Light meters
Sekonic Micro CdS Meter User manual
User manual for Sekonic Micro CdS Meter. 55 pages in English. Read the original PDF, download or print a copy without registration.
55 pagesEnglish2.5 MB PDF
Loading your manual…Open PDF directly
Document details
- Brand
- Sekonic
- Model / document
- Sekonic Micro CdS Meter
- Document type
- User manual
- Language
- English
- Pages
- 55
- File size
- 2.5 MB
- Category
- Light meters
- Document date
- Not specified in catalog
Search available document text
Find a term, then jump to its page in the original PDF. Image-only pages may not be searchable; check the PDF for exact wording and diagrams.
Page 3 · Read text
STEP I: STEP 2:
PRESS HERE PUSH HERE
READ
A.5.A. SPEED READ HERE
HERE
Any film speed (Exposure Index) within a range of Press the On-Off Button, activating the Sc,ale Pointer
A.S.A. 6 to 6,400 can be set on the scale of this (see pages 13-14 of this booklet). If the rneter is set
meter. Determine the film speed number either from for the High Scale, take your reading using the black
the instruction sheet supplied with the film or from (upper) numbers of the Light Intensity Scale. If
the tabies on pages 2l-22 of this booklet. By moving your meter is set for the Low Scale, use the red
the Film-Speed Setting Button clockwise or counter- (lower) numbers. The meter ordinarily should be
clockwise, set the film speed number opposite the set for the High Scale and switched to the Low
white notch in the dial, left center of the A.S.A. Scale setting only if you get no reading at all using
Scale window" (When using foreign film, convert the former, (If the latter happens, check the battery
foreign speed ratings to A.S.A. numbers by using page 9.)the table on page 51.) www.butkus.us-seeView original page 3Page 4 · Read text
STEP 4:
SELECT IENS
APERTURE
ON OUTSIDE
SCAtE
SETECT
SHUTTER
SPEED
SET SCATE ON !NSIDE
READING SCALE
HERE
Turn the meter dial clockwise or counterclockwise The outsid: (f/stop) scale on the dial has lens aper-
until the number obtained from the High or Low ture settinl;s from f/l to f/32. The inside (shutter
Scale is opposite the center white triangle next to speed) scaLe has settings from 16 seconds to l/2,000
the (red) Dial Light-Value Scale. This also auto- sec. The tlue numbers on the latter scale are full
matically sets the appropriate EV number on the seconds, tl.e white numbers are fractions of a second
EVS (LVS) Scale and the various combinations of (for instance, the white 2 means Vz sec., the white 4
shutter speeds and lens apertures (f/stops) recom- rmeans 1A sec., etc.). Select the lens aperture andmended for the existing light. If you want to cut the shutter spe,ed combination that best suits your pur-
recommended exposure in half, use the triangle on pose (the fastest suitable shutter speed is usuallythe left (the one with lzx to the left of it) for the preferred unless you specifically want a slow speed).setting. If you wish to double the recommended ex-
posure, use the triangle on the right (the one with x2
on the right of it).View original page 4Page 5 · Read text
FOR MOVIES:
( I'he folloving information pertaius oniy
to r'l()\ ic cArrrerrrs /ror c(luipped with a
brrill- irr exposllre llletcr thtt ilui(rnttlictlly
eontlolr the c\fro\uie. ) I'he operatirrg
:pccti ol' l ltortte nror ie c;.llnerir is rrstrlrllS
c.iverr irr lcrms ()f fr lrtres-per-sccond btit
e an bc e ()r-r\ erlc(l inttr shuttcr-speed tenn\.
Normal operffling speed for silent movies
ir l6 ips. rn lrich is cqtrivalent to l-rctlr een
I .1t) r,.r I ,i{'ree. shrrtter speerl. It is, of
coursc, a sirrple matter, therefore, once
y-ou h:rve tukcn yc.rtrl liglrt rearlrug and set
it on the rlirri to rerr,l otT thc lecluilerl lens
eperture selting for a speed ol 16 fps op*
positc thl' I .J(t sct. sclr ing on thc inside
{ Shtitter Sgrced ) Scrrlc of rhc dial.
If yorrr ctnrcrrr is clesigncd so you have a
choir'c ()f ()pclllling lfps ) speetls, make thc
I'trllou ilrg atljrrstnrcnt (:llrer 1ou havc t.le-
tcrnrinerj {hc propel icns a[]urturc at i6
fp:):
WHEN YOU USE APTRTTJRE AD.'USTMENT
B frames per sEc. {recrease I futt stop
y2 12 frames per stop sec,www.butkus.us0ecrease lflcrease 1,& lrames 24 siop per sec.
32 frames per sec. Inerease't full stop
64 frames per sec, Increase 2 full stopsView original page 5Page 6 · Read text
Battery Check Button
INCIDENT TIGHT
ADAPTER SIDE VIEW (FRONT}SIDE VIEW (BACK)View original page 6Page 8 · Read text
TO THE FAMITY OF SEKONIC EQUIPMENT OWNERS You have just joined a world-wide family of photographic enthusiasts who own Sekonic equipment. The Sekonic trademark and name on a piece of equipment are a guarantee of finest workmanship and quality. Sekonic is not only the world's largest manufacturer of exposure meters but also one of the world's largest makers of movie cameras, projectors and other equip- ment. We greet you as a member of our family and wish you the greatest enjoyment and success with your picture taking. This instruction booklet has been designed to help you get the best results from your Sekonic exposure meter. We urge you to read it carefully before using the meter. Pages 1 through 14 contain operating instructions. The bal- ance of the booklet deals with meter and photographic technique and technical information.View original page 8
Page 18 · Read text
;: i;; air it iir i.lr.iir iil ,.'irr1r! ii..r,,.iii ai irii iitd!r l:1 lit ill ...111,;: nriel !rlll irl lil ir 9)!View original page 18
Page 19 · Read text
-lExposure qnd some
fr,. Aperf$re o$ ffue €tr$?metrtr Feffi$
Any camera beyond the box camera level has a lens with a variable diaphragm, the
opening of which can be changed in size to vary the amount of lieht transmitted to the
film. For precision and accuracy in exposure, the camera iens also has aperture settings
(or f/stops) which correspond to specific diaphragm opening sizes
When you close down the lens, the difference between one f/stop and the next in the
series is ordinarily one-half the amount of light. If you close down two f/stops, the lens
will admit only one-fourth the amount of light (Vz of.yz)i three f/stops, onlyone-eighth
(r/z of Vz of. Vz); etc.
t/ 1, .4 t/2 www.butkus.ust / 2.9: f,'f'4, f',,/''5-'j,6r_,oooor7View original page 19Page 21 · Read text
;'iil.;lli;l
,,*yi,fiif;rff"ilt: *-',::'if,T'.1frH:i,31x'u5ni,nlf;l:*sii;::rr3ls;*tl,'or*l ,' l,
aicuraiy,in
li"fiiflirJii.lxiiisiiillil"Jffifi ixpogprC;:theshuttei,hasild'#'J';i;;;il;'idiy!","-inii'r,ifri;;#;fsettings *hich cogeipqndtq spebifiCrtirflg;i$eitals's;;i",il , ,,,anO fra.ti"osroi a secqira, f.neie:ara usuatty arfanCeU ,io ttrgt the:difference'bii*eenble
*tiing *rC thp niitr fastest ii ionp;tratf the'uryguni, of titnC" The. dificienie: b.gt*een'oiie: , ' , tni-tourtf ttre amounlo! iirne ( qim'ar d: n1t'17
;iifTi #,*t rui#$t':rli: , id,
www.butkus.usrl,tp.H',1 f /zs'srciView original page 21Page 24 · Read text
of its problems
vory in speed
Film . manufacturers usually provide speed data in the instruction leaflet packed
with the fi.lm and occasionally on the outside of the package. Listed below are the
latest A.S.A. ratings for most popular types of film sold in the U.S.A. Since these
ratings change from time to time, however, it is recommended that you use the rating
in the manufacturer's instruction leaflet whenever possible,
COLOR FItM
Day- Tung- ' Day- Tung-
Light sten Light sten
AD0X (Fn) Ektachrome Prof., Daylight . .... 50
Color Neg. 40 20 Ektachrome-X 64 25a
ACFA High Speed Ektachrome, Daylight 160
Agfacolor Neg. CN-14. 20 20 High Speed Ektachrome, Type B 80b 125e Agfacolor Neg. CN-17. 40 40 Kodachrome, Daylight 10 5a Agfachrome Pos. CT-18 50 Kodachrome ll, Daylight ........ 25 Al{sc0 Kodachrome, Prof. Type 4 . . .., . 10t 16
Ansochrome, Daylight 32 Lza Kodachrome ll, Prof, Type A . .. . 40 Super Ansochrome, Daylight..... 100 40a Kodachrome-X, Daylight ... . ^.. . 04
Super Ansochrome, Tungsten t With Wratten Filter 85.
(3200" K) 80b 100 a With Wratten Filter 808.
Moviechrome 8, Daylight,. . .. . . 20 t0 b With Wratten Filter 858. Moviechrome 8, Type 4.... ..... 10 16 c With Wratten Filter 85C.
EASTMAN TOOAK d Witb 82A filter and flood lamps.
Kodacolor 32 20d e With 3200" K lamps. Kodacolor-X 64 40f f With 32000 K lamps and 82C filter or flood Ektachrome, Daylight 32 l2z lamps and 82A filter. 22View original page 24Page 25 · Read text
Exposure ond some
is 5. Dfrecffon {rsnl which light
There can be a great deal of difference in the recommended exposure settings for a
subject lit from the front, side, back or top, depending upon the amount of light
actually falling upon the subject. (Diagrams below show lypes of lighting differentiated
A
fr ?*?
FRONT LIGHTING ANGLE TIGHTING TOP TIGHTING
The lieht is on a direct line The lieht is comins from The light is directly over the in front of the subject, usu- either licle. but above and subject and camera, as at allv above and behind the back of the'camera. Shadows noon. Shadows fall right un- camera. Shadows go directly eo offwww.butkus.usto the side in same der the subject. backward, direction light is traveling.
23View original page 25Page 26 · Read text
of its problems
comrng ccn v(,rY
by the direction from which the illumination is coming.) Your exposure meter helps
you select only that part of the scene that is important to you and get the proper
' reading of the light intensity on that part of the subject.
t,Y ?A?
A G@ @
SIDE TIGHTING BACK TIGHTING
The light is directly to one The light is behind the sub- side or the other of the sub- ject, casting the front of it ject, creating deep shadows in deep shadow (at the ex-
in same direction light is treme, silhouetting the $ub- traveling and revealing tex- ject).
ture.
24View original page 26Page 29 · Read text
qnd Reflected light
how to meosure it
fr*Ed+$iu.XFlf-r,.{4frN'}' Wl.{hh+ rlhitr H#W'X,,.r; [i5F RHFr.,Fi.'firif"i Li{}F+'i
White clouds in q Point meter ot subiecf. brighl sky
Londscopes ond other Poinl meter ol scene ond downword slighlly.
oufdoor scenes
Point meler ol subiect.
Point meter oi scene. Avoid meosuring
Night street scenes light from neorby signs ond lomPs.
www.butkus.us
(See poges 29'47 for more meler meqsurement tips)
27View original page 29Page 30 · Read text
HOW TO MEASURE REFLECTED LIGHT WITH YOUR SEKONIC METER
Reflected light measurement is one of the two
standard methods of determining light inten-
sity with an exposure meter and probably the
most frequently used. Reflected light is simply
the light that is reflected frorn the subject (and
the surrounding area, in many cases) toward
the meter and camera. This type of measure-
ment gives you an average of the illumination
reflectecl toward the camera and the reading
you get will differ considerably depending At the comero posilion upon whether you point the meter cell window
l3 rti,4 t;:> " at a light or a dark area of the scene.
Usually the meter is held at the camera posi-
tion, particularly with large and distant sub-
jects, and the cell window is pointed at the
excess l"tis'ff\ scene but slightly downward to avoid
skylight. For small objects and greater ac-
curacy, a reading should be taken about 6
inches from the subject, meter cell window
pointed at the subject (be careful that your F,ge hand and the meter do not cast a shadow on
At the subiect position the subject).
28View original page 30Page 31 · Read text
Substitute methods of
In certain photographic situations, such as when the subject is not easily accessible
or cannot be disturbed, it is expedient to use one of the substitute methods of
measuring reflected light. Simply look around and try to find some accessible object
that has the same color and reflecting intensity as the subject you want to photo-
graph and that is lighted by the same illumination or something very similar. Then
take a meter reading from the substitute object to get the right exposure.
Photographers find many substitutes for the actual subject when they need them.
Nearby grass will substitute for distant grass, trees close by for trees faraway,
rocks adjacent to the scene for those ofl yonder. You'll find there is no limit to
your ingenuity if you use your resourcefulness.
HAND OR FACE
The palm of your hand or a bystander's face I.I is an excellent substitute for scenes in which
individuals are present. The reading should
palm away the from inches taken be a few
does meter not I the held with or face so it
cast a shadow on the skin.
www.butkus.us
29View original page 31Page 32 · Read text
meqsuring ref lected light
WHITE OR GRAY CARD
A gray or white card makes an excellent sub-
stitute for objects the same color. It is usually
better to use a card without a glossy surface
since such a surface would have much more
reflecting ability than a matte surface. A
white sheet, towel or other cloth can be used
in place of a white card, if necessary. ffiffiI
n-.- BurtDrNGs I
& hffiffi*"'*rfr-:i*"T*{*xdri i f entirely shadowed, you will have to use your
meter with this in mind. You won't get detail
in the shadows unless you expose for them,
30View original page 32Page 33 · Read text
'l')W,) ['*J'JyILri
WHEN AND HOW TO UsE INCIDENT TIGHT MEASUREMENT
Subiect with slronglY Toke reqding close lo subiecl,
conlrosling surroundings point cell window ol comero position'
Tqke resding close lo Genler of subiect
Porlroils indoors inlerest, point cell window ql comerd'
Toke reoding close lo cenler of subiect
Sidelit subiecls inleresl, point cell window ol cqmerq'
Tqke reqding close lo cenler of subiect,
Bocklit subiects point cell window ql cqmerq.
Point cell window ol sun from subiect position'
Silhouetles or cqmero position if light on subiect ond
cqmerq qre lhe some intensilY'
www.butkus.us
(See pcges 27'47 for more mefer meqsurement lips)
3lView original page 33Page 34 · Read text
f-
HOW TO MEASURE INCIDENT LIGHT WITH YOUR SEKONIC METER
Incident light is the light that falls on the sub-
ject. This type of measurement assumes that
the subject has a normal range of tones and
provides a midpoint reading. It disregards the
color of the subject matter and its brightness.
It is preferable for extremely bright or dark
scenes, for sidelit or backlit subjects, for color
and movie photography. Your Sekonic meter i5*,'r''a *'-; & I can measure incident light if the cell window
At the cqmerq posilion ispagecovered12 of withthis booklet).the incident light adapter (see
Usually, the meter is held near the subject for
incident light measurement and the cell win-
dow is pointed directly at the camera (or the
..__!g-![---J point where the camera will be when the pic- iure will be taken). Avoid letting your own
shadow affect the reading, of course. When
the subject is not accessible or cannot be dis-
turbed, take your reading either at the camera ffi position or from any other convenient position
where the illumination is the same as that fall- At the subiect position ing on the subject.
32View original page 34Page 35 · Read text
l. Use your meter with care.tuWhether you are using your meter on or off the camera,
make sure that it is set properly for the film you are using, that you are handling it
correctly and that the cell window is pointed in the right direction for reflected or
incident light measurement, whichever method you prefer.
2. Use common sense. Great extremes of illumination often occur in a single scene.
Various objects in a scene may differ greatly in the amount of light they reflect. You'll
have to decide not only what part of the scene to measure, but what method to use.
Good judgment in light measurement comes with knowledge and experience. Until
you accumulate both, common sense can make up for the lack.
3. Compromise, il necessary. Black-and-white film will record a range of about six
f/stops reasonably well, color films about three. If all areas of the scene must be
exposed as well as possible and the light variation is extreme, take two close readings,
one of the darkest shadow area and the other of the brightest area in which detail
is important. If the range is beyond the limits of the film you are using, either
sacrifice some of the darker or lighter parts of your picture, or add light (flash or
reflector). If the range is within the limits of the film, use a reading midway between
the high and low ends of the range.
The next 12 pages contain suggestions on how to take readings of specific types of
subjects. These should be used only as guides, since recommendations can never take
in account all the possible situationswww.butkus.usthat may arise in photography.
33View original page 35Page 36 · Read text
The reflected light method of measurement should be usedARe E-{ITECTURF- in taking a reading of buildings that are part of a distantlandscape or close by. If the scene has the same brightness over the entire area, just
point the meter at the central portion to get your reading. If there are dark shadows
falling on the building and you want detail in them, try to get close so you can
measure the extremes of illumination (shadows and brightness). Then use a com-
promise reading, a number midpoint between the high and low of the brightness
range. If you can't get close, try to find a substitute area or areas that have similar
brightness and shadow so you can take substitute readings.View original page 36Page 37 · Read text
/%rt*fu
$,&t;il\:aii(ltlq.;ir,*i,r.:, i*.i i: Use either the reflected or incident light method of measurement. If background detail is unim-
portant or has the same brightness as the important part of the scene, just point the
meter at the scene with the reflected light method or at the camera with the incident
light method. If the background detail is important and darker than the rest of the
scene, move in close if possible and take readings of the darkest and brightest im-
portant parts of the scene, or substitute areas. Then use a compromise reading, mid-
point between the high and low, for your exposure. If the range of brightness extends
beyond the limits of the film, sacrificewww.butkus.usdetail at one end or another or both in making
your compromise reading.
35View original page 37From the M. Butkus archive. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
PDF verified 2026-10-10.