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Graflex Crown Speed Graphic Century Guide — part 2 Reference guide
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- Graflex Crown Speed Graphic Century Guide — part 2
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- Reference guide
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- English
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- 50
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Page 1 · Read text
followed in that the lens standard is moved opposite its co-ordinated
focusing scale on the non-moving portion of your lens bed and then
viewed through the appropriately corrected viewfinder.
The advantages of this system are obvious in that integral camera
changes or rangefinder alterations are eliminated.
CHAPTER 5 / E-EXPOSURE
Now that the mechanics of picture taking have been described,
all that rernains is for you to integrate this knowledge and prepare
f o t a k e a p i c t u r e .
You now know how to set your shutter and iris, but you must
know which settings are to be used. There are three methods of deter-
mining the proper camera settings for normal lighting conditions. j
1. Every roll of filrn is packaged with an instruction sheet. On ]l
this sheet, you will find recommendations for shutter and iris settings l]
for different light conditions. If you follow these recommendations, I
you will definitely get properly exposecl pictures. Remember that the I
manufacturers take great pains to insure the accuracy of their pub- |
lished information. I
2. There are always three factors in determining your camera I
settings: Film, shutter speed and iris. The exposure chart in this I
chapter standardizes the setting procedure so that the only variable I
will be your iris opening. And, to make your choice easy, the different I
iris openings are derived by the use of simple arithmetic. First choose I
the number for the correct light conditions and multiply it by the suit- I
able subject classification number. The product of the multiplication I
will be your iris setting. For example, if you are using film with an I
ASA 50 and a shutter speed of t/I00 second, then when your subject I
is average (Class 3) and multiplied by hazy sky lighting (Class 2), I
the result will be 6. If you set your iris at 6.3, your exposure will be I t'on the button." Practice a number of times for different subjects and I
lighting conditions until you have mastered the chart. While this chart I
gives you iris openings {or set shutter speeds only, you can change I
the settings at will since you can increase your shutter speed by open- I
ing your iris in proportion so as to maintain the same volume-time I
relationship of light. The f/number chart of Chapter 3 will show I
you the difierent shutter speeds for proportionate iris opening
I::lView original page 1Page 2 · Read text
changes. If you know *!* speed is needed, then you can open and
close the iris from the table number and still maintain the coirect ex-
posure.
3. The photo-electric meter is an accepted standard for accurate
measurements in indicating correct exposure. While a chart may be
used for outdoor settings, only the photo-electric meter i, ,""o*-
mended for use with artificial lighting or even outdoors where ex-
treme accuracy is needed for color work.
There are two types of photo-electric meters.
a. The incid,ent light type. This meter measures the light that
is falling on a scene or a subject. The incident type glnerally
has a collecting sphere (like half a tabre tennis-bail), light-by
masks or great teen type hoods which take a reading
pointing these collecting devices at the camera. The- coi-
lectors are used to- integrate any varied strengths of light
reaching them so that the readings are very accurate and
are set at the mid-point of a gray scare. The sphere also
minimizes the possibility of two eye readings when a spot.
light or any other intense light source shines directly on the
subject.
b. The reflection type. The reflection type measures the amount
of light reflected from the subject. It ls pointed at the subject
for an intensity reading. However, a gray-results.card must be
used with this type of meter for accurate Because
gray is a- neutral t_one, you will automatically photograph^difi"rJrr""r.
your blacks and whites in their correct tonal
If a gray card is not used, then you can see that difierent
reflected readings will result from dark or light subjects.
since both readings cannot be correct, you must do so*"
mental calculation to figure out a new middle value that you
hope will give the correct result. The only precautior, *ir",
using a glay card is to be certain that it is large enough
for a reading (point the meter at the card from"at least"a
ten-inch distance) and so be assured that only the reflection
from the gray card will influence the meter. in additiorr, b"
sure that your_body is not blocking any light from its source.
Bend your body away-or take a knee benJ so that yo* hurrl
is holding the meter free and clear. with these pr""urtio*
your meter readings can yield excellent results.
with both types of meter there is still some judgment required
on your part. For dark subjects the iris may b" op"rrid a half stop,
39
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while with ve_rylight subjects the iris may be closed one half stop
below the indicated scale readings.
Fr.,lsH Exposunps
exposurefactors for flashlamp and flashtube are quite difier. -The
ent from those determined by either of the above-mentionedmethods.
Every flashlamp or flashtube is supplied with an exposure guide
number chart by the manufacturer. This chart provides you with a
guide number to be used with certain speed films at definite shutter
speeds.Since you know your film and shutter speeds,the only remain-
ing unknown is again the iris openi'g. The iris opening is found
by simply dividing the subject distance into the spelific guide num-
ber. trf, for example,your flashlamp has a guide number of rro *ith
an ASA 40 film at 1/100 of a secondwhen your subject distance is
10 feet, then you divide 110 by r0 to get an answer of lr. The iris Iopening of your lens is now set at f/11. If a subject is 20 feet awa1,
then the iris opening will be Il5.5.If your guide number is 56 and
your flashlamp-to-subjectdistance is 6 inches (r/z foot), then divide
the 7/2into the 56 and the indicated opening will be IlrL2. Since your
camera iris generally is narrow only to 1122,then you must use a
number of layers of handkerchiefs or white linen cloth to reduce the
light intensity of your flash so that it will be correct for your mini-
mum_lensopening. This is further explained in Chapter B.
Standardize with one flashlamp so that you know its character-
istics well. With standardization will come a uniformity of results so
that you will be able to concentrateon your subject. Finally, I should
c_autionyou again to hold your camera firmly and learn to push the
shutter releaselever gently so that you will not jar the cameia.
Exposunu Rur,rs
Black and white film: Expose black and white film for the
shadows,but develop for the highlights.
color film: color film should be exposedfor the highlights, but
precautionsmust be taken to assureadequateshadow detail by light-
ing the shadowswith a 3 or 4 to I ratio becauseof the low contiast
limitations inherent with most color emulsions
40View original page 3Page 6 · Read text
SIMPLIFIEDOUTDOOREXPOSURECHART
Film: Outdoor Color-A. S. A. 10 B & W-A. S.A. 50
fBS Filter with Indoor Color Shutter Speed 1/f00
Shutter Speed-I/25th
45o Light
Angle to
Subject
3 - People,
trees, archi-
tecture in
outdoor
middle dis-
tances
2 - Average
subjects;
Open street,
near dis-
tances
I - Shaded
street
For normal subjects, normal conditions, normal areas.
Use l/2 stop wider for dark subjects, etc.
Narrow l/2 stop for light subjects, eto.
43
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CHAPTER6 / LOADING AND UNLOADING
Tnr Snnpr Frr,nr HolouR
The specificationsfor the holders of difierent manufacturers are
usually taken for granted. Most sheet film users never bother to check
the dimensions of their film holders. This, in many ways, is un-
fortunate. Onll a holder o{ proper design and manufacture can pre-
vent a light leak (which causesyour film to fog), maintain yo,rr hl*
in the correct focal plane of sharpest focus (otherwise your film pro-
ducesa Iuzzy or can hold your film flat so thai every puri of lmage),
your image will be in sharp focus. You rvill agree that it is ridiculous
to spend a g_reatdeal of time, efiort, and money to attempt to take a
picture which cannot be sharp becauseit is taken with a film holder
of poor design. The Riteway Holders are correctly engineeredto pre-
vent any of the mentioned inaccuracies.Fine precision tolerancesare
maintained and even the material used is specifically selected and
thoroughly seasonedfor photographic use. In addition, the basic ma-
terials are carefully chosento prevent any infra-red penetration, which
is important if you are using infra-red film. The matter of assuring you
the bestpossiblefocus through the use of a precision product is ; i--
portant that the features for the Riteway Holder.are listed on page 49.
Tur Frr,u Pecr Ao,rprrn
The design of the film back adapter must meet all the previously
mentioned requirements for a sheet film holder and in addltion havl
absolutely light-tight trappings which are essentialfor the safe use of
a film pack. The outside must be sturdy and the top edges firm and
rigid to prevent any possibility of film pack movement *h"r, the tab
pulls the next film forward. The film pack adapter may be used for
sequencepho_tographyin that the tabs may be' pulled very quickly.
In rapid the pack must itaroetody r"gg"d""r. i' -such ,movements,
order to meet the tugs and strains to which it is put.
Tlre Ror,r. Flr,rvr An,tprnn
The use of roll film is frequently an advantagewhen many expo-
are required and you are limited by the amount of sheet film:uTgr
holders available.
Actually there are three types of backs available for your
Graphic:
44View original page 7Page 8 · Read text
t . ,
l.lotched uPPer right hond c o r n e r i n d i - T h e G r o p h i c F i l m P o c k o d o P l e r
c q t e s t h e e m u l s i o n s i d e i s f o c i n g u p .
Accessory spring clips to hold roll
f i l m h o l d e r i n p l o c e .
The Groflok bock is removed in-
stontly by the Groflok side locks.
l. Ct'11tlti,, l,ctcl;.The (,ra;rlric lrack hers its gt'()utr([sltrss l)crll)a'
n{.1rtl\ attar.l'lr.tlu ith slrrings. \\'.hcn tlte c:ut filnr holtler is irrst't'tt'rl-the
sl)r'ing-sl,r'rrrl s() that the h,rlclcr is inscrtecl lrcttr('('ll thtt gr,rutttl .9lass
a r t , l t l t r ' ( ' i l n r ( ' l ' Al r , , t l r ' .
2. O rrtll,,.r' l,crcl;. Thc (rraflcx l,ack has a retlroval)le f,rcusing
1 , a r r , ' nl l r i r . l r i . l r c l r l i r r 1 r l a c , :l l v a s e t s l i t l c l ) a n c l . \ \ - l t t ' t t t h e s c t s l i t l t r i s
n r , \ r , r l u l ) . t l r r ' [ , r ' u s i r r g l , u r r c l ( ' ( ) n r ( ' s( ) u t a r r t l i s r c p r l i . l ( ' e l( rl r i t O r a l l t t r ' l ' l l c f i l r r r l r , , l , l , , r ' . s t , t . l i t l c i s t l t t ' t r l n , , \ t ' t l t l , r t rt t t o h , , l t l t h c f i l l r t l r , , l t l t : r
i r r ; , i i t r ' , ' . 'l'ltr, [t'utltI'('s,,I tltt' (,rttpltic itttrl (,rerllr.x l,at:ks :|. O rttllol; l,u,'l;.
1..)
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have been combined for increased versatility. The spring_loaded
focusing panel is easily removed so that the attachment of the roll film
holder becomes a matter of seconds. To remove the Graflok back,
simply press the tension springs so that they are free from th"
posts. Then, slide the panel to the right. Now, the roil""rrt",firm -focusing
attachment is placed in the base where the f#usirrg panel formerly
was, and the two set slides of the back are pressedtowards each other
to hold the roll film back in place.
^ _ spring kit tor_Graphicionaersions. Graphic backs can be modi- fiedto acceptrollfilmrrorders -g."i: of_aspring kit which ,;;il;", _by
the focusilg panel and holds the roil firm holie, h"r*ty i' pru""l
Two formats are ofiered-27/ax}t/a inch or 2r/a-inch sq""r". T}r"
use of the 5- or 6-inch lens of th" iutg", Graphics on a 2r/ax|r/a inch
size or a 4-inch lens of the 28 seriesoi a 2la-inch square ,ir" niri, pro_ duces a semi-telephoto This efiect isldeal for portraiture since image.
it permits a greater working distancebetweenyo.r, ,.,bject and *-"ru
than is otherwise possible with a shorter, ,ror*ul lens. In addition, the greater distance aids perspectiveas_it prevents foreshorr""irrg,-u;a I
economical color film is available in the I20 size.
. The Grat'ama-ti9rnagazine. The latest addition to help-Grafurrraticthe oper- ating efficieney of the Graphic owner is the six-exposure
magazine. The design utilizes a simple push-pull efiect f",
the film without removing the magarirr"^fro* the camera. "il;;i;g
_Th: Grafl-exmagazine. This rinit permits the .upiJ-"t unge of 12
or lB sheet films for rapid through a rapid-ct urr'g" .,rrit
which is manually operated by"*por,rrJmeans of a blick leather h"ffi; t;;.
SnBnr Frr.nr LoeorNc
, Loading sheet film in the sheet firm holder, the Grafamatic, or
the regular magazine is very s_iynleif it is ar""lyrtematicaily. Firstprepare your film and your holders,.pracing them on the table i" ;;; 'ihen,darkroom or in a changing bag. y"", safety sride'out iuil
slowly so that the tip t"tnuiir* in-place u"a i, i"ra ly,rr" rigrrirr"p
portion of the holder. The light side of the top aluminum border ofthe slideshouldbe facing In this *"y, ;fr;"-irr" ,ria" i, p"rl,J r9;.
down after loading, you *ili kt o* that unelp"r;Jhi* is in the holder.
- opel yogr film container only in an isolutery light+ight ,oo-
or in a closed changing bag. youi problem then is to determine the
emulsion side. Naturally, the fitm must be placed in the holder so that
the emulsion side faces the lens. The manufacturers have made this
very easy' If you hold your film so that the long dimension is vertical,
46View original page 9Page 10 · Read text
e.g., in a 2lax37/a film, the gt/a inch side parallel to youT left and
rilttt hand, and the notch marks that are used for the emulsion face
idintification are in the upper right-hand horizontal corner o{ the
film. If you feel the notch-marks in the position that is illustrated,
then the emulsion faces you. Leave your film in this position; take
your sheet film holder and bring the open end to the bottom edge of
ih" fil*. Insert the film so that the edges fit underneath the retaining
borders of the holder. When the edges are both engaged,push your
film, still facing up, until it can move no further. Turn down the
movable tab at ihe end of the sheet film holder or replace the septum
in the magazine.The safety slide is now pushed through_untilits edge
slides into the retaining slits of the turned'down tab. The only thing
remaining is to turn the right-angle screw over the pulled'out end of
your safeiy slide. Your film is now correctly loaded and secure.
Mark each holder so that you will know what film it contains.
The outside of the holder may be marked with white paint, difierently
colored scotch tapes, or commercially available tabs. The Riteway
holders have identifying tabs and space for the insertion of ne,gative
identifying tabs inside ih" hold"r. I recommend that both inside and
outside tabs be used for easy referenceto any negative.
Once your holders have been loaded be sure to cover the re'
maining unused film. Check the slide of each holder for secureness,
arrd orrly then open your changing bag or turn on your room light.
The loading of your holder is only the first step in readying your
camera for its exposure. When you are ready to take your picture,
the holders (roll film, cut film, film pack, or magazine) must be
placed in the back of your camera. If a focal plane shutter is used,
ih" safety slide can be pulled only alter the curtain has been
wound,.This must be done to prevent the fogging of your bare film as
the open curtain slit passesfrom one side of the camera to the other
as it is being wound. Once the curtain has beenwound, then the safety
slide may be removed. For handling conveniencethe slide should be
retained by the two spring clips that are placed for that purpose on
the bottom of the spring back. When the front shutter is used, your
safety slide may be pulled at any time becausethe front shutter always
remains closed while being set. In removing your safety slide out'
doors, it is advisable to point your camera so that the safety slide
{acesthe ground. In this position there is less likelihood of fogging
your film by means of stray light which may infiltrate your holder
when the safety slide is being pulled, becausethere is less light re'
flected from the ground than from the direct rays of the light from
47
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the sky. After an exposure has made, turn the safety sride leen
around so that the dark metal border faces the l"n, and then slide it
completely through the retaining slip until it-"u., *ore no further..
Be sure that the bottom tab is secure (the slide enters the holder
completely) so that it cannot flop open when the holder is removed
from the retaining back.
The safetv shield may prove usefur as an auxiliary light shade
when a great deal of rttuy_iigtior glare is shining-i";, into the rens. prace j it so that ir shades grai a'd ihield" ,h" from ;bliq"" $e
direct light. It musr l" ti"ta far en-,ughoutsideih" urrgt""";of view so
that the chance of interference with u""r"o;;;; formation is com. pletely eliminated.
. unloading and Ioading the Graphic is indeed simple and con-
venient' You can take and dgvefoq.quickry one or a hundred pictures,
using either one or a hundred diff".".rf This versatility
makesthe Graphic the most desirablecamera"rn,rtrions.i" kind. "r
Hor,onrc rnu Celrrn.L
There are three ways of holding your Graphic:
t' Hand Gr.ip.-adjust the l"ui'h", strap;;h" your hand wiir fit snugly under rnei grip the side of rli" with your le{t it.
hand, the index finger .lip'pi"g into the notch "u-".athat is there and the
remaining three fingers a1q"t! under it, the ,h"-u resting ;; ;h"
back of the cameru. Th" right hurr,r stays tr-r" when it focuses the lens. ""r"ra
2. Palrn support. The left hand is praced underneath the
camera so that the front end of the bed ,"rt orr-,he palm-Jft ;il;
forefinger? glip it. The camera rests in the hollow of your shoulder
and.is pushed against the body by the left hand, ih" ,igt t hand, once
again, steadiesthe camera whil" lt is focusi"f ,lr" r""r.
3' The Hook Hotd,. The thumb hooks"the carrying strap, and
the forefingers are placed on top of ,t b""t lodrr. This grip
is used by many pressmenb""uur" it prevents" "u*"ro the camera from beingknocked out of your grasp.
48View original page 11Page 12 · Read text
LIST OF 16 RITEWAY FEATURES
l. Thinner construcrion permits faster, easier insenion iq camera
. . . storate in less space.
2. Dual identification with larger erasable tabs (5,/l6tr 13/16"j
outside, provision for aegdtive tabs inside.
J. Finger recess facilitates inserting and removing film;
. fln folds completely fot easiet loading, for long hinge life.
(Hinge made of bonded vinyl).
5. Anti-slip flap prevents film from shifting position.
6. Noo-static dark slides have familiar Graflex visual aod tbuih
signals; ale completely opaque to all actinic light.
7. Rigid aluminum core assures registration and toletances, for
closer than A.S.A. standards.
8. Bonding film sheatbs to core removes usual variable affecting
accuracy.
!. Formed septum rails hold film perfectly llar.
10. Vearresista[t outer material retains accuracy of tolerances
indefinitely.
ll. Shock-resistaot material plus unitized coostluction is th.ree
times stronger thao wood, less vulnerable to damage than
metal.
12. One piece welded coostrucrion . . . no rivets, joiots o! s€arns.
13. Multiple step flap. . . positive light lock at hinged end.
14. Spring fingered light trap . . . pioneered by Grafler.
fJ. External serrarions prevent leakage of stray light.
16. Solid color . . . no paint to rub off.
GRAFLEX FLAS}I SHUTTER SYNCHRONIZATIONS
Selting Seiling
ms Sbutte? Speed Connections Adiustnent 2O 5 m s Flasbtube SettingT O B CockingShatter Lamb LanP
Flash Supcrnatic t-t/&0 DoublcASAPost dclayrAII MSetFlashat SetFlash,at F Ready Both Ycs Cock C.ock
N..R. N.R. Ready Botb YesSupcrmatic (X) l-r/100 DoubleASAPost delayonly'Zeto
delays
a o d a Both YesGraphflcr Synchro t-r/100 Bi-PostASA All \ M-SlowM-Fast F Setx Et double M
Gtaflcr (X) r-r/100 Bi-PostASA delayZeo N.R. N.R. Ready Both Yes only
Synchro Rapid 800 r-r,/800 KodatASA All M t F i Sctx ag onlyB Ycs
r/50
Ceaory Shuttcr rlto-r/200 DoubleASAPost delayZeto to r/25 to Ready Both SettingSelF r/200
N.R.: Not Rccommcadcd.
Relay o.pentcd 2o ms, delay {Iashtubcs sbould aot bc used at aa M settiogl these are bert opctated 6roughc8emrl soleooid trippers.
49
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The Grophic reody for Double'li9ht flosh
FLASH WITH YOUR GRAPHIC
Ours fias [ecc,me an age of packaged, bottlecl alrd portahle sur'
s[ipe rflashlanps ancl flashtubes). It is indeed fortutrate that this tyPe
,,f ligfit is available. Otherrvise nrost of our incloor actiott llictures,
llrttirer.irr [lack and rvhite or in color, could not have been taken.
C,rl,,r. (.sl)eciallr. requires tremendous arnounts of light ancl the only
4ept.p<lal,leand readily available source is a {lashlanrp or a flashtube-
,\ {lashlanrll consists of lnagnesium or magnesiutn alunrinum
all,,r in a ver\' fine rvire fonn ( Class N{. Class FP artcl Class S )
9r- i,r el pill llaste forrn (Class F) and nray have the coltvelrtional
6ouse In,i',1rriru1r", or. as recently'modified, be conclenseclto the size
<,[ a ualrrut. Wli"tr an electrical current of approxintatelv 41/'tvtllts as
.ruppliccl l,r' snrall batteries courses through the flashlatnp: the alutni'
nunl (.()nlp,,urrclin the bulb flares up rvithin a fractiorr of a sec,tntl.
Although this flash seems instantaneous to the eye. there is a short
tinre r.:,1riretl {or the flash conrPouncl to first heat up to the flashing
50View original page 13Page 14 · Read text
point. For the Graphic, there are four classesof ramps available with
different flare-up time delays:
since the flashlampcan be used just once,inventors have tried to
produce a source of flashing light that will yield a large n,r-b", of
flasheswithout bulling up. fh"iesurts of their experimenrsis the elec-
tronic flashtube. This consists of a rare gas, boitl"d ,rri", p;;r;;."
in a glasstube, which glows brig}try only i,t a high ',rolt"gJ
coursesthroLrghthe tube. The duration of the"" glow is much "rrr"rrtshorter
than in the flashluTp, uzually r/5000 second"a'd the g;ia"
numbers are in the low 30's. For the latter reason,while"oto.most lurh-
tubes produce at least 10,000 flasheswithout burning out, they are
still not too practical. Moreover, they cannot be usel at'u gr.ui",
distancethan approximately seven feet for a welr right"d,
posed color picture. Their color balance is difficult to match";;i;;*-with an
appropriate color film and the light portable units are too weak, while
the_powerfulunits are of the hJauy studio type. The I/5000 ,""."a
flash duration is an advantage in ihut pruoiiiutty all action will be stopped.
If the room lights or other extraneoLr right sourcesare lighted
during a flashtube exposure, use the highes;-rh,rtt", speed that is possible to prevent the formation s!.1i i-"g"r. Fo, ;u-pi;, if "j is used, the flash it th" flur"f,t.rb"will expo;;;h" " :t:l :lIter 1p:9d
hlm once and the.room light or extraneous light will continue to
expose it again as long as the shutter remains Jp"rr. If there is any
subject movement or camera movement while th" ,hrrtt"r is open, then both _exposures may not be in register and a gh"; image wiir result.
For flashtubes, then, use the faJest sh_utter;p*d that- you lru* lr
your main_ exposure wili be with its light. if gt"ariehi
natural lighting is being used to ,.rppl"-""rrt the "ith",main light foi yo,r,",
picture, then^adjust your shutter spe; for the *ori efficilnt
becausethe flashtube's fast grow wiu not interfere with ,lr" "*po'.,rr*
rn this case, the slower sh,itt"r speedspermit the placing "*p'.r".".fl";J_
lamps, r_eflectors,and flashlamps ut fu, g."ut"; Jirrurr"", because"f the
slower the shutter speed, the smaler is"the amount of light itru, i.neededfor an exposure.
since the flashlamp and flashtube are the raw materiars for
making light, the next_important factor is to synchronize your shutter
so that your flash will occur at the optimum opening of the shutter.
The synchronizing of your ramp and shutt", i. ,roi aifficult, but there
are a number of ways_to do this, depending upon the type of-rhrtr;;
that has been installed in your camera:
51
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Convenienl ond portoble exten sion flosh
I. Non-svnchronizecl shutters. These clo trot have atl)' internallt'
built-in st'nr-.hronizing lllecharrisur.They can be satisfactorilv st'ttchr,,'
n ized lrr-:
.\. Olren ancl shut flash. With this methocl your shutter is usuallv
set at R ()r'for one second. While the shutter is presseclatrcl re-
rnains ()l)ell at B, or is released after being set for ()lle secottd,
the lanrp is flashed tnanualll'.
R. Srrlenoicl. An electro-magnetic solenoicl trills a shutter antl
fires the lamp at the same tiure so that the peak of the flash co-
incides u-ith the rvidest opening of the shutter. It is usecl tttost
satisfactorill' rvith the Class N'I latnps.
C. Ilechanical. A tirning unit is used in ccnjunction rvith a cablt:
release. The timing mechanisnr has been previously acljusteclso
that as the shutter is being releasecl,a circuit closes to fire the
larrrp (Kalart) for a co-ordinated effect.
2. I nternally' s1'nchronized. These shutters have built-in svn-
chnrnization rvith delay's of t'arious t\'pes so that they lnay be usecl
for onlr ()ne tr-pe of lanrp or nla)'be acljustallle for use with lllall\'
Lr pes ,rf flashtubes or flashlanlps. It llra)' be of interest to note that
a solerr,,iclis still used b1'most o\rners, but only to trip the shutter.
This is clue to the limitecl maneuverability that one will have rvith a
flash hokler that cannot be used arvay f rotn the calttera. S ince ()lle
hanrl is used to holcl the canrera and the other hancl holtls the flash.
tht. use of a calrle release for triplting the shutter is rtot llractical. But
if a solt'noirl is usecl.the hand that holcls the {lash can trip the shutter
at the sanre tinre. There are trvo basic shutters rvith built-in synchro-
rrizatiott :
A. \-Tr 1rc. This t1'pe is usecl nrost often fr-rr flashtubes. Contact
is rrratle n'hen the shutter lllatles are rvicle ()l)en antl there is a
r.t'r'1,clt'lar lretruL'ellthe contact ancl the flash.
B. \ l-\ Tr pe. This is the nrost vcrsatile tr'pe in that it is a
52View original page 15Page 16 · Read text
simple matter to change from an X to an M (20 ms.) delay. one
variation of the M-X shutter permits an additional change for
slower and higher speeds when a class M lamp is used."with
the chart, you can select the lamp that is best matched to your
shutter.
pressmen use a solenoid synchronizedx shutter. The sole- _Mur{
noid synchronization allows them to use any Class M lamp without
ever adjusting the shutter, while the built-in X posts give them the
flashtube synchronization bleed whenever it may b. ,r""d"d.
M.X SHUTTER SYNCTTRONIZATION
M
cE
Nog recommended
M 1 second L/50
Mediun Actiog co L/25 to l,/500
t0
to l/l0o
s I tosecondL/LO tor/2,I/50Slow Acting
FLASHTUBE (Electronic Etu"t|, t,f-X Synchronization
Lever at:
X only Zero
Bleed or Deiay I second
0 delay to l/50A Not recommended
5 ms delay Use relay'for I second
for shurter r J ms delay to l/100 Not recommended
20 ms delay Use relay for I second
for shutter 20 ms delay to t/50 Not recommended
X-SHUTTERS ONLY
r/500 s€co - Bleed ot Zero.delay flashtubes wirhout relaysr/r00 s€co - SM or SF lClasi F1
L/25 secr - Class M. (#j, #25r#0, press 40) ZO ms delay
53
www.butkus.usView original page 16Page 17 · Read text
Flashlamps
F-Class F (Fast Actiig)
There is a five millisecond (I/200) heat-up delay before this
lamp flashes. The G-E SM and the Sylvania SF are typical of this
class. The flash itself lasts for It/200 second and is often used at a slow
shutter speed to stop the motion of a subject while permitting back-
ground lights to register more lully.
L[-CIass M (Med,ium Acting)
Twenty milliseconds (1/50 second) delay. G'E #5, ffIl and
ff2 and the Sylvania ffO, #25, Press 40 and Press 50 as well as the
number 2 are typical examples of this type. The peak of the flash lasts
for approximately 1/50 second.
S-Class S (Slow Acting)
There is a 30 millisecond (1/30 second) delay in flashing. The
G-E #50 and the Sylvania ff3 represent this most powerful class of
flashlamps. The flash lasts for approximately twenty milliseconds.
FP-CIass FP (Focal Plane)
The only lamp that can be used lvith a focal plane shutter. The
delay before ignition is twenty milliseconds (1/50 second). The flash
peak shaped in a long plateau, however, lasts twenty to forty milli'
seconds (I/50 to Ll25 seconds). The G-E ff6 and the Sylvania
FP-26 are recommended for focal plane shutters on cameras up to the
)r/a'tx3t/a" size. The ff31 and the 2-A are the only lamps recom-
mended {or the larger size (37/a"x41/4" and 4"x5") films.
Remember: even at ll25 second shutter speed, the duration of
the flash (which is the important thing) lasts l/50 with a Class M
lamp and 1/200 with a Class F lamp.
Foc.q.L-pLANE SYNCHRoNTZATToN
Focal-plane synchronization requires special attention because
of the difierence in operation of the curtain shutter from that of the
between-the-lens shutter. The focal-plane shutter, as has been men-
tioned, moves across the film for an exposure. The slit of varying
proportions actually makes the exposure. Once the slit has passed
any particular portion of a film, the exposure for that section cannot
be changed. Therefore, the duration of the flash of a lamp that is
to be used for focal-plane work must be markedly difierent from that
54View original page 17Page 18 · Read text
o n l y 1 / z s o s e c o n d s e t t i n g r e c o m m e n d e d t o r f o c o l
p l o n e f l o s h c o n n e c t i c n s .
Focol plone flosh con neclion
rfr('(l f,,r' f t'ottt-slruttersvnchrorrizaLion.'f he llash shape rrrust fray. .
l,,rrglrlatt'uus() that it nill lrurrr evenlv arrclcontinu.ruslrthr.oughorrt
Ilt. r'\l),srtt't'.l\tt uttevellIrut'rtirrgusuallv;rroclucesap uri.l"r-e\lx)sllr.r.' at l'oth t'tttls anrl alt ()\'er-exl)()surein the cepter of the filr'. 'l'lre
(,lass IlP lallrl)s are the onll'lamps that can lle useclfer frt:.I-
lrlarrt: flash sr.nchr onization.
-\nr-flashtuhes or flashlarn;rsllra)-lle usecl for Grap6ic frt.al-
Plattt' sr ttcltr()tlizationif the .hLtter is set on Tinre because*f its
l'uilt-irr cotttat'ts.Thcrsecontacts close the circuit only, rvhen tht. (.ur-
l'itin is ()l)el) fullr-. Thctt. the shutter rnust bc. ckrserl.Tlre rret,rlf.r.il -l'ittte
settirrs lilrrits this ty'pe c,f sYnchrorrizntirrrl, \.(.1.\spr.r:i.l ()(..-
( ' i . l Sl 0 I l S .
Iioc,\T,-r,LANtiItL,\.stI Sq r.l..lr
As a secotlclal'\'sn-itch conner:tcd to the ll,,rl\ r.(.lt,as.r-(,rJ,ir.r,s
I he relt:asc t,f thc focal plane shutter lrt- the lr,,rli r.t:lt.usr.itst.lI irr
,l'tlt'l' t, firc larrrll. tht: (,raflc'r focal-plarrt:shutter 1,ill rrrt fir.r, !hc
:t fltrshlttrrr;r$ hilc the cut'taitt is lleirrg'n-rurrrl.or 1-[ep t6t sSuttcr is
l't'ittg'l't'1,-'ase'tln-itir tht: shutter *.1".-rt.r.slicle. This desig. {eaturt
Itll,trs \()tl to lllacc the larrr;l in the flashg'urr's-. secket eit6cr l,.f,rr.r:
,l' af tt'r tlre slrutter has ]rc.enn,ourrrl.
f'lrr' ,,Ll f,,cal-lrlare shuttr:rs c.,rulrllre sr rri,hrorrizcclfor class lrp
larrrlr-'l'r lll('ellls()f ttrt t'\tet'rralattur.ltrrrt-.rrtr.ullcrl1Sist, surr( l (Oraflt.r,
l l r t ' . l .
).f
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BErrnn Usri oI- CutuE Nur'tBERS
In readirrg a table of flash guide trumbers. you ma-!' note that
tfie guide number gir,en for Class iVI Larnps up to a slteecl ,,f I 5()
secorrd is alrva\,s the sallle. It changes only at faster speecls.Thc
ch,,ir.t'of a corr€ct slnchronizing speecllnay do much to help }()ur
1-ricture.The I-G-A-S fornrula detnonstrates the neecl for balartcing
\ ()ur light in ,rrder to meet the relative contrast insensitivity of ) orrl'
filrrr t:rnulsion. If the arnount of light provicled by your flashlanrp is
,ne urrit. then \-our background light tnust also provicle olle unit
to hare a 1:l ratio. florvever, )'our background light of olle unit
rr,,ukl rrot n(fccssarily have to be flash; it ntay be a floodlight. As-
surrringthat it is a floocllight, then the distattce location of ).our flottrl-
liglrt is tlirc:ctlr- related to the shutter speed. At I125 sec,ttrd tht:
ffr,,,rflight rnar lre lrlacccl further a\va)/ than at 1 50 secottd. Th,:
fu rtlrt'r harr;k \ ()ul' light is placetl. the nrore e\/ell the illunrirtatiorr
rr ill lrr: anrl the lreat llrolrlerr.rfronr the s{lorvingflr,ocl lanrlr is ttot s(l
great. lrr a sirnilar rllanlrel'. if you ill'c using \ our flashlanrp olt the
56View original page 19Page 21 · Read text
j
camera as a fill-in for an outdoor picture, the outdoor scenemay be
perfectly exposed at Ll25 second, while at L150, even though the
flashlamp intensity remains the same,the general scenewill be under-
exposed.Therefore, the selection of the shutter speed used should be
made on the understanding of the complete lighting problem for the
scenerather than for just the one flash factor.
Note that Class F means fast action and that Class M signifies
medium action. The names SM and SF have confused the public,
becauseboth are still Class F lamps.
When any dimly lighted activity is being photographed, flr,sh
is a must to stop the action. Assuming that color film is being used,
you must realize that at this stage of our technical development,color
film emulsions are relatively slow and each exposure requires huge
amounts of light to secure any fairly rapid exposure such as L|SO
second. Flash, in the form of the flashlamp or larger flashtubes, is
the only source of light that can supply the quantity and swift "wal-
lop" of light necessaryto produce such short exposures.With a prop-
erly synchronized flash unit, the Graphic is independent of any light
condition and with it, present day photography becomeseven simpler
than with the old-fashioned box camera. With flash, the photogra-
pher, especiallythe pressman,is no longer required to wait for ade-
quate light, becausehe carries his own packaged light, always ready
for instant use.
Mur.rrpr.u Fr,lsn
Graflex, fnc. manufactures a vast assortment of accessoriesto
be used for multiple flash. The three-cell battery case may be used to
fire one other extension. If a larger number is required, then a special
extensionlight booster must be used. The method for computing the
exposuresfor your flash when used in multiple units is discussedon
page 57.
Since the total duration of the flash of a Class F lamp is approxi-
mately L1200 of a second, a slow shutter speed does not alter the
duration of the flash. For this reason a Class F lamp can be used
with the Century Graphic's self-cocking shutter that is set at I/50
and still have the action-stopping effect of. Ll20O second. Due to the
characteristics of the Class F lamp, the action can be stopped even
though the shutter speed itself is only 1/50. If flashtubes are used
with the Century Graphic's standard shutter, a 5 ms. resister must
be used.
5BView original page 21Page 24 · Read text
CHAPTER 8 / WIDE-ANGLE AI\D TELEPHOTO LENSES
Every camera must have a lens. Yet, there must be a definite
reason for choosing the correct focal length for any camera. In choos-
ing a lens, you should consider the following factors:
1. Will it be the only lens and must it be used for all-around
work?
2. Is it to be used for portraiture, copyirrg, sports, press, etc:.?
3. Will tilts, shifts, etc., be used with the lens?
4. Itlill it be used with color, with flash, or with existing light?
These factors must be given serious consideration because the
choice of your lens may very well make or break your picture. A
pressman should choose a lens of S-inch focal length for his Graphic
45. This choice is recommended because the photographer i3 gen-
erally close to his subject and yet the angle of view must be suffi.-
cient to cover the entire area. If you check the Safe-Set charts at the
beginning of the book, you will see the approximate distances that
must be used for the same size figure when lenses of different focal
length are used. It is inadvisable for a pressman to use a telephoto
lens on a Graphic 45 for his general photography. On the other hando
if sports photography is the only use to which this camera is put, then
a lens of long focus (15 inches or more) should be used. Similarly,
if he is to become a specialist in interior architectural photography,
a 37/2-inch lens would be ideal. Generally speaking, the ideal selec-
tion calls for a wide-angle, a normal lens to cover the film-area diago-
nal, and a telephoto lens. These three will be adequate for approxi-
mately 99 percent of your everyday needs. If only one lens is
purchased, then it should be one that is as close to normal as you
will need, for there are methods of making your normal lens into a
wide-angle or a telephoto by means of supplementary lenses. This
stop-gap method will work with limitations because a prime lens is
preferred as it is generally corrected in a superior fashion and will
invariably produce a finer image. But, if the interchangeable lenses
are not available, the supplementary lenses will do solely because of
their availability. .
Perspective is not changed by using lenses of different focal
length. It is the camera position that determines perspective. A change
in focal length increases or diminishes the size of your subject.
To use a positive supplementary lens for wide-angle efiects:
' 1. Place your camera on a tripod and open the shutter for
ground-glass focusing.
6L
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AT.IGLEOF ACCEPTANCECHARTSFOR TELEPHOTOLENSES
Negatiue Size
Lens 4tLjt' 3Y1'r4Y1" 2yat*3%t'
grt 440 ,go 2go
lqtt 350 300 220
rt 15 240 220 150
'lrr'ff, r ' l\\-' /\- v/"r 't
TELEpHoro EFFECTsvITH NEGATIvE LENsES
Powet 65mm-2-3/5r 90mm-3-275n 105mm-4-1/5n 12/mm-Jn l35mm-5-1/4n 165nth-6-3/8n
Cbanges Expo-
uitb to
mm sute l.n elat. x neuf. t. x neu,l. t. x neu)l. t. x neu)l.t. x lactor
-t 72 t . 2 100 t . 2 t20 r.3 r42 1 ., 1 5 5 t,r, 200 1.5
-2 77 t.1 1 1 0 r.5 rtt 1 .7 170 r.9 190 2 250 2"1
-3 83 1 . 6 12) 1 . 9 r55 2 .' 200 2.6 240 3 3J0 4
-4 9 l 2 t40 2.4 r80 , 2r0 4 290 4.6 500 9
N.B.: Thc grouod-glass must be used to check the subject focus wheo these auriliary lenses are
added.
They should be used at f/ll ot narrowc!. The exposure must be iocreased by multiplying the
normal e:Eosure with the erposure fac.tot
, PHOTOGRAPHICEFFECTS OF
Wide-mzgleLens Telepboto Lens
l. Increases the ,angle-of-view l. Decreases rhe angle-of-view
from the same camera position. from rhe same camera. positi on.
2. Shows ^ larger amouor of 2. Decreases the total background
total backgrouod; each back- area'but increases the size of
ground subject is much smaller. each individual subjecr.
3. Increases the apparent size 3. Increases the subject size in
of foreground subjectsl increases relationship to the proporrions of
the apparent depth of the foreground. the background.
4. Shorter focal length increases 4. Increases the working distance
the depth-of-field at equivalent separating the subject from the
openings. camera.
J. A large image requires a short J. Longer focal length decreases
camera to subject distance. the depdr-of-field.
6. Increased depth-of-field allows 6, Narro* lens openings neces-
the use of wider openings for poor sary for increased depth-of-field.
light color exposures. 7. Needed to bridge space where
7. Necessary f.or interiorsl ot a camera cannot be set uPr e.g.
where spice is cramped. sports, rivers, mountains, etc.
63
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