Film cameras
Contax 35mm Guide Reference guide
Reference guide for Contax 35mm Guide. 69 pages in English. Read the original PDF, download or print a copy without registration.
69 pagesEnglish6.6 MB PDF
Loading your manual…Open PDF directly
Document details
- Brand
- Contax
- Model / document
- Contax 35mm Guide
- Document type
- Reference guide
- Language
- English
- Pages
- 69
- File size
- 6.6 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
Search available document text
Find a term, then jump to its page in the original PDF. Image-only pages may not be searchable; check the PDF for exact wording and diagrams.
Page 2 · Read text
INTRODUCTION
The Zeiss 35mm cameras can be divided into three distinct
classes:
l. N onrangefnder madel:
The Ikonta 35. A compact folding type camera that is handy for
traveiing and for the use of color.
2. lYon-ioupled rangefinder model:
The Contina 35. Similar to the Ikonta 35 but has a rangefinger
built-in (integral) but non-coupled. The rangefinder determines the
distance and its measurement is then transferred to the camera's
focusing scale.
3. Coupled and combined', rangef.nder-uiewf.nder models :
a. Rigid body. The Contax II, III, IIA and IIIA are the only
models that have the interchangeable lens feature. They have a metal
focal plane (curtain) type of shutter. The IIIA has a built-in expo-
sure meter.
b. The Contessa 35. It features a 45mm lens of short focal length,
as do the Ikonta 35 and the Contin a 35, but the rangefinder and view-
finder are combined and a photoelectric exposure meter is built-in.
4. Coupled rangef.nder-separate uiewfinder :
The Contax I has interchangeable.lenses as do the other Contax
models which it preceded. However, the couplecl rangefinder is sepa'
rate from the viewfinder.
All the cameras use standard cartridges of 20 or 36 exposures.
The dimensions of the negatives are standard, 24 x 36mm (L" x
I1/2"). The Zeiss line meets and fills the need of the beginner to the
most advanced critical photographer. Each camera, as can be seen
from its integral design, performs a definite function. The Contax,
however, stands at the apex of the line because of its so many superb
features which have gained for it and for Zeiss world-wide recogni'
tion and acknowledged renown. But, one thing should be clear: A
Zeiss camera, whatever the model, always within its flexible capabili-
ties of experienced engineering, delivers a picture !
LView original page 2Page 5 · Read text
CHAPTER1 / RAPID RESULTS WITH YOUR ZBISS
35MM CAMERA
Now that you own a Zeiss 35mm camera, you'll probably want
to use it immediately. You can secure good results even the first time
if you follow my instructions exactly step by step. So let's first take an
outdoor picture since it's easiest.
Fon OurDooR Drsraxr ScrNus
I. Load the carnera with daylight color film, f"ollowing the in-
struction booklet that comes with the camera, or have the camera
store clerk assist you. With daylight color, you eliminate the need for
conversion filters (Chapter 13). At a later time, you'll learn how to
use one film for both indoor and outdoor use, but avoid any filter at
the beginning. Incidentally, color film is urged as a start because all
chances of processing errors are eliminated by the thoroughness of
the controls under which color film is processed. Black-and-white film
should be home processed for best results. As a beginner, it is advis-
able to avoid darkroom work until you have had some picture-taking
experience. With color film, your processing problems are avoided
completely.
2. set your distance scale lor tB feet if.you want a setting which
will keep everything in focus from r0 feet to infinity. A full figure
must be taken at a I0 foot focus setting with the camera held
vertically.
3. For hazy bright light, set your lens opening to the space be-
tween B and 5.6 which is the equivalent of 116.3. Cloudy light requires
an f.14.5 and dull light a 513.5 opening.
4. On the Contessa 35, Contina 35, and lkonta 55, your shutter
dial sh,ould be so set that the 50 is next to the index mark. Cock
the shutter gently. You will hear a click when the shutter is set.
The Contax I, II, III, IIA and IIIA dials are ser by lifting the wind-
ing knob and turning it until the 50 appears below the black (or red)
index dot. As you release the winding knob, you'll feel it slide into the
proper place. The Contax shutter is wound when the film is advanced,
while the other cameras require a separate cocking movement to set
the shutter tension for an exposure.
5. Hold, the camera correctly and f,rmly
6. Loolt through the uiewfind,er wind,ow.IL your camera has a
viewfinder and rangefinder combination, disregard the rangefinder
www.orphancameras.com
^f2View original page 5Page 6 · Read text
image when the focus and aperture controls are set at 18 feet and
516.3. (The rangefinder, however, must be used for razor-edge sharp-
ness of a close subject.) The subject seen through the viewfinder will
appear much smaller than it actually is, but whatever you do see
through it at 10 feet or further, your camera will record. For very
,r"", some additional correction is needed since the window
"lor"-ups viewfinder is higher than the lens of your camera. (See Chap- of the
ter 9, Close-ups and Parallax Control.)
7. Wait lor a bright, not'too'harshly lit sunny day when colors
will be most brilliant-that is, a clear, sunny day. If the day is dull
and overcast, the colors in your final picture will also be dull. The
camera settings suggested are correct for a bright day which generally
produces better color pictures. For other light conditions, consult a
photo-"lectric meter reading or if you don't have a meter, the chart in
Chapter 5.
B. Wait until the sub ject belore yoar canxera is at its em'otional
or action peak, then press the shutter release.
g. 47rc, mking your picture, nind the film immediately. The
Contax I, II, III, IIA and IIIA have an interlocked mechanism so
that the shutter is wound simultaneously as the film is advanced. Turn
the winding knob as far as it will go in order to avoid overlapping
pictures. The Ikonta 35, the Contina 35, and the Contessa 35 do not
hurr" u film-and-shutter-cocking interlock, but they do have safety
devices to prevent double exposures. When your roll of film is fin'
ished (the film cannot be advanced further), do not open the camera
back to look at the film because 35mm fiLm must be rewound bach
into the cartridge. The Contax IIA and IIIA are rewound after press'
ing the rewind button on the bottom of the camera. The Contessa 35,
the Contina 35, and the Ikonta 35 are rewound by first pressing down
the knob in the center of the film-winding knob. Once the rewind re'
lease is pressed, the rewind knob winds the film back into the car'
tridge. If there is any doubt as to what the correct procedure may be,
ask lour camera-store clerk to demonstrate the rewinding procedure.
10. Open the back ol the eaffLera and remoae the rewound, car-
tridge by pulling out the knob holding the spool in place.
I1. After carefully addressing the shipping tag and checking
your postage, mail your film to the processing laboratory.
L2. The returned color transparencies or prints may be seen in
a transparency viewer, enlarged to positive color prints on Koda'
chrome or Ansco Print-on enlargements, or projected with either a
special table viewer for room light viewing or a home projector.
6
\-View original page 6Page 7 · Read text
l\ow that you've taken your first few pictures with your new zeiss
camera, let's examine a method with which you can take pictures
under all conditions,not iust at l0 feet.
Tur S.q.rr-SnrMeurot
I recommend the use of the Safe-SetMethod for taking pictures
with all Zeiss35mm camerasbecause:
1. All troublesome camera variables are eliminated because
every picture-taking factor is pre-set. It avoids a[ last split-second
fumbling delays to correct controls as the camera-to-subject distance
changes.
2. Each frame is so completely filled with the entire subject that
all black and white negatives from a roll can be enlarged to a Lniform
siz.e any need for raising or lowering the after the -withou_t
enlargement ratio for one has been chosen"ilurg".ur,J it. column -original
height set.
If enlarged,- ull fru-"s the same approximate exposure - -require
times to make prints of a uniform size.
3. All color exposures are so uniform that they project equally
well.
Tnn Serr-Spr CueRr
The Safe-Set Chart gives you every bit of needed information at
a glance. with flash, it eliminates compietely the need for any calcula-
tion as to what the aperture opening should be. So, let,s start by mak-
a chart for the use of SM or SF flashlamps with KodachromeTg
Typ" A (data chart for using other lantpr and other film will fib,
be found at the end of the book, Page 126) . This chart should be writ-
ten out on adhesive tape or some similar material so that it can be
pasted onto the back of your reflector. So, first let us list our equip-
ment and standardized speed.
Lens Film: color Shutter Speed Flashlamp Ind,oor: asA 16
21.1. Type A Ll25 sM or sF For outdoor use? a
Typ" A conversion l
filter
1
Then, we add four lines for the four most frequently used sub-
ject sizes. Each line is further divided into focusing distance for that "thesize and for the lens iris opening required with flashlamp for
that particular distance.
www.orphancameras.comView original page 7Page 8 · Read text
Subject size Distance (feet) Iris (f/) opening
Full Body 10 f ls.6
s/a Body 5.5 rlLL
Head and Shoulders 3.5 f l16
Head 2.5 f 122
The completed chart will now look like this:
BACK OF FLASH REFLECTOR
ASA
r/25 SM r6
Head zyrl f/22
H & S 3 % l t/16
3/4 5 % l t/rt
Full . 1 0 r t/5.6 body
When the chart has been pasted onto your flash reflector, this is
how it is used for flash:
If the picture calls for a number of people standing full
length, then we can scan our chart for the full body line. It tells us
that for Typ" A film, with a shutter speed set f.or Ll25 (this speed
synchronizes with all flashlamps and speedlighrs), a full body picture
can be taken at 10 feet. So, we set our focusing scale at 10 feet. Never
touch the focusing setting because one turn of the knob changes the
focus markedly. With the SM or SF lamps, our chart tells us that
our lens opening for 10 feet is 115.6. So, we rotate our lens setting
until the f 15.6marking is opposite the index mark. Now, everything is
pre-set. After the shutter has been checked to see that it is set, you
merely walk towards the subject looking through the rangefinder.
Whert the two images blend, compose your picture and at the peak of
effect release the shutter. You will have taken a technically perfect
picture.
Ixnoons wrrH Cournor.r.rl, AnrrrrcrAl, Lrcrrr
If the weather is so poor that there is little light available or if
your picture is to be taken indoors, you can become totally inde-
pendent of otatdoor light through the use of indoor color film and an
B
.':. iI *.{&l;.' ;ilie*i}d-,i,.1*- - -- . c€.^ . 1 -View original page 8Page 9 · Read text
DR. TYDINGS'SAFE.SET FORMULA FOR INDOOR FLASH
2" (50mm)Lens:
45mm ese speea lc"ia"llvi l th2'z u+ || /it n+ | 22 | ,e | ,, | ,
l/25 sec.
* 5 , 2 5
#6,2-6.
Tungsten
tlkonta 35, Qorteaa 35, Conressa 35,
f6 lamps equal #5's ad #26 lamps produce the equl power ol itl5,s at V2jt! second.
Full body
Heqd ond shoulders
9
www.orphancameras.comView original page 9Page 12 · Read text
accessory flash unit. With flash (packaged sunlight), you must re.
member that the synchronization of the flash and shutter takes place
only at certain speeds because the duration of the light flash is so brief.
The Il21-second shutter speed is a standardized safe choice for all
Zeiss cameras because it will synchronize all lamps with the focal-
plane shutter of the Contax I, II, III, IIA and IIIA as well as with
all the other Zeiss cameras that may have a Compur or Prontor flash-
synchronized shutter.
Fon INrooR FLAsH
To use your 35mm camera for flash, follow this simple pro-
cedure:
I. Refer to the Safe-Set Chart and check your film and equip-
ment adjustments.
2. Pre-select the subject size and subject distance from the
chart.
3. Set your distance scale.
4. Choose the aperture for this distance from the chart, and set
your camera lens iris to it.
You now have pre-set your shutter, your distance and the iris.
5. Now appr,rach your subject to the approximate distance
that has been set and then observe your subject either:
a. Through the viewfinder (only with the Ikonta 35).'
b. By accurate measure of a coupled rangefinder (focuses the
camera lens and rangefinder simultaneously) which is combined with
the viewfinder as in the case of the Contax II, III, IIA and IIIA and
the Contessa 35, to eliminate a time-consuming eye shift after the
range is found.
c. The Contax I has a coupled rangefinder but a separate view-
finder.
d. With a non-coupled but built-in rangefinder as in the Con-
tina 35 wherein the eye must be shifted to the viewfinder after your
image has been brought into pre-set focus by means of the range-
finder. When you are satisfied that the image is in sharp focus, com-
pose your picture, wait for the peak of action or expression, and then
squeeze the release. The click of the shutter and the flash of light from
the lamp tells you that a flash picture has been taken !
Note: Even if you are a few inches in front of or behind your
actual distance setting, the image will still be sharp because the depth
of field adequately compensates for a slight variation in distance.
(See Chapter 4.)
T2
! : . .
..! i":l;lrir::i,,.:View original page 12Page 13 · Read text
These instructions are simple. The only judgment required on
your part is to wait for a bright sunny day or to measure your sub-
ject-to-camera distance for flash photography. If you will follow these
proven elementary instructions, you can be certain of fine results.
Because of this simplicity, the beginner will realize quickly that pic-
ture taking with any Zeiss 35mm camera is an easy routine which will
guarantee a picture at all times if the basic elements are controlled
and standardized without leaving anything to chance. So, if the sub-
ject in front of the camera is lighted and exposed correctly, you know
that you will get a picture!
Zeiss cameras may be used under greatly difiering light and
distance conditions. The next four chapters will show you how to
clange the basic settings so that your camera can meet all the pos-
sible changes in subject and operating conditions which are essential
in making a picture.
lf
l
Aclion piclures should be pre-sel.
13
www.orphancameras.com
t l
- ; 1View original page 13Page 15 · Read text
CHAPTER2 I S-THB SHUTTER
The shutter of your camera may be compared to the eontrol
governing the opening of a water faucet. When the faucet is opened,
water will flow through it. Sirnilarly, when the shutter is opened, light
entering the lens will reach the film. The longer the shutter remains
open, the more light will enter. The amount of light determines how
Iong it is necessary to leave the shutter open. When there is little light,
you must leave the shutter open for a longer time than if a large
amount of light is available. The amount of light available depends
upon the illumination in which you wish to take the picture and the
setting of the lens opening (iris) which we will study later.
The slower speeds permit the use of narrow iris openings while
faster speeds require wider ones. The correct opening is often an
important point in making or breaking a picture since a small open-
ing will deliver a greater amount of foreground-to-background sharp-
ness than a large one. As an example, landscapes usually require a
small opening to produce overall sharpness. A portrait, on the other
hand, may require an out-of-focus background so a wide opening is
needed.
A Srvrpr,B SnurreR Sperl Rur,r FoR BEGTNNERS
Still (inanimate) subjects may be taken with the slowest speed
aaailable, Ll2 or I second, even B or T to secure the greatest amount
of subject sharpness by stopping down the lens.
Liuing (animate) subjects require a shutter speed ol j/50
second to 111250. To be on the safe side, sports or action pictures
should be taken, if the available light allows it, at the fastest speed
your camera has so that the action is stopped. Standardize all fast
shots at 1/300 (SV), 1/500 (Compur) or IlI250 (Contax).
PaNurNc
If your highest shutter speed is still too slow to stop the motion
of a rapidly moving object from a set position, then you'll have to
"pun" your camera to stop the subject's motion. Panning means
swinging or moving the camera in line with the direction of the mo-
tion of your subject. This is done generally by swinging your camera
in an arc as the subject moves past you. When you snap your shutter
under these conditions, the object will be sharp, but the background
will be blurred.
15
www.orphancameras.com
;hAView original page 15Page 16 · Read text
SHUTTER SPEEDS FOR MOVING SUBJECTS
Lrnn or Morrox
Susrncr lr 25 rEnr tJl v \
Walking at 5 miles per hour L/25 us0 1/100
Children playing u50 1/100 l/150
Street activity us0 l/r00 1/150
Swimmers, skaters r/50 l/100 t/lsO
Vehicles at 20 m.p.h. l/100 t/200 l/300
Football, running I/100 r/200 1/300
Vehicles at 40 m.p.h. r/200 r/400 v60a
Tennis 1/300 r/600 L/900
Horse race l/s00 l/1000 l/1500
Airplanes 1/500 r/1000 l/1500
N.B. When your subjeet is dt 50 ft., multiply all speeds by 2(I/fi0x2+
r/sO).
. For 100 ft. subject distances, multiply aII speed,sby 4 (l/100 x 4 - l/25\.
HeNu Hrr,o ExposuRps
Use a l/50 second speed setting or faster for all hand held ex-
posures. Slower speeds should be attempted only with a tripod since
body vibration will be transmitted to the camera and will show on the
picture as an overall blur. To limit the possibility of blurring a hand-
held picture, brace yourself in this fashion: Place your feet about two
feet apart and parallel to each other. Hold your camera firmly against
your forehead. Take a deep breath and exhale partly. Shortly after
the exhalation, you will note that you are at your steadiest. At this
point release the shutter with a smooth, gentle motion.
Practice releasing or cocking and releasing the shutter a num-
ber of times without film. Some release levers depress more than
others before the shutter is activated. You should know at what point
your shutter trips. Correct releasing pressure is understandingly im-
portant for action pictures and baby portraits that require split second
timing to capture the once-in-a-lifetime expression. Practice releasing
the shutter before a large mirror. Stand fairly close and look through
the viewfinder as you release the shutter. Be on the lookout for any
movement on your part.
Cable Release
Another important aid for minimizing camera movement is a
cable release. It prevents vibration from your finger pressing the
p L6
':':i: , , ; ;,\ . ,View original page 16Page 17 · Read text
A. The plug musl be unscrewed lo
the lripod socket.
B. Conlox speed-setting diol
C. Deloyed oction lever of the Contox
calltera releaseand should aln'avs be usetl u ht:n \ ()ur catnera is ()n a
triltr'<1.lf the release is stretcherl taut. \ our boclr action nlal\ Irc
tratlslnittetl t,r the calnera. ,,\ l,rose, ullkinkerl cable releasc, l)re-
r-ents it.
I )eluyetI Actiott t Seli-tirrter)
This tlevice. built ittto all carnel'asbut the (lontt ssa. nra\ lrt. ust'rl
cither to set rtll the shutter u'hen lro cablc release is availalllc or for
the carllera operator to get ittto the picture hintself. The Csptessa 35
llla).hat'e a retnoval;le t1'pe aclrled rvhenever needed. It must be ad-
j usted carefully'. else )'our shutter carl be broken.
Iletrueert-tlte-LansS/rrrtter I Conlessa 35, (,ontilm 35, Ikont,a JJ I
The shutter s1-,eeclsof \.our Sy'nchro-Conrpur shutter gencralty'
are B, L,2,5, I0, 2l'>,50. 100. 250, ancl 500. These nunrbers refer to
fractions of a secolrcl.The 50 nreans I 50; the 2 nreans t 2; etc,.T[e
B (Bulb ) settins' u'ill keelt the shutter ol)en only as long as there is.
l)ressure on the release. If \-ou \r'ant to rnake extra long exposures,
l,,urchasea locking caltle releasetltat is built rvith a set scres'()r:autg-
tttatic clanrping clisc to holtl the plunger. Place so that the leaves rvill
L7
www.orphancameras.comView original page 17Page 18 · Read text
{IONT:A f, II I,'oc:al-plune
Shrrtlr"r cl,osecl
iloFiT.\\ |I I"ornl-ltlune
Shuttpr purtlt 0 pltl
Shutter-cocking lever of the Compur shutter
t'etnain ()pen at the B settitrg until you release the screrv or clisc. The
shutter is cocked by rnoving the cocking lever and )'ou are ready for
\-our e\Posure.
Cautiort : T he I I 500 speed settittg nttlst be nt acle belore your
sluttter is cockerl. Do not attempt to tnol)e your speed dial to I1500 ol
a seconrl alter the shutter is cocketl. You nlay break t,he slrutter. It is
better to lose a lrante by releasing the slrutter', uintling to a neu) lrame
ond then re-setting tlrc shutter lor 11500 speed.
The Prontor SV shutter of the Ikonta 35 is sinrilar to the Compur
t1-pe but has a top speed of only I i 300 seconcl.
1BView original page 18Page 19 · Read text
l'r r t,. (,rlvf.\\ l"oc,rl-I'l- \.\Ii S t t ullnrt
Tlre (,ontax shuttcr is of rrtetalfocal-lrlanec()r)structiott.It ()l)('r-
i'ltcsat thc l'cill',,i thc calrlerarlircctlr beforc the filnr antl is sirrrilar irr
acliorrto a n'irrrl,,n.sharlc.J'lrc shutter has a slit irr it u'hich ciln lrt'
r irt'icrl irr sizr' Io t:lrangr]c\l)()sur('s.It c\l)oscs tlrt: filrrr urrif,,rrrrlr
'f.[t',,rn(',r'n('r't, ct)l'n('r'.Tlre C,rtttitrltrtsa rangc,,f sllct'tls,,f l]- | 2. -|2.r0. 'l-ltr, | .-r. I 10. I .;0. I 100. I 2.;0. I .;(lO. arrrl I shuttt't' i.
\r,1;1111rttrtr)nrilticerllrn lt,'rt tlrt: filrrr is itrlrartt','rl.Tlr,' sltuttt't's1lr-'r:rl.
( ' iln1, , ': (' t ()r'('lt lr)9 r'il1 , , '[ ,,r'r',I' altcr tlrc tr itrrlirrg',,I tlrr' f i l r r r .
-\-]'f IE .\ITERTURE ( IRIS )
' l ' l t t , i r i . r l i a l r l t t ' a g r r r , a, I l c r r s I ' ( ' s u l a t r :t sl t c s i z c , , f t l r t ' ( ) l ) ( ' r r i n g
lr r a (l rrt i t t irrgli3 -lrt[ , t lrt 'f i lrrr.'l-ltcil'is is sirrrilarirr nlan\ \ r 'e l v lso t h r '
Itutttatt(') ('. tf \ ()Lll,r,rk ittto iI rnirrol' an(l bring' i.l lig-htclosc to \ ()ut'
r'\ (':. 1'ourvill scc that tltc iris <)l)('ltirrgnaI'ro\\-s.,\s thc light is lrr,r\r'rl
rt\\r,l\'.tlrr: irit n irlcns. \-,,u rlulrlicatc this narr'on-irrgi.trrrln itlt'rrirrg
r r itl r t l rt ' t l i alrlt ra : rrrr, , I r, u r Icrr. l,r' nror irrg-the iris r,pt'ni n 9i r r r l i c u t . t
I' t' , , t tt tl t t ' l r ig -lrcrl, I lt t l, , trt'l' nuntl,r't'.I f \ ()u n ill 1,,,,kt h r , u g l t t l r t '
l,a ,' k, , 1 r' , u t ' ('a n l(-'l'i.it rrrlt t l rr,rttglrtltr' l,'rrs.n itlr lltc slttttt c t(' ) l ) re) . \ ( ) u
n i l l s ( ' ( :I l r r '= i r r r i l a r i t r .
Hffi
l)1.1,'l'rtor.' I"tt.r,rrt.'ori .\ LErs oF SrIoti'r'For:tt, [,Erc'ttt
\ r r i n l r c r c n t , ; u r t l i t r, , I r r 1 1 . ; - ( ) I ' 2 - i r r t ' hk ' t t s , r f s l t o t ' tf , , t ' a l
Icrrstlris its r'('n)arkalrlrlars't'rlcpth .,f fit'lrl (rrrca ,,I sulrjt'r'tsltrrt'11-
n(':S) ('\'('ll tr lrt'rt tlrtr iris is u irlt' ()l)L'lIc()llll)ilr'('(lt,, (:ilnl('rilsttsitt{.1'
l,'nscsr,I I()ng('rf,rcrrllrrngIh.'l'hcscZt'iss l('ns('sitI f I ltat't'thc si,ln)('
rlt'ptlr,,[ ficlrl us a l-irrc'lrlt'ns ut { {i ()r eln [-i-int'hlcns at f 16. \\'lrcrr
\,111'lis-lrtis r'()r)sti.rrrt.this krr,,nlctlst' is \.('r'\-r'itluulrlt'.\\/itlr il 2-irrclr
l,' n . : r' [ at f l. \ , u rr ill 1 ,,'al,lr' Io gct it pit:tut't'n lrit'lrlr a s i l t l r ', 1 t t i t l t '
r l r ' ; r t rl rn r r l . l ' r ' r ' t ' l t r i r rr: r( r' iI r r i l r r r tl inst l r t i l r g ' ( ' ( ) n r l i t i oSl li Sn t. ' , ' i tl , ' t t - , , 1
l ( )
www.orphancameras.comView original page 19Page 20 · Read text
longer focal length would require an opening of |116 for the same
depth, your picture would be either hopelessly underexposed or you
couldn't take a picture at all because the exposure would have to be
16 times that at Il4. The depth of field possible with a lens of short
focal length and a wide opening often is the critical difierence be-
tween a failure or a successful picture.
Rtr,rrrvr Lrcrrr TNCREASE, IF oNLy rHE
Fur,r.-srop MARKTNG IRIS IS WIDENED
ill I These are full stop openings with a
f./L.4 2 700% difr.erence in light transmission be.
f./2 4 tween two adjoining stops.
f/2.8 B If the indicator is moved approximately
f/4 16 half way between the two markings, the
t/5.6 32 iris is opened 1/2 stop and the difierence
f/8 64 in light transmission is increased STVo.
f./7r I2B Half way between I/5.6 and f/B produces
f./16 236 I/6.3, between L/B and f/ll is f./9.
H.lrr-srop opENTNGS
I/3.5 I These specific numbers produce a dif-
f/4 lYz ference in light transmission of S|Vc
t/4.5 2 from one mark to another.
I/s.6 3
f /6.3 41/z
f/3 6
r/9 9
f./rl T2
t/rz.s 1B
L/t6 24
f./rB 36
L/22 48
N.B. Eaerything being equal, il the shutter speeil is changed, lrom r/100 to
T/200, the iris must be widened. one stop.
Il the shutter speed is changed, t'rom L/100 to l/s}, the iris is narrowed,
one stop.
If the shutter speeil is changed, lrom l/100 to r/7s, the shutter is nar-
rowed, by 12 stop.
Il the shutter is narrowecl lrom f/8 to f/L6, the shutter speed is length-
ened lour times so that L/100 witt be re-set to L/25.
20View original page 20Page 21 · Read text
CHAPTER 4 I F_FOCUSING
Focusing is the process of insuring the maximum amount oI
image sharpness. To estimate the correct subject-to-camera distance
and to insure the sharpest image possible, you may use either an
auxiliary rangefinder (Ikonta 35), a non-coupled rangefinder that is
integral with the camera (Contina 35), or a coupled rangefinder
(Contax, Contessa 35). At various times, it may be expedient to use
a pre-measured string or a tape measure for close-ups, or even to guess
the distance. Distance guessing is useful only at longer distances
where your depth of field will cover any small errors. But your
depth of field becomes very shallow as you approach your subject.
Your total depth may be as little as a half to one inch. In guessing
the longer distances, you can secure a high measure of accuracy by
taking advantage o{ either the depth of field or the hyperfocal dis-
tance settings of your lens. It must be emphasized, however, that the
closer you come, the greater is the need for a rangefinder or some
other accurate measuring instrument. This is especially true for dis-
tances of 7 feet and closer.
The beginner must remember that his picture will be as sharp
overall as the viewfinder image only when the lens is stopped down.
If the lens is opened wide, the depth of field will be shallow and all but
your subject will be fazzy and indistinct.
Tnn HvpERFocAL Drsreucp
If you are trying to photograph a moving object which proves a
difficult subject to focus upon, such as a playing child or a group of
football players, it's a good idea to know something about hyperfocal
distance. Lenses of short focal length have a great depth of field. This
means that very large areas will be sharp even though you focus your
camera on a single object. Depth of field is dependent upon the lens
opening and the distance setting. The further away the point of focus,
the greater the depth of field. The narrower the lens opening, the
greater the depth of field. I{ your lens is set at infinity and the open-
ing at f 14, the point of nearest acceptable focus will be 42 fieet. At
tlB,the near point will be2L feet. A curious relationship occurs if you
set the focus at either 42 f.eet at Il4 or 2L feet at f/8. You will discover
that everything will be in focus from 2L fieet (half oI 42 f.eet) to
infinity for the former, and from 107/2 feet (half oI2L feet) to infinity
for the latter. If you list all the near focusing points at infinity for
the difierent f.l openings, the result is known as your hyperfocal dis-
2L
www.orphancameras.comView original page 21Page 24 · Read text
t_.
tance scale. This scale is most useful out of doors because light con-
ditions permit narrow openings that make the hyperfocal distance
settings operable. At an f/16 opening and set at L0l2 f.eet, every-
thing from 5r/2 f.eet to infinity will be in focus. Taking any outdoor
picture is really a matter of true simplicity because you need set your
distance fior I07/z feet, and as long as your subject remains at least
512 fleet away or further, everything will be sharp. Thus to make use
of hyperfocal distance:
l. Set your lens at infinity.
2. Read the point of closest sharpness from the camera on the
depth-of-field guide on your lens mount.
3. Re-set your lens at this distance. Now everything will be in
focus from halt' this distance setting to infinity, and your subject may
move anywhere in this area without a camera setting change.
Disregard your central rangefinder im'age when using a hyper-
focal distance settins.
Sp'ro no..lr*" wrr' rHE DE'rH-'F-FTELD TABLE
The depth-of-field table shows the area of sharpness when your
focusing scale is set at any distance and used with the various f/
openings. The depth-of-field scale is valuable particularly for pictures
where a definite amount of front-to-back sharpness is wanted, e.g., in
a room. As an example, if everything must be sharp in a room from
3 feet to 15 feet, the depth-of-field table engraved around the lens
mount tells you that your focus should be sef at 6 feet and your iris
at 1116. To make the exposure, take your light reading and then find
the exposure time needed fior IlL6.
All lenses have a depth-of-field table engraved and arranged sym-
metrically around the focusing mount, e.g.t a lens of 2-inch focal
length, focused on 12 feet used atf.lB will have a sharp depth-of-field
range from B feet (21/2 meters) to 28 feet. If the picture will be en-
larged to great dimensions, narrow down, if possible, the iris ad-
ditionally to the opening suggested by the table, e.g., f.lB to f/ll, etc.
AcuoN Pne-ser Focus
Pre-set focus for action pictures within a limited area requires
setting your focus scale with the Contax lens of 2-inch focal length for
either:
30 feet-f lB Ior subject sharpness from 15 feet to infinity.
l0 feet-f/B subject will be in focus from 7 to 15 feet.
24View original page 24Page 26 · Read text
The Cotrtessa35 ancl other Zeiss canreras rvith a -1.5-rrrillinreter
lens ttcct[ ,,ttlr- ()lle scttillg : The t'rc'lusive rt cl clot sc'tting is userl ttr
rrri.rk(-'('\.el'rtlring irr f,rcus fronr ['rl: feet to infinitr- at { [i. l,ine up the
t'erI tlrt ,,I tlrc shutter. thc alrertut'c'.antl th': f,,cus u'ith t:ach irrrler
rnrtrli.
(.ttrrr(..\r, t li,rzolt-l,ncr;t Iiocusl\G
.\ rattsef;tttler is tt sinrplc triangulatirrg rlevice ust'tl to estirnate
rlistarrcesl,) {,,t'ttring'it geolltetric lrattern of \'our sulrjc,ctf ronr trvo
s(.1)Arateclpoittts ,rf r-ictr-.When the tn o cliffercnt irrrascs n'hich are
secll ft't,ttr tltcse cliflcrent points of vierv are bnrught together l,)' a
In,,r-abletnirror to fonn a single continuous inrase. The exact sub-
ject clistanceis reacl frotn an engravecl scale calibratecl to llleasure the
an'rount of nrirror nlovellrent neecleclto bring the subjects together.
Iiangcfittclers are used rvith the Zeiss canrcras in the follorving
\\'a\ s :
t. r\n auxiliary rangcfincler as usecl n ith the Ikonta 35. ,\n
.lu-\iliarv rangefittcler can be tletachcd from the caulrera and carriecl
s('l)aratclr'.l'lacecl ott the canrera. it is uscrl ir-ra lnAllll('r sirrrilar to the
ttreth,rrluscrl rvith tlrc Contina 3ir.
2. Non-c,,u;rlccl ltut integral ( buiit-in I rarrgefirr<ler-Contina
Pre-setling coptures the peok of on octivity.
26View original page 26Page 27 · Read text
O n e f i n g e r f o c u s e s o n d o n e r e l e o s e s The Conlox lends itself lo one-hond
t h e s h u t t e r . focusing ond sh utter releose.
3.J. The auxiliarl'rangefincler is built perlllarlently'into this canrera
but is not coupled \vith the lens nrount. Ititlter the lkonta:15 or the
Contina 35 nra)' be usecl rvith the pre-set nrethocl so that the results
rvill Lreas sharp as if the rangefinders rvere coupled. T,r d,-,so:
a. Set y our auxiliary rangefinder at the distance of the expectetl
action, e.g., l() feet, or choose the subject distance frorrr the charts in
Cltapter l.
b. Set the focus of 1-ourcamera lens at l0 feet. This c,r,rrdinates
thc ft)cus ,rf ) our rangefinder and camera.
c. l-our shutter ancl iris settings nlust be reacll' for instant pic-
ture taking.
d. Look through the rangefinder and walk forrvard or back
urrtil the rangefinder inrage shorvs )'our subject in sharl-rft-,cus.
e. With ) our subject in focus, shift ).our ey'e to the viervfinder.
\\then the subject reaches the peak of action or expression, release the
shutter. \!'ith this nrethod, )'our canlera attains the sallle high
elccul'ac\:of the ct,upled rangefinder nrt-,dels.
3. The Contax I has a coupled rangefinder but a separate vierv-
firrrler. Once the focusing distance is set, the meth<ld for use is the
sanre as the above, startin g at 2c.
-1. The Contax Ilr\ and III'\ and the Contessa35 have a super-
irrrllosed inrage ty'pe of rangefinder rvherein one image overlaps the
'Iheotltt'r. entire subject is seell at all tinres, but the center area (a
srrrall circle for the Contessa 35 and a rectangle ft,r the Contax
nrodels) rvill sholv two images rvhen the subject is out t-,f f.-,cus.When
the lighter, ghost image is brought over the darker inrage to form a
continuous non-separablesubject, the subject is again in ft,cus. These
canreras have the rangefinder and viewfinder combined so you lor-,k
27
www.orphancameras.comView original page 27Page 28 · Read text
through the same eye window for focusing and composing the pic-
ture simultaneously.
VrnwrrNDrNG AND CoMposrNG
The viewfinder or the combined viewfinder-rangefinder is gen-
erally a reverse Galilean telescope and shows the correct field of view
from infinity to most middle near distances. At close distances
parallax (the error between what the lens sees and what the view-
finder shows) is an important problem and is discussed further in
Chapter 9, Close-ups and Parallax Control, where a number of
methods are detailed for minimizing or eradicating this optical prob-
lem. At the moment let us say that the top of your subject must have
plenty of room under the top edge of the viewfinder for all 7 foot or
nearer distances to avoid parallax cut-ofi (cropping through the
forehead, etc.). Practice altering your camera settings for difierent
conditions of shutter speed, iris opening and distance so that they
will become a matter of second nature.
WnrN ro Pnr-srr
Pre-setting has its limitations. By studying the indications for its
proper use you will be able to use it efficiently for pictures with
greater variety and interest. Pre-set under the follcwing conditions:
I. Flashlamp, flashtube, and floodlight exposures must be pre-
set because an accurate exposure is possible only when the lamp-to-
subject distance is exact.
2. Rapidly moving subjects preclude fast focusing. Pre-set for
an area where the action will occur and lvait until the subiect moves
into that position.
3. Pre-set the camera when your picture must show a fixed ratio
of reduction or enlargement, as for medical photography. Once the
setting is made, move the camera back and forth for correct focus
rather than by moving the focus scale.
Do Nor Pnp-snr
1. If your subject moves so slowly that follow-focus is possible.
Follow-focusing increases picture interest because the subject may be
taken wherever it may be throughout its movement.
2. A wide-open lens requires continuous sharp focusing because
of the shallow depth-of-field.
28View original page 28Page 29 · Read text
Snenp Plcrunrs
Always try to take the sharpest picture possible. You can soften
the effect of sharpness by the later use of difiusion screens or diffusion
lenses if you wish. Remember: It is impossible to take an out-of-focus
image and make it critically sharp. But a sharp image may be
softened at any time.
To recapitulate:
The hyperfocal settings are used for subjects that have large
areas of depth.
The depth-of-field scale is used for subjects of moderate dimen'
sions.
Precision focusing with the rangefinder is necessaiy for ex-
tremely close subjects or when the front-to-back measurement is small
or shallow
Whatever focusing system is used, secure a sharp image.
How ro Focus Connacrry FoR Vanrous Errpcrs
Sharpness
Increase sharpness by:
a. Narrow the lens opening
b. Increase the camera to subject distance
c. Use a wide-angle (short focal length) lens (discussed later)
Decrease sharpness by:
a. Widen the lens opening
b. Decrease the camera-to-subject distance
, c. Use lenses of long (telephoto) focal length (discussed later)
At the same opening, the closer the camera-to-subject distance,
the shallower will be the depth-of-field.
Focus is distributed approximately 1/3 in front and 213 behind
the critical focusing point.
Speed Focusing
l. Ouer-all Sharpness of unlimited background depth: Use the
hyperfocal setting. It is recommended for any scene that has a back-
ground of great depth such as outdoor scenics, large auditoriums, etc.
Viewfinding: An optical viewfinder shows the hyperfocal field
as it will actually appear.
To use the depth-of-field scale marked on the lens for a hyper-
focal reading, bring the infinity point opposite the f/opening setting
29
rl
www.orphancameras.com &View original page 29From the M. Butkus archive. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
PDF verified 2026-10-10.