Fujica 35MM CAMERA GUIDE — part 1 Reference guide

Contents

   PART  I  THE FUJICA CAMERAS

  INTRODUCTION   g

1. THE FUJICAREX   II  T4

2. THB FUJICA 35-EE, 35-SE, AND 35-ML  33

3. THE FUJICA AUTO.M   49

4. THE FUJICA V.2  59

5. THE FUJICA HALF-THE   FUJICA  DRIVE-
   FUJICA HALF  I.g-FUJICA   MINI   63


   PART  II  BASIC INFORMATION
      FOR PHOTOGRAPHERS

1. TECHNTQUES FOR BETTER PHOTOGRAPHS  80

 2. FILMS AND FILTERS FOR FUJICA CAMERAS  96

 3. EXPOSURE METERS FOR MANUAL  OPERATION 106

 4, LIGHTING   110

 5. COMMON SENSE CARE FOR FUJICA CAMERAS 125





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Fig.  l.  Sara Pentz, Picture Editor of TV Guide, photographed
by her eight-year-oldniece using a Fujicarex ll.

Introduction

   The family  of  Fujica  cameras has grown  rapidly  in  the
past few years. There are nine models to be covered  in  this
guide, including  a  single-lens  reflex,  rangefinder  35s, and
half-frame 35s. The family  is not  that diverse, however. The
35-EE, 35-SE, and 35-ML  are essentially the same camera
with  different  features  that  are explained  fully  in  the  text.
The Half and the Drive are the same model, the Drive having
a spring motor as an added feature.
   The  Fujica  camera  line  consists of  instruments  of  ad-
vanced design, and utmost simplicity  of operation, which  are
capable of producing excellent photographs  for beginners and
advanced amateurs. This  is true  of  all  Fujica  models:  the
Fujicarex II  with  its "control  cluster," the 35-EE and 35-SE
with their coupled electronic  light meters, the ML  Automatic,
the Auto-M  with a patented computer  shutter, the V-2  with
CdS electric eye, the Half  and Drive  with  electric eye pro-
gramming  shutters, and  the  Mini,   the  lightest  half-frame
camera made.
   The designers of the Fuiica cameras claim but one goal-
to enable the beginner to come up with excellent results on the
very first try. As authors, and experienced photographers, we
decided to put this to the test with a novice. Our good friend
Sara Pentz, Picture Editor of TV Guide, graciously agreed to
work with  us, since by the nature of her work she was inter-
ested in photographs  but had  never taken any  herself'  At
various times over a period of months, Sara used the Fujica
Auto-M, the Fujicarex, and the Half. When she returned the
cameras, we  plied  her  with  questions, and examined  the
contact sheets most  critically.  It was apparent from  looking
at Sara's photographs that the Fujica designers had a right
to their  claim-for    these were  certainly  good  results  for  a
first try (see pages 6 and 11).
    Later she told  uS, "I  knew  nothing  about operating a
camera even though  I have to know a lot about pictures in


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my job. The first thing  I did was to take myself to a quiet spot
where  I could read the Owner's Manual-intently,   and with
one objective, to understand how  to operate that  particular
camera. By following directions,  I had no difficulty in loading
and unloading the film,  in making the few necessary adjust-
ments, or  in framing and focusing the subject matter.
    "The most important  thing,   I  feel,  is getting your  enthu-
siasm up to a fever pitch and then taking pictures right away.
Getting that first roll through the camera and on its way to the
lab (or a friend's darkroom)  is the first big step. The quicker
you have pictures to look  at, the better.  It seems to me that
the  excitement  of  taking  pictures mounts  directly   in  pro-
 portion to the quickness with which you can see what you did!
Once I had that first contact sheet in my hand with 36 (yours
might be 20)  potential prize winners,  I knew   I was on my
way. Then,  I went back to the Manual for a review. This time
 I was concerned with what   I had done wrong-a   couple  of
technical errors, a composition that could have been improved,
a camera position that would have been better  if  I had shifted
to another angle. Studying contact sheets is one very good
way of improving  both technique and picture sense.
    "You  want me to  tell you some of  the things  that were
confusing?" Sara asked. We sure did. She went on, "The most
difficult  time was with  that  terrible trio-ASA,    shutter speed,
and l/stops. Depth  of  field, that's another  trial, except with
the Fujicarex  when   I  could  use the  depth-of-field  preview
button. That was great. As  a picture  editor,   I  love those
photographs where there  is a large head  in  the foreground
and the background is all soft and misty with blobs of  light
where  it  is out-of-focus.  I want  to do the same thing, but
that depth-of-field table is too complicated.
    "Another  thing, most valuable to picture-takers like me
are specific examples of just what you can do-in   available
light, to stop fast action, when to use slow shutter speeds, and
simple indoor lighting. Portraiture  is the most important sub-
ject with me, as it seems to be with most newcomers to photog-
raphy. I'm  not ready to get snarled up  in flash photography.
I  want  to know how  to  take good  pictures  with  ordinary
room lamps, by window  light, or maybe a couple of photo-
flood bulbs."
   You  will  see, by flipping back to the Contents page, that
we have covered  all  of Sara's suggestions and questions plus
a lot more  in Part II-Basic   Information  For Photographers.
10

Fig. 2. These photos, and the
      one on page 6, were taken by
      beginner Sara Pentz with the
       Fujicarex ll, the Auto-M, and
      the Mini.





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-    FUJICA'S  QUALITY   CONTROL
    Fujica cameras are precision instruments. Their  quality  is
the result of coordinated research, design, manufacture, and
testing in the factories  of one responsible company,  the Fuji
Photo Film Company,  Ltd.,  of Japan. Fully  integrated con-
trol  is exercised over each step in the manufacturing  process:
from  the casting of raw  optical glass to the polishing  of the
finished lens, from  the designing and tooling  of shutter com-
ponents  to  electronic  testing  of  every  shutter  speed, from
basic research and experimentation to the final assembling of
the camera  itself, and from  the checking  of each separate
part to its testing in synchronized action with every other part.
      If you look on the back of any Fujica camera, you will see
a little sticker that says Passed. This means that the rigorous
standards of inspection by the Japan Camera Inspection Insti-
tute have been met.  It  is this agency, under government regu-
lations, which organized and supervises the inclusive set of
quality controls.
   The three-, four-,  five-, or six-element Fujinon and Fujinar
lenses used on the Fujica cameras are fast-l/1.8,      f / 1.9, and
f /2.8. They are of  the most modern design, utilizing  "rare
earth" optical glass in their manufacture. The lenses are fully
coated and color corrected. They are capable of recording the
finest detail  clearly and sharply  from  corner  to  corner.  In
addition to yielding high resolution, the contrast qualities of
the lenses yield images with  brilliance and snap.
   The  quality  of  the Fujica cameras  is a reflection  of  the
company that makes them. The  Fuji Photo Film Company,
Ltd.,      of Japan             employs about                            6,500 people                                                      in every phase                                                                    of             IIphotographic               research,                       development,                                  and manufacture.                                                 The
company does not depend upon others for the production  of              l
components, but designs and builds  all  of them  in  its own
plants to assure highest quality  control. The main products                                                                                                                                                                     IIlof  this company include optical raw  glass, lenses, cameras,
binoculars, projectors, enlargers, cine films, roll  films, X-ray            1I
films, sheet films, photographic papers, and photographic chem-            It
icals. This manufacturing background means quality  in your          I
Fujica camera.                                      i1
         HOW TO USE THIS BOOK
  We realize that the majority  of our readers will be usingone model of a Fujica camera and logically will be interested              lIj
only  in the section of the guide that pertains to that camera.          Iit 2                                                                                                                                                    l

However, in order to avoid needle'ssrepetition of information
       that involves all cameras or photographic techniques, we have
      included it in what seemed to be the most practical place. For
     example, the explanation of the ASA  film speed rating  is in
      Chapter  l, although this information  is needed for the proper
      operation of every other camera. On the other hand, informa-
       tion of a general nature-not  having to do with the operation
       of the camera-has  been placed in Part  II.  It includes Tech-
      niques for  Better Photographs, Films  for  Fujica  Cameras,
     Exposure Meters for Manual  Operation, and Lighting. You
        will  find cross-reference to  this material  in each chapter  of
      Part I, The Fujica Cameras.




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CHAPTER   I
      The Fujicarex II

   The single-lens reflex, or SLR,  is a camera  in which  the
image passesthrough the lens and is then reflected by a mirror
to a groundglass viewing screen. The image is brought  into
focus by playing the lens back and  forth  until  the subject
appears sharp. The same light  rays used for  focusing  form
the latent image on  film, so there  is no danger  of  parallax
error  (the difterence  in view between the rangefinder image
and the taking lens in the rangefinder 35mm).  Through-the-
lens viewing and focusing enable the photographer to judge
depth of field visually so he can easily take advantage of selec-
tive focus. In other words, with the lens set wide open, say at
f/2,  a very small section of either foreground  or background
will be in focus with the rest of the picture out-of-focus. The
more the lens is stopped down  (moving towards  f /16),  the
more  picture foreground  and background comes into  focus.
Another  feature of SLR viewing  is that you see what you  will
record with a variety  of lenses. Fujica marked  its entrance
into the SLR  field with  the introduction  of the Fujicarex  II
early in 1962.
   On  the  single-lens  reflex, when  the  release button   is
pressed the mirror   flips up out  of  the way as the lens dia-
phragm  closes to  its preset aperture;  the shutter opens and
the image is recorded on the film. After  the exposure has been
made, the mirror  instantlyrreturns to its viewing position and
the diaphragm reopens fully.
             CONTROL  CLUSTER
    Ever since the first 35mm camera, there has been argument
regarding the placement of camera controls. The Fujicarex  II
is the first camera to have solved this problem with  the intro-
duction  of the control  cluster. Most  of  the previous 35mm
cameras were designed to be held in the right hand while the
t4

Fujicarex
left hand made the control adjustments for shutter speed, lens
opening, and focusing. This method of operating the camera
seemed most practical, since you were more than likely taking
the exposure reading with an off-the-camera meter, then ad-
justing the controls, then moving the camera to eye level for
focusing. Your  hands could  then be shifted  to  the camera
body for maximum  support during  actual exposure. Cameras
with  built-in  exposure meters, the needle visible  in the view-
finder, changed all that. It became routine, and most practical,
to focus and change the exposure during  shooting with  the
camera at eye position throughout.
   The  big problem was how  to support  the camera  firmly
while  adjusting  the  controls.  Fuji  solved the  problem  by
exchanging the duties of each hand-in   fact, the controls were
shifted from  the  left hand  to the right thumb. The  natural
resting place for  this finger with camera at eye level is at the
back of the camera just below the rapid wind  lever on the
Fujicarex.  All  of the controls are clustered in  this area: the
viewfinder window,  the single stroke rapid wind  lever, the
exposure wheel, and the focusing wheel.
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4A. Real.yis\/-the  "Control Cluster."





                  48. Top view of camera.



T6

4C. Bottom view of lens housing.





             4D. Bottom view of camera.




 Fig. 4. FujicarexIl components.1-6 are the "Control Cluster."
 (1) Viewfinder window                  (14) Distance scale (meters)
 (2) Shutter release                     (15) Exposure counter
 (3) Single stroke, rapid wind lever     (16) Film-type reminder
 (4) Exposure wheel                     (17) Shutter release and standard
 (5) Focusing wheel                    cable release socket
 (6) Shutter speed selector ring         (18) Lens component lock
 (7) F/stop (lens opening) window      (19) ASA selector ring lock
 (8) Electric eye light-gathering          (20) "M"  and r'X" flash selector
 window                            and self-timer
 (9) Distance scale (feet)                   (2t'1 Depth-of-field preview button
(10) Foldaway film rewind crank         (22, Standard flash terminal
(11) Standard accessory shoe            (23, Film rewind release button
(12') Fujinon interchangeable lens       (24) Gamera back slide lock
component                               (25, Standard tripod socket
(13) ASA selector ring

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The two horizontally  placed wheels fall under your thumb.
The top black one, plainly marked Exposure, changes the lens
opening, and the bottom chrome one, marked Focus, makes
the image sharp.  It  is no longer necessary to take either hand
off the camera while  controlling  the distance setting or  the
exposure.
          LOADING  THE  FUJICAREX      II
   Loading  the  Fujicarex   is  a  simple  operation.  Having
selected the film you want to use, either in a 20- or 36-exposure
roll,  carry  out the following  steps. Try  to arrange a loading
area, especially  if  this is your  first time with a 35mm camera,
that is in dim  light and where you have a firm support for the
camera. Get  into  the habit  right now  of saving the box  the
film came in so you will have  it when you remove the exposed
film.  It  is the safest place to store the film  until you can get  it
to a processing lab or your darkroom.
     1. The most convenient way  to hold  the camera  is with
the lens pointing down and away from  you so the camera
back  slide lock  is at your  left where you can easily pull   it
down.  This  action causes the camera back  to  spring open
automatically. Swing  it open completely.
    2. Rotate the film take-up spool with your thumb  (Fig. 5A)
in the direction  of the white arrow  until you can see the slotclearly.                                                                                                                                                                                       .ttrr
    3. Place any standard 35mm cartridge in the film chamber      _!
                                                                                                                                                                                                                                                                                                                                                                                                                              ion the left  (Fig. 58)  with  the narrow leader of the film  at
the bottom.
    4. Thrust the end of the film leader into the take-up spool
slot until  it catches securely. Be sure the sprocket teeth engage
the film  perforations.
     5. Hold  the  film  cartridge  with  your  left  thumb,  using
very  little pressure. Press the shutter release button and make
one full stroke with the rapid wind lever (Fig. 5C). This starts
the     film             the take-up        on                         spool                           and                                    takes up                                                the slack                                                                      in                                                             the         itrfilm     leader.          The                  teeth of                           the film                                   sprocket                                        wheel                                                 should                                              now                                                                                                                            t
engage the sprocket holes in the film. In the event they do not,               ,tr
just rotate the take-up spool with your  finger until a sprocket
tooth does engage a sprocket hole  in the  film. As you close
the camera back, check  to see that  the sprocket  tooth  has
not disengaged. Press the camera back in firmly  to close the
camera. Push up the slide lock so the camera back locks. Note:
the exposure counter  on top  of  the camera  is now  at  "S"
position.

1 8

6.  Press  the  shutter  release button  and  advance  the
trigger several times until the number 1 appears in the expo-
sure counter window. The camera is now ready for your  first
exposure.
         UNLOADING   THE  FUJICAREX      II
    After  taking the last exposure on your  roll  of film-which
will be either  fi"t.rr"  20 oi  36, depending g-n the number  of
frames on the roll-you     will  find  that the film advance lever
swings only partly out and is locked in that position. Do  not
 forcZ the [rrrr,  as this may tear the film out of the cartridge.
 i,rrt press in the film rewind button. This unlocks the trigger,
 which  can now be advanced  for  the remainder  of  the  full
 stroke. The  following  three steps must be made  to unload
 the film safelY.
     1. To rewind the film  into  its original  cartridge, press in
 the film release rewind button  (Fig. 6A)  until   it  clicks into
 position. (The  button  will  remain  in  until you use the film
 uduu.rr.  lever during  the next  loading, when   it  will  spring
 out automatically. ) ihe  dot on the rewind  button  will  rotate
 as the film  rewinds, indicating  that the film  is going through
 all right.
     2. Swing out the film rewind crank  (Fig. 68)  and turn  it
 in the direclion  of the arrow. You  will know the film  is com-
 pletely rewound when the tension ceases and the release but-
 ton stops rotating.
     3. bp.n  the camera back as you  did when loading the
 film. Remove the  film  cartridge and place  it  in the  original
 box. Have the film processed as quickly as possible'





 Fig. 6. A & B. Release rewind button and crank'

 20

OPERATING   THE  FUJICARBX       II
        There are five simple steps to the operation of the Fujicarex
         II. These are, after setting the film ASA speed: 1) wind the
       film advance lever,  2)  set the  shutter speed, 3)  meter  the
      exposure,4) focus, and 5) take the picture by pressing down
     on the shutter release. Be sure you  are thoroughly  familiar
      with them, and the order in which they should be made. Com-
       mitting the procedure  to memory,  and always following  the
     same sequence, will  permit you  to operate your camera with
      sureness,ease, and rapidity.
                         FILM  SPEED
        The  first  slep  is setting the  film  speed or ASA  rating  for
      the film you have loaded  into  your  camera. This  rating  is ,#
       clearly marked on the pamphlet packed with the film. On the
      Fujicarex II, this setting is done by pressing in the ASA setting
      lock and rotating the ASA  setting ring  until the desired num-
      ber aligns with the red triangle.  If  the ASA  setting ring stops
        in any position and  will  travel no further,  rotate the shutter
     speed selector in the direction you want the ASA  setting ring
       to move. This frees the ring  for  further  travel.
           In case you have been puzzled by the term ASA,   it is only
     an abbreviation of American  Standards Association, and indi-
      cates the sensitivity of the film. Thus, the ASA number  gives
     you a basis of comparison  for the sensitivity  of one film with
       that of another. For instanQe, a film rated at ASA 200 is twice
      as fast as one rated at ASA  100. The fast films would be util-
      ized when you are shooting in a low-light  situation or you want
       to stop fast action with a high shutter speed.
        The Fujicarex   II has a special adjustment  for  films rated
       at ASA  32, 64, and i60,  as they do not appear on the ASA
       ring that handles all other films rated from ASA 10 to 1600.
        The procedure  is as follows:  Look  to the far  right  in the
       viewfinder. Next  to the meter needle, you  will see two curved
       lines topped with  the numbers 32 and 160. These are to be
#   usedloadedaswithcorrectASAexposure32, 64, andindicators160 film.onlyIf whenyou arethe usingcameraASAis
      32 film, the ASA  selector ring  is set at the number  50;  for
     ASA 64 film,   it  is set at 100. After  the setting  is made, the
      exposure wheel  is moved  until  the needle points to the ASA
      32 correct exposure indicator. Film  rated at 160 requires that
       the ASA selector ring be set at number 200, and the exposure
      wheel rotated until the exposure needle points to the 160 cor-
       rect exposure indicator.
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SHUTTER  SPEEDS
   The second step is setting the shutter speed, which  is done
by  rotating  the  shutter speed selector ring.  For  example,
 if you wish to use a shutter speed of   l/ 125 sec., turn the
ring until the number 125 lines up with the red square above
the l7'stop window.   If  the shutter speed selector ring  stops
and will not continue, rotate the exposure wheel in the direc-
tion you want the shutter ring to move.
   Many  inexperienced photographers are confused by  the
terms shutter speed and f / stop. These are terms you must use
constantly, so the meanings should be firmly and accurately
established in your mind. The l/stop  controls the amount of
 light that passesthrough the lens to the film. The shutter con-
 trols the length of time the light will act on the film.
                 THE  F/STOPS
    Let's take the l/stops  first. The symbol  I  is an abbreviation
 for focal length; the slash indicates that the numeral following
 is a fraction of the focal length and the numeral indicates that
fraction. Thus, on the Fujicarex,  the  f / 1.9 lens means that
the widest  effective aperture has a diameter  that measures
 | / 1.9 of  its focal length. The  l/stops  represent the relative
amounts of  light  that  will be admitted  at various openings
on the 50mm Fujinon lens. These stops are 1.9,2.8, 4, 5.6, 8,
 1 1 , 1 6 , a n d 2 2 .
   The confusion seems to begin when you  are told  that
changing to a smaller f/number  means that you have opened
 the lens wider and therefore are allowing more light to enter.
 If you think  of the l/stops  as fractions,  it  is easier to accept
 the seeming discrepancy. For instance, you know  that 1./2  is
more than 1/4,so you can accept the fact that f/2.8  is larger
 than I/4. You stop down the lens when you  shift the aperture
 or lTstop from  l/2.8  to f/4  and you open, up the lens when
                                          (1/2).                           (I/4)                                             Just rememberyou           from    change                                 to  f /2.8                                   f /4
                                     the low                                                    doubles      t                       stop                          toward            one  full     moving that                                           l/number
 the exposure, and  shifting  one  full  stop toward  the higher    1
l/number  reduces the exposure by half.
            SHUTTER  SPEED SYSTEM
   The shutter speed system has the same type of progression
as the l/stops-that    is, starting with one full second, it moves
by halves as follows:  t, 2, 4, 8, 15, 30, 60, t25,250, and 500,
 in the case of the Fujicarex shutter. The 1 stands for   I second,

22

but the other numbers are all fractions-    l/2,   l/4,   l/8,  and
    so on. As with the l/stops, changing from one shutter speed
     to the next means halving  or doubling the amount  of  light
    allowed to enter the camera. For instance, shooting at 1/500th#t     sec. means that just half as much  light  is admitted as when
    you shoot at l/25}th  sec. In reverse, l/3}th   sec. allows twice
    as much light to enter the lens as 1zl60th sec.
       There  is a  definite and important  relationship between
    these two  sets of  lens controls  that  permits you  to  obtain
     specific effects without changing the overall amount  of  light
     admitted. The  automatic cameras use this  interrelating  of
     l/stops and shutter  speeds based on the fact  that  different
    combinations of  l/stops  and shutter speeds give equivalent

                    or  l/ 60 at I/ll.,t  exposures.11250at f /5.6Thus,  l/125  at f/8   is the exposure equivalent of
             CHOOSING  SHUTTER  SPEED
       The second step in operating  the Fujicarex  concerns the
     choice of a shutter speed setting. The choice of shutter speed
    depends on two things: the amount of light you are shooting
      in, and the mobility  of the subject matter. For instance,  if  it is
    a situation where there  is  little  light-early   and late daylight
     hours, hazy or cloudy days-you  would have to choose a slow
     shutter speed such as 1/60th.If  the subject, on the other hand,
      is moving  very  fast, then you  need speeds of  L/250th  or
,*   1/500th sec.
              CHECKING   THE  EXPOSURE
       The  third  step  is concerned  with  obtaining  the  correct
    exposure for  the  film  and  the  light  you  are working  with.
    Your Fujicarex   II  is equipped with a match-needle exposure
    system with a selenium cell meter. The needle is visible in
     the viewfinder window.  The  electric eye  is coupled  to both
     the exposure wheel and the exposure needle. All  you have
     to do is hold the camera to your eye and point  it at the subject.
     With your thumb, rotate the exposure wheel until the exposure
     needle points  to the correct exposure indicator  between "LJ"
                              '60"     (underexposure) and       (overexposure),  unless you  are
     using film rated at ASA 32, 64, or 160, as explained previously.
             If  the exposure needle points  to  "fJ"  and rotating  the
    exposure wheel does not move the exposure needle, you have
    chosen too  fast a shutter speed for  the amount  of  light on
    your subject. Select a slower speed, then rotate the exposure
    wheel until the needle points to the correct exposure.
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Conversely,  if the exposure needle points to "O,"   it means
you are using too slow a shutter speed for  the brightness of
the light. Shift to a faster shutter speed, then rotate the expo-
sure wheel until the needle indicates the correct exposure.
  We have already discussed how the twin controls of shutter
speed and lens opening operating together regulate the total
amount of light falling on the film. The extent of time that the
light acts on the film  is controlled by shutter speed, while  its
brightness is regulated by the lens opening. The sum of these
two  is the exposure. Correct exposure (and  correct develop-
ment) results in a negative, and subsequently a print, in which
there is a long range of tones from black through the interme-
diate grays to white. Underexposure means a loss of important
detail in the shadows and a print that is dull and lifeless. Over-
exposure  affects the  highlight  areas and  results  in  loss  of
detail.
   The  automatic  shutter  speed/lens opening  combinations
possible with  the Fujicarex  assures you  of  correctly exposed
film when you point the needle to the correct exposure indi-
cator. Once this has been accomplished, the automatic coupling
of shutter speed and lens opening  will be set correctly  for  a
wide range of picture situations. Notice that as you rotate the
shutter speed selector ring the numbers  in the  f /stop windowchange. As a faster shutter speed is selected, a correspondingly     t
wider lens opening is set automatically. If you choose a slower
shutter speed, the correspondingly correct smaller lens opening      {
is set automatically. As long as you are shooting in the same             i
light, you can change from slow shutter speeds, as for scenic
shooting, to fast action by simply rotating the shutter speedring; the correct f /stop  is set automatically. This is the impor- $
tant  interrelating  of   f /stops  and shutter speeds at work,  asexplained on page 22-23.                                                 Ef
                   . FOCUSING  THE  FUJICAREX      II   The fourth  step is the very important  one of focusing the        Ift
camera so your image is sharp and clear. The Fujicarex  II,
with  its bright finder image, shows you a slightly smaller thanlife-size viewing and focusing image. The outer Fresnel lined     r,t
area can be used for focusing if you are used to a groundglass             I
viewing screen. To be absolutely sure of sharp focus, there is
a central rangefinder that gives you a well-outlined triple-split
image.  If you have not focused correctly, the subject in the
center area will appear to be split in the middle. By rotating the
focusing wheel, you can line up the subject in the viewfinder.
24                                       1
                                                                                                                                                                              jat

DEPTH  OF FIELD
       You  are viewing and focusing  with  the lens wide open
     becausethis yields the brightest image. The lens automatically
     stops down  to the pre-selected l/stop  at the instant of expo-
      sure, thereby bringing more  of  the picture  into sharp focus.
     This  is depth  of  field  in  operation.  Simply  put  (a  fuller
     explanation and a depth-of-field table are in Chapter 1, Part II)
          it refers to how much of the picture from.foreground   to back-
     ground is acceptably sharp. This  is controlled by the lens stop
     and the distance from the subject. One of the great features of
     the Fujicarex   II  is  its depth-of-field  preview  button,  located
     on the lens barrel  just below the shutter speed selector ring.
    By turning   it fully  to the right as you look through  the view-
      finder, you can see the actual areas of sharp focus as they
       will record when the lens is stopped down. You  will  notice
      that the viewing screen becomes darker and the image appears
     sharper. This  is most  apparent when  the  pre-selected lens
     opening is, say, f /16.
                  TAKING   THE  PICTURE
       The  fifth  step is the actual exposure of the film. Be sure,
     whether you hold the camera horizontally  or  vertically, that
          it feels comfortable.  Your  hands should not  feel cramped or
      unnaturally  strained. Your  right  forefinger  should  rest easily
     on the shutter release button. *       The shutter release action is comparable to that of squeez-
      ing a  rifle  or  pistol  trigger. Carry  out  this action  in a firm
     but gentle way. Practice with your camera until you get the
      feeling of "play"  in the shutter release button. Then you  will
    know just when you are about to squeeze past the critical point
      of shutter release and a click announces that the film has been
     exposed. Never jerk down on the shutter button, even at the
     highest speeds, or you  will  risk blurring  the picture through
     camera movement.
       You can avoid camera jar, while taking slow exposures
                                                   release.                                                         This                                                                                   is a                              you                                  use                                       a cable                                                        if                    a tripod,                on         camera-J   with                                                               shutter                                             thread                                                             of the                                         inner                                   into                                    the                     that                     screws             cable      flexible
     release button. The other end of the cable has a plunger that
      activates the shutter release button. You can also avoid camera
     shake by using the self-timer.
                 MANUAL   SETTINGS
        The Fujicarex  II may be used manually  if you feel this is
     an advantage. Some photographers do because it permits them
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to "bracket"   ( one exposure over and one under the normal
reading), which may be done in  full or half stops. This pro-
 vides a choice of density with  black-and-white  film  or  fuller
color saturation with color film.
   To obtain a manual setting, ignore the automatic controls.
Select a shutter speed by rotating  the shutter speed selector
ring until the desired speed is aligned with the short red line.
 After  you have set the  shutter speed, rotate  the exposure
wheel  until  the desired lens opening appears in  the   f / stop
window  (Fig. 7). You are ready to make the picture. (Note:
Using an auxiliary exposure meter is discussed in Chapter 3,
Part II.)





Fig. 7. Arrow indicates f/stop number in window.

                 TIME  EXPOSURES
   There will be times when you must work  in extremely dim
light, requiring exposures of longer than one second. In  this             668"case, use the      (bulb)  setting so the shutter remains open
as long as the shutter release is depressed. On the Fujicarex  II,
you rotate the shutter speed selector ring  until the 668" aligns
with the red square above the f / stop window. Press the shutter
release, the shutter opens, the mirror moves to "taking  posi-
tion,"  and the lens diaphragm  closes down  to  your  preset
aperture. After  the desired lapse of time, the pressure is re-
moved from  the shutter release, which allows  it to close, the
mirror  to return to "viewing"  position, and the lens diaphragm
to open fully.  Thus, you may expose the film  for  any length
of time. Remember that for time exposures the camera should
be on a tripod  or otherwise firmly  supported to avoid camera
movement and a blurred image.
26

DELAYED   EXPOSURES
       Your  Fujicarex   II  is equipped with  a self-timer  that  will
    delay the shutter release mechanism  for eight seconds. (Again,
    the camera must be firmly  supported.) The device  is most
   commonly used on occasions when the photographer wants to
    be included in the picture or when he is in the field alone and
    wishes to add a figure to the scene.
      To use the self-timing  device, you advance the  film and
    set the shutter by actuating  the  film  advance lever. Set the
    shutter speed and l/stop.  Move the flash selector lever to the
    "V"  position. When you  press the shutter release, you  will
    hear a buzzing  sound  that  indicates  that  the  eight-second
    period has started. After  this eight-second interval, a click  will
    be heard, indicating  that the picture has been taken.
           FLASH-ELECTRONIC     AND  BULB
      The use of synchronized  flash  is routine  procedure  with
    the majority  of photographers  today.   It  is the quickest and
    easiestmethod of obtaining adequate lighting  for pictures any
    time of day or night, indoors and outdoors. You can achieve
   many  different  and remarkable  effects by  use  of  flash on
    camera, off camera, bounced from  a reflecting  surface, and
    so on. (More complete information   is contained in Chapter 4,
    Part II.)
       Your  Fujicarex    II  shutter  is  fully  synchronized  at  all
    speedsfor electronic flash or Class-M flashbulbs. For electronic
     flash, move the flash selector to the "X"  position. For  flash-
    bulbs, move  it to the "M"  position. Then attach the cable of
    your flash unit to the flash terminal. The correct exposure for
*   electronic flash can be obtained from  the instruction  leaflet
    supplied (some units have this information  on the unit  itself$    with either direct reading or an exposure dial)  by the manu-$
     facturer.  For  exposure  with  flashbulbs,  use  the  table  on
   page 93.
       INTERCHANGEABLE    LENS COMPONENTS
      Your Fujicarex  II comes equipped with an  f /1.9 Fujinon
   50mm or "normal"  focal length lens. This means that the focal
    length is about equal to the diagonal of the negative area of
   35mm film. For a greater part of your photography, especially
   when you are a beginner, the normal lens is excellent.
       There are two accessory lens components available for the
    Fujicarex  ll-the       f / 4  Fujinon  35mm  wide-angle and  the
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