Photography reference
Graphic & Linhof guide Pt. 1 Product booklet
Product booklet for Graphic & Linhof guide Pt. 1. 77 pages in English. Read the original PDF, download or print a copy without registration.
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- Linhof
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- Graphic & Linhof guide Pt. 1
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- English
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- 77
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Contents
PART I. SPECIAL FEATURES OF THE GRAPHIC AND
LINHOF FAMILIES 5
The Large Negative 5
The Graphic and Linhof Families 10
Points on Selecting Your Camera Lens from the Lens Bank . f5
PART II. LEARNING HOW TO OPERATE YOUR CAMERA 19
Basic Accessories; The Film Bank; Loading and Unloading Film . 19
S: Shutter Speed Controls . . 29
A: Aperture Controls . 34
F: Focusing for Sharpness Control . 36
PART III. EXPOSURE OF THE SIX BASIC SHOTS . 46
E: Exposure for Basic Outdoor Daylight Shot I . 46
E: Exposure for Basic Available-Light Shot II 53
E: Exposure for Basic Direct-Flash Shot IIIa Flash Lamps;
IIIb Speedlights DJ
E: Exposure for Basic Bounce-Flash Shot IV 63
E: Exposure for Basic Floodlight Shot Va Direct Light;
Vb Bounce Light 64
E: Exposure for Basic Closeup Shot VIa Closeup Portrait Lens
Method; VIb Lens Extension Method 70
PART IV. TECHNIQUE FOR BETTER PHOTOGRAPHY 78
A Different Picture 78
A Well-Composed Picture 8f
Developing the Exposed Film; Developing by Inspection 85
Better Color Pictures 87
Better Pictures with Black-and-White Filters . .. 91
THE FACTOPEDIA:
B&W Corrected Film Exposure Indexes-Ready for
Exposure Calculation 95
Color Film-Light Source-Color Filter Chart 96
Color Temperatures of Common Light Sources & Decamired
Values 97
Color Conversion Filters 98
Kodak Color Light-Balancing Filters 99
ASA, BSI, DIN Conversion Chart 99
4 lView original page 2Page 3 · Read text
J www.butkus.us
Shutter Information Tables 100-l
Complete Camera * Lens Outffts 102
Shutter Speeds for "stopping" Moving Subjects . 103
I A Sharp Image . 103
Hyperfocal Distance Chart LO4
Standard Graphic Masks for Various Films & Focal Lengths L04
t Depth-of-Field Tables f06_z
Kodak Ektar Charts . . fOgI
I SAFE-SET Charts .109-tl
Wide-Angle Effect with Positive Lenses . . L72
Telephoto Effects with Negative Lenses . lIz
Basic Outdoor Daylight Shot I LIz
Extra-Long Exposure Time-Reciprocity Failure . lI3
Basic Available-Light Shot II . lf3-14
Guide Numbers for G.E. No. 6 & PowerMite M5
(Fo'cal Plane Only) l15
Guide Numbers for G.E. No. 68 & PowerMite M5B
(Focal Plane Only) 115
Graflex Flash Shutter Synchronizations r15
M-X Shutter Synchronization 116
Basic Direct-Flash Shot IIIa, Flash Lamp rt7
Basic Direct-Flash Shot IIIb, Speedlight 118
Basic Bounce-Flash Shot IVa, Flash Lamp 119
Basic Bounce-Flash Shot IVb, Speedlight 119
Basic Direct-Floodlight Shot Va r20
Basic Bounce-Floodlight Shot Vb r20
Basic Closeup Shot Vla-Closeup Portrait Lenses T2L
Closeup Portrait Lens Exposure Suggestions r22
Gray Scale & Closeup Ruler Table L23
Closeup Lens Extension Compensation Chart r24
B&W Filters for Better Picture Tones r25
B&W Filter Exposure Factors 725
B&W Developers for Every Prrrpose . 126
Kodak Color Color Compensating Filters & Filter Factors r27
Color Correction with Addacolor r27
The Gray Card r28View original page 3Page 5 · Read text
Part f. Speeial Features of the Graphie and
Linhof Families
THE LARGE NEGATIVE
The photographic field is vast and still growing. There are fields that
pertain pre-eminently to the miniature camera; others in which the
large-format camera is king. If there is a choice, then the larger format
will deliver superior quality, simply because there is more fflm to work with.
Large-Format Negativee
The large-format cameras ofier these useful features:
r. Large contact Print size. contact prints may be made easily
and viewed directly without enlargement.
2. Easg Enlargement. since the starting negative before enlargement
is large, a moderate blow-up will produc" u'g"to (or larged print
without showing graininess.
3. varietg of Emulsions. The large-sized fflm emulsions are much
more rapid and varied than those available for 35mm miniature cameras.
They can be developed with more vigorous developers.
4' Easg Adaptabili,tu. The Universal backs ar" easily adapted to roll fflm,
fflm pack, sheet film, sheet-film magazines, grass plates, and polaroid film.
5. single Exposure. your Graphic/Linhof sheet-fflm holders permit
you to take and develop either one or two exposures at a time. Each
holder contains two sheets of fflm back to back, appropriately separated.
6' standard film sizes are used for rolr film, magazines, sheet ffrm,
fflm pack. This means that you can purchase yor' ir- anywhere with
the certainty that it will fit into your Graphic/Linhof holders. your
Graphic/Linhof holders are accurate, too, and assure correct fitting
wherever standard sizes may be purchased.
7. Eoery Knoron Form of Focusing: Ground-grass, rangeffnder,' vernier
focusing scale, Rangelite, and Focuspot-all b" used. "", 8. Easg Maneuoerabilitg and portabilita. Each model, from the
2Ya, x SYq to the 4x5, has the optimum weight for its size.
9. Full Emulsion speed utilization. The moderate Bxr0 enlargement
(2X) produces no strain on the resolution of your film. Development in
a_vigorous developer assures pictures that are sharp and free of grurr-
ularity even with the fastest emulsions which often are inclined to be
grainy. An 8X enlargement, standard for a 24xs6 enlargement to an
8x10, would produce a 2Ox2S print.View original page 5Page 6 · Read text
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10. lnterchangeable Lenses, The removable lens board enables you
to change your regular lens for any other focal length lens instantly;
you are limited only by the physical size of the camera and the length
of the bellows. A lens of any focal length may be focused by means
of your present rangeffnder with a special technique.
lL. Composition. The horizontal format of your composition is
changed to the vertical by simply turning the camera on its side. A
tripod socket is provided on the left side of the box for this purpose.
12. EasiIU ad.a.pted for studio portraiture, copying, medical, child,
pet, scientific photography, etc., because of a large bellows.
13. The between-the-lens shutter is internallg sgnchronized easily tor
both flash lamps and flash tubes. A magnetic solenoid is added for the
convenience of releasing the shutter from "away-from-the-camera"
position.
14. The focal-plnne shutter has interrwt (built-in) fnsh sgnchronization.
This ensures the positive accuracy needed for the focal-plane flashlamps
which have a long, flat plateau for their peak of flash. The advantages
of a focal-plane shutter are uniform exposure of the entire negative,
coupled with very high speeds, l/1000 sec. A disadvantage lies in the
need for special FP (focal-plane) flash lamps. As the curtain takes
some time to travel across the entire film, moving objects even with
short exposures often may appear distorted in shape.
L5. Perspectioe modifications are easily obtained by means of a tilt,
a rise, and a shift in the front standard. By turning the camera on its
side, the tilt may be used as a side swing. The subject is then parallel
with the film.
16. The large negatioes mag be easilg retouched.
17. Color duplicates by "masking methods" require less critical toler-
ance because of the larger negatives.
L8. Focuspot or Rangelite focusing can be done in a darkened room
so dimly lit that the rangefinder is of little value.
L9. Two new roll-fiIm backs are available for the Linhof Universal
back: (l) An "Ideal Format" 120 roll-film back which delivers 10
frames of 56x72mm. (2r/ex23/a") size. This size was selected because
it has the exact proportions of the most universally favored 8xl0 size
print. (2) A Cine Rollex back ( Rollex is the Linhof name for their
roll-fflm backs ) which takes 70mm film in a cartridge form similar to
a 35mm camera magazine and holds 50 exposures.
20. A l:1 area will be 8x10" for the 8x10" size, etc. Thelarge format
delivers a greater area directly without enlargement.
2I. The large format Graphic or Linhof is "the trade-mark" of press
and serious photographers. Unless ybu have it, you cannot get into
any area where news or special events will be held.
22. The Large negatfuse mag lnnse "mang" pictures on it. Each portion
can easily be enlarged to an 8x10".
6
Ih-View original page 6Page 7 · Read text
The Paeernaker Speed Graphic $45)' has world-wide
reeognition as a symbol of the finest press photography.
www.butkus.us
The Super Graphico the latest 4x5 camera, possesses a
matchless flexibility for press, view camera, portraiture,
illustration, and comrnereial uses, to name only a few.View original page 7Page 8 · Read text
www.butkus.us
The Linhof Super Technika IV is a one-camera studio
because of its built-in flexibility, preeision, and
ruggedness.
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: 2024.05.06 20:53:57 -04'00'
The Linhof Super Technika "23t' is more eeonomical
to operate because of the smaller film size. It is
lighter in weight, possesses rise, fall, shift, swing, and
tilting rnovernents in addition to a single combined
rangefinder and viewfinder.
BView original page 8Page 9 · Read text
,,-4#ry
The Technika Press 23 is maneuverable, has a fast l/2.8 lens,
and is ruggedly built for all-weather operation.View original page 9Page 10 · Read text
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THE GRAPHIC AND LINHOF FAMILIES
Which Size Camera?
What size of camera do you need now? Which size will you need
eventually? Essentially, economy determines the size you choose. For
instance, large fflm costs more than the smaller size film. F.rthermore.
if your darkroom is set up to take care of the 2Lh,x3y+ size only, then
it will be an expensive procedure to change equipment to accomrnodate
the large 4x5 size. While moderate enlargement of either size to an
8xl0 print will produce top-flight pictures, the initial equipment of
your darkroom must be taken into account when you are deciding on
the size of the camera you should buy.
Besrc Srzrs. There are five basic sizes of "large" negative cameras:
1 The 4x5", the nost popular, is made by both Graflex and Linhof.
2. The Sr/nx4la" is available as the Crown or Speed Graphic 34.
3. The 2r/a, x 3Y{' models are made by Graflex and Linhof.
4. The 5x7" size is available as a Super-Technika or Kardon by Linhof.
5. The 8x10" format available as Linhof's Kardon 8xl0', model.
MonBr Srzns. The model sizes are standard. Special features are
built into different models for difiering applications. All sizes produce
fine pictures.
Which Model of Camera?
Tur Gneprrrc Fevtr-y. This consists of nine difierent models manu-
factured by Graflex, Inc., of Rochester, N. y. The Graphics are the
"work horses" of American piess photography. Their versatility and
dependability have raised the standards of press photography to its
present peak of excellence.
Tur SpnsD Gnepnrcs. The Speed Graphic is a rugged "work horse."
It has both a front shutter and a focal-plane shutter and is usually fitted
with a coupled rangefinder. The standard lens is either of 5,, (l25mm7
or SYc" ( l35mm) focal length. It accepts every form of fflm available.
Tnn CnowN GnepHrcs. These cameras have the same features as
the Speed Graphics, with the sole exception of the focal-plane shutter.
l TNr Supnn Gnepurc 45. The all-new Super Graphic 45 is in a class
apart from all others. Its engineering is the result of the latest technology
and practical experience. . The more important features, which makethis camera so superior to all others, are as follows: t
1. Automatic focusing scale located on top of the camera where you
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see it easily. It matches any lens that you may fft to the camera,
2. An automatic flash exposure dial computing the f/opening for any
flash lamp or speedlight
3. Electric shutter and flash trip release conveniently located next
to the thumb for instant release of the shutter. Releases are provided
for either hand.
4. Revolving back for horizontal or vertical composition without
turning the camera.
5. New cam-action slide lock for the back, The focusing panel,
roll-fflm holder, etc., become part of the revolving back.
6. Interchangeable cams to match interchangeable lens, The cones
operate the built-in rangefinder.
7. Special Lensboard assembly which has built-in interval connections
for flash synchronization and electric shutter tripping.
8. Polarized flash connector plugs into camera body with a correctly
aligned plug filled with a coiled cord which folds into place out of the
way of the rangefinder. This camera can be closed without disconnecting
the flash.
9. The Presslock Tripod mount provides rigidity and steadiness v,.hich
overcomes the tendency of the camera to rotate while you are inscrting
fflm or cocking the shutter.
Tus CaNruny Gnapnrc 23. This is an inexpensive camera, yet made
to the highest standards. It is durable, though lacking some of the ffner
features of the Speed or the Crown Graphics. It has only a front shutter.
One shutter model is available with the new Kodak 800 shutter which
permits a speed of 1/800 sec. The high speed of this shutter minimizes
the need for a focal-plane shutter.
Trrn Gnepnrc VrEw Moorr- II. This is the answer for the serious
photographer who must have a con-rplete, adjustable camera for almost
every possible use, from corrective architecture to exacting zoological
specimens which mpst be copied to precise scale.
Tnr LrNnor Ferrrr,y. This group includes the Technika, the Super
Technika, the Press Technika, the Aero Linhof, the Linhof Color View
and the Kardon Cameras. Each is a perfect mechanism, precisely en-
gineered to fulfill a specific purpose.
The names of the cameras tell you their design features. A Technika
is a bellows camera without a rangeftnder. A Super Technika is a
bellows camera with a built-in coupled rangeffnder.
Trrr SupBn TrcuNrrl Cerrcne. 'lhe 2rh, x 3/n Super Technika, com-
bining the versatility of a press and a view camera, is such a convenient
weight and size that the "ladies of the press" make it their choice. The
Super Technika IV, the current 4x5 model, is the precision jewel, which
stands apart as the camera that ali serious photographers would eventu-
ally like to own. It is a "one camera studio." It is available in a 5x7,,
model too.
Trrn Arno LrNuor eNo LrNrror Cor-on Vrrw CeunnAs. These spe-
cialty models stand in the forefront of their class because of their
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www.butkus.us ruggedness, precision, and flexibility. The Linhof 5x7 is the only camera of that size that has the versatility of a 4x5" size because of its rangefinder coupled lenses. Tnr Tncnxxe Pnnss Ceunne. The 2%, x 3 model has a rigid lens standard. The lenses are interchangeably coupled to the rangeftnder. The back is adjustable and interchangeable for corrective closeup and photomacrography photography, Trrr KennoN. This superlative view camera is the "King of Cameras." Available in the 5x7 to 8x10" sizes. It is intended for the serious photographer who must "know his stuff" to realize the almost unlimited potential of this precision jewel. Tnn Cor-on 4x5 eNo 2Ytx3r/+" Vrrw Ceupne. Both sizes are inex- pensive and accept all the accessories of the same size Technika or Super Technika models, They are built on a monorail optical bench principle; although rugged to stand heavy-duty wear, they are simple to operate. Ornrn BneNo Neuns. The Rembrandt, Korona, Brand, B & J Press, Busch Press, Ansco View are only a few of the new and press camera brand names that have been or are available. Their instruction booklets will give the specific operational information. Each may be used with the 6 Basic Shots that every canera shoots, Perspective Perspective is not changed by using lenses of different focal length, Perspective is changed only when the lens-to-subject distance is altered. A change of focal length from one spot merely increases or dimiirishes the size of your subject. Baeic Shots Selecting the camera and the lens is only the first step in picture- shooting. Selecting the fflm, the subject, the lighting, etc., are the next important decisions which must be made. The possibilities are infinite. A positive system of selection must be made so you "know" what to do ancl when you learned, to repeat it any time. Therefore, the author devised a teaching plan which first divided all photographic possibil- ities into the six basic shots that every photographer should know: Basic Outdoor Daylight Shot I Basic Available-Light Shot II Basic Direct-Flash Shot III Basic Bounce-Flash Shot IV Basic Floodlight Shot Va Directly Lighted and Vb Bounce Lighted Basic Closeup Shot Va Closeup Portrait Lens; and Vb Lens Exten- sion Method In practice, you survey your subject, decide what basic shot is necessary, and follow the Tydings Shooting Plan. 12View original page 12
Page 13 · Read text
Pr-eu ron E,rcH Besrc Snor. This plan was devised as a guide. It
lists every possible factor that enters in making successful pictures.
Naturally, you will do these things automatically as a second nature
after the camera is used sufficiently. However, these items are pointed
out as the basis of a standardized routine for review. In case you do
not shoot a Basic Bounce-Flash Shot IV for some time, as an example,
you need a reference for the "fine touch" information which makes
the difference between an acceptable or a desirable picture. A desir-
able picture, to refresh your thinking is one that cames out exactly
as planned. An acceptable picture is the one that you get, and a usable
picture must be taken regardless, because that is all there is on the
negative.
In line with this chat, while a picture's uses or values may change,
the Basic Six Shots remain the technique for shooting them. As an
example, if you are shooting in a jungle clearing and see a very large
cooking pot ready to be heated, that is a record shot, When the ffre
is lighted and steaming, then it becomes documentary. When someone
is in the pot, then it is either pictorial or press, depending upon which
division you belong to in your photographic organization. The point
of the story is that the Basic Shot is the same, although its purpose
has changed as the difierent subjective elements have been added.
Thread of Continuity
Ilundreds of large cameras have been manufactured by various fac-
tories in past years. To describe each one in screw-by-screw detail
would defeat the purpose of the book by making it a catalog instead
of a shooting guide. However, there must be some unifying theme
which will permit teaching the operation of the older models as well
as the new models. This theme is based on the fact that all pictures
should be sharp and well exposed. Therefore, teaching you how to
make sharp and well-exposed pictures with any model obviates the
necessity of giving screw-by-screw descriptions of the older models.
Instead, you will be taught how each model should be focused for a
sharp picture and how their exposure setting controls should be oper-
ated for a well-exposed picture. Incidentally, by learning this prin-
ciple, you will be able subsequently to operate the old, the present,
and any newer camera models that exist because the manufacturers
always on the lookout to simplify focusing and exposure setting to
ensure easily sharp and well-exposed pictures. The thread of continuity,
then, has been established: the picture should be sharp and well ex-
posed regardless of the model or the lens that you possess,
l3View original page 13Page 14 · Read text
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Still Picture Shooting Plan
Pnoyrcr:
Ceurne: -- Ler.Ts:
Fnlr: B&W ASA ------ Color Neg. ASA------- -- Color Pos. AS"{----------
ASA Usno:
Lrcnr Typr: Spot---------------- Semidiffused.------------- Diffuseil---------------
Lrcnr SouncE: Nanw of Lights: -----
S prcrer, EqurrurNr (P r o ps, et c. ) : -------------
Frr,rrns:
Becrcnoumo:
Sunyrcr Pnrpenarrorq:
A Different Picture: --------
A W ell-C omposed Picture: -
A Shnrp Picture (Depth Required): ----
Focus SBrrrNc (for aWell-Ltghted Pic-ture): -------
N umeical Li ghting Ratio : ------------
LrcrrrrNcDrecnau(foraWell-ExposedPicture):..--...
Fr-esrr (Nanre):------------ Sgnch. Sening:------------ Shutter Speed:------------
Spnrolrcur (Name):--------- SEnch. Seuing:---------- Slwtter Speed:------.
Svwcn. Arrecuurwrs: ------------------
Fnla: B&W
Fr-esrr Grnor Nuunrn: Spspot,rcrrr Gurop NuvsER: --------------
.Dsvsloprn: DsvsloprNc TrMs: -_---
Trps: -----------
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lr
ll POINTS ON SELECTING YOUR CAMERA
LENS FROM THE LENS BANK
This guide is intended solely to help you in the better use of the
Graphic or the Linhof camera. While the enormous worldwide reputa-
tions of these cameras are convincing enough evidence of their super-
iority, the task of the author is to show you how to get the best possible
quality of pictures. This responsibility starts when you choose the right
model and lens from the Graphic Family or the Linhof Family to satisfy
your particular needs. The models have been described. Now, a few tips
on the selection of the "right" lens.
Selecting the Lens
Both Graflex and Linhof ofier a lens bank of stunning depth. The
average lens complement usually consists of a wide-angle, a regular,
and a telephoto lens. The wide-angle is intended for architectural inter-
iors; the regular lens, for average press and record photography; the
telephoto lens is suggested for sports, distance, and portrait photography.
There are special portrait lenses, like the Imagon, the ultrawide angle
lenses like the Zeiss Biogon, and the ultratelephoto lenses up to a focal
length of l000mm that are available too.
The Best Lens Foeal Length
That every camera must have a lens is an elementary fact. More-
over, there must be a definite reason for choosing it: (a) covering
power of its focal length; (b) deffnition; (c) contrast; (d) color correc-
tion. In doing so, the following factors should be thought of:
1. Will it be the only lens that will be bought and musi it be used
for all-around work?
2. Is it to be used for portraiture only, cooying, photomacrography,
sports, press, etc?
3. Will tilts, shifts, etc., have to be covered with the lens so the angle
of view is sufficiently wide to cover the added camera adjustments?
4. Will it be used with color,. with flash, or with existing light?
These factors are important in choosing a lens, because your choice
may very well make "impossible" pictures possible to take because
your lens is adequate to the need, or what you see in front of you is
impossible to capture on film because of the shortcomings of the lenses
in speed, covering power, etc. A pressman should choose a lens of 5,,
l5View original page 15Page 16 · Read text
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or Srh'focal length for his camera. This choice is based on experience
of press photographers who find that generally they have to be sufficiently
close to a subject and yet have a sufficiently wide angle of view to
cover an entire area.
By checking the Safe-Set charts in the book, you will see the approxi-
mate distances that must be used for the same size figures when lenses
of different focal length are placed on the camera.
Types of Lene
It is inadvisable for a pressman to use a telephoto lens on a 45 cam-
era, for general all-around photography. On the other hand, if sports
photography is the only use to which this camera is put, then a lens
of long focal length (15 in. or more) should be used-in fact, it is a prime
necessity. Similarly, if he becomes a specialist in interior architectural
photograplry, a 3lz" wide-angle lens should be added to his bank of
lenses. Generally speaking, your ideal lens bank would contain a wide
angle, a normal lens to cover the. fflm area diagonal, and a telephoto
lens. With these three, approximately 99% of all photography can be
yours. However, if only one lens is purchased, then it should be one
that is as close to normal (a 5Y+" lens for the 4x5 format) as you will
need, for there are methods of making your normal lens into a wide
angle, or a telephoto lens by means of supplementary positive or nega-
tive lenses. This stop-gap method will work within limitations because
a prime lens (a complete lens designed for a speciffc purpose) is pre-
ferred, as it is generally corrected in a superior {ashion and will invar-
iably produce a sharper image than one improvised for the moment.
However, if the interchangeable lenses are not available, the supple-
mentary lenses will do solely because they are there.
The 75mm wide-angle lens for the 4x5 format includes almoet
2O/6 rnore subject matter than the usual 90mm wide-angle.
l6View original page 16Page 17 · Read text
The l35mm focal length is the pressman's
standard choice.
The 25omm telephoto is
needle sharp and permits
huge enlargements which
retain detail, as seen by the
inset example. (Courtesy
Kling Phot, Distributors ol
the Linhof in the a.S.A,)
t7View original page 17Page 18 · Read text
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The distinctive Imagon lens imported by the
distributors of the Linhof cameras. It pro-
duces a soft-focus efrect which is unique and
cannot be duplicated otherwise. The small
openings around the periphery lens insert
control the amount of difrusion. The Imagon
is an ideal lens for portraiture.
www.butkus.us
Interchanging lenses is a simplified pro-
cedure. The arrow points to the button which
is pressed to permit the lens board to be
removed or replaced.
l8View original page 18Page 19 · Read text
Part II. Learning How to Operate Your Camera
BASIC ACCESSORIES; THE FILM BANK;
LOADING AND UNLOADING FILM
t1I Equipment for the Baeie Shots
Your camera and film is the minimum needed for outdoor daylight
pictures. However, to round out our program to learn to use the cam-
era anywhere and everywhere in the world, these extra minimum acces-
sories should be bought as quickly as possible as aids in the operation
of your canera in a planned way:
L An accurately sensitive erposure meter becatse, although certain
lighting conditions can be standardized, your eye still is a relatively
inaccurate measurement device. The meter should be convertible to
direct or incident light reading methods. It is used with Basic Outdoor
Daylight Shot I and Basic Available-Light Shot II.
2. A flash holder for flash lamps and/or a speedlight for Basic Shots
III and IV. Both fiash forms are advisable because each serves a purpose.
3. A set of four BFA 375 lamps in their respective lamp holders with
light stands having at least l0' electric cable for Basic Floodlight Shot V.
4. A set of closeup lenses of plus-l, plus-2, plus-3, etc., for Basic
Closeup Shot Va.
5. A long cable release minimizes releasing vibration when the shutter
is pressed by your ffnger if it is on a tripod.
6. Lens hood and filters. The lens hood prevents light flare from
light outside the scene shining into the lens at an angle. Filters are
used lor either tone-correction or to increase tonal contrasts of your
subject with black-and-white fflm.
7. A portable, sturdy tripod. 'Ihis is desirable for slow shutter speeds
while copying, portraiture, odd-angle photography, etc. A tripod should
be used whenever big "blow-ups" are wanted, because the less camera
vibration, the sharper the ultimate picture.
8. A basic set of three lenses: A 90mm, a 135mm (the standard focal
length usually supplied with the camera ) and a 360mm focal length.
9, A gadget bag tohold, protect, and organize your equipment so that
you can leave at any time without worrying whether an important lens
or accessory or film has been forgottbn. Have a check list for the basic
accessories.
10. A set of roll film and sheet fiIm hol.ders for most emergencies or
exigencies.
11, A supply of black-and-white, color negative and color transparency
fiIrn.
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www.butkus.us The Film Bank Spnros oE Br-ecx-ero-Wurrr Frr,u. A great variety of black-and- white fflms is manufactured. In fact, so mtrny kinds are made that by the time you assemble one list, the films that were mentioned at the beginning of the Iist lnay have already become obsolete. Black-and- white film can be conveniently divided into these groups: Group L Slow Speed. ASA 40 to 100. Resolving power: 140 lines per nrillimeter, approximately. Typical name: Kodak Panatomic-X. Group II. Medium Speed. ASA 125 to 320. Resolving power: 110 Iines per millimeter, approximately. Typical name: Kodtrk Plus-X or Verichrorne Pan. Group lll. High Speed. ASA 260 to 500. An all-round fflm. Re- solving power: 90 lines per millimeter, approximately. Typical name: Perutz Perommo 21. Coup lV. Extreme Speed. ASA 400 to 800. Available light favorite. Resolving power: 65 lines per millimeter, approximately. Typical name: Kodak Tri-X or Royal Pan. Group V. Supreme Speetl. ASA 800 to 1800. Champion light gath- erer, Typical name: Agfa Isopan Record, Kodak Royal-X. GrouTt Vl. Special Purpose. Infrared film, direct positive, photofluor, microcopying, and printing positive emulsions are specialized items that are available for the self-explanatory specific problems like infrared or microcopying photography. See Black-and-White Film List in the Factopedia. Cor-on Posrrrvr, Pno;scrroN TnlNspennNcrns. These are probably the most popular film stock in use because they are in color and can be projected for simultaneous group viewing. Color prints (Kodak Ekta- color is one of the names ) can be ordered in a wallet size from the color-positive transparencies or enlarged to 16x20,,. See the Color Transparency Factopedia. Film List in the Cor,on Frr,nr. Kodacolor Nncerrvr wide-latitude, color- : film is a negative material balanced for picture-taking under daylight or clear .T flash illumination. Difierences produced in the negatives by these types of light are compensated by the printing operation. Thus the photog- rapher can take daylight or flash pictures on the same roll of Kodacolor fflm or with single sheet Ektacolor. Ektacolor prints may be obtained from the new 35mm fflm in two sizes. The "2X" print measures 2Yzx3Yz,, and the "3" print is 3\hx5,,, Ektacolor of Kodacolor negatives also may be used to produce excel- lent quality black-and-white prints, using a panchromatic paper, the new Kodak Panalure E paper. Ektacolor or Kodacolor film produces color negatives which are com- plementary in color to the final print. They permit a theoretically infin- ite amount of color prints in the same way as an infinite amount of black- and-white prints can be made from a black-and-white negative. Color prints are usually made by contact or enlargement on Ektacolor paper. 20View original page 20
Page 21 · Read text
These can be easily enlarged to 16x20". The larger the blow-up, the
better the appearance of the color print. Ektacolor prints are finding
increasing favor for wedding pictures because a color picture is a
minimum acknowledgment as a "thank you" for a gift.
Frr-lt SreNoARDrzATroN. One of the fundamental rules for camera
operation is to standardize with one ffh"n. Standardization reduces the
rnany variables present in picture-making which would otherwise. be
confusing when too many film speeds and too many different fflm char-
acteristiis are present. On my score, since it is possible to use only
one film at one time, I am able to save pages and pages of text that
would otherwise be wasted in repetitious instruction. You benefft from
this saving because more time can be given to teaching you how to take
better pictures.
The choice of a film type depends on its ultimate purpose,
When you are in a foreign country and buy film calibrated in BSI
or DIN ratings, you can convert this foreign rating into ASA with
the conversion chart in the Factopedia; as an example:
If the vividness of real color is desired, then buy color fflm. If the
traditional type of portrait, landscape, or "snapshot" is wanted, then
select black-and-white fflm.
Connrcr Frr,rr.r. A medium-speed ftlm like Kodak Plus-X used at an
EI (exposure index) 160 rrsually is a compronrise film that produces the
ffnest possible grain at the most efficient film speed. .The finer the
grain, the slower the film speed; the faster the fflm speed, the coarser
the grain. This usaully applies to both black-and-white and color films.
Because color positive transparencies are projected, grain is a secondary
factor; therefore, the fastest possible color-transparency film should be
used. For this reason, high-speed Ektachrome daylight or tungsten, ASA
160 to 125, is suggested for color slides for projection.
Cor.on Frr,rt Lrcur-Souncp Ber,eNcrNc. Color film should be used
with the light source for which it was designed. Daylight-balanced film
should be used outdoors; Type B color fflm designed for photofloods
(300"K color temperature) should be used with these lamps. Type F
color fflm designed for use with clear flash like the M-5 flashlamp should
be used with this lamp for best results.
However, if indoor color is in the calr-rera, and outdoor pictures are
wanted, then a color conversion fflter (see Factopedia) is needed.
In the color filmJight source chart in the Factopedia, you are told
what light source is needed for a speciffc color film. If the color film
cannot be used with that light source, the Factopedia shows how to
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select the correct color fflter to rebalance the light effect and make it
suitable for the film in the camera. As an example:
Film Daglight Flashlarnps 3800'K
Ektachrome, Daylight EI 32 None
Keg Color-Filter Thought. Use color fflters to make the light source
match the color fflm in the camera.
Srenr Wrrn Cor,on Frr,r.r. First-time color pictures usually are more
successful than first-time black-and-white pictures because colors, in
themselves, provide "different" contrasts, whereas black-and-white pic-
tures become routinely successful only after you have a comprehension
of highlight and shadow contrasts.
Frr.rr-Spnnn RrrurNonn. A loaded camera may be shelved and remain
unused for some time. The name of the fflm, and the camera in which
it was placed, may be forgotten, so that you have no way of knowing
what a correct exposure should be.
Fit the name tab of the fflm box over one of the snap buttons on the
carrying case where you can see it as a reminder, This method is also
applicable to the carrying cases of the other equipment.
Frr-nt Srr-rcrroN Suul,reny. Color provides its own contrast, whereas
black-and-white contrast usually must be created by carefully selected
light and shadow areas, supplemented by filters or lighting. Black-and-
white film records all colors in various shades of gray, so that the
average subject usually does not have sufficient contrast for a "differ-
ently" interesting picture. Therefore, load the camera "live" with color
fflm: High-Speed Ektachrome, EI 160. Or, for black-and-white prints,
Kodak Plus-X Pan, EI 160/5.5..
Loading and Unloading Film
The Graphic and the Linhof Cameras may be loaded with fflm with
a sheet-filn'r holder, a roll-film holder, a film-pack adapter, a Grafmatic
film holder, with Polaroid fflm by means of a polaroid back, or Rollex
"Ideal Format" 120, or 50 Cin6 Magazine backs.,
Ceunne Bacrs. The Linhof Universal Back accepts Graflok accessor-
ies. Your camera can be fitted with any of three backs: the Graflok, the
Graphic and the Graflex. Each, of course, has its advantages. The
most popular is the Graflok back. It has the more modern accessories
designed to fit it. Note, however, lhat the Graflok back does rnt accept
Graflex holders. The ,Graflex back is being discontinued.
The main features of the difierent backs are:
L. The Crafl.ok back is standard for both the Graphic and the Linhof
cameras. The features of the Graphic and the Graflex backs have been
combined for increased versatility. The springloaded focusing panel
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