Film cameras
Polaroid Miniportrait 401 - 451 - 201 User manual
User manual for Polaroid Miniportrait 401 - 451 - 201. 36 pages in English. Read the original PDF, download or print a copy without registration.
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- Brand
- Polaroid
- Model / document
- Polaroid Miniportrait 401 - 451 - 201
- Document type
- User manual
- Language
- English
- Pages
- 36
- File size
- 7.5 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 4 · Read text
MODEL 451
4
1. 4 x 5 camera back with ground glass focus- Focusing methods: ing screen. Will take Polaroid 4 x 5 Land
film holder or wet-process 4 x 5 film holders a. Split-image rangefinder foeusing
b. Ground glass focusing
2. Cable release, with locking screw
Film types used: Polaroid Series 50 4x5 3. Cable release socket Land film packets. Wet-process 4 x 5 films
may also be used. 4. Shutter control lever
5. Combined viewfinder and rangef inder Format of each image: 44 x 56 mm.
5. Four l25mm f/8 lenses EACH FILM PACKET PROVIDES 4
IMAGES.
7. Shutter cocking lever
8. Aperture control lever
9. Focusing knob
10. Knob for locking focus position
11. Shutter sequence selector knob
L2. Lens sequence numbers
13. Electronic f lash contact
L4. Tripod socket
r--View original page 4Page 5 · Read text
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MODEL 201
10
'UJ
1. Polaroid Land packfilm holder (removable) Focusing method: Measure distance.
Focus is fixed on subject at distance of 2, Cable release, with locking screw 1.20m (48 in.) from camera front.
3. Cable release socket Film types used: Polaroid Series 100
4. Shutter control lever Land pack films.
5. Optical viewfinder Format of each image: 46 x 72 mm.
6. Two 125mm f/8 lenses EACH PRINT PROVIDES 2 IMAGES.
7. Shutter cocking lever
8. Aperture control lever
9. Shutter sequence selector knob
10. Electronic flash contact
11. Tripod socketView original page 5Page 6 · Read text
Removable Polaroid Land
pack film holder
The holder, designed for camera Models
401 and 201, will accept all Series 100
Polaroid Land pack films.
1. Dark slide (fully inserted)
2. Lock fittings
3. Door latch
4. White tab slot
5. Yellow tab slot
6. Picture area
7. Camera mounting notches
The two mounting notches on the left
side of the holder fit onto the two fixed
brackets on the back of the camera. The
sliding locks (A) on the camera handle
must be engaged to keep the holder in place.
' The. film tabs are pulled downwards on
the Model 401, and sideways on the Model
201. (see page 27).
The dark slide in the holder serves as
a safety cover to protect the film from ex-
posure to light when the holder is removed
from the camera. It has a bright orange
top which acts as a visual reminder to
remove the slide when you are going to
make a picture. With the slide in place,
the film will not receive an exposure.
Use of several such holders enables you
to interchange film' types quickly and
easily, without wastage of film.
o
Pofaroid 4x5 Land film holder
The Model 451 will accept the Polaroid 'W'et-proeess 4 x 5 Land film holder. 4 x 5
sheet film holders may also be used.
6View original page 6Page 7 · Read text
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Tripod mounting
The camera should be mounted on a sturdy
tripod, preferably one with a rising center
pole. When using the Model 401, allow for
downward vertical clearance of nearly
50 cm (18 in.) forpulling the pack film tabs.1|
V The tilting arm on some tripods must
face the front of the camera so it will not
interfere with tab pulling.
The tripod screw can be moved back on
certain platform tripod heads to provide
the necessary clearance. The platform may
even be turned sideways in some situa-
tions, for a more efficient operation.
A ball swivel head is ideally suited for
use with the Miniportrait camera, and will
eliminate most tripod problems.
In some countries the tripod screw may
be too small for the camera tripod socket.
This can easily be corrected by inserting
into the camera socket, a bushing of the
appropriate size, available at most camera
stores. The ROWI No. 91 is one example.
Camera location
The camera should be set up in an area
which is specially set aside for its use. With
very simple lighting, the space need be no
larger than about 3 x 2m (about 10 x 7 ft.).
For the most efficient operation, it is im-
portant that the set-up remain undis-
turbed and that the camera and lighting
are always ready for use.
Once the camera, the subject's chair and
the lights are so positioned as to give you
the lighting and exposure you want, they
should not be moved. The correct position
of each item can be marked on the floor,
with masking tape or some other simple
marking device.View original page 7Page 8 · Read text
Seat the subject The operating distance with
camera Models 401 and 201
A seat should be provided for the subject.
Avoid chairs with high backs, as these will The focus position of the lenses is fixed.
tend to appear in the picture and thus For optimum image sharpness, the dis-
create an ugly effect. A low backed chair is tance from the front plate of the camera to
ideal, or a stool of a comfortable height will the eyes of the subject should be 1.20m (48also do. The camera should be set at such a in.). This is most easily measured with a o
height that its centre is about level with, small chain, cord or ribbon, one end of
or just a little higher than, the eyes of the which is tied to the tripod and the other
seated subject. knotted at the correct distance. For mea-
surement, the cord is held in a straight
line toward the subject's face, and the
eamera is moved until the knot is level
with the subject's eyes. Before measuring,
be sure the subject is sitting as desired.
After measurement, be sure there is no sub- o ject movement before you take the picture.
See also DEPTH oF FIELD, on page 21.
Focusing with camera Model 451
This camera can be focused, either by
rangefinder or through the ground glass
screen. Before you focus, position the
camera between 1.20 and 1.50m (4 and
5 ft.) from the subject. If, after focusing,
you find that the image is too small or too
large in the picture area, simply move the
camera closer to or further away from the
subject, and refocus.
The focusing mechanism: Loosen the
focus locking knob (A). Focus the camera
with the focusing knob (B)' When the
image is sharp, tighten the knob (A) again.View original page 8Page 9 · Read text
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The rangefinder method: When you look
through the viewfinder you will see, framed
in the centre of the image area, a small
bright window. This is the rangefinder
window. When the subject is not in focus,
you will see there two vertically displaced
images of the subject. For example, the
subject will appear to have two pairs of
eyes, one above the other. As you bring
the image into sharper focus, the displaced
images will get nearer to each other. When
the two images are perfectly superimposed
to form one, your subject will be in sharp
focus.
The rangefinder enables you to focus
without removing the 4 x 5 film holder f rom
the camera, and without having to lock the
shutter open at the "8" setting.
The ground glass method:
1. Remove the 4 x 5 film holder from the
camera back.
2. Set the shutter control lever to "B".
3. Depress the shutter cocking lever.
4. Press the cable release, and lock it down
by tightening the set screw on it. This will
lock the shutters open.
5. Set the aperture control lever to f78.
This will give you the maximum amount
of light to focus by.
5. Frame and focus the four images on Ground glass focusing has the advantage of
the ground glass screen. It is advisable to enabling you to see exactly what will
drape a black cloth over the camera back appear in the finished picture. It offers the
and your head when focusing, to keep all most accurate way of posing and framing
stray light from the screen. The four the subject just as you want.
ground glass images will, of course, appear To see all four images on the screen, the
upside-down. shutter sequence selector knob must be
set accordingly (see page 13).
7. Having focused, release the cable
release locking screw. Reset the shutter
control lever and the aperture control
lever for correct exposure.View original page 9Page 10 · Read text
)rS}'
^c '1
\\ll ,
Basic portrait lighting technique
There are four basic lights that make up (B) is the fill light. Its purpose is to fill the
complete portrait lighting. These are shown shadows east by the main light. This lamp
and described here. The function of each should give a diffused light, and it should ospecific lamp is basically the same, no generally be aimed at the subject from
matter whether you are using electronic near the camera viewpoint. Its distance
flash or tungsten lighting. For identifica- from the subject must be adjusted care-
tion and miniature portrait photography, fully. It should lighten the shadow areas
you can often make do with less than the suliciently to permit these to be repro-
full equipment described here. See the next duced with some detail, but it should not
page, and also the lighting set-up sketches be brought so close as to eliminate the
on page 12. shadows altogether. Under no circum-
stances must the fill light be permitted to
(A) is the main light. It generally casts cast shadows of its own. Use of a large
distinct shadows. It is positioned in such a reflecting umbrella with the main light can
way as to give the most pleasing and effec- often render the fill light unnecessary.
tive "modelling" to the face. Generally the
best position is to one side of the camera,
at approximately the angle shown, and (G) is the rim light. It is aimed at the
pointing down at the subject's head at an subject from behind, and generally well
angle of about 45 degrees from the hori- above. Its purpose is to give a pleasing
zontal. highlight to the hair, or a rim light to a
To soften the shadows and minimize shoulder. Ideally, it should be a small
lines and wrinkles in a face, the lamp focusing spotlight. Care must be taken that oreflector can have a diffuser placed over it. it is not permitted to shine straight into
An effective way of getting a diffused the camera iens. It must also be placed
light with electronic flash is to use a re- carefully, so as to provide a highlight
flecting umbrella (see page 14). where needed but not at the same time
The main light should be no less than give an unpleasant light patch to, for
2m (6 to 7 ft.) from the subject. example, a forehead,
10View original page 10Page 11 · Read text
www.butkus.us (D) is the background light. It is used to lighten the background to the desired extent. If the subject is a girl with long dark hair, for example, you may want a well illuminated background, so as to make the subject stand out against it. On the other hand, if the subject has long blond hair, you may want to use a com- paratively dark background. Generally, identiflcation documents re- quire photographs with a comparatively light background. A brightlyJit background should not ex- tend much beyond the actual area that will be included in the picture. AIso, the back- ground should not be unduly reflective. Working with fewer lights: You do not need to use all the lights described here. For example, the fill light can frequently be effectively replaced by a white card or foil reflector, and sometimes even by a white wall. The reflector is placed so as to catch some of the light from the main light, and reflect it back into the shadows. The rim light will generally not be neces- sary in identification or miniature portrait photography, unless you are aiming for the utmost in lighting quality. One main light, one reflector card, and a second light for the background are ade- quate equipment for most photography with the Miniportrait camera. If space and equipment are really limited, excellent re- sults can be obtained with just one elec- tronic flash unit and a reflecting umbrella. Reflections in eyeglasses: If your subject wears eyeglasses, watch carefully for un- wanted reflections. Moving the lamp slightly andT'or the position of the head will generally eliminate the problem. The lens shades shown on page 34 are recommended for use on the Models 401 and 451 at all times.View original page 11
Page 13 · Read text
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The shutter sequence
selector knob
Camera Models 401 and 451: The knob
in the centre of the camera front plate en-
ables you to set the camera for shooting
four identical pictures simultaneously or
for making four separate shots, one after
the other, on a single piece of film.
1. To take four pictures simultaneously,
set the red dot on the knob opposite the
white dot on the camera front plate.
Depressing the shutter release once will
give you four identieal pictures on one
piece of film. Develop the picture.
2. To take one picture at a time, set the
red dot on the knob opposite the lens
marked 1. Make an exposure and recock
the shutter. Do not develop the film yet.
Rotate the knob so that the red dot is
opposite lens 2. Make an exposure and
recock the shutter. Repeat the procedure,
using lens 3, and then lens 4. After having
made four separate exposures, develop.
The lower picture indicates clearly
which image is made through which one
of the camera lenses.
GAUTION: The knob will click into the
right position for each lens setting. Always
follow the click positions, and never set
the red dot exactly opposite the numbers
on the eamera front plate.
3. To make two separate pairs of identical
pictures, first set the red dot on the knob
opposite the white dot on the camera front
plate. Cover the two top lenses with their
lens caps. By making one exposure, you
can now take a pair of identical pictures
through the lower lenses. Do not develop
yet. Move the two lens caps to the lower
lenses. Recock the shutter, and make
another exposure, to give you another
identical pair of pictures. Develop.
Gamera Model 201: The knob and the
principle of its operation are as described
above. With this camera you can make
either one pair of identical pictures simul-
taneously, or two separate pictures, one
after the other, on one pieee of film.
13View original page 13Page 14 · Read text
Electronic flash illumination For colour pictures the use of electronic flash is recommended. Polacolor film is bal- anced for average daylight conditions (col- our temperature approximately 5500 K). Almost all electronic flash units give a light with daylight colour characteristics.'I'hus, no filters need be used. The duration of electronic flash is short enough to stop virtually any subject or camera movement. Electronic flash is also definitely recom- mended for use with Polaroid Type 105 Positive.,Negative Land pack film, which has a speed of approximately 75 ASA equivalent (19 DIN) and Type 55 4 x 5 Land film, which has a speed of approxi- !rmately 50 ASA equivalent (18 DIN). o Two lighting techniques: Two distinct /^,,,,",o^electronic flash techniques can be used. ,] 1. "Bounce" flash. This is achieved when UMBRELLA the iieht from the lamp does not strike the subject directly, but is first reflected from a large diffusing surface. Lighting umbrel- las are ideal for this purpose. Two simple and typical bounce flash set-ups are shown. The basic lighting principles described on page 10 apply. A rim light and a back- tO. ground light may be added, if desired. Bounce flash gives a soft light to the subject, minimizing lines and wrinkles and avoiding deep shadows. It also has the advantage of not needing absoiutely exact positioning in order to achieve the precise lighting effect wanted. This also means thatthe subject can move more without spoil- e,aing the lighting effect a feature whichcan be particularly valuable when photo- 0 S/graphing restless children. 2. Direct flash. The flash is aimed straight at the subject. This method is recom- mended when using less powerful flash units with colour fiim, where bouncing would severely cut the intensity of the light reaching the subject, thus causing underexposure. Follow the basic lighting principles described on page 10.View original page 14
Page 15 · Read text
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The shutter: The shutter of the N{inipor-
trait camera is synchronized for electronic
flash. Connect the flash synchronizing
cord to the flash contact on the camera. The
shutter can be set to 1 50 or 1,, 100 sec.
Set the lens f-number as inclicated by the
guide number of your electronic flash unit
for the speed of the film you are using. The
guide number will be in the instruction
literature provided by the manufacturer of
the flash unit. This guide number will gen-
erally refer to direct flash. For bounce flash,
open the lens aperture by 2 f-stops.
Nlake a test exposure. Correct the ex-
posure, if necessary, as ciescribed on pages
17 and 18.
Having found the right exposure, leave
the camera, the subject's chair and the
lights in their positions. So long as you
continue to use this set-up, your exposures
should remain satisfactory.
Neutral density filters: When I'ou change
from 75 speed film to 3000 speed film, you
can compensate for the higher film speed by
using appropriate neutral density filters
over each of the camera lenses.
The Polaroid Neutral Density Filter Kit
will almost exactly compensate for the film
speed change. Thus you can keep your
camera setting and lamp distances -''irtu-
ally tlie same. If there should be a minor
discrepancy, this can be easily corrected by
siightly adjusting the lamp clistances. See
ACCESSORIES on page 34.
oView original page 15Page 16 · Read text
Tungsten illumination If most of your work with the Miniportrait camera is to be on 3000-speed (36 DIN) black and white fllm (or on Polaroid Type 52 or Type 57 Land film with the Nlodel 451 camera), tungsten lighting wil be adequate. Use lamps intended especially for photog- raphy, such as photofloods or special studio floods, mounted in appropriate reflectors.. Keep the lamps at least 2m (6 or 7 ft.) from the subject, to avoid discomfort caused by both their heat and their light intensity. Lighting technique: See eAsrc PoRTRAIT LIGHTING TECHNIQUE oN pAgE 10. AS indicated there, in identification and miniature portrait photography you can generally achieve excellent results with less than the full lighting complement described. Exposurer For initial exposure determina- tion, it is best to use an exposure meter. Take a reading and then set the camera to one of the shutter speed and aperture combinations indicated by the meter. If the meter indicates a speed/aperture combination for which the camera cannot be set, then the subject is lit too brightly or too dimly. Bring the lights nearer to the subject or move them further away, until the subject brightness is such that the camera can be correctly set for it. Having repositioned the lights and taken another meter reading, set the shutter and aperture as required. Make a test exposure. For exposure correction, if the picture indicates that it is needed, see pages 19 and 20. Once you have found the right exposure, leave the camera, the subject's chair and the lights in their positions. So long as you continue to use this set-up with the same film, your exposures should remain satis- factory. 16View original page 16
Page 17 · Read text
www.butkus.us Exposure control There are four basic ways in which the exposure can be controlled: 1. Adjustment of the lens aperture. It can be set to any full f-number between f /8 and f /32. 2. Change of shutter speed. For tungsten Iighting. Not effective with electronic flash, because the flash duration is so short that the entire flash reaches the film at both 1/50 sec. and 1/100 sec. 3. Variation of the intensity of the lights. Many electronic flash units can be used at either full or reduced power. The intensity of tungsten lights may be varied, when used with black and white film, by the use of some form of resistor in the cireuit or with certain voltage regulators. Light intensity can also be reduced by placing diffusers in front of the lamps. 4. Change of the light-to-subjectdistance. See the table on page 20. How to best use these methods of control for exposure correction, with both elec- tronic flash and tungsten lighting, is described next. Light intensity may also be reduced by the use of neutral density filters over the camera lenses. However, these are mainly recommended as a way of standardizing eleetronic flash exposures for films of dif- ferent speeds. See NEUTRAL DENSITv FILTERS, page 15.View original page 17
Page 18 · Read text
Exposure correction with electronic flash
lf the first picture is too dark lf the first picture is too light
Move lights closer to subject Move lights further from subject
or or
increase light output, if possible, decrease light output
or or
open aperture, in accordance with close aperture further, if possible,
table below. in accordance with table below.
Move lights Move lights
F lQO further (see p. 20) f. tr6 f /r, nearer (see p. 20) f/8 f. /II
Lighten I Darken
Exampfe: A picture made at f /22 was too light. Setting the lens aperture to f /32 will
halve the exposure. If the picture made at f. 1'32 is still too light, the lights should be moved
further away from the subject.
iltView original page 18Page 19 · Read text
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Exposure correction with tungsten lighting
lf the first picture is too dark lf the first picture is too light
Move lights closer to subject Close aperture /increase shutter speed,
or in accordance with table below
open aperture/decrease shutter speed, or
in accordance with table below move lights further from subject
or
put diffusers over lamps
Shutter speed L /50 1 /100 1i50 1 /100 1 /50 1//100 1i,50 r /r00 r /50 1 /100
I tQ, Lens aperture I/8 f/8 f ,11 t tll t lL6 I /16 f /22 T'9 f.132
Exposure value
(EV) equivalent* t2 IO L4 15 16 t7
Lighten / Oarken
Beyond limit Beyond limit
of table, move of table, move
lights nearer lights further
(see p. 20) (see p. 20)
*The higher.the exposure value. (EV) numbers, the.less the effective exposure. Each exposure value
number indicates half or.double the expo-sureof the number next ro it. Thus, EVfa'is-twice iiieexposure of EV15 and half the exposuraof EV1B,
Exampf e: Your test picture was given an exposure of 1/50 sec. at f /22. Yo,t estimate that
you will need4our times that exposure for a good picture. Thus, instead of giving EV15,
you should go to EV13. This means that your exposure should be either 11100 sec. at f /tior1 50sec.atf 1l.
19View original page 19Page 20 · Read text
How changing the lamp distance
affects the exposure
The table indicates approximately how the
brightness of the light on the subject can
be changed by moving the main lamp
nearer or further away. The change is
indicated in terms of f-stops.
ORIGINAL
New distance for exposure LAMP-SUBJECT New distance for exposure
INCREASE of about: DISTANCE DECREASE of about:
1 f-stop Yz f-stop Yz t-stop 1 f-stop
1.30m 1.50m 1.80m 2.20m 2.60m
(4 ft.) (5 ft.) (6 ft.) (1%f.t.) (8%tt.)
1.50m 1.70m 2.10m 2.60m 3.00m
(5 (7 ft.) (8%tt.) (10 ft.) ft.) (5%f.t.)
1.70m 2.00m 2.40m 2.90m 3.40m
/Rff\ (5% ft.) (6tt tt.) (er1ft.) (11 ft.)
To maintain the correet exposure balance throughout the picture, the other lamps in the
set-up should be moved closer or further away in the same proportion as the main light.
Do not change the camera to subject distance.
Examples: The original main lamp-to-
subject distance was about 2.10m (7 ft). A
test print showed thaL the exposure should
be doubled. You wished to do this by mov-
ing the lamp. The table indicates that, to
achieve the equivalent of one larger f-stop,
the lamp distance should be reduced to
about 1.50m r5 ft.).
Similarly, if the original lamp distance
was 1.80m (6 ft.), and you wished to reduce
the exposure by the equivalent of ! f-stop,
the lamp should be moved to a distance of
about 2.20m (7t4ft.).
20
.*..+di;itu*View original page 20Page 21 · Read text
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Depth of field Approximate depth of field
The depth of field, or the distance zone Negligible on either side
within which the subject will be recorded t/8 of focused distance* with aeceptable sharpness, increases as
you close down the lens aperture. Thus, f /ll 115 130 cm. (45 51 in.) it is advisable to always use the smallest - -
5a in.) possible lens aperture (that is, the largest f /'16 110 140 cm. (43 - - possible f-number). /9, 105 145 cm. (41 57 in.) The table shows the approximate dis- + - tance zone, measured from the front of the C tQO 100 150 cm. (39 59 in.) camera, within w-hich the subject wiil be - -
recorded sharply at the various f-number *The focused distance is 1.20m (48 in.).
settinEs..
How to take pictures 5. Now set the camera-to-subject distance
accurately (Models 401 and 201), or focus
1. Seat the subject at approximately the the image (Model 451), as described on
correct distance f rom the camera. The pages 8 and 9.
camera and the subject's head should be
at about the same height. Use a chair 7. Carefully lrame the head and shoulders
with a low back that will not intrude into in the bright-frame viewfinder.
the picture area, or use a stool. 8. Nlake the exposure by depressing the Have the subject lean forward slightly
with the forearms resting comfortably on cable release mounted in the hand grip.
(Remember to first remove the dark slide the iegs, or on the arm rests of the chair,
if it has any. 'Ihis posture is most flattering from the pack film holder.)
to the majority of subjects, eliminating 9. When you have recorded four images on apparent double chins and heavy necks. It one piece of film (two images in the case is at the same time a position in which a of the I'Iodel 201) you are ready to develop subject can remain motionless for a longer the picture (see page 28). period ol time without discomfort. For development with the Model 451
2. Arrange your lights as you want them. camera, see the instruction book supplied with your Polaroid 4 x 5 Land film holder.
3. Set the shutter control lever and the
aperture control lever for comect exposure.
4. Depress the shutter cocking lever.
5. Set the shutter sequence selector knob,
as described on page 13.
.&
21View original page 21Page 22 · Read text
What you should know
about the film
The Models 401 and 201 can be used with The Model 451 is designed for use with the
three types of Polaroid Land pack film. Polaroid 4 x 5 Land film holder. Any of the
Each pack yields 8 3\ x 4r.1 (approx. 8.5 x following I'olaroid 4 x 5 Land films can
10.5cm) sheets of Miniportrait picture sets. be used.
1. Type 108: A Polacolor film yielding a 1. Type 58: A Polacolor film yielding a
positive colour print. It has a speed of ap- positive colour print. It has a speed of
proximately 75 ASA equivalent (19 DIN). approximately 75 ASA equivalent (19
It is balanced for use with daylight and DIN). It is balanced for use with daylight
most electronic flash units. and most electronic flash units.
2. Type 105 Positive/Negative: This black 2. Type 55 Positive/Negative: This black
and white film produces a print as well as a and white film produces a print as well ashigh quality negative that is suitable for en- a high quality negative that is suitable for o
larging. It has a speed of approximately 75 enlarging. It has a speed of approximately
ASA equivalent (19 DIN). Complete infor- 50 ASA equivalent (18 DIN). Complete
mation on the treatment of the negative information on the treatment of the nega-
may be found in the instruction sheet tive may be found in the instruction sheet
packed with the film. For added conven- packed with the film. For added conven-
ience, a Polaroid portable negative ciearing ience, a Polaroid portable negative ciearing
tank is available. tank is available.
3. Type 107: A high speed blaek and white 3. Type 52: A fine grain blaek and white
film which enables you to take pictures in film rvith wide exposure latitude. It yields
very dim lighting conditions. It has a speed a positive print. It has a speed of approxi-
of approximately 3000 ASA equivalent (36 mately .100 ASA equivalent (27 DIN).
DiN) and yields a positive print.
4. Type 57: A high speed black and white
film which enables you to take pictures in
very dim lighting conditions. It has a speed
of approximately 3000 ASA equivalent (36
DIN) and yields a positive print.
Full loading and development instructions
for these films are contained in the in- struction book which is provided with each o
Polaroid 4 x 5 Land film holder.
Wet process 4 x 5 sheet film, loaded in the
appropriate holders, may also be used in
the Model 451 camera.
22View original page 22Page 23 · Read text
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Handle the film carefully: In the Polaroid
Land photographic process, the chemicals
necessary to develop the picture are in a
thin container (pod) attached to the
negative. Do not squeeze the film; the
pods may become damaged and your
pictures will not develop properly. Handle
film only by the edges. Please read the
cAUrIoN notice on page 30.
The importance of the film instruction
sheet: The most up-to-date and accurate
information on a film will always be found
in the instruction sheet packaged with that
film. From time to time there may be
slight changes in recommendations for
exposure and development. To be sure you
have the most accurate information on the
film you are using, refer to the instruction
sheet which is supplied with that film.
To standardize exposures, standardize
operating conditions: Set aside a special
Iocation for the camera, standardize your
Iighting equipment and technique and keep
the lamp distances constant, as described
eariier in the book.
It is also advisable to purchase your pack
film in cases of 50 packs each and your
4 x 5 fllm in cases of 10 boxes each, and to
use fllm from one case at a time. As with
all photographic emulsions, there may be
a slight variation in film speed from one
production batch to another. By using
one batch at a time, you minimize fllm
wastage due to possible speed variations.
If the first exposure of a new batch of
film is too light or too dark, adjust the
exposure, as described on pages 18 to 20,
before continuing to shoot.
Special instructions on some colour
films: On some Type 108 colour film
packs you may see a label indicating that,
for that pack, the Lighten/Darken control
of automatic Poiaroid Land cameras
should be set 1 mark toward LTcHTEN.
One mark change on the Lighten;'Darken
control is equal to lf-stop change. Thus,
with your Miniportrait camera, such fllms
require the equivalent of about \ f-stop
more exposure than Type 108 film normally
needs. Allow for this when assessing your
exDosure.
23View original page 23Page 24 · Read text
How to load the pack film holder Remove the holder frotrt the back of the camera. 'fhe dark slide should be in place. With both thumbs, snap open the door latch on the end of the holder, and gently' open it. Note that the door does not open flat. Do not trv to force it. o Ilefore loading the pack film remove the steel roller assembly (A) for inspection. The unit will snap out of the holder if you apply a slight upward pull at the loops. lt is important to keep these rollers clean. Use a damp cloth to remove any specks or deposits on the rollers. Obstinate parti- cles of dried chemicals can be removed with a matchstick or a small piece of stiff card but never *'ith a metallic object, or a fingernail. Rotate the rollers as you inspect and clean them. Also inspect and clean the narrow slot on top of the holder where the yellow film tabs emerge. After cleaning, push the roller assembly back into position, until it locks firmly in place. o^View original page 24
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