEPTH OF FIELD
I
The depth of field is the range of distance between the nearest and the farthest points
of the 6cene that are in sharp focus. lt varies with the focal length chosen, as well as ''1;
with the aperture and the range. I
Depth of field is shallow with a long focal length (25 mm to 30 mm) and a wide aperture,
and at short range.
Depth of field is greaf with a short focal length and a small aperture, and at long distance.
Consult the depth of field table which shows the available range at difierent focal lengths.
22View original page 25From the M. Butkus archive. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
PDF verified 2026-10-10.