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Rolleiflex / Rolleicord guide Reference guide
Reference guide for Rolleiflex / Rolleicord guide. 66 pages in English. Read the original PDF, download or print a copy without registration.
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- Rollei
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- Rolleiflex / Rolleicord guide
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Page 4 · Read text
CHAPTERI / RAPID RESULTS WITH YOUR ROLI,EI
As a new owner of a Rollei, you do not wish to wait for even one
moment with a preliminary study of photography in order to use your
camera, especially because you have heard how wonderful it is. You
will want to use it immediately with some assurance of getting good
results.
To secure immediate results in color with your Rollei, simply do
this:
1. Load the camera with daylight color film as per the instruc-
tion sheet, or have a camera store clerk assist you.
2. Set your distance indicator at either 30 feet for a longer dis-
tant scene or L2 feet for a medium close-up.
3. Set your aperture so that the space between B and 5.6 comes
opposite the indicator line.
4. Set your shutter dial so that the 50 is next to the marking
line or appears in the window. The Automatic Rollei winds your film
and cocks the shutter at the same time. The Rolleicord generally re-
quires a separate setting movement of the cocking lever (towards
your right hand) when you are holding the camera with lens facing
the subject. Do this gentlyi 1'ou will hear a click when the shutter is set.
5. Hold the camera firmly.
6. Look at your ground glass. Keep your eyes focused on the
ground glass and look at it, not through it. You will see your subject
on it, but much smatrler than it actually is. But whatever is seen on thq
ground glass is exactly the same size as the negative will be.
7. With color, it is desirable to wait for that type of day when
colors will be most brilliant. Colors will photograph best on a clear
sunny day. If the sky is dull and overcast, your final pictures will also
be dull and overcast. You will find that the camera controls described
here are correct for a bright day-which will yield the best color. For
other conditions, consult an exposure chart or use an exposure meter.
If the weather is not ideal, you may use your camera indoors or
outdoors with an accessory flash unit. A very simple unit is the Flash-
flex (Chapter 7) which mounts directly into the upper bayonet and
requires no extra bracket. In addition, it is instantly removable from
the bayonet mount for use in an ofi-the-camera angle.
With the flashlamp (bottled sunshine), you can become totally
independent of the weather. In using flash, remember that your flash
synchronization takes place at certain specific speeds, with Il25
second a safe choice for all types of flashlamp. The Rolleis that have
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the M-X shutters can be synchronized Lor flash even with the top
speed of I/500 second. For flash efficiency:
A. Choose your subject distance from the subject-size chart.
B. Set your distance scale.
C.- Choose the aperture for this distance from the chart for the
SM-SF flash (Recommended for Kodachrome A without a filter), the
X5-25 Lamp indoors (with appropriate color filter), or-the-X5B,
Z5B lu-p ooidoott and set the iris. You now have pre'set the shutter,
the distance, and the iris.
D. Now approach your subject to the approximate distance that
has been set and observe your subject either through the open sports
finder, the reflecting mirror image on your ground glass, or directly on
the ground glass. Move back and forth with or to your subject until
the image is sharp on your ground glass. When the image is sharp
and the subject's action is at its peak, squeeze the release and you
have taken your flash picture. Note: Even if you are a few inches be-
fore or behind your actual distance setting, don't worry about it as
your depth of field (Chapter 4) adequately compensates for any slight
variance.
E. Outdoors without flash, leave the camera setting exactly at 30
feet for a depth of field from apprbximately 15 feet to infinity, and
at L2 feet for a depth of field from approximately 9 to 15 feet. By
using either of these pre-focused settings, 1lou can be certain of a
shatp picture within either area as long as your subject is anywhere
within-the 30- or the l2-foot setting even though you do not have time
to check your exact focus on the ground glass. For shorter distances,
the ground glass should be used, but after some practice, you can
guess focus within six inches easily.
F. Rewind immediately a{ter taking your picture. The Auto-
matic Rollei mechanism winds your film and cocks the shutter at the
same time. The Rolleicord winding mechanism does not have an inter'
lock. Therefore, for the Rolleicord I suggest that you immediately
cock your shutter, so that it is impossible to take an unintentional
double exposure.
When you have finished your roll, do not open the camera back
until your film has been completely wound forward and you hear the
paper backing flapping in the take'up spool chamber.
G. Remove the film after opening the back by pulling out the
knob holding the take-up spool. Keep a firrn grip on the paper backing
and then be"d the paper end under so that the adhesive label may be
wrapped around to seal the spool.
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Mail your film to the appropriate processing center after -H.-
carefully addressing the shipping tag and checking your postage.
The returned color transparencies or prints may be viewed, en-
or projected. These instructions are simple and at a minimum. lalged,
The only judgment required on your part is to wait for a bright,
sunfr day, pre-select your subject size and then keep the subject
within the focused distance from your camera. If these elementary in-
structions are followed, you can be sure of fine results.
Learn to pre-set your camera controls either indoors or outdoors
for existing, flash or artificial light. To do this:
l. Pre-set your distance after choosing your subject size. For
people, the 37/z-,5- and l0-feet distances are the most useful.
2. Pre-set your shutter.
3. Pre-set your iris.
4. Pre-view your subject.
5. Release at the peak of 'action or expression.
Your camera is an instrument capable of flexible changes for use
under varying light, shutter speed, and distance conditions. The fol-
lo-w]ng_fo-ur^chapterswill show you how to change the simple settings
of the Safe-Set Method to meet all possible needs. The time to remeri-
ber all the picture-taking factors is before the exposure is made. As
an aid in memorizing these important points, always recall the word
SAFE before you take a picture:
S-Shutter
A-Aperture
^F-Focus
.0-Exposure
AovINTAGES oF THE Ror,r,rr
The 2r/+-inch s_quare,film size of your Rollei produces a negative
which is easily enlarged and allows the to be lept com-
pact for portability and maneuverability. "u-"r-uUsing an BxlO Lrilarge-
ment as a means for standard comparison, you can see by simple
arithmetic that only a four-times enlargement is needed with the
larger Rollei film size. A 35mm camera (1 inch xrL/z inches) would.
need at least an eight-times blow-up. In addition to these enlargement
benefits, the Rollei size may be contact printed for use in a willet or
handbag. other advantages of the Rollei which have made it a favorite
for exhibitors, magazine writers, advanced amateurs, and many be.
ginners are:
.IView original page 6Page 7 · Read text
1. Twelve-exposure roll. You can see your results quickly. No
need to wait for 20 or 36 exposures.
2. Direct focusing and combined viewfinding by means of a
ground glass (an ideal {ocusing method).
3. The camera is small, hand-sized, so that it is easily carried
and ready for instant picture taking.
4. Uses a standard roll film size (120 or 82) which is available
anywhere in the world.
5. Easily adapted for cut film, 35mm film, or Bantam sized
rolls.
6. Fine-grain development is not entirely necessary. The moder'
ate Bxl0 enlargement produces a sharp enough image with a medium
grained developer and lets you use the full emulsion speed of your
film.
7. F13.5 or faster lenses are available. The lens chosen by the
manufacturer will produce the finest quality picture possible. He
knows what lenses must be used to maintain the high quality picture
necessary to maintain the Rollei reputation.
B. Color film in all sizes, 35mm, Bantam and 120, is easily
available for the Rollei size. Many advanced workers use only color.
9. The square {ormat permits composition in three pleasing pat'
terns: (a) square, (b) vertical, and (c) horizontal.
I0. The three-inch lens of short focal length has a great depth
of field and hyper-focal distance. A sharp image for most far or
middle distances results because of this, and the need for critical
focusing is lessened.
II. Easily adaptable for studio portraiture, copying and medi'
cal, child, pet and scientific photography.
L2. The between-the'lens shutter is trouble-free and easily syn'
chronized for flash. You may use regular flashlamps and flashtubes
that are plentiful, easily obtained, and can be accurately synchronized.
13. .Wide open focusing. This most important feature lets you
view and focus with the top viewing lens at all times when the top lens
is wide open so that the clearest and brightest image can be seen
throughout the picture-taking process. This sharply contrasts with
the single-lens reflex which must be stopped down just before ex-
posure. If you forget to narrow the lens opening of your single-lens
reflex, your picture will be over-exposed. This problem is completely
eliminated by the twin-lens reflex plan of design.
L4. The automatic film wind of the Rolleicord and the auto-
matic combined film wind and shutter-setting efiect of the Rolleiflex
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are advanced design features which have not been readily duplicated.
15. The new ground-glass mirror reflecting hood enables you
to focus on the ground glass and then shift your eye to the open
sports finder. In this way, you focus and instantiy follow your subject
in life-size' proportions.
The operational and optical simplicity of your Rollei combined
with the .,r."n"r, of the Safe-Set Method will enable you to produce
success{ul pictures.
To use the following charts to best advantage:
( I ) Copy field sizes onto a piece of labeling tape.
(D Standardize on one film, one flashlamp, etc. and copy this
onto the tape. e.g.
L"rr. il2" focal length
SM or SF with Kodachrome Type A Shutter 1/25
UV-f6 with Ansco Color Indoor Shutter 1/25
Vertical-Head 2.5 fteet fl22
Head & Shoulders 3.5 feet flL6
3/+ 5.5 {eet flLL
Full BodY I0 feet tl5'6
(3) Place it on your camera case or on the back of your flash
reflector for easy re{erence.
(4) Pre-select and Safe-Set each exposure.
You can make out a chart for any flashlamp or flashtube and for
difierent films or shutter speeds.
Once the chart is filled out, you have all the information for tak-
ing your picture. These apply for average subjects. For light subjects,
pre-select all your factors and then narrow your opening one half
itop. Fo. dark subjects widen the opening one half stop. An opening
is conveniently widened or narrowed one half stop by moving it
one hal{ the space between each stop. High efficiency reflectors are
suggested. If your reflector is inefficient, make yoy _^preliminary
settings and then widen or narrow your opening one half stop.
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CHAPTER2 I S-THE SHUTTER
The shutter of your camera may be compared to a water faucet
When the faucet is open, water will flow. Similarly, when the shutter
is open, light enters your lens. If the shutter remains open a long
time, more light will enter through the lens than if the shutter had
remained opened for only a short time. The volume of light that is
available determines whether it is necessary to leave the shutter open
for a long or for a short time. When the light volume is very low, you
may be required to leave the shutter open for as long as an hour at
a time. On the other hand, for a sports or action shot, a picture may
have to be taken in as little as 1//500 second, because of the fast mo'
tion of your subject. With the chart: ]ou can choose the correct '!+i *
shutter speed that is needed. As you will find later, if a choice of
speeds is available, the slower speed permits the use of a narrow iris
opening with a gain in overall sharpness, while a {aster speed pro-
duces a shallow depth of field. The proper choice of correct iris open'
ing may often be an important point in making or breaking the efiect
of a picture.
The beginner can easily choose a slow speed for still (inanimate)
subjects, while for living (animate) subjects a fast shutter speed of at
least l/50 up to f/500 second should be used. For sports or action
pictures, use the fastest shutter speed available.
However, if you must determine an exact shutter speed for a
subject in motion: ]ou can remember what speed to use by knowing
the meaning of the series of numbers 25,5,25. This basic number
means that for a subject 25 fieet awolr moving at 5 miles an hour,
with a line of motion directly toward and away from the camera
position, the shutter speed need be only Ll25 second. With a 45-
degree line of motion, the shutter speed is doubled; while with a 90-
degree line of motion, the shutter speed is three times the original
Ll25 second. If the speed of the subject is increased to 10 miles per
hour, then all numbers are doubled in .proportion. As all subject
speeds are increased, your shutter speeds are also increased in direct
proportion. If, on the other hand, the subject distance is increased to
50 feet, all numbers may be doubled. With a lOO-foot distance the
figures are quadrupled so that a subject moving at 2O miles per hour,
100 feet away, with a line of motion toward the camera will still re-
quire aIl25 shutter speed.
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SHUTTER SPEEDS FOR MOVINGSUBJECTS
LINE OF N,IOTION
3;SUBJECTAT 25 FEET TJ s
Walking at 5 niiles per hour 1/r0 1/r00 r/r50
Children playing r/ 100 r/200 r/300
Streecactivity L/n0 1/200 r/300
Swimmers,skaters r/ r00 1/200 r/300
Vehicles at 20 m.p.h. r/200 L/4oo * r/r00
Football, running L/200 t/400 * 1/5A0
Vehicles at.4O m.p.h. r/4oo 't/soo * t/500
Tennis *L/500 1/500 * t/500
Horse race *t/r00 * L/500 rt/500
Airplanes *t/500 *t/500 * 1/500
N-B. When your subiect is at j0 ft., multiply all speeds by
2(L/to0x2= t/50).
For 100 lt. subiect distartces, multiply all speeds by
4 Q/rc0 x 4=1/25).
*PAN to stop motion.
PexNIwc
If your highest shutter speedcannot stop the motion of a rapidly
moving object {rom a set position, then the subject'smotion may be
stopped by "panning" your camera. This means that you swing or
move the camera in line with the movement of your subject. When
you snap your shutter, the object will be stopped in motion and will
be sharp, while the background, of necessity,will be blurred. While
this is not always the best photography, the resulting sharp subject
justifies the compromise.
ooCompurt' The shutter speedsof your Rollei shutter, depending
on the model, generally are T, B, I, 2, 5, L0, 25, 50, I00, 250, and
500. These numbers refer to fractions of a second. The 50 means
Ll50; the 2 means a/2, eIc. Some older Rollei's have a top speed of
1/300 second.
Do not set your shutter speed at points other than directly op-
posite the engraved numbers. Delicate mechanismsrevolve each time
you change the shutter speed. After they have been set, the tension
of turning the shutter-setting dial may strain the gears. This is es-
pecially true of the 1/50 to 1/500 series of settings.
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With a Rolleicord only you may change your speed by first
covering your lens with your hand and then releasing your shutter.
Now, you can re-set your dial to the new speed before cocking the
shutter. One exposure costs approximately four cents, while one
broken gear may cost many dollars in repair time and material. With
'reasona pre-set shutter, there should be no for any last-minute
changes.
If your Rollei has only a B (bulb), where the shutter remains
open only as long as pressure is maintained, you can get a 7 (time)
efiect with a special locking cable release that has a set-screw to
hold the plunger in place.
A large range of shutter speeds, while important for specialized
work, is not needed by the beginner. A survey of most salon prize
winners showed that their average speed setting had been 1/100 sec-
ond. With this in mind, the amateur can see that pre-setting his
camera for speeds up to,1/100 setting will suffice for most of his pic-
ture needs. To set the shutter for any marked time interval, rotate the
ring with the time numerals on it until the desired speed is opposite
an indicating line (Rolleicord 1A). For other models, the speed set-
ting is made by means of a lever (Rolleicord 2 and 3) or by a dial
(all automatic Rolleis). The speed number is observed in the peep
window which is conveniently located on top of (automatic) or sides
of (Rolleicord 2 and 3) the viewing lens.
Once you have completed setting the shutter to the desired speed,
then your Rolleicord models require that the shutter be cocked before
it can be released. In the automatic Rolleis the shutter is cocked at
the same time as the film is wound.
Once your shutter speed has been chosen and the shutter prepared
for release, a question arises whether the exposure shall be made with
the camera hand-held or on a tripod. The l/50 second setting, as a
rule, is the dividing line between recommending exposures to be hand
held. With slower speeds a tripofl-supported camera is desirable. Since
you magnify your finished picture by enlarging, projection or view-
ing, any body vibration or tremor will be transmitted and show on
the picture so that the subject will consequently be magnified as a
blur. To limit the possibility of blurring your film with a hand-held
camera, even at speeds of I/50 second or faster, brace yourself in this
fashion: Place your feet so that your toes are approximately four
inches apart, your heels about six inches; hold your camera firmly,
take a deep breath, exhale, and shortly after the exhalation, you will
note that you are at your steadiest; at this point release the shutter.
IB {t
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a \
Whenno tripod is available,this methodhas yieldedgood pictulen
even at 1/10 second. But at speeds slower than I/50 second, it is far ll safer to use a tripod which provides a sturdy support and minimizes *.1
camera movement.
Practice releasing or cocking and releasing the shutter (some
release levers depress or must be moved considerably before the
shutter is actuated). Practice a number of times until you have the
pressure and depth of release just right. Action pictures, baby por-
traits, etc., require split-second exposures at the peak of action. The
shutter must be released immediately, else you may lose in that split
second the priceless once-in-a-lifetime expression or rare, never-to-be-
repeated action.
Practice releasing your shutter so that the camera will remain
steady. No matter how steady you may think you are, you will always
tend to twist the camera slightly in the releasing direction. If you
learn to release your shutter without vibration, your pictures at even
I/I0 second will enlarge cleanly without any blur. The best place to
practice is in front of a large mirror. Stand fairly close and look
through the ground glass or sports viewfinder as you release the
shutter. Any movement that you notice would have occurred had you
actually taken a picture. The jerking of the camera would have pro-
duced a blurry picture, had you had film in the camera. So, learn to
squeeze the release gently to reduce vibration or pushing.
CAer.r Rrr,B.s.sn
Another important aid for minimizing camera movement is a
cable release.When your camera is on a tripod, you must still release
your shutter with your finger. Should your finger push against the
camera too strongly, some vibration will be transmitted through your
hand. with a cable release,your hand is free and clear of the camera
so that there is no pressure directly against the camera shutter. A six-
inch or longer cable releasewill suffice for most pictures. Note: The
older Rolleicords use a specially thin cable-releasetip to fit the shallow
well on'the side of the shutter.
The cable releasemust be slack. If it is kept taut, the vibration of
the releasing motion of your hand will be transmitted to the camera.
If the camera vibrates, you are using your cable release incorrectly.
Drr,eynp Acrron
If a cable release is not available and you are fearful of vibra-
tion, then you can use either the self-timer that is built into the Rollei-
L9View original page 18Page 19 · Read text
.ex cameras or an auxiliary delayed action attachment which may be
purchased for all Rolleicord cameras. Once you set and release the
delayed action mechanism, approximately a fifteen-second delay oc-
curs, and the camera shutter is released without any possibility of
vibration. The fifteen-second delay, in addition, can give you time for
getting into the picture. You can take flash pictures of yourself (later
models only) or by posing in any scenic picture, add that necessary
human interest that would otherwise not be possible to obtain.
CHAPTER 3 I A-THE APERTURE (IRIS)
While a faucet is open, water will flow through it for any de-
sired length of time. If the faucet opening is narrow, a small amount
of water can come through. If the faucet diameter is large, then a
greater volume will pour through. The relationship of the diameter
of the faucet to the length of time that it remains open is similar
photographically to the relationship of the size of the lens opening
to the shutter speed. The shutter speed, in turn, is the length of time
that the lens will remain open. The diameter of a faucet is measured
in inches. Photographically, the diameter of the lens is related to the
focal length (lens-to-film distance) at which it forms an infinity image.
This ratio of lens diameter to focal length is usually shown as an
f/ number. The f/ number then is the relationship of the size of the
lens opening to the distance that the light rays must travel before they
form a focused sharp image on the film. A small number indicates a
wide opening, whereas a high number indicates a narrow opening.
The wider the opening, the greater the amount of light that is admitted
at a given interval of time. Conversely, the narrower the opening, the
smaller the volume of light that can enter the camera within the same
time interval. For equal exposures: /ou can have a large opening and
a short shutter speed or a narrow opening with a long exposure.
There are difierent advantages to be gotten from each combination.
A wide opening will permit a short exposure, such as is necessary for
action pictures. On the other hand, a narrow opening will produce a
deeper area of subject sharpness in the picture. When a sharp image
is desirable but not always possible: lou compromise by getting what
you can with at least your main subject in sharp detail.
The iris diaphragm of a lens regulates the size of the opening
which admits light to the camera. It is in many ways similar to the
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iris of the eye. Look into a mirror and bring a light close to you)s
eyes. As the light is brought closer, you will see that the iris opening
narrows. As the light is moved awa|: the iris widens. You duplicate
this narrowing and widening by moving the indicator or the iris con-
trol knob to change your peep window number.
Remember that the narrower the lens opening, the greater is the
depth of field. Narrow stops give great depth and wide stops yield a
shallow area of subject sharpness.
Rollei lenses narrow generally at full stop intervals to f132. lf
intermediate settings are desired,.the chart is useful in figuring out
what exposure compensation must be made for the time factor.
An inherent quality of a 3-inch lens of short focal length is its
remarkable depth of field for its film size. A 3-inch lens at f.l4 has
Rnllrrvr LIcHT INcREAsE. IF oNLy rHE
Fur,r,-srop MARKINc IRIS IS WIDENED
f/t I These are full stop openings with a
f /L.4 2 n0% difierence in light transmission
t/2 4 between two adjoining stops.
f /2.3 B If the indicator is moved approximately
f/4 t6 half way between the two markings, the
t/s.6 32 iris is opened 12 stop and the difierence
T/B 64 in light transmission is increased, 507o.
t/n L2B Half way between L/5.6 and f/B pro-
f /16 2s6 duces f /6.3"between f/B and f/11 ]s f /9.
Her,r-srop oPENINGs
f /3.s I These specific numbers produce a dif-
{/4 LL/z ference in light transmission oI 50%
t/4.s 2 from one mark to another.
f /s.6 3
t/6.3 4lz
f/8 6
f/e 9
t/rr 12
t/r2.5 1B
f /16 24
T/LB 36
I/22 48 )
N.B. Eaerything being equal, il the shutter speed is changed, t'rom I/I00 to
I/200, the iris must be widened one stop.
It' the shutter speed, is changed lrom L/L00 to L/50, the iris is narrowed,
' one stop.
It' the shutter speed, is changed t'rom l/L00 to l/75, the shutter is nar-
rowed, by a/2 stop.
II the shutter is narrowed, lrom f/B to f./I6, the shutter speed, is length-
ened lour tim.es so that l/I00 will be re-set to L/25.
2LView original page 20Page 21 · Read text
the same depth of field as a 6-inch lens at f/8, or a l2-inch lens at
tlI6.For color, the depth of the 3-inch lens is a valuable point be'
cause with a 3-inch lens set atIl4, you will be able to get a picture,
whereas at IlL6 with a lens of longer focal length, to get the same
depth of field, your picture will be hopelessly under-exposed. It is
the depth of field of a lens of short focal length and a wide opening,
which has made a picture possible. With a fast shutter speed, your
lens opening will have to be as wide as possible to admit more liglt
(f/3.5 o, f.l2.B, if available). Even when your shutter speeds
"i"r, may narrow your lens opening and so still get a- greaterare slow, you
depth of field than is possible with a lens of longer focal length.
So far you hav" learned to set your shutter speed and control
the variable opening (iris) which admits light to your lens.
CHAPTER 4 I F-FOCUSING
Focusing is the process of insuring the maximum amount of
image sharprress. To estimate the correct subject-to-camera distance,
yor.'*uy usl either your ground glass, the new Kalart dim-light Focu;'
Spot acting as a rangefittder, or simp-ly guess the distance. To help
you with y:o.r, g.r"r.,-yor may take advantage_of either the depth of
held or the hyfer-focal distance settings of the lens of short focal
length.
Because of the great depth of field of your 3-inch lens, your
images will be sharp- at infinity to most middle distances without
criti'cal focusing. Shorter distances, however, require the use o{ your
ground glass. A grorrttd glass is a piec-e_of glass with one translucent
Jia". fn! translucency may be formed by either physically grinding
the glass with sands'of difierent fineness, or by chemically etching
only"the side of the glass that faces the camera. The translucent side
has the property of making an aerial image f_olmed ly yogl camera
lens visille as the lens is moved for focusing. When the visible image
produced by the lens is sharp, the camera is in focus. When the image
is not sharp, it is out of focus. The beginner may see exactly what is
meant by sharp focus if he places a newspaper or other printed ma-
terial orr'a wull and then stands approximately four feet from the sub'
ject. Now look at the camera's ground glass. I{ y": can read the print
Lleurly, your ground glass shows the subject in focus. If you cannot
l:. read ihe'printed mateiial, then make your focusing adjustments (ro' l,
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tating the focusing knob) until the print is clear when seen on the I1
ground glass. l;-
The Rollei lenses are mounted together on a single lens board. t
As this lens board moves in or out, both lenses move as a unit. This
co-ordihated movement of both the top viewing and the bottom taking
lens insures that the focus of both will always be the same. As your
lenses have been matched for focus at the factory with specialized
instruments, barring accidents or tampering, the focus of the top view'
ing lens is exactly the same as that of the bottom lens.
If you must guess your distance because you may not have the
time to use the ground glass (as in sports and other action scenes),
i
' i .it is a good idea to know something about the depth of field and the
hyper-focal distance. We have said that your lens o{ short focal I{{
length has a great depth of field. This means that very deep subject
areas will be sharp without the need of accurate focusing. Sharpness,
as you must realize, is a relative term based on the fact that the film
image is composed of manlr fine silver-grain dots. If the dots are
close together so that the eye cannot see them separately, the image
appearance is smooth and continuous. If the dots are apart and in-
dividually distinguishable, the image will appear granular, sandy
and unsharp.
Note: An unsharp image is distinctly different from the gran'
ularity produced by high-speed developers or coarse-grained film.
Reading then in your distance table that everything is sharp from
15 feet to infinity, does not mean that your subject abruptly becomes
completely blurred aI 14 or 12 feet. Rather it means that at a l0-inch
viewing distance, the eye would be unable to distinguish a separatioh
of two silver image dots if they are 1/f00 inch apart. When you can
see the separation between the dots of a film image, the continuous
appearance is no longer smooth and united but will be granular or
hazy. To the eye a fuzzy image does not appear sharp. To get back
to our subject at 15 or L2 feet, you will just begin to see, at the last-
mentioned distance, the separation of the dots that form your film
image at this distance. At 5 or 4 feet the image dot separation will
definitely be coarse and distinct. There is no abrupt dividing line
from a sharp to a fuzzy image in your picture; rather, there is a
gradual image breakdown depending on lens opening, development,
etc.
Contact prints from your negatives may be made and will be easy
to view if the image of the positive prints within the I/100 inch
allowance. To produce an image for the standard BxIO inch size, the +.
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enlargement must be five times or more. If a film is enlarged to ten
times, the l/100-inch separated dots of a borderline focused image,
will be pulled apart and now show as two distinct points 1/10 inch
apart (100 divided by 10). Since we can readily distinguish two t
plitttr 1110 inch apart, an unsharp image which is'generufy of little
photographic value, will result from the enlargement. As most film is i
enlarged today, pre-calculate ybur subject distances and related iris
openings to be sure that your picture is as sharp as possible. At close
)range, you must use your ground glass to focus exactly, because of
the shallow depth of field and the need for an ideal film image. i
The information relating to size of the image point {ormation is
known as the "circle of confusion". The depth of fieid tables are calcu-
lated for a circle of confusion based on 1/1000 the focal length of
your lens. This tolerance (.003 inch) produces excellent image re- X
sults for the beginner's enlargements and poses few problems for the
camera and lens manufacturer.
When you know beforehand that your subject will need pro-
jection or enlargement to immense diameters, then stop down (narrow
Ithe lens opening) at least one or two stops in addition to secure
greater sharpness than the table indicates. The depth of field table
can be used if you can either accurately guess your distance or use a
measuring tape as an accurate reference guide. Once you have your
subject's distance for reference, you may choose the area of surround,
ing sharpness according to the size of the iris opening.
Related to the depths of field is a table for your hyper-focal
distance. When you set your distance (focusing scale) in co-ordina-
tion with certain aperture settings, everything will be in focus (sharp)
from 7/2 the scale distance to infinity. This important table minimizes 4
the need for extremely accurate focusing when certain light conditions
permit specifically needed iris openings. An easy way to remember
the whole table is by the key numbers 3, 4, 63. Tape this number to
the side of your camera for ready reference. This number means that
your 3 inch lens at f.14, focused for 63 feet will produce an image 1
that is sharp from 3L7/z feet to infinity. At IIB the distance setting
will be 3L7/z feet so that everything now will be in focus from t53/+
feet to infinity, etc.
As the table indicates, f/I6 with ^ 15s/a-foot setting will yield a
suitably sharp image even if your subject is spread from an area of
7 | / 2 f . e e t t o i n f i n i t y . I t s h o u l d b e e a s y t o s e e t h a t t h i s d e p t h o f f i e l d
minimizes the need for critical ground glass focusing for a subject
anywhere within that range. However, if the subject is placed mostly
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at infinity (distant scenes), You may secure a sharper distance image
by leaving the focusing scale set at infinity. Since the hyper-focal dis'
tance is 6ased on the circle of confusion, you can understand that
when your distance is set at 15 feet, your infinity distance will be
sharp Inly within certain optical limits. When you enlarge your -fiI*,
these limits are rapidly passed so that your image will appear fizzy
(unsharp). If you set your focus on infinity, then your distant image
is focused exattly at the far distance focusing point and is not de'
pendent upon the iris opening for its sharpness. It is sharp because
lf focusi.rg exactness, rather than because of a mathematical calcu'
lation.
Tun Focus-SPor (KAL,tnr)
It is very difficult to focus in dimly lighted interiors because
there is, generally, not sufficient illumination to actually see an image
on the ground glass. Until now, the only method for taking a picture
under th"t" poor conditions was to either guess the distance or to
measure it with a tape. Now, a new and unique focusing aid (The
Focus-Spot) has been designed to overcome these focusing limitations
by means of a photo-optical device which projects two' separated
blams of light. When the two beams are made to conve_rge_and com-
pletely ou"rlup on your subject, you are in focus. If the beams are
..purut"d, yoo u."'out of focus. As the beams are powered from
your flashlight battery case, you are no longer dependent upon any
iight to focus on your ground glass. Instead, you can be aided by
the strong, contrasting beams which clearly show you the end point
of your focus under conditions where there may be a
"*"tgency "t"n light. With the Safe-Set Method, the Focus-Spot total absence of room
may be used to advantage for flash. Simply choose the correct subject
size from the chart in Chapter I and then set the co-ordinated distance,
iris, and shutter scales. Look through the sports finder and walk
towards your subject, taking care to compensate for parallax. When
the beams of your Focus-Spot are together, you are in focus. Your
image will be razor sharp even if the room may have been in total
darkness.
PARALLAX
The viewpoint difierence between the taking lens and the view-
ing lens (vertical parallax) assumes great impo_rtance only at close
diJtances. Chapter 17, Close-ups and Parallax Control, describes in
27View original page 26Page 27 · Read text
detail new methods for minimizing and correcting this often ex-
asoerating problem.
VruwrrNrrNc AND ConrposrNc
For better composition, place in each corner of your ground
glass, squares of black 7/a-inch masking tape. If yo,r, is
"o*posilion vertically placed inside the top and bottom portions o{ the masking
square, then you will have the perfect proportions for an Bx10 ver-
tical enlargement. When your composition is horizontally inside the
black masking squares, then the proportions are perfect for a hor-
izontal8x10. If, in addition, you will divide your ground glass into
thirds and place four dots (with India ink) at the intersections, you
will have a number of reference points for composing your subject in
the square format but in interesting ofi-center arrangements. While
these dots and the masking squares do not interfere with your focus-
ing, they serve as excellent guide points for enhancing composition.
Since you cbn simultaneously focus and compose on your ground
glass, you have all the advantages of a combined rangefinder and
viewfinder camera. The ground-glass portion acts as a rangefinder
while the compositional aids on your ground-glass show you the exact
arrangement of the subject for the field of view.
The Rollei ground-glass screen has, in addition, very finely
etched parallel lines to help you align any subject possessing either
vertical or horizontal lines.
Cnrrrcer. Focuslxc
Critical focusing with your Rollei is helped by the built-in
magnifier. The approximately three-times magnification enlarges your 4
ground-glass image so that the focus can be made razor sharp. In the
new models, the magnifier is large enough so that you can see the
major portion of your ground glass without squinting.
Our-or-Focus BlcrcnouNos
Portraits often appear best with an out-of-focus background.
Since the wide open setting of ynur top viewing lens permits out-of-
focus backgrounds, you can duplicate the results that you see by tak-
ing your picture at the same wide opening setting as the top lens.
You can see your exact depth of field through your top viewing lens,
an advantage that vour ground-glass camera has over the regular
rangefinder type. ,t
For practice, alter your settings for shutter speed, iris opening,
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and distance until these changes become a matter of "second nature".
Make every efiort to take a shalp picture. A sharp picture may be
difiused for a softening efiect at any later time, but it is impossible
to take an out-of-focus image and make it critically sharp.
Use the pre-focus method by choosing your image size from the
chart in Chapter 1, then setting your distance scale, and walking
towards or away from your image until it appears sharp on the
ground glass. Never touch your focusing knob. I have found in
practice ihut otr" turn of your focusing dial, usually done when you
try to focus rapidly, actually moves your focusing point from infinity
to as close as 41/2 feet. This can become a source of error. However,
if you leave your focusing distance alone, even a slight subject-to-
camera distance error, be it as large as six inches, is adequately com'
pensated for by the depth of field with the 3-inch lens o{ short focal
iength. Pre-calculate and pre-focus with the safe-set method for perfect
sharpness.
Focus for sports and flash photography is possible with the
newest Rolleis by the unique combination o{ the hinged mirror which
opens directly above the ground glass to permit focusing at eye level
while the open eye-portion of the life-size sports finder is placed im-
mediately above it. With this arrangement, it is a simple matter to
check your focus on the ground glass and then shift your eye to the
sports finder. This sports finder method is a helpful aid for action
pictures because both eyes are open and the subject is seen life size.
As the subject is viewed at eye level and at life size, no time is lost in
choosing your scene of action and then trying to find your subiect.
29View original page 28Page 29 · Read text
CHAPTER 5 I E-EXPOSURE
Now that the mechanics of picture taking have been described,
all that remains is for you to integrate this knowledge and prepare
to take a picture.
You now know how to set your shutter and iris, but you must
know which settings are to be used. There are three methods of deter.
mining the proper camera settings for normal lighting conditions.
r. Every roll of film is packaged with an instruction sheet. on
this sheet, yol will find recommendations for shutter and iris settings
for different light conditions. If you follow these recommendations,
you will definitely get properly exposed pictures. Remember that the
manufacturers take great pains to insure the accuracy of their pub-
Iished information.
2. There are always three factors in determining your camera
settings: Film, shutter speed and iris. The exposure chart in this
chapter standardizes the setting procedure so that the only variable
will be your iris opening. And, to make your choice easy, the difierent
iris openings are derived by the use of simple arithmetic. First choose
the number for the correct light conditions and multiply it by the suit-
able subject classification number. The product of the multiplication
will be your iris setting. For example, if you are using film with an
ASA 50 and a shutter speed of 1/100 second, then when your subject
is average (Class 3) and multiplied by hazy sky lighting (Class 2),
the result will be 6. If you set your iris at 6.3, your exposure will be
"on the button." Practice a number of times for different subjects and
lighting conditions until you have mastered the chart. While this chart
gives you iris openings for set shutter speeds only, you can change
the settings at will since you can increase your shutter speed by open.
ing your iris in proportion so as to maintain the same volume-time
relationship of light. The f/number chart of Chapter B will show iix
y-ou the different shutter speeds for proportionate iris opening I I
changes. If you know what speed is needed, then you can opr.t
close the iris from the table number and still maintain the correct "ndex-
posure.
3. The photo-electric meter is an accepted standard for accuratemeasurements in indicating correct exposure. While a chart may be i
used for outdoor settings, only the photo-electric meter is recom-
mended for use with artificial lighting or even outdoors where ex-
treme accuracy is needed for color work.
There are two types of photo-electric meters.
,
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d. The incident light type. This meter measures the light th{
is falling on a scene or a subject. The incident type generally
has a collecting sphere (like half a table tennis ball), light
masks or great teen type hoods which take a reading by
pointing tf,ese collecting devices at the camera. The col-
lectors are used to integrate any varied strengths o{ light
reaching them so that the readings are- very accurate ald
are set at the mid-point of a gray scale. The sphere also
minimizes the possibility of two eye readings when a spot'
light or any otlier intense light source shines directly on the.
subject.
b. Thi reftection type. The reflection type measures the amount
of lighi reflected from the subject. It is pointed at the subject
fo, un intensity reading. However, a gray card must be
used with this type of meter for accurate results. Because
gray is a ,r"otrai tone, you will automatically photograph
;"; blacks and whites in their correct tonal difierences.
if u gr"y card is not used, then you_ can see that difierent
reflecied-readings will result from dark or light subjects.
Since both readings cannot be correct, you must do some
mental calculationio figure out a new middle value that you
hope will give the correct result. The only precaution when
,.irrg u giuy card is to be certain that it is large e_nough
for a t"Jing (point the meter at the card from at least a
ten-inch distance) and so be assured that only the reflection
from the gray card will influence the meter. In addition, be
sure that your body is not bloclcing any light from its source.
Bend yoot body away or take a knee bend so that your hand
is holding the meter free and clear. With these precautions
your meter readings can yield excellent results'
With both type, of mJt"r there is still some judgment required
on your part. For dark subjects the iris may, be _opened a hal{ stop,
whiie *ith v"ry light subj"ttt the iris may be closed one half stop
below the indicated scale readings.
The exposure factors for flashlamp and flashtube are quite difier-
3tView original page 30Page 31 · Read text
ent from those determined by either of the above-mentiorred methods.
Every flashlamp or flashtube is supplied with an exposure guide
number chart by the manufacturer. This chart provides you with a
guide number to be used with certain speed films at definite shutter
speeds. Since you know your film and. shutter speeds, the only remain'
ing unknown is again the iris opening. The iris opening is found
by simply dividing the subject distance into the specific guide num'
ber. If, for example, your flashlamp has a guide number of 110 with
an ASA 40 film at I/100 of a second when your subject distance is
10 feet, then you divide II0 by 10 to get an answer of I1. The iris
opening of your lens is now set at f"lll.If a subject is 20 feet away,
then the iris opening will be f/5.5. I{ your guide number is 56 and
your flashlamp-to-subject distance is 6 inches (lz foot), then divide
the L/2 into the 56 and the indicated opening will be f"lII2. Since your
camera iris generally is narrow only to t122, then you must use a
number o{ layers of handkerchiefs or white linen cloth to reduce the
light intensity o{ your flash so that it will be correct for your mini.
mum lens opening. This is further explained in Chapter B.
Standardize with one flashlamp so that you know its character-
istics well. With standardization will come a uniformity of results so
that you will be able to concentrate on your subject. Finally, I should
caution you again to hold your camera firmly and learn to push the
shutter release lever gently so that you will not jar the camera
ExposuRsRur,rs
Black and white film: Expose black and white film for the
shadows, but develop for the highlights.
Color film: Color film should be exposed for the highlights, but
precautions must be taken to assure adequate shadow detail by light-
ing the shadows with a 3 or 4 to I ratio because of the low contrast
limitations inherent with most color emulsions.
32
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