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|1. Open camera by . turning lock lever on bottom of camera away from "lock" (see Figure 8), and pulling up the end of the camera back nearest the lock lever. Remove the back completely from the camera. (See Fig. 9.)|
|2. Return rewind release to normal position (2 dots together). Next, turn the sprocket (see Figure 10) in either direction with your fingers until it locks. Press film wind release button and turn winding knob until slot in film take-up spool is toward you. Pull rewind knob up as far as possible.|
|3. Holding film magazine in the left hand, insert 3. end of film firmly into slot in take-up spool. (See Figure 11.)|
| 4. Holding right thumb on spool to prevent film pulling out, move film magazine to left end of camera and drop into its recess, allowing film to pay out from magazine as necessary. (See Figure 12.) |
CAUTION: Do not pull any more film from the magazine than necessary. To do so may result in fogging the first picture on the roll. Push rewind knob down.
|Figure 13 shows film in proper position ready for winding (after camera back is replaced.) Note that edge of film is even with lower end of take-up spool so that entire bottom edge of film is parallel with bottom of camera.|
|5. Replace camera back. in doing this, insert end with wide latch at left end of camera and swing closed as though it were hinged (Figure 14). Turn lock on bottom of camera to lock position.|
6. At this point it would be well to check the shutter . and make certain that it is closed. Then, holding thumb of left hand on rewind release button, turnwinding knob in direction of arrow until exposure counter clicks. This indicates that the film perforations have engaged the sprocket and started rotating it. Now release button and continue to turn winding knob until it locks.
7.Press wind release button again and start to turn . film winding knob. Remove thumb from wind release button and continue winding until the winding knob locks. Film for the first exposure is now in place.
8. Set counter dial on number 1, turning it counter clockwise. You are now ready to make your first exposure.
|9. After each exposure, the shutter trip signal on top of camera (Figure 15) will show red. Repeat direction 7 to move unexposed film into position. After you have done this, the signal will show white indicating that the camera is ready for the next picture.|
As with any camera using 35 mm. film magazines, the exposed film must be rewound back into the magazine before it can be removed from camera. It is important there after the exposure counter indicates you have made the 16 or 29 exposures (depending on which length of film you are using) not to continue winding film' since to do so would tear it from the magazine and necessitate darkroom unloading.
Unloading 2. Turn rewind knob in di rection of arrow and continue turning until all the film is rewound back into the magazine. When the counter stops operating you will know that this has been accomplished. 3. Remove camera back. 4. Pull up rewind knob and remove film magazine. T o r e l o a d, repeat loading instructions.
1. When you have finished taking exposure number 16 (or 29 in the case of the 36 exposure roll) turn rewind release so that the dot is on "R" (rewind). (See Figure 16)
2. Turn rewind knob in di rection of arrow and continue turning until all the film is rewound back into the magazine. When the counter stops operating you will know that this has been accomplished.
3. Remove camera back.
4. Pull up rewind knob and remove film magazine. T o r e l o a d, repeat loading instructions.
Care of your Stereo Realist Keep your camera clean. Brush out the interior occasionally with a soft brush to remove dust. Remove any bits of film that may become lodged in the take-up spool slot or any other place. It is necessary that the lenses be kept clean. Be careful not to touch them with your fingers. They may be dusted with a soft, clean, camel's hair brush or cleaned more thoroughly by breathing upon the surface and gently wiping with lens tissue. Do not attempt to remove any of the lenses. Cameras in need of repair or adjustment should be returned to the manufacturer.
Keep your camera clean. Brush out the interior occasionally with a soft brush to remove dust. Remove any bits of film that may become lodged in the take-up spool slot or any other place.
It is necessary that the lenses be kept clean. Be careful not to touch them with your fingers. They may be dusted with a soft, clean, camel's hair brush or cleaned more thoroughly by breathing upon the surface and gently wiping with lens tissue. Do not attempt to remove any of the lenses.
Cameras in need of repair or adjustment should be returned to the manufacturer.Mounting your pictures
For use in the Stereo REALIST Viewer, the pictures taken with the REALIST Camera must be mounted in the form of slides 1 5/8 x 4 inches in size with the individual frames on 2 1/2 inch centers. We recommend that you obtain the REALIST mounting kit and do this simple task yourself. This kit contains a device for cuffing the film strip into individual frames, a jig for mechanically ailgning the pictures and heat sealing them to the masks. These supplies are also available separately from your dealer.
If you prefer to have your pictures mounted for you, send them to the David White Company, using the printed forms supplied for that purpose (one such form is included with your camera) and carefully following the directions. Your pictures will be returned to you in cardboard mounts ready for viewing. For more permanent protection they may be easily removed from these mounts and bound in glass in the conventional way without special apparatus.
Two types of masks are available for mounting Stereo REALIST slides. The "regular" mask is for general use and produces an apparent "window" at a distance of approximately ten feet while with the"closeup" mask, which is used for portraits and other close-up pictures, the window appears about three feet distant.
When taking a picture, whether with a stereo camera or a single picture camera, there are only two things to determine and set distance (focus) and exposure (shutter speed and diaphragm).
The coupled rangefinder of your REALIST makes the setting of the focus easy and quick. Instructions for the operation of this control have been given on page 7 Be sure that you fully understand the matching of the split field and take a little extra time and care to be sure you have the exact focus each time. The result will be definitely better pictures. When the view being photographed includes distant objects of importance (over 100 feet) best results will be obtained by setting the focusing dial to the hyperfocal distance for the diaphragm stop being used. (See table on page 17) All objects will then be in focus from one-half this distance to infinity.
The other setting - exposure - is made up of two things: the size of the opening which admits the light (diaphragm stop) and the length of time the shutter stays open (shutter speed). The exposure required will depend upon the sensitivity or "speed" of the film being used and the amount of light falling upon the subject being photographed. The film speed may be found from the instruction sheet that comes with the film or from tables published by the film or exposure meter manufacturers. The amount of light is best determined with a photo electric exposure meter, although various calculating charts are available which work fairly well under ordinary conditions.
Having determined the film speed and the amount of light, you have the choice of any of the combinations of diaphragm stop and shutter speed settings which give the proper total exposure. In deciding which to use, consider the type of the subjects with little or no motion permit slower shutter speeds and smaller diaphragm openings, giving greater depth of field; that is, sharpness through a longer range of distances. (Table on page 17.) Moving objects require faster shutter speeds in order to "stop" the action.
Remember, the smaller the diaphragm opening (the smaller openings have the larger numbers), the greater the depth of field; the faster (or shorter) the shutter speed, the better motion will be stopped. You will soon gain enough experience and judgment to enable you to choose the proper combination of these two factors to suit any set of conditions.
The instructions up to this point apply equally well to either stereo or single picture cameras. In the matter of composition, camera angle and viewpoint, however, the stereoscopic camera offers much greater range and flexibility. Since the picture seen in the viewer will be so nearly like the original, anything that looks good to you in life will make a good picture. At will, you may hold the camera level, point it up to include tall buildings or point it down for close-ups of flowers. Aim it in any direction you would look with your own eyes and you capture what your eyes saw. Since you are now photographing things in their true spatial relationship you may let objects occupy their normal positions in space. Often your pictures will be more interesting if you purposely include foreground objects such as trees, flowers. or fences.
In composing your pictures, take them from the viewpoints that look good to you at the time, with the assurance that they will look the same later when you view them in the stereoscope. You are no longer bound by rules of composition designed for flat pictures. Yours is now a new experience in photography with almost limitless possibilities. In the stereoscope you will see not a picture but the thing itself reI created in all its original I beauty.
It has not been the purpose of this booklet to present a complete treatise on taking pictures, but instead to explain the operation of the Stereo REALIST Camera. For further information we suggest that you read one of the many available books on the general subject of photography.
CLICK HERE FOR THE DEPTH OF FIELDCHART AND HYPERFOCAL TABLE
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