Film cameras
Grover Universal View User manual
User manual for Grover Universal View. 49 pages in English. Read the original PDF, download or print a copy without registration.
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- Brand
- Universal
- Model / document
- Grover Universal View
- Document type
- User manual
- Language
- English
- Pages
- 49
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- 11.3 MB
- Category
- Film cameras
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Page 5 · Read text
;!-
TO HELP YOU PRODUCE
BETTER PICTURES
ct/i" lllHls treotise hos been prepored to provide .or,.photogrophy
the beginner ond odvonced omoteur with some procticol, work-
oble informotion on those bronches-of photogrophy generolry
done with the conventionor types of portroit ond commerciol
view comeros. while comeros of mony .thi; type ore used in speciolized bronches of photogrophy, the omoteur uses them mostly for portroiture, commerclol' subjects, stiils, interiors,
orchitecturol subjects, etc., ond it is these subjects thot ore treoted here.
It is ossumed thot the *orr"l is orreody sufficientry fomirior
w.ith photogrophy os o hobby to develop his own films ond moke
his own contoct prints ond enlorgements. Beyonj this his
problems ore such os effective ligFting, composition, etc., ond
it is here thot this treotise .n photogrop-hy should prove of vorue.
o
In photogrophy, the ortistic obility of the individuol photog-
rophe.r is olwoys reflected in his work. He develops o t"lhniqru
peculior to himself; ond os his knowiedge qnd ouilitv in pi.trr"
moking progress, he is better obfe to e-xpress his ortistic rem-
peroment in his work. In this treotise we give yoLr o guide, o
bosis on which to stort. The photogrophs- olso ore intended
only os o guide. The bookret will serve you best ir ii olts'o, o
stepping stone from which you wiil deveicp your owr, styre cnd technique.
As monufocturers of wotrotn portroit, B t7 J cornnrercror
view, B G J Press, Grover comeros ond sofor Enroigeif *" lo""
prepored this book os o meons to on end . . . thotir rjr"-ofing the sole of these units. However, the doto contoined in this treotise holds for oll comeros of similor design.
o
This book is offered with the sincere hope thot it will enobleyou to produce. successful pictures from the rtort-proJiduyou with mony hoppy hours with your comero.
FoR FIFTY yEARs Burke & .Jomes, r.nc., hove served boththe professionol ond omoteur photog.rophei. il;ru ;il;; ri,;r_ rcentury of photogropbic progress we-hov" pio,..,""rej in tt," a"_velopment ond monufocture-of pnoiotrophi; l firl;i.,"n.for better pictu.res. we ore proud!et1e1of thb -on-y contributions we l1hove mode to the tremendous progress of pnoiog.opnv I
Ilong period of time. Ail Burke'onJ'Jomes.iroducts'ore """r"thisethicoilysold by deolers throughout the country. ,f f"l ony reoson yourdeoler connot supply you, preose wriie ,, o,rect giving yourdeoler's nome ond oddress.
Burke & James, fnc,, Chicago, U.S.A.
Poge 3
)View original page 5Page 7 · Read text
PORTRAIT MADE
WITH ONE LIGHT
ond q REFLECTOR
SCREEN
GET PROPER BALANCE BETWEEN
HIGHLIGHTS AND SHADOWS
THE REFLECTOR. SCREEN THE MAIN LIGHT SOURCE
TO SOFTEN THE SHADOWS Photoflood bulbs ore on ideol light source
In the obove portroit, o reflector screen hos for portroiture. They should be used in c
been used in oddition to the light. Such o properly designed reflector to secure full ligh'-
screen moy be reodily constructed of ony ing efficiency. A stondord No. 2 Photoflood
light-colored moteriol thot will reflect the bulb is ideol for use os the moin light source. light. Moke it opproximotely 3x4 feet in subjeut size ond mount it on o stond so thot its po- The distonce of the light from the sition moy be reodily odjusted. White cord- regulotes the intensity of the highlights.
boord or white cloth moy be used for the Ploced too close it tends to btrrn up the high-
reflecting surfoce. lt moy be ploced close lights, ploced too for owoy, yo,u lose the
to the subject when more reflected light is proper bolonce between highlight ond shodow.
desired. The lomp or moin light source
should be ploced to secure the desired high- INFLUENCE OF CLOTHING lights-the ref lector used to lighten the shodows. ON EXPOSURE
lf your subject is o girl ottired in o light
RESPONSE OF EMULSION colored dress, the dress octs os o ref lector
TO LIGHT INTENSITY illuminoting the under chin, so your lights
Moke it o point in your portroit work to should be crronged to ollow for this. lf the
first stondordize on one brond ond type of subject is ottired in dork clothing, procticol!y
film. Different films due to their voriotion no reflectron is secured. When moking yo'-
in color sensitivity do not record highlight exposure, these foctors should olwoys be con- ond shodow volues the some. By working sidered. Shorten the exposure on the light with one or two bronds of film, you will soon leorn their chorocteristics ond secure more subjects, ond lengthen it slightly on the dork
uniform results. subjects.
HOLD THE FLESH TONES A NATURAL POSE PREFERRED
Portroits must olwoys retoin f lesh tones. Avoid stroined or unusuol positions when
Skin texture must be retoined in the high- posing your model. A noturol pose is olwoys
lights ond in the shodows. Burned out high- best. lf your subfect is stout, hove her sit
lights where only the white of the poper erect ond leon slightly forword. Wotch strch
shows ore to be ovoided ond so ore the shod- details corefully, it will repoy you with better
ows thot register os o solid exponse of block. negotives.
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PERFECT
PORTRAITS WITH
TWO LIGHTS
. In the portroit shown here, two lights
were used os shown in the diogiom
below. The moin light providel the
highlights-the second l.ight softens
the shodows.
(_i\- t] -r/ 9 C)='=-
IN GOOD PORTRAITURE THE USE OF AT LEAST
TWO LIGHTS IS RECOMMENDED
BUILD THE LIGHTING AROUND FOCUS ON THE EYES
THE H IGHLIGHTS The comero should be focused occurotely
Two lights ore omple equipment for good in portroiture, ond the eyes especiolly should
ryork_ j1 portroiture. The moin light source be. in shorp focus. lf you ore working with should be mounted on on odjustoble stond so o lorge-operture lens wide open ond y:ou do
thot its height moy be conveniently reguloted. not hove sufficient depth of focus to gbt uni- Ploce it obove ond to one side of voui model. fo.ffnly ghgrp focus over the entire fJce, you
Wotch.the highlights it gives you. Adjust it wjll.find thot b.y odjusting the tilt ond iniing
up or down; move it more to the side or bring of the comero bock, o uniformly shorp foctri
it more to the front. As you move it, study moy be sec,ured.
the chonging highlights. When you get o sotisfoctory highlight effect, bring- your sec- CATCHLIGHTS IN THE EYES
ond lomp to beor on the shodoG. Control . In _portroiture the uotchlights in the eyes the shodow illuminotion by the position of the give them life ond sporkle. As o generol rule
lomp. lt should be ploced weil to the front only one cotch.light should oppeor in eoch eye,
cf the subject ond close to the comero to thot formed by the lornp used for shodow
ovoid cross shodows. The intensity of this illuminotion. ln some coses it moy be neces-
light on your model is reguloted by' the dis- sory to ploce the moin light source ot so low
tonce of the lomp from the subject. Alwoys o level thot it will olso-be reflected in the beor in mind thot you wont shodows to get eyes. lf it is necessory to hove it this low to
relieF in your picture. They shoulcj not -be get proper fociol highlights, it is best to leove too deep nor too tronsporent. it so. lf the second highlight in the eye de-
troc.ts f-rom the picture, it moy be spotted out LIGHT MUST SUIT THE SUBJECT in the finol prini.
As you work with different subjects'orrongementyou will quickly leorn thot the lighting ADJUSTING THE CAMERA
thot gives o pleosing likeness of one will not The tilt ond swing odjustments on the por-
prove sotisfoctory with onother. Fociol chor- troit comero bock will quickly prove iheir octeristics such os full high cheek bones, deep volue in portroiture. In coses whire the eyes set eyes, lines in the foce, etc., oll coll for of the sitter ore not in the some plone os ihe voriotion in the lighting orronEement. The comero lens, the swing odjustment moy be subject with deep set eyes will coll for the rototed to bring both eyes into focus with moin light being ploced ot o lower level. In equol definition. in coses where the comero
this orrongement the shodow from the nose is obove or below the subjects heod, odjust- will no longer reoch the end of the lips. You ment of the tilt will oct in the some monner
must find thot hoppy compromise thot provides in bringing both foreheod ond chin into the proper highlights to oll feotures. some focusing plone.
Poge 6
\r,, ,.,"*View original page 8Page 9 · Read text
TOP AND SIDE
LIGHTING FOR
EXTRA HlGHLIGHTS
ln this portroit ond diogrom the
moin light source ond shodow light
hove been ploced in the conventionol
monner. A spot light hos been
odded for extro top ond side light.
USE A SPOTLIGHT FOR EXTRA HIGHLIGHTS
LIGHTING EQUIPMENT ADJUSTING THE LIGHTS FOR
While it is possible to produce good por- DISTANCE AND HEIGHT troits with only one light, the use of two In odjusting the lights on your portroit lights is recommended. Three, four ond even must subject there is no fixed You rule. in to odvontoge five lights moy be used the you experience leorn f rom hove when is securing The certoin third light effects. proper foce. your intensity subject's on light usuolly employed for bocklighting or bock ond side lighting. lt is often used to illum- Too much light tends to burn up the high- lights ond give you lorge cholky oreos in inote the bockground. The highlight or moin ploce of the flesh tones which you should light source ond the shodow or secondory hove. You must olso leorn from experience light should hove good reflectors, preferobly mounted on odjustoble stonds, permitting the iust how strong o light to use in softening the shodows. The intensity of your lights operotor to conveniently ploce them where de- con, of course, be reguloted by plocing them sired ond to quickly regulote their height. neorer or forther from your subject. You
PHOTOFLOOD BULBS must olso leorn from experience the relotive
Photoflood bulbs are recommended for difference to mointoin between highlights ond illuminotion. They ore economicol in cost as shodows to secure the effect you ore ofter. well os in current consumption, ond the light As you study the subject, you must visuolize they emit is rich in the blue portion of the in your mind's eye, the finished picture ond spectrum. They give off less red ond yellow orronge your lights to give this effect.
Modern incondescent bulbs. regulor roys thon to VARIATIONS IN LIGHTING sensitive ore emulsions oll extremely film
blue. Thus, with photoflood bulbs well ex- SHOULD BE TRIED
posed negotives ore secured in o minimum of The bosic principles for lighting outlined
exposure time. in these poges ore those used by the mojority
of photogrophers in portroit work. Since the GET A GOOD LIKENESS object of o portroit is to secure o good like-
OF YOUR SUBJECT ness of the subject, there con be no set rule
The primory purpose of o portroit is to for the lighting. Study the pictures you see
produce o pleosing likeness of your subject. of movie stors, ond observe other portroits Bizorre lighting orrongements, unusuol com- thot moy come to your ottention. Notice
ero ongles or freok posing, while often justi- highlight ond shodow orrongements. From
fied for speciol effects ore not to be con- this you should be oble to determine in o
sidered in the reolm of true portroiture where generol woy the lighting used by the photog-
o good ond pleosing likeness is desired. No ropher. Only by experimenting con you hope hord ond fost rule for lighting in portroiture to ocquire o thorough knowledge of the
con be set down. Strccessful portroit photog- effects you will receive from vorious types ot
rophers oll use different types of lighting. lighting orrongements.
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DI FFERENT POSES
SHOULD BE TRIED
The portroit ond diogrom illustroted
here show o voriotion in the stondord
light orrongement by the odditjon of
o spot light which is used for bock-
lighting to throw o holo of light
oround the subject's hoir.
il
CREATE YOUR OWN LIGHTING ARRANGEMENTS
RELIEF IS SECURED WITH flected by the sitter. When using bocklight
HIGHLIGHTS ond SHADOWS orrongements in which the bock light is
In working with portroits you must olwoys pointed toword the lens, moke certoin thot
f rom those direct roys.beor in mind thot relief in our picture rs the lens is shielded
secured with highlights ond shodows. A pic- lf this is not done, the negotive will oppeor
os the roys of light from theture mode without shodows will oppeor flot flot ond lifeless,
ond lifeless. With proper highlight ond lomp, while not folling directly upon the film,
shodow volues the picture will tend to stond ore projected ogoinst the bellows, where by f ilm, tending toright out of the print. The highlights, while ref lection they reoch the
strong to secure good relief should, neverthe- produce o slight fog.
less, corry o definite tone volue in the finishedprint. DEVELOP FOR SOFTNESS
As o generol rule portroit negotives should
SHADOWS SHOULD BE SOFT be developed for softness. This requires the
In odjusting your lights to soften the use of o soft working developer with o min-
shodow side of o portroit, you must leorn from imum of developing time. lf your finol print
experience how to visuolly reod the volue of is to be mode by projection, the densest por-
the light. Detoil should be retoined through tion of the negotive should not be so heovyoll of the shodow oreos, ond the grodotions thot ordinory newspoper type could not be
from the highlights to shodows should be soft- reod through it. Such o negotive is ideol forly groduoted to ovoid horsh controst. enlorging ond when printed by contoct on o
vigorous grode of poper it gives us o printLEARN TO READ LIGHTING hoving o fine, full scole of grodotr.rn. The experienced portroit photogropher hos
troined himself to remember light volues. WATCH THE COMPOSITION
This enobles him to work up o light orronge- Composition or the plocement of the subject
ment ond get the lights ploced in o minimum in proper position in the picture oreo ond theof time. His troined eye quickly detects the proper distribution of light ond dork oreos,volue of the shadow illumination and he must be token into considerotion if our pic-knows from experience how strong they will ture is to hove reol pictoriol volue. Thecome up in relotion to the highlights in the heod os the moin point of interest in thefinished picture. picture, should not be ploced too high nor too
low in the picture oreo. lt should olwoysSHIELD THE LENS FROM foce into the picture ro+her thon out of theDIRECT RAYS OF LIGHT picture. The light ond dork oreos thot form
Alwoys be sure to shield the comero lens the picture should be coref ully orronged to
from oll direct roys of light, except those re- form o hormonious whole.
Poge 8View original page 10Page 11 · Read text
PROFILE
PORTRAITS
r An interesting voriotion in the conven-
tionol monner of posing is presented in
profile portroits. The described method
of lighting ond posing will help produce
interesting ond highly successful pic-
tures.
D de\\4
FULL OR PARTIAL PROFILE PICTURES
REQUIRE PROPER LIGHTING
STUDY THE MODEL FOR offset the lighting orrongement provided by
POSING ARRANGEMENTS the first two lights.
A successful profile portroit will noturally BACK LIGHTING require thot the model's feotures lend them- An interesting voriotion in the lighting selves to this type of picture. The line of orrongement just described moy be hod by the foreheod, nose, lips ond chin should be swinging the moin light source behind the
f irmly ond regulurly modeled. lf these model so thot the highlights secured will be
feotures present o pleosing line orrongement, in the form of o holo of light coming down we moy proceed with the posing. At leost the foreheod, nose, lips ond chin. When
two lights will be required ond the use of plocing this light in posing, olwoys view the
three is recommended. All thot hos been soid lighting orrongement on the ground gloss to
on the preceeding poges regording portroit moke sure thot this light line is uniform over lighting opplies olso in profile portroits. Relief its entire length. With this orrongement it
in the picture is secured through o pleosing moy be necessory to use o stronger light cn
orrongement of highlights ond shodows. ln the front side of the models foce to eliminote
posing the model for o prof ile the heod o highlight of too much controst.
should be thrown slightly bock to secure im- EXPOSE FOR THE SHADOWS
provement in the chin ond neck line. When determining exposure times on ony
is FRONT LIGHTING type of portroiture in which bock lighting shodows. Suffi- The moin light source should be ploced used, olwoys expose for the directly in front of the model ond slightly to cient exposure to register the shodow detoil the side of the comero to eliminote undesir- mcy, in some coses, result in overexposure of the highlights. This moy be compensoted for oble shodows on the side of the model's foce in soft development of the negotive ond full focing the comero. A second light should be ploced behind the model ot opproximotely o development of the finol print. 40 degree ongle from the comero ond suffi- STUDY THE IMAGE ON
ciently high to provide highlights ond good THE GROUND GLASS
light on the hoir. With these two lights When working up the lighting orronge-
properly ploced, exominotion of the ground ments it is olwoys odvisoble to judge its volue
gloss imoge should show o rother pleosing by studying the ground gloss imoge. Or by
lighting crrongement. lf o third light is ovorl- plocing your eye close to the comero lens
oble, it should be ploceC close to the comero you moy olso judge with some occurocy the
ond ot o sufficient distonce from the subiect crrongement of highlights ond shodows on
so thot it will tend to blend with rother thon the model.
Poge 9
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CHILD
PORTRAITUR,E
o In the portroit ond diogrom shown
here, flot lighting ogoinst o light-
colored bockground is indicoted.
Pictures of children ore olwoys best
when rendered in o high key without
the use of heovy shodows.
D
CHILDREN ARE IDEAL CAMERA SUBJECTS
USE SIMPLE LIGHTING fost shutter speeds. This orrests ony normol
Portroits of children ore olwoys best when motion ond ossures negotives free from blur lensrendered in o high key. While suitoble por- coused by movement of the subiect. A used,troits moy be secured through the lighting of ot leost F:4.5 operture should be
orrongements shown on the preceeding poges, ond even foster lenses ore recommended.
the tendency of our young subiect to move PATIENCE BRINGS R,ESULTSofter the lights hove been plocEd, mokes it
extremely difficult to secure portroits with In posing the youngster for o formol type of
proper highlight ond shodow plocement. In portroit, you must use on endless omount of po-
lighting the child portroit, it is best to use tience to get the subject properly posed, in the
two lights. The first, or moin light, should be right humor ond with proper expression for theploced to one side ond obove the sitter's heod picture. A long coble releose will prove o
to secure o generol highlight oreo. The sec- worthwhile investment os it will enoble you to
ond light should be ploced on the other side step to the front of the comero to hold the
of the sitter ond to the front neor the comero. child's ottention until you find o suitoble ex-
Ploce it close enough so thot the difference pression ond con snop the shutter. Whenbetween the highlight ond shodow side is very working with o long extension releose of this
smoll. This will give o procticolly even light type, be coreful thot you do not interpose
oreo, resulting in o pleosing portroit even your body between the lens ond the subject.
though model moves from originol position. NATURAL POSES ARE BEST
KEEP THE PICTURE IN A HIGH KEY As o rule, children ore immune to the self-
In moking portroits of children, it is olwoys conscious ond posed effects thot trouble us
best to employ o light-colored bockground. when moking portroits of the grown-ups.Children ore usuolly dressed in light-colored Endless possibilities for posing children ore
clothes ond by plocing them ogoinst o light ovoiloble in every home, ond simplicity should
bockground, we secure o high key portroit. be the key note of every sitting you toke.
Remember to bolonce the lighting so thot no Procticolly every expression ossumed by your
heovy shodows exist. On such light-colored smoll model will prove more interesting thon
subiects the exposure moy be reduced to o the preceeding one. lt is best to let him
minimum. The negotive should be rother fully ossume o noturol pose, os noturol poses ore
developed to bring out the slight tonol differen- groceful ond depict the youngster os we would
tiotion thot exists in o picture of this type. noturolly expect him to be. In child portroits ovoid the use of distrocting occessories. A
usedA FAST LENS IS ESSENTIAL smoll doll or other suitoble toy moy be
In child portroiture o fost, lorge operture to hold your subject's interest but do not ot-
lens is recommended. Ample light on the tempt to lood the picture oreo with o surplussubject ond o lorge lens opening olong with of occessories which would tend to distroct
o fost ponchromotic film permits the use of from the portroit proper.
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PORTRAITS OF
BAB I ES
o Ample light, o fost lens ond o fost
film give you on ideol set-uP for
boby pictures. The diogrom shows o
procticol orrongement for even, flot
iighting to ovoid unwonted shodows.
Drc
tii:i:;;ri: ---ii,:.ri;:l
AVOID DISTRACTING SHADOWS IN LIGHTING
FLAT LIGHTING IS DESIRED STOP DOWN FOR MAXIMUM
All thot hos been soid on the foregoing DEPTH OF FOCUS
poges regording lighting orrongements for Focus the eyes os shorply os possible with is portroits opplies in the cose of the boby. the lens wide open. When perfect focus down stopped lens should be secured, the Where strong highlights ore desired in por- focus provide depth omple sufficiently of to
troits of older people os well os children, beor to ollow for ony movement the boby moy in mind thot the model should not be per- moke before you snop the shutter.
mitted to move ofter the lights hove been
ploced. However, it seems thot bobies hove AN EXTENDED SHUTTER RELEASE
on uncontroloble desire to move ot the most WILL PROVE HANDY
inopportune moments, ond you will often find An extension on your shutter releose will
thot ofter getting highlights ond shodows enoble you to step well forword of the comero
properly orronged the youngster will move ond close enough to the subject to ottroct his
before you ore oble to snop the shutter. For ottention. When the comero is oll set ond
this reoson, it is best to ploce the lights so reody for the exposure, try to get the subject's eyes ot leost thot no strong shodows foll upon your model's ottention so thot he will lift his
foce. The odvontoges of this flot type of to o level with the comero lens.
lighting ore obvious os no motter which woy AVOID PROPS AND ACCESSOR,IES
the boby's heod is turned, no disturbing sho- In the portroits you moke of the boby, ol- dows will be noticed in the finished picture. woys remember thot the boby himself is to be
the moin point of interest in the picture. The
ARRANGING THE LIGHTS use of props, toys ond similor porophernolio
in The moin light source moy be ploced ot o should be ovoided, olthough o toy ploced
suitoble distonce from your subiect ond ot o the youngster's honds moy enhonce the pic- sufficient height to literolly flood the subject ture volue ond ot the some time keep the
with light. The second light should be ploced boby interested while you ore orronging the
iust slibhtly forther owoy ond. in o lower po- comero ond getting it focused for the exposure. sition close to ond on the other side of the TAKE YOUR TIME comero. This second light will soften ond
procticolly eliminote the shodows ond provide Potlence in getting the boby posed-focus-
us with o delicote scole of tone throughout ing ond refocusing os often os necessory, will
the subiect. A light-colored bockground of reword you with better pictures. Ample light
the ploinest type should be used, ond the ond o fost lens thot permits instontoneous
boby-shotrld be seoted or permitted..to lie on exposures will sove you mony o negotive thot
somc light-colored moteriol thot will help re- would otherwise be spoiled becouse of slight
flect the light. movement on the port of the model.
Poge ll
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GROUPS AND FULL
FIGURE PORTRAITS
o Successful pictures of three-quorter ond
full length subjects, os well os groups,
require some chonges in the lighting
orrongement os compored to heod ond
shoulder portroits. The generol lighting
system for portroits still holds in light-
ing the subject's foce; but os the volue
of light folls cff ot the squore of the
distonce troveled, you will f ind thot
the lower portion of your subjects will
receive less light thon the upper por-
tion. Thus it becomes necessory to use
on odditionol iight to provide tfre neces-
sory extro illuminotion on the lower
portion of our subjects.
KAUFMANN.FABRY PHOTO
. Successful photogrophs of groups
present the some problems os the
full-length figure of the individ-
uol. Additionol lighting equip-
ment should be ovoiloble to oug-
ment the moin lighting source in
securing proper illuminotion on
the foces of oll of your subjects.
One or two lomps moy be used
ot o lower level ond neor the
comero to soften the fociol shod-
ows. At leost one odditionol light
should be ploced close to the
f loor ond neor the comero to
provide omplg illuminotion on the
lower portion of the figures.
succEss Ll Es IN PROPER LIGHTI NG
BALANCE THE LIGHT subject stond olongside o choir or toble
In full figure portroits, proper orrongement where on interesting but not distrocting
of the lighting on the subiects foce will coll bockground moy be hod. The comero len-s for plocing the moin light source well obove should be between the woist line ond
the model's heod. The secondory light or shoulders. In some coses (with o womon) os
the light used to soften the shodows should low os the knees. The subfect is then stroight
be ploced on the other side of ond close to on ond the heod con be tipped down to get- the comero. The light from the moin lomp, owoy from the look up under the chin.
while literolly flooding the subiect's foce with highlights, will ropidly foll off in volue USE EXTRA LIGHT ON GROUPS
on the lower portion of the subject. To cor- Tf" moin problem in group photogrophy'
rect this, o third light should be used which is thot of securing even lighting of tha
con be ploced foirly close to the floor ond entire group. Additionol lights should be em-
so orronged thot it illuminotes only the ployed to secure first of oll o pleosing
lower portion of the subject. orrongement of highlights ond shodows on
the foce; ond secondly, on even spreoci of
PROPER ACCESSORIES light to the floor ond ocross the figures
While occessories ond foncy bockgrounds Lorge groups ore best hondled with photo-
ore to be ovoided in heod ond shoulder flosh btrlbs os the moin light, using photo-
portroits, there is omple lustificotion for their floods to light the shodows, os outlined on
use in full figures ond portroits. Hove your the following poges.
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COMMERCIAL
PHOTOGRAPHY
c Commerciol pl-rotogrophy is generolly oc-
cepted os thot bronch of photogiophic
work thot treots with pictures for com-
merciol purposes, such os cotologue work,
etc. In successful commerciol photogrophy
on entire new series of problems present
themselves to the omoteur photogropher.
The wide voriety of subjects thot come be-
fore our comero oll coll for different light-
ing orrongements, different bockgrounds,
generol rule commerciol pictures 4: c "t-c.should be shorp ond contrasty.
l-f
ALWAYS STRIVE FOR
PICTORIAL VALUE
For commerciol pictures find the best von-
toge point from which to photogroph the
sublect ot hond. The focol length of the lens
used, the position of the comero in relotion
to the subject, the bockground orrongement,
os well os the light orrongement, oll hove o
direct beorinq on the successful outcome of
the picture. As in portroits, lights ond shod-
ows odd interest to the sublect ond give it
relief. lt is comporotively simple to moke a
negctive ond print of your subject, but to
moke it stond out in shorp reolity with inter-
esting liqhts ond shodows, with o weolth of
detoil ond o full scole of tones colls for ex- theThesameabovenegative,illustrationsthe upperare onemadeshowingfrom treme core ond perfect control of the lighting t.he picture with- its normal background
orrongement, composition, bockground, etc. the Iower one having the background blocked out with opaque,
LIGHTING IS THE MOST upon the subject until sotisfoctory illumino-IMPORTANT ITEM tion is secured. ln mony coses it will be od-
Becouse of the wide voriety of subjects visoble to ploy o spot light down from thecoming before the commerciol photogropher's bock of the subject to provide suitoble top
fens, there is no hord ond fost rule for lighting ond foreground shodows. The wide lighting orrongement. Eoch subject presents voriety of possible lighting orrongements
its own lighting problems. Three or four should tempt you to experiment with d-ifferent
photof lood ref lectors ond one or two spct orrongements until you find one thot gives lights ore not too much in the woy of light- o perfect imoge on the gro,und gloss of the
ing equipment for this type of work. comero.
NEGATIVES SHOULD BE SHARPFIT THE SUBJECT
As o generol rule, commerciol negotivesLIGHTING ARRANGEMENTS MUST should be focused with criticol shorpnesl. The
In orronging the light on ony commerciol lens should be stopped down to ossure suffi-
subject it is best to stort with o single moin cient depth of focus to cover the entire sub-light in o selected position. With this first ject from f ront to bock. The negotives
light properly ploced, o second light should be should be fully developed to suit the indi-
brought into ploy to provide some control oi viduol subject. Prints ore best mode on
the shodows produced by the first one. Should glossy poper ond should be fully exposed ond
the subject now indicote the need for fur- developed to bring out the full tonol scole ofther lighting, it should be brought to beor the subject.
Poge 14View original page 16Page 19 · Read text
PHOTOGRAPHING INTERIORS
BALANCE THE LIGHT FOR AN This distortion should be wotched for and
EYEN SPREAD corre-cted by odjusting the lens up or down ond bringing the focusing bock of ihe comero Delightful photogrophs of room interiors into o verticol position.present no difficult problem to the omoteur A WIDE ANGLE LENS ISphotogropher. Such pictures moy be mode
with regulor photoflood lighting equipnrent RECOMMENDEDor with flosh bulbs. lf the photoflood bulbs A comero lens hoving o focol lengthore used, the lighting should be properly or- roughly equivolent to tha diogonol of lheronged to secure o well-bolonced ond com- plote size being covered will include onporotively even light over the room oreo to ongfe of view of opproximotely 45 to 60be covercd on the negotive. Two or more degrees. Wide onglc lenses ore' constructed
lights should be used, depending upon the to coyer on onglc of 90 to | 35 degrees. Thusoreo to be covered. in interior photogrophy where the comero
lf photoflosh bulbs ore used, omple light must be ploced relotively close to the sub-will be provided for the overoge size room ject ond os lo-rge on oreo covered os possi-with only one bulb. The bulb should be fired ble the use of o wide ongle lens is recom-
from o position close to ond iust obove the mended.
comero. GIVE FULL EXPOSUR,E
ROOM LAMPS NEED NOT BE . Exposures for this type of picture shoutd be on the full side. Deioils in'the rug pot- OFFTURNED tern ond furniture the upholstery shoutJ corry no mode exposures orc of night, lf your print. the tflg"gl to finol extremely lt- is room need the normol be given tothought judge difficult occurotely to tight volue withlomps if they ore covered with shodes. The the eye, ond the elemeni of guess work islight from such lomps is not strong enough eliminoted with o good exposure meter.to upset the regulor lighting orrongement WATCH THE WINDOWSond ihe slight odditionol light they provide
tends to enhonce the picture rother thon Interior. photogrophs mode ot night require no speciol core regording such windows osdetroct from it. moy be in the field of view. For such ex-AYOID CONVERGING LINES posures mode during doylight hours botoncc
In setting up the camero for on interior the lighting orrongement ond expoxrre timcpicture, it may be necessory to tilt it to so os to ovoid oyer exposure of the windows.
get a pleasing bolance in composition on the When. working with flosh bulbs, exposures
ground glass. fu the comero is tilted, the moy be of such short durotion thot thrwofls will apPear to be falling into the room. windows will not be overexposed.
Poge 17View original page 19Page 20 · Read text
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COPYING PRINTS
DOCUMENTS, etc.
I N DOORS
. The portroit or view comero is
ideol for all types of copy and re-
production work. Documents, news-
poper clippings, photogrophs, etc.,
nroy be successfully reproduced.
sfAs$N's cRtfrtNss
6J"0.*r-- &.n r,, * :fi' t^"*
USE EXACTING CARE WHEN COPYING
THE COPY STAND COLORED SUBJECTS
ln setting up the copy to be photogrophed, An understanding of the quolities of vari-
core should be exercised to moke certoin ous film emulsions will help you secure
thot the copy, the comero lens ond the film better copy negotives. lf youi subject is in
plone ore oll porollel to one onother. Any color, it moy be necessory to employ o pon-
convenient stond moy be used for the copy, chromotic film ond use o color filter of the
such as o woll or other upright surfoce. proper color on the lens so thot the copy
negotive will pick up the vorious color tonesTHE LENS in their proper volue. Procticolly ony good onostigmot lens is
suitoble Ior use in copying. The moin re- IMPROVING THE COPYguirements ond hove field it flot ore thot o old prints ore bodly thot . In.photogrophing using you nowgood definition. The lens ore foded, some odded snop moy in be securedundoubtedly requirements hos the for good copy jfe by first wetting ond then llgotive type.copy is work unless of the soft focus it blotting otf the excess moisturJ the from
LIGHTING THE COPY copy. Such prints seem to pick up oddcd The lighting must be uniform ond evenly controst ond brillionce while wet ond this chorocteristic con be token odvontoge ofspreod over the subject. Two lights, one oneoch side of the copy ot an ongle of approxi- when .copying. In some old photogrophJ, yo, will olso find thot os you view them by're-mately 45 degrees so thot the light reflected flected light o minimum of detoil is notice-from the subject does not strike bock at the lens, should prove ample. A simple method oble. Such o print when held up ond viewedfor testing the unifrmity of the light is to by tronsmitted light will show o weolth ofploce o ruler on edge ocross the center of the odditionol detoil. Such photogrophs moy be
copy. A shodow will be cast on eoch side of successfully copied by moking hoif of the ex-the r'uler by each light. lf the shodows ore of posure with front, or reflected light, ond theequol value, it indicates thot the lights are other holf by tronsmitted light. When working
evenly bolonced. A good lens hood will help with tronsmitted light, o piece of ground glos!
you secure odded brillionce in your films. or other tronslucent moteriol should be ploced behind the copy ond the light ploced be-
EXPOSURE TIMI NG hind this ot such on ongle thot none of thc
When photogrophing subjects ot close dis- direct light roys con strike the comero lens.
indicotedtonces no F numbers ore the longer AVOID VIBRATION number, ef fectiveoccurote. To f ind the F
use D os distonce from lens to film ond F os Core should be used when moking your
focol length of lerrs. Thus: exposure on copy work thot there is no vibro-
D'= Multiplying foctor for tiontion willduringcousethe oexposure.slight blurTheof slightestthe imogevibro-ond
F2 increose of exposure. distroct from the volues of the negotive.
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STILL LIFE ond TABLE TOP PICTURES
STUDY THE IMAGE ON THE os well os the odjustment of the lens boord, is designed to moke possible correction ofGROUND GLASS imoge distortion. lf the comero'is tilted
Pictoriol still life ond toble top pictures f rom o level position, verticol lines which
ore ideol subjects for portroit ond view come- should be porollel will converge. By tilting
ros. The full size imoge shown on the ground the bock of the comera. These converginggloss of the comero enobles one to study in lines con be brought to o porallel position.
detoil the volue of the lighting orrongement Train you eye to look for this distortion on
os well os the composition. An endless voriety the ground gloss and odjust the comera to
of still life subiects con be found in every correct it before moking the exposure.home. lt only remoins to select it-to or-
ronge it into on interesting picture composi- PRINTS FOR REPRODUCTION
tion to produce o successful picture. The im- sHouLD BE ON GLOSSY PAPERoge seen on the ground gloss is o working
guide in both lighting ond composition. Prints intended for reproduction should
olwoys be on glossy poper. The photo engrov-AVOID STRAY REFLECTIONS er when moking o holf-tone for letter press
On mony subiects you will find distrocting printing photogrophs the picture through o
reflections thot must be controlled or elimi- screen to secure o negotive mode up entirelynoted to secure o perfect picture. In mony of dots formed by the screen pottern.,ln thecoses, reorrongement of the lights will high-light oreos the dots ore but pinpoints;eliminote them. Bright moteriols such os in the shodow oreos they ore corresponding-
hiqhlv ploted metols moy be dobbed with o ly heovier. This breoking up of the imoge into
pilce' oif glozier's putty, this tending to eli- dots tends to compress the controst of the
minote the reflections. Lightly brushing with originol photogroph. Thus photogrophS', thot
cotton will then give on even surfoce. ore intended for holf-tone reproUuction
should be mode extro controsty to ollow forCONTRASTY RESULTS ARE the loss in controst thot tokes ploce in theUSUALLY DESIRED f inol printing cut.
While softness ond o delicote scole of tones
ore sought in portraiture, we should work for BLOCK OUT THE BACKGROUND
a more vigorous effect in our commerciol, In most instonces commerciol pictures
still life ond toble top set ups' Both high- will need suitoble bockgrounds to set off the
lights ond shodows can be stronger. The subject properly. Very often however, you will
n5gative should be fully developed ond the wont o prcture of the subject only, without
flnol print mode on paper thot will carcy bockground. When setting up such pictures,
most of the tonol ronge of the negative. you need concern yourself only with securing
proper lighting of the subject. After theALWAYS ADJUST THE CAMERA negative hos been completed, it con be set onTO AVOID DISTORTION a retouching stond ond the bockgrouncl,
The swing ond tilt bock of the comero, blocked out with opaque.
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COMPOSITION IN PICTURES
To produce o pleosing picture some thought must ,be given to the orrongement of the
lights ond shodows os well os the lines thot form the pictur-e. Composition is ftotty thon orronging the ports of o picture in o_pleosing monner. Certoin rules for compoiition"o--or"moy
be foJlowed, but they must by no meons become-rigid lows. Pictures should never Le dividei
into. holves or quorters-rother divide it into third!. Two thirds of o picture will provide-o
predominote bolonce-give the picture o single point of interest, roiher thon on equolly
divided interest. Below ore illustroted some of the bosic structures for composition.
BALANCE IN MASSES THE TRIANGLE OR PYRAMID
Bolonce in the picture or the proper ploce- The triongle or pyromid in its verticol form
ment of mosses of oork or light oreos is most represents strength ond permonsngg-qnd in
importont it our picture is to present o pleos- its horizontol form the converging lines of
ing orrongement. A heovy shodow moss in perspective. Frequently o holf pyromid is used,
the foreground ond to one side of the picture ossuming o continuotion outside of the origi-
moy be bolonced by a smoller mass ot the nol picture.
other side in the d,istance. Strive to have one THE CIRCLEmoin point of interest in your picture and use Indicotive of rototion and suspension. ltsthe smoller mosses os d meons cf adding em-phosis to this rnoin point of interest. compositionol arrongement includes the ring, disc, sphere or orrongements of these forms.
THE LANGUAGE OF LINES THE SYMBOLIC CROSS The lines thot form your picture con be crossinE of one lineused to creote o mood ond meoning in the Represented by thepicture. Stroight lines suggest iirmness, over, under, behind, or before onother. Offersstrength ond vitolity. Curved lines suggest on extremely wide voriotion of opplicotions. It is indicotive of troil, volor, tribulotion, etc.groce ond beouty of form. The verticol line It is strong in symbolism.signifies power, dignity, solemnity. lt is the
only line thot con stond without side support. RADIATING LINES
The horizontol line is indicotive of the eorths Mointoins o strong point of Interest oslcvel surfoce. lt denotes noturol support ond shown by all things that rodiote owoy from o
comfortoble bolonce. ln o gently curved form common center, or which converge upon it. it expresses eosy motion, undulotion ondrhythm, The diogonol line hos o more or less THE S CURVE OF BEAUTY
verticol ond horizontol tendency. lt suggests The S line moy be used os o smooth ond
oction ond more or lcss ropid or violent move- unduloting curve or it moy be used in o zig-
ment. Bolonce of line is secured by hoving zog form denoting oction. lt is the llne of
ogreeoble proportions of verticol, horizontol, life, beouty ond groce.
sloping ond curved lines, but not in equolquontity. Lines con consist of contours of THE RECTANGULAR FORM
obfccts, demorcations of tones or the average This rectongulor form is used wherever two
incllnation of o mass or object. lines or mosses, verticcl ond horizontol, join or cross of o ninety degree ongle.BASIC FOR,MS It is suggested thot you memorize these
The bosic forms in composition ore illus- bosic forms of composition ond ofter you hove
troted obove, ond sketches ore shown of pic- mostered them, try to combine one or two
tures using these bosic forms for their compo- ond possibly three forms in one picture. Al-sltionol orrongement. lt is recommended thot woys follow them in o literol sense rotheryou study other pictures in on ottempt to thon on exoct sense. A greot deol of liberty
onolyze their compositionol orrongement. moy be exercised in their opplicotions.
Poge 20
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tView original page 22Page 23 · Read text
SELECTING the
RIGHT LENS
o When selecting o lens considerotion
should be given first, to the size of
film we will employ; second, to the
type of picture we will most gener-
olly be toking; ond third, to the
design ond length of the bellows on
the comero. The focol length of the
lens selected should be opproxi-
motely equol to the diogonol of the
film, os this provides o normol ongle
of view ond good prospective.
A GOOD LENS IS ESSENTIAL
ANASTIGMAT LENSES Th.us photogrophs mode with such o lcns
Anostigmot lenses ore generolly used for when not too close to the subject, looks notu-
eye.oll types of commerciol ond architecturol rol to thework rcquiring o highly corrected lens to pro- THE "F" SYSTEM OR APERTURE
vide utmost detoil ond def inition. Mony The F number of the lens represents thc
photogrophers olso use them for portroiture. rotio of its focol length to the diometcr of
Good onostigmot lenses will cut o criticolly its moximum operture. Thus on F:4.5 lens
shorp imoge to the extreme corners of the hos o focol length 4V2 times its lorgcst
frlm. They ore corrected to provide o per- opening. The F system on lenses is usuolly
fectly flot field free from distortion. so orronged thot eoch successive stop or
POR,TR,AIT LENSES number either doubles or holves the omount
posses. Portroit lenses do not hove the sgme criti- of light it
col definition os o regulor onostigmot. They SHUTTER, OR BARREL MOUNT
ore porticulorly designed to provide on imoge Lenses ore ovoiloble in borrel mounte
of fine detoil with firm modeling moking with iris Ciophrogms, or they moy be hod
them ideol for portroiture. Certoin types ore mounted in regutor shuiters. The shutter
ovoiloble in which the degree of diffusion nror.rnted lenses ;noy L.e moui-rted directry ro
provided is vorioble. These lenses, used wide the lensboord of the comero ond the shutter
open, provide o soft well diffused imoge grow- operoted by the mechonism provided. Lenses
ing progressively shorper os the iris dio- mounted in borrels wil require the oddition
phrogm is stopped down. of o behind-the-lens shutter which will be
WIDE ANGLE LENSES operoted by the rubber bulb.
Wide ongle lenses ore speciolly constr'ucted DEPTH OF FOCUS
ond designed to cover on extremely wide When the lens is focused shorply on any
angle of view. Thus the focol length is rela- object, it will be noted thot immediotely in
tively short ond they require only o limited front of ond immediotely behind this moin
bellows extension. Under conditions where focused object on occeptobly shorp picture
o lorger picture oreo must be covered from oreo is included. This is known os the
o relotively close comero position, o wide depth of focus or depth of field. The depth
ongle lens will prove indispensoble. of field secured when the lens is wide open
THE FOCAL LENGTH is comporotively shollow, ond becomes deeper
The focol length of o lens controls the os the lens is stopped down.imoge size oswell os the ongle of view cover- CARE OF THE LENS
ed. The picture perspective is controlled by Lenses ore ground ond polished to the
the focol length; thus, the forther owoy we highest stondords of precision. The gloss
ore from the subject when toking the picture, which forms the vorious elements is comporo-
the truer its perspective will be. With o short- tively soft ond moy be eosily scrotched. They
er focol length lens, since the subject is should be kept cleon by gently swobbing with
closer to the lens, it will be large ond dis- o piece of regulor lens tissue or better o
torted to the eye. lf the lens employed hos c repeotedly loundered linen hondkcrchief.
focol length equivolent to the diogonol meos- Never touch the surfoce of the lens with
urement of the film, it will cover o field of your finger, os o sweoty finger moy leove
view of opproximotely 60 degrees, or l0 on ocid deposit thot will exert on etching
degrees more thon covered by the humon eye. oction on the lens surfoce.
Poge 2lView original page 23Page 25 · Read text
THE LAST WORD IN MODERN,
CAMERA DESIGN
THE occumuloted experience goined in over o holf- I centu ry of service to the photogrophic profession
is reflected in the design ond construction of these
new Grover Comeros. As now offered, they ore
the culminotion of yeors of poinstoking sffepl hoving possed through successive stoges of de--
velopment on the drof ting boord followed by
hond mode models ond months of procticol test-
ing in the studio loborotory. Then new models with
new improvements until todoy, when of their
present perfected stoge we con with pride off er them
to the photogrophers of Americo os the lost word
in fine precision comero design on instrument
thot con be depended upon for yeors of sotisfoctory
service.
*
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UNIVERSAT IN APPTICATION
MEETS THE EXACTING NEEDS OF THE
SERIOUS WORKER AND PROFESSIONAL
IN EVERY BRANCH OF PHOTOGRAPHY
* These new Grover Comeros meet ond exceed every requirement for fine photog-
raphy in every conceivoble type of commercial, view, illustrative, pictoriol and
portrait work. In oddition to their extreme flexibility they ore constructed with
the exacting precision thot distinguishes a fine instrument. The absence of
wood ports assures the. smooth working operotion of metol on metol. Working
parts ond bearing surfaces ore accurcitefy mochined and fitted. When using the
camera ot extreme adjustments the full generous construction of the bellows
ossures freedom from tension or stroin. The ruggedness of its design in generol
mokes it a matr's comero built to withstond normol abuse ond give you years
of satisfoctory service. -
FOR THE PROFESSIONAL
The professional photographer, whose livelihood depends upon the production * of salable pictures many of which must be mode under odverse conditions and
unuzuol opticol reguirements, will find in the Grover Comero a most versotile
instyument. Literolly it is like a flexible piece of conduit thot con be instantly
shaped 'and adiusted to fit the negative moking problem at hand. Long .focus
or wide ongle lenses may be used. The extreme controls provided odopt it
instantly to every type of job. Front ond rear swing and tilt odjustments permit
. exocting control of the.focol plone, making it possible to hold the plane of shorp
focus either straight or ot on oblique ongle as required by the picture subject.
FOR THE AMATEUR
* Amoteurs and odvanced workers who take pride in their equipment in its flexibility and adaptobility to o wide ronge of conditions will find- in these
new Grovel Cameros a never ending source of pleasure in- meeting the mony
photogrophic problems presented. There is no extreme fosition for on "angle" rl
shot that the Grover will not meet. lt is ideol for fine portrait studies. lt is
instontly odoptoble to every type of "trick" photography for purposeful
distortion of subiect matter and for extreme wide ,ongle work.- The wide range
of front and bock adjustments will more than meet every need of the omoteur.
FOR COMMERCIAL WORK
* When working with o Grover Camera, the commerciol studio operotor who strives
to produce o better type of picture, con give the widest possible ronge to his
creative obility in producing unusual negatives. The obility of the Grover to
rneet every picture problem, provides the photogropher with a new "photo-
graphic tool" thot is practicolty universal in its applicotion to every type of
' portrait, view ond commerciol work. You will find the Grover on ideol instru-
ment- for photographing everything from cramped interiors to brood scale
architecturs frem smoll studio set-ups to the finest types of illustrotive work.
-
Poge 24 DIgSTGNDID FOR BNTTEn- JYDG ATI YESView original page 26Page 27 · Read text
FOR ALL FINE PHOTOGRAPHYI
I FOR FINE PORTRAITURE
new * In the portrait studio and in home portroiture, the Grover Camero brings a
meosure of convenience ond flexibility. The swing ond tilt odjustments on both
the front ond the back of the Grover should be of particulor interest to the
portrait photogropher. The "eyes" of the subject, even though they are not
parollel to the comero, con be brought into sharp focus instontly. The rise, fall
and tilt odjustments enable you to properly ploce the sublect on the film area
without the onnoyance of extro tripod adiustments
FOR PICTORIAL PHOTOGRAPHY
* The amoteur as well os the professionol worker who concentrote their efforts
on fine pictoriol photography will find in these new Grover Cameras the flexi-
bility ond versatility they hove always wonted in their ideal comero. Every
convenience ond eyery conceivoble adjustment hos been provided. lts flexi-
bility actually exceeds the covering power of the normal lgns providing a
- reserve "sofety foctor" thot reaches for beyond all normal requirements. The
compoct design makes the Grover ideol for use in the lield, while its fine
oppearonce ond rugged construction makes it good for years of satisfactory
service.
LABORATORY AND SCIENTIFIC WORK
In scientific research ond laborotory work as well as for the experimenter in *
color sepbration negotives, spectrol anolysis and similor exocting types of photo-
grophic work these Grover Cameras will quickly prove their value. Front and
reor focusing simplifies the problem of producing sharply focused imoges of
any predetermined size. Positive locking feotures ossure the permanence of
odjustments when once made. The extremely wide ronge of odjustments pro-
vided enable the operotor to quickly adapt the camera to meet the negotive
I moking problem at hond.
I INSTANTLY ADJUSTABLE TO EVERY NEED
The various odjustments and outstonding feotures of the Grover Camero are *
illustroted ond described on the following pages. lt is recommended that you
study them carefully to fomiliarize yourself with the simplicity ond ease of their
operation. A thorough understanding of the mony odiustments provided will
enable you to consistently produce better and unusuol negotives.
The GnOVER CAIUEIIAS os ottered here o;re subieet to rta-
oisioro En design oltrld construetion brrsed upoln o,ur o,blliag lo
""""r" """"** ^*. a_
BUILT f'OR A LIF.DTIIwE OF SEnVICD Poge25View original page 27Page 28 · Read text
EXTRA LONGwww.butkus.usBELLOWS
THE unusual design of the Grover Camero provides ' remorkable compoctness when folded. When fully,
tefescoped or brought together, the lens board is 3l/e
inches from the film plone. (For use with wide angle
lenses the front lens board may be brought even closer
to the film plone as described in o following parograph).
This compactness when folded mokes tor the utmost
convenience in portobility permits you to set it up
instantly for picture toking.- The absence of loose ports,
extension beds, etc., is a feature thot the professional
operator will be quick to appreciote. lt takes but on
instant to fold the comero for insertion in its carrying
cose.
FOLDS COMPACTLY
JHE full 2l inch bellows on the Grover 4r5 Camera
' (21 inches on the 5x7 ) is of the poputor squore type
with extro wide gussets or pleats to provide the neces-
sory flexibility to permit full use of the various camero
settings. The extra reenforcing assures freedom from sog
and possible imoge cut-off. The bellows is constructed
of special wear resistant moteriol, with double reenforc-
ing throughout the entire length. This special construc-
tion, though more expensive, ossures a trouble free, light-
tight long life. They ore finished in on attractive silver grey
color thot is in hormony with the bright and satin chrome
finish of the comera proper.
REVOLVING BACK
standordTHIS- sturdy revolving bock is furnished as equipment on the 4x5 Grover Camero. This bock moy
be rototed from horizontol to vertical composition in-
stantly. A lever lock (upper left corner) on the camera
body, when pressed down, releases the bock, permitting
it to be rotated, and this lock outomotically holds the
back when the new position hos been reoched. The lock-
ing feature prevents the bock from being out of square
with the comero. This revolving back is permanently
fastened to the comera, and it need never be removed.
Precision design, in the construction of the Grover revolv-
ing bock, provides for smooth, eosy action, and it is light
tight in oll operoting positions. The 5r7 and 8xl0 Grover
Cameros are fitted with a full hooded wooden reversible
back.
FOLDING FOCUSING HOOD
THE improved focusing hood provides a practicol means ' for cutting off unwonted light from the ground
gloss ponel, when focusing. When open, it provides
an effective light screen all oround the ground glass.
By effectively shielding the ground glass from back light,
this hood improves the brillionce of the imoge shown,
thus simplifying the problem of focusing and moking it
eosy to sttrdy and arronge the picture subject for good
composition. When not in use, the focusing hood folds
compactly agoinst the ground gloss. Opening and closing
of the hood is extremely eosy pull the tab and it is
open push the cover and it snaps- into locked position.
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Poge 26View original page 28Page 29 · Read text
GROUND GLASS FOCUSING
Cameror are fitted with full rire ground glassGROVER
focusing ponels. The convenience of focusing connot
be over emphosized. On the ground gloss, you see the
image projected by the lens full size just os it will -be impressed upon the film, when the exposure is made.
You may compose the picture exoctly where ond how
you want it on the film, before the exposure is made.
Also, yocr may focus the image shorply as desired and
study the depth of focus secured at ony lens stop.
NO CUT.OFF CORNERS
The Grover Camerq the focusing ground gloss is fullQN negative size the conventionol cutting off of the
- A unique ventilating systen'lcorners'is not necessory.
(patpnt opplied for) on the camero back consists of a
series of fins which permits the oir to escope from or
enter the bellows during focusing operotions, thus elimi-
nating ihe usuol cutting-off of the corners of the ground
glass. Hence, on the Grover, the ground glass ponel is
full picture size ond you moy study and exomine the
- corners of the plate. This novelimage to the extreme
Grover ventiloting system prevents collapsing of bellows
ond makes for eosy moniPulotion.
STANDAR,D SPRING BACK
GROVER Camcro is fitted with o stondord springTHE
bock orrongement to accommodate all standard double
plote or film holders. With the oddition of a film pack
odopter stohdord film packs may also be used. Full length
annealed springs clamp the metol bock of the comera
securely to the camero body. When o film or plate holder
is inserted, spring tension is automaticolly increosed, thus
pressing the holder firmly ogoinst the camero body ond
plocing the film (light-tight) in the exait position origi-
nally held by the ground gloss. Hence, if perfect foc-rs
is secured on the ground glass, the some shorp imoge will
be recorded on the film, when the exposure is mode'
IAR,GE LENSBOARDS
inches on the 4x5 I ENSBOARDS of generous size (4x4 - and 51,/qx5t/q inches on the 5x7 and 8xl0 corneras)
permits the use of lorge aperture, long focus lenses. The
5t/qx5r/q inch lensboard will accommodote Packard
shutters up to 2Yz inches The lensboard is securely
held in place by a grooved bottom insert and o slotted
sliding top retoiner plote. Extra lensboords are ovailable
upon which other lenses may be mounted' for instont
interchonge on the comero.
Poge 27View original page 29From the M. Butkus archive. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
PDF verified 2026-10-10.