Honeywell Slave Strobonars 200 /202 User manual

HONEYWELL MODELING SLAVE
   STROBONAR SPECIFICATIONS




                Light Oulput
             2OOt202 (LO)     Measured 480 BCPS at 40 watt
                            seconds stored energy
                  202 (Hl)     Measured 960 BCPS at 80 watt
                              seconds stored energy

             Light Coverage       60", ample for normal lenses
    Effective Exposure Time
             2OO|2O2 (LOl        1 /500 second
               202 (Htl             1 /250 second
        Golor Temperature      Approximately noon daylight, ideal for
                      of Light      daylight color films
       AC Power Source      105-129 volts, 50-60 cycles per second
                    Height     472 inches
                    widrh       6sl+ inches
                  Length     8 inches
   Length Including Handle       9tle inches

               Total Weight
             200   40 ounces
           2O2  52 ounces
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OPERATION OUTLINE



 F amil   i arize you rself with
your Honeywell Modeling S/ave Strobonar -
Then   f ollow fhese simple sfeps,'


  1. Mount Slave on tripod or light stand.
  2. Plug AC cord into wall outlet (this turns on power and
    modeling lamp in 200).
 3. Turn on modeling lamp (Model 202 only).
 4. Set Off-Lo-Hi switch to desired position (Model 202 only).
 5. Form capacitor (see page 9).
 6. Position Slave.
 7. Pull out photocell periscope and aim arrow toward master                                                                                  ,
                                                                                                                                                                                                                                                                                                                                                                    l     light for Slave operation, or, connect shutter cord to Slave ^
     unit and camera for use as master light.
 8. Determine exposure.

 9. Set lens aperture and shutter speed.

10. Shoot picture only when ready light is on (blinking).

HONEYWELL MODELING SLAVE
    STROBONARS

          Modefs 200 and 2O2
H         Honeywell Modeling Slave Strobonars, featuring all solid state circuitry,
           give you better pictures! With their modeling lights you can actually j
rJ_1         see where shadows will fall and where the highlights will be. Proper
          exposure and lighting contrast are easy; you can see your subject as it
             will be in the finished picture - and still obtain that crisp-quality          sharpness of Strobonar lighting.
          Moderately priced, the Modeling Slave Strobonar opens to almost
         anyone the type of lighting that until now could be afforded only by
          the best of professional studios.
          Designed primarily for multiple lighting, one Modeling Slave Strobonar
         can be connected to the camera and the others will flash in perfect
           synchronization without any connecting cords (the AC cord must be
          plugged in, of course).
         The Modeling Slave is ideal for color pictures. lts efficient light source
           provides illumination which closely matches daylight color film
          without need for separate filters. This smooth, evenly distributed light
          covers the full picture area tor all normal lenses.
         Aim the collapsible periscope toward the master Strobonar. The
          convenient carrying handle doubles as an adjustable mounting bracket
            for easy positioning of the light.
         The Modeling Slave Strobonar is made of the finest components       .                                                                         -          developed specially for photographic use. With the normal care usually
           given all good photo equipment, the Modeling Slave will give you
        many years of service.
        Two models of the Modeling Slave Strobonar are available to meet the
         needs of every photographer - the Standard Model 200 and the         Model 202 which has available twice the light output of the Model 200.
          For added convenience in operation, the Model 202 has two switches
         on top of the unit. The OFF-LO-HI switch turns the unit ON and
           allows the operator to select either of two light outputs. When the
          switch is set to LO position, the power output is the same as the Model
           200. When the switch is set to Hl, you have twice the light output.
         The ON-OFF switch turns on the modeling lamp. The operation of the
         two models is the same except as noted in the instructions which follow.
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           6

HOW TO PUT THE MODELING SI.AVE
 STROBONAR INTO OPERATION
  operation of the Modeling stave strobonar is simple and easy. A few
 minutes spent with this booklet and your new slave will assure you of
 confidence and better pictures. An ouiline of the operating procedure
  is provided as a convenient check list. Use the ouiline only after you
 read and understand the operating instructions which follow.


CAMERA-FLASH SYNCH RON IZATION
 The Modeling slave is designed for taking pictures with cameras having
 built-in flash contacts.  lf your camera has a between-the-lens shutter
 with X-contacts (zero delay), the Modeling slave will synchronize with
  it at af l shutter speeds up to the limits stated on page 12. lt your
 camera has a focal-plane shutter with X-synchronization,  it will
                                                        seconds. synchronize only at slower speeds - up to 1/2s or 1/60 (see your camera instruction manual.) Most cameras without built-in
 X-synchronization (zero delay) can be easily adapted for the Modeling
 slave by a competent repairman. lf you wish to check the synchronization
 yourseff, see instructions on page 25.                               pj<rS.r)

MOUNTING THE MODELING SLAVE
STROBONAR
The Modeling slave's carrying handle also serves as an adjustable
mounting bracket complete with mounting threads to accommodate
 all standard tripods or light stand adapters. Just thread your tripod
or light stand adapter (an optional accessory, catalog No. 364)
mounting screw into the bracket, and then adjust the Modeling slave
position to light your subject as you choose. The friction-type bracket
holds any position selected without the use of additional locking screws
or clamps. Just push the slave up or down through any angle.
The modeling light shows you the exact area the light will cover.

OPERATION IN GENERAL
 The Modeling slave is powered by household current and is ideally
 suited for all your indoor photography. The slave is designed to operate
 from a 117-volt source of 60-cycle alternating current, standard in
 most U. s. localities, or from 117-volt, S0-cycle current available in many
 European countries. Although the modeling lamp has a life of several
 hundred hours of continuous operation, you may prolong its useful
 life by turning it off during extended delays between pictures and at
 the end of the shooting session. operation is efficient and economical,
 the only upkeep is the occasional replacement of the modeling lamp.


READY LIGHT
 A READY light on top of the case blinks within 5 to 10 seconds
 after the strobonar has been flashed and blinks continually when the
 Strobonar is ready for use.


OPERATION AS A SLAVE UNIT
Any number of Modeling slave stronbonars can be fired remotely from
a single master Modeling slave strobonar or other electronic flash
 unit. The extremely sensitive photocell triggers the unit in perfect
 synchronization with the master unit, or the unit at the camera. The
 Modeling slave does not require extenbion or connecting cords, making
 it an ideal flash unit for multiple-light arrangements. Distance from
the master unit at which the Modeling slave will operate depends on
the light output of the master unit and relative locations of the units.
Using a Strobonar 600, for example, the Modeling Slave may be used
as far as 50 feet away. Just point the arrow on the periscope toward
the master unit. A special feature of the Modeling Slave,
the collapsible periscope pulls out easily for slave operation, and
tucks away when not in use. The light sensitive photocell remains
safely and securely mounted inside the case. used as a main light,
a fill-in light, or a bounce light, the Modeling slave strobonar is a
versatile tool for the most exacting photographer.
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OPERATION AS MASTER UNIT
  Because the Modeling slave strobonar is so convenient to use with
   its built-in modeling light, you'll want to use one for the master unit
  as well as for the extension slaves. As a master unit, the slave is
  triggered by the camera's flash contacts. Just connect the shutter
  cord from the camera's X-contacts to the two-way receptacle of the
  slave. An exclusive Honeywell feature, this receptacle permits the cord
  to be placed on either side of the unit, whichever is more convenient
  for you. The photocell periscope on the master unit can be either
 extended or collapsed.
 FORMING (lmporranr)
 when the Modeling slave has been out of use for even a few days,
 plug the unit into a wail ouilet (and set the oFF-Lo-Hr switch to Hr ioi the
 Model 2o2) to form the capacitor. After about five minutes, frash the
 slave nine or ten times before making pictures. This can be done either
 with the camera flash contacts or the Honeywell manual tripping cord
 53-1, a very usefur item of optional equipment.  lf a week or more has
 elapsed since the slave was last used, form for 1s minutes. Flashing
 the unit several times will bring  it up to peak efficiency and give you
 a consistent light output. several Modeling slaves can be flashed at
 one time by raising the periscopes and triggering with the master unit
 as described on page 8. The Modeling slave strobonars thrive on
 frequent use - use them often!
                     useMODELING LAMP - frs
 Photographers skilled in the use of controlled lighting emphasize the
 importance of being able to see the effect of the tighiing setup before
the picture is made. The Modeling slave strobonar is so successfully
engineered that the modeling light coverage is virtually identical to the
coverage of the electronic flash. when your Modeling slaves are all
of one Model- either the 200 or the 202 (using low right output)                                                               -                                                                  areyou will want to use the standard 25-watt modeling lamp. lf you
using both the Model 200 and 202 (in high light output), substitute
the special 1S-watt lamp in the Model 200. The smaller lamp has only
half the light output of the 25-watt lamp and wiil keep the intensity
of the modeling lights in the same ratio as the intensity of the flash.
This setup will give you an accurate preview of the tighting before
you shoot the picture.

The modeling lamp will give you several hundred hours of service.
  Like any incandescent lamp, it will lose some of its intensity as it begins
 to blacken with age. Aging of the modeling lamp in no way alfects
 the output of the electronic flash, which remains constant.  lf you are
 using an exposure meter to determine exposure from the modeling
  light setup, you will eventually need to compensate by stopping
 down vz to 1 f/stop from the indicated exposure. This method of
 determining exposure is described on page 14.





MODELING LAMP - Replacement Replacing the modeling lamp is simple. Just be sure to discharge the
 unit and wait for the lens and modeling lamp to cool.

          WARNING
           Before attempting to replace the modeling lamp,
           discharge the stored energy by tirst disconnecting
           the AC line cord and then flashing the Slave unit.
          Hold the lamp to be removed or inserted by the
           glass bulb and do not touch the inner lamp
           socket with fingers.
When the lens is cool enough to handle, remove it by turning a
 quarter turn. Push the modeling lamp straight in and turn it
 counterclockwise to release  it.
 Insert the new modeling lamp in the bayonet socket; push straight in;
and turn it clockwise about Vs turn.Align the two small lips of the Slave
 lens with the notches in each side of the lens opening. Turn the lens r/+ turn.
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DETERMINING THE EXPOSURE
 Determining the exposure for even the most complex lighting setup is
 not as difficult a problem as it might appear to the beginner in multiple
  lighting. The suggestions presented in this booklet will assist you in
 experimenting with lighting arrangements and finding the proper
 exposure. with a little experience, you will acquire your own ideas on
  lighting, and your own method for determining the exposure. The two
 methods of determining exposure described below involve guide
 numbers and exposure meters. You will readily see how convenient
 both methods become when all of the units in your multiple lighting
 system are Modeling Slave Strobonars.



GUIDE NUMBER METHOD
 The proper exposure for pictures taken with electronic flash is easily
 determined because of the fixed amount of light packaged in each flash.
 No light is lost or wasted as the shutter opens and closes. The amount
 of light reflected from the subject depends only on the distance from
 the flash to the subject and does not vary with the shutter speed.
 Using the 200 or 202 (set for low light output) and between-the-lens
 shutters, all speeds through 1/500 sec. may be used; with the 202 set
 for high light output, use speeds through 1/250 sec. See page Tfor
 focal plane shutter limits. with a fixed amount of light, it is possible to
 determine the proper aperture (f/stop) if the distance from the lamp
 to subject is known. Likewise, with a fixed amount of light, it is possible
 to determine the proper lamp-to-subject distance  if the aperture  is
 known. Thus it is possible to calculate a guide number which will give
 an indication of the proper exposure. For any given film, the guide
 number is the product of the f/stop and the lamp-to-subject distance.
 Either factor can then be determined by dividing the other factor
 into the guide number. Most guide numbers are intended to give the
 proper exposure in a medium size room of average light colored walls
and ceiling. When shooting pictures in a very large room or hall, the
 lens should be opened up one-half to one f/stop more than is
 indicated by the guide number.
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ln almost every lighting arrangement, there is one main light or key
      light. Any number of additional lights may be used to achieve the desired
     lighting effect. The general rule is to determine the exposure for the
    key light only and completely disregard the other lights. Therefore,
     for a single-light setup or for the key light of a multiple-light setup, the
    lens setting is determined by dividing the Guide Number by the
    distance in feet from the light to the subject.
    Example: Using the Model 200 or the 202 (set for low light output)
    as a single light or as the key light, you find the guide number for the
     film you are using is 65 (listed in the table of Guide Numbers). The
    lampto-subject distance is 8 feet. The distance divided into the guide
   number of 65 is 8.1, or f/8, the proper lens opening to set on your camera.





      SUGGESTED GUIDE NUMBERS
ASA INDEX        GUIDE NUMBERS   ASA INDEX   GUIDE IIUMBERS
        2001202  202              2001202  202             (t0)             (Ht)                      (t0)           (Ht)
   20           30             41             200           92          130
   25           32           46            250          103         145
   32           37           52            320          116         164
   40            41           58             400          130         184
   50           45           65             500         145         206
   64           52           74             640          164         233
   80           58           82             800         184         260
  100           65          92                    1 000         206          291
  125           73          103           1250         230         325
  160           82          116                    1 600          260          368


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EXPOSURE METER METHOD





lli       A convenient way to figure exposure for the Modeling slaves is to
l{i          determine the ratio of the incandescent modeling lamp to the
['          electronic flash, resulting in a factor to set in your exposure meter.
          Here's how it works:
          1' set up your lights, using one or more slaves (lf you're using
           Model 20o or 202 set for low light output with 202's set for high light
              output, use 1S-watt and 2S-watt modeling lamps respectively- page 9).
          2. Using the guide number for the key light, determine the proper
             f/stop for the film you're using. Let's assume this is f/g.
          3. Take the picture.
          4. without disturbing the lights, take a reading of the subject, with
           your exposure meter, by the light of the incandescent modeling
            lamps. Be sure your meter is set for the proper rating of the film
           you are using. Note the shutter speed opposite f/9. Let's assume
              this is 7z second."
         5. Record the data: t/B @ Zz second.
         6. without disturbing the lights, bracket your original exposure                                                                        -         make one at t/s.6, and another at l/11. Record the shutter speeds
             indicated by your meter for these f/stops. (your meter will show
            1/5 sec. tor t/5.6 and 1 sec. for t/11).
         7. Develop the film, and choose the best negative. Let,s assume  it's
            the exposure made aI t/5.6.
         8. Go back and check the shutter speed your exposure meter showed
              for t/5.6. You'll find it to be 1/5 sec.
         9. This is your meter factor for future pictures. ln other words, all
              you'll have to do the next time is set up your lights, make an exposure
           meter reading of the subject lighted by the incandescent modeling
               lights, and use the  f /stop opposite 1/5 sec. for proper exposure.
          *The shutter speeds shown in this example are for meter factors only, and are not
            the speeds at which you will take your pictures.
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        14

HONEYWELL PENTAX
 1121 EXPOSURE METER





           The Honeywell Pentax
                1" l21o Exposure Meter





The Honeywell Pentax 1/21 Exposure Meter is ideal for accurate
exposure determinations in multiple lighting arrangements. No other
meter gives you the extreme selectivity of the 1/21 Meter. Because
the light-sensitive element covers an angle of only 1' (within a 21 ' field
of view), you read the light intensity of the precise area you photograph
peripheral light does not affect your reading.You can take the reading
directly from the camera, regardless of the camera-to-subject
distance. At close ranEe, the 1/21 Meter allows you to measure the
light reflected from several different areas of your subject to determine
the exact lighting effect you desire. This feature is especially important
when you want to maintain a certain ratio between the brightest and
darkest areas of your subject. With the 1/21 Meter, the lighting ratio
you desire can be checked with utmost accuracy.


                                                                     15

MULTIPLE LIGHTING

 Why more than one?
 why use more than one light when a single unit wiil give enough light
  for a picture? This is a timely question as it expresses a common
  misconception about lighting in general. The fact is that good lighting
  involves more than just the amount of light. The bright sunlight is
  often considered the ideal source of light and certainly it is adequate
  in quantity; but did you ever see a really good portrait made in direct
  sunlight without the use of supplementary flash or reflected light?
 More often than not, the facial shadows are too harsh with the eyes
  (squinting, of course) lost in the shadows from the eyebrows. Visuatizing
 such a portrait, you can imagine how it would be improved  if you
 could direct the light toward the subject as you desire; and if you
 could also control the amount of contrast between the lightest and
 darkest areas of the subject. The use of various multiple lighting
 arrangements gives you complete control of these factors, and permits
 you the maximum freedom of expression in photography.
 Gontrolling the quantity of light is important because it permits you
 to select the other factors of exposure    film speed, camera aperture,                                        - and shutter speed. You are not restricted to the use of fast films
 which will accommodate low levels of light, and which invariably
 require some sacrifice in grain quality and sharpness of detail in
 black-and-white pictures, or the loss of rich color saturation in your
 color transparencies. Shutter speed is not normally a factor in etectronic
 flash photography (except with focal plane shutters), but selecting an
 aperture to give you the desired depth of field can be very important.
 It is evident then that controlling the quantity of the light does
 definitely give you advantages.
                                                                                                                            il As you experiment with multiple lighting, the advantages of controlling
 the direction and contrast of the lighting wilt become more obvious. Additional lights add roundness and dimension to the subject; separate      !
 the subject from the background; add interesting highlights; permit
 the overall subtle effect of bounce lighting, and other effects you will
 discover. some ideas and suggestions for multiple-flash work have
been included to assist you on your road to better pictures through
the use of controlled lighting.
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16

ARRANGING THE LIGHTS





The ease and convenience of working with Modeling Slave Strobonars
is evident when arranging a kit of two, three, or four. The modeling
lights show you the lighting effect, and the exposure is easily determined
by either the guide number method or the exposure meter method
described on pages 12 through 14.
 lf, however, some of your lighting units have different guide numbers,
or have the same guide numbers but no modeling lights, the methods
for arranging the lights and determining the exposure is a little different.
You already know that the amount of light varies inversely with the square
of the distance measured. This means, for example, that when the distance
from the lamp to the subject is increased to two times the original
distance, the intensity of the light is reduced to one-fourth. A few of these
lamp-to-subject distances and intensity relationships are as follows:
                 Distance    lntensity
                  x Yz       x4
              %2
            1%%
            1%%
             2%
            2%%
The above relationships are the same as for f/stops, and you may find
this an easier method of remembering. As an example, at 8 feet the
intensity of a lamp is twice the intensity measured at 11 feet and
one-half the intensity measured at 5.6 feet. To use this method, just
think of the distance in feet as f/stops, and move the lamps by the
number of feet to the next f/stop to halve or double the light.
Sometimes in a lighting setup it is not desirable to move a lamp farther
from the subject in order to reduce the light intensity. When this
occurs, a single thickness of a white handkerchief placed over the
lens of the lighting unit will reduce the light approximately one-half,
or by one f/stop. Two thicknesses will reduce the light to one-fourth,
or by two f/stops.

                                                                 17

-/'
 As with the other aspects of multiple lighting, becoming familiar with
 your lightlng units greatly simplifies the mechanics of setups and
 exposures. Having mastered these mechanics, you gain confidence  in
 the use of controlled lighting as a valuable photographic tool. Since
 the use of any photographic tool is as individual as the photographer
 himself, detailed instructions for the use of multiple lighting and the
 innumerable arrangements possible would require several volumes.
 such an extended study would require time that could better be used
 reviewing the examples of controlled lighting which follow and putting
 your own ideas into operation. Through the examples you can see
 what can be done with a single slave unit and with several units.
 Regardless of the equipment you work with, it's the results that count!





LIGHTS OF DIFFERENT INTENSITY
Even  if you have several electronic flash units each with a different
guide number, exposure determination does not have to be difficult
for you. The procedure is to find a distance for each unit at which all
the light intensities will be equal. Then move each lighting unit by
distances in feet equal to differences in f/stops for that unit.
Example: For a given film, your three lighting units have guide numbers
of 80,80, and 110. Dropping the zeros from these numbers, you find
that at 8,8, and 11 feet respectively these lights all have the same
intensity. To use the 110 Guide Number unit as the key light with
a four-to-one ratio, move this light nearer the subject by an equivalent
distance of two f/stops, that is from 11 to 5.6 or SVz' feet. Any other
divisor (we used 10 in the example) could have been used for
determining the one-to-one ratio distances  if another set of distances
would have been easier to use as a starting point.
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18

NY     o




                      Back www.butkus.uslighting -20                   Only No. 1 S/ave Strobonar triggered by camera.

GENERAL
PHOTOGRAPHIC INFORMATION
Taking better pictures rryith the AC Slave Strobonar
 First of all, be sure your lighting units and camera are ready to go.
Be sure the AC cords are plugged in; the power and modeling lights are
This is the three light sef up as used in the preceding examples.examples.

turned on (Model 202 only); the slave periscopes are directed toward
  the master light unit; the proper shutter speed is set; and the shutter
  cord is connected from the master unit to the camera. lf your shutter
 has adjustable synchronization, make certain it is set at "X" (zero
  delay). Then, before taking a picture, consider the elements of any
                                       mass and color, depth good picture - composition, lighting, balance of  of field, background, scale, and center of interest. plan your picture
  carefully. Gonsider the lighting effect you desire, and remember that
 your picture is made when you press the shutter release.





BOUNCE LIGHTING
To obtain the softer, more subdued lighting sometimes desirable  in
 portraits, bounce the light from the Ac slave off the wall or ceiling.
The wall or ceiling should be a light, neutral color. Light bounced from
 a colored surface will impart an overall color tint to your color pictures.
To determine the exposure for bounce lighting, estimate the distance
 from the flash to the ceiling to the subject. Find the f/stop for this
 distance using the guide number for your film. Then, open up at least
one full f/stop to compensate for the light absorbed by the ceiling.
The light is usually aimed at the ceiling in such a way that the bounce
 light falls directly on the subject.  lf the light is aimed at such an angle
that the subject does not receive the main portion of the light, then
allow one more f/stop in exposure.
when using an exposure meter to determine the proper exposure for the
bounce light of an AC slave, special consideration is not required.
You simply measure the light falling on the subject from the modeling light.
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24

CHECKING SYNCH RON  I ZATION





 Checking flash synchronization




  lf you are not sure about the shutter speeds at which your camera is
 synchronized for electronic flash, you can make this test yourself.
 Gonnect your camera to the Modeling Slave with the shutter cord.
 Set the camera at the widest lens opening and point the Modeling
 Slave at a light-colored wall so the reflected flash will be visible
 through the lens. Open the camera back and watch for light coming
through the lens when you trip the shutter at variorr.p""ds. For
compur-type shutters, synchronization  is good when you can see a
 full circle of light, and you are getting the benefit of all the light from
the Modeling Slave. You may use any of the shutter speeds that give
a full circle of light.
In cameras having focal-plane shutters, the shutter speeds are usually
determined by a moving slit in the shutter curtain, or by two moving
curtains.  l.t is only at slower speeds that these shutters are ever fully
opened, and these speeds are the ones with which electronic flash
can be used. To check the synchronization, watch first from one side
and then the other to see if each edge of the circle of light is visible.
You may use any of the shutter speeds at which the edge of the circle
of light is visible from both sides of the camera.


                                                                25

COLOR FILMS
Because the color balance of light from the Modeling Slave Strobonar
is approximately the same as noon daylight, the Slave is ideally suited
for use with daylight color films without corrective  filters.





EXPOSURE
Proper exposure requires that the important shadow areas of the subject
be exposed enough to afford detail in the final print. lt also requires
that the highlight areas shall not be "blocked up" by too much exposure.
Check the recommended exposures by making actual tests. To achieve
proper exposure, make your first test exposures using the technique
suggested. The results should be satisfactory, but for the very best
results, make some exposures at a smaller lens aperture and some at
a larger aperture. Then determine the exposure index or guide
number which will give the best exposure with your own equipment
and processing combination.
Photography of the highest order of technical perfection requires
careful control of all the variables that enter into equipment, supplies,
and techniques.  lf you do your own processing,  it is suggested that
your techniques be standardized and you become familiar with your
supplies and equipment. In this way you will be able to produce pictures
of the highest technical quality. lf photography is a casual hobby to
you, as to most people, remember that excellent pictures can be made
by reasonably following manufacturers' instructions.
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26

GLOSSARY OF PHOTOGRAPHIC TERMS
 APERTURE - The opening which admits light. The size is controlled by  the diaphragm, which is marked in f/stop numbers.
                                                                  length of BETWEEN-THE-LENS sHurrER - A device for controiling the exposure, located between the lens elements.
 BLOOKING ("BLOGKED up") - overexposure of the highlight areas,  resulting in loss of detail.
 COLOR CORRECTION - Use of a filter or filters to achieve a difference  in color.
 COLOR NEGATIVE FILM - Color film which results in negative materials from which color prints, black-and-white prints, or color slides may be made.
 COLOR REVERSAL FILM - Color film which results in positive transparencies.
 coloR TEMPERATURE                         - Measured in degrees Kelvin with reference to
 warmth or coldness of the illumination source, ranging from reds at tow
 temperature through yellow to blues at high temperatures. color films are
 often labeled for use with illumination of a particular color temperature.
 The term "color temperature" should not be confused with terminology
 generally associated with the color wheel, such as ,,warm color', transparency
 which is more on the red or yellow side than blue, or ,,cold color"
 transparency in which blue tones predominate.
 coNTRAsr-The range of tones, from lightest to darkest, in a picture.
A print is "flat" when  it is too low in contrast; ,,full scale" when all tones
 from white to black are present; and "hard" when there is too much
 contrast with lack of detail.
DIAPHRAGM - Thin metal btades which "open up" or ,,close down,' to
 regulate the amount of light admitted through the aperture of the lens.
 Controlled by the f/stop lever or diaphragm ring.
FILTER FAcroR - The number of times exposure must be increased tocompensate for light absorbed by the filter.
FLAT LIGHT-The type of tight that resutts from a subject being lighted
"face on" by the sun, or by flash on the camera. Flat light provides no
modeling, and adds no contrast in the picture.
                                                     shutter, which triggersFLASH coNTAcrs - A switch, actuated by theyour strobonar when the shutter is fully open. Most cameras have this
built-in; but if your camera does not, or if the contacts are not synchronized
for electronic flash, they can be installed or synchronized by a
competent camera repairman.


                                                              27