Film cameras
Ricohflex Dia User manual
User manual for Ricohflex Dia. 24 pages in English. Read the original PDF, download or print a copy without registration.
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Document details
- Brand
- Ricoh
- Model / document
- Ricohflex Dia
- Document type
- User manual
- Language
- English
- Pages
- 24
- File size
- 2.6 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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il www.orphancameras.com-/--/
rHE .jyrtrNc ACHTEVEMENT n"q**{# '"ffifl REFLEX DESIGN! ---"-'--1N -&
. ----'
-.tThe RICOHFLEX "DIA" was designed and precision engineered to give you performance and photographic results which are equal ,tI
to those obtainable from the most expensive twin-lens reflexes.
Although the RICOHFLEX '!tDIA" is moderately priced, its
8 cm RIKENON f/3.5 is a 4-element, tessar type lens hard-coated
and color-corrected for unsurpassed corner-to-corner negative
sharpness.
The needle-point clarity of details is evident even at full
diaphragm opening. Also, color prints and transparencies have
truer tone reproduction over the entire spectrum.
The most important and outstanding feature is the exclusive
DUO-LEVER*FOCUSING system. Developed by Riken, its superiority
over other systems has been proven by the ease and rapidity )
with which the subject is brought into sharp focus. In addition,
hand movements-the cause of blurred pictures-are minim2ed. IIiI A brilliant fulll-size 2% x 2% image is clearly seen on the
extra-bright viewing screen even in the dimmest light. The hinged {I
magnifier is easily flipped into position to enable you to critically
chepk the sharpness of focus of the entire picture format. And, for
action or sports, just look through the eye-level finder.
* Patented and trade mark registered
- 2 -
t*View original page 3Page 4 · Read text
The shutter has speeds up to 11400 ot a second which is fast
enough to "stop" any type of action, especially sport events. The
shutter's construction provides the highest efficiency at any speed
setting. It is fully synchronized for "M" and "X" flash requirements.
Also, the built-in self-timer enables you to get into the picture-a
convenient feature when taking group pictures. On pages 12
through 17, additional information will be found on selecting and
setting the proper shutter sPeed.
On the lightweight, die-cast aluminum alloy body, all surfaces
are machined at microscopically small tolerances with the highest
degree of accuracy. And, the anti-reflection baffies interrupt the
stray light which usually reduces the contrast of the image
on the film.
.* To enable you to obtain the maximum pleasure from your
,.DIA", we have endeavOred to include many principles RICOHFLEX
of advanced technique as well as all basic operations. These "tips"
are based on recognized factors that ate used by all leading
photographers and which result in ptize-winning pictures; they are
easy to follow and you will show your shots with pride as to
your ability.
Before loading the camera with film, we recommend that you
put the camera through its various operations to familiarize yourself
with some simple points to be remembered. The illustrations on
pages 4 and 5 will serve as useful guides for identification of
various parts.
You can load the camera with any standard 120 spool film in
either black-and-white or color for 72 exposures of 2lX2/, format.
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&$ELr4-SView original page 4Page 5 · Read text
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i?ICOF{FLEX
D IA
(serni-&utomat)
PRINCIPAL PARTS
Focusing hood o
@ Carrying strap loop
@ Film winding knob
@ Film advance release
@ Film speed indicator
@ Exposure counter
@ Control window for shutter speed and diaphragm stop
@ Shutter cocking lever
@ DUO-LEVER focusing
@ Shutter speed selector
@ Shutter release button
4View original page 5Page 6 · Read text
@ Taking lens
@ M-X sychr onization lever
@ Aperture selector
@ Feed spool knob
@ Self-timer lever
@ Viewing lens
@ Flash terminal
@ Accessory shoe
@ Cordless flash contact
@ Take-up spool knob
@ Direct view-finder frame
@ Sighting aperture for direct view-finder
@ Magnifi.er for critical focusing
@ Back cover
, i ' @ Back cover locking
,
clamp
@ Back cover locking
disc
@ Tripod bushing
5View original page 6Page 7 · Read text
www.orphancameras.comFILM LOADING
The Ricohflex Dia takes 12 exposures on I20 roll film. Film
should not be put into, or taken out of the camera in direct sunlight.
OPENING THE CAMERA
(A). Rotate the locking disc @ in the direction of the red arrow
--Q- The locking clamp @ will move away from the camera
body and can be lifted up to the position shown in figure 4.
(B). Swing the hinged back open to the position shown in figure
5. You will note that the counter @ automatically returned to "O".
(C). Put the empty spool in the
"take-up" chamber by pulling
the knob @ away from the
camera body and engaging the
slit on the spool with the
end of the winding knob's shaft.
Release the knob, engaging the
spool with its shaft. Turn the
winding knob until the long slot
of the take-up spool is in the
position shown in figure 9.
6View original page 7Page 8 · Read text
o
(D). Pull knob @ away from (E). Break the seal and Pull
camera body. Place the film out the paper leader.
roll in to the "feed" chamber,
seating the slit onto the stud.
Be sure to properlY engage the
spool on both ends.
I
(F). Draw the paper over the (G). Turn the film winding
two rollers and slide the taPered knob, winding the film leader
end into the long slot of the evenly onto the take-uP sPool
take-up spool and out through until the double-ended arrow
the short one. points to the two red dots on
the camera boby.
7View original page 8Page 9 · Read text
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(H). The reverse order of
opening the camera back is.now
used to close it. Shut the hinged
back, push the clamp into place
and move the locking disc in
the direction of the arrow--C-i
be sure the clamp is caught
onto the small pin.
SETTING FILM TYPE INDICATOR
INTRODUCTION
Film manufacturers rate their various films according to the
effect of the light upon the particular emulsion. Some films are
more sensitive and responsive to light than others.
International standards have been adapted so that you can make
most effective use these values, especially in setting exposure
meters. These ratings are expressed as numbers which are referred
to as the film's "ASA Exposure Index".
The data sheet in every film package will give two numbers
under the "Exposure Index"; -one number is used when taking
daylight shots and the other when under artificial lighting, such ?s,
flash or flood lamps. With black-
and-white fi.lms, the tungsten
number is generally 80% of the
daylight index. However, with
color films the package clearly
indicates that it is for use with
daylight or artificial light. There-
fore, when using color film, set
the indicator to the number listed
under the primary intended usage
since the secondary index is quite
different because a specific filter
is also required. The film data
sheet should also be read
thoroughly since many excellent
"tips" on proper settings are given. The beginning amateur should
give close attention to the data, especially if it for color film,View original page 9Page 10 · Read text
SETTING
(I). Turn the indicator disc @ until the ASA Daylight Exposure
Index is opposite the marker. Illustrated is a setting of 100 for
Super XX fitm. If the film is daylight type color, use the "D-COLOR"
reference number; for artifical light color, use the "T-COLOR" number.
BRINGING THE FIRST FRAME
INTO POSTTION
(J). Press down on the film
/r.1 advance release @. This
automatically engages the
internal film advancing gears.
(K). Turn the fi.lm winding knob
@ in a clockwise direction until
it stops. As you can see in fi.g'urre
irl" 14, the number has appeared
in the counter window. All
succeeding frames are brought
into position by rePeating stePs
irJ" and "K". After the last
picture, again press down on the
film advance release; the red
circle will appear in the window
and the film winding knob can
be turned continuouslY.
This exclusive Riken feature
prevents the film from being
wound past its proper Position
since advance of the film onlY
becomes possible when the film
advance release button is Pressed
down. It completelY eliminates
blank exposures and gives equal
spaces between negatives,
preventing overlaPped shots.View original page 10Page 11 · Read text
www.orphancameras.com COMPOSITIOI{ AII{D EXPOSURE
FOCUSING
Duo-Lever Focusing is the most modern system since the subject
is brought into sharp focus faster and easier. Also, hand movements
-the cause of blurred pictures-are minimi zed,.
OPEN TI{E HOOI)
The hood is opened by
simply lifting upon the back
part of it. Be sure to remove the
protective lens cap.
HOLDING
( i*fiil+tll:ll88AI:9Fjf,t+t!.r{{.!'4 *{:d 8:,I: }:*
I'lt,t'l,ll!.1
When the camera is held a t c h waist level, the best
perspective is obtained since the I rnes subject are undistorted
in the picture format.
The fi.ngers should be on the Duo-Lever controls as illustrated
above. By keeping both hands on the camera in this manner, the
subject is quickly brought into sharp focus by moving the levers
' ' . . . the left lever is moved downward if the point of sharp
focus is further than the subject and, conversely, the right lever is
moved downward if the point of sharpness is closer to the camera.
The area visible on the extra-bright viewing screen is exactly
what will appear on the negative. It thus becomes very easy to
select the desired subject matter, background, etc., by moving the
camera to the right or left, and up or down.
- 1 0 -View original page 11Page 12 · Read text
CRITICAL FOCUSING
The wide-field magnifier can
be "flipped up" in a fraction of
a second when critical focusing
is necessary. As illustrated in
figure 19, just push the direct
viewfinder frame @ back about
Il2 inch and the magnifi.er auto-
matically swings into Position.
When using the magnifier,
hold the eye close to it !
Before closing the hood, be sure to push the magnifier down to
its original Position !
EYE.LEVEL VIEWFINDER
For rapid eye-level shooting, first
push the frame down into the hood
until it catches on the latch. Then,
by sighting through the aPerture @,
the limits of the field will be seen
through the direct viewfinder. It is
abvisable to first focus with the
viewing screen to obtain the correct
distance setting for the main subject.
The frame is brought back to its
original position by moving the hood
slightly back. This releases the latch
and the frame springs up into place.
CLOSING THE HOOD
Be sure the magnifi.er is in its original position. Then, to close
the hood, just push the top towards the back of the camera.
- 1 1 -View original page 12Page 13 · Read text
www.orphancameras.com SHUTTER SPEED AND.APETURE OPENING
By moving the shutter speed selector @ and the aperture
selector @, the speed and stop settings are visible in the "peep
window" @. It is very easy to quickly change from one speed to
another or from one diaphragm opening to another without changing
the camera position since the extra large control window is located
on the top of the lens housing.
SHUTTER
SPEED
APERTURE CONTROL
CONTROL
Figure 2l
Addition information on the shutter speed and aperture
relationship is on pages 16 and IT
- L 2 -View original page 13Page 14 · Read text
PICTURE TAKING
According to :
the light conditions'
the extend of action of our subject,
the desired Picture dePth,
set the aperture and shutter speed to meet our picture-taking
requirements. Illustrated in fi.gure 2L are an aperture of fl8 and a
of a second-I shutter speed of U50
I
Figure 22
Cock the shutter by moving lever @ down as far as it will go'
See the picture on the left in fi.gure 22. Aftet focusing on the main
subject and selecting the desired area, press down on the shutter
release button @) *ittt a gentle squeezing action. Since very little
pressure on the button is iequired to put the shutter's mechanism
,,jabbing" push on it should be avoided because it into motion , a
will cause the camera to "move" at the moment when the diaphragm
is open. The illustration on the right in figure 22 shows the correct
method of releasing the shutter-
The most important operations in the making of an attractive
picture are to properly arrange the subject matter and to choose
the camera angle which portrays the best perspective. Your big
advantage in using the Ricohflex lies in seeing on the viewing screen
EXACTLy what will appear on the negative. It becomes an easy
matter to select the proper taking point to obtain your desired
format. On the following pages are the basic factors which are easy
to use and worth while remembenng.View original page 14Page 15 · Read text
www.orphancameras.comprinciples of good composition: simplicity. By using these main
balance, leading line, background, depth and camera angle, your
pictures will be more attractive to everyone and of prize-winning
caliber.
Simplicity. Every picture should have a main point of interest
whether it be a single object or a group. It should present one idea
with clarity and not have distracting objects or lines which would
prevent the viewer from recognizing the photograph's purpose.
Balance. Photo pictures of more than one object (for example : 3
persons) are considered to be well-balanced when they are in har-
mony with one another. This can be done by arranging objects of
similar shape and size in various positions. If you place your main
interest halfway between the center and the edge of the viewfinder,
you will find your composition immediately has a pleasing effect; it
is generally agreed among professionals that the principal object of
attraction should not be in the exact center. This technique is very
useful when taking a group picture--have some of the people pose
in various positions, rather than lined up abreast.
Leading line. Any line-straight or curved-that brings the eye to
the main object is an excellent feature in a picture. This technique
is especially useful in outdoor photography where a roadway, or
even footprints in the sand from the lower left corner leading to
the subject, can be included. Notice how, in the picture to the left,
the ripples in the water lead
our eyes to the swans.
DETA: The line of the camera
angle is from the lower left
corner through our graceful
swans towards the typical
Japanese house in the upper
right corner. As you will note,
we used all our basic principles
to bring out a pastoral scene.
Enlarged, it became a restful
and decorative picture for
everyone to enjoy its rustic
serenity (f 116 at U50 of a
second on Plus X).
- L 4 -View original page 15Page 16 · Read text
DATA:
Plus X film
(ASA 80)
t l 4
11200 of a second
R-O filter
(see additional
details below)
Background. In a close-up picture of a specific object, the back-
ground should be plain or in harmony with the subject. Your
selection of appropriate surroundings will be an indication of your
ability. If conditions witl not permit an agreeable background,
overcome it by decreasing the depth-of -field through an increase
in the aperture like we did for model above.
Depth. When taking a picture of a far-off scene, a 3-D effect is
added if a nearby object is also included in sharp focus.
Camera angle. This does not refer to the holding of the camera'
but to what is selected f or the picture area. Whenever possible,
within this area, avoid horizontal or vertical lines (as seen through
the viewfi.nder) that divide the picture in half !
About the photograph above. The fi"tm data recommended tl16
at l/ 100 of a second. Since a red filter with a factor of 8 was used,
the aperture was opened to t15.6. To increase the blurring of the
background, the stop was opened further to tl4' Then, to
compensate for this larger f-stop, the shuttr speed was increased
to IlZ00 of a second. The smiling model now "stands out" for a
pleasing picture to be put into the album'
- t 5 -View original page 16Page 17 · Read text
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SELECTING
SHUTTER SPEED AND APERTURE
We know you will find picture-taking is fun; if photography is
a new addition to your hobbies, we believe that, after reading this
section, you will see it is also easy.
The combination of the lens opening and shutter speed contrors
the amount of light entering the camera. The diaphragm setting
determines how much of the lens' area will be used and the shutter
speed will govern the duration of the opening. However, before
selecting these settings, we believe you should understand what thev
are and how they work.
APERTURE OPENING
when we select an aperture openingr w€ regulate the. size of
the circular hole in the diaphragm. This openint will control the
intensity of the light admitted into the camera.
The size of this opening is designated by a number and is
referred to by many interchangeabte names: ,,rens stop, f-stop,
f-number, aperture, and diaphragm setting (or stop).,,
The "f" numbers are exacty the reverse of the opnings. The
smallest number (f/3.5) on the diaphragm scale is the maximum
opening, white conversely, the largest number (f/16) is the smallest
opening-
The aperture scale has these stop markings:
3.5 4 5.6 8 ll t6
Beginning with the smalrest opening, fll6, each succeeding
setting doubles the quantity of effective light passed through th;
Iens. Thus, at f.15.6 we put 8 times more light onto the negative
than we do at f.176!
A "half-stop" f-number can be obtained by setting the scale
between two numbers. For exampre: if we desire an fl6.s opening,
move the aperture control lever so that the blank area between the
fi5.6 and 8 markings is in the peep window.
Since the amount of right required to reproduce a given subject
is fixed, the shutter speed must be considered before selecting this
opening; this is explained on the next page.
- 1 6 -View original page 17Page 18 · Read text
-
SHUTT!]R SPEEI)
The Ricohflex Dia shutter speed are:
8 1 2 5 1 0 2 5 5 0 1 0 0 2 0 0 4 0 0
These numbers represent fractions of a second. That is, 1: one
second, while 400: 1/400 th of a second. The larger the number, the
faster-is the shutter action in its opening and closing. This means
that at the slowest speed (one second), 400 times more light will
pass through the lens than at the highest speed'
The position "B" is used for time exposures since the shutter
will remain open as long as the release button is depressed. when
using this setting, the camera should be placed on a fi'rm, solid
supplrt-preferably a tripod-and a cable release should be used to
open and close the shutter-
DELAYED ACTION
To use the self-timer, put the camera on a tripod and focus on
your group. Set the aperture, shutter speed and cock the shutter in
the usual manner. Push the self-timer lever @ down. Pressing
down on the shutter release button will activate the self-timer and
the exposure will be made automaticalty af.ter a 7 second delay.
Since it enables you to also get into the picture, prints of your
fu-ify and friends will be more delightful to look at when mounted
in your album.
Note: The self timer will not operate when the shutter
sPeed setting i8 at "8"'
ACTION SHOTS
The selection of your shutter speed is determined primarily by
the amount of "movement" of your subject. For personS walking
towards your camera, 1/50 of a second will freeze the movement.
For sport events or horse races where the action is approaching
or moving away from the camera, use 1/100 of a second. If the
action is very fast or is moving across the field of view, set the
speed on 71200 or ll40o of a second.
WHAT STOP AND SPEED TO USE ?
As we have seen from the preceding sections, the lens stop and
shutter speed are dependent upon each other to obtain the correct
exposure and composition; f.l8 at 1/50 of a second and fi5.6 at 71100
of a second will produce the same image density on the negative.
The combination you select will depend upon what you want in
your picture.
- 1 7 -View original page 18Page 19 · Read text
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FLASH TECHNIQUP
Your Richohflex Dia has an lvf -X synchr onization system.
Perfect coincidence of the flash with the shutter opening is obtained
when using strobe (electronic flash) and with almost every type of
flashbulb.
rrx" Setting rrM" Setting
Figure 23
Type X synchronization is used with electronic flash units and
Class F flashbulbs. Move the lever @ to the rrx" setting as
illustrated above.
When Class M flashbulbs are used, the lever @ is moved to the
M position. When the shutter release button is pressed, the shutter's
opening is delayed about 16 milliseconds. This delay will give the
lamp sufficient time to reach its peak brilliance at the exact moment
that the shutter is wide open, even at the fastest shutter speed.
The chart on the opposite page lists the speeds which can
used with the different types of flashbulbs.
_ 1 8 _View original page 19Page 20 · Read text
MOUNTING THE FLASH UNIT
Holding the contact spring
trp, slide the metal plate of
the RICOH Flash, Model
8-300, as far as it can go
into the accessory shoe @.
The circuit is completed
through the special flash
contact @ in the center of
the shoe. Figu re 24 illustrates
the Model 8-300 mounted in
the shoe.
For other flash unit models,
the connecting cord must
have an European-type tip to
fit onto the flash terminal @.
"Battery case-bracket" types of flash guns can also be used by
attaching the bracket to the tripod bushing @.
FLASHBULBS USABLE SPEED RANGE
Class TYPE NUMBERS
M 5,58. 8,25, 258, PF3&PF4 all speeds B to ll25
F SF, SM & SS B to ll25 B to Il50
l/I-2 B to 1/100 B to Il25
FP 6, 68, 26 & 26H^ DO NOT USE
ELECTRONIC FLASH NOT i ALL
(STROBE) RECOMMENDEDI SPEEDS
There is a tabte of GUIDE NUMBERS on every flashbulb package.
Under the tungsten index of your film, you will find a nunber
for your shutter speed setting which gives the relationship of
"distance-from-subject" and the aperture. Dividing this number by
the distance-in-feet from your subject, you obtain the correct stop
opening. For example : if the number is 110 and you are 10 feet
away, the aperture should be set on tlIL.View original page 20Page 21 · Read text
www.orphancameras.comMULTIPE FLASH
i By using an
additional lamp in an
(B) extension unit, picture
quality will be greatly
improved. Roundness
and depth will be
added to the features
of the face and harsh
shadows witl be
"softened".
Attach the
-
connecting cord from
the extension unit to
the terminal marked
"extension". The diagram shows a basic "Triangle', set-up that gives
good results ; one flash (A) is on the camera and the extension (B)
is placed high and to the right about half the distance of subject-
to-camera. This arrangement will give you the simplest professional
lighting.
An additional professional "touch" is to place a white cardboard
slightly to the left, above and behind the subject. This acts as a !
reflector and directs the main light back into the shadows to give
highlight for the hair. ri (
The diaphragm setting must be closed one full stop to allow
for the additional tight. For exampre : your calculator shows an
opening of flrr for one lamp; set the aperture on f/16 for the two
lamps.
- 2 0 _
*i. '.- i*;*u. --, .i. ,; .: r;View original page 21Page 22 · Read text
SOME TIPS ON FLASH
* Buy the proper type of flashbulb. Ele sure to use blue-coated
bulbs with daylight type color film.
* Use fresh batteries. The light of a, flashbulb tasts only a
fraction of a second. To catch the picture, the camera shutter must
be wide open at that exact moment. Weak batteries will not produce
the light at that required instant.
* Don't let your subject just sit ; have then doing something
which avoids the appearance of a "posed" picture.l
* Use flash "fi.lI-in" to eliminate unattractive squints and
harsh, dark shadows caused by strong sunlight. You'll find that
flash adds a sparkling quality to your pictures if you have your
subjects facing off to an angle from the sunlight instead of having
it shine into their eyes.li
* When taking flash pictures outdoors at night, in a very large i
ii room or a room with dark interiors, increase the aperture opening
by one f/-stop. For example : from the Guide Number and
Di.turr*, your Calculator tells you to use flll ; set the aperture
on f/8.
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