Stereo Realist guide — part 1 Reference guide

INTRODUCTION

    The  usual lament  of  the amateur  after he has purchased and
tried a ne\M super-camera  is "The  best pictures that  I ever took  in my
life were with my old two-dollar box camera."  If you follow the illus'
tr ations and set the controls of your Stereo-Realist exactly as explained
in the first chapter  of  this guidq  1iou will  get perfect stereo pictures
with box camera simplicity  even though you rnay not have the faintest
idea of stbreo theory. With  these simple settings, you  will  get results.
You  will  be able to say truthfully,  "My  Stereo-Realist  is as easy to
use as my old box camera.  I have gotten results !"
    The  author, who  is not  affiliated  in  any way  with  the David
White Company, has prepared  this guide  to present  objectively  the
methods, materials, and techniques which have proven successful with
the Realist. By following  these methods, anyone can attain good results
 with  the camera from  the beginning.
     The proof  o{ the pudding   is in the  eating. The  life'like  enjoy'
ment  of stereo is in the viewing. The David  White Company  revolu'
 tionized  the previous  concepts of stereo in that  their  Realist System
 was complete. The  entire  cycle, from  the  first  step  (taking)   to the
 last step (viewing), was thoroughly planned and prepared to eliminate
 all technical  errors. The problems encountered  in stereo are so differ-
 ent from those met  in using the usual single-lens camera'  that unless
 the system is completely worked  out to the  final  stages, the inherent
 difficulties  of even one phase would  completely  spoil  the beginner's
 efiorts.
      After you have spent time and  effort  in taking  vour  stereo, you
 must take care not to ruin your  slide by poor mounting. Poor mount-
 ing can turn your moment  of prideful  joy  into an unpleasant head-
 ache. The David White Company has undertaken expensive, extensive,
 and tedious research to simplify and bring a high degree of precision
 to  this once exacting  step. Their  program  was undertaken  to make
 the crux  of stereo, the viewing, easy and correct. Excellent mounting
 may be assured only from  the David White Company, an approved
 mounting  service, or  by mounting  slides yourself  with  the David
 Vhite   jig  or Perma-Mounts.   If you do take the time, you  will  find
 that  after a few  rolls mounting  will become methodical,  routine, and
 rapid.
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     Since the use of 35mm  film was a distinct  departure  from  the
usual trend  of thought  in  stereo, the reasons for  choosing  this  size
are interesting:
t.   Easily  available;  the standard  cartridges may be bought  any-
    where.
2.  Extreme depth  of  field due to the short focal length  lens.
3.  TVhile the depth  of  field  is the same for  the 35mm  focal  length
    lens at  f /4  on the Realist as with  the 60mm  lens on a 45x107
     at I/5.6  or  at f/B  with  the 75mm  lens  for  the 6x13  size, there
      is an all-important  4 times exposure factor  in the difierent amount
     of light that is admitted. When every bit of light must be squeezed
    from  a scene in order to be able to take a color exposure, with
      f./4,  while  in view  of the  limited  latitude  of  color  film,  the  f/8
    opening would be totally under-exposed and wasted. Using 35mm
     film  with  the correctly  matching  focal  length  lens provides  the*
     only shutter and aperture conditions  which  will  produce a sharp
    color picture  with so little  light.
    Viewers: 35mm size viewers can be readily purchased within  a
    very wide price range. The modern deluxe viewer has a built-in
     light. Since you no longer are dependent on a ceiling or window
     light  for  illumination,  you do not have to  tilt  your head at odd
    angles and can devote your concentrated attention to the stereo.
    Projection:  the rnodern polarization projectors are conceived for
    the use of 35mm  film.                                                                                                                                  ,
    Mounting has been standardized. You may mount your own trans-
    parencies, or use the standard services that are provided  b;' the
    manufacturer  or your dealer.
 t .  The size of the camera  is reduced to the proportions   of a smart
    miniature  camera.
    Extreme  depth  of  field  even  at wide  openings meets a prime
    stereo requirement  for  over-all  sharpness.
9.  When  the stereo viewer  lens used has the sarne focal  length  as
    the camera  lens, the  actual  area  size  of  your  film   is  not  im-
    portant.  For  this  reason, your  Realist stereo always  will  look
     life-like  and large even though  the  film  size  is  small. The  life-
     like appearance  is due to the correlation  of the  focal  length  of
    the viewing lens and that of the camera. The only essential point
     is that there be no film grain. The high  rnagnification  of the short

focal length viewing lens accentuatesany granularity' When this
    grarrularlty is obvious it becomesa distracting factor when vieg'
    Ing the steieo. Color film has been the medium chosenfor Realist
    stJreo becausethe image produced is virtually grainless.
   Why do you see depth with stereo? This is the question most
often asked by the beginner.
    You have two eyes.The separation of the eyes is generally 65mm
(25/g inches apart). Becauseof thit, each eye does not_seeexactly
the same scene as the other. Since the eyes are separated by 65mm,
the view of each eye is ofiset by this separating distance. This  dif-
ference of viewpoint is known as parallax. If you have ever fired a
gun, you have realized that you must correct for the difierence of
}o"t   ii""  of sight being above the bore of your gun muzzle.If you do
not compqnsatefor the difierence of view, you will always miss your
target. Iio*"u".,    it  is the parallax or difierence in viewpoint which
*uf",  depth perception possible. When each eye records and trans'
mits a slightly diferent  viewpoint to the brain, the fusion of the
two difierent images occurs. The result of the fusion and coordination
 of the difierent vlwpoints  into a continuous smooth picture produces
depth-   perception
     With  orr"     you can see only a flat two'dimensional picture                  "y",                  one viewpoint. If you take two pictures whichbecausethere is'only
 are exactly alike without  -onittg  the cametl      all and view them                                                                           "l                                                                 flat. In order to get in the steieo viewer, the scene will always be
 stereo, you must "triangulate." Each scene must be seen (taken)
 from two difierent poinl  o{ view in order to duplicate the-depth'
 efiect of the eyer. o.tly when there is triangulation will there be any
 depth perception. Triangulation, which  is produced by taking two
         separate pictures with a stereo camera, may be minute.  It
 "rriir"ty      b" as iittle u* fTfO inch apart for very close,subjects, or perhaps *uy
 mills apart for distan"" ,""rr"r, but there must always be a-difierence
 of viewpoint to see any stereo. Remember: no triangulationr-no
 difierence of viewpoint, no stereo. With triangulation, with a difier'
 ence of viewpoint^, you  will  perceive the  full  dramatic impact of
 stereo.
     As a final word, the successof the Stereo'Realist camera has
 enhanced photographic progress and enormously broadened the in- terest in  ail phlr"r  of  .t"t"o.  This has been done by keeping the d
 Realist sysiem simple-so  simple that children have been able to
 produce toP qualitY stereos.
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SECTION   I
     The Camera
CHAPTERL    I  RAPID RESULTS WITH YOUR REALIST                              -any   The Stereo-Realist,which uses    standard 35mm cartridge
 film,  is an easily handled camera of modern  practical  design. The
optical system, depending  on the model,  consists  of two  precisely-
matched, color-corrected,  coated lenses fitted  in a rigid,  permanent,
non-moving mount.  Coupled rangefinder  focusing  is accomplished
by moving  the  film  plane  without   in any way  disturbing  the lens
system.
    The rangefinder  has an unusually  Iong base (43/+")  for  greater
accuracy. The viewfinder   is of the Cyclops type,  in the exact center
of the camera, completely eliminating viewing parallax  (the displace-
ment of  the image, due  to  the  difierence  in  viewpoint   of  the lens
from  the  viewfinder).  While  the  rangefinder  and  viewfinder  are
separate, they are placed side by side for easy use. Being alongside
one another, there  is  little  time  lost  in the switch from  the opening
 of the rangefinder  to the viewfinder.  A  very  distinct  feature  is the
placement of the finders at the bottom  of the camera. This position
compels the  user  to  hold  the  bulk  of  the camera  above  the  eye,
resting on  the  forehead.  This  position  stabilizes the camera and
provides  for  greater  rigidity.  The  shutter,  depending  upon  model,
is of the simultaneous,  leaf, double-action  type, working  at speeds
oI Il\  L12,Ll5, LlL}, I125, L150,f /100 and 1/150,plus T andB,
which are thoroughly adequate for most stereo needs. Flash synchroni-
zation is built  in for the first time  in any stereo shutter, but you must.
remember that synchronization  will  take place only  at I/25  second.
At Ll25 second all types and  all classes of lamps or tubes will  syn-
chronize. No other synchronizing speed is recommended.
    The  film  advance  is not coupled  to the  shutter,  but  there  is a
double-exposure indicator   (red  dot  appearing  a{ter the release of
the shutter) which warns when an exposure has been made. Because
of this non-coupling,  single pictures may be taken and the camera
may be moved between exposures for  separate right  and  left  pic-
tures by simply capping one lens at a time. Since separated exposures
may be made, the Stereo-Realist may be used for  hyper-  (far  dis-
tance) and hypo'  (close-up) stereo.
    The  Stereo-Realist  uses standard  magazine 35mm  cartridges
available with  such emulsions as color,  indoor,  outdoor,  and the

regular amateur fine or medium-grained films. With proper loading,
you will get 16 pairs from-a 20 exposureroll, or 29 pairs from a 36
exposure roll.
    The Basic Model ST-41 has Cooke-type, three-element coated
anastigmats of 35mm focal length, f /3.5, with mechanically coupled
eimultaneous iris  diaphragms and shutters. The shutter  is  gear'
retarded, rim-set, cocking, behind the lens type.
    As a ne1vowner of the Stereo-Realist,you do not want to begin
studying stereo photography immediately  in  order  to  use your
camera. To secure good results in stereo without any preliminary
knowledge  of theory  or  practice,  simply  follow  these rules.
      1.  Load the camera as per instructions,  or have a camera store
clerk load   it  for you.
     2.  Set your distance indicator knob, which  is at the upper
right hand side of the camera, at IB feet.
               qur  aperture  opening  so that the white  indicator   line

             yoE-shutter  dial on the center  of the camera, so that
the 50  is next  to the  white  indicator   line.
      5.  Hold  the camera as indicated.
      6.  Cock the shutter by firmly  moving  the lever from  your  right
to your  left as far as  it  \Mill go with  the camera  in taking  position.
Do this gently. You  will  hear a click when the shutter  is set.
      7.  Look  through  the viewfinder  window  at the bottom   left  of
the camera back. Your  subject  will  appear small, but whatever you
do see in the viervfinder  is what  the camera  will  see.       '8.
         Wait  for  a bright  sunny  day. Since you probably   will  be
using color only,  it  is imperative  that you wait  for a day when colors
will be most  brilliant.  Colors  will  be brilliant  only on a clear sunny
day.  If  the day  is dull and overcast, your  final  stereo  will  also be
dull and overcast.
    You  will  find that these camera settings are correct  for a bright
day which  will  yield  the best stereo. For  other  light  conditions,  use
an exposure meter  or  chart.
          Ii  the weather  is not  ideal, you may use your  Realist indoors
or outdoors  with  its accessory flash unit.  With  a flashlamp  (bottled
sunshine) you become totally independent of the weather. You must
remember that flash synchronization  takes place only  at L/25  second.
Measure  your  subject  distance  with  your  rangefinder,  after  pr€'
setting your controls (SAFE-SET).
B

This flash guide servesat a suggestedbasic exposureoI L/25
             normal subjectsunder normal conditionsin average
:::T3;l     Jrj::.
      g.  Outdoors leave the camera settings exactly as illustrated.  For
closer  distances, the  rangefinder  may  be used. Keep  your  subject
at least I0  feet away from  you and your  pictures,  after  careful  re-
lease, will be properly exposed and sharp. Indoors,  avoid excessive
manipulation  by pre-setting your  flash controls. Assuming  that your
stereo will  be taken  at five feet, set your  shutter  at  its only synchro-
nizing speed of. L/25  second, set your  rangefinder  distance  at 5 feet,
and set your aperture opening at f/LL  (figr;ne comes from the table).
With   all the controls  set, look  at your  subject through  the range-
finder, and move your body back and forth  until  the split-image  is
complete. When   it  is, simply  switch  to the  viewfinder  and squeeze
the shutter. When you have finished  the  roll,  rewind  the  film  back
into  its original  cartridge. Do not open the camera back  until  you
have finished  rewinding  the film.
     10.   Mail  your  film  to the appropriate  processing and mount-
ing  service.
      1I.  When the mounted  prints  are returned and placed in  the
viewer, you  will  see your own  life-like  stereos.
    These instructions  are at a minimum.  The  only judgment  re.
quired  on your  part  is to  wait  for  a  brilliant  sunny  day,  to use a
rangefinder  for measuring  the subject  distance with  flashlamps, and
to keep your  subject at least 10 feet from  the camera.  If these simple
instructions  are  followed,  you  can be  sure  of  getting  your  own
excellent stereos.
    The time  to remember   all the picture-taking   factors  is before
the exposure has been made. As an aid  in memorizing  these verl'
important   points,    it   is recommended  that  you  always  recall  the
word SAFE  before vou  are readv  to  release the  shutter.
                           S-Shutter
                            l-Aperture
                         ^F-Focus
                        E-Exposure

    The  Realist  can  be  used  under  greatly   difiering    light  and
distance  conditions.  The  next  four  chapters  will  show  you  how  #1
to make the simple settings so that your  Realist  will be fully  flexible
and available for  all possible needs.
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C H A P T E R 2     /   S _ T H E S H U T T E R
    The shutter  of your camera  is iike a water  faucet;   it opens and
shuts. While   it  is open,  light comes through;   the longer  you  leave
it open, the more  light comes through. When   it  is closed, there  is
no  light  admitted.  Since  the  Realist  has two  shutters,  these must
be simultaneously released. This  is done for you by a unique mech-
anism built  into the camera so that though you press only one button,
two  shutters are released.
    The  Stereo'Realist  shutter  provides  I0  shutter  speeds besides
B and  T.   lt  is a double-action  shuttero in  that   it must  be cocked
                                               o'bulb,"before  being  released. When  set on           the  shutter  remains
open only  as long  as the release button  is depressed. As soon as
pressure is removed from  the release button,  the shutters  will  close,
On  "time,"   the  shutters open when  the  release button   is pressed
and reniain  open even when  the pressure  is removed. The  shutters
may remain  open  for  hours  or days and  will  close only when  the
release button  is pressed a second time. Try  the camera with  both
settings so that you may actually see what happens when the release
button  is pressed
    To  set the  shutter  for  any marked  time  interval,   rotate  the
central  ring  around  the  viewfinder  opening  on  the  front   of  the
camera so that  the numerals  or  letters  are opposite  the engraved
white  arrowhead. Do  not move the  shutter  setting  after the shutter
has been cocked as there  is always danger  of  straining  a gear.  If
you  wish  to  change  your  shutter  speed without  endangering  the
gears, close the  plastic  cover  over your camera  lenses. Release the
shutter.  Re-set to  the new  shutter  speed. Remember  to  discount
number  in the red window  because you have not taken an exposure,
    The shutter speeds are T, B, I,2,5,   L0,25,50,  100 and 150.
These numerals indicate fractions  of a second; the 25 means L/25
second, while the 150 means I/LIO  second. The 1/50 second is the
dividing  line between hand-held and tripod-recommended  exposures.
Since pictures are magnified  at least 6 times by viewing  or by pro-
jection, any body vibration  or tremor  will be transmitted  to the pic-
ture and will be consequently magnified as a blur. For speeds of 1750
second or faster,  it  is a good idea to brace yourself. Place your  feet
so that  your  toes are approximately  4 inches  apart,  heels about  6
                                                  I5

rnches. Then, take a deep breath. Exhale, and shortly after the ex'
haling, you will find that you are steadiest.At this steady point, you
should take your picture.

         SHUTTER SPEEDS FOR MOVING SUBJECTS
                           Lrxn or Morron
                                                     STSus.rscr lr  25 ronr             tJ      s
 Walking   at  5 miles  per hour        I/25             l/50          r/r00
 Children   playing                       l/50          1/100        r/I50
 Street  activity                      1/s0          r/r00        l/150
 Swimmers,  skaters                  L/50        1/100        r/150
 Vehicles at 20 m.p.h.                 l/100         t/200        1/300
 Football, running                 1/r00        t/200        1/300
 Vehicles  at 40 m.p.h.             r/200       L/400        r/600
 Tennis                         1/300       1/600        r/900
 Horse  race                       r/500        1/1000      1/1500
 Airplanes                          l/500        1/1000       I/1500
 N.B. When your subject is at 50  lt., multiply  all speeils by 2(L/100x2=
      t/su.
       for 100 ft. subjectilistances,m,ultiplyall speeilsby 4 (l/100 x 4 = l/25) .

    When no tripod. is availa-ble,this method has yielderil usable
 pictures even at I/5  second. But, at speedsslower than 1/50 strong
 i""o--"rrdation    is made for an elevator'type tripod which provides
 a sturdy support and minimizes tripod  manipulation. Since your
 shutter is of the double-actiontype, it is necessaryto cock the shutter
 in order to activate it. The shutter should be cocked only after you
 have moved speed rim to the indicating arrow-
     To cock, move the cocking lever to the left as far as it  will goo
 and then remove your  finger. When you now press your shutter
 releaselocated on the top of your camera to the left, you will hear
 the sound of the shutter mechanism being released. The top  left
 position of the shutter release makes it easy to operate with  the
 middle finger of the left hand. Practice cocking and releasing the
 shutter as the Realist button release depressesconsiderably before
 the shutter is actually released. Practice a number of times until
 you get the pressure and depth of release just right. Action pictures and baby portraits require instantaneousexposures.The shutter must  fi
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                                               Cocking rhe shutter


         Shutter  setting  ring





                                                  Only  permissible  setting
                                                                  for  flash

be released tvithin a minimurn  time, or you may lose in that  split
$ecotld the once-in-a-lifetirne smile or rare fleeting expression.
    The heginner need only rernember to use a fast speed for  living
(animate) subjects and a slon' speed for motionless (.inanirnate) ot
still subjects. The choice of a fast shutter speed and a wide opening
or a slow shutter speed and a narrow opening are advanceclconsidera-
tions rvhich are not too irnportant to the amateur because the Realist
short focal length lenses have a tremendous depth of field at all tinres.
    The choice of shutter speeds for moving nbjects depends on the
camera distance from  the subject and the direction  of the subject's
motion. The chart  lists the different factors required to choose the
proper shutter speed setting.
    A  sirnple wa],  to remember what  shutter speed to use  is  to
know the nreaning of the number 25.5,25. This hasic number means
that for  a subject 25 feet aw&f, rnoving at 5 miles an hour  rvith
                                         17

Turn mount  lo change aPerlure

il  lipe  gf  rp trti9n  directll,  to and   f rorn the camera posiLion, the
:lrtrtter speed is  I, 25  r"",,r-,d. With  a 45-degree line of rnotion, the
sStrtter speed is doublecl, rvhile  rvith a 90-degree line  of  motion,
tlre *shutter speecl is th ree times the grigipal  L1 25 seccild.
        If t6e .i*"d   of the subject  is increased to  l0  miles per hour,
thgl  all  rlurll[ers are cl,ru]rled.F-aster speecls are irlcreasecl in  pro'
portion.  If the subj ect clistance is increased to 50  f eet, all numbers
,rrur Se cloublecl, while  lvit[r a  r00-f oot  distance, the  figures are
quadrulrled. ,\ subject tnovirtg at 20 miles per hour, 100 feet awa/:
arrtl a line of rnrtion  tolvarclr th" canrera, will  require L/25 second
.shutter slleed.
      Sr,. rvith  25r5r25 you can crornpute rvhatever shutter speed is
 n.eclecll,)' sirnple rnultiplication or division lvithout having to rlern-
 orize  illl v r:hart in  f ult cletail.
         If   \ ()ur highest shutter speed cannot stop the rnotion of a very
 ral,icllr  rll(,.-i,rg"object fronr a set position. therr y()u llla)  stop thtr
               ''yrarf                    ni rtg" your calrrera. "Panning"  rneans that you swing ,r.,,l,ti,rirbr'
 {rr r}ro\ e  t}re carnera in  line with  the rnovemettt of  vour  subject'
 \\rhen vou snap -vour shutter. the r.rbject will be stopped and  will
 1re s6arp. *hile- the bar:kgrou'cl, of necessity. will be blurred. While
 this is  ',t  alrvays the best phrtrgraphl,, the resulti'g sharp subject
 justifies the c()lrlpronrise-^h"",rrn"*
       I{etal parts         worn  if there is toct tnuch strain on them'
 T,r retain full spring tension, leave' your speed ring set at  :l' or B  it
  'r,u 4. pot i1t"r1a to use your callrera fo. any length rlf tirle. At  this
 .cetti.S there is little spring tension and no part  is unduly strained'
  Ilef,,re lc,acling your  calrrera, test your  shutter a ttutnber  t'f  tirrtes
 :so t6at t6e ,rpif,,.rnitl'  r,f tension rvill return to the springs'
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                      I
CHAPTER 3     /   A_APERTURE                                                                                                                    ;
    Opening  and closing  a faucet  allows water  to  flow  through    it
for any desired length  of  time.   If  the  faucet  operring  is narrow,
a small amount  of water can come through;    if the {aucet diameter
                                                                                                                    ;is large, then greater  quantities  will  pour  through.  The  relationship
of the diameter  of the faucet  to the length  of time  that   it remains                                                  r*open is similar  to the  relationship   of the  size of  the lens opening
to the  shutter  speed. The  shutter  setting  determines  the  length  of
time  that  the  light   will  continue  to come through  the  lens. The
diameter  of  a faucet  is measured  in  inches. Photographically,   the
diameter  of the lens must be related to the focal length  (distance  of
lens to  film)   at which   it forms  an  infinity  image, and  this  ratio  is
usually shown as an  f/   nurr'ber.
    The  I/  number  is the relationship  of the size of the lens open-
ing to the length  or distance  that  the  light  rays must  travel  before
they form  a focused, sharp image on the  film. A  small number  in-
dicates a wide opening, whereas a high number  indicates a narrow
opening. The wider the opening, the greater the arnount of light that is
admitted  at a given  interval  of time. The narrower  the opening, the
smaller the quantity  of  light  that enters the camera at the same time
interval. For equal exposures, you can have a large opening and ashort exposure, or a narrow  opening and a long  exposure. There H
are different  advantages to be gotten from  each effect. A wide open'
ing  will  permit  a short  exposure,  such as  is necessary  for  action
pictures. A  narrow  opening   will  give  increased  sharpness over  a
larger  area  of the  picture,  such as  is necessary  for  perfect  stereo.
The stereo ideal  is perfect  sharpness throughout  the  entire  area of
the  picture,  but   if  you  cannot  get a picture  except by  restricting
the area of  full  sharpness, you compromise  by getting what you can.
    The  f,/3.5 Cooke type lenses narrow  to  t/22.
    The  iris diaphragm  of the lens regulates the size of the opening
which  ad.rnits light  to the camera.  It  is in many ways similar  to the
iris of the eye. Look into a mirror  and bring a light close to your eye.
As  the  light   is brought  closer, you  will  see that  the  iris  opening
narrows;  as the light  is moved away, the iris widens. You  duplicate
the narrowing  and widening  by moving  the indicator  from  the higher
to the lower number.
                                           L9

Since the iris diaphragms are synchronized, when you rotate
the iris of one lens you are, in efiect, also moving the other. You
set the lens by bringing  the  f./ number of the outer rim  of the
iris to the white line indicator  just above the lens.
    So far, you have learned how to set your shutter and control
the variable opening of your lens.



                                                  Rrr,etrys    LIcIrr  INCREASE, IF oNLy  rHE
Fur-r,-srop MARKTNG                     IRIS IS WIDENED

       f/L                                  I        These  are   full   stop  openings  with  a
         f./t.4               2       100% difr.erence in  light  transmission  be-
        f/2                 4        tween two adjoining  stops.
       t/2.8                               I                If  the indicator   is moved approximately
        f/4                      l6           half way between the two markings,  the
        f./5.6             32             iris  is opened Yz stop and the difierence
        f/8               64          in  light  transmission  is increased 50Vo.
         f./lr                 t28         Half way between f/5.6 and f/8 produces
        f./t6              256          f./6.3, between f/B and I/LI   is t/9.

 Hlr,r-srop  oPENINcs

       t/3.5                              I        These specific numbers  produce  a  dif.
       f/4                   lYz       ference   in   light   transmission   of S0%
       t/4.5               2         from one mark  to another.
      r/5.6               3
       I/6.3                  4!z
       f./B                6
       t/9                 9
         f/lr                   t2
      f/L2.5 ,             IB
      f/16              24
      fl18              36
      f/22              48

 N.B.   Eaerything  being  equal,    il  the shutter  speed, is changed, trom  l/100   to
        l/200,  the  iris m.ust be wiilened' one stop.
              Il  the shutter  speed, is changeil  lrom  l/100   to  l/50,  the  iris  is narrowed
      one stop.
              Il  the shutter  speeil  is clmngeil  trom  I/L00   to  l/75,   the  shutter  is nar-
       rowed, by L/z stop.
              Il  the shutter  is narrowed, trotn  I/8  to  t/I6,   the shutter  speed, is length'
       ened, lour  times so that L/100  will  be re'set to l/25.

20

www.orphancameras.com                                                        ilCHAPTER 4    /  F-FOCUSING   AND HOLDING  THE                                                                                                                       I
             CAMERA
    Focusing is the process of insuring the maximum amount of
image sharpness.
    The short focal length of the Realist is a blessing in many ways
because:
     1.  Extreme depth of field is possible even with wide openings.
     2.  Since the extreme depth of  field permits wider openings
         to          be used, sharp color                                 pictures may be made under other-      It{        wise'oimpossible"                          conditions.
     3.  The hyperfocal distance provides great areas of  subject
        sharpness. (Related distance scale and aperture settings at
        which  all areas from  half the distance set to  infinity  are                                            il
          in perfect focus.)
    Since the plastic cover has the hyperfocal distance scale on the
inside, its use is suggestedas it  is always available.
    Stereo requires that you use far more care in  focusing and
holding your camera than is ordinarily required because you must
retain full detail sharpnessover large subject areas. You are trying
to mechanically and photographically duplicate what the eye sees.
When you look about you, every subject appears sharp. In duplicat'
ing a scene for stereor ]ou must try  to get the same over-all detail
sharpnessso that the mind  will not rebel in looking at the attempt
to equal mechanically what  is seen by the eye. The human mintl
can compensatefor certain visual distortions, but the stereo camera,
being lifeless, has no built-in compensation mechanism. Stereo from
a poorly focused and loosely held camera may give viewers trouble                                        -are
 if  vertical or horizontal straight lines     present, e.g., telegraph
poles, flag poles, railroad tracks, etc. However, if recognized vertical
or horizontal straight lines are nol present as with flowers and other
similar forms, the camera may be held at any angle. Acceptable and
comfortably ';ierved stereos may be taken of these non-linear forms
if care is taken to avoid linear reference points.
    Focusing with the Realist must also be very precise. When you
either view or project your pictures, you  will  find that the high
magnifications require that the picture definition and resolution must
be perfect. This high quality definition can be secured only through
accurate focusing or by the use of the hyperfocal distance scale.
    To properly hold the Stereo-Realistcamera, first place it upon
a table with  the viewfinder and rangefinder eye windows facing
                                          2L
                                  tI

F o c u s i n g  s c a l e

you. Picl< up the camera  s{r that the thurn}: of the  left hand  is  at
the  |c-rttr.rrnand the forefinger  is holding  the rewind knob on top
of the carnera. Similarll',  rvith the right  ttrurnb and right  forefinger,
liold  the  right  end  of  the Lramera. Take  the middle  finger  of  the                                                                                                                    'f
ieft  I'rerrrdancl let  it  rest gentlv upon the shutter release.  ake the
nidcJle finger of the right hand ancl let  it rest upon th*  rnillecl ridges                                        'fr)'of the rangefinder gear.     focusing the rangefincler €lear, and you
rvill find  that  if  you use the side of your  nriddle finger, you  are
aLrle to get suflicient rotation   f or most  f ocusing.  I f the rotation  is
rrot sufficient. lift the finger and continue  in the clirectir-in for which
tfie fecusipg  is indicated. The back of t]re carnera is pressed frrmly
agaipst t|e  forehead. T'he bottom  of the camera rests approximately
on the bridge  of your nose? so that the viewfinder anci the range-
fipcler rvinrjor! s are easily brought  forth  bef ore your  e!'e by sliding
the carnera acros-sthe briclge of the nose. The rangefinder  is of the
split-fielcl militarl'  t,vire ancl has an exceptionally wide  ( 43/+")  base.
This rvide base assures great accurac)'.
    You use your coupled rangefinder to assure 1'c.iurselfthat your                                           'l'osubject  is  in  sharp focus.     do  s(re yolt  Iirst  lt,<.,kthrough  the
right evepiece rvhich is un the bottom hack of your calnera. Looking
through  this e1'epiece at a pnle, you  rvill  fincl that  tlrr: pole seems
horiz<.,ntallvdisjointed" u'ith one-half or,'erlaplling tire other.  If you
lorv  turn  the rangefincler {ocusing knob,  .,vou rvill  fintl  that,  in one
directign, the top moves further  apart and  if .you turtr the focusing
klob  in the other direction, the line seems to straighten out. When
),ou have brought both top and bottorn so that thev are a perfectly
straight  line, you  are then  in   f ocus. The  illustrations  clernonstrate
subjircts in and out  of focus. when  )iour focus has br:en assured,
 it  is essential that you now see what  is the cantera's field'of-view
22

www.orphancameras.com
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             Out-of-focus                                    lnIn focustocus
 o{  y()ur subject tnatter. ])ue  to  l}ranV riptic:al c()Ilsidc'ratiol}s.the
 Stereo-llealist viert fincler and rangefincler are separate" so that rvltetr
  \ ()u have found the range. ),'ou nrust shift vour  e)/e to the left e].-e-
 l)iece or] the hack bottorn of the camel'il and., looking  tltrt,ugh  this
 e\.epiece?)'ou  rvill see the sarne field-of-vien' as the cattlera lenses.
 [{ere our  adnrt.rnitions for  correct  ht,lding  ntust alrt'aYs be b,:rrne
 in rnind.  If you do not line up,vour  verticals su that thev are per-
 {ectlv straight, then rvhen you ll}ount vour  slide-* alld  tr}'to   vietv
 tIerp"  \'orl n,ill find that the result,iltg distortions are  vet'\ painful
 to,rlrserr,e arrrl thev cr:rtainlr-dt-,nr.rttnake gooc[ -sterett"
          'l',,             trt-,lrll our Stere()-Rcalistctttttera.three suggestiotrsare tttacle:
      1 .     \' ,ru lrlav take vc)ur subjer:ts and aligrt them rvith the edge
           of  \'our viervfinder. You  kttow that the edge t,f ther vir:lv-
            finrler  is straight and  if you can make this  straigltt edge
           parallel with  v()ur subjeclt nratterr )ou  knr-rrvthat both are
               irr correct vertical aligtttnetrt'
       2.  Arrother suggestiorri*( that vou draw a split-line tilltrstratedi
           or take a fine hair. When the hair  is pasted to tht: ct'ttter of
          the viervfinder u-inclorvof a Stereo-Realist canlera. \'ott ktt,trt
           that the hair n ill alrvavs be vertically straigltt.
        lJ.  Sornr: Stereo-ltealist ()\{ncrs havel taken  spirit  levt-,ls anrl
           placetl thern {)n t,op,rf  t}re carrlera. The  spirit  lt'r'c,'lis  of
          u-seronly rvhen \'our callera  is on a tripr"rcland n-ltetr there is
              rl(r sullject rnovernent during the taking of the pic;ture. [3e-
         cause of  its out-of-vielv position on top of the calltera, this
          nrethod  is  not reconrnrended for  action  pictures hecrause
          .vou canot see the  spirit  level when looking  thrt,ugh  the
           viervfinder.

Camera  not  level                      RecornnrendedRecornnrended rneflrodrneflrod ofof  holdingholding
    You llra\- \voncler at the time taken for suggestirrgthese rnethods
for  let't'ling the carrera l)erfecth.. lf  )"c)ul\rant 5{ood resultsr lou  }nust,
aligtr \-our pictures perfectll'r'ertical  ancl lrtirizontal. If  you  rvish,
f,,r t'our ()n n ecltrcation.to fincl out rrhat hnllperrs lvlten a picture r'r'ith
straight lines as part of its cornposition is not perfectly aligrred. then
take a lrictrrre at all riff-angle, and n']rerr )ou  are finishcd rnounting,
r.ietu tltis stereo. \ ou  rvill urrd,,trl,tt'rllr.agree that there can tinll  tre
"gor-,rlrtrirr',,."'l'ltere is no r,ritlrlleground.
                                li'r)riusI.\r; llr   Sr;nrr:
        If  \'ou guess the distuttce, or havt:n't tirne to use the rangefincler,
it  is a goocl iclea to  krrc,tl' -.otnething about dcpth of  field ancl the
Lrvper-focaldistance. Mention has heen tnade that ).our short focal                                                    'fhislcngth lens has a great depth of  fielcl.       r]reans that very  large
sulrjt:c'tareas rvill be sharp rvithout the neecl o{ focr-lsing accurately.
Slr;rr1.,rtus-cis a relative term. Ilearling that even.thirg  is sirarp frorn 21
fr:et [o infirritr'. clrresnot ]]reerrlt]rat \.our subject is hlurred  at  1[-l or
l!) feet.'l'his sharl)tlessonlr-rneallsthat at a 1O-inchvicrn'ingclistAnce,
the er.e u ill lre urrahle to clistigrrisha separation of trv,r poirrt (rlots) -
if ther are  t  I0() inch a1-rart.
     \\rhen )'ou can see the separation betlveen the tlvo points. the
iines of lour  inrage are no longer united and  rvill  lre granular  in
al)peal'rtllce.To the e)'€, a granular  irnage does not appear sharp.
Thus to get back to our subject at 19 or l8  feet, you lvill just begin
to see the separation of the trvo clots of your  filrn irnage. At  14 or
10 feet" thc separation rvill be clistinct. There is no abrupt dividing
line frottr a sharp to granular (unsharp ) image. Rather there is a
gradutrl transitiott  clel-rt.rncJirrguporl clistance, Iens ()l)erling, clevelop-
tnett t.   t-'tt:.
24

In order to be viewed 35mm film must be magnified. To produce
an acceptable irnage, the subject must be enlarged  at  least  five  to
ten times. 35mm  fiim  rsill not show optical  granulation  u'hen viewed
directly,  if the subject lines may be within  the I/100  inch tolerance.
When  th"   fit-   is enlarged 10 times, the I/100  inch  separation  will
show as two  distinct points,  I/rc   inch apart. Since we can readily
distinguish   points  L/L0  inch  apart,  an  unsharp  image,  which   !s
worthl-ess photographically,  may  result from  the enlargement' As  all
your  film  must  be enlarged,  pre-calculate  your  distances and  iris
 tp".,irg.    to be sure that  the picture   is as sharp as possible. Your
 tung"fi;rder,   for  this  reason,  is highly  necessary at the shorter  dis-
tanJes. A  perfectly  focused image   rvili  give  you  a  resolution   far beyond  the minimum  tolerance so that you  will  produce  an image    t
 that can be easily viewed or enlarged. The  subject  of image'point formation   is known  as the  "circle  of  confusion."  Your  lenses are               ir*t
 calculated  for  the circle  of confusion  of  1/f500  the focal  length  of
 your  lens. This  toleiance has proven  excellent and  is easily attained.
 Wh"n  you know  beforehand   that  your  subjects  will  need  to  be
 enlarged or projected  to great diameters, then   it  is suggested that
 you stop down  (narrow  the opening)  at least one or two  stops to ,""or"   greater sharpness than the table  indicates'                                               I,]it
     Th-e depth  of  field  for  the Realist  lens at  f./4  is equaled by                                                                                                     "        {
 2-4/5  inch  lins  at t/B  or a 5-3/5  inch lens at  f iI6-  With  the Realist
 lens set up at I/4  you can get an overall sharp picture,  correctly  ex'
 posed with  color  film  under  generally  poor  conditions.  To  get the
                                                   down                                           you must stop                                               lens,                                      inch                         a 5-3/5                        with                     field                of       depth .u-"                                                                                 to     f                                                                (16x),                                                                          that                                       underexposed                                     badly                            be so                      would                        film                the              f./I6, f/16.  At
 you would  get no Picture  at aII.
      Related  to  thl  depth  of  field  is a table  for  your  hyper-focal
 distance. When you set your distance (focusing scale) in coordination
 with  certain  aperture  settings, everything   will be in focus from  half
 the set distance  to  infinity.  This  important   scale, which  minimizes                                                                                                       tt the need for  accurate focusing when certain  light  conditions  permit,
 is always  easily  available  as  it  is placed  inside- the  lens cover  o{
 yor.          As the scale indicates,  f/22  with  the distance  set for
       "u*era.          will  yield a suitable sharp image even  if  your  subject is-as  i  leet
 close as 312 feet  or  at  infinity.    It  should be easy to  see-that  this
 tremendoustepth    of  field minimizes  the need for  rangefinder  focus-
 ing. However,lf   th"  subject sharpness is_placed. mostly  at  infinity,
 you may secure a sharper  distant image by leaving  the rangefinder
 setting  at infinitY.
 26

www.orphancameras.com


    CHAPTER 5      /   E-EXPOSURELfi
        Now  that the mechanics  of picture  taking  have been described,
           rrll that  remains  is  to  integrate  this  knowledge  in  preparation   for
       taking a picture.
           Yor, ,nuy know how  to  set your  shutter and  iris,  but  there  is
      judgment  required  as to what  related  settings you may  use. There
       are three methods  to determine  the proper  camera  settings.
                   I.   Every   roll  of  film   is packaged  with  an  instruction   sheet.
            On  this  sheet, you  will  find  recommendations   for  shutter
^*              and  iris  settings  for  difierent   light  conditions.    If  you  fol'
               low these recommendations,  you  will  definitely  get properly
              exposed  pictures.  Remember  that  the manufacturers   take
                great pains to assure the accuracy  of any  information.    If
                   their  information   is unreliable,  then you  will  not use their
                    film. So you can be certain  that  all  their  information  has
              been thoroughly  checked and rechecked.
             2.  The exposure chart  that  is given here will  produce  excellent
                 pictures.  It has stood the test of time and  is based on long
                experience. There  are always three  factors  in  determining
               your  camera  settings.  This  chart  has  standardized  the
               procedure  so that the only  variable  will  be your  iris  open'
                  ing. The changing   iris  openings  will  be derived  by simple
                 arithmetic.  Simply  choose the correct  light  conditions  with
                      its number  and  then  multiply     it  by  the  suitable  subject
                  classification  number.  The  resulting  number   will  be your
                       iris  setting. For example,  if you are using color  film  with an
            ASA  I0  and  the  shutter  speed  of. Ii25,   then when  your
                subject is average (3)  multiplied  by hazy sky lighting  (2)  '
                the  result  will be 6.  If  you  set your  iris  at 6.3, your  ex-
              posure  will be "on the button."  Practice a number  of times
                    until  you have mastered  the chart.  While  this  chart  gives
               your  iris opening for set shutter speeds only, you can change
                the settings at will  since you can increase your  shutter speed
              by widening  your   iris  opening  in  proportion   in  order  to
               maintain  the same amount  of  light.  The  chart  will  show
              you  that  different  shutter speeds require  proportionate   iris
               openings.  If you know what speed is needed, then you can
             open your  iris and  still maintain  the correct exposure.
3                                        27


 }

f     3.  A photo-electric  meter  is the accepted standard, for  accurate
           light  measurement  to  indicate  the correct  exposure. While
        a chart may be used outdoors,  only  a photo'electric  meter
            is recommended  for  indoor  use with  artificial   light.

       SIMPLIFIED OUTDOOR EXPOSURE CHART
Film: Outdoor Color-A.  S. A. I0   '       B & W-A.  S. A. 50
      fB5 Filter with Indoor Color           Shutter SpeedI/100
Shutter Speed-I  /25th




45o  Light
  Angle   to
  Subject
                4-Sunny        3-Bright        2-Cloudy
                                Soft shadows

                 I6


3 - People,
   trees, archi-                  cotoR
   tecture                                         Basic              in      L2   outdoor                               recommended
   middle   dis-                           setting
   tances                                                     I /50rh   ar  5.3

2 - Average                                                                      *   subjects;
   open  street,                                                                             {   near  dis-
   tances
                                                                                             {
 I  - Shaded
    street


            For normal  subjects, normal  conditions, normal  areas.
               Use  I/2   stop wider  for  dark  subjects,  etc.
                  Narrow  L/2  stop for  light  subjects, etc.
28                                                                                         {

www.orphancameras.com
   There are two types of photo-electric exposure meters:
       l.  The incident light type frecommended] measuresthe light
        that  is falling on a scene or  subject. The incident light
       meter generally may have a collecting sphere (like half a
        table tennis ball), masks, or grating, and a reading is taken
       by pointing the sphere at the camera. The precautions for
         this type meter require that you once again keep your body
         free from shielding the light reaching the sphere.The sphere
       has the  property  of  evening any  light  reaching  it  so
         that the readings are very accurate and are not sent into                                             'shines        too high readings when a spotlight       on the subject.
    2,  The reflection type measures the amount of light reflected
       from the subject. The meter must be used with a gray card
         for  accurate results. A  gray card  is used because it  is
         neutral. When a reading is secured from a neutral gray
        card, then automatically your blacks will photograph black
       and the white shades will be white.  If a gray card is not
        used, then you will get difierent readings from dark or light
        subjects. Since both readings cannot be correct, then you
       must do some mental calculation to figure out a middle                                                                    l.lf         figure that you hope will  give the correct exposure. The
       mental calculation is minimized by the gray card. The only
        precaution is to be certain that the card is large enough
       so that you may take a reading (point the meter at the
        subject from a I0"  distance) and be assured that only the
         reflection from the card will influence the meter. In addi-
          tion, be sure that your body is not blocking anv light. Bend
        your body down and away so that your hand is holding
        the meter free and clear. With these precautions your meter
        readings will  yield excellent results.
   The exposure factors for flashlamp and flastube are very  dif-
ferent from those gotten by either of the three mentioned methods.
    Every flashlamp or flashtube is supplied with a qhart which
provides you with a guide number to be used with any film at certain
iefinite shutter speeds.Since you know the film and shutter speed,
the only remaining unknown is the  iris opening. The iris opening
is gotten by simply dividing the subject distance into the particular
guide number.  If your flashlamp has a guide number of  II0  and
your subject distance is I0'o then when we divide  II0  by the I0,
the answer is  II.  The iris opening is set at f/IL.    If the subject is
20' away, then our division will show our opening to be f./5.5.
                                        29    ff
                                                                      ffi*