Film cameras
Stereo-Realist User manual
User manual for Stereo-Realist. 29 pages in English. Read the original PDF, download or print a copy without registration.
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- Brand
- Stereo-Realist
- Model / document
- Stereo-Realist
- Document type
- User manual
- Language
- English
- Pages
- 29
- File size
- 2.8 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 3 · Read text
j
I
I*
MAIL IN YOUR
REGISTRATIONCARD!
tt
D O N ' T F O R G E T I
Your camera is not prolecled under REALIST warranly
unless your regisfralion card is senl lo REALIST, Inc.
2
www.orphancameras.com .nView original page 3Page 4 · Read text
YOU'REIN'FOR AN EXCITING
EXPERIENCE. . .
now lhal you have your REALIST "45" alfhough you
probably know how .lifelike, how real, slereo piclures are.
Jusl wail! Your biggest thrill will come when you see yoLrr
own piclures o* your family, lriends and memorable
evenls,
The following pages of fhis booklef will lell you aboul
your REALIST 45, Please read lhese inslruclions care{ully
lo learn lhe purpose and operalion o{ lhe various conlrols.
When you have done lhis, we are sure you will oblain
wonderful resulfs from your very firsl roll of film.View original page 4Page 5 · Read text
REALIST"45" CAMERA FEATURES
ooo @o@(D
oo
o
www.orphancameras.comView original page 5Page 6 · Read text
HERE'SWHERETO FIND THEM
1 . Malched lenses
2. Viewfinder lens
3. Cocking lever
4. Shuller speed selling ring
5. Neck-slrap lug
6. Focusing wheel
7. Dislance scale
B. Depth of . field scale
9. Shuller release bullon ond
Cable release sockel
1 0 ; Film lype indicalor
1 1 . Flash and accessory clip
12. Aufomalic exposure counler
1 3 . Wind levcr
1 4 . Lens opening setling ring
1 5 . Viewfinder eye piece
1 6 . Rewind knob
1 7 . Rewind knob release
1 8 . S i m p l i f i e d e x p o s u r e g u i d e
1 9 . Tripod sockel
20. Rewind bullon
21. Film lake-up drum
22. Take-up drum hook
, 23. Film fransporl sprockel
24. Film magazine recess
tIView original page 6Page 7 · Read text
[ET'STAKE PICTURESRIGHTAWAY I '
fl' s e a s y l o la ke p ict u re s with ihe REALlST" 45". The i n s t r u c l -
i o n s o n t h e n e x t 7 p a g e s f e l l h o w . Y o u c a n s t a r l f a k i n g
p i c t u r e s r i g h t a w a y .
F I L M
A n y s t a n d a r d 3 5 m m c o l o r o r b l a c k a n d w h i l e f i l m n l d y
b e u s e d ; h o w e v e r , t o u t i l i z e t h e w o n d e r f u l r e a l i s m o {
3 d i r n e n s i o n a l p i c t u r e s , c o l o r f i l m s e r r e a l m o s l u n i v e r s a l l y
u s e d .
A s l a n d a r d 3 5 m m 2 A e x p o s u r e r o l l w i l l m a k e 1 5 t o
1 6 s l e re o p a irs.
A s t a n d a r d 3 5 m m 3 6 e x p o s u r e r o l l w i l l m a k e 2 8 l o
2 9 s l ere o p a irs.
R " g u l a r s t e r e o c o l o r f i l m i s a v a i l a b l e a n d t h e n u m b e r
o f s l e re o p a irs 1 o be expected is marked o n t h e
p a c k a g e .
T O L O A D +
' 1 . L o a d i n s u b d u e d l i g h f o n l y .
OPE N T H E B A CK
2 . P u s h r e w i n d k n o b r e l e a s e
T O W A R D C A M E R A B A C K .
T h i s w i l l r e l e a s e r e w i n d
k n o b .
3 . P u l l r e w i n d k n o b a l l t h e
w a y o u t a n d t u r n c o u n t e r
c l o c k w i s e . T h i s w i l l r e l e a s e
b a c k s o i t c d n e a s i l y b e
re m o ve d .
4 . C o c k s h u t l e r b y p u s h i n g
w i n d l e v e r f o r w a r d a n d
a l l o w i n g i t l o r e t u r n .
L O AD WI TH FI L M
5 . T u r n l a k e - u p d r u m u n t i '
h o o k i s j u s t s l a r l i n g d o w n
' ) F o r y o u r c o n v e n i e n c e , b r i e f l o a d i n g i n s l r u c t i o n s a r e
{ o u n d o n t h e b o t t o m o f f h e c a m e r d .
6
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6 , I n s e r l e n d o f f i l m i n c u l o u f
o f d r u m a n d t u r n l a k e - u p
d r u m w i t h t h u m b t o r i g h t
u n l i l h o o k s o l i d l y e n g d g e s
f i l m e n d .
7 , P u l l o u f j u s t e n o u g h f i l m t o
a l l o w f i l m s p o o l t o l i e t n
m a g a z t n e r e c e S s ,
B . P u s h i n r e w i n d k n o b ( t u r n
s l i g h t l y ) u n t i l i t i s l o c k e d i n
p l a c e a n d i s { l u s h w i t h
b o t t o m o f c a m e r a .
R E P L A C E T H E B A C K
9 . R " p l a c e b a c k w i t h v i e w f i n d e r o p e n i n g d o w r r . P l a c e
l e { l s i d e ( s i d e w i i h f a k e - u p s p o o l ) i n { i r s l , t h e r r p u s h
r i g h l s i d e t o s n a p b a c k s e c u r e l y i n p l a c e .
1 0 . P u s h w i n d l e v e r c l o c k w i s e
u n l i l i f s t o p s . A l l o w i t t o
r e l u r n t o n o r m a l p o s i t i o n .
R e l e a s e s h u l l e r b y p r e s s i n g
s h u l t e r r e l e a s e b u t t o n .
1 1 . R . p e a t i n s t r u c t i o n 1 0 a b o v e .
1 2 . T h e e x p o s u r e c o u n t e r a u i o -
m a t i c a l l y s e t s i t s e l { a n d i s
n n o w o n O " . T h e c a m e r a i s
n o w r e a d y f o r f h e f i r s l
p i c t u r e .
1 3 . T o h e l p y o u r e m e m b e r w h a f
t y p " { i l m y o u h a v e i n y o u r
c a m e r a , s e l l h e f i l m l y p *
i n d i c a t o r b y p r e s s i n g t h e
t h u m b a g a i n s t l h e s e r r a t e d
b u t t o n a n d t u r n i n g u n i i l t h e
c o r r e c i f i l m a p p e a r s i n t h e
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F O C U S I N G
1 . T o f o c u s ,€ s t i m a t e t h e d i s t a n c e
y o u ' r e a w a y { r o m t h e s u b f e c l
t o b e p h o t o g r a p h e d .
2 . T h e n f u r n f h e { o c u s i n g w h e e l
s o t h a t t h e d i s t an c e a p p e a r s
o p p o s i t e t h e A r r o w . Y o u r
p i c t u r ew i l l t h e n b e i n s h o r p
focus.
SETTINGTHE SHUTTER& LENS OPENING
W h e n v i e w e d l r o m f h e t o p , l h e
r i g h t h a n d l e n s r i n g a d j u s l s t h e
s hu t t e r s p e e d s . T h e l e ft h a n d
l e n s r i n g a d j u s t s t h e l e n s o p e n -
i n g s . T u r n t h e k n u r l e d r i n g s u n f i l ; E
t h e p r o p e r m a r k i n g a p p e a r s
a b o v e t h e l a r g e b l a c k a r r o w
p o i n t .
C H O O S I N GT H E C O R R E C TE X P O S U R E
C o n s u l l i h e s i m p l i f i e d e x p o s u r e
c h a r l o n l h e b o t t o m o f t h e
c d m e r a .
D A Y L I G H T E X P O S U R E S '
1 , l l l u s t r a i e d o n l h e c h a r t d r e
f o u r c o m m o n c o n d i l i o n s e n -
c o u n l e r e d w h e n t a k i n g p i c -
l u r e s o u t d o o r s .
2 . M o s f e x p o s u r e s o u t s i d e c a n
b e t a k e n a t a s h u t t e r s p e e d
o { 1 . ; o o f a se co n d u n less it
i s d a r k o r o v e r c a s f , t h e n 1 : ;
i s t b e s t . S e t l i n g t h e s h u l l e r
a l I i , o o l a s e c o n d w i l l s l o p
s o m e a c f i o n a n d i a k e c a r e
o f o r d i n a r y c a m e r a m o v e -
m e n t . S e t t h e r e q u i r e d s h u t t e r
s p e e d o p p o s i f e f h e a r r o w o 1 1
t h e r i g h i l e n s ,
3 O n d b r i g h f s u n n y d u y ( : 5 . 6
w o u l d b e l h e n o r m a l l e n s
o p e n i n g f o r d a r k s u b j e c t s
f h o s e l h a l d o n o t r e f l e c l a
g r e a l a m o u n l o f l i g h t , s u c l " r
a s l r e e s , d a r k b u i l d i n q s , e l c .
www.orphancameras.comView original page 9Page 10 · Read text
4 . A selling of f r 8 would be
lhe normal lens opening lor
l i g h t s u b j e c l s . . . . l h o s e l h a t
do reflecl a greal amounl of
lighl, such as al lhe beach,
s n o w , a l h i g h a l l i l u d e s , e l c . 'l-,_w!*,="63-l^
photographed.
* N o t e : T h e e y p o s u r e e x o m p l e s
obove ore bosed on color film
h o v i n g o n A . S . A . e x p o s u r e
.|0.
index of
PICTURE MATERIAT
This refers lo lhe type o{ subjecl
y o u ' r e p h o f o g r a p h i n g . B y s e l l i n g
l h e n u m b e r o n t h e l o c u s i n g
wheel opposiie the cenler dol
o n t h e u p p e r s c a l e y o u r p i c l u r e
w i l l b e s h a r p l r o m t h e n e a r e s t
l o t h e { a r l h e s l p o i n l .
1 . S c e n e s - S e l 2 5 o n t h e
f o c u s i n g w h e e l o p p o s i f e t h e
c e n l e r d o t ,
2. Groups - Sef 9 on the
{ocusing wheel opposile lhe
cenler dol.
3 . C l o s e - u p s - S e l 4 o n t h e
f o c u s i n g w h e e l o p p o s i l e l h e
cenler dof.View original page 10Page 11 · Read text
F L A S H P I C T U R E S
1 . S e t s h u t t e r s p e e d o n 2 5
o p p o s i l e a r r o w o n r i g h t l e n s .
2. E s ti m a t e d i s t a n c e y o u a r e
a w a y { r o m s u b j e c t , R o l a t e
f o c u s i n g w h e e l u n t i l t h i s
n u m b e r a p p e a r s o p p o s i l e
c e n t e r d o t o n u p p e r s c a l e .
3 . N o w c o n s u l t t h e s i m p l i f i e d
{ l a s h e x p o s u r e c h a r l o n i h e
b o t t o m o { c a m e r a . F i n d t h e
d i s t a n c e y o u a r e a w a y f r o m
y o u r s u b j e c t o n i h e s c a l e
u n d e r d i s t a n c e . T o t h e r i g h t o f
t h i s d i s t a n c e a r e l h r e e d r f f e r -
e n t l e n s o p e n i n g s , c h o o s e
t h e l e n s o P e n i n g t h a t i s l i s t e d
u n d e r t h e t y p " o { f l a s h b u l b
y o u a r e u s i n g . S e l t l r i s
n u m b e r o p p o s i t e t h e a r r o w
o n l h e l e { t l e n s r i n g .
N u m b e r 5 o n t h e s c a l e r e p r e s e n l s N o . 5 o r P r e s s
2 5 f l a s h b u l b s . U s e f l a s h f i l t e r s o r a m b e r s h i e l d a n d
T y p u A ( i n d o o r ) { i l m
N ' u m b e r 5 B r e p r e s e n t s N o , 5 o r P r e s s 2 5 B L U E { l a s l r
b u l b s . U s e D u y l i g h t f i l m '
S M r e p r e s e n t s S M o r S F f l a s h b u l b s ' U s e I y p " A
( i n d o o r ) f i l m .
T A K E T H A T P I C T U R E
1 . F o c u s l h e c a m e r a .
2 . S e t t h e s h u t t e r s p e e d a n d l e n s o p e n i n g . F o r l h e p r o p e r
s e t t i n g sc o n s u l l t h e s i m p l i { i e d l a b l e o n t h e b o f l o r n o {
l h e c d m e r a .
3 . W i n d f i l m a n d c o c k t h e s h u t l e r b y p r e s s i n g w i n d l e v e r
a s f a r a s i f w i l l g o c l o c k w i s e . A l l o w t o r e f u r n l o r r o r i n a l
p o s i t i o n .
4 . P l a c e { i n g e r o n s h u t l e r r e l e a s e b u t t o n a n d h o l d c a m e r d
a g a i n s t { o r e h e a d . C o m p o s e t h e s u b j e c t m a t t e r f o c u s e d
u p o n a n d g e n t l y s q u e e z e s h u t t e r r e l e a s e b u t t o n .
C A U T I O N
E x p o s e d f i l m m u s l b e r e w o u n d b a c k i n l o t h e m a g a z i n e
b e l o r e i t c a n b e r e m o v e d { r o m c a m e r a . A f t e r t h e e x p o s u r e
c o u n l e r i n d i c a t e s y o u h a v e m a d e t h e f i n a l e x P o s u r e , d o
n o t c o n l i n u e w i n d i n g f i l m o r y o u w i l l t e a r i t f r o m t h e
m a g a z i n e s p o o l a n d n e c e s s i t a i e d a r k r o o m u n l o a d i n g ,
1 0
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R E W I N D A N D U N L O A D I N G
W h e n t h e e x p o s u r e c o u n f e r i n -
d i c a l e s a l l e x p o s u r e s h a v e b e e n
m a d e , r e w i n d t h e { i l m a s f o l l o w s :
1 . P r e s s r e w i n d k n o b r e l e a s e
T O W A R D S C A M E R A B A C K .
T h i s w i l l r e l e a s e r e w i n d k n o b .
D O N O T P U L L K N O B O U T
2 . W i t h k n o b j u s t o u t f a r e n o u g h
l o g r a s p w i t h i h e f i n g e r s , h o l d
i n r e w i n d b u t t o n a n d l u r n w i n d
k n o b c l o c k w i s e u n t i l a l l f i l m i s
r e w o u n d i n l o t h e o r i g i n a l c a r t -
r i d g e . T h i s c a n b e s e n s e d b y a
d e { i n i l e r e l e a s e o f p r e s s u r e o n
t h e r e w i n d k n o b .
3 . P u l l r e w i n d k n o b a l l t h e w a y
o u l a n d t u r n c o u n l e r c l o c k w i s e
to renrove back.
FORTHOSEWHO WANT IT . .
T h e f o l l o w i n g p a g e s o f t h i s b o o k l e l f u r n i s h a d d i t i o n a l
i n f o r m a l i o n o n p a r t i c u l a r f e a t u r e s o f y o u r R E A L I S T 4 5 ,
a n d m o r e d e l a i l e d i n f o r m a l i o n o n l a k i n g s t e r e o p i c f u r e s .
O U T S T A N D I N G F E A T U R E S Y O U M I G H T L I K E T O K N O W
M O R E A B O U T
Y o u r R E A L I S T 4 5 i s t h e r e s u l l o { 5 4 y e a r s o f e x p e r i e n c e
i n t h e m a n u f a c t u r e o f p r e c i s i o n o p t i c a l e q u i p m e n i , O n l y
l h r o u g h R E A L I S T ' sl e a d e r s h i p i n t h e f i e l d o f s l e r e o p h o t o -
g r a p h y w a s i t a b l e t o i n c o r p o r a t e i n l o t h i s o n e c a m e r a
t h e n u m b e r o f o u t s t a n d i n g f e a t u r e s d e s c r i b e d o n t l r e
f o l l o w i n g p a g e s ,
L E N S E S
T h e R E A L I S T f : 3 . 5 l e n s e s a r e
o p t i c a l l y m a l c h e d , c o l o r c o r -
r e c f e d , c o a l e d , a n a s t i g m a t l e n s e s
o f 3 5 m m f o c a l l e n g t h . L e n s e s
e r r e a l i g n e d a n d l o c k e d i n p l a c e
o n a s o l i d l e n s b o a r d . A l l
f o c u s i n g i s d o n e i n t e r n a l l y a t
l h e f i l m p l a n e . P e r fe c l i m a g e
a l i g n m e n f i s l h u s a s s u r e d . L e n s
o p e n i n g f r o m l : 3 . 5 l o { : 1 6 .View original page 12Page 13 · Read text
S H U T T E R
T h e s h u t t e r i s o f t h e g e d r
r e t a r d e d , S y n c h r o n i z e d , c o c k i n g
t y p . , w i l h s p e e d s f r o m 1 2 5 1 h
o f a s e c o n d t o 1 2 0 0 t h o f a
s e c o n d p l u s b u l b ( B ) . T h e s h u t t e r
i s e l e c t r o n i c a l l y t e s t e d a n d
t i m e d s o t h a t t h e a c t u a l s h u t t e r
s p e e d s a r e t h e s a m e a s t h e
s p e e d s i n d i c a t e d o n t h e s P e e d
s e t t i n g r i n g . T h i s h e l p s Y o u t o
p r o p e r l y e x p o s e y o u r P i c l u r e s
W I N D L E Y E R
T h i s l e v e r , t o t h e l e { t , o n t o P
o f t h e c a m e r a m a k e s i t e a s Y t o
t r a n s p o r t t h e f i l m f o r Y o u r n e x l
e x p o s u r e . l t a l s o a u t o m a t i c a l l Y
c o c k s t h e s h u t t e r w h i l e a d v a n c i n g
t h e f i l m . P u s h t h e w i n d l e v e r
f o r w a r d w i t h y o u r t h u m b u n t i l
i t s t o p s ; a l l o w t o r e t u r n a n d
y o u ' r e r e a d y i o l a k e Y o u r
p i c t u r e . T h e d r m m a y b e l e { f
o u f { o r c o n v e n i e n l a c c e s s w h e n
t a k i n g p i c l u r e s , o r t u r n e d i n f o r
c a r r y I n g .
V I E W F I N D E R
T h e v i e w { i n d e r l e n s i s m i d w a Y
b e t w e e n t h e c a m e r a l e n s e s . T h e
v i e w { i n d e r e y e P i e c e i s c o n -
v e n i e n t l y l o c a t e d a i t h e b o t t o m
o f t h e c a m e r a . T h i s a l l o w s Y o u
t o s t e a d y t h e c a m e r a a g a i n s l
y o u r f o r e h e a d a n d h e l P s . t o '
e l i m i n a t e h a n d m o t i o r r w h i l e
l a k i n g p i c t u r e s ,
F O C U S I N G W H E E L
T h i s w h e e l o n t o P o f t h e
c a m e r d m a k e s a c c u r a t e f o c u s i n g
q u i c k a n d e a s y . T h e r a n g e o f
t h e { o c u s i n l h e R E A L I S T 4 5 i s
{ r o m 3 { e e t t o i n f i n i t Y ' F o c u s i n g
i s a c c o m p l i s h e d b Y m o v i n g t h e
{ i l m p l a n e . T h e l e n s e s n e v e r
r r l o v e . l m a g e a l i g n m e n l i s a l w a Y s
p e r { e c f .
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D E P T H O F F I E L D S C A L E
A n i m p o r i a n t f e a t u r e o { y o u r ii!1:
R E A L I S T 4 5 . T l r e d e p f h
s c al e i n d i c a t e s t h e t',',,',?;:,i,:,i,,;,1:,;1,,,,i.:1::t.:iit,i:|,,;,1,ii!,1iii11iff
r a n g e o f s h a r p n e s s , f f O m t h e ,,,,,,,,1,.,, ,,':;,,,,t:,:i:t,t:,ii:ii;iiiiii,i
n e a r e s i p o i n t t o l h e f a r t h e s t p o i n f , t h a t m d y b e o b t a i n e d
w i i h y o u r R E A L I S T 4 5 c a m e r a f o r e a c h p a r t i c u l a r c a m e r a
s e t l i n g .
T h e d e p t h o f { i e l d s c a l e c o n s i s f s o f l w o s e t s o f n u m b e r s
o n i o p o f t h e d i s t a n c e s c a l e a b o v e y o u r f o c u s i n g w h e e l .
T h e R I G H T s e t o { n u m b e r s i n d i c a t e t h e n e a r d i s t a n c e s a l
w h i c h y o u r c d m e r a l e n s e s a r e i n s h a r p f o c u s , d " p e n d i n g
u p o n t h e l e n s o p e n i n g y o u h a v e c h o s e n . T h e L E F T s e t o {
n u m b e r s i n d i c a t e s l h e f a r d i s t a n c e s o f w h i c h y o u r p i c t u r e
w i l l b e s h a r p , d . p e n d i n g u p o n t h a t s a m e l e n s o p e n i n g .
S H U T T E RR E L E A S E
T h e s h u t t e r r e l e a s e b u t t o n i s
located to ihe righl on the topiiiiiiitlitilXlffi
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t h e s e c o n d { i n g e r o f y o u r r i g h t h a n d . T h e s h u t t e r r e l e l s e
i s r e c e s s e d l o p r e v e n t a c c i d e n t a l l y t r i p p i n g s h u t t e r a f t e r
f i l m i s a d v a n c e d . I n t h e c e n t e r o f t h e s h u t t e r r e l e a s e
b u l t o r r i s a s o c k e t f o r t h e c a b l e r e l e a s e .
C O C K I N G L E V E R
T h i s s m a l l b u t t o n l o c a l e d a b o v e
a n d b e t w e e n t h e l e n s e s a l l o w s l i i
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s h o u l d y o u w a n t t o i n t e n t i o n a l l y fYT**{ '.#
d o u b l e e x p o s e o r m a k e s i n g l e e x p o s u r e s . A c c i d e n l a l
d o u b l e e x p o s u r e s d r e p r e v e n t e d b y m e d n s o f b u i l t -
i n c o n t r o l s .
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o r 2 0 m i l l i s e c o n d s d e l a y f l a s h
l a m p s o r s f r o b e f l a s h , C o n l a c l l o t h e a l t a c h m e n l f o r p h o l o
{ l o s h i s l h r o u g h t h e a c c e s s o r y c l i p o n t o p o f t h e c d m e r a .
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t h e b u l b w h e n t h e s h u l l e r b l a d e s a r e w i d e o p e n , T h i s
s y n c h r o n i z a t i o no c c u r s w h e n u s i n g f l a s h b u l b s a t 1 2 5 t h
o { a s e c o n d ; w i t h s t r o b e l i g h t s y n c h r o n i z a t i o no c c u r s a l
a l l s p e e d s ,
F I L M T Y P E I N D I C A T O R
T h i s c o n v e n i e n l r e m i n d e r t e l l s
y o u i { y o u h a v e f i l m i n t h e
c d m e r d a n d w h a l k i n d . T u r n t o
t y p . b e i n g u s e d b y p r e s s i n g o n
s e r r a l e d c i r c l e a n d f u r n w i t h
l h u m b .
A U T O M A T I C F I L M C O U N T E R
T h i s d i a l s e t s i t s e l f a u f o m a t i c a l l y
c n z e r o a f t e r l o a d i n g t h e
c a m e r a . R e d l i n e m o v e s o u l l o
i n d i c a t e n u m b e r o f e x p o s u r e s
m a d e .
R E W I N D K N O B R E L E A S E
R e w i n d k n o b r e l e a s e i s l o c a t e d
o n b o l t o m o f c a m e r a . T o r e l e : s e
r e w i n d k n o b , p r e s s r e l e a s e
t o w a r d c a m e r a b a c k , r e w i n d
l < n o b w i l l p o p u p .
R E W I N D K N O B
T h e u n i q u e d e s i g n o { t h e k n o b
i n t h e R E A L I S T4 5 a l l o w s i t t o
b e d . p r e s s e d o u f o f y o u r w a y
i n l o b o t t o r n o f c a m e r a . K n. o b i s
u s e d t o w i n d f i l m b a c k i n t o
m a g a z i n e a n d t o o p e n c a m e r a
b a c k .
R E W I N D R E L E A S EB U T T O N
T h e b u t t o n i s u s e d t o d i s e n g a g e
t h e w i n d g e a r s . P r e s s t h i s
b u t l o n i n w h i l e r e w i n d i n g f i l m
b a c k i n t o f i l m m a g a z i n e .
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SOME BASIC INFORMATION Oil HOW
TO TAKE IT !
Y o u r R E A L I S T 4 5 i s a m a z i n g l y s i m p l e l o o p e r a l e . H o w -
e v e r , t h e r e a r e a f e w b a s i c p r i n c i p l e s o f s t e r e o p i c t u r e -
t a k i n g t h a l y o u m a y w a n i t o k n o w m o r e a b o u t b e f o r e
u s i n g t h e R E A L I S T 4 5 o r a f t e r y o u h a v e g a i n e d d l i t t l e
expe il e nce.
T h e f o l l o w i n g p a g e s g i v e y o u t h i s g e n e r a l i n f o r m a l i o n .
, . ' H O L D I N G T H E C A M E R A
T h e c o r r e c t w a y t o h o l d t h e
R E A L I S T 4 5 i s t h e m o s t c o m -
f o r t a b l e l o r y o u I - o p o s i t i o n f h a t
a l l o w s y o u l o o p e r a l e a l l t h e
c o n t r o l s e a s i l y . C r p c o r n e r s o f
c E m e r a i n p a l m o { h a n d s , F i n -
g e r s a u f o m a t i c a l l y f a l l i n f o a
p o s i t i o n w h i c h m a k e s i t e a s y t o
o p e r a t e a l l c o n t r o l s y e l a l l o w s
y o u t o h o l d l h e c a m e r a s e c u r e l y
w h e n t a k i n g p i c t u r e s . T h e
l o c a t i o n o f v i e w f i n d e r e y e p i e c e s
m a k e s i t e a s y t o s t e a d y i h e c a m e r a a g a i n s l y o u r f o r e h e a d
w h e n t a k i n g p i c l u r e s . M o s t c a m e r a s d r e d e s i g n e d s o l h e
c d m e r a m u s t b e r o c k e d a c r o s s t h e n o s e c o u s i g n b l u r s d u e
t o c a m e r a m o v e m e n t . l f y o u h o l d y o u r c a m e r a c o r r e c t l y ,
) / o u c d n e a s i l y o p e r a l e a l l c o n l r o l s ; s i g h t t h r o u g h v i e w -
f i n d e r , t r a n s p o r t t h e f i l m a n d l a k e y o u r p i c t u r e .
* S i n c e t h e l e n s e s o { t h e c a m e r a c o r r e s p o n d t o y o u r
e y e s , t h e R E A L I S T i s a l w a y s h e l d i n a h o r i z o n l a l P o s i l i o n .
S E T T I N G T H E L E N S O P E N I N G S
T h e i r i s o f t h e l e n s r e g u l a t e s t h e s i z e o f t h e o p e n i n g a d -
m i t t i n g l i g h l i n l o t h e c a m e r a . T o s e l , r o f a l e t h e o u t e r r i n gI
o f t h e l e f t l e n s t o t h e r e q u i r e d s e l l i n g . S i n c e l h e o p e n i n g s
o f t h e t w o l e n s e s a r e m e c h a n i c a l l y c o u p l e d t h i s w i l l
a u i o m a t i c a l l y s e t b o t h o f t h e m i d e n t i c a l l y . C o n s i d e r t h e
l e n s o p e n i n g s a s t h e i r i s o p e n i n g s i n y o u r e y e s . A s t h e
l i g h i b e c o m e s b r i g h t e r t h e l e n s e s s h o u l d b e c l o s e d
p r o p o r l i o n a t e l y . T h e s e l e n s o p e n i n g s a r e c a l l e d f s f o p s .
l f l h e l e n s o p e n i n g r i n g i s s e l a t f : 3 . 5 t h e m a x i m u m
a m o u n t o f l i g h f w i l l e n t e r y o u r c a m e r a . l f s e i a l | : 1 6 l h e
m i n i m u m a m o u n l o f l i g h t w i l l b e a d m i t t e d .
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ooooo
{ ? 5 + \ A
I n f o r m a t i o n i n r e g a r d t o p r o p e r l e n s o p e n i n g s f o r v a r i o u s
c o n d i t i o n s w i l l b e d i s c u s s e d i n t h e s e c l i o n u n d e r , , E x -
p o s u r e s " .
S E T T I N G T H E S H U T T E R S P E E D S
T o s e f t h e s h u t t e r s p e e d , r o t a f e t h e r i n g a r o u n d t h e r i g h f
l e n s t o s p e e d d e s i r e d . O n l y t h e d e n o m i n a t o r o f t h e
f r a c l i o n i s s h o w n ! F o r e x d m p l e , 5 0 m e a n s 1 5 0 t h o { d
s e c o n d . F o r f l a s h p i c t u r e s , s h u l t e r s p e e d m u s t b e s e t a f
1 2 5 1 h o f a s e c o n d t o i n s u r e e x a c t s y n c h r o n i z a t i o n w i t h a l l
t y p . s o f f l a s h b u l b s a n d s t e r e o f l a s h e q u i p t e n t . S t r o b e
s y n c h r o n i z a t i o n i s p o s s i b l e a l a l l s h u t t e r s p e e d s .
W h e n s e t o n " 8 " o r b u l b , t h e s h u t t e r r e m a i n s o p e n a s
l o n g a s t h e r e l e a s e b u t t o n i s d * p r e s s e d a n d c l o s e s w h e n
b u l t o n i s r e l e a s e d .
T o e l i m i n a t e t h e e f f e c l s o { h a n d m o t i o n i n y o u r p i c t u r e s ,
w e r e c o m m e n d t h e u s e o f a t r i p o d o r s i m i l a r s u p p o r l a t
s p e e d s u n d e r 1 2 5 1 h o { a s e c o n d , R e c o m m e n d a t i o n s f o r
s e t t i n g s h u t f e r s p e e d s w i l l b e d i s c u s s e d w i t h l e n s o p e n i n g s
s e t fi n g i n t h i s s e c t i o n u n d e r " E x p o s u r e s "
E X P O S U R E S
T o o b t a i n t h e c o r r e c t e x p o s u r e l h e s a m e a m o u n t o f l i g h t
m u s f r e a c h y o u r f i l m e a c h t i m e y o u t a k e a p i c t u r e , n o
m a l f e r w h a i t h e a v a i l a b l e l i g h f m a y b e d u y l i g h l , f l a s h ,
s t r o b e , e t c . A s l h e l i g h t v a r i e s , t h e l e n s o p e n i n g m u s t b e
c h a n g e d , F o r e x a m p l e , w h e n s h o o l i n g a l i g h t s u b j e c t o n
d b r i g h t s u n n y d u y y o u u s e a l e n s o p e n i n g o f f : 8 a l
1 5 0 1 h o { a s e c o n d . l f t h e s u n w a s h a z y y o u w o u l d n e e d
a p p r o x i m a t e l y t w i c e t h e i r i s o p e n i n g o r t w i c e t h e t i m e t o
p r o p e r l y e x p o s e t h e f i l m . Y o u w o u l d m a k e t h e l e n s
o p e n i n g l a r g e r a n d u s e a l e n s o p e n i n g o { l : 5 . 6 a t 1 5 0 t h
o { d s e c o n d . A s t h e s p e e d o f y o u r s u b j e c t v a r i e s , t h e
s h u t t e r s p e e d s m u s l b e c h a n g e d l o s t o p t h e a c l i o n . T h i s
r e q u i r e s a l a r g e r l e n s o p e n i n g f o r t h e l i g h t . F o r e x a m p l e ,
y o u a r e u s i n g d s h u t t e r s p e e d o f 1 2 5 f h a t f : B , y o u
d e c i d e t o i n c r e a s e t h e s h u l t e r s p e e d l o 1 ' 5 0 t h . T o a l i o w
1 6
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lhe same amounl of lighl inlo lhe camera you musl double
lhe size o{ lhe lens opening or move lo f : 5.6 since you
cul down lhe lime fhe light has lo move lhru lhe lens by
one half.
EXPOSURES
We recommend lhat you work around lhe basic exposure
for brighl sunny days oufdoors. This is 1/50fh o{ a second
al f : 5.3 (belween t :5.6 and f : 8). lf the lighl is ex-
ceplionally brighl, such as beaches, snow, mounlains, elc.,
close down lhe lens openings abouf one-half an f slop
(move lo larger numbers) from f :6.3 lo | :8. lf lhe skies
are overcasl wilh a hazy sun, open up from a half f slop
lo a {ull f slop, (move lo smaller numbers) from f :6.3 lo
| :5.6 or more. The exposure lable found on lhe bolfom
of your REALIST "45" is a simplified charl lo help you
expose lor lhe various normal condilions you may en-
counler when taking slereo piclures oulside or when
l a k i n g { l a s h p i c l u r e s .
EXPOSURE
Some rules lo keep in mind when selfing your shuller
speeds:
1. For mosl piclures 1/50th of a second will slop some
aclion and lake care of ordinary camera movemenl,
2, For aclion shols use speeds ol 1/1001h of a second lo
1/2001h of a second, (street - scenes, horses, aulo-
m o b i l e s , c h i l d r e n ) .
3, For grealer depth of field or grealer range o{ sharp-
ness, slower shuller speeds and smaller I slops should
be used. We recommend you use a lripod for such
seitings, (Portroits, ouldoor counlry scenes, elc.).
4. Subjecls moving rapidly across the camera view
require higher shulfer speeds.
5. Subjecls moving af an angle of abouf 450 lo your
' camera require aboul half lhe shuller speed as objecls
moving parallel lo your camera or across fhe piclure.
tfr 5. Subjecls moving directly loward your came,ra (or awaynF from if) are quile easy lo sfop, require aboul half fhe
shuller speed of a subjecl moving al a 45 0 angle lo
your camera.
As the dislance betw'een lhe subjecl and lhe camera'fi' increases,lhe more aclion you will be able fo slop.
t 7View original page 18Page 19 · Read text
You h.rve lhe choice of any of the combinalions of lens
openings and shuller speed sellings which give the proper
tolal exposure. In deciding which to use, consider your
s u b j e c f . A s u b j e c l w i f h l i t t l e o r n o m o l i o n p e r m i l s s l o w e r
shuller speeds a nd smaller lens open ings, g iving g reater
depth of field. Moving objecis require fasler shuttet
speeds lo stop the action and, as previously stafed, larger
lens openings become necessary.
R e m e m b e r , f h e s m a l l e r l h e l e n s o p e n i n g ( t h e s m a l l e r
openings have lhe larger numbers) fhe greater the depth
of field or range of sharpness; the faster (or shorler) the
s h u l l e r s p e e d , l h e m o r e a c l i o n y o u w i l l s t o p .
Y o u w i l l s o o n g a i n e n o u g h e x p e r i e n c e a n d j u d g m e n t f o
enable you to choose the proper combinalion bt fhese
two faclors for any piclure taking condifion. Keep a record
o f y o u r e x p o s u r e a n d d i s t a n c e s f o r l h e f i r s t f e w r o l l s o f
f i l m . T h i s i s f h e b e s t w a y f o l e a r n t h e c o r r e c l e x p o s u r e s
f o r m o s l p i c l u r e t a k i n g c o n d i f i o n s .
----!r=tElL-t :--
EtfltFax-H7A::JLs,I--l\-l 15Et?El-I--mtr EETEET MM IXEIItrIil @E IItrEErItrIilT rrr @trtr IIET rfrtrr
IIEET rtrEilrXEilEEEilE
II EECIET
HOW TO READ THE DEPTH OF FIELD SCALE
A good stereo piclure is sharp from the nearest lo the
farlhesl poinl. you lake a slereo piclure, you are .Wh.en_
l r y i n g l o e x a c l l y d y p l i c a t e l h e s c e n e a s y o u r e y e s s a w i t .
T h e p i c l u r e s y o u t a k e s h o u l d b e j u s r a s i h a r p u r t h . a c l u a l
s c e n e . T h e d e p t h o f f i e l d s c a l e i n d i c a l e t i h " m a x i m u m
range of sharpness,from the nearesr poinl lo the {arlhesl
p o i n t , t h a t m a y b e o b l a i n e d w h e n l a k i n g a p i c t u r e o f a
g ivel subjecl. The depth of f ield is de endenl on two .
variables, thg le1s. opening you have chosen and your
d i s l a n c e s e l l i n g . T h 9 r a n g e o f s h a r p n e s si s f o u n d b y , t i n g .
t h e s a m e r i g h l a n d l e f f n u m b e r o n y o u r d e p t h 6 r f i e l j
s c a l e a s t h e o n e u s e d f o r y o u r l e n s o p e n i n g . I n s o m e
inslances it may. be necessary lo eslimale th! deplh ol
field numbers when fhey are berween lhose marked on
t h e s c a l e ,
r8
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E X A M P L E S : L e t ' s s a y y o u h a v e
s e i t h e f o c u s i n g w h e e l i n d i c a t i n g
y o u a r e 1 0 f e e l d w a y { r o m y o u r
p o i n l o f { o c u s a n d t h e l e n s
o p e n i n g y o u h a v e c h o s e n { o r
t h e p r o p e r e x p o s u r e i s f : 5 . 6 -
t h e r a n g e o l s l r a r p n e s s { o r t h a t
p i c f u r e w i l l b e { r o m 6 f e e l i n -
d i c a t e d o n t h e r i g h f r a n g e o f n u m b e r s , l o 2 2 ( b e t w e e n 1 5
a n d 2 5 ) { e e t i n d i c a t e d o n t h e l e f t r a n g e o { n u m b e r s .
l f y o u c h o o s e f : 1 1 a s y o u r l e n s , , i i r i ,
cpening lor the same distancej|ljlffi*
( 1 0 f e e t ) y o u r p i c l u r e r d n g e o { ; : i ; r : i . ' i
s h a i ' p n e s s w i l l b e f r o m 5 f e e l ' i . i i ' :
{o infinily. lf you d.te 5 feeliilit,,'iot
dvvdy from your subject, ths il-:-'i.,jiiii
merxirlum rdnge o{ sharpness {oriiiii:.i:'l.,iliil
t h a t s u b j e c t i s f r o m d p p r o x i m a -
t e l y 3 { e e t l o 2 5 f e e t a t { : 1 6 . l t i s i r n p o r t a n l t o r e m e m b e r
w h e n l a k i n g c l o s e - u p s t h a t i f t h e s u b j e c t i s e x t r e m e l y
c l o s e a s i n t h e e x a m p l e a b o v e , t h e r a n g e o f s h a r p n e s s i s
g r e a l i y r e d u c e d . I n t h e s e c a s e s s m a l l l e n s o p e n i n g s d r e
r e c o m m e n c i e d t o y i e l d l h e g r e a t e s t p o s s i b l e d e p t h o { f i e l d "
Y o u w i l l s o m e t i m e s b e f o r c e d t o u s e a c e r l a i n l e n s o p e n i r r g
b e c a u s e o { l i g h i c o n d i t i o n s . F o r
i n s t a n c e , y o u d r e i n l h e m o L r n -
t a i n s , l h e l i g h t i s v e r y b r i g h l ,
y o u h a v e c h o s e n a n e x p o s u r e
o f 1 5 0 1 h o { d s e c o n d w i t h a l e n s ' ; : j i 1 . i 1
o p e n i n g o {
f i e l d s c a l e cdn now be used lo ,.,..',',,:,:;:,,',':1,..':,i,itr
l;:':;ri:*lrt:ttt:rir:4i;11b r i n g y o u r m a x i m u m rd n g e o{
s h a r p n e s st o i n f i n i t y b y m o v i n g i n f i n i t y o n t h e d i s t a n c e
s c a i e o p p o s i t e B o n t h e l e { t r d n g e o { n u m b e r s .
N O T E : O n t h e r i g h t r a n g e o { n u m b e r s 6 t I f e e l i s o p p o s i f e
{ : 8 . O n t h e l e f t r d n g e o f n u m b e r s , i n f i n i t y i s o p p o s i l e f : B
i n d i c a f i n g t h e r d n g e o { s h a r p n e s s i s { r o m 6 t . : { e e t t o
i n fi n i t y .
I t i s b e s t t o c h e c k t h e d i s t a n c e o f a n e a r o b j e c t i n y o L r r
p i c f u r e i n i h i s c a s e t o b e s u r e t h a t i t i s n o t c l o s e r t h c l r r
6 r r l e e t .
U S I N G T H E F L A S H
W h e n t a k i n g f l a s h p i c t u r e s y o u a r e n o t , d s a g e n e r a l r u l e ,
s h o o l i n g t h e p i c f u r e a t t h e s p e e d o { t h e s h u t t e r , b u l c r l t h e
s p e e d o { f l a s h l a m p o r l i g h l s o u r c e b e i n g u s e d . W i t h d
r 9View original page 20Page 21 · Read text
shuller speed of 1/251h of a second you are including fhe
full lighl oulpul of all bulbs, lherefore obtaining lhe besl
color in your piclures. lf you use slrobe, piclures can be
taken at all shuller speeds.
lo derf ermine lhe lens opening, the exposure guide
number ol the bulb is used. The exposure guide number
is divided by the disfance, in feel, lhat the bulb is awayfrom your subjecl. f
Using lhe guide number for 5M bulb ol 572
5 7 ( S M b u l b ) : \ 7 | :5.6 selling* :tI
10 feel
*NOTE: All fhis menlal arilhmelic has been done for you.
See charl on bollom of camera.
The {lash is synchronized lhrough the flash and accessory
clip on lop of lhe came,ra.This clip fils REALIST flash guns
ST 525 or ST 52. Set shuller on 25 and use eilher 5M,- SF,
5, 58 , 25 or 25 B flash lamps. When using daylight film,
use 5 B or 25 B Blue flash bulbs or No. 5 or 25 {lash bulbs
and lhe blue shield provided wilh 5T 525 flash gun. With
Type A film, use SM, SF, No. 5 or 25 flash bulbs. When
using No. 5 or 25 bulbs beller color rendilion can be had
wif h the amber shield thal comes wilh the ST 525
R E A L I S T B . C . F l a s h G u n .
When shooling acfion il is besl lo use an SM or SF bulb,
even lhough the shuller speed is sel al 1/251h of a second,
lhe exposure is made al aboul 112001h.In fhis case il is
lhe shorl flash duralion of fhis bulb which governs lhe
exposure. When more lighl is required for larger area use
a No. 5 or Press 25 flash bulb. lt is imporlanf lo remember
lhal nol all condilions for Ilash exposures are alike; light
subjecl requires less lighl, dark subjecl requires more lighl.
Keep a record of the lens openings and dislance for each
piclure and you will soon know fhe proper exposure {or
various lighl condilions fhal you may encounler.
SHUTTER SPEED MUST BE SET AI Ilz',Ih SECOND OUIDE
NUMBERS FOR STANDARD FTASH BUTBS USING REALIST
FTASH ON CAMERA
Exposure
Type A (lndoor) Bulb Guide No.
SM 57
S F 50
No. 5 90 Press25 1 1 0 I
DAYLIGHT 5 B 45 I
Press25 B 55 I
20
www.orphancameras.comView original page 21Page 22 · Read text
TO TAKE SINGLE OR MULTIPTE EXPOSURES
Under normal piclure laking operalions il is impossible lo
nrake a double exposure. The dual shufler is aulomalically
cocked when you advance fhe film. However, a simple
device hos been instolled in your REALIST"45" which ollows
you lo lake single exposures or mulliple exposures {or
trick slereo work.
To lake single exposures cap one lens. Expose firsl piclure.
Cap olher lens. Then wilhoul lransporling film lor nexl
piclure move cocking lever lo lhe right as far as possible.
Expose lhe second piclure.
It To lake inlenlional double exposure follow same inslrucfions
ll ut above for single exposures, but do nol cap lenses.
lf Multiple exposures lo creale special eflecfs require careful
if; planning for besl resulls.
_''fr t ron sHARpsrEREoprcruREs
t l
Itr1. Take a liflle exlra lime and care lo make sure you have
lil made lhe proper seflings;dislance,lens openings,and
if shuller speed; accordinglo the depth ol field scale or
fi simplified exposure charl, so lhal everylhing from lhe
,7 nearesl lo lhe farthesfobjecf in your piclure will be
sharp.
Make all the preliminary sellings.
Gel your elbows in as close lo your body as is com-, forlably possible lo help sleady yourself.llr
Take a good slance, wilh {eel spread for beller
balance. Or, where possible, brace yoursell againsl a
w a l l o r p i l l a r ,:lt,Cup corners of bollom of camera in palm o{ hands and
place lhe camera {irmly againsl your {orehead.
Framer lhe piclure in lhe viewfinder.
Take up lhe slack in the shuller release bullon. (Be
careful nol lo lake up loo much or you will lrip the
shutter premoturely).
L Apply lhe slighl amounl of pressure needed lo trip lhel*'shuller by squeezing the second f inger againsl lhe
release bulfon.
FITTERS
The use of {ilfers when taking color piclures is especially
significanf. The all imporlanl problem is color balance.
lg Color balance is bringing f he color lemperalure o{ your
l{" lighl source inlo lhe range for which lhe film is balanced.
.lr The REALIST "45" occepts series V five Filters.
Three typel of fillers are ample for mosl pholographers -
the "Hirze" f illers {or use with daylighl'film ihen lhere
is an excess of ullra-violet lighf, such as high alfiludr
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From the M. Butkus archive. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
PDF verified 2026-10-10.