Zenit Kodak lenses and shutters — part 2 Reference guide

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                .           EXPOSURE
  Exposuremeans: to exposethe film in your camer,ato light.
The dose of light any film needsto produce the right sort of
image depends on how sensitivethat film  is to light. A fast
film is more sensitivethan a slow film.
  Once your choice of film is settled,the basic condition of
exposureis settled with  it. You are now left with the proble-m
of- scaling the light you find in front of your camerato the
amount your film needs.
  Your job is to judge the light reflected from the subjectyou
arc about to photograph. Your grandfather as an amateur
photographer used to  take into account his geographical
position,-thetime of year,the hour of the {uy,th9 stateof the
iky as well as the tone of the subject itself, qnd by so adding
one thing to another size up the light reflected from the
subject.The experiencedprofessional,of course,hardly ever
worked that way, He just had a look and he knew.
  Today an exposuremeter does the same for any photo-
grapher.It takes a look, it measuresthe light and it lets you
know.
   In fact, it does more than that. It translatesthe light mea'
sured straight into terms of photographicexposure.It does
so by presentingyou with the choiceof aperturenumbersand
shutterspeedssortingthem out in pairs.

Aperture and Speed
  The aperture number or /-stop controls the amount of light
allowed to enter through the lens. These numbers run in a
 series: 1.4-2-2.8-4-5.6-8-ll-16-22;    each higher stop
number lets through just half the light of the next lower
number (next largerstop).
  The shutter speedcontrols the length of time for which the
lens is kept open to  light. Shutter speed figures represent
 fractionsof a second:30 = l/30 second,500= 1/500 second.                                          'how  The actual exposureis a product ot' thesetwo:     much'    'howand       long'. A iarge amount of light striking the film for
 a short time may produce an image similar to that produced
                      39

by a small amount of light striking the film for  l long time.
Hence the free choice from a seriesof balanced aperture-
shutter combinationsoffered by your exposuremeter; more
or less open aperturespaired with more or lessquick shutter
speedsand more or less stoppeddown aperturespaired with
more or lessslow shutter sPeeds.
  They all are right and yet one is better than the other.
 Why should it be so?
  Beiause both the aperture and the shutter alsohave second-
ary functions and effects.
  The aperture not only controls the amount of light that is
allowedio passthe lens -   it also has a bearing on how much
of the imagewillbe sharp.
  The shutter, in controlling the length of time for which the
light strikesthe film, will inevitably record any movement that
hippened during that time as a slight or greaterblur.
  So you are left with three things to think of,
  How fast is the action you want to catch?
  How much of the scenein front of the lens has to be sharp?
   Is the light good enough for either?
    If  there is fast action you have to choose and pre-set an
appropriately fast shutter speed (pagt 45) and then pair it
with the stop which is right by your meter.
    If the r..n.  is to be sharp from a point close to the lens to
some other point well away from  it you- $991d choose the
stop that rvili yield the necessarydepth-of-field (pug. 46) and
then pair it with the shutter speedagreedby your meter'
    If the light is very poor, the chancesare that you will not be
able to cope with either extremely fast or particularly deep
subjects.Ybt your choice in putting shutterspeedof depth-of-
 fiel-d first should still be governed by what you value most
about the picture you proposeto take.
  Exposurb nowadays is no problem at all. You can arrive at
the right exposureby guessingit or measuringit. But to hit  it
off in such a way that it will produce the picture you want is
 still a matter of intelligentjudgement.

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                                                i'Time ExPowres
 When the light is very weak, especiallywhen you have to use
a small stop, even the slowest shutter speedmay be too short.
In that case,you needtime exposures.Set the shutter to B and
press the releasebutton. The shutter now remainsopen for
any length of time until you let go of the releasebutton.
  For such time exposuresthe cameramust be mounted on
firm support such as a tripod. It is best to releasethe shutter
with  ttre-help of a cable releaseto avoid shaking the camera-
This releasescrewsinto the centre of the releasebutton on
the camera.
  For long time exposures,where the shutteris to remainopen
for longer than you can convenientlykeep the releasedepress'
ed, use a cable releasewith a lock. To make the exposure,set
the shutter to B, pressthe cablereleaseplungerwith the lock'
ing plate lifted. The shutter will now remain open until the
lo-king plate is depressed.On cable releaseswith locking
screws,tighten the screwon pressingthe plunger and undo the
screwto close the shutter.
(Istng an Exposure Meter (seeillustrations page 49)
  To get the best results an exposuremeter has to be used
intelligently.This may look like a contradiction,sincewe have
already said that it is an accuratelight measuringinstrument.
But light from all parts of the subject, highlight, shadowsand
middle tones, falls on the meter, so the readingit givesus is an
averageone for the whole subjectarea.
  Meters, separate,built in, or through-theJens,are scaledto
suit typically averagesubjects,i.e. subjectswith averageareas
of light, dark and middle tones. So if you point the meter at
a subject of this kind, the exposurereading will be correct.
  But  if the subject is not average-   if there are large high-
light areasand little shadow, or large shadow areaswith few
highlights -  then you have to modify the exposurereading
to obtain the best results.
  So there is more to usinga meter than just pointing it at the
subject and acceptingwithout question the readingindicated.
  Even with the models with built in meter which measures
                        4 l

only the field actually reproducedon the film, one might want
to make an individual allowance,for example,in caseswhere
the main subject is very much darker than all its surroundings.
  The usual method of using a meter is to point it directly at
the subject. This gives the correct exposurereadingprovided
the subject has an averagemixture of highlights, shadowsand
middle tones. But if there is a largebright area,or a largedark
area, the best method is to go near to the main subjectand
take a close-upreading. For example, if the subject is a figure
againsta white or dark background,by going closeryou will
reduce the amount of background affecting the meter and
therefore get a reading in terms of a more averagesubject,
which is what you want.
  For some subjectsyou can take a reading from really close
up, aiming the meter at the part of the subjectthat you want
to make sure has optimum exposure. For instance,many
photographerstake a close-upreading of the sitter's face in
portraiture; out of doors you can take the readingfrom the
back of your hand insteadof goingup to the subject.
    If you cannot go closeup to a subjectthat needsa close-up
reading,then try to find somethingnear at hand that is similar
in tone to the subject and on which the light falls from the
samedirection; take a readingfrom that.
  When taking readingsof generalscenesincludinga good deal
of sky, you have to  tilt the meter down slightly to reducethe            'seen'area of sky      by the meter. The sky is a bright highlight
and, by tipping the meter down to exclude some of  it, the               'average'subjectbecomes         in tone range.
  Open views, such as distant landscapes,usually have very
light shadows,so you can give a shorter exposurethan the
meter indicates.It is usual to give half the exposure,i.e. use
double the shutter speed,or use one stop smaller.
  AGAINST THE LIGHT  subjects are extreme cases of
non-averagetone range. The main lighting becomesa very
bright higruightin the field of view, so if you point the meter
straight at the subject, it will indicate too short an exposure
and give you a silhouetteeffect in the final picture.
  This is all right if you want a silhouette. But if you want
                       42

correct exposure for the subject, you should either take a
close-up reading, or take a reading from the czurleraposition
and give four to eight times the exposureindicated.
 COLOUR FILMS have limited exposurelatitude, so partic-
ularly careful reading is advisable.The meter is used in the
sameway as for black-and-whitefilms.
  Becauseof the importance of the highlights,if you are using
a meter from the cameraposition for an against-theJightshot,
it  is best to only double the exposuretime (i.e. give it one
stop more) and not  multiply   it  four  to  eight times  as
recommendedfor black-and-whitenegativefilms.

Shutter Speedsand Movement
  The actual shutter speedyou need within a seriesof avail-
able aperture-speedcombinationsis governedby considera-
tions of camera steadinessas well as of subject movement.
  An unsteadycamerahold resultsin camerashake.Even the
slightest shake will result in inferior definition of the image.
Practicalexperiencegoesto show that 1/125 secis safe,while
you have to hold the cameraparticularly steadywhen using
1160 or  ll30  sec. Where lighting conditions make longer
exposuretimes essential,and there is no subject movement,
either support the cameraon a tripod, or on a wall, table etc.
  The shutter speedrequiredto arrestmovementdepends,of
course,primarily on the speedwith which the subjectmoves.
Remember,however,that parts of the subject(e.g. the legsof
a runner) may move faster than the subjectas a whole; you
may sometimes have to compromise and show such parts
slightly unsharp.Often that is not a seriousproblem, as slight
blurring -  provided the main part of the subject is sharp -
helps to emphasisethe impressionof movement.Other factors
to considerare the distanceof the subject- the farther away,
the lessnoticeablethe movementblur; the focal length of the
lens - a long focuslens in effect bringsthe subjectnearer;and
the direction of the movement.Objectsmovingacrossyour field
of view blur more than if they are approachingor receding.
  The most convenientway of allowing for all thesefactorsis
the aid of a simpletable.
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                                 DEPTH.OF.FIELD SCALE





Zenith lenses have a depth-of-field scale engraved on the lens barrel behind the focusing ring.  lt has
lines pointing to the distance scale from a set of aperture numbers each side of the focusing,mark.
Each oair of Ines from  the same aperture number  indicates the nearest and farthest planes of sharp
focus at that aoerture. Thus, with a standard lens set to 5 m, the depth of field extends from 2.3 m
to  infinity  at  f 16 or,  at f8, from  3 to  l2 m.


                                 The  Helios 44 EM  for  Zenith  TTL  cameras  is fitted  with  a
                                    manual/auto  wheel on the lens mount.  The diaphragm  closes
                                down  to the pre-set aperture when the lever  is moved  to M so
                                           that  the  effect of the shooting  aperture  on depth  of field can
                                  be seen on the focusing ring.





                                  Lenses are changed by unscrewing
                                    from  the mount.

                        45

Ap erture and D epth-of- Field
  When you focus the Zenith on a given object, the image of
that object will be really sharp on the film. Things nearer or
farther away will be graduallylessand lesssharpuntil they are
noticeablyblurred. The rangeof distancesover which objects
are still acceptably sharp before you do notice the loss of
definition, is known asdepth-of-field.
  You can control the extent of this sharpzone by the lens
aperture. As you stop down the lens, the zone of sharpness
grows in both directions;as you open up the lens, its depth
decreases.
  You can readthe actualzone of sharpnessat variousapertures
and distancesfrom tables,but in practicethe most convenient
way is to use the depth-of-fieldindicator.This is a specialscale
of aperturenumbersmarked oppositethe distancescale.There
are two sets of such numbers from the largeststop (/2) to the
smallest (fl6)  on each side of' the focusing index (the mark
that indicatesthe distanceto which you have set the lens).
  At any distancesetting, the distancefiguresoppositeeach
pair of aperture numbers on the depth-of-fieldscalegive the
near and far limits of sharpness.For example,at 3 m you find                           '8'the two stop values  on the scale(/8) oppositea little more
than 2 m and 3 m, so you have a sharpzone from about 2/a m                                                                       '4'Io 4Yqm. At f4, the distancesoppositethe stop values   will
be 23/qm and 33/qm respectively;at fI6  you get a sharpzone
from 1.8 m to 9 m.
  You will also notice that the depth-of-field is greater at far
distances than at near ones. At   I m and /8  the sharp zone
only coversfrom about 0.5 m to 1.1 m, just l5 cm altogether,
againstI m to the 3 m setting.
  Two more points on depth-of-field.First, the depth obtain-
ed dependsalso on the focal length of the lens. Short-focus
lensesyield more depth and long-focuslenseslessdepth. That
is why the alternative lenses of the Zenith have their own
depth-of-field indicator.
  Secondly, the sharp zones obtained by the indicator or
tables are based on a somewhatarbitrary assumptionof how
much  blurring  is  acceptable. So depth-of-field data for
                       46

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different cameraswith the same lens may not always agree,
and you are also quite safe in rounding off figures obtained
from such data. And if you intend to make really big enlarge-
ments from your negatives,you can use stricter standardsof
sharpnessby simply stopping down the lens by one stop
further than the tablesindicate.

Zone Focusing
  With action subjectsand similar occasionswhen you want to
shoot quickly, determiningsharpzonesevenwith the depth of
field indicator wastestoo much time. Thereyou needprepared
settingscovering given near the medium distancerangesthat
you can easilymemoriseand set on the camera.





                     47

.       FLASH WITH THE ZENITH

  Flash is an efficient light sourcewhere no or insufficient
daylight is availablesuch as at night, indoors,etc. In the flash-                                    'sun'light you carry your own private      with which you can
illuminateyour subjector sceneat any time and place.
  THE FLASH BULB is similar to a small electricbulb. How-
ever,when current passesthrough it,  it lights up in an intense
flaslr lasting usually about ll40  to 1/60 sec. Each bulb will
only flash once and has to be discardedafterwards.Altern-
atively,flash cubes,which are in effect four bulbs arrangedin
a cube.can be emploved.
  The flash bulb ii insertedin a flash gun and the current from
the battery fires the bulb, while a reflector fixed behind the
bulb makessurethat all the light is directedtowardsthe subject.
  The shutter speed,providedthat it is slowerthan 1/50 sec
has no effect on exposure,since the flash is shorter than the
exposuretime. With the Zenith, however,the shutter should
be set to l/30 secbecauseonly at that speedis the film totally
uncoveredfor a sufficiently long period for flash pictures to
be evenlyexposedall over.
  Popularsize flash bulbs and cubesare now beingmade only
in the blue-tinted variety. These can be used for black-and-
white or colour (negativeor reversal)photography,either as
the solelight sourceor as fill-in lighting by daylight.
 ELECTRONIC FLASH UNITS utilise the dischargeof a
high-tension capacitor through a flash tube. The power is
derived from an accumulatoror battery (there are aisomodels
working from the main electricitysupply).An electronicflash
outfit  is rather bigger and heavierthan the flash bulb outfit,
the comparativelight output of the largerportableunits equals
that of a small flash bulb and its initial cost higher. On the
other hand, anything from 10,000 to 25,000 flashes are
obtained from one tube. The flashduration is extremelyshort
Qllo0  to l/2000 sec) and will arrestthe fastestmovement.
The cost of an individualexposureis negligible.
  Electronic flash is suitable for black-and-white,negative
                       48

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                                     F L A S H S Y N C H R O N I S A T I O N



                                               The  Zenith  has a singie flash socket  with  a
                                                                                                                                          l e v e r b e l o w t h e s h u t t e r s p e e d k n o b c o n t r o l l i n g
                                                       the  type  of  synchronisation.  In  both  cases
                                                            l/30 second  is the maximum  usable shutter
                                                             s D e e o .
                                         When   not  using  flash,  the  synchronisation   ,u         selector  may  bJ  set  in  either  the  X  or M
                                                        position.





Most flash guns can be fitted  directly  into the
accessory shoe  of the  Zenith  camera.  Alter'
natively, a flash bracket  with  an accessory
shoe at one end can be fitted  to che base of the
came ra.


                                        Using an exposure meter





 Using an exposure meter (see page 4l). To take general reflected light..readings with  the Zenith
 mete-r (/eft), either point  it direciliat  thb subject or, with outdoor views, direct  it slightly downwards
 to cut down the amount of light reaching it from the sky.
 Wh;;"   the subiect differs app-reciably in tone from  its surroundings  (centre), take a close-up reading
 on the subject itself and base the exposure on that.
 Wiih  "".y'.onrrasry   subiects (right),'it  is advisable to take separate close-u.p readings of the l.ightest
 and.darkest p"rts oi importancelThe  actual exposure should then be based on the mean of the two
 reao r ngs,
                        49

I            colour film and for daylight type reversal colour films.  It           can alsobe used for fill-in lighting by daylight.

         How to UseFlash
            The Zenith shutter is internally synchronisedfor use with
             flash bulbs and electronic flash. A standard 3 mm coaxial
           socket is fitted to the front of the catneratop plate to accept
            the cable from the flash gun. The flash unit itself is attached
              to the accessoryshoeor alternativelyto a flashbracketwhich,
               in turn, is screwedto the tripod bush of the camera.The latter
                is generally pref'erable.It prevents direct reflections back
              into the carneralens which can, in portraiture, produce recl
             highlightsin the eyes.This, in fact, is a reflectionof the flash
           from the eye'sretina.
            As shutter speeduse l/30 seconly and set the flash synchro-
             nisation lever below the shutter dial to X when working with
I            electronicThe transportflash andleverM ofwhentheusingcafileraflashhasbulbsto beandfullycubes.wound on
            before a flash bulb is insertedinto a flash gun which is con-
           nectedto the camera.

           Exposure Guide Numbers
             There is a convenientway of working out exposureswith
             flash and this is by meansof a guide nutnber.When you buy
             flash bulbs you will always find the guide number in meters
          and in feet for any speedof film printed on the packet.
            To find the correct apertureto use,divide this guidenumber
           by the distancebetweentheflash and the subject.For instance,
           supposeyou find that the guide number of the bulb with theIt              film in use is 160. If you then want to take a photographat a
            distanceof l0  ft from the subject,divide 160 by 10 = 16.
            Therefore, the correct aperture to use is 16. Alternativelyif
           you want to use an aperture of /8  for any reason,then the
             correct flash distanceis 160 + 8 = 20. So the flash must be
           20 ft from the subject.
          On electronicflash units a table or disc will be found giving
             the correct aperture to choose for any film speedat various
            distances,againin metresand feet.
                                  50
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Synchro-Sunlight
   If you want to use flash in conjunction with daylight, e.g.
to lighten deep shadows,the exposuretime is taken for the
sunlit side of the subject and the apertureused accordingto
this reading. Now take the flash guide number for the shutter
speedpre-selected,double it and divide it by the apertureto
be used.The resultis the flash-to-subjectdistancefor a normal
fill-in-light.With daylight colour film, you ian use flashbulbs
or electronicflash.
  Example: Exposuremeter readingat ll30 sec- /16.
          Guide number for the flash at 1/30 sec-  120.
          The guidenumberdoubled is 240.
           Divide240by 16 - 15.
  That means that the flash gun should be 15 ft from the
subject. It  is advisableto use an extension cable between
camera and flash gun. This enablesyou to place the flash
farther away from or closer to the subject than the carnera.





                      5 1

U SING ALTERN ATIVE LEN SES
            The field of view coveredby the standardlens is ideal for
            the majority of subjects. Sometimes,though, a-greater or
                  ;;;r;;d'    ii.io  of  vie''w has distinct advantages'The Zenith
            carnerashave an interchangeablelens mount permitting u-se
               oi utt.tnutive focal length lJnsesfor such occasions.Sincethe
           mid-1960'sthe univerlal 42 mm lens thread has been used,
                     ;fi;    early Zenith 3 m, on B camerashad a 3g mm thread
           mount.
            Wide-Angle'         Lens
                 ;-;iffi-angle  lensis a lens of shorterfocal length. It seesand
           reproducesmore of the subject in front of the camerathan
           does- -Suchthe standardlens.
                  a wide-anglelens had definite advantagesin cases
               *fpr.  the practici'ble distancebetween camera and subject
                is timitra und th. standardlens cannot record the whole of
                i"nr-t"Ui..i.  Tn. wide-angle_lens,is therefore, essentialfor
              architecluralphotographyand interiors'                                                 you                                                                          to go                                                    have                                      a near                              even of-                             imige,            To get a laige                                                    -subje9t, ti                                                                  distant                                               more                                                       to dwarf                                          tend                                      then                             Neir objects                                      t;it.              really"close
                                    picture showspronouncedperspective li          onrr'and the resulting
                   riir.tr.  In this way, the wide-anglelens is used to emphasise
            perspective.'                                             ^ r  r                 In uiew of its short focal length, the depth-of-fieldcoversa
              particularly wide zone, even at full aperture.It can, the_re-
                     i;;;,  b. employedwith advantageas a quick-shootinglens for
               g.n.tul purpor-.swhere accuratefocusing or distance-setting
              ivould be lnconvenient(e.g.through insufficienttime)'
                zenith wide-anglelensesaie listed in the lens table. wide-
            anglelensesmadJ for a whole rangeof cam-eras,.includingth9
              Pra'ktica,Fujica and Cosina,will  fit the modern 42mm thread
             Zenith too.-But note that lenseswith automatic diaphragms,
             but without manual 0verride.cannotbe usedon the E or B.

             TelephotograPhY
            A tele lini  on the other hand has a smaller angle of view
                                  52
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                                           LENSES





Lenses available for the Zenith  cover  t.he range of focal lengths from 29 to  ll00 mm  with  angles of
view  from  75"  to 250". The arrowed  lines above compare  ihe  angles of view  (right)  for  "".f,  toc"t
length  (/eft).
                      53

than the standardlens. It is of longer l-ocallength, and repro-
 a;;t   less of the subject in froni  of the camera than the
 standardlens does,but on a largerscale'
  Such a lens is'particularly suitable for subjects that are
 difficult  to approaih closely,such as animals,children, archi-
 ir.turui  detaili, sports evenis,etc. In photographingdistant
 views without n.ui fot.ground, it brings the subjectnearer.It
 alsopermits a greatercamera-to-subjectdistanceinportraiture,
 producing u *o*   pleasingand subduedperspective.At the
  ffi;-i;?,      its lesseidepth-of-fieldconcentratesdefinition on
 ihe portrait, avoidingu iharp backgroundwhich would detract
 from-'z:;;ilithe main object.
                  i;t    f*ur  lenses are listed in the lens table. Tele
  f.nt*  *ude For the many other cameraswill  fit the 42 mm
 tnieuO Zen{th too, but lenseswith autornatic diaphragmswill
 not work on the E or B unlessthey have a manual diaphragm
  switch.

 Zoom Lenses
   A zoom lensis so constructedthat its focal length is infinite--  rv-uuiiuurewithin statedlimits. It does away with the necessity
  iot .fr*ging  the lens when a different focal length is required
 and facifitatesexact framing of the subject.Once focused,the
 zoom lensesremain in sharp focus at all settingsof the zoom
  control.
   The zoom lens doesnot, howeveqoutmodelensesof a fixed
  focal length becauseits definition,-covering[onuluDunrrypower,ffiffincontrast'nnt             lvlttlt           tlilfl,      0t   tiltng$$          [00q lnfl                               Furthermore, the ,oo1n l.n,                          lenses.                    length                focal          fixed  of the
    l, bulky, heavy and cJstly, alq generally of a less wide maxi'
 mum aperturethan fixed focal length lenses.'.
    whil;  there is no zoom lens in the Zenith range, there are
  nurrrour makes on the market with the standard 42 mm
  screw thread which will suit the Zenith

  Tele Converters
   A tele converter fitted between the lens and the body of the
   Zenith increasesthe focal length of the lens used. There are
                         54

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2x, 3x and variable 2 to 3x converters.The 2x converter
doublesthe focal length of the lens on which is is used,e.g.a
135 mm lens becomes270 mm focal length; the 3x converter
treblesthe focal lbngth and the variable2-3x modelspermits
variationsbetween2 and 3 times.
  The advantageof the tele converteris its small dimensions,
cheapnessand lightness; the disadvantagesinclude the reduc-
tion  in effective aperture and the loss of definition which,
while good, is not up to the standardof the unaided lens.

Lens Changing
  To removea lens, simply unscrewit from the body. To insert
a lens, screwit into the lens apertureof the camerabody until
it comesto a definite stop without usingforce.

Focusing ond D epth-of-Field
  Focusingwith a wide-angleor telephoto lens is the same as
when using a standard lens. The reflex screenenablesthe
irnageto be focused accurately. At the same time, the reflex
screenshowsthe exact field of view of the particularlensused.
There is no parallax errot nor are supplementaryfinders
required.
  The alternativelenseshave their own depth-of-fieldindicator.
This works in the sameway aswith the standardlens.

Aperture Control System
  The f2 Helios lens of the Zenith B and E camerasused the
pre-setaperturesystem.So do variousother lensesas indicated
in the lens table below. It consistsof two control rings;the
front ring pre-setsthe required aperture,but does not stop
down the lens. You therefore focus and view the imageat full
aperture.Immediately before the exposureyou turn the rear
ring as far as it will go to stop down the lens to its pre-set
aperture.This you can do by touch alone without taking the
eye from the finder. After the exposure,simply turn the rear
ring back againto open the lens to full aperture.
  The INDUSTAR /3.5 50 mm of the ZeniIh B and E uses
manual apertu  selectionwithout any speedup or simplifying

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mechanism.Here one focusesbest with full apertureand after-
wards one stops down the lens normally to the diaphragm
openingrequired.
  The Zenith EM and TTL calnerasuse lenseswith automatic
aperture.You pre-setthe required apertureon the rear ring of
the lens mount by turning the aperture selectedto the index
mark. The aperture remains fully open for focusing and view-
ing so as to obtain minimum depth-of-field and maximum
brightness.When you releasethe shutter, the aperture stops
down to the pre-setfigure and re-opensautomaticallyto full
aperture immediately after the exposure.Pie-setand directly
manual lenseswork in their normal way on these carneras.
Lensesfor Zenith
  In addition to the lenseslisted on page 56 a wide rangeof
other makes can be used on Zenith with the 42 x   I mm'universal'          thread.Automatic diaphragmlenses,though,cannot
be used on the Zenith B or E unless thev have a manual-
diaphragmsettingswitch.





                     57

CLOSE-UPSWITH THE ZENITH

  Thesingte.lensreflexcameraisparticularlysuitablefor                                   *1th-^:upllt*:1111                  wtten                               yor\iir,q        photogrffictose-up                                                       etc'' the preflse                                  bellows'                       extension                     iubtt,i;;;d'..iensioir
area covered as *rfi  *  ?nr-eia.t definition can be controlled
on the reflex fotutit-.ivg ttittn'  Parallax' which makel close'up
work with  alm"rt      other type of camera at least very
difficult,  or  necessitites extensive auxiiiary attachments,
 ri*otv""t"h; doesnot exist-i;;; in-l";"sesthe Zen\th calneras'        ;;J;;;           down to approxipa]9lvJ'9'in                                           r0x6thin'                              approiim.tttry                  a fielaof           distan;;;;;;;t    at thisand                                                    lenses,                                           close.up                                    th.e.subject,                               still closer.to         pt,otog,upt''To take
 txttnti"i,  tubei oi extensionbellows can be used'
 Aose'(JP Lenses
   For working at distancesbelow the shortestdistancesetting
 oitt"    t".io.i    r.nt, ti;ttlup  lensesmay b-e-usgd'Two lenses'
  .  *l"ii"pt.i  anOa i3 diopter.ate suggested.It is conrrenientto
 eet these lensesin tuiiuUir diameteihount  to screw into the
 Tront of the lensmount.                                    .     -,
   The +2 dioptei supplementarylens allows focusing4 9 t9
  lg3/ain, depending dn ttt. setting of the cameralens. The +3
 Ai"ptrt'f*r'fo.urJt  fromTlL to 13'1/8 in' -
   The field .ou.r.o,-irr.  distance at which the lens has to be
  *i^;;'ii;       a;ililon   obtained,_canbe observedon the reflex                                      for guide values'                         56                 taUleon page          gl.ss. Ste *i"L"O-                                          working with                                      is required.when                                       tiri.                in .*p"r*   No change
 close-uplenses.To'obtain the best difinition,  it is advisableto
 use a medium aPerture'
  Extension Tubes                                r           ,
   Forverycloserangewotextensiontubescanbeused.They
  cover a subject to ."*ttu  distanceof approxiqa^tely 15 in to
  2rhin.There ut. t*Gntion tubesof 7,i4 and 28mm length'
  They can be urro-inaiuidually or combined to allow photo-                         ti"  rto* ipproximatelv2'7 x 4 in to 1 x  ii.iitiig-a-zuupct   llh in (= naturalsize).The expozuregivenby the uncoupled
                      58

www.orphancameras.com
III     meter of Zenith E and EM or separate-of   meter has to be increased
       p.roportionally to the degree   lens extension and is from     about l.8x to 4x.
      ReversingRing
      To obtain critical definition when-magnifying the subject
      directly l_.5 times or more on the ntn, Ttre'Ja-ndardZenith
      lens should be used reversed(front to back). itrllnr.s   have
     been designedand corrected ior use in teversedposition for
       ultra cljlse-up work. To use the lens with  its rio'nt pointing
       to the film a reversingring is employed which ,.r.ru, into the
        filter thread of the lens fo-r conniction to the eitension rings      or bellowsattachment.

     BellowsAttachment
      The bellows attachment offers a continuously variableIIIIIIIII  extensionfrom about 35 mm to about 150 mm. It is connect-
     ed betweencanera body and rens.with the-si.;a;;e irn, uni
      shortest extension, a subject size of .pptoxi*uiafi    x r cm-,
    and longgstextensionof-about 0.g x 1'.2"^  is coveied,gilindII   scalesof              .reproduction from about 0.9 to 2.g ui *Jrr.in[
     distancesbetween lens and subject between uuoui z.s and
     4 cm' The exposure.ci;enby a separatemeter or the uncoupled
     exposure meter oI  zenith E and EM has to be increised
     proportionally to the degreeof extensionthat is from 4.g to      l2x.
     A Transparencycopying Attachment can be connected to         .,
     the ctose-upbellows for copying negativesand transparencies.
    Photomicrography
     An intermediate piece                             photomicrographyis available                                  -for
    connectingto the camerabodyon one end undioit,  micro_
     fope          eyep-ieceat the other. The taking lens is removed. TheIIIII    image of the microscope lens is visible-on th;  .*.r.    reflex    screenfor focusing.

    Copying Stand
     A baseboardwith column and holding arm can be obtained
                          59

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againstthe light photography. kns hoods are availablefor all
lenses.lrns caps, rear lens caps and body caps protect and
keep lens and camerabody dustfreewhen handled or stored
separately.
  Spectaclewearersmay find  it helpful to insert a 16 mm
diameterglasscorrespondingto their prescrip{ioninto the view-
finder eyepieceand which is held in position by its retaining
ring. This will enablethem to work without spectacles.





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