Expert Agfa Ansco camera operation Product booklet

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for the Photographer Expert =
manufactured and supplied by Agfa Ansco =
Corporation assure the finest possible results. =
They include: Carn eta
Roll Film and Filmpack.
Hand Cameras, box and folding.
View Cameras, Studio outfits, other = "od Operation
photographers.
The Memo Camera-tO pictures with =
one i0-cehtf0-ceht film-alsofilm-also thethe Memoscope.Memoscope, andand = Made EasyMemo accessories and finishing equipment.
Agfa Portrait Film.
Agf.a Phototechnical Films - Process, = The fine points of photography explainedProcess Panchromatic, Commercial, Com- =
mercial Panchromatic, Commercial Ortho- = so that anyone can readily
chromatic. = understand them
Agfa Color Plates, for photographs in j
natural colors. =
Cyko, Noko, papers. and other Ansco =
Chemicals, including Agfa Metol, Ortol, = Price 5 cents
Glycin, Amidol, and Rodinol, also Pinacryp- =
tol Green Desensitizer. =
Flashlight, tripods, and other accessories. =
Correspondence inuit ed.
Agf. Ansco Corporation Agfr Ansco Corporation
Binghamton, N. Y., U. S. A.

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Some of the Things Expl,ained Photography Explained
in This Book
A TECHNICAT, knowledge of photography
L r is not necessary to the making of good
pictures, any more than a technical knowledge
What happens when you take a picture. of electricity is needed to use it for lighting
IIow to know what exposure to give. one's home or running an electric cleaner. Nev-
ertheless, at least a sl<etchy idea of the process
IIow to get sharpness and tletail. is desirable, for the avoidance of errors that
How to focus correctly. are \\'asteful of film.
What the shutter does. Photography may be thought of as partly
IIow to know what shutter speed to use. physics and partly chemistry, physics supply-
ing the lens, chemistry the film. The functionIIow to know what "stolr" to use. of the lens is to focus an image of the scene
What the stop numbers mean. before it on the flat plane occupied by the film.
The function of the film is to take a perma-IIow to use your folding camera lilce a fixed-
focus box camera. nent record of this focused. image.
How. to understand your lens. The secret of the process lies in the discov-
What is meant by the "speed" of a lens. ery, many years ago, that certain substances
are chemically altered by the action of light.How to take pictures indoors by lamplight.
One of these substances is silver bromide,
\tr/hen to use a tripod. which, after being exposed to the light and then
Differences between large cameras and small "developed" in certain chemicals, blackens to
cameras. metailic silver. By coating film with an emul-
sion containing minute paiticles of silver bro-Depth-of-focus tables ancl how to use them. mide, there is obtained a light-sensitive surface.
Practical p,ointers for assuring success. When the view is focused and the picture
And many other things worth l<nowing. taken, what happens is that the light tones of
-the view, such as the sky,-dark,make a strong im-
lression on the film, the such as foliage, -
Read the book right through a weak impression, and when the film is de-
2
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This  method  does not  utilize   all  the advan-          exposed long enough, he would  replace  the cap
tages you bought when you bought -your cam-          on the lens, replace the slide in the plateholder,
era, no"  is   it  the best rvay  to use the camera'           and,  withdrawlng    this,  take   it  into  the  dark-
but   it has several  points  in  its  favor.    In  the          room  for  development  of the  plate.
first  place,   it  enables you  to  begin  with  your
folding  camera where you  left  off-with   your              This  method,  still  used  in some studios, was
box  camera.  When  you  have made  the  set-            too crude  for  amateur  cameras, especially  with
tings  called  for  in the "rulesr"  you-can  go-right            the  introduction    of  fast  plates  and  fllms.     It
ane-aa as you have been  in the habit  of  doing'         was necessary to devise something which would
In  the second place,  this method  of using  your                          ' work  faster and be automatic   in  its  action.  So
camera  providis   an  excellent  standard   - from          an automatic   blind  or  shutter   to go over  the
which  td  work  as you become more  familiar             lens  or window   of  the camera  wis  invented,
with  the camera  ancl how  to  utilize  the advan-           y-earsand thisuntilmechanismwe havehasthebeenmarvelouslyimproved accuratewith  the
tages which   it has to  offer.    If  you forget-how             shutters  supplied  on Ansco  camera!,  some  of
to-set  the shutter  or  rvhere to place  the focus          which  permit   automatically    controlled   expo-
under  this  or that  condition  of light  or subject'           sures ranging  from  one second down  to  f/800
you  can  always  go back  to   the   flxed-focus             of a second.
inapshot  standard,  as set forth  in the five rules
abo-ve, and then modify  the settings  as circum-          When  we  consider  that  most  snapshots  are
                                 'fhis   will  be  clearer  to        made  with   an  exposure   of   l/25   second,   itstances may  require.
you when you have read what  follows'                seems at  first  impossible  that  the early  photog-                                                           raphers  could  have made  outdoor  pictures   at
                                                                                       all,  as  it  would  appear  impossible   for human
   Interesting  History   of  the  Shutter            hands  to uncap and cap a lens  in so short  a
                                                                  time.   But   the  early  photographers   did  not
T-ffn    term  "shutter"  comes down  to us from          ihave  plates anywhere  near  as  fast  as Ansco
  I    the early days  of photography.   Originally,             Film,  and   exposures  had   therefore   to  be
cameras were  not  provided  with  shutters'  but           longer.  Moreover,  photographers  were able  to
the photographer  used a lens-cap.  - When  ev-           control  the exposure  in another  way.  By  hav-
erytfring  was-ready,  he would  cap- -the lens,  in-           ing a set of  ciircular  discs with  hol6s of  hiff"r-
sei't triJptateholder,  remove the slide lrom   this'           ent sizes in the middle,  they  could, by using  in
and  then  uncap  the  lens  to make  the  "expo-             front  of the Iens a disc with  a larEe hole or a
.sure."  When  he  thought  the  plate  had been           disc  with  a small  hole,  control  the" amount  of                                                                            light  admitted   into  the  camera   in  a  given

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For instance, if you are taking a picture of Stopping Down for Sharpness
a person, and this person is standing ten feet
awalr you operate the front to bring the focus O TAKE the first point. "isiust rememberpointer to the l0-foot mark on the scale. If on that the smaller the- sto! the greater
the other hand, you are taking a picture of the depth of focus. This is-the reason whv
something far away, you may place the pointer people-are advised to "stop down" for shart'-
on the 100-foot mark. ness as much as the light will allow. It is also
what makes possible the "flxed-focus,, box
Some people using a focusing camera for the camera. With this type the lens is focused for
first time, regard focusing as a nuisance, and objects at an average picture distance, and the
want to know why fixed-focus cameras cannot regula_r stop, F 14, is small enough to make
be supplied with fast lenses. everything else sharp.
This brings us to the question of depth of J Small Cameras Easier to Focusfteld, or depth of focus, as it is more com-
monly called. tT.tO TAKE the second point, just remember
I that the shorter the focal length of the Suppose we take the case of a camera fo-
cused on a figure 10 feet away. This figure lens, the greater is the depth of focus at any
will, of course, be rendered absolutely sharp, stop selected. For example, a No. I Folding
but, in addition, objects nearer or farther Ansco, which takes pictures 2t/a x 9Ya, has a
away-say 8 feet from the camera and 12 feet Iens with a focal length of 3t/2 inches, while
from the camera-will be reasonably sharp a No. 3A Folding Ansco, which takes pictures
also. If anything nearer than 8 feet or farthel 3/a x 5t/2, has a lens with a focal Iength of 6Yz
away than L2 f.eet is noticeably unsharp or inches. If we focus both cameras at 10 feet,'out- of fg.c-us," then we say that the "depth of and use stop U. S. 4 (F 8) in each case, we
fieldt' or "depth of focus" is in this case from find that with the No. I Folding Ansco the
8 feet to 12 feet. depth of focus is from 7.6 feet to 14.5 feet,
while with the No. 3A Folding Ansco the
This thing called depth of focus varies a depth of focus is from g.l feet to 11 feet. (See
good deal, but always in accordance with op- tables on pages 28 and 29.)
tical laws that affect all lenses. In otherwords, the depth of focus depends on: II What this rather striking difference means
is that large cameras must be focused more
(1) The stop used. accurately than small ones.
(2) The focal length of the lens. It also explains the greatly increased popu-
(8) The distance for which the focus is set. larity of small cameras, especially where pic-
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tures must be taken in a hurry. With the No. For those who wish to go into this matter of
I Folding Ansco, when it locks automatically depth-of-focus more fully, we give on pages 28
at the 2|-foot focus distance, we get a depth an-d 29 three depth-of-focus tables covering
of focus even at F8 of from 14 feet to infinity, Ansco cameras. These tables, which were in-
or the limit of vision. That is, with the lens troduced by Ansco, have been of great service
wide open and nothing nearer the camera than to amateurs. Similar tables are amxed to the
14 feet, everything will be in focus. At the lens cap of the No. I Expert Ansco, and to the
next smaller stop, everything from t2 feet to bed of- the No. I Ansco Speedex and No. I
infinity_ is sharp,^and at-F lO-(U. S. 16), every- Ansco Super Speedex.
thing from 9.7 feet to infinity is sharp. Th'isalso applies to other No. I Ansco cameras. Simplified Focusing
\ f, / ltu the foregoing explanations as a
V y background, the following instructions
Focus Near Objects Carefully will simplify the matter of focusing so as to
sharp pictures. insure TAKE the third point, the depth offO Instrwctions for all' No. 7 Ansco carnaras-of r focus is greater with the camera focused
for far distances than with the camera focused focusi,ng type (pictures Zt/a x a!a).-(L) For general views, such as houses, street scenestfor near distances;
lroups, etc., set focus for 25 feet and avoid
For example, although with the No. 3A FoId- [aving any important or noticeable object
ing Ansco focused at 10 feet the depth of focus nearei thah 15 feet. This applies for stops up
at F 8 (U. S. 4) is from 9.1 feet to 11 feet when to F 8 (U. S. 4). For larger stops focus more
we focus the camera at 50 feet rve find that the exactlyr' as the'depth of focus decreases with
depth of focus is from 34.3 feet to 91.6 feet. increase in size of stop.
(2). For close-upsr- and single figures, set
I This point about the depth of focus increas- focui at 6 or l0 feel, and pace off the distance
' I from the object. Two long paces make approxi-ing as you set the focus pointer nearer the 100- ;1.
foot or infinity mark on the scale can be fixed I mately 6 feet, 312 long paces 10 feet, the nor-
in mind by examining the scale. Note the gap ,l mal pace beinE about 30 inches.
between the 6-foot and the l0-foot mark as ? (3i. For distant views such as views from
compared with the gap between the 25-foot and a iefght or over water, set focus at 100 feet.
the 100-foot marl<. The latter gap is smaller, Instructi,ons for al'\, No. 7A and, No. 3 Ansco
although the difference in indicated distances is cd,nrerd,s of fodusi,ng typa (pictures 2t/z x 4Y+
greater, and of course the smaller the gap the and.3!a x'41/E).-(f ) For iverage views, such
greater the depth of focus. as street scenes, road views, large groups'
r8 L9
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houses as seen from sidewalk, ete., set focus If you get the exposure anywhere near correct
for 25 feet and avoid having any imDortant or you are reasonably sure of a negative that will
noticeable object nearer ti'an ?O fbet. This print very nicely.
ppplies .to stops up to U. S. 4 (F 8). For The "correct" exposure depends on several
Iarg-er stops, focus more exactly. factors: the time of year, for light is more
(2). For views in which the-emphasis is on intense and days are longer in summer than in
the middle distance, such as more bpen street winter; the latitude of the locality, whether
scenes or road views, houses photographed near or far from the tropics; the time of day;
from the middle of the street, etc., selt fbcus { whether the sun is shinins, or the skv is dull br
for 50 feet. cloudy, etc., and whethdi ttre subject to be
(3). For distant landscapes, views from a l photographed is bright, such as a sriow or
height, etc., set focus for 100 feet. b_each scene, or to take the other extreme, very
(4). tr'or the largest class of snapshots, pic- dark, such as a view in the woods.
ture,s_ of standing fi.gures, children at play, We will not attempt to cover all these points,
small groups, etc., set focus at l5 feet- and as the efrect would be onlv to confuse.- For-
pace ofr the distance. tunately, because of the lbtitude of the film,
^ (5). For near- portraits and close-ups, set it is possible to strike an average which will
focus at l0 or 6 feet and pace off the distance. hold for .most amateur photography, summer
Instructi,ons for al,l, No, 3A Ansco canxera,s. and winter.
-Proceed as for No. lA and No. 3 cameras, Disregarding difrerences in subiect, time ofbut estimate the distance more carefully, es- year, etc., the following table can be taken aspecially the near distances, as the deplh of a guide:focus is less.
Finally, bear in mind that the use of a small
stop increases the depth of foeus, thus ofset- 4 8 16 32 64 sroP | "'t'ting errors in judgment of distances. Until 6.3 8 11.3 16 22 32 l Fyou become your accustomed to camera it is a
good p_lan to use the smailest stop that will Dull, cloudy 1/25 L/L0 r/5 L/2 1 2
give- adequate exposure at a shutter speed of
1/25_ second. For bright sunlight this- means, Cloudy-bright t/50 1/25 1/Lo L/5 t/2 1
on the average, stop 16. X'aint Sunshine /n0 7/50 L/26 t/Lo L/5 t/2
What Exposure to Give ntense Sunshi /200 /t00 L/50 r/25 L/L0 7/6
NSCO and Agfa Film have very wide lati- , This table allows for fairly g:enerous exposure. tude, protecting against error in exposure. In many cases, less will be sufficient.
20 2l

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Remember that the light is strongest in the A Chapter of Useful Pointersmiddle hours of the day.
Cut the above exposures in half for unob- A Snapshot Method
structed open views, such as views on beach or
water, where the lighting is flat, and double .Q OUn amateurs, in taking pictures of people,
the exposure for views with heavy dark masses, v have a tendency to make their subjects
such as wood roads, pictures in narrow streets, fldgety or nervous, thereby inducing an unat-
ete. tractive or strained expression. This is due
Work towards full exposure in winter, and to fussing around too much after the subject
towards shorter exposure in May, June and has been posed. Do your fussing first. That
July. is, before posing the subject, decide on shutter
For accurate euposura und,er all, cond,itions speed, stop, and even the focus distance if pos-
tha pwrchase of an Ansco Light Metor wil,l, be sible, setting the camera accordingly. Then
found, a good i,naestment. It is easy to wnd,er- state your purpose, pose the subject, pace off
stand and, tsery easy to use. Tel,ls the correct the distance, and take the picture promptly
enposure f or each stoTt und,er all cond,itions. and with assurance. In many cases it is still
Pri,ca $1.50. better to make no announcement whatever, but
to get the subject occupied with something, teII Exposures Indoors him or her to pay no attention to you, as you
NT O RELIABLE guide to indoor exposures are only getting ready, and then take the pic-
r \ can be given without going into minute ture u.'hen the pose and expression suit you.
details. The simplest method is to make a
test exposure and see what kind of negative
you get. This can then be taken as a guide High Shutter Speeds
to future indoor pictures under the same light
conditions. For the test, place the subject FOR nine out of ten snapshots, high shutter L' speeds are unnecessary. An exposure ofabout ten feet from the window and try 5 sec- l/26 second is generally short enough. Use theonds with the lens open to F 8 (U. S. 4). highest shutter speeds-1/100, l/200, l/300
Very interesting pictures of rooms, even second-only for rapidly moving objects, in
portraits, can be made indoors at night by the bright sunlight and rvith a large stop. Use
usual artificial illumination. The exposures l/50 second sometimes in photographing chil-
will naturally be long, averaging from one to dren whom it is hard to keep still, also for
three minutes with stop F 8 (U. S. 4). street scenes with automoblies moving slowly
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in the middle  distance.  Avoid  taking  such ve-            When  to Use a Portrait  Attachment
 hjcles  broadside,  as  they  are  more   likely   to
show  blur  this way  than   if  taken  head on  or                    f  T SE  a  portrait   attachment  when    it   is  de-
moving  out  of  the  picture.                                         \J   sired  io  get a head  or head-and-shoulders
                                                               view  larger  than  is possible  with  the lens
                                                          racked  forward  as far  as  it  will  go.           HoId  the Camera  Level
   LWAYS   hold the camera  level-that     is, so               When to lJse a Tripod
       that  the plane  of the film  is at  right  angles
with  level  ground.      If  the camera  is  pointed        A  TRIPOD  or some equivalent rest for the
upr  the  vertical   lines  of  buildings   in  the  pic-          -aL samgva is necessary in  taking  time and
ture   will  converge  towards  the  top.     If    it  is          bulb exposures. Such exposures are desirable
pointed  down,  they  will  converge  towards  the          under  c-ertain conditions  and  absolutely  neces-
bottom.                                                      sary  under  others.   They  are  desirable  when                                                                       yori wish  to  obtain  greaf  detail  and sharpness
         Close-ups  and  Near  Portraits                         in  all parts  of the picture  and when  to get  this
                                                       you must use smaller  stops than  will  permit  a
E1OR   these,  always  measure  the  distance,           snanshot  or hand  exDosure.  Thev  are  neces-
 l'    either  by  pacing    it  off  or  using  a pocket             sarf  when  the  light    ii  too  dull  foi  a snapshot
tape  measure.   Also,  arrange  the  subject  so            with  the lens at  its  largest  stop.
that  all  parts  are approximately   the same  dis-
tance from  the camera.   This  is to avoid  exag-               Sunlight  Compared   with  Diffused   Light
geration  in size of nearer  parts.   For  instance,
suppose you  are  taking  a picture   of someone                l\7f  OST  snapshots  are made when  the sun  is                                                                           rvr    shining,  but  with  a  fast  lens  sunshinein a chair  at a distance  of 6 feet.    If  the sub-
ject   is  facing  the camera  with  knees crossed,         may  not be necessary  for  snapshots  (see expo-                                                            sure  table, page 21.)    If  you want  softness andthis  will  bring  one foot so near the eamera that                                                      even  lighting   avoid  sunshine.   With   portraits,
in the  picture  the  foot may be bigger  than  the               for  example,    it  is often  better  to take  the  pic-
head.   lt   ttre subject   is turned  sidewise, much             ture  on the shady  side of  the house where  the
of  this  exaggeration    will  be  avoided,  and    if           subJect  does  not  have  to  stand   in  &  harsh
the subject   is taken  standing  there  will  be no            glare  that  may  cause the eyes to  squint.  On
exagger-ation,  as  all  parts   will  be  at  nearly  an            the other  hand, most views  look more  cheerful
equal  distance  from  the  camera.                       and  inviting   in sunshine,  with   its  play  of  light
                  24                                               25

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