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Graflex Crown Speed Graphic Century Guide — part 1 Reference guide
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/?S
THESPEEDGRAPHICGUIDE
includingCROWNqnd CENTURY
cC|merqs
by KENNETH S. TYDINGS, S.P.E.
Photographic Consultant and Inventor
Special Lecturer, Germain School of Photography
GREENBERG: PUBLISHER
New York
Librory of Congress Cololog Cord Numb er, 52-9285
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INTRODUCTION
The Graphic is an all-around camera that always gets results,
Whether there is rain, sleet, snow or dead o{ night, a Graphic can
always be counted on to get that important picture. Because of this
certainty in getting pictures, the Graphic has become intimately as-
sociated with the press photographer and has, in fact, become his
personal trade-mark. The reasons for the pressman's choice are based
on the camera's performance in producing excellent pictures con-
sistently under any light and weather conditions.
Tribute must be paid to Graflex, lnc., for their care in giving
the Graphic the internal strength to withstand the shock of mob
violence and yet still have the precision and delicacy of recording
the finest details with microscopic definition. Little wonder that this
scope of action has made the Graphic the one-all camera (one camera
for almost every use) for doing any job at any time. The author
is not affiliated with Graflex, Inc., and his descriptions of the camera
and its operations are as objective as an individual's can be. The sole
aim of this book is to show you how to derive the fullest benefit from
the use of your Graphic.
It is hoped that you will learn to appreciate that the Graphic is
a delicate instrument and is certainly deserving of your finest and
fullest care. Remember that the care that you bestow on it will be
returned manifold because of its inherent possibilities for superb
results.
Good Shooting !View original page 4Page 7 · Read text
CHAPTER I I RAPID RBSULTS WITH YOUR GRAPHIC
When you have purchased or have been presented with a Graphic
(any model, whether old or new, Speed, Crown or Century) you are
naturally interested in using it immediately and getting good results.
The illustrations in this chapter will show you the simple, mechanical
camera adjustments that can be made to get pictures at once even
though you may have only used a box camera previously. In facto
these settings duplicate the control settings of a box camera. So, if
you will forget for the moment that your Graphic is capable of many
control variations and only think of it as a simple box camera with
few adjustments, you will have the confidence of getting the same,
sure results as you got with "the old reliable box." The acknowledged
versatility of the Graphic should not encourage you, at the beginning,
to play around with the different controls until you thoroughly know
what you are doing and what the results of the manipulations will be.
By using your Graphic as illustrated, you cannot go wrong. Later,
when you have learned about the relationship of shutter speed to
aperture opening, you can easily make the necessary changes of set-
tings as subject or lighting conditions differ. But, for the time being,
use the Safe-Set Method to improve your photography because c,f its
tested simplicity.
Have a camera store clerk show you how to open and close
your camera. Have him show you, in particular, how to pull the lens
forward to its set (infinity) position and then let him rack the track
back to the scale infinity position as indicated by the focusing scale
numerals. The racking back is necessary because the linked track
generally moves forward when the camera is opened. Consequently,
merely pulling the front standard out to its infinity stop generally
moves the whole track forward. You must then use vour focusing
knob to bring the track back to the infinity position. You will find
it helpful at first to hold the front standard by the standard lock and
pull your lens as far forward as pcssible until the correct lens stop
on the track prevents any further forrvard motion. When the {ront
of the lens is against the correct lens stop, the lens is in position and
locked in the only correct lens-to-film distance for a sharp pre-focused
infinity image. You will be wasting film, time, and money if you fail
to place the lens in its correct position. It is well to remember that
an incorrectly positioned lens can never produce a sharp image.
5
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Assure yourself of sharp results by making the little efiort that is re'
quired to bring your lens forward to its infinity position.
To repeat:
I. Pull the lens out to its correct infinity stop and lock it. Then
rack the track back to infinity. Incidentally, to check the alignment
of your lens and front standard you can rack the track back beyond
the infinity position so that you can watch the image of the ground
glass and so be sure that the infinity setting indicated by the scale
is the correct one. It may be necessary to check the infinity setting
if your camera is dropped while being used. At the same time that
your camera is being checked for its infinity stop, the front shutter
and the curtain of your {ocal plane shutter must be open. As the Speed
Graphics are the only models that have a focal plane shutter, the sug'
gestion for having both shutters open refers only to them. When yo_ur
has both front and back shutters, it is only logical that if the
"u-"ttfront shutter is to be used, then the back shutter must remain open
at all times. Contrariwise, if the back shutter will be used (the choice
will be explained later), then the front shutter must remain open at
all times.
The front shutter is made to stay open at all times by moving
the speed indicator to Z (Time), cocking the shutter, and pressing to
release one tirne. To keep the back shutter open at all times, move the
speed control lever toward the back of the camera to disengage the
governor, then wind or release the focal plane shutter until the letter
7 upp"urc in the opening of the shutter speed window. Press the re-
lease again until the letter O appears. Your curtain shutter is now
completely open. A convenient method for checking your shutters
so that you close the correct one is to set both your front shutter and
your rear shutter on T. Release each one separately so that the front
shutter and the back shutter will be open. Look at them through the
back of the ground glass and you should then be able to look right
through the camera. Now, click only the shutter that you will want
to use. If you click the back shutter, the front one remains open and
will not interfere with the use of the focal plane shutter. Contrariwise,
clicking the front shutter leaves the back shutter open. If you do this
each time you ready your camera for picture taking, you will be sure
that the correct shutter remains open.
Incidentally, if you are not using your camera for any length
of time, leave your shutter settings on ? because there is the least
strain on any gear or spring at this setting. After a long period of
disuse, you should cock and release the shutter a number of times
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to re'urn any lagging spring tension before using the camera.
. - 2: set your shutter speed at r/r00 of a i""ond and cock it (whether front or back shutler)
3. The l/100 secondspeedis selectedon the assumptionthat using I9r T" speed,ASA 50, panchromatic'fiil. iJr" -1 T"-di"*
r1200secondwith ASA 100 and L/2s0 secondwith ASA l2t fii*.
4. on a clearday, setthe aperturebetweenf"/s.6,;;lE:-'
5. Set your focusing scale at 15 feet.
Promptly insert your film, whether it be in the form of a "- 9.
roll film, film pack, sheet f,l*, -ug a-zingr9ad, etc., as far as it *iti go into the space *.1q" by sprinj back. Then, turn the safety _the of your safety,slide and g""tly fuil out ttt" rUar. Before the "lrlnslide
can be removed from its horderwlth a focal plane shutter, the tlrrrion
must be set. once the slide is out, place it on tle retention springs (newer cameras), oT an adapter lor instant .*1""'"- _improvfued_ :t mentintotheholderafterthepi"tu'ehusb"",'taken.
7. Look through the operrframe finder and keep your subjects
at least I0 feet away by moving the camera bu"k urra iorth subject moves. ", i;;,
B. when the subject is at the peak of action or expression, re- lease your shutter.
. 9. Replace your-safety slide so that the light side of the slide
facesyou. when your holder has been r"-"r"*l?"m the camera, the
part that you will see from the front will be the dark side. The dark
side out indicates that an exposure has been made. Turn the safety
catch into its blocking position. when yo,, hu* ;;-pl;;;i-ii" ,"ii,
sheet film, film pack,-etc., unload it ii rrirrg it;;r"*
camera store for development and printing."*"t"tty
10. when the contact pictures ur" ,"t.rrr,ed, select the best and
crop them for better position and efiect
ll. , -Enlarge them or have them enrargedso that you can derive
pleasure from your finished prints, transparencies, srides, pictures, murals, etc.
Following the method described abov-e,despite your inexperience
you can learn to take pictures mechanically and huu" th"- p;""";J;
lor 4ou.r enjoyment or commercial needs without- actually-- delving too
deeplyinto the study of photographic pro""rr"..
The indoor Safe-SeiMetho& is aLo simple:
1. From the table, choose the image size that you would want, . e.8.,37/z feet for a head and shoulders. ,
2. Seryourdistancescale. ir# k , U\ " 7&
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3. Set your shutter speed on 1/100 and cock the shutter.
4. The flash table gives you the correct pre-setting of your iris
for your camera to subject distance.
5. Keep this distance as your subject rnoves back and forth.
Either guess your distance (accuracy comes with experience) or look
at youi subject through the rangefinder and move back and forth
until the rangefinder image is whole and then shift your eye to the
viewfinder.
6. When you see the peak of action or expression through your
viewfinder, release your shutter. You have just taken a picture. Re'
place your slide (black slide towards you), change your film, and
you are ready to take the next picture. i The Safe,Set Method has been evolved because the beginner, II
taking pictures for the first time, finds that there ale many unfamiliar i
knobs and levers that must be turned to make adjustments for every
new camera and lighting position. Therefore, to simplify the handling
of the camera, the Safe-Set Chart gives him beforehand the distance
and iris opening for any particular picture that may be wanted. With
this method all your mechanical picture taking factors are pre-set and
co-ordinated so that the only thing for you to do is to squeeze the
shutter at the right moment for a successful picture.
Tnn Cavrrrre
The Graphic camera ofiers many useful features:
I. Large contact print size. The contact prints from the
Graphics may be easily used or viewed without enlargement.
2. Easy enlargement. Since the starting negative before en-
largement is large, a moderate blow-up will produce a standard Bx10
print.
3. Variety of emulsions. The large film emulsions are much
more rapid and varied than those available for miniature cameras.
Graphics are easily adapted to roll film, film pack, sheet film, and
glass plates.
4. Single exposure. Your Graphic sheet-film holder permits you
to take and develop either one or two exposures at a time. Each holder
contains two sheets of film back to back, appropriately separated.
5. Standard film sizes are used for the roll film, the sheet film,
the film pack, and the glass plates. This means that you can purchase
your film or plates anywhere with the certainty that they will fi_t into
your Graphic holders. It is disconcerting to purchase film and find
that it will not fit your holder. The standardization of your Graphic
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holders assures correct fitting wherever standard sizes may be pur-
,' chased.
6. Permits every known form of focusing: ground glass, range-
finder, focusing scale, and focusing light.
7. Each camera is easily maneuvered and portable. Each model,
from the 2L/ax3r/a to the 4x5, has an optimum weight for its size.
B. Full emulsion speed. The moderate Bx10 enlargement pro-
# duces no strain on the resolution of your film so that even with devel-
opment in a vigorous developer, your pictures are sharp and free of
granularity.
9. Interchangeable lenses. The removable lens board enables
you to change your regular lens for any other focal length lens in-
stantly. With the Safe-Set Method of focusing, a lens of any focal
length may be focused by means of your present rangefinder.
10. Composition. The horizontal format of vour composition
is changed to the vertical by simpXy turning the camera on its side.
11. Easily adapted for studio portraiture, copying, medical,
child, pet and scientific photography, etc.
12. The between-the-lens shutter is easily synchronized for
flash. Fiashlamps and flashtubes, which are easily obtained and ac-
curately synchronized, may be used.
13. The focal-plane shutter has internal (built-in) synchro-
nization. This insures the accuracy needed for the focal-plane flash-
lamps which have a long, flat bowl for their peak of flash.
L4. Perspective modifications are easily obtained by means of
a tilt, rise and shift in the front standard. By turning the camera on
to its side, the tilt may be used as a side swing.
15. Negatives may be easily retouched.
16. Color duplicates by "masking methods" require less critical
tolerance because of the larger size negatives.
What is a Speed Graphic? The Speed Graphic is but one o{ the
- Graphic cameras which are characterized by having bellows, double
extension focusing, and accepting a great variety of lens, flash and
film materials. Because of this versatility the Graphics approach the
ideal all-purpose camera.
Graphics offer perspective controls by means of a rising and
falling front, lensboard tilt for focusing control, and drop bed for
wide-angle work. If the camera is turned to its side, the tilt may be
used for a side swing. one focuses with a rangefinder (coupled or
uncoupled), a focusing scale, a ground glass, or by means of a focus-
ing light.
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Outdoor Sofe-Set Formulo
l. lighf : Cleor doy, not horsh.
2. For scenics: set focus ot 50'ond keep fhe neoresl port
o f t h e s u b i e c t 2 6 ' o w o y , o r s e t q t 1 5 , o n d k e e p t h e
subiect l0' owoy. lf the subiect is within rhese dis-
tonces, use the viewfinder only os the rongefinder
would show vorious ports of the subiect to be out of
f ocus.
3. For portroits or neor distonces:
o. choose the subiect distonce, from the chort, bosed
on the subiect size.
b. Pre-sel fhe focusing scote for the subiect distonce"
c. Look through the rongefinder qnd move bqck qnsi
forth until if shows the imoge to be shorp.
4. Compose your subiect in the viewfinder.
q.Gently squeeze the releose qt the peok of expression or ocrion.
6. Use every sofety precoulion to keep lhe film unfogged os you remove it ond re-
ploce it with fresh film.
.S - Sbutter A - Ap erture
ASA 50 - I/100 sec" B etween
100 - UZO| sec. f/5.6 and f/g
(f / 6.3)
F - Foctts E - Effect
50t for distance
or
15t for middle
di staace
Bosic settings for block-qnd-
white film
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The lenses ar.e,interchange.ab-le; focal length (telephoto) _lo1g lensesmay be used by means of ttt"'doub"le bellows. True
telephotos (long focal length with a foreshortened"*i"rrio' film-to-lens dis_
tance)_maybe used as well without the need of the bellow,
The,Graphics^areusually fitted with the folowing lenses:"*i"rrriorr.
Flash for the focal plane or the front shutters is usually internally
synchronized,b.ut^a_magneticsolenoid is added for the convenience
of releasing and flashing the camera from an ofi-the-"u-.ru f;-.-iri"". There are seven,Graphicsin the family:
. _ The speed G_raphicshave both focar-plane(back) and between_
lhe'lens (front) shutters. The three sires ire 4xd inch, known as the
sp:"4 Graphic 45 the 37/ax47/ainch known as the sp""a cr"prri" s?;
and the 27/ax3t/ainch, known as the Speed Graphic 28.
The crown- Graphics have the same f"ut.rr., as the speed
Graphics with the sole of the focul-flarre shutter. The -exception
advantages of a focal-plane shutter are even iilumination of the
entire_negative coupled with very high speedswhich cannot r"
tained by a between-the-lensshutier. f airuavantageries in th. ,r""d"r_
for special flashlamps.Becausethe curtain takes some time to travel
acrossthe entire film, even with short exposuresmoving objects may appear distorted.
The century Graphic 23 is an inexpensive camera made to the
highest standards of iurability, though r""Lid ,o-" of the finer
features of the speed or crown Graphi"cs.It has'only a front ,t ,rtt",
but is available with the new Kodat boo shutter *lri"'L p"r-it, ,;"J,
of 1/800 seconds.The high speedof this shutter minimizes the need
for a focal-planeshutter.
This brief mech,anicalbackground is presentedin the hope that
you will remember that you porr"r, an inslrument which *ill;i*"y*
i-f,fo" ,"rr,"mber to pre-set all the pi"r"."_r"f.irig
ractorsl:[I^t"Ir.:bet're the exposure"un is made. The need for meriorizing th"r"
important points is to recall the word SAFE before you are readyto releasethe shutter.
q-Shutter; A-Aperture; F_Focus; E_Exposure.
, T!: Graphics can be used unde, gr"uily difi;;i"g right, distance
Bnd subject motion conditions. The ,r"it fo,r, chapterswill show you
how to make and changethe previously given .i#pr" settingsso that
the Graphic's flexible potentLlity may le u.ed io, possible
photographic problem. "u"ry
T7
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CHAPTER2/ S_TIIE SHUTTER
The shutter of your camera is like a water faucet; it can be
op'ened and closed. While it is open, light comes through; the longer
you leave it open, the more light comes through. When it is closed,
no light is admitted.
Your Graphic may have either a focal-plane (curtain) or a
between-the-lens shutter. A focal-plane shutter is similar to a window
shade with a slit in it. Only while the slit passes in front of the film
can an exposure be made. Naturally, the wider the slit, the longer
the time that it takes for the curtain to travel across the film and as
a result the greater will be the amount of admitted light (exposure).
Conversely, with a narrower slit the light admitted is proportionately
less. In other words, a wide slit will produce a long exposure, while
a narrow slit produces a short exposure.
Caution: The Graphic's focal-plane shutter is not of the self-
capping type. You must have the safety slide inserted in the holder
before winding the shutter. Failure to insert the slide will hopelessly
fog your film.
At one time the focal-plane shutter could be set Lor 24 difierent
speeds. In the newer models, there are usually sixl. L130, L150, LlL20,
11250, t/500, f/f000 and Time. In actual practice, the tension is
usually set for LIL2O of a second and left there for both outdoor and
indoor conditions.
It will be helpful to remind you at this time that flash with your
focal-plane shutter requires a special type of flashlamp. You must
remember that once the open siit has passed the film, it can no longer
be re-exposed. Therefore, the lamp must burn evenly and continually
for the entire duration of the curtain's travel, else the beginning and
the end of the film wiil be under-exposed while the central portion
may well be over-exposed. With the special focal-plane lamps (Class
FP), the graph of the duration of the flash shows a long, flat, even-
burning plateau to insure an evenly exposed film.
The focal-plane shutter is wound by turning the winding key
after checking the tension and aperture controls. Once set, the shutter
is released by pressing the shutter selecter slide upward to Trip, or
if the slide is set to Back, the regular body release may be used to
trip the shutter. In the older models, a release close to the winding
key is pressed.
Caution: If you use the rear curtain shutter for your exposure,
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SPEED CONVERSION CHART
3n f.L. 4 n
Speed to Lens 5 n 6 n 7 n g n
Divide
by L,4 t.7 2 2.3 2 . 8
If the speed of an acriviry is t/W fo. u l;ffi by two (2X) = t/350, etc.
For example:-
3 n 4 n 5 n 6 n 7 0 g n
r/r75 r/250 r/300 L/350 t/400 r/500
erposure by half, etc. ro stop the same speed.
glass without setting the shutter on Bulb or Time, or to keep the
front shutter open while the back focal-plane shutter is used. The
press focus lever or button is built into the newer Graphics and
synchromatic shutters as well as those of other manufact.ri"rr.
To use the press focus mechanism:
1. Leaer. cock your shutter. If the press focus lever is moved
clockwise and down, it opens the blades. Moving it counter-clockwise
and up closes the blades. Its operation do"s ,rot interfere with the
normal use of the shutter.
2- Button. cock your shutter. press and hold down the button
releasing the shutter. This action will open the shutter blades.$it
The blades are closed by re-cocking the shutter.
caution: Remember to check your back shutter and see that it
ogen if you are using your front shutter. Graphics without theis
focal plane shutter need not be checked.
when you press your shutter release, you will hear the sound ^ _
of the shutter mechanism. Practice cocking urrd releasing the shutter
becau_sethe Graphic release depresses before the shutter
actually starts the releasing action. practice"orrr]d"rublya number of times until
you get the depth and pressure for the release just right. There is a
good reasonfor this: action and baby portraits ,"q.rir" instantaneous
exposures.The shutter must be released within a minimum of time
and without jerking the camera. If are too late or move the .,ror
2L edfK*,uJ
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camera while depressingthe release,yol m-ay^losein that split second
the once-in-a-lifetim" ,iril" or the single definitive action of an im'
forturrt event.While the Safe-Setspeedl ar-eadequatefor most normal
pi"t.rr"r, there are times when other speedscan be used'
SueJncr SPnrl Rur-rs
The beginner nxay remember to use a last speed lor moaing
objects and,"a slow ,pied lor inanimote or still subiec.ts.But, as y.ou
*iil firrd later, a .low"r speedmay permit a narrow iris opening with
a gain i., depth of field urrd orr"ruil rhutptt"ss. By choosing the correct
.h",rtt"r. ,p"",d, you can still stop the motion of your subject {il"
managing to retain the greatest amount of sharpnessand depth. This
speed"ch"oicemay very often be an important point in making or
t""r.i"g the efiect of a picture. A simple way to remember what
speedto"use is to know thl meani.rg of^the series of numbers 25,5,30
fo, u 4-inch lens. The basic numbers for the other lenses are given
in the chart.
The basic number for the -inch lens means that for a subject
25 f.eetaway,moving at 5 miles an hour, with a_line.of motion directly
toward or away f.o* the camera position, the shutter speed need
be only I/30 second. With a 4$-degree line of motion, the shutter
,p""d is doubled (L160 second), while with a 9O'degreeline of mo'
tion the shutter speedis three times the originalLl40 second (IlI20
second). On the oth", hand if the speedof a subject is increasedto
10 mrles per hour, then all numbers are doubled. As the speedsare
increased,the shutter speedsmust also be increased in direct propor'
tion. If, on the other hand, the subject distance is increased to 50
feet, ali numbers must be doubled. With a 100'foot distance the
figures are quadrupled so that the moving subject at 20 miles per
hf.rr, I00 felt u*+, with a line of motion toward the camera will
still require a Ll4O shutter speed.
So with the basic 25,5:40 you can readily figure out whatever
shutter speed is needed by simple multiplication or division' If your
highest shutter speed cannot stop the motion of a rapidly moving
ob]ect from u,"i position, then you may^stop the subject on your
'opanning" yo.r, camera. "Panning" means that you swing or filrn by
move ih" i' lin" with the direction of motion o{ your subject' "u',,"ri trip the shutter, the subject will be sharp while the back' When you
groond wil bL blurred. Though this is not always the best photogra'
fhy, th" resulting sharp subject justifies the compromise.
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Pne-spr Snurrpn Sppnos q
It is possible to pre-set and keep your shutter speeds at r/r00
second and compensate for any light changes by varying the iris.
If your subject is average (Class B) on a sunny day, ytuiiris is set
at L2; on bright day (Class 2), at 9; etc. (See Chapter 5.) All ?
factors with the exception of the iris opening remain the same.
This method is suggested for the beginner who may be confused by
changing many settings. Just leave the shutter speed constant and
change the iris for any change in lighting conditions whether flash
or outdoors.
your shutter speed has been chosen and the shutter pre- 91""
pared for release, the next question which arises is whether the ex-
posure shall be made with the camera hand held or on a tripod. With
shutter speeds slower than 1/50 second, the exposure should be made
with the camera supported on a tripod. You may hold the camera
in your hand if your shutter setting is 1/50 second or faster. you
should try to minimize camera vibration because the finished pictures
are magnified by enlarging, projection or viewing and this magnifi-
cation will show any body vibration as a blur. To limit the possibility
of blurring with a hand-held camera at speeds of r/50 s""orrd or
faster, brace yourself in this fashion: Place your feet so that your
toes are approximately {our inches apart, your heels about six inches.
Hold your camera firmly, take a deep breath, exhale and shortly after
the exhalation (when you are at your steadiest), release the sLutter.
When no tripod is available, this method will yield good pictures even
at l/10 second. But at speeds slower than l/50 second it is far safer
to use a tripod to provide.a sturdy support. I suggest an €asy, high-
changing type of tripod to minimize tripod manipulation.
Practice releasing your shutter so that the camera will remain
steady. No matter how steady you may think you are, you will always
tend to push the camera slightly in the releasing direction. If you
learn to release your shutter without vibration, your pictures at even
I/10 second will enlarge cleanly and not show any camera movement.
The best place to practice is in front of a large mirror. Stand fairly
close. Look through the viewfinder and watch yourself in the mirro,
as you release the shutter. Any camera movement that you notice
would have resulted in a blurred picture if you had had film in the
camera. So, learn to squeeze the release gently to reduce the vibration
or camera pushing while taking a picture.
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CAer.r Rsr-rA.sr 1l
Adjacent to the shutter releaseor in combinationwith it is a
socket or a threading to take a cable release.Your camera dealer will
fit the correct cable-for your specific model. Caution: Use only the release.If the *rorrg tip is used, there is the possibility of the II;;**
mechanism' shutter the ipt""g"t' "Wialtpiercing is no camera vibration whatsoever in there release, a cub-I"
taking the picture. However, the releasemust be long _enough-sothat Ithere is an easy loop between your hand and the shutter. If your
release is too short, ihe vibration of pushing the cable will transmit
itself to your with poor picture results. The Kodak Cable "u*"ru similar acting ,"i-."t.* cable releases are particu-iil;"* ffz utt,llarly recommended for shuttJrs with B but no T setting. These 1
releasescan be used tor T, B, or instantaneousexposures. t
DBr-lYno AcrroN
. Some shutters have built-in delayed action mechanisms' Others
*uy U" nired with auxiliary self-timers which fit into the cable release
soctet. The self-timer is particularly desirable when you wish to get
yourself into a picture. Witft it, you are able to take flash pictures of
yourr"lf or, by posing in 1ny s-cenicpicture,-to add that necessary touch of human interlst. Also, it may be used on a tripod to set ofi
y""t rfr*ter without vibration if a cable releaseis not available'
CHAPTER3 / A_APERTURE
The interval between the opening and the closing of _a faucet
allows water through it tor any desired length of time' If the faucet
opening is narrow,"a small amount of water can come through;- if the
faucet lp"rring is large, then greater-quantities wiII po-urthrough. The
r"iutio"rftip oi the dlameter of the faucet to the length of time that it
remains op"r, i, similar to the relationship o{ the size of the lens
;;;;* to the shutter speed.The.shutter setiing-determinesthe length
of time that the light witl continue to come through the lens' The
diameter of a faucet is measured in inches. Photog-raphically the
diameter of the lens must be related to the focal length (distance oJ
lens to film) at which it forms an infinity image, and this ratio i! :' usually shown as an f/ number.
24View original page 26Page 27 · Read text
The Ll number is the relationship of the size of the lens opening to
the length or distance that the light rays must travel before they form
a focused sharp image on the film. A small number indicates a wide
opening, whereas a high number indicates a narrow opening. The
wider the opening, the greater the amount of light that is admitted at
a given interval of time. The narrower the opening, the smaller quan-
tity of light that enters the camera at the same time interval. For equal
exposures you can have a large opening and a short exposure or a
narrow opening and a long exposure. There are different advantages
to be gotten from each effect. A wide opening will permit a short
exposure such as is necessary for action pictures. A narrow opening
will give increased sharpness over a larger area of the picture, when
each detail must be clearly and accurately defined. The difierent lenses
that are used on the Graphic, notwithstanding the difierence in focal
Rer,errve LIGHT INCREAsE, IF oNLy rHE
Fur,r,-srop MARKTNG IRIS IS WIDENED
r/t I These are full stop openings with a
t/L.4 2 100% difierence in light trinsmission r/z 4 between two adjoining stops.
f /2.3 B If the indicator is moved approximately
f/4 16 half way between the two mirkings, thb
t/s.6 32 iris is opened 12 stop and the difierence
f/B 64 in light transmission is increased 507o.
f /7L l2B Half way between I/5.6 and f/B pro-
T/L6 256 duces I/6.3,berween I/B and f/Il isl/9.
ller-r-srop opENTNGS
I/3.s I These specific numbers produce a dif-
r/4 1r/z ference in light transmission oI 50Vo
f /4.s 2 from one mark to another.
t/s.6 3
t/6.3 AL/z
t/8 6
r/g 9
I/Lr 12
f /12.s 1B
t/16 24
f/tB 36
f/22 48
N.B. Euery_thi1t'gbeing equal, il ,the shutter speed, is changed, lrorn L/L00 to
I/200, the iris must be wicJened,one stop.
It' the shutter speed, is changed, lrorn r/L00 to r/s}, the iris is narrowed,
one stop.
* Itrowedthe_byshutterYz stop.speed, is changed, from l/r00 to l/7s, the shutter is nar-
Il th_e.shutter is narr_owed lrom l/B to f./16, the shutter speed, is length-
"* ened, lour times so that I/L00 will be re-set to L/25.
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www.butkus.usView original page 27Page 28 · Read text
length, all use the same ratio system for securing an f/ number.
Therefore, anf.l8 for a 4-inch lens will give you the same exposure as
an f/B for a 10- or 20-inch lens. This factor necessarily simplifies
your exposure considerations.
The iris diaphragm of the lens regulates the size of the opening
which admits light to the camera. This iris is in many ways similar to
the iris of the eye. Look into a mirror and bring a light close to your
eyes. As the light is brought closer, you will see that the iris opening
narrowsl as the light is moved awaf: the iris widens. You duplicate
this narrowing and widening by moving the indicator from the higher
to the lower number.
The iris is set by moving the iris indicator opposite one of the
numbers. From 5.6 to f/B is one full stop. A full stop increase of
exposure requires twice the amount of light, while a half stop decrease
of exposure is derived by dividing the exposure in half. With the
chart, you can figure out what differences in shutter speed or iris
settings are necessary whenever you want a special effect.
So far you have learned how to set your shutter and control the
variable opening (iris) of your lens.
BASIC NUMBER FOR MOTION STOPPING SETTINGS
(tt lens 5" 6u 7t' 8rl
25,5 , 50 25,5r 60 2 5 ,t , 7 0 2 5 , , , 8 5 25,5 , r00
25 - The 1ite1q"-ber means the subiect to camera distance
5 - Refers to miles per hour movemenr
50r etc. - Indicates shutter speed oeeded ro stop the motioo
CHAPTER 4 / F-FOCUSING
Focusing is the process of insuring the maximum amount of
image sharpness. With the Graphic, it is possible to correctly estimate
the subject-to-camera distance by the use of a ground glass, a range-
finder, a focus spot, a non-coupled rangefinder, or by simply guessing
the distance. To help you with your guess, you may take advantage of
either the depth of field or the hyperfocal distance scale settings.
These last terms will be described later in the chapter.
Ground glass. A ground glass is a piece of clear glass which is
26View original page 28Page 29 · Read text
translucent on one side only. This translucency must be formed on the
side {acing the camera lens either by physically grinding the glass
with sands of difierent fineness or by the selective chemical etching of
the one side that faces the lens. This grinding or etching is done only
because the translucent side can make visible the aerial image formed
by u lens. When the visible image is so produced by the lens, it
must appear sharp. Assuming that the ground glass is in its proper
plane, the lens and the camera are in focus when the ground-glass
image is sharp. If the image is not sharp (blurred), everything is
out of focus.
The beginner may practice by placing a newspaper or other
printed material on the wall. Hold your camera at approximately four
feet from the subject. Set your shutter speed on Time, cock it, and
click it once so that the shutter opens. Point the lens at the newsprint
and then look at the ground glass. If you can read the print clearly,
the ground glass has the subject in {ocus. If you cannot read the
printed material, then you must make a focusing adjustment by
turning the focusing knob back and forth until the printing can be
read. Only then is your camera in sharp focus.
Since the ground-glass method of focusing is time-consuming, a
tripod is needed to keep the camera in the same spot at which the
focusing was made. The subject matter, for ground-glass focusing,
is generally still (inanimate) or confined in space and limited in
movement.
A helpful hint in the use of the ground glass is to be sure that the
spring back is firmly against the camera back. If it is not, your
focusing point cannot coincide with the focusing point of your film
holder and your picture cannot possibly be in focus. In addition,
since you will have to click your shutter again in order to close the
shutter blades and re-set it, or finish cocking it with the press {ocus
feature, it is best to lock your focusing track to prevent any move-
ment after you have the correct focus. For perspective control by the
use of shifts, tilts, etc., your ground glass must be used to determine
what exactly is coming through the lens. The effect of these controls
can only be determined by means of your ground glass.
The Ektalite field lens. The ground-glass image in your new
Graphic is greatly brightened with the Ektalite field lens. A field lens
is a condenser, magnifying type lens which has been collapsed
through an ingenious engineering feat from a heavy bulk of many
inches to a thinness of approximately an eighth of an inch. The reduc-
tion in size saves both weight and bulk because the field lens is almost
27
www.butkus.usView original page 29Page 31 · Read text
ANGLE OF ACCEPTANCE AND VIEVFINDER MASKS FOR WIDE ANGLE LENSES
NEGATIVE SIZE
2 % x i % 3 % x 4 % 4 x 5
W.A. Lens Nlask #lAngle ol Vietu ItasL # | Angle ol Vieu Mash # lAngle ol Vieut
Area larger
65 mm 4 7 < o tban viewfinder, 900
no mask.
80 mm t 6f 4 glo
88 mm 4 740 requiredNone 940
90 mm 1 760 requiredNone 860
100 m- 3 670 4 tto
feather light and made of a thin ctrearplastic. The fieXd lens is factory
installed in the newer cameras. However, older cameras may have the
Ektalite lens added. But I suggest that your Graflex dealer do this for
you because your focusing scale must be re-set. When the Ektalite
field lens is added, the ground glass must be repositioned by allowing
the focusing panel to be rolled out to an amount not quitl equal to
the thickness of the added lens. The focusing scale, the infinity^ stops,
and the must not be touched if the lens is p.oplrly in- _rangefinder
stalled. Since the focusing panel can be milled out by u t"ry exact
amount that must be held to a tolerance of plus or minus 0.00i of an
inch, only your Graflex dealer or a fully qualified camera mecha'ic
should install the field lens. For if it is installed incorrectly, your
gro-und-glass focus with respect to your focusing scale and- range-
finder will be incorrect and your pictures wiil nlver be in corrlct
focus. Therefore, be certain that this installation is performed by the
people who know their job.
Focusing by scale.If you must guess the distance or donot have
time to use the ground glass, etc., as in sports and action pictures, it is
good idea to kn_ow something about the depth of fielJ and hyper-I
focal distance so that they may help you to secure a sharp image.'We
have-said_that your negative area is large and does not-requiie any
sizable enlargement to be viewed. The depth of field inhereni in your
lens is sufficient to make large subject ut"u, sharp without the need of
focusing accurately. Sharpness, as you must ,"ulir", is a relative term
based on the fact that the film image is composed of many fine silver
grains (dots). At l0 inches if the image forming dots are so close
together that the cannot distinguish them separately, the image _eye_
appears smooth. If the image-forming dots are individuaily distin-
guishable when so viewed, the image will appear unsharp. Note that
29
www.butkus.usView original page 31Page 32 · Read text
Hook Hold
Polm Support
R e p l o c e o b l e
m o s k s l o m o l c h
d i f f e r e n t l e n s e s
The focusing scole
i s s e t o t l 5 f e e l
H o n d G r i p
slrarl)tlcsstll ust l,t' ('()t't'('latt'tlt' r it'u'irrgrlistanc:e.r\rr unsharl) irrrage
is rlistirrctlr rli{Icrcrrt ft',,nt thc g-rarlularit}'proc[ucr:rll,)'hi.<1,-.1,,,",1
(r(ftll's('-st'aittt'rlrlt'r'elr)lx'I's.llearling'in )'our clistancetaltle that €\,gr'1,-
tlring i. sltar'1rft'r,trr2l fct't to infinitr .l.re=rrot lnearr that )'our sulrjett
l,ct't)rrr('s ('()rrlplctclt lrlu rrccl at I Ii ()r' l9 feet. The 2L feet-to-irrfip ity
subject slrarl)rr('ss.l,) definitiort. usually'nteans that the e),e rvilI lre
utralrlc [o tlistirrguish at sel)aration ,;f trvo inrage fonning dots if thgy
at'c I l(X) inch apal't rthetr a picture: is vien-ed at l0 irrchcs.W[e1 16u
(:an t sec thcr st'l)aration lletneett the tn-o clots. the corrtinuous iU)lx)elr-
all(.'et,f ).()ul'irnage is lto lotr:l^ersnrocrth ancl uniterl. lrut 11ill [e
grallultrr ()l' sallclt. To the er e. a setntlf inrage cloesnot altpcar sharlr.
T',, g'ct lrack to \ our subject at It] or 19 feet. )'ou rvill just begip i,,
se(' at th is last-tttetttiottt:cl(listattcethe lteginning of the sel)aratiorr,,f
tltt' ttr o tlots ,r{ \'oul' filnr intasc. ,\t 14,()r 7 feet the clot sel)irratiorr
u ill l,t' ('()tll'sc,,,i.1tlte itnagt' iirrlistinct.There is no allrugrt,livirling
.t()View original page 32Page 33 · Read text
line from a sharp to an unsharp image. There is a gradual sharpness
deterioration depending upon lens opening, distance, development,
viewing method, etc. Contact prints from any negatives will be easy
to view if your negative image's definition is held to within the I/I00
inch allowance. But, to produce a larger size, L1200 inch dot separa'
tion or smaller is needed when enlarging to a standard BxlO inch size,
because the image dots will be separated at least 2 to lCl times linear.
By linear we mean that an object measuring one inch on a 2lax37/a-
inch print may measure five inches on an BxIO enlargement. The
enlargement size is important because if a lilm is enlarged I0 times,
the 1/100 inch separated dots of the normal image are pulled apart
and will now show as two distinct points, 100 divided by 10, or 1/I0
inch apart. Because rve can readily distinguish points I/10 inch apart,
the image will be poorly defined and cannot be used at the Bxl0'inch
size when viewed at a l0-inch distance. This must be understood in
light of the fact that a l0 times linear enlargement of a 4 inch x 5 inch
negative would produce a 40 inch by 50 inch print. Naturally a print
of this size cannot be viewed acceptably at the normal lO-inch reading.
distance. You must move back to about B or 9 feet for a better per-
spective of the entire mural. As you walk further back, you will note
that the grain size becomes less and less noticeable, until at your
9-foot distance, no unsharpncss can be seen. The proportionate angle-
of-view of the I/100 inch circle of confusion at 10 inches is the same
as J-/50 at20 inches, Ll25 at40 inches, and iltO B0 inches. There-
"tfore, the noticeability of the grain patterns of the image is dependent
on the viewing distance.
As most film is enlarged, you should pre-calculate your subject
distance and iris openings to be sure that the picture is as sharp as is
possible. A perfectly focused image will give a definition far beyond
the required minimurn tolerances. You will then have a fihn image
that can be either viewed easily or enlarged adequately. The subject
of image point formation is known as the circle of confusion.
The scales are calculated for a circle of confusion that is equal to
1/1000 the focal length of your lens. This is generally Il20O inch for
the 5- and 5t/a-inch sizes, while it is Ll25O for the N/axTla
Graphics.
If you know beforehand that your subject will need enlargement
oi projection to an immense degree, then stop down (narrow the
opening) at least one or two extra stops for greater sharpness than
the table indicates. The depth of field table can be used even if you
guess your distance or use a measuring tape as an estimated guide for
31
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