Fujica ST901 — part 2 Product booklet

www.orphancameras.com
Viewing and focusing

The Fujica viewfinder screen is a bright matt area with a central split-image
rangefinder surrounded by a microprism collar and an outer fine-ground ring for
 critical focusing. Each of these areas is useful in various conditions. The split-image
rangefinder is the fastest in use when the subject has well-defined straight lines. The
microprism area is only fractionally slower and is better suited to textured subjects.
The very fine ground area enables you to focus close-range subjects critically, es-
pecially at small apertures. The major part of the screen is rarely used for focusing
except by those already accustomed to screen focusing.

 Rangefinder  focusing
The image that will appear on the film is projected on to the screen by the camera
 lens. In the central rangefinder spot, any vertical straight line in the image is dis-
placed in the two halves of the spot. As you turn the lens focusing ring the lens
moves backward or forward to focus on farther or nearer objects respectively.To
focus on a particular object you turn the ring until the images in top and bottom
 half of the central spot join into a straight line. In the microprism area, the image is
grainy and shimmering when unsharp but steadiesand looks sharper as you bring it
into focus. On the rest of the screen, the image simply looks unsharp when not
properly focused.
  The split-image and microprism sections are not efficient at apertures smaller
than f4 and  it  is preferable to use the matt area in those conditions.

 Full-aperture  focusing
Generally speaking, focusing at full aperture is always preferable becausedepth of
field (see page 37) is then least and the image moves quickly in and out of focus as
the setting of the lens focusing ring is varied. As most of the lenses for the Fujica
cameras have automatic diaphragms that do not stop down until the shutter release
is pressed, focusing at full aperture is the normal procedure.

lmage  size and area
The image on the screen is almost life size with a 50 mm lens focused at infinity.
With other lensesit varies directly with the focal length, being, for example, nearly
eight times life size with a 400 mm lens. The area shown is slightly less than that
which will appear on the film because most slide mounts and enlarger masking
frames have apertures slightly smaller than the standard 35 mm frame size.





Viewfinder   featurel
1 Microprism. 2 Viewfinder screen. 3 Split-image rangefinder.
As you turn the focusing ring to the subject distance the microprism area
becomes sharp and clear; the displaced halves of the split-image rangefinder
area become continuous.

3E

www.orphancameras.com
 Focusingmethods

 One of the few camera operations that has not yet been satisfactorily automated
  is the task of adjusting the lens position to provide a sharp image on the filrn-
 known slightly inaccuratelyas focusingthe lens. It is not alwiys a slmple operation.
   When you have a single main subject or the whole of the subject ii moie or less
  in the same plane, there is no problem, but many subjectsoccupy some depth in
 space(as in landscapes)and the focus has to be placed with some care. When, for
 example,the landscapehas the classicopen gate in the foreground to lead the eye
  into the picture and out to the line of hills beyond, you do not focus on either the
 gate or the hills. You have to choose an aperture and focuseddistance to give you
 the depth of field required. If any sacrifice in sharpnessis to be made iI should
 usually be in the background rather than the foreground.A similar principle applies
 to.almost any subjectin depth. The usual advice is to focus at a point about one-
 third into the zone required to be sharp but it is generallyeasier to set the distance
 of your farthest required.sha-rqplane to the "fai" aperiure number at which you
 are shooting on the depth of field scale (or preferably at one stop larger). T-hen
 check that the depth of field provided is adequate to cover the nearesi required
 plane.
   With reflexcamerasyou can, of course,check the screenimage by using the depth
 of field preview button, but screentexture does tend to sharpin in.  i.ig.  and- at
 small apertures it is not easily seen.

 Action and movernent
 Focusing a moving olje9t can raise problems becausethe delay between focusing
 and shooting can result in the subject moving well out of focus igain.
  When the subject is moving within or can be confined to, a reasonably restricted
 area.the techniqueof zone focusingis useful.This makes use of depth of field again.
 You set your lens to the smallestpracticable aperture and set the lins distancescale
 to a mid-point that allows the depth of field to cover the required zone. A football
 photographer,for example,might wish to cover action within the penalty area from
 behind the goal. If he focuseson 20 ft at./8 with a 50 mm lens he will just about
 cover that zone. You can work out your own zones lor your own purposes by con-
 sulting depth of field tables or the indicator on your lens.
   Objects that move in a predictable direction, such as racing cars, athletes.etc..
 are more easily dealt with by focusing on a spot that the subject has to pass apd
 releasingthe shutter as the spot is reached.A sports or frame hnder is a useful ac-
 cessoryfor such shots to enableyou to keep your eye on the subject before it reaches
 the selectedspot.





40

www.orphancameras.com

Depthof field

In theory, a lens placed at a given distance from the image plane (the film) produces
a sharp image of objects in a single plane af a certain distance in front of the lens.
Objects in front of or behind that plane are rendered less sharply.
   In practice, each image point formed by a lens is, in facl a disc of finite size and,
up to a certain degree of enlargement for a given viewing distance, the difference
between the smallest possible disc and various slightly larger discs is indistinguish-
able to the human eye.The relative sizesof the various discs or image points formed
bya lenscan be envisagedby regarding the light reflected from the point and concen-
trated by the lens as a solid cone, with the effective aperture of the lens as its base.
Thus, when the aperture is small andlor the lens-to-subject distance is large, the
cone is relatively slender. At  its apex (the crossover point  for objects behind the
fiocusedplane), there is a relatively deep zone both fore and aft in which the discs
formed by a section through the cone are still small enough to be rendered as discs
indistinguishable from points on the film and, indeed, on considerably enlarged
images.
  This zone is the depth of field. As our explanation implieg  it is greater when the
effective lens aperture is smaller and when the focused distance is greater.

Enlargement  and viewing  distance
A complication arises with the comparatively small negative or slide sizes used
today. Most final images,whether prints or projected slides,are considerably larger
than the images produced on the film. Moreover, many prints are made from only
part of the negative image and the degree of enlargement is not proportional to the
print size. But most final images are viewed from a distance appropriate to their
size,nol as they ideally should be, to their degree of enlargement. The complication
then is that detail which looks sharp when enlarged less or viewed from a greater
distance looks distinctly lesssharp when enlarged to a greater degreeor viewed from
closer range.
  Depth of field formulae and tables, therefore, must always be regarded as approxi-
mations. Although  it is possible to make exact mathematical calculations based on
focal length,fnumber, focused distance and the size of the acceptable disc (known
in this context as the circle of confusion), it is self-evident that you do not produce
a sharp image ofan object at l0.l metresand an unsharp image of an object at 10.1I
or even 10.2 metres. Depending on the use you wish to make of depth of field or
the lack of il you should always use at least a stop smaller or larger than calculators,
indicators or tables recommend.

Changing  the focused  distance
In many c"-r"r, you can manipulate depth of field by changing your focused distance.
When you want to throw the background out of focus, for example, you can focus
forward a little, so that the subject is within the depth of field but the background
is well behind it. The opposite also applies. If you focus slightly beyond the subject
you extend the zone of sharpnessbehind it.
  When you wish to obtain the greatest depth of field at any given aperture you
set the fiocusat the hyperfocal distance for that aperture. This distance can be calcu-
lated or looked up in tables but the easiest method is to set the lens distance scale
so that the infinity marking is opposite they'number at which you are shooting on
the depth of field scale. You are then focused at the hyperfocal distance and the
depth of field stretchesfrom half that distance to infinity.

                                                             4 l

www.orphancameras.com

Exposurecontrols

To obtain an image of a subject on film, you have to exposethe film to the light rays
reflected by that subject and focused on the film. The amount of light reaching the
film varies with the amount of light reflected by the subject. That, in turn, varies
with the strength of the light falling on the subject and the efflciency with which the
subject reflects that light.
  The film needs a certain amount of light to form a satisfactory image - the actual
amount depending on the sensitivity or speed of the film. Thus, we need controls to
match the light reflected from the subject to the sensitivity of the film. The camera
allows us to use both time and intensity in this way (top).
  To control the length of time for which the light is allowed to act on the film, we
can vary the shutter speed.
  To control the intensity of the light that is allowed to act on the film, we can
obscure part of the lens by means of a variable aperture or stop

Shutter  operation
On the Fujica cameras the shutter can be set to give automatically-timed exposures
varying with  the model, or manually-controlled exposures of any duration by
setting the shutter speedring to B. The automatic speedsdouble up in the sequence.
  2000 1000500 250 r25 60 30 15 8 4 2  |
  These figures are the denominators of the appropriate fractions of a second, 125
denoting IlI25  second, etc.

Aperture   settings
Similarly, the intensity of the light can be varied in doubling or halving steps by
obscuring more or less of the lens rather in the manner of drawing curtains across a
window (bottom). Camera lenses, however, have diaphragms consisting of metal
leaves forming  a continuously  variable, more  or  less circular  opening. The
diaphragm is controlled by an aperture ring on the lens with click stops at specific,
marked positions. These markings are in the sequence
     I  r.4 2 2.8 4 5.6 8  ll  16 22 32
and are known as y'numbers or relative apertures. For each lens, the ends of the
scale vary, some stopping at fl6  and perhaps starting at intermediate figures such
as 1.8, 3.5, etc.





Exposure  controls
Exposureis the product of time (shutter speed) and intensity (aperture).For a
given film speed in given lighting conditions, there is one such product to
provide correct exposure, but  it can be obtained by various settings of the
camera controls.

42

www.orphancameras.com

Shutter operation

 The shutter of the Fujica cameras is a focal plane type, which means that  it is
 located within the camera body as close as possible to the film.  It consists of two
 fabric blinds on rollers. When the shutter releaseis pressed,one blind moves across
 the film horizontally and is followed by the other at an interval depending on the
 shutter speed set. At the faster shutter speeds,the second blind follows the first very
 quickly, so that the film is, in effect, exposed strip by strip through the narrow gap
 between the two blinds. At  slower speeds, the delay before the second blind is
 releasedis greater and the gap between the blinds is correspondingly larger. As the
 actual speedof traverse of the blinds remains constant, there comes a time when the
 gap has to be as wide as the image format. This, in fact, occurs at a shutter speed
 setting on the Fujicas of l/60 second. At that and at all slower settings, the whole
 image is recorded simultaneously.
   This type of shutter is very efficientbut it has its drawbacks when you use flash
 equipment.

 Setting  the  rhutter  speed
 The shutter speed is set manually on the Fujicas by rotating the shutter speedknob
 until the appropriate figure is opposite the dot index to the left of the knob. Settings
 between the marked speedscannot be used. On the Fujica ST901, the shutter speed
 is generally set automatically.
   The shutter is tensioned automatically as you advance the film after each ex-
 posure and is opened by pressing the shutter releaseknob on the camera front or by
 cable release screwed into the centre of the knob.
   The shutter speed you set depends on the nature of the subject and exposure re-
 quirements in conjunction with the aperture as determined by the exposure meter.
  A static subject can be shot at any speed.A moving subject means blur if shot at
 a slow shutter speed. Really fast-moving subjects may call for speedsof 1/500 or
 l/1000 second.

 Delaying  the  shutter  releaee
 All the Fujica cameras have a delay mechanism allowing the shutter to be released
 several seconds after the delay is activated. First tension the shutter by transporting
 the film. Then pull the lever on the camera front below the shutter speed knob
 downward through an arc to the limit of  its travel. Press the small button then
 revealed and the delay will start to run with an audible buzz. The shutter is released
 about 10 seconds after you press the button. You can shorten the delay to about
 five secondsby moving the lever only to about the horizontal position, but practise
 it with an empty camera first. If you should change your mind after activaiing the
 delay, you can release the shutter in the normal way and let the delay run down.

Shutter  speed  and  subiect
TOP
Providing the camera is adequately supported, a still life can be shot at a slow
speed.
MIDDLE
Moving subjects need faster speeds. Even 1/60 sec is relatively slow when the
subject is fast-moving. The picture is therefore blurred.
BOTTOM
To freezefast movement,you need the fastest practicablespeed.
44

www.orphancameras.com

Exposureand exposuremeters

Cameras have two controls over the amount of light that is allowed to act on the
 film-the   shutter, with variable speedscontrolling the time during which the light
passes,and the aperture, a variable opening in a diaphragm which controls the in-
 tensity. Exposure is thus the product of time and intensity and the photographer's
task is to choosea pair of settingswhich, taking into consideration the speedof the
film and the lighting conditions, will produce a correctly exposedpicture.
  The simplestmethod of assessingthe correct exposure is the rule of thumb which
says that bright sunny lighting calls for an aperture of f16 and the shutter speed
numericallynearestto the film speed,i.e.lll25sec atf 16for a 125ASA film. For
cloudy-bright lighting use/l   l, overcast/8, heavy cloud/5.6 and dull/4.  So, in the
overcast conditions an 80 ASA film would need l/80 sec at /8, which could be
achievedwith l/60 at/8 (or a fraction toward/l  l).
  The leaflet packed with the film gives sample exposures generally closely follow-
ing this rule and if you use the exposuresthere given, you will not go far wrong.
Naturally, you do not have to use the actual settingsquoted. Either shutter speed
or aperture can be adjusted to suit the subject.The lll25 secat/16 we quoted could
be altered to l/500sec at/8   firr a fast-moving subject.This is a shortening of time
and increaseof intensity that provides the same result.
         Typical outdoor exposures-aperture   at 1/500 sec.

                              Film speeds ASA
 Weather       254       50-€0      100-160      200-320    400{40
Coriditions
Brightsunt
in bright          5.6                    1 1           1 6       22
surroundings

Brightor                           5.6                       1 1         1 6hazysun

Light                 2.8       4          5.6                    1 1overcast

Cloudy           2        2.8          4           5.6        8
D u l l * r           1 . 4       2          2.8          4         5.6
 f White sand,snow, whitewashedbuildings,etc.
 f *Also       subjectsin the shadeon sunny days.
Backlitsubjectsneed about two stops more exposurein harsh lighting conditions.
One hour aftersunrise,and one hour beforesunset,give one stop more exposure.
In winter monthsgive one stop more exposure.

How exposure meters work
Exposure meters are calibrated to provide the same sort of result but, whereas the
rule of thumb or exposure chart cannot be misled by the nature of the subject or
lighting. the exposuremeter can be. When an exposuremeter is used to take i read-
ing from a small subjectin a vast expanseof snow or other light-coloured background,
 it doesnot indicate lll25 secat./'16 for a 125ASA film in bright sunlight.Itls more

46

www.orphancameras.com

likely to indicate l/500 sec or less, leading to underexposure.Similarly, a pre-
dominantly dark subjectmay be overexposedif you follow the meter reading.This is
becausethe meter is programmed to believe that everything it seesaveragesout to
a mid-tone. It starts off on the wrong foot when facedwith an unusual subject.
  This applies equally to separate meters, built-in meters and through-the-lens
meters---cventhe so-calledspot type. The meter that reads only a small part of the
scenemay, in fact, be more easily misled than the meter that reads the whole screen
area, beciuse the smaller the area. the less likely that  it will contain a variety of
tones.The spot metering type needsto be used with extra care.
  When you take a meter reading,make sure that you read an area of tones averag-
ing out to grey. If the subject does not contain such an area change the angle of
your cameraor meter, provided it still measuresin the same light conditions. If you
iannot find a suitablearea or object point the meter at the back of your hand. again
positioned in such a way that the light falling on it is the same as that on the subject.
The back of the hand is often a reasonablemid-tone. especiallyfor colour photogra-
phy. This is more or lessequivalent to taking a reading from a standard grey card,
which is a card reflecting 18\ of the light falling on it.

Non-average subiects
The exposurerecommendationsresulting from this type of reading are suitable for
 virtualiy any subject-whatever the lighting, whatever the nature of the subject.
That is not to say that it always gives perfect results.If the subject is extremely con-
trasty-deep shadowsand strong highlights-you may lose detail in either shadows
or highlights or both. With colour film you will certainly lose colour fidelity at one
end or the other. Films can handle accurately only a limited range of brightnesses;
subjectswith a very long scaleof tones receivea compromise exposurewhich you
have to bias toward whichever end of the scale is of most importance. Generally,
you tend to underexposea little to preservedetail and colour accuracy in the high-
iights but there are times when shadow detail is more important. If both are equally
important, you have to bring in supplementarylighting or use reflectorsto brighten
the shadowsand so shorten the scale.
  Exposureis not the problem it is so often made out to be and there is a tendency,
now ihat meter readingsare so often displayed in the viewfinder, to pay too much
attention to it. If you take a careful reading when you first start shooting, there is
 little reason to take further readingsuntil you have reason to believe that the light
 has changed. A single, straightforward reading from the subject area may not be
absolutely accurate,whereas your original careful reading (preferably from a grey
 card or substitute; should be quite reliable. To adjust for every shot on the basis
 of meter needlemovement is time-wastingand rather foolish.





                                                          47

www.orphancameras.com
 Using the 5T605 and 7Ob meters

 The Fujica 5T605 and 705 have similar metering systems but the 705 has the ad-
 ditional ability to measure the exposure with the lens set at its full aperture, even
 though the aperture ring is turned to some other setting. The 605 has to be stopped
 down to measure the actual amount of light that will reach the film.
   The difference between the systems is that the 605 has no way of telling its meter
 how far the lens has been stopped down except by the intensity otttre lighiit admits.
 The 705, however, has a sprung ring surrounding the lens mount and carrying a
 small stud. When a Fujinon lens.,or other lens specifically designed for use with ihe
 Fujica ST cameras, is attached to the camera, the ring is turned to an extent dic-
 tated by the setting of the aperture ring. The lug on the back of the lens that causes
 the ring to turn is in a different position on lenses of different maximum aperture.
 S_o,although the aperture ring has to turn farther from, say,/.g   to/g  thin from
 J2.2 to J8, the teller ring round the lens mount starts from faither back for the wider
 aperture lens. The teller ring is thus turned to exactly the same position for/[  or any
 other aperture, no matter what the maximum aperture of the lens. Fience th;
 positive locking position of the lens.

 Metering  procedure
 First set the film speed.Pull up the rim of the shutter speedknob and turn it until the
 appropriate figure appears in the cutout. The figure (generally an ASA figure) is on
 the carton in which the film is packed. The figures on the scale are as follows, the
 italic figures being represented by dots:
 2s 32 40 s0 64 80 r00 125160 2oO250320 400 500640 800 100012501600
 20002500 32W
  Compose and focus the picture in the viewfinder and switch on the meter. On the
 605, the meter switch is incorporated in the stop-down button. On the 705, light
 pressure on the shutter release switches on the meter.
    In each case, as the meter is switched on, the needle on the right of the screen
 moves. For correct exposure you adjust aperture and/or shutter spied until the nee-
 dle is centred in the clear area between the plus and minus signs. As you adjust the
 aperture on the 605, the screendarkens. On the 705 it stays at full briiliance and the
 needle is easier to see.
   The. general procedure, and the more comfortable, because your  right index -
 finger is normally on the meter switch,  is to set an appropriate sirutter s-peedfirst
 and then centre the needle by adjusting the aperture.-

 Varying  the  exposure
 There may be occ_asionswhen you wish to give more or less exposure than a
 straight meter reading recommends. The viewhnder readout shows the extent of
 your over- or under-exposure directly. If the needle is at the bottom of the longer
 clear area, you will be one stop underexposed. If  it is at the bottom of the blick
 area' you are two stops underexposed.The top of the clear area indicates one stop
overexposure and the top of the black area two stops.


Exposure  meter  operation
1 Set film speed. 2 Compose and focus the picture. 3 Switch on meter. 4
Check meter needle position. 5 Alter aperture to centre needle or 6 Alter shut-
ter speed to centre needle.

48

www.orphancameras.com

Using the STSO1 meter

The metering circuit of the Fujica ST cameras is basically the same for all models.
 It consists of a silicon sensor on each side of the viewfinder eyepiece taking an
average reading of the entire screen brightness. The resulting electrical current
generated by the sensors is varied by resistances connected to shutter speed, film
speed and aperture controls and amplified by a transistor circuit to provide enough
power to activate the needle in the 605 and 705 or the readout LEDs in the 801 and
901.

Metering  procedure
The 801 meter is a full-aperture type, like that of the 705 and operation is virtually
the same.
   First set the film speed by pulling up the rim of the shutter speedknob and turn-
ing it to bring the appropriate figure into the cutout. The figure (generally an ASA
figure) is on the carton in which the film is packed. The figures on the scale are as
follows, the itdic  figures being represented by dots:
25 32 40 s064 80 r00 126 160 200 250 320 400 500 640 800 1000 1250 r6c[^^2000
2500 3200
  Compose and focus the picture in the viewfinder and press gently on the shutter
release. One or two of the LEDs on the right of the viewfinder then glows. For
correct exposure, you adjust the aperture and/or shutter speed until the central,
diamond-shaped LED glows. If the LED above or below it also glows, the implica-
tion is that you will obtain fractional (perhaps half a stop or less) over- or under-
exposure, depending on whether the second glowing LED  is above or below the
centre.
  The general procedure, and the more comfortable becauseyour right index finger
is usually on the shutter releaseto keep the meter switched on, is to set a suitable
shutter speed first and adjust the exposure with the lens aperture.

Varying  the  expoeure
There may be occasions when you wish to give more or less exposure than a
straight meter reading recommends. The viewfinder readout shows the extent of
your over- or under-exposure directly. There are three LEDs above and below the
central diamond. Each corresponds to one stop more exposure (toward the plus
sign) or one stop less (toward the minus sign) than a straight meter reading recom-
mends.





Exposure  meter  operation
I  Set film speed. 2 Compose and focus the picture. 3 Switch on meter. 4
Check position of glowing LED. 5 Alter aperture or 6 Alter shutter speed until
central LED glows.

50

www.orphancameras.com

 Using the ST9O1 meter

 Although  it uses essentially the same meter circuit as the other models, the ST90l  is
 a more sophisticatedcamera. The meter is connected to an automatic shutter-speed-
 setting circuit instead of the connection by variable resistanceto the individual shut-
 ter speed settings. Thus, as the lens aperture is varied, the meter circuit calculates
 the shutter speed required to suit film speed and light intensity and automatically
 sets the shutter to that speed-  in a continuously variable range between 20 seconds
 and 1/1000 second. An indication of the shutter speed is shown in the form of a
 digital readout in the viewfinder. The range of speeds shown is:
  o 100050020010060 30 10s 2 r 2-s- 10-20-
 The f  indicates that the light is too bright for the aperture and film speed.You must
 set a smaller aperture. The figures from 1000 to  I are normal indications of shutter
 speed in fractions of a second. The remaining figures (with the dashes alongside)
 represent whole seconds. If the indication is 20 seconds and it continues to show
 when you open up the aperture, the light is too low for the aperture and film speed.
 Only  if the readout can be altered by opening up the lens one stop can it be takln as
 a genuine 2O-secondreading.
   The figures do not represent actual speeds. They represent a range of speeds
 around that shown because the shutter can give infinitely variable speeds.

 Metering  procedure
 The meter is a full-aperture type and its operation is very simple. First set the film
 speedby pulling up the rim of the shutter speedknob and turning it to bring the ap-
 propriate figure into the cutout. The figure (generally an ASA figure) is on the car-
 ton in which the film is packed. The figures on the scale are as follows, the italic
 figures being represented by dots:
 25 32 40 50 64 80 r00 125 160 200 250 320 400 500 640 8oo 1000 1250 1600
 2000 2500 3200
  Compose and focus the picture in the viewfinder and press gently on the shutter
 release.Note the figure that appears above the viewfinaer. tf iiindiiates  too slow a
 shutter speed, set a larger aperture until a more suitable speed appears. If only a
 slow speed can be obtained (slower than 1/60 second), it is advisable to put the
 camera on a tripod or use flash.

 Varying  the exposure
 As the shutteruprld  setting is automatic and changes as you change the lens aper-
 ture, you cannot vary the exposure directly as on the other models. On the shutter
 speed dial however, on either side of the AUTO mark, there are the figures + l, +2,
 -l  and -2. Turning the knob to bring any of these figures opposite the index gives
 you one or two stops over- or under-exposure as required. To turn the knob, you
 have to push the small lever in front of it toward the back of the camera. The setiing
 is then indicated on the left of the viewfinder screen.

Exposure  meter  operation
1 Set film speed. 2 Set shutter speed ring to AUTO. 3 Compose and focus the
picture. 4 Switch on meter. 5 Check shutter speed. 6 Adjust aperture if shutter
speed unsuitable (switch meter off and on for each reading). Z When set to
shutter speed index, gives two stops extra exposure. 8 One stop extra ex-
posure.9 One stop less exposure. 1O Two stops less exposure. The chart
shows the coupling range of the ST9OI meter.

52

www.orphancameras.com

Using the AZ-1 meter

 The meter circuit of the Fujica AZ-l  is a simplified version of that of the ST901. It
 is connected to an automatic shutter-speed-settingcircuit to provide the same type
 of aperture-preferredautomatic exposure control but the shutter speedsselectedaie
 limited to the range 1/2 second to l/1000 second and are indicated in the viewfinder
 by a seriesof seven LEDs against a shutter speed scale. The range of speedsshown
 is:
                   1000 500 2s0 r25 60 30 2-15  (red)
   With the shutter speedknob set to AE, first pressure on the shutter releasecauses
 a LED opposite one of these figures to glow. The red 2-15 indicates that the shutter
 speed selected is between l/2  and l/15 second and the camera must therefore be
 rigidly  supported. At  this setting and at the 1000 setting, the LED may  blink
 rapidly, indicating that the light is too low or too bright respectively for correct ex-
 posure. You must alter the aperture setting or use flash.

 Metering   procedure
 Set the film speed by pulling up the rim of the shutter speed knob and turning  it to
 bring the appropriate figure into the cutout. The figure (generally on the ASA scale)
 is on the carton in which the film is supplied. The figures on the scale are as follows,
 the italic figures being represented by dots:
 25 32 40 50 64 80 rN  125 160 200 250 320 400 500 640 800 1000 1250 t60o
                            2000 2500 3200
  Compose and focus the picture in the viewfinder and press gently on the shutter
 release. Note the position of the glowing LED. Adjust the aperture to provide a
 shutter speed suitable for the subject. Lift your finger from  the shutter release and
 then reapply first pressurefor each reading.If only a slow speedis possible (slower
 than 1/60 second), support the camera firmly, preferably on a tripod, or use flash.

 Varying  the  exposure
 The AZ-l  has two methods of influencing the meter's operation. when you apply
 first pressure to the shutter release, the meter reading is locked and, even if you
 change the aperture or the light changes,the shutter speedoriginally selectedwill be
 the one used provided you keep the shutter releasehalf depressedup to the moment
 of shooting. Thus, you can take a close-up reading of a backlit subject and then
 move to the shooting position without  affecting the exposure.
     If that is not possible the + l, +2, -1, -2  settings of the shutter speed knob pro-
 vide one or two stops deliberate over or under exposure as required.





 Exposure  meter  operation
1 Set film speed. 2 Set shutter speed knob to AE. 3 Compose and focus the
 picture. 4 Switch on meter. 5 Check indicated shutter speed. 6 Alter aperture if
shutter speed unsuitable. 7 When set to shutter speed index, gives two stops
extra exposure.S One stop extra exposure.9 One stop less exposure. lOTwo
stops less exposure.
The chart indicates the coupling range of the AZ-1 meter.

54

www.orphancameras.com

Stopped-downmetering

 The meter of the 5T605 works with the lens stopped-down to the shooting aperture.
 All the other models work with the lens diaphragm fully open. The aperture control
 moves the ring around the lens mount to indicate to the meter the extent to which
 the lens will be stopped down when the shutter is released
   In certain circumstances, however, even the full-aperture models have to be used
 with the lens stopped down, i.e. when you use lenses or behind-lens attachments
 (tubes, bellows, converters, etc.) that do not have the protruding lug of Fujinon
 lensesto move the aperture-teller ring around the lens mount. You therefore switch
 on the meter in the normal way but ignore the reading given at that stage. Not until
 you press the stop-down button on the camera front do you obtain a correct
 reading.

 Metering  procedure
The procedure is the same for  all models. Set the film speed as for  full aperture
 metering, compose and focus the picture and switch on the meter by pressing gently
 on the shutter release button.
  Each model has its different form of readout and the ST90l and AZ-l  work
 automatically just as they do with full-aperture metering. First, however, before any
 of the models can give correct exposure you have to stop down the lens.
  The stop-down button  is identical in appearance on  all models but operates
 slightly differently on the ST901. On the 705 and 801, you simply press the button
 directly inward. On the 901, you first have to turn  it toward the lens. This is to
guard against its accidental depression during automatic working.
  You need two fingers on the right hand to operate both stop-down button and
meter switch at the same time. As that is a rather clumsy operation, the stop-down
 button on the ST models (except the 605) can be locked down by turning  it away
 from the lens while depressed.The lens diaphragm is then directly controlled by the
 aperture ring and opens and closes as you turn the ring. No lock is provided on the
5T605 becausethe stop-down button is also the meter switch and leaving the meter
switched on can drain the batteries rapidly. The AZ-l  button does not lock. With
the meter switched on and the lens stopped down, you take your meter reading in
the normal way.

Varying  the exposure
The method of metering - stopped down or full aperture - should have no effect on
the exposure indicated but the Fujica cameras do, in fact, seem to give a consistent
half to one stop extra exposure when used in the full-aperture mode.
   Varying the exposure intentionally can be carried out in exactly the same manner
whether you meter at shooting or  full aperture.



Stopped-down   metering
1 Set film speed. 2 Attach lens and/or other accessories.3 Depress and lock
depth of field button on ST705 and 801.4 Compose and focus the picture.5
Set lens aperture.6 Switch on meter. T on STTob and 801, adjust shutter
speed to centre meter needle or glowing LED. 8 on STg01 and Az-1 press
depth of field button to check shutter speed. Keep button depressed while you
release the shutter. On the ST9O1, it can be locked down.

56

www.orphancameras.com
Auamerasupports

When it is convenientto do so, it is always advisableto mount the camera on a tripod
 or other firm support. Most people overestimate their ability to hold a camera still at
 the moment of exposure and many never realise that their pictures could be a great
 deal sharper than they are.
   There are many models of tripod and not a few of them are far too flimsy to be of
 any use with a comparatively lightweight 35 mm camera. Your tripod should be of
 stout construction with solidly locking legs that have no tendency to bend or whip un-
 der firm pressure on the top. If a centre column is fitted it must ride smoothly without
 too much play and be impossibleto force down when locked. The camera platform
 should preferably be a large pan-and-tilt rather than a ball and socket.

 Miniature tripod
 The smaller stand is useful in many situations where a full size tripod cannot be ac-
 commodated. It can rest on a table, chair, wall, car roof, etc. and provide adequate
 support for long exposures. Similar small supports with clamps, spikes and other
 methods of securing them are supplied by various manufacturers and can be of great
 value where longer exposures are necessary.
   Another type of support that sometimes helps to hold long lenses steady is the
 pistol grip, although its greatest value is probably in conjunction with a support
 for the left hand so that the barrel of the lens can be laid across the left elbow. The
 pistol grip usually has a built in cable releaseto allow the shutter to be fired from its
 trigger.

 Cable release
 This is a plunger type releasewhich screws into the shutter button for tripod mounted
 shots, because finger pressure on the shutter release could quite easily set up
 vibrations in the tripod. For long time exposures with the shutter speed dial at B a
 cable releasewith a lock-down facility is valuable. You need not then hold onto the
 releasethroughout the exposure.
  The mounting on top of the tripod takes many forms, too, but the most popular are
 the ball and socket, allowing the camera to be tilted in almost any direction, and
 the pan-and-tilt, which allows only an up-and-down tilt or a 360-degree horizon-
 tal swivel. The pan-and-tilt usually has alarger mounting platform for the camera and
more positive locking.





Gamera supports
A Clampand mini-tripod. Pistol grip with cable release. C Ball and socket
head. D Table tripod.
60

www.orphancameras.com
Loadingthe FujicaS LRs

To load a film into your Fujica camera, you must first open the camera back. Un-
lock the back cover by pulling the rewind knob firmly upward against spring
pressure at the end of its travel. The back then pops partially open and you can fold
it back completely to the right. Pull up the rewind knob so that the prong clears the
film chamber. Take a loaded film cassetteand place it in the film chamber below the
rewind knob with the protruding knob of the central spool at the bottom. Push the
rewind knob fully back, twisting it to and fro  if necessary to engage the spindle of
the cassette spool.
  Draw the film leader out of the cassetteand take it across the back of the camera
until you can push the tip of the film leader into one of the slots in the take-up spool.
Push  it in as far as possible. Operate the film transport lever once, holding the
cassettedown with your thumb. Make sure that the film is still attached to the take-
up spool and that the sprockets on the spindle next to  it are engaging the perfora-
tions in the film.
  Close the camera back and press it until it clicks into the locked position. Release
the shutter and transport the film twice to wind offthe film fogged while you had the
back open. Check that the rewind knob rotates during this operation, indicating that
the film  is being pulled out of the cassette.
    It is advisable to set the ST901 shutter to a manual speed for this operation. If
you leave  it on automatic  in low  light  or  with  the lens cap on, the meter
automatically sets a long, perhaps 20-second, exposure.
   Finally, set the film speed. Pull up the rim of the shutter speed knob and turn  it
until the required figure shows in the cutout. The figure to set (ASA  or DIN,  ac-
cording to the marking on the shutter speed knob) is shown on the carton in which
the film is packed.





Loading  the camera
1 Open camera back. 2 Insertfilm cassette.3 Push back rewind knob. 4 Insert
film leaderinto take-up spool slot. 5 Operatetransport lever once. 6 Check that
sprocketsare engaging film perforations.T Close camera back.8 Set ST9O1
and AZ-1 to manual shutter speed.9 Operatetransport lever and releaseshut-
ter alternatelyto bring No 1 (white dot) opposite the frame counter index. 1O
Set film speed. 11 The ST901 shows the film type (for Fuji films) in the win-
dow in the camera back.

62

www.orphancameras.com
Shootingwith the Fujica5T605 and 705

Having loaded the camera and set the film speed,you are ready to take pictures.
Although the 5T605 is a stopped-downmeteringtype and the 705 works at full
aperture,the procedureis basicallythe same.
   First, unlock the shutter releaseof the 705 by pulling it upward and turning it
anti-clockwise.The shutter releaseshould always be locked when you put the
cameraaway becauseit is also the meter switch.The 605 has no shutterrelease
lock becauseits meter switch is incorporatedin the stop-downbutton.
  Removethe lenscap and,lookingthroughthe viewfindereyepiece,composeyour
picturecarefullyon the screenand focussharply.Switchon the meterby taking up
the first pressureon the shutterreleaseof the 705 or by pressingthe stop-downbut-
ton of the 605. The needleon the right of the viewfindershouldmove.For correct
exposure,you must adjustthe shutterspeedand/or apertureto bring the needleto
the centre of the clear area.
    It is generallymost convenientto set a shutter speedto suit the subjectfirst and
then centre the needleby altering the aperture with your left hand.
  When the needleis centred, aperture and shutter speedare set for correct ex-
posureof a subjectwith normal tone distributionin most lighting conditions.Press
the shutter releasegently and take the picture.
  As the 5T605 is a stopped-downmeteringcamera,the screenimagedarkensas
you switchon the exposuremeter- unlessthe lensis setto full aperture.If lighting
conditionsare such that you can then seethe needleonly with difficulty, meter at
full apertureand then calculatethe exposurerequired at a smallerapertureand set
the cameracontrols accordingly.
  The ST705 metersat full aperturein normal practicebut can also be usedas a
stopped-downtype when necessary(seepage 56).
   After you have taken the picture, wind on the film ready for the next shot and,
unlessyou are continuingto shoot,replacethe lenscap. When you finish shooting,
lock the shutterreleaseof the ST705 by pulling it upward and turning it clockwise.





Shooting  procedure
1 Unlock shutter release (ST7O5). 2 Remove lens cap. 3 Compose and focus
the picture. 4, 4A Switch on meter. 5 Check meter needle position and centre
by adjusting aperture. 6 or shutter speed. 7, 8 Release shutter. 9 Transport
film.
6t

www.orphancameras.com
Shootingwith the FujicaST8O1

Having loaded the camera and set the film speed you are ready to take pictures.
First unlock the shutter release knob by pulling  it upward and turning  it anti-
clockwise. The shutter release should always be locked when you put the camera
away because it is also the meter switch.
  Remove the lens cap and, looking through the viewfinder eyepiece,compose the
picture carefully on the screen and focus sharply. Switch the meter on by taking up
the first pressure on the shutter release.One of the LEDs on the right of the view-
finder should then glow. For correct exposure,you must adjust shutter speed and/or
aperture until the central, diamond-shaped LED glows. The shutter speedyou set is
indicated on the left of the viewfinder screen.
    It is generally most convenient to set a shutter speed to suit the subject first and
then adjust the aperture until the central LED glows. Occasionally, the LED above
or below the centre also glows but, provided the central LED  is the brighter, your
exposure will be sufficiently accurate.
  When the central LED  is glowing, aperture and shutter speed are set for correct
exposure of a subject with normal tone distribution  in most lighting conditions.
Press the shutter release and take the picture.
  The Fujica ST80l  normally meters at full aperture. In certain circumstances,
however, you have to use the meter in the stopped-down mode. The procedure is
detailed on page 56. As a general practice, you should not use a lens designed for
full-aperture metering in the stopped-down mode. It is liable to be a little optimistic
about the exposure required.
   After you have taken the picture, wind on the film ready for the next shot and,
unless you are continuing to shoot, replace the lens cap. When you finish shooting,
lock the shutter release by pulling   it upward and turning   it clockwise.





Shooting  procedure
1 Unlock shutter release. 2 Remove lens cap. 3 Compose and focus the pic-
ture. 4 Switch on meter. 5 Adjust aperture, or 6  Adjust shutter speed until 7
Correct exposure is indicated in the viewfinder. 8 Releaseshutter. 9 Transport
film.

70

www.orphancameras.com
Shootingwith the Fujica ST9O1

 Having loaded the camera and set the film speedyou are ready to take pictures.
 First unlock the shutterreleaseknob by turning the switch surroundingit so that the
 greendot points forward. The shutterreleaseshouldalwaysbe locked whenyou put
 the camera away becauseit is also the meter switch.
  Removethe lens cap and, looking through the viewfindereyepiece,composethe
 picture carefully on the screenand focus sharply.Switch the meter on by taking up
 the first pressureon the shutter release.The digitd readout above the viewfinder
 screenshould then glow and indicatethe approximateshutter speedthat the meter
 will set automaticallyas soon as you fully depressthe shutterrelease.If it doesnot,
 the battery is exhaustedor wrongly loaded, or the shutter speedknob is on a
 manual setting.The speedset is then indicatedon the left of the viewfinderscreen.
  You could shootimmediately,of course,providedthe readoutwas not 20-or 0-,
 but you shouldcheckthat the shutterspeedis suitablefor the subjectand for hand-
 held shooting.If it is t/30 secondor slower,you must take everyprecautionto keep
 the cameraabsolutelystill during the exposure.That normally meansputting it on a
 tripod or other solid support.
   In practice,it is generallyconvenientfor most subjectsto vary the apertureuntil
 the readout indicatesa shutter speedof l/1000 secondor faster. Alternatively, in
 normal daylight shooting,you can set an apertureofl5.6 or/8 orfl   l, dependingon
 film speedand the generallight level, and be reasonablycertain that the meter will
 set a sufficiently fast shutter speedfor hand-held shooting. You need then only
 check the readout occasionallyif the light appearsto be changing.Once you are
 satisfiedthat the indicatedshutterspeedis suitablefor the subject,pressthe shutter
 releasegently and take the picture.
  The Fujica ST90l normally meters at full aperture but can be used in the
 stoppeddownmodewhennecessary(seepage56).As a generalpractice,however,
 it is advisablenot to use lensesdesignedfor full-aperturemeteringin the stopped-
down mode. They tend to be a little optimistic about the exposurerequired.
  When you have taken your picture, wind the film on for the next exposureand,
 unlessyou are continuingto shoot, replacethe lens cap. When you finish shooting,
 lock the shutter release.

 Uring manually-set-shutter  rpeedr
 Exceptionally,the ST90l can be used-withmanual settingof shutterspeedsbetween
 1/60 and l/1000 secondor on the B setting.You can sit thesespeedsby pressing
 the lock lever in front of the shutter speedknob inward (toward the back of the
camera)while turning the shutterspeedknob to releaseit from the AUTO position.
The shutter speedset then appearson the left of the viewfinder and the digital
readoutdoesnot operatebecausethe battery is connectedonly in the AUTO posi-
 tion and neitherthe exposuremeter nor the electroniccontrol of shutterspeedscan
work without battery power.



Shooting procedure
1 Unlockshutter release.2 Removelens cap. 3 Set shutter speed knob to
AUTO.4 Composeand focusthe picture.5 Switchon meter.6 Adjustaperture
 until requiredshutterspeed7 is indicatedin the viewfinder.8 Releaseshutter.
9 Transportfilm.
72

www.orphancameras.com
 Shootingwith Fujica AZ-1

 Having loaded the camera and set the film speedyou are ready to take pictures.
  First unlock the shutterspeedknob by turning the switch surroundingit away from
  the L position. The shutter releaseshould always be locked when you put the
 camera away becauseit is also the meter switch.
   Removethe lens cap_sand, looking through the viewfindereyepiece,composethe
  picture carefully and focus sharply. Switch on the meter by iaking up ihe first
 pressureon the shutter release.One of the sevenLEDs on the right-of the screen
 should then glow to indicate the shutter speedselected.If no LED glows, the bat-
  teries are exhaustedor wrongly loaded,or the shutter speedknob is on a manual
  setting.
   Check the shutterspeedand aperturesettingsto make surethat they suit the sub-
 ject. If the shutter speedindicatedis l/30 secondor slower,support ihe cameraas
  rigidly as possibleduring the exposureor useflash.If the top oibottom LED blinks
 rapidly changethe apertureuntil you get a steadylight. Leigo of the shutter release
 button and reapplyfirst pressurefor each reading.
    In most circumstances,you can adjust the apertureto indicatea shutterspeedof
 l/125 secondor faster;or, in good daylight,an aperturesettingofl5.6,/g  orfll,
 dependingon the film speed,will ensurea suitableshutterspeedior trlnd-treldshots.
 You needcheck the readoutonly occasionallywhen the light appearsto be chang-
 mg.
  When you are satisfiedwith apertureand shutter speedsettings,pressthe shutter
 releasefully downward to take the picture.
   The Fujica AZ-l normally meters at full aperture,but  it can be used in the
 stopped-downmodewhennecessary(seepage56). It is not advisableto uselenses
 designedfor full-aperturemeteringin the stopped-downmode.They tend to give op-
 timistic readings.
  When you have.taken your picture, wind on the film for next exposureand,
 unlessyou are continuingto shoot,replacethe lens cap. When you finish shooting,
 lock the shutter releaseby turning the switch around ihe button to the L position.
 Using manually-set shutter speede
 If your batteries are exhausted,you can use the AZ-l manually by turning the
 shutter speedknob to 60, 250 or 1000. The 60 position is comhonly used with
 flash. When you use the camera manually, the meter circuit is disconnected.





 Shootingprocedure
1 Unlockshutterrelease.2 Removelenscap.3 Set shutterspeedknobto AE.4
Composeand focusthe picture.5 Set aperturerequired.6 dwitch on meter.7
Checkshutterspeed.8 Releaseshutter.9 Transportfilm.
74

www.orphancameras.com
Unloadingthe FujicaS LR cameras

 If you forget to watch the frame counter, you know when you reach the end of the
 film becauseyou feel extra tension on the film transport lever. Do not force it or you
 might drag the film end out of the cassette and then have to unload the camera in
 total darkness. Or you might tear the perforations and leave a little piece of film to
 work  its way into the shutter.
   Press the film releasebutton in the camera base and, if it does not stay depressed,
 hold  it in while you complete the film transport operation and allow the lever to
 return. The film release button should then stay depressed. Fold out the rewind
 crank and turn  it in the direction of the arrow until you feel a sudden lesseningof
 resistance as the film leaves the take-up spool. Remember that a full cassette con-
 tains 150 cm (5 ft) of film but do not hurry the rewinding or you may cause streak-
 ing on the film from  static electrical charges.
  When you feel the film leave the take-up spool, stop winding unless you wish to
 wind the film completely back into the cassette.You may prefer to leave the leader
 protruding in case the lips of the cassetteare not completely light-tight. That should
 not apply to new cassettes.If you want to wind the film completely into the cassette,
 give two or three extra turns of the crank. Then, at least, you will not reload the film
 into the camera under the impression that  it is unexposed.
  When the film has left the take-up spool, you can open the camera back. Pull the
 rewind knob upward against spring pressure at the end of its travel. The lock is then
 releasedand you can open the back fully. With the rewind knob still up, remove the
 cassetteand push the rewind knob back. Close the camera back and press it firmly
 until  it clicks into the locked position. Operate the film transport lever and the film
 release button will pop out.
     If you are now putting the camera away, remember the check that the shutter
 release is locked, except on the 5T605, which has no lock.





 Unloading  procedure
 1 Press rewind button and hold. 2 Rewind film. 3  Pull up rewind knob to
 release back latch. 4 Open camera back. 5 Remove cassette. 6 Push back re-
 wind knob. 7 Close camera back.

76

www.orphancameras.com
Flashsynchronisation

The shuttersof all the Fujica SLR camerasare X-synchronisedfor flash.This is
 the type of synchronisationdesignedprimarily for electronicflash, which can be
usedat shutterspeedsof l/60 secondand slower,includingthe B setting.Electronic
 flash units can be connectedeither to the contact in the accessoryshoe (the hot
 shoe)if of the cordlesstype, or to the X contact on the camerafront - the only con-
 tact in that position on the 5T605 -   if of the type with synchronisationcord.
  The ST90l and AZ-l can be usedonly at l/60 secondor on the B settingwhen
 setfor manualoperationbecausethereare no manually-setslowerspeeds.It is nor-
mal to set thesemodelsto manual operationfor flash work but it is possibleto use
 electronicflash with the camera set to automatic if the indicated shutter speedis
 l/30 secondor slower.It is not advisableto use it if the indicatedshutterspeedis
 l/60 secondbecausethe actual speedmay be significantly faster.
  The normal type of flashbulb(M or MF class)can also be usedin units connec-
ted to eitherthe X socketor the hot shoe,if appropriate,but only at shutterspeeds
of l/15 secondand slower,includingthe B setting.On the 901 and AZ-1, that
meansthat they can be usedonly with the cameraset for automatic operationand
also really means that the camera is not particularly well suited to the use of
flashbulbs.

FP rynchronisation
An additionalsynchronisationsocketis fitted to the camerafront of all modelsex-
ceptthe 5T605.This socketis markedFP on the ST modelsand is designedfor use
with specialfocal plane bulbs that have a longer than usual peak of illumination -
more a plateauthan a peak.They burn at full brilliancefor a time sufficientfor the
gap betweenthe blinds at faster shutter speedsto traversethe full width of the film.
Theoretically,it shouldbe possiblefor them to be usedat all shutterspeedsbut Fuji
specificallyrecommendthat they be used for preferenceat l/60 or l/125 second
and suggestthat unsatisfactoryresults might be obtained at speedsfaster than
 l/500 second.Experimentis the only answerif you wish to use this type of flash.
Resultsmay vary from camerato camera.The AZ-l socketis for X synchronisa-
tion only.





 Flarh synchronisation
 The 5T605 and AZ-1 are X-synchronisedonly, primarilyfor electronicflash.
The other modelshaveboth X and FP synchronisationbut the ST9O1is essen-
 tially an automaticcamera and not really suited to flashbulbuse.

7t