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Zeiss Ikon IKOFLEX Guide Reference guide
Reference guide for Zeiss Ikon IKOFLEX Guide. 35 pages in English. Read the original PDF, download or print a copy without registration.
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- Zeiss Ikon
- Model / document
- Zeiss Ikon IKOFLEX Guide
- Document type
- Reference guide
- Language
- English
- Pages
- 35
- File size
- 3.8 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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by KENNETHS. TYDINC$ S.P.lView original page 2Page 3 · Read text
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fntroduetion
The photographic world always buzzes with excitement when
Carl Zeiss introduces a new camera. From past experience we have
learned that if the name of Carl Zeiss is on a camera, it is good. The
Ikoflex cameras are Carl Zeiss' very own-and they are gooa !
Carl Zeiss Ikon has lavished the finest optical and engineering
brains on this line so that they are models of mechanical perfection
with lenses that are optical achievement.
Mechanically, the film is transported and automatically locks at
the end of the frame. Double exposures are prevented because the
shutter lock is released only when the film is advanced. A red signal
shows whether an exposure has been made. The automatic shutter
wind of the Ikoflex IIa advances the film and cocks the shutter at the
same time. The film channel and mask prevent film scratching and as-
sure absolutely correct film positioning. The flash synchronization
socket accepts a standardized compur tip and both the Ikoflex Ia and
IIa synchronize with any flashlamps or speedlights. Three viewfinders
-the ground-glass, the direct-vision open-frame finder, and the pris-
matic vis\^/s1-sfford the variety necessary to meet every possible
shooting condition. The depth of field scale is built around the focus-
ing knob for instant reference. The camera back is sturdy and bolted
securelv to the camera body so that light leaks are impossible. The
body is light for portability and rugged for durability.
optically, the superb Tessar and Novar lenses have earned world-
wide reputation because they cut sharply from corner to corner, il-
luminate the film uniformly from edge to edge, and provide a contrast
crispness for the highest visual acuity. The focusing screen is brilliant
because of the fresnel lens and extra-bright ground glass. The magni-
fier in the finder hood is large enough for the eye to see the
screen in its magnified rendition. Finally, the precision of the optical".rii."
and mechanical assembly allows each to work at its finest advantage,
yet the Ikoflex is so simple in design that one is able to produce fine
results from the first roll of film. It is an ideal camera for beginner,
artist, or even the most critical scientist. Learning to use the Ikoflex is
the most inexpensive down-payment for photographic enjoyment. Our
book will show you how to both operate and enjoy your lkoflex. Let's
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Prefaee
There are two basic picture taking problems-controlling the
subject and recording it. Before you can record a picture with _your
camera, you must learn to operate the camera's controls. If you don'tr.
you'll be in the same boat as the artist who has a number of paints but
cannot use them since he never learned to mix colors and wield a paint
brush. You must, therefore, learn to use your camera so well that
operating- it will be second nature.
The author's system for making all camera manipulations a
matter of second nature is called the Snrn-snr Svsrnlr. It has
been developed from extensive experience in lecturing, writing, and
teaching beginners to use their camera expertly in a very short time.
It is founded on two simple principles: sTIvDARDIZATIoN, AND PRE-
SETTING OF BOTH 1VIATERIALS AND CAMERA CONTROLS:
1. Standardization is essential. It alone will give you the con-
fidence to make perfect pictures. This will involve using one film, one
developer, one flashlamp, etc., of known and tested performance.
2. Pre-setting is the second half of the SAFE'SET METHOD.
Just as equipment must be standardized, so must be the procedure ofl actually taking the picture. The many variables of shutter speed
aperture, focus, and effect can be pre-set and completely controlled by
you. You simply pick your subject size beforehand, select the proper
setting from tables and, at the peak of effect, snap the picture. The
knowledge that your picture will be perfect enables you to devote your
errtire attention to your subject. You needn't worry about changes of
aperture, shutter, speed, etc., if your subject changes position.
How rHE SAFE-sETMErHoo Hrr.PS You
The use of this method helps you additionaily because:
1. All troublesome camera changes and variables are eliminated.
Every picture-taking factor is pre-set. Last minute fumblings and de-
lays are completely eliminated.
2. Each frame is completely filled with subject matter. All black
and white negatives on a roll can be enlarged to a uniform size during
picture processing after the first basic dimension has been chosen.
There's no need to raise or lower the enlarger housing.
3. All color exposures are so uniform that they project with equal
quality, should you wish to make black and white prints from them
thb uniform size will enable you to enlarge every frame with the same
exposure time.
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4. Flash shots can easily be taken with the Slrr-sur Mnrnot.
Your exposure is directly related to the flash-to-subject distance. A
perfect picture can be gotten each time if the controls are safe-set and
your camera-to-subject distance is kept constant by moving back and
forth as the subject moves.
THa Sers-sET CrrARr
The Slre-ser Cn.rnr is the heart of the method because it
gives you all the information you need quickly. With a Sara-snr
CruRt, the necessity for memorizing or calculating the aperture
opening for flash pictures is completely eliminated. For example,
let's work out a chart step by step for the use of SM or SF flashlamps
with ASA 50 black and white film. The chart should be written on a
piece o{ tape or some similar permanent material so it can be pasted
on the back of your flash reflector or camera carrying case. For the
purpose of this example, first check the following:
IKOFLEX SAFE-SET CHART
Lens Film, B&W Shutter Speed Flashlamp
3-inch focal A.S.A. 50 7/25 SM (General Electric) or
length SF (Sylvania)
Then add four lines for the four most frequently used subject
sizes. Each line is divided into focusing distance for that size and for
the lens iris opening required with the flashlamp for that particular
distance. The chart should look like this:
SAFE-SET CHART UNFILLED
Subject size Distance Iris (f/) opening
Full body
Three-quarter body
Head and shoulders
Head
Now find the flash exposure guide number recommended with an
SM or SF lamp for an ASA 50 film at Ll25 shutter speed. This in{or-
mation can be found on the outside wrapper of the flashlamp package.
If the guide number suggested is r40, then consult the chart on page
76 which has all the distance and iris openings calculated for you
for this number and fill in the empty boxes so that the chart will now
look like this:
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Camerq Set al: Film: 120 Size, Colot, Tungstq Film: Black-and-lVbite, A.S.A, 40
Shutter - l/25 s.econd Kodak Ektachrome, Type B + SlEF Kodak Plus-r, Ansco Superpan
.Light Balancing Filter Supreme
Lamps - #5 or #25. Ansco Color, Tungsteo Type + UV16
Subiec Size Focusing Distance
Head - Ztl feer t/22 + tH. f/22 + 3H
Hcad md Shoulders - 1% feet {/ 22 f . 2 2 + 2 H
3/4 Body - 5r,2 feer t - r o t/22 + lH
Fult Body - l0 feet t/8 t/ 16
han dk e rchi ef
* When the chart is completed and has been pasted onto your flash
reflector, this is how it should be used for flash: If you want to take
a full-length picture of a group of people, scan your chart for the fullrf,
body line. From it you will learn that for black and white film with
a shutter speed oL Ll25 (this is an excellent speed to use with all
flash lamps and flashtubes), a lO-foot setting must be used. So set
your camera's focusing scale at ten feet. This scale must never be
moved, a quarter turn of the lkoflex's focusing knob will change the
focus from infinity (as far as the eye can see) to as little as 5 feet.
If you leave the knob alone, you will be sure that your distance is
correctly set for the group shot that you plan to take. With the SM
or SF lamps, the lens opening for l0-feet is between f/B and f/ll.
Rotate the right aperture setting gear of the Ikoflex to B or rotate the
gear at the bottom of the shutter for the Ikoflex Ia so that this settine
is opposite the proper index marks. Now everything has been safel
set. After you have checked to make sure the Ikoflex Ia shutter is
cocked or the knob has been turned with the Ikoflex IIa, automatically
setting, the shutter, walk toward the subject while looking at thl
gro_und glass. When the image seen on it is short, stop walking, stand
still,-compose your picture, and release the shutter. The photograph
will be technically perfect.
snruss oF PiaruRES FRoM THE DTFFERENTsaru-ssr srzrs
Taking pictures by flash is an excellent starting point for all be-
ginners. The modern flashlamps and flashtubes ut" of high
precision manufacture which will perform uniformly "r,u-plesevery hour aid
every day.
THr S,lrr-sET CTTARTOurDooRS
When outdoor illumination is uniform and constant, your basic
exposure-l/S0 at f.lL6, for example-will remain pretty much the
same whether you are taking a landscape or posing a fiiend for aView original page 6Page 7 · Read text
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portrait. Disregard the flash factors and keep your outdoor settings
unchanged, only alter your focusing distance with the focusing knob.
Once the focused setting has been made for any particular size of your
chart, leave the focusing knob alone. Merely move forward or back-
ward until your subject is sharp on the ground glass; then release
the shutter.
TYDINGS SAFE-SETMETHOD
OUTDOORS
Light: Clear duy, not harsh, sunlight. Film; Daylight color,
Typ" A with No. 85 conversion filter, Typ" B with a No. B5B; or
Ansco Color, tungsten type, with conversion filter No. 11.
Sale-Settings
Typ" B film with No. B5B filter:
S-Shutter: Ll25 second
A-Aperture: Color f 19; black andwhite f 122
F-Focus: 30 feet for sharpness from infinity to 15 feet
12 feet for sharpness {rom 15 feet to 9 feet
E-Effect: Release shutter at peak of action or expression
27/a-inch squa,re lrame Bantarn
1*1r/r-inch lrame
Field, Size Subject Code Distancel Fietd, Size
Subject Code Distance inches
tr{ead R 2',8" (0.8M) 2Ix2L child's # 2'8" l7xll
Head
Head & +I 3',6" (.96M) 28x28 Head s \',5" 2LxL4
Shoulders
Head & t 5', 30x203/+ s', (r.52M) 40x40 Shoulders
7', (2.r3M) 56x56
I 7' 42x28
Full body B0xB0 + I0' (3.05M)
Full body + T4' 90x60
Wnar rF You AnB SlrcHTLy Our or Posrrrorq?
The depth of field (depth of sharpness) of the 3-inch Ikoflex lens
is so great that should your focus be slightly off, the picture will still
be sharp if the iris opening is narrow. That's because your top aiew-
ing lens shows less depth than the bottom taking lens records. At this
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point it is wise to review the advantages of the Ikoflex Twin-lens
system.
1. A twin lens reflex camera, as the name implies, is really two
cameras in one. One carnera is used to take the picture while the sec-
ond coordinated camera is used to show focus and composition. The
top (viewing) lens is always open at its widest aperture even when
the bottom (taking) lens is stepped down. Because the viewing lens
is always open, you can see the picture before, during, and after the
exposure, so that you can know definitely whether the picture was
taken correctly. With single lens reflexes where viewing is done
through the taking lens, the image gets darker as the lens is stopped
down and disappears completely during the exposure, leaving the
photographer with an eternal uncertainty as to whether the picture
has been taken at the right moment or focus.
2. The twin lens reflex camera represents an efficient combina.
tion of adequate film size and portability. The pictures are sufficiently
large (27/+ x 2a/a inches) and a standard roll of black and white or
color film can be bought anywhere in the world. The film size is
called No. 120 or 82.
3. The camera is small and light. Even a child can use it. It's
easy to carry and always ready for instant use.
4. The ground glass acts as a combined rangefinder and view-
finder. You will quickly find yourself focusing and composing your
picture simultaneously with the complete elimination of the time loss
that occurs when a separate rangefinder and viewfinder must be used.
5. A black and white B x 10 picture requires a moderate (4x)
enlargement from the full frame as contrasted with an immense (Bx)
e,nlargement frame of a miniature (35mm) negative size; because
the enlargement is so moderater grain, which so often plagues the
35mm camera user, is seldom seen on a print from a twin iens roll
film reflex camera.
6. The rl3.5lens, whether it be rhe Tessar of the Ikoflex IIa or
the Novar of the Ikoflex Ia, is amazingly sharp to the very edges and
color corrected for the finest results.
7. The Ikoflex's viewing lenses have a special condensing lens
called "Extrabrite" to gather up every bit of light for a brighter
viewing image. Brilliance is increased about ten times at the
B. The square format permits composition in any one of"orn"r..three -
pleasing patterns: square, vertical, or horizontal. This choice allows
you to present your subject in its most favorable pattern with less
need for dark room cropping.
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9. The 3-inch Tessar or Novar has a great depth of sharpness,
especially when a hyper-focal distance table is used. Slight focusing
errors will not ruin a picture's sharpness.
10. The Synchro-Compur shutter of the Ikoflex IIa and the
Prontor SV of the Ia each has built-in-M-X synchronization. All flash-
lamps and all flashtubes can be synchronized to them without addi-
tional and often expensive synchronizers.
11. The automatic exposure stops eliminate the need for a con-
stant reference to a red counting window found in many cameras.
This need for locating the next exposure number can be a real nuisance
if you're taking action pictures or working in poor light.
12. The Ikoflex IIa winds the film and tensions the shutter
simultaneously so that it is possible to take a picture per second.
13. The camera is equally suitable for studio, portraiture, copy-
ing, or medical and scientific photography.
14. The shutter release is conveniently located. You can use the
sports finder or prismatic focuser at eye level and release the shutter
eadily without jarring the camera. The convenience of the release
button allows you to wind the camera while holding it against your
face at eye level for uninterrupted picture taking. The wind and
release of the Ikoflex IIa and the wind, set, and release of the Ikoflex
Ia can be operated very rapidly after a little practice.
15. Contact prints are of an adequate size, you don't need to
enlarge them for viewing.
Since the square area of the 2L/a-inch size is almost three times
greater than the 1r/r-inch size, the Ikoflex size is preferred over the
35mm frame whenever a great amount of detail is required in the
final print. The Ikoflex size is the one chosen by engineers in micro-
filming blueprints, etc. These then constitute the advantages of the
Ikoflex Twin Lens Reflex system.
Cornparison Chart of the Ikoflex Carneras
Now that we have some knowledge of how the Ikofiex is to be'
used, let's examine the two models that are in current production.
Incidentally, many of the older models are similar in appearance and
design but may lack such desirable features as built-in flash, the
"Extrabrite" viewing ground glass and field lens, etc. While these
features are desirable, it is still the basic camera which must take the
picture, and the countless Ikoflexes of past years have produced in-
numerable great pictures. Right now they are still doing so through-
out the world.
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TH E PARTS OF T H E I K O F L E X l o
I R ig h t sid e o f f inder hood leo s e o n d f l o s h s y n c h r o n i z o l i o nm e c h -
2 B od y sh u t t e r releose threoded for o n i s m
f i tt in g co b le re leose l6 Sy n c h r o - s w i t c h
3 S i g n o l w i n d o w o f d o u b l e e x p o s u r e 1 7 F o c u s i n g m o g n i f i e r
pre ve n t io n d e vice l 8 R i g h t s i d e o f f i n d e r h o o d w i t h e x -
4 Eyelet for corrying strop posure toble
5 F ilm t ro n sp o rt knob 19 Frome-type sports finder eyepiece
6 Au t o mo t ic p ict u re counter 2A B o l t f o r c l o s i n g f i n d e r h o o d
7 Se t t in g wh e e l of outomotic frome 21 Bo l t f o r c l o s i n g c o m e r o b q c k
c o u n le r 22 U p p e r f i l m s p o o l h o l d e r
I E x p o s u r ei i m e s e t t i n g r i n g 23 Depth of field scole
9 S h u t t e r w i n d i n g l e v e r 24 F o c u s i n g k n o b
l 0 D i o p h r o g m s e t t i n g l e v e r 25 Lower film spool holder
I l T o k i n g l e n s 2 6 F i l m w i n d o w
| 2 V i e w i n g l e n s 27 C o n t o c t n i p p l e
l 3 W i n d o w f o r v e r i f y i n g e x p o s u r e l i m e 28 Tripod th reod
s e t t in g 29 Sports finder frome in fronf side of
1 4 W i n d o w f o r v e r i f y i n g d i o p h r o g m s e t - fin der hood
t i n g 30 Plote covering front side of finder
l 5 L e v e r f o r w i n d i n g d e l o y e d o c t i o n r e - h o o d f r o m t h e i n s i d e
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Ti-IE PA RTS O F T H E I K O F L E X I l o
I R i g h t s i d e o f f i n d e r h o o d 1 4 F l o s h s y n c h r o n i z o t i o ns w i t c h
2 D o u b le e x p o su re prevention I 5 F o c u s i n gm q g n i f i e r
3 Body shutter releose th readed to fit 1 6 L e ft s i C : o f f i n d e r h o o d w i t h e x p o s u r e
c ob le re le ose to b l e
4 S i g n o l w i n d o w c f d o u b l e e x p o s u r e 17 Ey e p i e c e o f f r o m e - t y p e s p o r t s f i n d e r
pre ve n t io n l 8 B o l t f o r c l o s i n g f i n d e r h o o d
5 Ey ele t f o r co rrying stroP 1 g B o l t f o r c ! c i i r q c q r n e r o b o c k
6 K n o b f o r o d v o n c i n g f i l m o n d w i n d i n g 2 0 U p p . r s p o o l c h o m b e r
sh utter 2l De p t h - o f - f i e i ds c o l e
7 Au t o rn q t ic p ict u re counter 2 2 F o c u s i n gk n o b w i t h d i s t o n c e s c q l e
8 S e t t i n g w h e e l o f p i c t u r e c o u n t e r 23 Low e r s p o o l c h o m b e r
I S h u t t e r s p e e d s e t t i n g w h e e l 24 Fi l m v r i n d o w
l 0 D i o p h r o g m s e t t i n g w h e e l 2 5 C o n t o c i n i p p l e
l 1 T o k i n g l e n s 26 Tr i p o d t h r e o d
l 2 V i e w i n g l e n s 27 Sp o r t s f i n d e r f r o m e i n f r o n t s i d e o f
l 3 W i n d o w f o r v e r i f y i n g s h u t t e r s p e e d finder hood
o n d d i o p h r o g m s e t t i n g s 28 Pl o t e c l o s i n g f i n d e r h o o d f r o r n i n s i d e
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Read it carefully. The valuable information in it will not be repeated
here. Keep your instruction booklet with your Guide. Each will com-
plement the information in the other.
2. Set the distance scale on your camera's focusing knob to thirty
feet for landscapes or far distant areas or to twelve feet for medium
close-ups.
3. Set the shutter speed to 50, meaning l/50 second.
4. Set the aperture at f16.3. In the window on the Ikoflex this
is the space between B and 5.6 (f 16.3). If you've used black and white
film, however, set the aperture at llLI.
5. Hold the camera correctly and firmly at waist level or use the
Ikoflex prismatic viewfinder for eye-level shots. Keep your eyes fo-
cused on the ground glass and look at it, not through it. What you see
there is what you will get on your negative. With your camera set at
thirty feet and f16.3 everything will be in sharp focus from fifteen
feet to as far as the eye can see. I{ the focusing knob is set at a twelve-
foot distance, the subject can be between nine and fifteen feet and
will still be recorded sharply. In this way you have a two-stage system
of focus. Two distance settings provide a line of continuous focus
from nine feet to as far as the eye can see (called infinity). Thus you
will not need to focus on each object you wish to photograph. Im-
portant note: The top viewing lens is always wide open, since it does
not always show the full area of sharpness the ground glass should
be used carefully. Even though the ground glass of the viewing lens
can show the subject out of focus, it may still be in focus because
of the narrow lens aperture of the taking lens. (Chapter Z).
OurDooR Sue-Iecrs on Dnr.rurrn Srzr
6. The setting for pictures of subjects having a definite size such
as a full body, head and shoulders, or head only, difiers from the
usual thirty- or twelve-foot settings used for landscapes. The chart on
page B shows the various field sizes for these distances. You select
the desired size, pre-set the distance that will produce it, and walk
toward the subject until the ground glass image appears sharp. Then
you trip the shutter and get a technically perfect picture.
7. At the moment of best composition, height of action, peak of
expression, or point of interest, press the shutter release down gently.
Squeeze it rather than punch it. Your Synchro-Compur shutter will
do the rest.
The fihn should not be wound to the next exposure until you are
certain that other pictures will be taken. There are two reasons: the
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shutter should not be left cocked for long periods of time (winding
the film cocks the Ikoflex IIa shutter) ; second, the film has a tendency
to change its position slightly (buckle) if it is left in one position for
long periods. If a number o{ pictures are to be taken in quick suc-
t}' cession, you can naturally wind the film immediately. It is normally
impossible to take a double exposure with either Ikoflex.
In order to use your color film most efficiently, wait for a clear,
sunny day when colors will be most brilliant. If the sky is dull andil3overcast, your final pictures will also be dull and overcast. For other
lighting conditions, use an exposure chart or an exposure meter. Ex-
posure estimation under these conditions without these aids can be-
come quite tricky.
OuroooR FLASH Seru-spr
If you're a beginner, you may naturally think that it is silly to
use a flashlamp or a flashtube outdoors when the sun is shining bril-
liantly. Actually, however, a brilliant day has many photographic
shortcomings. Near-distant subjects such as heads, flowers, parts of
houses, etc., may have inky-black shadows produced when the sun
is shining brightly. A portrait taken under these conditions may show
a sunlit nose and two black holes where the eyes should be. To elim'
inate the black shadows, use a supplementary flash. As the color film
being used is of the outdoor typ", the supplementary (fill-in) light
provided must be blue. Use either blue flashlamps of the 58 or 258
type or electronic flashtubes (speedlights) which are generally bal-
anced for daylight-type color film.
FLASH wIrH Coron Fnvr-A.S.A. I0
1. The Shutter Speed-I l25th second. When flash is used with
the Synchro-Compur the shutter speed should be set at Il25 second,
the flash setting of the shutter at X.
2. The aperture atf,l9 for the color film; B&W A.S.A. 50 at IlL6.
3. Focus at thirty feet or at twelve feet, depending on your sub-
ject, close or distant
4. If the subject is six feet from the camera and a number 58
lamp is used in a polished, efficient reflector, the lamp should be
placed atthe camera for a I:1 fill-in ratio. A 1:l ratio means that the
highlight and the shadow side receive an equal amount of light. The
figure 2:1 means that the highlight or brighter side is twice as bril-
liant as the shadow. A 3:1 ratio would indicate that the highlight is
L7
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three times the shadow's intensity. The first number always provides
the strength of the highlight while the second number after the colon
tells us what the strength of the shadow side is to be.
If our camera is set to twelve feet for B&w (or four feet for
color), then we should use one thin perfectly white handkerchief
over our flashlamp to reduce the intensity of the light, because the
nearer we are to our subject, the greater is the strength of light that
reaches it. However, as our outdoor lighting generally is the same
wherever we are, approaching closely with the flashlamp would burn
up (over-expose) our subject. Therefore, we can reduce the intensity
o{ the lamp by covering it with a thin white handkerchief. When wL
reach a camera-to-subject distance of eight feet for B&W or three
feet for color, then two thicknesses of handkerchief are required.
And, when we are at six feet for B&w or two feet for color, three
thicknesses should be used. Other effects that can be gotten with a
blue lamp on the camera will be discussed in Chapter Il. So if you
think that you will be using trlue or regular flashlamps or flashtubes
for a fill-in, make up_a standardized chart so that you will know just
how many handkerchiefs to use for the correct fill-in efiects. I{ the
lamps are used without handkerchie{s, the flashlamp or flashtube will
act as the dominant or main light and the sunlight then becomes your
fill-in light (see Chapter ll-Flash).
fkoflex Safe-set fndoor Flash
Since the sun doesn't shine strongly inside every pdrt of our
houses and not at all during the night, we must provide artificial
illumination to see. This lighting is seldom uniform and never as
strong as the sun. If we want to take pictures, we must either take
great care in illuminating the rooms or use flashlamps or flashtubes.
Flash is simple to use but its functions must be outlined so that it
can be used to best advantage. With flash, you must remember that
the ignition of the lamp and the opening of the shutter must be
matched. The flashlamp may reach peak illumination for rls}, r1200,
or l/1000 of a second or less. One shutter speed works well with all
types of flashlamps or flashtubes-L125 second. If you set your shut-
ter speed at Ll25 you can always be certain that you are prepared
for any form of flash photography that you may need to ,rr". bon,t
be afraid to take action shots. The slowness of the Ll2S second is
usually meaningless. The speed of the flash itself-whether it be l/50
(class M), r1200 (class F), or 1/1000 as with a flashtube-actually
stops the motion. The Il25 second only allows the shutter synchron-
IB
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ization to take place during its open time while the actual picture is
made by the flash itself.
Proeedure for fndoor Flash Pictures
Here is the simple procedure for making an Ikoflex flash picture:
1. Refer to the SAFE-SET CHART, pre-select your film. Then
make your equipment adjustment. If you still have outdoor color film
in your camera, use blue lamps or a speed light. Otherwise, load your
camera with indoor color film. Use the clear white flashlamp and its
color correction filter if one is needed. As an example, if indoor Ekta-
chrome is used, an BIEF filter must be used over the camera lens.
Otherwise the result will be too blue. Check Chapter 3 to see that
flash and film will match correctly.
2. From the chart, pre-select a subject size and subject distance.
3. Set your distance scale.
4. Choose the aperture for this distance and set it.
5. Looking at your ground glass, move back and forth until your
subject is sharp. Do not touch the focusing knob. If you do, you will
find that you have turned your scale a considerable distance because
the lkoflex's focusing knob is very sensitive to change. A quarter turn
is sufficient to shift it from infinity to three feet. So leave your focus-
ing control alone and, instead, walk towards your subject until it is
sharp.
6. Even it you are a few inches in front of or behind your actual
distance setting when the peak of action occurs and you take the pic-
ture, the image will still be sharp. The depth of sharpness adequately
compensates for slight variations or errors in camera-to-subject dis-
tances. (See Chapter 4)
7. Sfhen you are satisfied with the ground glass sharpness, com-
pose your picture (you can learn to do this while focusing) and at
the peak of action or expression press the release downward gently.
A click of the shutter, a flash of the lamp, and you have taken a suc-
cessful indoor picture. Then wind your film if you are going to take
another picture within a short time.
Tur Krv ro SAFE Ptctunrs
The instructions given for using the SAFE-SET METHOD are
simple and will produce a technically perfect picture each time.
Check on yourself each time you take a picture by using the letters
in the word S-A-F-E to remind you of the four vital factors in taking
a picture:
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S-snurrnn; A-ApERruRE; F-Focus; E-Exposunr
The Ikoflex is a truly flexible instrument, capable of many tech-
nical uses under varying light, shutter speed, and distance settings.
It is possible to alter the shutter speeds, the iris openings, and the
focus through close-up devices so that you can derive the full bene-
fits of its technical and scientific possibilities. Chapter 2 will {urther
elaborate the S-Shutter, A-Aperture, F-Focus, and E-Expo-
sure. You will learn how to change your camera with the SAFE-SET
METHOD so that a never-ending array of subjects can be recorded
with your Ikoflex.
20
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4. Loading and Unloading the Ikoflex
If your camera is new to you, or if it has been loaded by your
camera store clerk, wait until you hear the end of the paper baclirrg
flapping in the take-up spool chamber, after you have wound the film
past the twelfth exposure.Now:
1. Open the back by pulling the locking bolt down.
2. Pull out the take-up spool film retainer from the outside of
the camera and turn it so that it remains in the expanded position.
3. Take out the exposedroll, hold the paper firmly, and then seal
the spoo1.Place the empty spool in the take-up chamber and fit the
slot so that it engagesthe winding knob. Then pull up and turn the
spool holder so the spool drops into position. Tuin takl-up spool film
retainer until it snapsback into closedposition, thus holding spool in
place.
4. Pull out the unexposedfilm spool holder and turn it so that it,
too, remains in the extendedposition. Removeany spoolsthat may be
there. Place an unexposedfilm roll in the chamb"i ro that one
prong engagesthe right side of the spool. Then press down "u-"ruthe lip
side_of the_spool_asyou simultaneously release the unexposed spool
holder so that it slips in and holds the other side of the un&posed film
spool. The Ikoflex springs will now hold the film firmly so the paper
leader cannot unravel.
5. Gently pull out about five inches of the paper leader and in-
sert the_tongueinto the large slit of the take-up rpoot. Turn the wind-
ing knob one or two turns to fix the tongue in and on the spool.
6. close the back and_engagethe lock by pressing back bolt up.
7. open the film window on the bottom of the and look
into it as you turn the winding knob slowly until the number"u-"ra I appears
in the center of the window.
B. close the window. Turn the exposurenumber setting knob by
pressing it and turning it counterclockwise(or follow thJdirection
arrow on the knob of the IIa) until it catchesand the window beside
the winding knob showsthe numeral l. Now your shutter is set, your
counter is at l, andthe safety window beside the shutter release,Lext
to the focusing hood, is red, indicating that an exposurecan be made.
The exposure can only be made when the focusing hood is opened.
After the releaseis pressed,the exposure safety winiow will be silver
in color. Turn the winding knob until you flel a slight resistance;
then slowly continue winding until the knob can tuin no further.
These safety features prevent double exposures and blanks.
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korr,nx Il Loeonvc
The Ikoflex Ia differs from the Ikoflex IIa in that once the wind-
ing knob can turn no further, the shutter must be cocked for an ex-
posure to be made. The shutter is not cocked automatically. The red
color in the exposure safety window indicates that an exposure can be
made, while a silver color indicates that an exposure has been made
and that the camera should be wound to the next film frame. The lko-
flex IIa winds the film and cocks the shutter simultaneouslv so that it
is ready immediately for the next picture.
WrNorNc Frrnr
Film should be wound to the next exposure only if it is to be used
immediately. Otherwise the film will not lie properly in the focal
frame and parts of it, if exposed, may be blurred. So it is best to wind
the film only when a picture is to be taken.
The exposure counter ceases to operate after the twelfth exposure
and you should continue winding until you hear the end flapping in
the take-up chamber.
Cr,rannvc rns ExposuRE CouNrER BEFoRE Loeorue
If the exposure counter has been set in error, it must be cleared
before fresh film is loaded; otherwise you will be unable to count
your exposures. The exposure counter is cleared by first opening the
focusing hood, pressing the shutter release, and then winding the film
so it is automatically set with the lkoflex IIa or by hand cocking the
shutter of the Ikoflex Ia and repeating this sequence until the ex-
posure counter passes 12. Only now should the film be loaded into
the camera.
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l-J . S: The Shutter
.WORKS
HoW THE CAMERA SHUTTER
The shutter controls the flow of light through the lens of your
camera. The iris diaphragm controls the intensity- of light seen
th*.rgh it. The shuttei the length o{ time the light is per- "oitrol, An exposure is the product o{ the iris open'mitte; to strike the film.
i"g ,fte shutter speed. The- longet tL" shutter remains open, the
""a Hght wilt enter ihtorrgh the lens. The iris opening controls the*3r"
depth # ,h.rpness as welf as the volume of light admitted to the
film's surface. This volume of available light determines whether it
will be necessaryto leave the shutter open for a long -or for a short
time. When the volume of light is very low, you may be required to
leave the shutter open for as long as an hour or more. Exposures so
made are called time exposures and are designated by the letter T'
If, on the other hand, a large amount of light is available, then an
can be made in as little time as I/500 second. A short
"*por,rr" is used to stop the fast motion of moving objects.
"*po.r..r"
SHUTTER SPEEDS FOR MOVINGSUBJECTS
LTNE OF T,IOTION
suBJECr Ar 25 FEEr 10 s
walking at J miles per hour l/50 r/t00 r/r50
Children playing 1/r00 r/200 r/300
Street activity Vrco r/200 u3a0
Swimmers, skaters r/ rca r/200 r/30a
*r/500Vehicles at 2A m.p.h. , I /ZoO L/400
*r/500Football, running r/200 r/400
*r/500Vehicles at 40 m.p.h. r/400 r/500
Tennis *L/500 t/soo *l/500
Horse race *l/500 *l/r00 *l/500
Airplanes *L/500 *t/500 *t/500
N-8. Wben your subiect is at 50 ft., multiply all speeds by
2(L/ 100x2= L/50\.
For 100 t't. subiect distmzces, multiply all speeds by
4 (l/l0o x 4=I/2r).
*PAN to stop motion.
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T h e l k o f l e x l f o ' s s h u t t e r s p e e d c o n b e C h o n g i n g t h e s p e e d s o f t h e l k o f l e x l o .
s e e n f r o m o b o v e i n t h e w i n d o w .
Crroosr\c rFrE Busr Snurrnn Spnrn
Frotrl the motion chart, you can choose the correct shutter speed
rvhich rviil stop action and thus prevent the image from becc,,riring
blurrecl- You will find that slow-moving objects do not r.equire fast
slleeds.Slow speeds generally allow you to use a narrow iris gpeni'g
n hich rt.ill produce a gain in overall sharpness.A faster shutter .p""i
requires a wider iris opening. Consequently, the depth of sharpness
w ill be verv shallow. The choice of iris opening can procluce an over-
all sharpness or an out-of-focus background. As an example, land-
scalleswith trees or people in the foreground usually require a narrow
opening ancl thus a slow shutter speed to produce an overall depth
of sharpness.A portrait. on the other hand. may look better with a'
out-of-{ocus background. The wide opening needed to produce this
out-of-focus background must be coordinated with a rapid shutter
speed so that the lens opening-shutter speed relationship will rernain
correct.
Action pictures may require the fastest speed of your Ikoflex
Sr nchro-Compur shutter ( l,i 500 second) to stop the motion.
Your Ikofler is equipped with a Svnchro-Compur shutter. The
shutter is uttiversalh-famous for its accuracv. The built-in flash en-
ables the shutter to be s\.nchronizeclsuccessfulh with all fornrs o{
flashlarnps or fl ashtubes.
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T h e w i n d i n g l e v e r f o r t h e l o ' s d e l o y e d - o c t i o n r e l e o s e T h e s h u t t e r r e l e o s e
c o n b e s e t o n l y i I l h e s y n c h r o - s w i t c hi s o n X . w i l l o p e r o t e o n l y i f
t h e f i n d e r h o o d i s
o p e n .
SvrclrRo-ColrpuR Srtlirrrn SpcEDS
Your Ikr,flex IIa Sy'nchro-Compur shutter has speeds of B. l. 2.
5. 10, 50' 100- 250, and 500. The Ikoflex Ia has a Prontor-SV shutter
rvith a top speed of 300. The numbers are actuallv frac;tions referring
tcr parts of a second. For instance the 5 means I /5 second. the 25
rneans I,i25 second. the 500 means l/500 second.
Both the S1-nchro-Compurand the Prontor-SV shutters have only
a B setting. The B means that when the shutter release is pressed. the
shutter mechanism rvill open and remain open only as long as pressure
is maintained. As soon as the pressure is released, the shutter will
close. The B. also knorvn as "Bulb," setting is used for short expo-
sures up to three or four seconds.
Time Expo..ures (T) can be rnade with either shutter, usirrg a
special self-locking cable release which has a set screw to hold the
cable releaseplunger down" When the set screw is released.the shutter
H'ill close.
Bulb and Tirne exlrosures are a valuable aid in scientific pho-
tographr. nhere long exposures must be made. Thel' are also useful
for photographing firervorks where the shutter relnains ol)en fn,r a
longer period to catch the whole action of a skvror:ket.
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Check the model and edition against your equipment.
PDF verified 2026-10-10.