Taking flash pictures

When the light is poor some form of auxiliary lighting will be required. This is why your Zenith has a built-in synchronizer which enables you to use either electronic or bulb/cube flashguns. There are pros and cons for each type - if you think you will only be taking occasional flash pictures (at party times etc) then a bulb or cube gun is best. since its advantages of low initial cost, compactness and lightness in weight may well outweigh the nuisance factor and high running costs of having to use a new bulb for each picture (or a new cube for each four pictures). For the more serious photographer an electronic gun is the best bet. since in many cases nowadays it too offers compactness plus almost unlimited life (the tube lasts for several thousand flashes and gives dozens or even hundreds of flashes on a set of batteries some can even be powered by mains supply or mains rechargeable nickel-cadmium batteries that further cut down on running costs). More advanced model seven boast a built-in mini-computer which automatically regulates the duration of the flash according to subject distance for perfect exposure. We recommend you to consult your Zenith camera dealer for advice on the best type of gun to suit your needs-here we can only give guidance on the procedure and technique of flash photography

1. Make sure the Flash Synchronization Selector [6] is fully aligned with the appropriate setting 'X' for electronic flash, 'M' for bulb and cube flash

2. The Shutter Speed Dial [5] must be set at 1 /30th second whether using bob/cube or electronic flash.

* The shutter will not synchronize correctly (i.e. will not open at the time the flash is at its brightest) if the wrong setting or any other shutter speed is used.

3. Small lightweight flashguns may be safely clipped into the Accessory Shoe [13] on top of the camera. Some electronic guns being heavier may need a separate mounting bracket or 'flash bar' which screws into the Tripod Bush [35] at the bottom of the camera

4. Plug your flash gun into the Flash Synchronization Socket [7] making sure its tip is pushed in firmly.

* The short burst of light from a flash is too brief to be measured under normal circumstances, so exposure for flash photography is governed by the sensitivity or speed rating of the film in use, light output or power of the gun and its distance from the subject. This is why most modern flashguns of whatever type, have calculator dials or scales on them which indicate the correct aperture according to film speed and distance. Obviously the type of calculator dial or scale will vary with each make of gun, so consult the instruction book supplied with your unit, or your dealer for exact information the general operating rule however is . . .

5. Look through the viewfinder and focus on your subject. You can then find from the calculator dial/scale the correct lens opening for the actual camera-to-subject distance that is shown by your lens' Distance Scale [26]. The Aperture Ring [24] must then be set accordingly. Remember that with the Hellos 44 and Industar 50 lenses the aperture must be closed down manually after focusing.
 

*  Do not press down on Shutter Release Button [2; unless actually taking a flash picture since this will fire the flash even if the Transport Lever [1 ] has not been wound. However, there will be no loss of film should this happen.

*  If the flash unit does not fire when you press the Shutter Release Button [2] make sure that the lead is securely plugged into the Flash Synch. Socket [7] and that the Selector [6] is properly set in the appropriate position. With electronic guns also check that unit is switched on and with bulb or cube guns that. (a) the bulb/cube is pushed fully home and (b) the battery is still fresh (most such guns have a battery check device).

*  Always make sure Transport Lever [1 ] is fully wound before a new bulb is inserted into a bulb flash gun that is connected to the camera.

*  When not using flash, the Synchronization Selector [6] may be set in either the 'X' or 'M' position.

Your Zenith camera has a built-in self timer that trips the shutter after at least a 7 second delay thus enabling you to get into the picture yourself. Here is how to use it . . .

1. Support the camera on something firm, a tripod is best. but any stable surface such as a nearby table or shelf will do.

2. All main controls are set as normal. i.e. Wind Film Transport Lever [1 ] then frame and focus on the general subject area. Select the required shutter speed and close the lens opening down to the required aperture (with the Zenith EM you must first set the Lens Auto/Manual switch [36] to the 'M' position).

3. Turn the Self-Timer Lever [10] downwards in an anti clockwise motion until no further movement is possible. (As you move this Lever on the Zenith EM camera you'll see an 'M' sticker beneath it which is there simply to remind you to set this camera's lens to the Manual position as previously mentioned.

4. Now press the Self-Timer Release Button [9] and move into the picture area as quickly as possible. The lever [10] will slowly return to its normal position releasing the shutter automatically during its travel.

*  Make sure the Self -Timer has been fully wound before pressing the Release Button [9] as otherwise the shutter will not operate. ( If this happens just move the SeIf-Timer Lever downwards again-fully this time! -and press theTimer Release Button again.
 
 

*  If you decide not to use the Self-Timer after moving the lever down, simply take your next picture by pressing the Shutter Release Button [2] as normal. Then before winding Film Transport Lever [1 ] press the Timer Release Button [9] and the timer will return to normal position. NEVER leave the self timer lover in the 'wound' position for extended periods.

*  An extra tip: if the shutter speed is set at 'B' and the self -timer mechanism is used you will obtain a 'time exposure' of between 1 and 5 seconds. The actual time of exposure will vary from camera to camera, so we suggest you determine the time for your particular camera, as it may well come in handy to know when taking pictures in dimly lit conditions.

*  If required, the Self -Timer can also be used in conjunction with a flashgun (of either type) observing of course the previous notes on flash photography.

Changing lenses

Your Zenith camera is fitted with a Universal 42mm thread mount (except for some very early Zenith B and E models which had a 39mm thread mount). A range of 42mm mount preset diaphragm lenses, designed primarily for the Zenith E & B but usable on the Zenith EM in Manual mode, is available from your dealer. You are also able to choose from literally hundreds of lenses made both by other camera manufacturers and independent lens makers.

To remove a lens just grip the whole barrel firmly and give it about three turns to the left (anti clockwise). To attach a lens simply screw it firmly into the camera's mount in a clockwise direction; when it stops, give it a slight extra twist to ensure that it is securely attached.

Note: - when refitting lenses with an auto-manual control, such as the standard lens fitted on the Zenith EM, make certain that the lens is set to the 'A' position before taking further photographs. This ensures that you will be able to frame and focus easily.

*  Thread mount lenses, particularly those of different manufacture to the camera, may sometimes fit with the aperture and distance scales slightly to the right or left of the center position. This does not indicate any defect in your camera or lens and in no way affects the camera/lens operation.

*  Take care not to expose your camera's interior to dust, dirt or moisture when the lens has been removed. Always replace the lens in the body as soon as possible (or use a body cap obtainable from your dealer). When removing or storing lenses, protect them from accidental damage by placing them face down and if possible, attaching a rear lens cap (again obtainable from your dealer but usually included with accessory lenses). This latter point is particularly important with lenses having an automatic aperture mechanism since you should always avoid putting undue pressure on the metal control pin at the rear.

*  Only standard Automatic Lenses with a single pin operating the aperture mechanism can be used with the Zenith EM. Lenses designed specifically for use with more advanced methods of electrically or mechanically coupled automatic systems, which have extra keying levers on the mounting flange, should not be used (see illustration).
 
 

*  All modern big hi -quality lenses such as that fitted to your Zenith camera are made from special grades of optical glass. During the manufacturing process small bubbles almost inevitably occur within the glass. but these have no adverse affect whatsoever on the functioning of the composite photographic lens.

Caring for your camera and accessories

Your Zenith is a ruggedly-built camera designed to provide many years of dependable performance. If you want the longest service and best performance, always treat your camera and accessories as you would any precision instrument - with care and respect!

*  First and foremost keep them clean! Your camera should be kept in its carrying case whenever possible. The case is designed to permit all operating functions, except loading/unloading, to be performed while the camera is inside. It wilt help protect your camera and lens from dust, dirt, moisture and light knocks against hard surfaces the natural enemies of all cameras.

The Zenith EM camera can be carried outside its case if preferred [your dealer can supply an accessory neck strap which attaches to the body eyelets [8] & [21], but if it is, take extra care to guard it against bumps and jolts. Remember too, that on the beach sand and sea-spray somehow seem to get everywhere; even a closed carrying case needs extra protection (a large polythene bag is quite good ).

The lens in particular. which can be quite easily scratched, should be protected at all times - an Ultra-Violet filter is very good here since it needs no exposure correction and can therefore be kept on the lens almost permanently as protection against dust and the weather.

*  When cleaning becomes necessary as it almost inevitably will with outdoor use, any accumulated dust in the camera body can be lightly brushed away with a soft brush, or preferably blower-brush. Don't forget to keep the Exposure Meter Window [23] clean by the same means, as otherwise accuracy of the meter is likely to be impaired. Exterior metal parts can be cleaned with a soft clean cloth moistened with ether or absolute alcohol. NEVER touch the lens or mirror surfaces with the hands - fingerprints diminish optical efficiency and due to natural skin acidity may in time damage the delicate optical coating of the lens and surface silvering of the mirror - only an air blower (bulb type or similar) should be used for removal of dust. Any stubborn traces of dirt or condensation left on the lens after this can be removed by lightly wiping over the surface with a clean soft piece of lint-free fabric or cotton (or a pad of surgical cotton-wool on the end of a matchstick) that has been dampened with absolute alcohol, ether or ether spirit mixture; any smears can be removed with a dry soft cloth. NO ATTEMPT should be made to clean the mirror or viewing screen by wet means -air cleaning only is allowed and this is usually best left to a specialist.

*  Protect your camera from extremes of heat. or humidity. Never leave it inside the glove compartment or boot of a car - on a hot day temperatures of 100 C can build up and most important NEVER leave your camera out in the open sun. Heat is bad for the film and camera lubricants and the lens can act as a burning-glass causing damage to the camera s interior. Also prolonged exposure to intense sunlight can adversely affect the Selenium Cell! that powers the meter on Zenith EM and E Models.

*  Storage - If your camera is likely to be left unused for some time (several days or more) always make sure the shutter and self-timer mechanisms are released first. When wound. these mechanisms are under strong spring tension; by releasing them you eliminate the tension and avoid any undue strain.

Keep the camera enclosed in its carrying case with the lens cap on too. Do not store in humid conditions unless a suitable drying agent, such as silica gel in a sealed container, is placed alongside it.

If you do not use your camera regularly, and especially before going on holiday or an important occasion such as a wedding etc., we recommend that you run off a test film making sure that all variable settings including the self-timer mechanism are used.

Your Zenith camera is designed to give you thousands of pleasurable photographs. Like any precision instrument, your camera's controls must

be operated correctly for best results. Should you at anytime experience any apparent malfunction with your camera check the following handy troubleshooting chart. Chances are you will be able to solve your own problem on the spot.

Rewind Release Ring [3] (Zenith EM Only) not turned fully to the right (clockwise).
 
 

If this happens . . .	Here is why . . .	And how to correct it . . .
Prior to loading, Film Sprockets [32] free-wheel and do not turn when Transport Lever [1] is turned	Rewind release ring [3] (Zenith EM only) not turned fully to the right (clockwise)	Turn Rewind Release Ring completely to the right until no further movement is possible.
After loading, Frame Counter [4] skips two or more numbers after being set to '0' position.	Film Transport Lever [1 ] not fully wound before counter is set to '0' position.	Advance Transport Lever fully before setting counter to '0'
Shutter Release Button [2] does not trip shutter	Film Transport Lever [1 ] not fully wound.	Always operate Transport Lever in two strokes. It will stop mid-way during the second stroke assuring you that shutter is completely wound.
Exposure Counter [4 ] 'skips', counting incorrectly.	See above or Counter set before Transport Lever  was wound.	See above,  always wind set Transport Lever before setting counter.
Film Transport Lever [1 ] does not stop after two or more strokes.	Rewind Release [3] (Zenith EM only) not turned fully clockwise so that three dots are lined up. Shutter Release Button [2 ] not turned fully clockwise (clockwise) to the right	Turn Rewind Release Ring and Shutter Release Button completely to the right, until no further movement is possible.
Self-Timer does not trip shutter.	Self-Timer Lever [10] not fully wound. Transport Lever [1 ] not wound.	Wind Self-Timer Lever fully until lever points downwards with no further movement possible. Always ensure Transport Lever is fully wound before setting Self Timer Lever.
Lens does not close down to indicated aperture when Self-Timer is used (EM only).	Auto/Manual Switch [36] on lens not set  on 'M'.	Move Auto/Manual Switch to 'M' whenever Self-Timer is used.
Flash unit fires when Shutter Release is partially pressed, or does not fire.	X' or 'M' Indicator [6 ] not aligned correctly.	Move Indicator fully to 'X' position for electronic flash or M' position for flashcubes and bulbs.

If anything should go wrong with your Zenith and the proceeding chart has not got you out of trouble. NEVER attempt to mend it yourself-you could turn a minor adjustment into an expensive repair.

Remember that your Zenith and its accessories are backed up by top-class service facilities where factory-trained specialists are available to put things right, quickly and inexpensively.

Composition or. . . taking better pictures

Composition is concerned with what you put into your picture and where; its final control lies in your hands. A slight amount of extra thought and/or effort on your part can often turn what would have been an otherwise ordinary-looking photograph into one which is stunningly attractive. There are so many factors involved that probably thousands of books have been written on this aspect alone however here are some basic picture-taking tips that will help you take better pictures starting right from your very first roll of film . . .

*  Isolate your subject - Concentrate your viewer's attention on the subject of your photograph, move in as close as possible. filling the viewfinder frame and eliminating all extraneous foreground and background detail. Remember that you can safely compose direct in the viewfinder, you see what the lens sees (in fact there'll be a little more actual film image as previously mentioned due to the viewfinder's built-in safety margin). Another way to eliminate extraneous detail and gain impact for your subject is to use the "differential focus" technique described on page 20. With some subjects (e.g. sporting events, wildlife, distant objects of all kinds) you're unable, or it's inconvenient, to get in close - here a telephoto lens scores as it 'compresses'' space making distant objects appear closer. Taking in less of the field of view it also teaches you to be selective in choice of subject and viewpoint.

*  Keep it simple - a few bold masses nicely contrasting with each other are more pleasing to the eye than a confusion of small detail. Aim to achieve balance more than symmetry. Have objects of uneven size balancing each other rather than a geometric arrangement of equal sized objects. Choose surroundings and backgrounds carefully those that complement your subject rather than take interest away from it. A person standing in front of a fussy background such as a building (unless it is 'thrown out of focus') is seldom as attractive as a close-up of the same person against a background of trees or clear sky.

With color - Complementary colors suggest harmony - clashing colors suggest conflict. Pastel shades with a tiny, brightly-colored accent can be more effective than masses of strong color. The camera is not as selective as the eye, which is why a bed of mixed f lowers is rarely a good subject for color film.

*  Try to include something in the foreground of landscapes. A picture of distant scenery will often be improved just by a bush, a rustic gate or trees in the foreground. People too, add life and impact to all kinds of outdoor photography - a photograph of a winding country lane is good. add a person walking down that lane and the picture may very well be great. (If nobody's around, get into the scene yourself by using the camera's self-timer'

*  Shoot from higher and lower angles Taking pictures of small children ? Get down to their level - literally. Kneel down, so that your camera is at eye-level with the child (instead of aiming down). The result, again, will be a much more interesting, natural-looking photograph. Taking pictures of a group of people ? See if there are stairs nearby so you can shoot from a higher angle. Each person in the group will be more visible than if you shot them at eye level.

*  Avoid tilting the camera to include the top of a tall building. In the finished picture it will look as if the building is falling over backwards. Always use a wide-angle lens for best results when you want to take in a broader field of view than is possible with your standard lens. (Sometimes of course perspective distortion like this can be used to good effect for subject impact).

*   Ask your subjects NOT to look at the camera -Pictures of people are usually much more natural looking when the people are doing something. and looking at what they're doing. A picture of a do-it-yourself handyman absorbed in a project is going to be more interesting - and a better photo -than a picture of the same person -I standing up, staring at the camera. (Chances are, his expression will be a lot more relaxed and natural too). When your subject has forgotten about the camera is when you'll probably get your best pictures. -

*   Don't be afraid to experiment - For example ~ a silhouette of a person watching a sunset can be much more attractive than an ordinary photograph -'' of the same scene.

*   Look for unusual subjects and viewpoints. A picture of a famous building or monument may well be attractive in its own right so take it, but also take a picture of people looking at it or a reflection of it in a nearby window or even some close-up details of it against a clear sky etc. Bad weather can sometimes lead to very good pictures I A child gazing through a rain-splashed window, the play of bright lights in the water at the curbside, a figure walking through a snowstorm. Use your imagination, make your own 'rules' as you progress. Your pictures will be far more interesting, far more eye-catching.

Choosing and using accessories

The range of ancillary equipment available for your Zenith (both from the USSR and a multitude of other sources) is so vast that we can only give very brief details here of the when, why and how of choice and use.
 

Wide-angle Lenses - are available in focal lengths from 1 6mm to about 35mm, the shorter the focal length the wider the area covered. They are used in any situation that requires greater-than normal area coverage, e.g., landscapes, interiors, architectural photography etc. In space-inhibiting situations they allow you to retain sufficient of more distant surroundings or background to show relationship to an important close- up subject. Generally a 28mm or 35mm type is found most useful since they're relatively inexpensive, usually have wider maximum apertures, and are less prone to distortion than the shorter focal lengths.
 
 

*   A feature of wide-angle lenses is their extended 'depth-of-field', useful in landscape work especially but a possible disadvantage when it comes to ascertaining correct focus (e.g. the microprism spot in the Zenith EM viewfinder may not disappear entirely). Focusing is often easier if you first set the lens to its minimum distance setting. then raise the camera to your eye and turn the focusing ring as quickly as possible until the image appears sharpest. (If you start with the lens at or close to the correct focusing distance, or hold the camera to your eye for a long time, it will probably be more difficult to distinguish the point of sharpest focus).

Telephoto Lenses are available in focal lengths from 85mm (1.5 x magnification compared to standard lens) to about 1000mm. A 135mm lens is generally found to be most useful, certainly for candid photography (children at play, people strolling, street huskers etc.), as in most cases you'll find you get a large enough image on the film, and, because you're further away than normal, more pleasing perspective and some beautifully relaxed and natural expressions. For longer range work (e.g. stadium sports, animals) a 200mm or even a 300mm lens could be a useful addition.

*  Remember that telephotos magnify not only the image but also any camera or subject movement correspondingly, so (a) always use the fastest possible shutter speed (as a general guide a minimum speed roughly equivalent to the lens's focal length - e.g. 1/1 25th sec for a 1 35mm lens) and (b) if you're without a tripod try to find ways of bracing yourself to hold the camera extra-steady during exposure (e.g. stand with your body firm against a wall or rest both elbows on the top post of a fence). Where ever you are, try to find a position that gives camera and lens the best possible support; this slight additional effort will pay off in sharper clearer telephoto pictures.

*  When using lenses of 200mm focal length or longer there may be some slight ''cutting off" effect on the left hand side of the film image but this will probably be masked off by the slide mount or in printing.

Close Up Photography comes easy with your Zenith. Many pictures (say of two or three flowers, book or magazine illustrations) can be taken without any accessory at all - just turn the Focusing Ring [12] of your standard lens to its minimum distance and move your camera towards the subject until the viewfinder image is at its sharpest . . . you'll find you can fill the frame with an object around 6- " x 10 ~ in area. For smaller subjects you need to get closer by using a supplementary close-up lens screwed into the filter mount of your standard lens or extension tubes or bellows unit inserted between camera and lens.

Supplementary lenses are easier to use since they don't require any increase in exposure - set against this though they do reduce the camera lens's fine resolving power at the edge of the field unless the aperture is stopped well down. They are usually available in powers of 1. 2, or 3 dioptres; the higher the number the closer you can approach your subject (consult your dealer for the best type to suit your needs).
 

Extension tubes allow photography at even closer range than supplementary lenses. Normally sold in sets of 3 varying lengths, they can be used singly or in any combination to provide a number of fairly definite magnification steps, allowing you to fill the frame with subject sizes from about 2.7 " x 4 " to as small as 1- " x 1 " (life size). A bellows unit offers even further advantages since magnification is considerably greater and also continuously variable over a wide range (ideal for really small and even live subjects like insects).

Subjects ranging from about 0.8 " x 1.2 ~ to 0.4 " x 0.6 " (2.5 times life size - or even greater depending on lens in use) will fill the viewfinder frame.

*   Since both extension tubes and bellows units make the light rays travel a greater distance as the lens is moved further from the film, they require an increase in exposure over that indicated by a meter reading. The increase required varies proportionately with the degree of extension and the focal length of the lens and can be found from the full data tables usually provided with tubes and bellows. This slight inconvenience in operation over the use of supplementaries is offset by the fact
that optical performance of the camera lens is not affected in any way and that a greater and more varied magnification range is obtainable.

Photomicrography - yes, you can even take pictures through a microscope with your Zenith !

other than a rigid tripod-or copy-stand to hold your camera, complete with lens, over the eye-piece of the

microscope. For more professional results and at higher

magnifications the camera body

should be attached direct to the microscope by means of a 42mm thread mount CA-3 Microscope Adapter (obtainable through your dealer or direct from Zenith House).

Lens Hoods help prevent stray light rays (from outside the picture area) from entering the lens and causing flare due to reflections from internal camera and lens surfaces -they generally improve picture contrast and are certainly essential if pictures are to be taken against any strong light source. Both folding rubber and rigid metal typos are available from your dealer and these vary in shape and size according to lens focal length. (NEVER use a hood intended for long focus lens with a shorter focus lens).

Filters are discs of colored glass or gelatins that are used to create special effects or improve rendering or contrast with color or black and white films. A selection of the most useful typos is shown opposite.

*  To compensate for the light absorbed by the filter, an increase in exposure is required (except for 1 A and UV filters). To obtain this, either (a) determine exposure in normal way, then open up lens the number of f/stops shown, or (b) divide ASA Film Speed by the 'Factor' listed, set the resultant (lower) film speed on your Exposure Meter or Flash Calculator, and then determine and set exposure in the normal way. (Consult film instructions for recommendations for specific film types.)