Zenith TTL User manual

Digitally signed by Mike Butkus
                                                                                                                                                                                                        DN: cn=Mike Butkus, o=Butkus camera manuals,
                                                                                                                                                                                                                               ou=butkus.org, email=mike@butkus.org, c=US                                  Mike Butkus    Date: 2023.05.17 16:22:32 -04'00'





Introduction

You can be justly proud that you have chosen the Zenith TTL*_ the latest and most advanced 35mm
reflex camera from the U.S.S.R. * Through-the-lens metering offers many advantages over other
metering systems. Close range pictures with the aid of bellows or extension tubes; using filters or
teleconverters; taking pictures with the aid of a microscope (photomicrography) -- all become easy and
straightforward, since the meter cell determines the amount of exposure required

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(and thus automatically compensates for same) by reading through the accessory in use. This handbook
has been systematically written and designed to take you through all the operational and handling
features of your new camera in easy stages.

Though many hints and tips towards better photography have been included, this handbook should in
no way be thought of as a comprehensive guide to general photographic techniques. There are
numerous useful books of this type available and if you are just taking your first shaky steps in
photography it would certainly benefit you to consult your local library or bookshop.

Your Zenith camera is sturdily built and will work happily under widely varying conditions. Do
remember, though, that it is a precision-built optical instrument and should therefore be handled
carefully and protected from violent shocks, damp, dust and sand and sudden changes of temperature.
Take care of your camera and it will give you years of reliable service and brilliant pictures. The wide
range of accessories available, particularly those from the U.S.S.R. which offer outstanding value-for-
money, enable you to cope with almost any photographic situation. You can build up as complete a
system as you need at your own pace.

To get the best possible results from your Zenith, study this book thoroughly to make sure that you are
familiar with the essential features of the camera before you start taking pictures. Refer back to the
book any time there is something you are not sure of. Many operational features of this camera are
unique and probably somewhat different from other cameras you may have owned. It is therefore
strongly recommended that after carefully reading the instructions you shoot a 'test roll of  film, have
this film processed, and examine the pictures before exposing additional rolls. This test roll will verify
that you are using your new camera correctly and allow you to make any necessary changes
in camera operation. Additionally, it will confirm that all the camera controls are functioning
perfectly.

N. B. A policy of continual product development means that there may be minor differences in design
or specification between your camera and these instructions.

The illustration/description of equipment and accessories throughout this book is for information only
and should by no means be considered an offer of sale.


Contents


Specification        p.2                       Taking the picture       p.21
Loading your camera    p.3                  Removing exposed film    p.22
Picture-taking technique   p.7                  Taking flash pictures     p.24
Your TTL Meter and how to use it p.8           Using the self-timer      p.26
Exposure hints         p.10                   Changing lenses       p.28
Setting camera and lens controls  p.1 2          Care of camera and accessories  P.30
Choosing shutter speeds and apertures p.14        Trouble-shooting      p.32
Viewing and focusing       p.16               Taking better pictures    p.34
Depth of field      p.18                       Choosing lenses and accessories p.37

Specification

Format - 24 x36mm; using standard 35mm cassettes of 12,20, 24 or 36 exposure color or black and
white film.

Shutter Horizontal traveling Focal Plane type, speeded 1/30, 1/60, 1/125, 1/250 and 1/500th second
plus B (brief time). Linked to self-timer giving approximately 7 seconds delay.

Flash Synchronization Electronic flash only at 1/30th sec. through a standard 3mm co-axial -- socket.

Viewing/Focusing system Eye-level pentaprism/instant return mirror shows upright laterally correct
image. Bright Fresnel focusing screen with central ground glass/microprism spot.

Exposure meter Built- in CdS cell with needle coincidence through viewfinder, calibrated for 6-500 ASA
/l 3--28 DIN. Power source Mallory or Ever Ready PX625 Battery. (Should be replaced once a year.)

See this link on a Wein Air replacement battery.

Frame counter Additive 0--36 manual resetting type.

Standard Lens-Helios 44M 58mm focal length
Construction- 6 elements in 4 groups

Diaphragm type-Fully automatic instant re-open Optional manual over-ride

Aperture Range- f/2-f/16 with click stops at full and half apertures (except between f/11 and f/16)

Distance Scale-0.55-Infinity

Angle of View - 40degrees

Filter Size - 52mm screw 54mm push-on

Lens mount -'Universal' (42mm) thread accepts standard single pin automatic lenses and accessories



Loading your camera
Precautions:

(a) Your Zenith camera accepts any standard 35mm cassette, of color or black and white film.

(b) Always load the film in subdued lighting conditions, If outdoors, look for a shady area or shield the camera
from direct sunlight with your body or coat.

(c) Whenever possible avoid loading in a dusty place or at the seaside where strong salty wind is blowing.

(d) When loading take care not to touch the shutter blinds.

(e) Make sure Shutter Release has not been set in the '1 (or Time) Lock position. (See p.12)

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Procedure:

1. Raise the Back Lock-catch (16) and swing
the Camera Back (27) open.

2. Before loading ensure rewind release
mechanism has been cleared. The Rewind
Release Ring (4) must be turned clockwise so
that the three dots are fully lined up.
Turn Film Transport Lever (2) through a
couple of short strokes till no further
movement is possible while applying light
finger pressure to the back Sprocket wheel
(24). The Sprocket should rotate in time with
the lever action and not 'free-wheel.

3. Push up the Cassette Retaining Spindle (21)
from inside the camera. Place the cassette into
its chamber (22) ensuring that the cassettes
projecting end faces down. Push Rewind
Knob (18) back to its original position to hold
the cassette in place -- you may need to turn it
clockwise a little until it seats properly in the
cassette spool.

4. Draw out from the cassette enough film
(about 3m) to insert the leader into the Take-
up Spool (26). The leader can be inserted into
any one of the spools slots. Ensure that one
perforation hole is caught by the Take-up
Spool tooth, also see that the Sprocket wheel
(24) engages in a perforation.


5. Make sure film cassette lies flat, then alternately depress Shutter Release Button (3) and turn film Transport
Lever (2) until perforations on both sides of film are engaged by the Sprocket Wheel (24). The film should also
be taut around the Take-up Spool-- turn bottom spool-flange with finger towards cassette position to take up
any slackness.

Note -- Film is advanced by sprocket drive, so it is most important for sprockets to engage film perforations
properly.

6. Complete film wind, if necessary, to its limit. Press Shutter Release Button (3) then close the Camera Back
(27). Firm pressure only is required as the back has a self-locking catch.

7. Take up any slackness of film within the cassette (especially important with shorter than 36 exposure lengths)
by slowly turning Rewind Knob (18) clockwise till slight resistance is felt.

8. Move Film Transport Lever (2) through two or more short strokes (letting it return to the starting position
after each stroke) until no further movement is possible, watching to see if the Film Rewind Knob (18) turns
while doing so. If the Rewind Knob turns it shows that the film is correctly loaded and moving properly through
the camera. If it doesn't turn, and you have taken up the slack as described in step 7, then the film may not be
securely attached to the Take- up spool or properly engaged by the Sprocket Wheels.



9. Now turn Frame Counter Dial (5) until
the number '0' shows against the Frame
Counter Index (29) and press the Shutter
Release (3) once
more.

       If you are not going to take
       photographs immediately do not
      wind on the film at this stage since it
         is always best to leave the shutter in
       the fired position, just in case the
      camera is put away without being
       used for some time.

10. If you are ready to take photographs,
wind Film Transport Lever (2) fully. .. and
your first film frame is in position, as
shown by the Frame Counter Index (29).


Notes

(a) Always make sure the Transport Lever (2) has been fully wound. This is easiest when you move this lever in
two short strokes. When the lever stops during the second stroke, you are assured that the cameras film, shutter
and frame-counter are all ready for exposure. Failure to wind the Transport Lever fully may result in a 'blank
exposure.



(b) To maintain accuracy in use, the Frame Counter
Dial (5) must be zeroed only after winding the
film/shutter. After this, every time you wind on, the
dial will come to rest with the next division opposite
the Counter Index (29). The counter tells you how
many frames (pictures) you have taken and when it
reaches 12, 20, 24 or 36 (depending on film in use),
you will need to rewind the film into its cassette and
put in a new film. Color film especially should not be
left in the camera for long periods and for the best
results should be processed as soon as possible after
exposure. Incidentally, do carry a spare film -- nothing
is more annoying than to run out of film just before
the best shot turn up!
                                                 Rewind knob should rotate anti-clockwise
                                                      when film is wound.

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Picture Taking Technique:

Once the camera is loaded you have to consider three aspects of taking a picture -- exposure, focus and
composition. The first two of these are purely technical; the following sections, together with a little experience,
will soon enable you to handle your Zenith with sufficient enough ease to leave you free to concentrate on the
third aspect, composition, which is the artistic one.

Exposure:

Though sometimes thought to be photography's biggest problem, obtaining correct exposure is not really so
difficult thanks to the latitude of modern-day films. There are three governing factors: sensitivity to light of the
film (usually expressed as an ASA speed rating); shutter speed, which controls the amount of time the image is
allowed to affect the film; and the lens aperture, which controls the brightness of the image falling on the film.
It is recommended to use a minimum shutter speed of 1/125th second where possible, (certainly for the majority
of outdoor subjects). This speed is fast enough to prevent most 'blur due to camera or subject movement, yet is
slow enough to permit picture-taking in a wide variety of lighting conditions with today's sensitive films. If its
necessary to shoot at 1/60th or 1/30th second, hold the camera as steady as possible -- ideally by using a tripod,
or by bracing your arms on a nearby table or other support.



Your TTL Meter and how to use

Power Source

The camera is supplied complete with a battery (PX 625). To check that the battery is fitted, use a
small coin (half penny) to turn the battery compartment cover anti-clockwise for removal.

Ensure that the battery is fitted with the + sign facing you,
then re-fit the battery cover as follows. Holding the cover at
an angle to the camera (see illustration), insert the lug under
the rim at the top of the compartment and press the cover
into position so that the two spring clips engage in the cut-
outs on either side. The coin can then be used to turn the
cover clockwise until it locks.


Meter Check

The meter needle normally zeros (comes to rest) over the circle seen on the right-hand side of the viewfinder.
Before using the camera ensure the meter is working by setting the Film Speed Selector (17) at 500 ASA, the
Shutter Speed Dial (1)at 1/30th sec and the Aperture Ring (14) at f/2. Point the camera at any bright light source
and, while looking through the viewfinder, depress the Shutter Release Button (3). Continue depressing the
Release Button until it activates the meter switch which should deflect the meter needle upwards past the + sign.
If there is no deflection of the needle this indicates the probability of a dead battery. The meter should be
checked regularly in this way and batteries replaced at least once a year to ensure accuracy in use.

Using the Meter


1. Set Film Speed. The Film Speed Dial
(17) has 2 scales of figures on it, one
marked for films rated at 16,32,65, 130,       2. Aim the camera at your subject. Bearing
250 and 500 ASA and the other marked in    in mind the subject matter of your
DIN ratings of 13, 16, 19,22,25 and 28.      photograph select what you consider to be
Turn the selector until the speed number     a suitable shutter speed. Now, while
for your film shows against the index        looking through the viewfinder, depress
marked on the camera top. The dial is        the Shutter Release Button (3) as described
click-stopped and so must be turned till it     in Meter Check procedure. This activates a
locks onto one of the numbered or           switch in the metering system which in
intermediate settings. Select the number or   turn deflects the meter needle (either up or
setting nearest the speed of your film (e.g.   down depending on the lighting
foray 64ASA film set it to 65 on the ASA    conditions).
scale, for a 25 ASA film set it to the click-
stop setting between 1 6 and 32 ASA.





3. Match the Needle. While continuing to
depress the Shutter Release slightly turn the
Aperture Ring (14) or the Shutter Speed Dial (1)
until the needle bisects the circle situated
between the + and -- signs on the right-hand side
of the viewfinder. When the needle bisects the
circle correct exposure is indicated. If the needle
is deflected towards the -- sign a slower
shutter speed or wider aperture is required, if
deflected towards the + sign a faster shutter
speed or smaller aperture is required. Should you
find it impossible to line-up the needle within
the circle this indicates that lighting conditions
or film speed need to be altered.


Helpful hints for better exposure: Remember that your exposure meter measures all the light that reaches its
cell and 'averages out the brightness or contrast range before giving a reading. With subjects of average
contrast (e.g. scenes lit from the front, or at an angle from the side, where there are no heavy shadows and dark
and bright areas are fairly balanced) the right amount of exposure is indicated automatically. However, to obtain
the best results with subjects of widely varying brightness range it is wise to take some precautions.

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      Take a close-up reading. If your main subject is much lighter than the background (e.g. a portrait of an
       illuminated face against a darkened doorway, arch or foliage) or. . .if it is much darker than the
      background (e.g. a person, boat or chalet set against a seascape or mountain scene directly lit by the sun)
     move right up to your main subject until it fills the viewfinder. Note the exposure combination found
      from this close-up reading and set your camera and lens controls accordingly before returning to the
        original viewpoint to take the picture.
      Take a substitute reading. Sometimes a close-up reading is not possible: if so, aim the camera at an
        alternative subject of average contrast under the same lighting (the back of ones hand is a good example
       or ideally a sheet of neutral gray card). Again, use an appropriate combination from this reading on the
      camera and lens controls.
      An alternative to both the above is to close the aperture by 1 to 2 stops (f/no's) as compared with a
       straightforward meter reading of the former subject and open the aperture by the same amount for the
         latter subject. This method will prove more correct in most circumstances of this nature.
       Against the light, unless you're purposely striving after a silhouette effect, with your main subject very
      deep in shade against full highlight detail, then you must open the lens aperture by at least one stop to
        that indicated by an exposure meter reading.
       If using color slide film, avoid subjects with great brightness differences. Even a close-up reading of the
      shadow areas often results in excessive exposure for the sunlit areas, which then appear too light and
       burnt out when the slide is projected. A straightforward average brightness reading under conditions of
       uniform frontal or side angled lighting yields slides of good color saturation which correspond most
       closely to the natural color impression.
       In extremely dim lighting the exposure meter needle may rest near the circle situated between the + and
         -- signs in the viewfinder, giving the impression that the camera is set correctly. It is therefore necessary
        in poor lighting conditions to ensure that the meter needle does deflect away from the circle and comes
        into alignment only when the Aperture Ring (14) and Shutter Speed Dial (1) have been moved and set
        correctly.


       Setting the Camera and Lens Controls

Shutter Speeds
Turn the Shutter Speed Dial (1) until the required speed aligns with the index mark on the body. Shutter speeds
may be selected before or after the Film Transport Lever (2) has been wound. However, the following points
must be observed to avoid mechanical damage.

(a) Always turn the Shutter Speed Dial tone of the marked speeds (30, 60, etc. that indicate fractions of a
second, or B, that indicates a hand-controlled time exposure) -- NEVER to a position between marked speeds;
and

(b) DO NOT TURN the Shutter Speed Dial the short distance between B and 500.

Long Exposure Times (Time Exposures)
Time exposures of one second duration or longer, enable you to take photographs in lighting conditions that
would be too poor for normal picture-taking, e.g. city streets at night or dimly lit interiors. To take a time
exposure with your Zenith set the Shutter Speed Dial (1) to 'B. At this setting the Shutter will remain open for
as long as the Shutter Release Button (3) is pressed down.




A sturdy tripod is really essential for this type of
work, though sometimes it is possible to find an
alternative firm support (a street bollard or
church pew, for example). A cable release,
preferably the locking type, is also
recommended for extra steadiness. If such a
release is not available the shutter can be kept
open for extended periods, via the "T" lock,
simply by pressing the Release Button (3) down
firmly and turning at the same time in an anti-
clockwise direction (as seen from top of camera)
until it stops.


The shutter will remain open for as long as desired and is closed on completion of exposure by pressing down
the Release Button once more and returning same, clockwise, to its normal position. To reduce the risk of
vibration it is recommended that a piece of black card (or even ones hat) be held in front of the lens as the
Release Button is pressed and turned -- the lens is then uncovered for the required time (using a stopwatch or
slow count) and then recovered to end the exposure while the Release Button is returned to its normal position.
Obviously this procedure only applies to long exposures of several seconds. Note: After using the "T" or Time
lock on the Release Button always make certain that the Release Button (3) is turned fully clockwise, that the
Rewind Release Ring (4) is still turned fully clockwise and the three dots are properly aligned. This will ensure
correct operation of shutter and exposure counter in subsequent pictures.

Your cameras Tripod Bush accepts a standard 1/4 in Whitworth screw. When fitting a tripod or other bush-
mounted accessory (e.g. flash bar) care should be taken to see that this is screwed in just finger-tight only (this
applies to the carrying-case retaining-screw also). If there is a safety locking -nut on the accessory, turn the
main screw up to three revolutions only, then hold it in position and lock into place with the safety nut.


Apertures:

The Hellos 44M,the standard lens supplied with
the Zenith TTL camera, is designed to be used in
Automatic or Manual mode. When the
Auto/Manual Switch (23) is set to 'A, the
aperture remains fully open for viewing and
focusing and closes down automatically to a pre-
selected f/number value when the Shutter
Release Button (3) is pressed down.

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When the Auto/Manual Switch (23) is set to 'M, the aperture closes down immediately to whatever f/number
has been selected on the Aperture Ring (14). Thereafter apertures are changed manually by moving the
Aperture Ring into any of its 'click-stop positions. Normally the lens would be used in Automatic mode, in
which case the lens opening required (f/2, f/2.8, f/4, etc.) is selected by turning Aperture Ring (14) until that
f/number (or a position mid-way between marked lens opening if so indicated by meter needle movement in the
viewfinder) aligns with the Distance/Aperture Index Mark (10). As soon as pressure is taken off the Shutter
Release Button, the aperture automatically returns to its wide-open position.



Choosing shutter speeds and lens openings

Under given conditions of lighting and film sensitivity there are various combinations of shutter speed and
aperture that will produce good results, However, you will often need to select a particular a shutter speed or
aperture to suit your subject so how do you choose? For example, the suggested shutter speed of 1/125th
second, while fast enough to stop most normal subject movement, (people walking etc.) would not be enough to
freeze the really fast action of subjects such as children at play, sports events or racing cars -- here, speed of
1/250th or 1/500th second would be best.


Again, if taking a landscape type
picture, a small aperture of say
f/1 1 or f/1 6 would be needed to
obtain maximum sharpness (see
Depth of Field). Summarizing
then; with moving subjects,
choice of shutter speed is of
most importance, to stop the
motion use the fastest speed
possible that lighting conditions
will allow; where you need your
subject to be sharp over a long
range from foreground to
background, then choosing a
small lens aperture is more
important.


 It’s worth knowing too the relationship between shutter speed and aperture settings. These settings are so
designed that altering from one figure to another on either scale, will double or halve the amount of light
reaching the film. An aperture of f/5.6 is wider than, and will transmit twice as much light as, an aperture of f/8,
and at the same time is smaller than, and will transmit half as much light as, an aperture of f/4. Likewise a
shutter speed of 1/1 25th second is slower than, and will transmit twice as much light as, a speed of 1/250th and
is at the same time faster than, and will transmit half the amount of light as, a speed of 1/60th second. Thus if
you start from a given combination, say 1/1 25th at f/8, and you decide that a shutter speed of 1/250th would be
better for the subject and you want to finish up with the same amount of exposure, you will need to compensate
for the fact that only half the necessary light is reaching the film by opening the aperture one division to f/5.6.

If you had decided that 1/500th were the best speed you would need to open the aperture by two divisions (from
f/8 to f/4) since 1/500th is two divisions up from, or four times the speed of, 1/1 25th second. Remember though
that all combinations of shutter, speed and aperture are a compromise. There is really no 'correct exposure for
any subject, it all depends on the effect you want.





Viewing and focusing
First make sure your lens is securely attached to the camera by turning it clockwise until no further movement is
possible.




Look through the viewfinder eyepiece (32) and
you can feel safe in the knowledge that there'll
be no parallax problems (no more cut-off heads
in close-up portraits and the like) as you are
viewing and focusing, by means of a ground-
glass screen, through the actual lens that takes
the finished picture. There is a built-in safety
margin of course, in common with many other
modern single lens reflex cameras, the
viewfinder showing an overall area somewhat
smaller than the total film area. This ensures that
everything you see in the viewfinder appears in
the finished picture despite the fact that slide
mounts and masks in printing equipment
actually cover part of the films image.


Focusing should always be carried out with the aperture wide open, unless of course you want to preview
'depth-of-field, so follow the previous instructions concerning aperture operation. With the camera held to your
eye turn the Focusing Ring (11) towards the right for close distances or towards the left for far distances, until
the subject is sharp and clear on the large ground-glass screen. The Zenith TTL camera has in addition in the
center of its screen, two aids for speedier critical focusing, a microprism spot which is composed of literally
hundreds of tiny prisms that distort and accentuate an out-of-focus image. Simply focus the lens until you obtain
a single undistorted image at the center and you are at the point of sharpest focus. This microprism works well
for the majority of subjects and conditions but for subjects lacking in contrast or color the fine ground-glass
collar around the central spot is probably more helpful -- its quite handy when using long telephoto and wide
angle lenses too. (Aim your camera at this instruction book from about 2 feet away and you'll see how these
focusing aids work). You can of course also use the Distance Scale (12) of your lens, which is calibrated in
meters, to set the focus. Generally there's no need to check distance, its almost always easier to use the
viewfinder the only time it becomes necessary is when taking flash pictures (see p.24) or when 'depth-of-field'
is important.

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      The Red 'R" just to the right of the Distance Indicator (10) on the Helios44M shows the correction
       required for infra-red films. When using infra-red films, first focus in the normal manner, and note the
       indicated distance. Then move the Focusing Ring (11) so that that distance is now aligned with the Red
        'R. Remember-- this is needed only when using infra-red films which are sensitive to light rays which
       focus at a slightly different plane than ordinary light rays.



      "A 16mm diameter prescription lens can be inserted into the Viewfinder Eyepiece (32) and held in place
      by Retaining Ring (31). Spectacle wearers may find this helpful for critical work. On certain E/EM
      models the detachable Retaining Ring (31) has been replaced by an optional 'slip-on holder. If difficulty
         is experienced in obtaining either of these accessories we recommend you contact Visual Aids, East
        Street, Bromley, Kent, BR1 1QX.





Depth-of-field
All photographic lenses, when focused on a given subject, will show some objects in front of and behind that
subject more or less sharply. This 'range of extra sharpness is called "depth-of-field" and varies with different
lenses; its greatest with wide angle lenses, and least with telephoto lenses. With any lens, you'll find your depth-
of-field is always greater (more things in focus) at small lens apertures such as f/11 or f/16 and lesser (fewer
things in focus) at larger lens apertures such as f/3.5, f/2.8 or f/2. Depth-of-field is also greater in cases of more
distant subjects than it is with close-up subjects and increases nearly twice as much beyond the subject, your
main point of focus, than it does in front of the subject (towards the camera).

If your picture is such that you want both nearby and distant objects to be in sharp focus then generally the
smallest possible aperture should be used. However, the aesthetic quality of a picture can often be improved by
having the principal subject in sharp focus while other objects in the scene are soft and out-of-focus. Here a
larger aperture is necessary to produce the "differential focus" that de-emphasizes distracting background and/or
foreground detail and thus isolates, and concentrates your viewers attention on, the principal subject.

You may want to preview depth-of-field prior to exposure. This can be done in two ways, first by pressing the
Shutter Release Button (3) smoothly until it reaches the definite stopping point, just before firing the shutter.
This closes the aperture down to its pre-set value and enables you to get an idea (despite the dimness) of what
will or will not be sharp -- the final photograph will be at least as sharp if not sharper than the viewfinder image.
The second method is to turn the Auto/Manual Switch (23) to the "M" position which has the effect of manually
closing the aperture down to the selected lens opening --this is probably easier to master than the first method
but you must remember to return the Switch after use to the "A" position ready for normal operation.

Using the depth-of-field scale (13)
The scale consists of the aperture numbers repeated each side of the Distance Index (10) and shows, at any
given focus distance, the nearest limits and furthest limits of acceptable sharpness. Taking the Helios 44M lens
as an example, if this is focused at 4 meters, the depth-of-field stretches from 3 meters to 6 meters at an aperture
of f/5.6 while at an aperture of f/16 objects from 2 meters to infinity (oo) will be acceptably sharp in the final
picture. Note: For the sake of reading clarity some figures are omitted from the scale; however, its a simple
matter to 'fill in those missing if you remember they follow the aperture sequence exactly, with those
proceeding left from the index (10) showing the near limits of sharpness, and those proceeding right showing
the far limits.





Now for some practical examples

(a) You're taking a landscape view where you want everything needle-sharp from the foreground all the way to
the background. Easy you say, close the aperture right down to f/1 6-- the snag is that the sky has clouded over
and the light is too poor to use this aperture at a reasonable shutter speed. The remedy -- obtain the maximum
depth-of-field required with the minimum of 'stopping-down (decreasing aperture size). Focus through the
viewfinder on the closest object and note the distance (say 3m) registered against the Index (10), then focus on
the most distant part of your subject and note this distance (say 10m) also.

Now look at your lens and move the Focusing Ring (11) until both distances appear just between an identical
pair of aperture numbers (f/8, in above example), on the Depth-of-Field scale (13). Set the lens to the aperture
thus found, use your exposure meter to determine the correct shutter speed for an exposure at this aperture, then
set this speed on the Shutter Speed Dial (1). Everything between the two distances (3 to 10 meters) shown by
the matching aperture numbers (f/8) on the Depth-of- Field scale (13) will appear sharp in the final photograph.
(b) If you need absolute maximum depth-of-field at any given aperture focus on the 'hyper focal distance. This
is found by aligning the infinity mark (00) against the Distance Index (10). The distance then found to be
aligning with the near limit of depth-of-field for the aperture required will be the 'hyper focal distance. If the
lens is now refocused so that this distance aligns with the Index (10) everything will be sharp from half the
distance to infinity.

(c) To obtain a "differential focus" effect, determine the closest and most distant parts of your subject as
described in example (a) above, then refocus the lens so that the distance of the important part of your subject
aligns with, or is near to, either the near or far limits (according to whether you want foreground or background
out-of-focus) on the Depth-of-field scale (13) when using a largish aperture, say f/4. Set lens and camera
controls as necessary and you'll be assured of obtaining a picture of high subject impact.

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Here we can see that the 10 meter focus setting
is in fact the hyper focal distance for an aperture
of f/8 which gives us the maximum depth- of-
field possible from that lens, extending from half
that distance (5 meters) to infinity.




Taking the picture
Poor first-time results are largely attributable to camera shake, so its very important to hold the
camera steady using both hands. You will probably find it most convenient to grip the camera
firmly with your right hand and fire the Shutter Release Button with your right fore-finger. This
way your left hand can easily turn the Focusing Ring and give extra support at the same time.
Always press the Shutter Release Button downwards smoothly and firmly-- NEVER jab at it.





Note the extra support the left hand gives and the "correct" finger position for smooth release of
shutter.

For each Successive Exposure. . . just move the Transport Lever until fully wound and you're ready
for your next shot. If lighting conditions have not changed it is only necessary to frame the subject,
focus and fire the shutter. If taking a photograph in a slightly different direction or if the sun clouds
over, take a further meter reading and make any adjustments to camera and lens controls that might
become necessary before firing the shutter.

Note: Keep an eye on the Frame Counter (5). When this registers a figure indicating that the entire
length of film has been exposed, or if the Film Transport Lever cannot be turned, it is time to
rewind the film into its cassette ready for processing. DO NOT try to get an extra exposure -- if the
Transport Lever is wound forcibly the film may be damaged and disengage from the cassette
making it impossible to rewind.

Removing exposed film

(1) Before attempting to rewind a film put the cap, supplied with your camera, back on the lens.
This is simply a precautionary measure to prevent any portion of the last frame being exposed to
light, since the Rewind Release has the effect of firing the shutter even if, as sometimes happens,
the Transport Lever is only partly wound when the end of the film has been reached.

(2) Releasing the film for rewinding. The Zenith TTL has a locking device which permits
rewinding without constant application of pressure.
To engage it first press the Shutter Release Button (3) then turn the Rewind Release Ring (4) fully
anti-clockwise. Make sure the Ring is turned until no further movement is possible and you'll then
be able to rewind the whole film quite freely.

(3) Rewinding. To rewind the film it is necessary to lift the crank handle out of its recess and into
the position as indicated below. The Rewind Knob (18) should be gripped firmly by the crank and
rotated in a clockwise direction (as indicated by the engraved arrow). While resistance is felt you
are rewinding the film back into the cassette (the knob will turn freely without resistance when the
film has been fully rewound).

(4) Having rewound the film, remove the camera from its case, raise the Back Catch (16) and swing
the Camera Back (27) open. Pull the Rewind Knob (18) upwards fully and take the cassette of
exposed film out of its Chamber (22). Your film is now ready for processing.

(5) The camera can now be reloaded (after observing precautions on p.3). If you don't want to
reload till a later date return the Rewind Knob to its 'closed position.





Taking flash pictures
When the light is poor some form of auxiliary lighting will be required. This is why your Zenith
has a built- in synchronizer which enables you to use an electronic flashgun. This can be one of the
simpler battery powered, medium-range guns like the Helios 32 (detailed on p.44) or the more
advanced type which can be powered by mains supply or batteries and often have a built-in
minicomputer which automatically regulates the duration of the flash according to the subject
distance. We recommend you to consult your Zenith camera dealer for advice on the best type of
gun to suit your needs -- here we can only give guidance on the procedure and technique of flash
photography.

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1. The Shutter Speed Dial (1) must be set at 1/30th second
when using electronic flash.

      The shutter will not synchronize correctly (i.e. will
       not open at the time the flash is at its brightest) if the
      wrong setting or any other shutter speed is used.

2. Small light weight flash guns may be safely clipped into
the Accessory Shoe (19) on top of the camera. Some
electronic guns being heavier may need a separate mounting
bracket or 'flash bar which screws into the Tripod Bush (25)
at the bottom of the camera.


3. Plug your flash gun lead into the Flash Synchronization Socket (7) making sure its tip is pushed
in firmly.

      The short burst of light from a flash is too brief to be measured under normal circumstances,
      so exposure for flash photography is governed by the sensitivity or speed rating of the film in
       use, light output or power of the gun and its distance from the subject. This is why most
     modern flashguns have calculator dials or scales on them which indicate the correct aperture
      according to film speed and distance.

Obviously the type of calculator dial or scale will vary with each make of gun, so consult the
instruction book supplied with your unit, or your dealer for exact information -- the general
operating rule however is.,.

4. Look through the viewfinder and focus on your subject. You can then find from the calculator
dial! scale the correct lens opening for the actual camera-to-subject distance that is shown by your
lens' Distance Scale (12).The Aperture Ring (14) must then be set accordingly.

      Do not press down on Shutter Release Button (3) unless actually taking a flash picture since
       this will fire the flash even if the Transport Lever (2) has not been wound. However, there
       will be no loss of film should this happen.
       If the flash unit does not fire when you press the Shutter Release Button (3) make sure that
       the lead is securely plugged into the Flash Synchronization Socket (7) and check that unit is
      switched on.

      (webmaster:  This camera does not have a hotshoe, just a holder. Any flash used here
      cannot have a hotshoe on it as it will never work being shorted by the metal holder. A flash
       that uses only a flash cable can be used. These days you may only find the “handle flash”
      with a bracket for the camera available. Any old flash that uses just a cable will be awful old
      and possible not function due to age.)

  Using the self timer:
   Your Zenith camera has a built-in self timer that trips the shutter after at least a 7 second
   delay thus enabling you to get into the picture yourself. Here is how to use it...

   1. Support the camera on something firm, a tripod is best, but any stable surface such as a
   nearby table or shelf will do.

   2. All main controls are set as normal, i.e. Wind Film Transport Lever (2) then frame and
   focus on the general subject area. Select the required shutter speed and close the lens
   opening down to the required aperture (having first set the lens Auto/Manual switch (23) to
   the "M" position).


    3. Turn the Self-Timer Lever (9) downwards in
   an anticlockwise motion until no further
   movement is possible. (As you move this Lever
   on the camera you'll see an "M" sticker beneath
     it which is there simply to remind you to set the
    lens to the Manual position as previously
   mentioned.)



   4. Now press the Self-Timer Release Button (8) and move into the picture area as quickly as
   possible. The Lever (9) will slowly return to its normal position releasing the shutter
   automatically during its travel.
      o  Make sure the Self-Timer has been fully wound before pressing the Release Button (8)
          as otherwise the shutter will not operate. (If this happens just move the Self-Timer
         Lever downwards again -- fully this time! -- and press the Timer Release Button
          again.
      o   If you decide not to use the Self-Timer after moving the lever down, simply take your
         next picture by pressing the Shutter Release Button (3) as normal. Then before
         winding Film Transport Lever (2) press the Timer Release Button (8) and the timer
          will return to normal position. NEVER leave the self-timer lever in the 'wound
          position for extended periods.

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      o An extra tip: if the shutter speed is set at "B" and the self-timer mechanism is used
        you will obtain a time exposure of between 1 and 5 seconds. The actual time of
         exposure will vary from camera to camera, so we suggest you determine the time for
         your particular camera, as it may well come in handy to know when taking pictures in
         dimly lit conditions.

      o   If required, the Self-Timer can also be used in conjunction with a flashgun observing
         of course the previous notes on flash photography.





  Changing lenses:
   Your Zenith TTL camera is fitted with a Universal 42mm thread mount. A range of 42mm
   mount auto-diaphragm lenses, designed primarily for the Zenith, is available from your
   dealer. You are also able to choose from literally hundreds of lenses made both by other
   camera manufacturers and independent lens makers.


   To remove the lens just grip the whole barrel firmly and
    give it about three turns to the left (anti-clockwise). To
    attach a lens simply screw it firmly into the cameras mount
    in a clockwise direction; when it stops, give it a slight
    extra twist to ensure that it is securely attached. Note --
   when refitting lenses with an auto-manual control, such as
    the standards lens fitted on the Zenith TTL, make certain
    that the lens is set to the 'A position before taking further
   photographs. This ensures that you will be able to frame
   and focus easily.

o  Thread mount lenses, particularly those of different
                                  manufacture to the camera, may sometimes fit with the
                                      aperture and distance scales slightly to the right or left of the
                                      center position. This does not indicate any defect in your
                                camera or lens and in no way affects the camera/lens
                                      operation.
                            o  Take care not to expose your cameras interior to dust, dirt or
                                   moisture when the lens has been removed. Always replace the
                                      lens in the body as soon as possible (or use a body cap
                                     obtainable from your dealer). When removing or storing
                                        lenses, protect them from accidental damage by placing them
                                     face down and if possible, attaching a rear lens cap (again
                                     obtainable from your dealer but usually included with
                                    accessory lenses). This latter point is particularly important
                                   with lenses having an automatic aperture mechanism since
                               you should always avoid putting undue pressure on the metal
                                      control pin at the rear.
                            o  Only standard Automatic Lenses with a single pin operating
                                      the aperture mechanism can be used with the Zenith TTL.
                                 Lenses designed specifically for use with more advanced
                                methods of electrically or mechanically coupled automatic
                                    systems, which have extra keying levers on the mounting
                                       flange, should not be used (see illustration).





   o  All modern high-quality lenses such as that fitted to your Zenith camera are made
     from special grades of optical glass. During the manufacturing process small bubbles
      almost inevitably occur within the glass, but these have no adverse affect whatsoever
     on the functioning of the composite photographic lens.


Caring for your camera and accessories
Your Zenith is a ruggedly-built camera designed to provide many years of dependable
performance. If you want the longest service and best performance, always treat your camera
and accessories as you would any precision instrument -- with care and respect!

   o  First and foremost keep them clean! Your camera should be kept in its carrying case
     whenever possible. The case is designed to permit all operating functions, except
      loading/unloading, to be performed while the camera is inside. It will help protect
      your camera and lens from dust, dirt, moisture and light knocks against hard surfaces-
        - the natural enemies of all cameras.

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The Zenith TTL camera can be carried outside its case if preferred (your dealer can supply
an accessory neck strap which attaches to the body eyelets (6) and (15), but if it is; take extra
care to guard it against bumps and jolts. Remember too that on the beach, sand and sea-spray
somehow seem to get everywhere; even a closed carrying case needs extra protection.

The lens in particular, which can be quite easily scratched, should be protected at all times an
Ultra-Violet filter is very good here since it needs no exposure correction and can therefore
be kept on the lens almost permanently as protection against dust and the weather.

   o When cleaning becomes necessary as it almost inevitably will with outdoor use, any
      accumulated dust in the camera body can be lightly brushed away with a soft brush, or
      preferably blower-brush. Exterior metal parts can be cleaned with a soft clean cloth
      moistened with ether or absolute alcohol.

    NEVER touch the lens or mirror surfaces with the hands. Fingerprints diminish
       optical efficiency and due to natural skin acidity may in time damage the delicate
       optical coating of the lens and surface silvering of the mirror--silvering of the mirror-
      only an air blower (bulb type or similar) should be used for removal of dust. Any
      stubborn traces of dirt or condensation left on the lens after this can be removed by
       lightly wiping over the surface with a clean soft piece of lint-free fabric or cotton (or a
      pad of surgical cotton-wool on the end of a matchstick) that has been dampened with
      absolute alcohol, ether or other spirit mixture; any smears can be removed with a dry
       soft cloth. NO ATTEMPT should be made to clean the mirror or viewing screen by
     wet means - air cleaning only is allowed and this is usually best left to a specialist.

   o  Protect your camera from extremes of heat, or humidity. Never leave it inside the
      glove compartment or boot of a car - on a hot day temperatures of 100C can build up -
      and most important NEVER leave your camera out in the open sun. Heat is bad for
       the film and camera lubricants and the lens acts as a burning -glass causing damage to
       the camera's interior.
   o  Storage - If your camera is likely to be left unused for some time (several days or
      more) always make sure the shutter and self-timer mechanism are released first. When
     wound, these mechanisms are under strong spring tension; by releasing them you
      eliminate the tension and avoid any undue strain. Keep the camera enclosed in its
      carrying case with the lens cap on too. Do not store in humid conditions unless a
       suitable drying agent, such as silica gel in a sealed container, is placed alongside it. If
     you do not use your camera regularly, and especially before going on holiday or an
      important occasion such as a wedding etc., we recommend that you run off a test film
     making sure that all variable settings including the self -timer mechanism are used.

Trouble shooting

Your Zenith camera is designed to give you thousands of pleasurable photographs. Like any
precision instrument, your cameras controls must be operated correctly for best results.
Should you