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Microcord Guide Reference guide
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- Microcord
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- Microcord Guide
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- Reference guide
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- English
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- 94
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- 2.7 MB
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- Film cameras
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Page 5 · Read text
THE MICROCORD
The success of the twin-lens reflex camera is unquestion-
ably well deserved. As a type it shares pride of place with
thd precision miniature, advanced amateur workers and
many professionals usually using either one or the other.
The-ease and certainty of viewfinding and focusing on the
reflex screen is a contributory factor to its popularity; but
these features would be largely negated if they did not result
in pictures of outstanding definition and qualit/, and there is
no'doubt that the twin-lens camera owes as much to the
optical precision that has become associated with it as to
its basic type.
This was evidently-Kingston-on-Thames,appreciated by Messrs. Micro Precision Products, Ltd., of in producing the
Microcord since ,952, The result has proved to be par-
ticularly successful, and the camera has achieved a reputation
worthy of the best twin-lens traditions for its precision
handling and performance.
The Microcord twin-lens reflex camera takes l2 exposures
2[x2[ in. (6 x6 cm.) on standard 120 size roll films.
Two lenses, matched for focal length, are mounted one
above the other on a common lens panel. One of them
projects an image of the subject, via a mlrror, on to.a ground
glasi screen in the top of the camera, while the other
glass lrojects a similar image on to the film. -The ground image therefore shows at all times the full-size Picture-
upright, but reversed left-to-right-as it will aPPear on the
nbgaiive. To compensate for any parallax between the view-
ing-and taking lenies, masking stfips are included below the
scfeen and th-ese are automatilally controlled by the focusing
mechanism.
The camera is 5{ in. high, 4 in. deep and 3f in. wide, and
it weighs 32 oz. The body is an aluminium alloy Pressu.re die-caiting, which providbs strength and rigidity. The
exterior is anodised and dyed black, while the fittings are
and 4 diamond turned and chromium plated. The sides, top
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L )View original page 5Page 6 · Read text
THE TWIN.LENS REFLEX SYSTEM
The twin-lens reflex is virtually two
cameras in one. The bottom Part takes
the picture, and the toP Part is a focus-
ing viewer. The lenses are accurately
mitched and are fitted to the same focus-
ing panel, so what you see on the screen
you get on the film. Note, however, that
the streen image is reversed left-to-right.
The Microcord taking lens is a
high performance 77.5 mm. Ross
Xpres F 3.5. lt has four glasses, the
rear pair cemented.View original page 6Page 7 · Read text
back are trimmed with black grained plastic covering, which
is waterproof and extremely durable.
The ground glass screen on top of the camera is protected
by a folding hood. This is self-erecting, and when opened is
2[ ln. high and effectively shades the screen; it carries a
magnifier for critical focusing. A frame finder for eye-level
dlrect-vislon used is incorporated in the hood.
Irenses and, Shutters
THE TAKING LENS is a 3 in. (77.5 mm.) Ross Xpres f 3.5, a 4-glass anastigmat coated on all surfaces; it is supplied to
the manufacturer's tolerance specification and gives a ver),
high performance.
THE VIEWING LENS is a 3 in. (77.5 mm.) Ross f 3.2 3-glass
anastigmat, fully coated and giving a brilliant image of
excellent definition that permits critical focusing.
THE SHUTTER is the Prontor SVS, the taking lens being
mounted in it. lt has 8 speeds (1,ll2, l/5, l/10, 1125, |,150,
l/100, l/300 sec.) and "B" for tlme exposures, a built-in
delayed action mechanism for self-portraits, and it is fully
synchronized for electronic flash and flash bulbs at all speeds.
The lenses and shutter are enclosed in a casing, and this has
a peep window in the top to show the shutter speed and
lens aperture, which are set by thumb wheels mounted on
the front at either side.
Focusing
The Microcord ls focused by a knob on the right-hand side.
The mechanism is cam operated and controls both lenses
smoothl)' and simultaneously. A depth of field scale is
incorporated In the side plate of the camera and is used in
conjunction with the distance scale on the focusing knob.
The back of the camera hinges open to insert and remove
films, and it carries a spring-loaded pressure plate to locate
6 the film in the focal plane.
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MICROCORD MODELS
Model ll replaced Model l" The exposure counter is
set automaticall/, the shutter is a Prontor SVS withI M, X, V control, and the screen hood incorporates a
frame fi nder.
Model I has a red window in the base to set the film
for exposure No. l, an Epsilon shutter, and eye-levelI screen focusing-View original page 8Page 9 · Read text
5
Film Wind
The film is wound on by a large knob. The rotation of
this is checked automatically when the correct amount of
film has been wound on to biing each new frame of film into
position, and a film counter dlal registers the number of
exposu res.
Th. tripod bush is located in the base of the camera and
has a substantial boSs which ensures firmness when mounted
on atripod. lt has the Continental thread (8 in. Whit.)' and
adapterthe camera is supplied with a British size
(* in. Whit.).
'* A 6f accessories are specially made. for the Micro-
cord, '".nguani most of the attachments produced for the Rollei-
cord cameras may also be used with it.
The Microcord Models
MlcRocoRD ll, introduced in 1954, replaced the original model
now called Model l) and is as described above.
1952, is basicallyo MICROCORD l, the original model introduced in
r'irii". t" ifr" modut ll but-has several features which were chan-ged.or imoroved uoon in the new model. The shutter is the 8'sp9ed E-psilon
i::f';-i'bi'. [, llz, lls,l/10, I i25, 1150, li 100, l/300 sec.), which has no
ielayed action'deviie, and is F-synchronized in the earliest cameras or
X:;;*h;;ized in later ones. the camera back.has.a spri-ng. clip for
i"ri[,ni"s. ana different pressure plate design. In place of the frame and focusing on n"a". iri'the hood" a mirror is fitted to enabli viewing
itr" rlr""n at eye level. The film wind mechanism is not autom-atically ensased on clojing the camera back after loading a film, but the film has base, and the fi;ili; G *;unJ?" No. I in a red window in tte camera
*i"ai"ir"chanism then put into action by tripping a catch on the body
near the winding knob.
The manipulation of the two models is substantially the
same; wheri there are differences these are Pointed out in
the text.
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HANDTING THE MICROCORD
It.is imp-ortant to get thoroughly acquainted with the
working of a camera before actualiy seiting out to take
photographs with. it.. After all, you would try the gears, the
accelerator, the brakes and even the horri of a new car
before going all out with it.
The same is true about cameras. Going all out with a new -right camera before you are able to do the thing almost
without thinking is no less dangerous than d-riving forth in a
new car. lt may be less wasteful of lives-but ii is not less
wasteful of live pictures. The fact that the Microcord is of
an almost fgglproof !yp.e, with which. nothing much can to wrong if well handled, should not lead to neglect.
toading
To start with, we take it for granted that we have our
Microcord and a film in front of us. Our task is to load the
camera with film. Do it in subdued daylight, or at least in
the shadow of your body.
l. Open camera back.
2. Place empty take-up spool into top film chamber.
3. Insert new film into bottom chamber.
4. Fix paper end to take-up spool.
5. Wind arrow on paper leader to red dot on fllm
track.
6. Close camera.
7. Set for first exposure.
l. To ope.n the camera back, hold the camera upside down, and turn the
safety lock in the- direction of the-engraved arrow. Then press the
projecting end the latch away from camera body, and sl'ring the -of back open on its hinges.
Microcord |,has no safety lock, otherwise the procedure is the ,.J!:
2. The empty spool, which may be in the bottom chamber, has to be
, transferred into the top chamber. To remove and fit the spools the 9View original page 10Page 11 · Read text
camera has spring-loaded spool pivots; you pull these out and turn {
them a little so that they lock in the extended position. Place the
empty spool into the top chamber so that the slotted end engages in the driving dog on the film transport spindle. Now allow the pivot III
to spring blck by turning it to its original position, making sure that
it enterithe hole in the end of the spool and goes fully home.
3. Breakthe seal of the roll of film and insert it in the bottom chamber
so that backing paper runs off the bottom of the spool. Turn the
pivot so that itsprings back to enter the hole in the spool and hold
the roll of film in its correct position.
,rf. Draw the paper end over the film rollers and film aperture to the J
empty take-up spool. Insert the end of the paper into the wide slot
of the take-up spool, and make a three-quarters turn on the film
transport knob to tighten the film and prevent the paper end from
slippihg out of the slot. At the same time make sure that the paper
runs perfectly straight from spool to spool.
5. With Microcord ll, nowwindon until the triangular marks (on some
makes of film a double arrow) on the advancing backing paper are in
line with the red dots at the side of the film track, then stop.
6. To close the camera, push the back panel against the body and engage
the latch. Now turn back the safety lock. Microcord I has no safety
lock, otherwise the procedure is the same.
7. Microcord ll. To get the film ready for the first exposure, wind the
film transport knob until it comes to a definite stop. The film
counter will have set itself automatically and register No. l.
Microcord l. Slide open the cover of the red window in the base
of the camera, wind the transport knob until a hand, then a sequence
of four dots, and finally the No. I appears in the red window. Now
close the window as it has fulfilled its purpose.
To set the automatic film counter, depress the centre of the film
transport knob while at the same time pushing backwards the small
chromed milled knob below the transport wheel. No. I will now
automatically appear in the film counting window. (lf, when turning
to set No. I in the red window, the knob should prematurely come
to a definite stop, depress the centre of the knob in order to free it
so that you can continue winding.)
Holding
Hold the camera as stead), as possible, as the slightest
shake, even if its effect is not visible in the negative, will
become apparent in the enlargement. Always stand with
your legs apart for extra steadiness.
When working with the reflex finder at chest level, place
10 the camera in the palm of the left hand, cock the shutter,
www.butkus.usView original page 11Page 12 · Read text
LOADING
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l. Open the camera. 2. Insert an empty take-up spool. 3. Insert the spoo! of
size 120 film. 4. Attach the paper leader to the take-up spool. 5. With Model ll,
wind paper leader until the arrow registers against the red dots on the film track,
then closethe back; with Model l, close back, and wind to No. I in the red window.
6. With Model ll, wind until the knob is checked, when No. I will have appeared
in the counter window; with Model l, depress the centre of the winding knob and
trip the counter catch, when No. I will appear in the window.
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then let the thumb and index finger of the right hand rest
on the focusing knob.
When using-the eye-level finder, hold the camera so that
the eye is level with the back sight in the focusing hood.
Cock-the shutter, then grip the body with both hands, plac-
ing the index finger of the right hand on the release button.
Pr-ess the camera body against the nose and forehead to give
it additional support.
To release the shutter, press the release button with the
index finger of the right hand. Use finger pressur" on!y,
keeping the hand and its grip steady on the camera. The
actual pressure must be slow and smooth. The slower the
exposure time, the smoother must be the release, as the risk
of camera shake is greater.
For slow speed exposures in the hand when working at
chest level, it is advisable to inhale, hold the breath and
release smoothly in order to avoid shake.
When using long exposures while holding the camera at
eye level, rest the camera against some suPPort or at least
lean against something stable. In this way l/10 sec., or
longer, can be risked without incurring camera shake.
A tripod is necessary when taking time exPosures.or
working with the delayed action release. lt ls also advisable )I
for speeds of l/10 sec. and longer. {!
I6 Carrying
However elegant it may be to carry the camera on a long { strap hanging from the shoulder, this position is quite I
unsuitable-for quick action. Many a good shot has been lost I in this way. A better method is to carry/ the Microcord on a
short strap around the neck at chest level-in the right
-position ready for work. I lt is advisable to use the camera in its ever-ready case, I
which enables the Microcord to be operated without remov-
ing it; there is a holding screw which Prevents the camera
from falling out. A,l
Outfit cises are available to take the camera together with j
12 filters, films, close-up lenses, etc. j
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I
.t .fView original page 13Page 15 · Read text
Shooting
We assume that the camera has been loaded and the film
advanced to No. I as instructed on page 9.
l. Set shutter speed and cock shutter.
2. Set aperture.
3. Focus and arrange the picture.
4. Release.
5. Transport fllm.
l. The shutter of the Microcord ll is the Prontor SVS, its speedsare l, l12, ,15, lll0, l/25, l/50, l/100, l/300 sec., and B for brief time
exPosures.
Set the shutter speed by turning the right-hand side thumb wheel
until the required speed appears in the peep window above the
viewing lens. The values given (l ,2, etc., to 300) are fractions of
seconds and stand therefore for I sec., l/2 sec., l/50 sec., etc.
The shutter is cocked (this can be done before or after setting the
shutter speed) by pulling the lever projecting below the taking lens
in the direction of the cable release socket.
On the B setting the shutter remains open as long as the button
remains depressed, and closes when the button is released. To
produce long time exposures, a cable release with fixing screw has to
be employed at B setting. The cable release is screwed into the
socket situated on the camerafront opposite the release button. On
pressing the cable release down and tightening the fixing screw, the
shutter remains open until the fixing screw is released.
A delayed action release (self-timer) is built into the Prontor SVS
shutter of the Microcord ll and is automatically set on cocking the
shutter, so that it is alwa)rs ready for use. To bring it into action,
set the "M-X-D" lever on the side of the lens casing to the position
marked "D" (engraved in green). On pressing the shutter release
button the delay mechanism starts to operate and releases the
shutter after a delay of approximately l0 sec. This delay enables the
photographer to appear in the picture himself, provided, of course,
the camera is placed on a solid support.
The Microcord I has an Epsilon shutter with the same speeds and
handling as the Prontor SVS described above, but no delayed action.
In addition to the "B" setting it also has a "T" setting for long time
exposures; with this, on pressing the release, the shutter will open
and remain so until the release is pressed a second time to close'it.
How to choose the right shutter speedis explained under Exposure,
t4 and fhe Right Negotive on pages 47 and 48.
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l'-
VIEWING Ar{D FOCUSING
The reflex finder is a viewing-cum-fiocusing device. The
image, formed by the finder lens, is reflected bly a 45. mirror
on to the ground glass screen in the top of th'e camera, and
this shows the exact area of the picture, as well as providing
the means of getting the picture ieally sharp on the'film
Viewing
There should be no difficulty in arransins the plcture as -hood 'is required in the finder. The ielf-eredi;g usually
sufficient to ensure a clear b-ut you can if yoir .bright- !mag-e, like use a hood extension (page 8l) which fuither prot6cts
the screen from stray light and so-makes the image appear
even brighter.
In spite of the fact that you are likely to hold the camera
reasonably level, make sure that the vertical lines of the
picture run parallel with the sides of the ground glass frame.
You can of course tilt the camera intentionally to get special
angle shots, but if so seethatthe effect does riot ljok like an
accidental tilt.
The picture on the ground glass screen is upright but it is
reversed left-to-right. Therefore movements'arJalso shown
reversed left-to-right, and the camera has to be turned
against.the apparent movement of the object to follow it.
Here the frame finder of the Microcord ll'is an advantage;
you look-directly at the subject through the open frame and
you can follow moving objects more easily.
THE FRAME FINDER of the Microcord ll is brought into
action by pressing in the front of the opened hood; this
causes the built-in magnifier to spring up-while the hinged
front flap folds downwards to be retained in this position by
a spring catch. Pressing to the left the stud at the-rear of th-e
finder hood releases the catch and the front flap springs back
into its normal position.
When using the frame finder look through the square
aperture at the rear of the hood, but do not atlempt to turn www.butkus.us
LView original page 19Page 20 · Read text
THE SQUARE SHAPE Occaslonally the square format suits a plcture, but a rectangular shape is usually morc pleasing. The main advantage of a square negative is that you can obtain either a horizontal or a vertlcal picture without having to turn the camera on its side.View original page 20
Page 21 · Read text
the camera to the right or left away from the eye, nor try to
move the eye from the centre of the back sight. This "spying
round the corner" is deceptive, as only that section will
appear on the negative which you see in the finder looking
straight ahead with the eye close to and in the centre of the
opening.
The Microcord I has an eye-level reflex finder instead of a
frame finder. There is a mirror in the focusing hood which
can be swung into position by pushing up a lever on the
right-hand side of the hood. You can then view and focus
the ground glass image, with the camera at eye level, by
looking into the magnifier at the back of the reflex hood.
The image is seen upside down, however. lt is useful on
those occasions where you want to focus over the heads of
people or other bbstruction which would prevent focusing
in the normal camera position.
PARALLAX COMPENSATION. The boundarles of the
picture at top and bottom of the screen are adjusted by two
masking strips below the ground glass. These move auto-
matically as the focusing knob is turned and compensate
for the framing error due to the different positions of the
viewing and taking lenses.
The frame finder, however, is not compensated and the
line of sight through it is a good deal farther from the taking
lens than is the viewing lens-the greater the difference
between the viewpoints the greater the parallax error.
Parallax varies with the subject distance. lt hardly counts
when viewing and taking something at a reasonable distance,
as the difference of viewpoint is negligible compared with
the distance between the camera and subject. But if we ' photograph anything at close quarters-a portrait, for
example-the parallax error may be important. The image
as seen through the frame finder may include all of, say, a hat
worn by the subject of your portrait, while guite a portion
of it may be cut off on the negative.
The easiest way to get round this is not to use the frame
finder at close quarters. But if you do use it, make allow.
20 ances by arranging the subject rather too low in the frame
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I
I finder. The distance between the centres of the taking lens
and finder (i.e. the difference in viewpoints) is about 4 in. So
if you include in the finder 4 in. more of the top of the
subject than you actually want, then the picture will be
correctly framed on the negative.
Focusing
The second purpose of the reflex finder-obtaining the
best possible definition-is at the same time one of the most
important means of ensuring good results.
The less experienced user of the reflex screen is apt to
accept, all too hastily, a seemingly sharp impression of the ,.
'-, image for satisfactory definition. There are, however, I
different degrees of sharpness and we can make use of these
very differences to find the best possible setting.
Turn the focusing knob to and fro while observing how the
main object to be focused becomes more and more sharp up
to a point beyond which it will again lose definition.
At this "beyond" stage reverse the movement of 'the
focusing knob.' Slowly n-arrow down the degree of to and
fro movement of the focusing knob until you unmistakably
arrive at the point of thd very best definition. Before or
beyond the point of maximum definition the image still
appears sufficiently sharp, but do not be deceived by this
fact-the image is not good enough for enlarging.
Swing the built-in magnifying glass into position and thii
will help to check critical sharpness. In fact, you should use
the magnifier while focusing, and with practice you should
be able to bring the image to exact focus with the minimum
twiddling of the focusing knob. Once the focus is set on the
Microcord l, fold the magnifier back to survey the whole of
the screen before making the exposure, while with the
Microcord ll, you can view the entire image through the
magnifier, so there is no need to fof d it back.
The camera is best raised near to the eye when using the
magnifier; and when you have finished with it, it is best 21View original page 22Page 24 · Read text
EYE-LEVEL VIEWING
open- - Opening, using and closing the eye-level frame finder of the Microcord ll.
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The open-frame finder of the
Model ll has a parallax error.View original page 24Page 25 · Read text
a folded out of the way so that )tou can see the picture as
whole on the screen.
The frame finder cannot be used for focusing. Generally
the best way is to use first the reflex finder for focusing and
then to change over to the frame fi nder for viewing. But for
rnoving subjects, for which the frame finder is best suited,
the zone focusing method (prgu 30) is more effective. This
ensures that all subjects within a certain depth of field will be
recorded sharply by setting the camera to the necessary
distance. lt is almost impossible to catch and shoot fast
action when you are looking down at the screen; and the
fact that image moves in the opposite direction to the
subject makes it even more difficult. But with the frame
finder it is quite eas), to follow eveD/thing and keep the dis-
engaged eye on the subject before it comes into the field of
the finder. The eye-level reflex finder of the Microcord I
permits focusing as described on page 23.
Depth of Field
When we take a picture we focus the lens at some definite
distance. This means that its position relative to the film is
adjusted in such a way that whatever is exactly at the
focused distance will give a sharp image on the film. Every-
thing else-ever)'thint nearer to the camera or farther from
! "-' it-will be, strictly speaking, unsharp. i' ln practice the decline of definition is, of course, gradual. li Thus there is a zone-stretching from somewhere in front of
I the focused distance to somewhere behind it-within which
i the image will appear sufticiently sharp to the eye. This is
the depth of field.
't , The sharpness appearance is of course judged on the print,
so your standard varies according to whether you are look- ;;, ll ing at contact prints or big enlargements. Certain standards,
:. however, have been agreed upon. Usually a pin-point repre-
. !.' - sented on a 2| xz]o in. negative by a dot of not more than
i 3/1000 in. (0.075 mm.) in diameter, is regarded as sharp. The
24 technical term for that dot is "circle of confusion."
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DEPTH OF FIELD
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The larger the aperture and the
nearer the subject, the shallower
the depth of field. With the
camera set to 9 ft. and f 5.6, the
indicator shows that the depth
extends from about 7 ft. 6 in.
to ll ft.
The smaller the aPerture and
the farther the subiect, the
sreater the depth of field. With
ihe camera set to 30 ft. and f I l,
the depth extends from about
l3 ft. to infinity.View original page 26Page 27 · Read text
Control of Depth of Field
Depth of field depends upon the focal length of the lens
and the aperture at which it is used. lt is also more extensive
for distant subjects than for close subjects.
The Microcord lens is not interchangeable, so the question
of depth varying with change of focal length does not concern
us. But the effect of aperture and subject distances can be
seen in the tables on pages 28129.
Let us assu me we are working at f 5.6 and have set the lens
to 9 ft. In the horizontal column for f 5.6, above the bold
distance figure 9, we find 7-6 and below I l-3-i.e. the range
of sharp focus stretches from 7 ft.6 in. to || ft. 3 in. Wiah
the f ens set to the same distance of 9 ft., but with an aperture
of f 3.5, the range of sharpness is only from 8 ft. to l0 ft. 3 in.;
while an aperture of f 8 will take in a sharp zone from 7 ft.
to 12 ft. 9 in. (Similarly with the metric tables: e.g. with the
camera focused on 2 m., the depth of field atf I extends from
1.65 to 2.54 m.)
Note how we can vary the zone of sharpness by simply
altering the aperture, without changing the setting of ihe
distance: the smaller the aperture the greater the depth of
field. So the aperture is one of the variables by which we
can obtain a convenient zone of sharpness.
The other one is, of course, the distance setting. Let us
compare the depth values at, say, f 5.6, for distances 9 ft., and 30 ft. We see (page 28) that in the first case the depth of
field stretches from 7 ft.6 in. to | | ft. 3 in., and in the second
case from l8 ft. to 90 ft. So the depth of field increases at
distances farther and farther away from the camera.
Incidentally, the depth of field in front of the focused
distance is always more limited than the depth behind it.
With the lens set at 9 ft. we get I ft. 6 in. depth in front of
the focused distance, and 2 ft. 3 in. behind it. At 30 ft. we
get 12 ft. ln front and 60 ft. in the rear.
The comparativel)' shallow depth of field in front of the
focused distance may not be enough-e.g. in landscape
photography the subject might have to include much fore-
26 ground. A way out is to set the lens to a nearer distance
www.butkus.usView original page 27Page 28 · Read text
than the main point of interest and therefore gain additlonal
sharpness towards the foreground. At the same time we
cover the main subject by the depth of field behind the
focused distance.
When a lens is focused on such a distance that the depth
of field just reaches the far distance (infinity), then the lens is
focused on the hyperfocal distance. This setting of the focus
is useful when a shot is to be adequately sharp from the
farthest distance to as near as possible in the foreground,
rather than extremely sharp in the far distance only (see
table below). When maximum sharpness in the distance
ls necessary/, setting the lens at infinity will give better
res u lts.
Hyperfocal Distance and Depth of Field Tables
The hyperfocal distance tables give the lens settings for the greatest
posslble depth of field from infinity to the foreground.
ln the depth offield tables (see pages 28 to 29), the figures on the left
of each group relate to the setting of the lens stop.
The bold (middle figures in each group indicate the distance in feet
or metres to which the lens has to be set on the focusing mount.
The corresponding figures above them give the distance of the near
limit (in feet and inches or metres) of the depth of field.
The figure below gives the distance of the far limit (in feet and inches
or metres) of the depth of field.
HYPERFOCAT D'STANCES
for 2!x2f in. Microcord
Aperture Setting oflens Depth of Field from a to
f. ft. m. ft. m.
3.5 72 2t.5 36 I t.2
4 62 t8.8 3l 9.4
5.6 45 r3.4 22* 6.7
8 3l 9.4 ts* 4.7
tl 23 6.8 il* 3.4
t6 ts* 4.7 7t 2.3
22 il* 3.4 st 4.7 27View original page 28Page 31 · Read text
Zone Focusing :
There are opportunities in a photographer's llfe whlch,
like time and tide, wait for no man; when to bring your
whole technical armament to bear-reflex focusing, ex'
posure meter and the rest-would be.to let your Prey
bscape you for ever. Such situations are best dealt.with b)'
applyin! a kind of pre-prepared depth focusing as follows:
For o neor shot, set to 9 ft. and f8. Everything between about 7 ft. to l2ft 9in. will be sharp.
For o medium shot, set to 20 ft. and f 8. Everything between about 12 and 57 ft. will be sharp.
I l. For o distont shot, set to 30 ft. and f Everything from about 13 ft. to @ wlll be sharp.
.f
30
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Check the model and edition against your equipment.
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