Polaroid Lenses for MP-3 User manual

Howto usethe
lensesand Iensaccessories
of the PolaroidMP-3LandCamera





PolaroidMP-3 System

Accessoriesfor the MP-3lenses
       The  following  accessories add  to  the
          versatility of the MP-3 lenses:

              l. Lensless shutter #219: This can be
       purchased as a separate accessory. It  is
         self-cocking and has speeds of from 1 sec.o    to  | 1725sec. and "X"  flash synchroniza-
         tion.  It  is mounted in a 3rZ in. sq. lens
        board.
          This shutter has two uses:
         a.  It   is used with  the 35mm lens for
       macrophotography.
         b.  It   is used in  the MP-3  without  a
       cameralens for photomicrography.
         2. Light baffle tube #219: This is pro-
        vided together with  the lensless shutter.
             It   is used only  for  photomicrography.
       The  tube  is screwed into  the  lensless
         shutter, and  the  microscope tube  con-
         taining  the photo-eyepiece is positioned
        inside the light baffie tube.


        3. Adjustable bellows extension unit:
        This  is provided with each 35mm lens.
      The unit goes between the 35mm lens and
        lenslessshutter assembly and the eamera
        bellows, thus  providing a  considerably
       Iengthened bellows extension. It  enables
       photographic magnifieations of up to 10
       times life sizeto be achieved.
          This unit can also be purchased as a
        separate item,  if  it is desired to use it only
        with  the  3 in. lens (see MAcRopHoroc-
      RAPHY,page 6).

        For  full details on the use of the above
        accessories,see the booklets now  ro usE
      THE PoLARoTDup-3 LAND cAMERA FoR
      pHoroMrcRocRApHyand ttow ro usE THE
      poLARoIDup-3 LAND cAMERAFoR MAcRo-
       pHorocRAeuv, both available from Pola-
        roid Corporation.

Flashsynchronization
When using electronie flash, any shutter
speed setting can be used.
    If the shutter speed is set fast enough
to prevent  the  available  light  level on
the baseboard from affecting the film, the
movement stopping ability  is determined
by the flash duration (about 1/1000 sec.),
and not by the shutter speed.
  When  using  flash  bulbs,  the  fastest
shutter speed that should be used is 1/30
sec. If you use a faster speed, you  will
lose some of the light output of the bulb.
  You cannot stop fast motion with the
use of flash bulbs.
Ghoosingthe rightlensfor thejob
For the purpose of selecting the right lens,
we can divide photography with the MP-3
into two basic types. These involve general
copying, where the original  flat copy or
solid object is reduced in size to a greater
or lesser degree, and macrophotography,
where the original is reproduced life size
or larger.

1. General copying-reduction  in  size:
Virtually  all of this work should be done
with  the 5 in.  lens, whieh  is capable of
making reproductions of up to  life size.
The 4 in. and 3 in. lenses should not be
used for general copying with 4 x 5 in. or
3rZ x 4t1  in. films. If they are, the edges
and corners of the pictures may be less
sharp and darker than  they should be.
This  is not due to any shortcomings in
your  lenses, but  to  basic optical  facts.
  Only  in macrophotography, where an
extra long bellows extension is used, will
the 4 in. and 3 in. lenses cover the entire
area of 4 x 5 in. and 3L/, x 4t1  in. films
satisfactorily.
  When working with 4 x 5 in. or !t/a x
4r/  in. film, the 5 in. lens is capable of
taking  in  the  entire  area of the MP-8
baseboard that  is evenly illuminated, so
that there is never any need for a different
lens. Only when working on 35mm film,
or  other  miniature  formats,  need the
lensesof shorter focal lengths be used for
the purpose of covering a larger area on
the baseboard.
4

An exception: One of the shorter lenses  be used instead. See the table showing the
            could be used in the very rare case where    greatest reduction possiblewith each lens,
           you  are  attempting  to  reproduce an    on this page.
              original at an extremely reduced size. If,     When doing the above, be sure to place
             with the camera at the top of the column,    the reduced image in the center of the
            the 5 in. lens does not give sufficient reduc-    picture area, because that  is where the
               tion, then the 4 in. or the 3 in. lens should    lens  will  give  its  best possible  quality.

           Approximate maximum copy area on the MP-3 baseboard*for each film size (in inches)
              Film size          4 x 5 i n .             3Va x 4L/ein.          35 mm
          Camera model    Standard   XL       Standard   XL       Standard  XL
              5 in. Iens     16 x 20**  20 x 24**   15 x 20**  18 x 24**     5 x  8  8 x 12
              4 in. lens       Not recommended***   Not recommended***   6 r l x 7 0   l 0 x l 1!
              3 in. lens       Not recommended***   Not recommended*{<*   1 0 x 1 5 1 4 x 20
                    * The copy area can be greatly increased by rotating the MP-3 camera head through 90 degrees
              and mounting the material to be photographed on a wall (Seebelow).
                  ** This is also the maximum area that is evenly illuminated by the lights of this camera model.
                *** See GoNonar, CoryrNc-RpoucrroN   tN SIzo, on page 4.

            Extra large originals: The eamera head    with the 3 in. Iens. (The 35mm lens eannot
              of the MP-3 can be rotated through 90o,   be focused for a reduced image in  the
            enabling material  of  almost  unlimited    MP-3.)
             size to be copied by fixing it to a wall and     Never try to reduce an original that  is
           photographing it there. Here again, always    Iarger than 16 x 20  in. on the MP-3
          use the 5 in. lens with 4 x 5 in. or 311 x 4fu    Standard baseboard, or one larger than
                in. film. Do not be tempted to use a shorter   20 x 24 in. on the MP-8 XL baseboard.
            lens to enable you to get closer to the    Beyond those areas the lighting  will no
              original  material,  or  to  enable you  to    Ionger be entirely even.
            cover an even larger area of the wall.  If      To  reduce larger: material,  attach   it
           you do, the edges and corners of your     to a wall and use the MP-3 horizontally,
             pictures will be less sharp and darker than    as describedabove.
            they should be.
            The right hand light arm of the MP-3    Approximate greatest reduction (in /s ot
           must be removed and the original must be    original size) possiblewith each lens and
                      lit by other lighting. It is essentialthat the   camera model
              lighting over the entire area to be eopied
          be absolutely even, and that  the  lights
           themselves are not  permitted  to throw
             reflectionstoward the cameralens.

        How far you can reduce the size of the
             original: The higher the camera on the
           column, the greater will be the reduction
               in  size  of  the  original  in  the  finished
             picture with  any specific lens. For any
             specific height of camera above the base-
            board, the reduction is increased as the
            Iens focal length is decreased.Thus, the
            smallest possiblereproduction ratio (about
            67)  is achievedwith the camera at the top
              of the column of the Model XL camera and


                                                                        ..---:-===*l5ld€*5*4*-I.$

2. Macrophotogra phy-reproduction   life
size or larger: The table below shows the
reproduction ratio range that  it is possible
to achieve with each of the MP-3 eamera
lenses.





 Lens and accessories                                     Reproductionratio range
 5 in. (127 mm) lens                                up to life size (1:1)
 4 in. (105mm)lens                                 up to 1.5:1 magnification
 3 in. (75mm) lens                                  up to 2:1 magnification
 3 in. (75mm) lens with bellows extensionunit*
 35mm lens with lenslessshutter**                              2:I to 6:1 magnification
 35mm lens with lenslessshutter** and
     bellows extensionunit                               6:1 to about 10:1
 + Do not go smaller than the 2:1 reproduction ratio with this combination. If you do, your image
   will not cover the entire picture area.
    Always extend the camera bellowsfirst, leaving the bellowsextensionunit at its shortest setting.
  Only when the camera bellows have been extended fully should you start extending the exten-
   sion unit to get extra lens to film distance.
** The adjustable diaphragm of the lenslessshutter, if it has one, should always be set to wide open,
   to avoid vignetting. Adjust the lens aperture on the 35mm lens itself.

Generalmacrophotography
techn iq ue
Macrophotography demands special fo-
cusing techniques. Also, the long camera
bellows extensionsused in macro work re-
quire the exposure to be increased by a
specific amount beyond that  indicated
by an exposuremeter, or by a table which
does not allow for the necessaryexposure
compensation. For  full  information you
are advised to read the special booklet,
HOW TO USE THE POLAROID MP-3 LAND
cAMERA FoR MAcRopHorocRApHy,  avail-
able from your nearest Polaroid  office.
  The  table, EXPosURE GUrDE FoR MP-3
cAMERA AND poLARoID LAND FILMS, which
is also available from your Polaroid  office,
enables you  to compute  the  correct  ex-
posure for any reproduction  size.
6

f-numbers
        Each Iens has an f-number scale. On the
        5 in. lens, for example, this extends from
                f /4.7 to I/45. The f-number setting con-
           trols the size of the aperture in the Iens
        through which light is permitted to travel
          to the film. It is thus partly responsiblefor
                               given to the film.o     the amount of exposure
         The lowest f-number signifiesthe largest
         lens opening and the highest f-number
        stands for  the smallest opening. Thus,
          at f./4.7 the Iens is wide open. A specific
        f-number  setting  lets through  half  the
           light of the next lower setting and double
         the light of the next higher setting.
           Therefore, it  is possible to use one of a
         series of shutter speed and lens aperture
         combinations, each of which  give effec-
           tively the same exposure to the film. For
        example, the following  will  all give the
          film approximately the same exposure:
        1/15 sec.at f./22
        1/30 sec.at  | /16
         1/60 sec. at f. ll7
                 | /I25 sec. at I l8
         The f-number setting has an important
          effect on the depth of field, which  is dis-
        cussed in the next section.



o





                            .s**ahAs4*ee                                        ..,&*..    |il

Depthof field
Depth of field is the distaneerange, behind
and in front of the point of sharpest focus
on the object, within which the lens records
 the objeet with acceptablesharpness.
  Suppose the camera is focused sharply
on the point (A) of a ruler, whieh is tilted
at an angle to the lens,as shown. The range
 of acceptablesharpnesswill extend a little
beyond (A) on both sides. If, at a specific
f-number, it extendsfrom the plane (B) to
the plane (C), then the depth of field on
the ruler will cover the distance from (D)
to (E).
   In general photography, the depth of
field extends roughly one third  its  total
distance toward the camera lens from the
point  of sharpest focus, and two thirds
the distance on the far side of the point of
sharpest focus. However, in macrophotog-
raphy, the depth generally extends an
equal distance on both sides of the point
of sharpest focus. To make the greatest
possibleuse of the depth of field available,
these facts should be remembered when  .cATNo60l
focusing the camera.
  The more you close down the lens aper-
ture  (to a higher f-number setting), the    buc kled and lifted a  little  after focusing,
greater will  the depth  of  field become.   or a combination of two or more of these.
Thus, an exposureof 1/15 sec. at f./22 will
give greater depth  of  field than one of   A shorter focal length lens will not give
L/125 see.at f /8.                        you greater depth of field:  If you have
                                  some generalphotographic knowledge, you
Depth is most limited in macrophotog-  may be tempted to use the shortest pos-
raphy: Depth of field is dependent not    sible lens in order to get the greatest pos-
only on the f-number, but  also on the    sible depth of field. However, this will not
reproduction ratio. When using any specific    help, but  will only make your operating
f-number setting, the depth of field will    conditions more cramped and  difficult.
decrease as the image magnification  is   Remember  that   in  macrophotography,
increased. In the macro range, depth of    where  a  specific magnification  of  the
field is always extremely limited.               original is aimed for, depth of field is NOT
  From the above it will be clear that  it is   dependent on the focal length of the lens,
always advisable in macro work  to use    but only on the f-number and on the re-
the smallest possible lens aperture. While    production ratio. For example, at a 2:L
this  is  particularly  important   in  the    reproduction ratio and an f-number setting
photography of  solid objects,  it  is also     of. f./16, the depth of field will always be
advisable when photographing flat copy.    the same, no matter which lens is used.
The greater the depth of  field, the less
chance there is of the picture being par-
tially or totally unsharp because (1) the
original was not lying entirely horizontally,
or  (2) the focusing had not been done
quite accurately, or  (3) the original had
8

Focusing
It  is advisable to foeus the camera with
the lens set to  its largest aperture. This
will give you the brightest possible image
on the ground glass.Also, as you close the
lens down any possible visual error in fo-
cusing is eliminated by the gain in depth
of field.
  Lenses which are marked PRE-sETon
the side of the mount are automatically
opened to their widest aperture when you
press the  "shutter  open" arm  of  the
MP-3. On other lensesthe aperture must
be opened manually.

Howto attachfilters
On the right are shown the more common
methods of attaching filters to the MP-3
lenses.
   All the 5-in., 4-in. and 3-in. lenses and
some of the 35mm lenses for the MP-3have an outer lens mount diameter of Qcg
42mm. Sections (A) to (D) below apply
to these.
  Some of the 35mm lenseshave a smaller
front  lens mount,  of  diameter 27mm.
Section (E) applies to these.

A. Series 6 adapter ring  for  lens with    thread on the inner face of the lens mount.
42mm lens mount diameter. The ring  is   To be sure you get the exact right size,
attached to  the lens by  the set screw.   take the lens with you to the dealer when
Takes glass filters in the size Series6.        buying such a filter.

B. Series 6 adapter ring  of the slip-on    E. Series 5 adapter ring with  set serew,
type,  for  lens with 42mm lens mount     for 35mm lens with 27mm lens mount
diameter. Takes glass filters in the size   diameter. Attached to this is a Series5 to 6
Series6.                                 Step-up ring. This device enables you to
  Series 6 adapter rings of the screw-in   use filters of size Series6 for this, as for all
type (39mm dia.) are also available. These   the other lenses.
screw into the thread on the inner face of
the lens mount. To be sure you get exactly   Other alternatives for the 35mm  lens
the right size, take the lens with you to the    with 27 mm dia. lens mount: The 2 in. sq.
dealer, when purchasing such a ring.          gelatin filter frame holder can be attached
                                                  to the Series5 to 6 Step-up ring and Series
C. 2  in. sq. gelatin  filter frame holder.   5 adapter ring, for use on this lens.
Attached to the lens by a Series6 adapter          It  is possible to use glass filters of size
ring for 42mm dia. lens mount. The gelatin    Series5 in the Series5 adapter ring alone.
filter should be mounted in a filter frame   You can also get screw-in filters, of the
before insertion into the holder.             type describedunder (D), to fit the smaller
                                               lens. Series5 adapter rings of the screw-in
D. Screw-in glass filter, screws into the    type can also be used. See Section (B).
10