Balda Baldessa GUIDE

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BA LDESSA
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[- CONTENTS
Page Page
The Baldamatic-Baldessa Using an Exposure Meter
Series 45
4 Shutter Speeils and
Baldamatic and Baldessa Movement
Evolution 48
6 Aperture and Depth of
Hondling the Baldomatic and Field 49
Bsldesss Zone Focusing 50
8
Holding 8 Flash Photography 52
Carrying 10 How to Use Flash 54
Viewing and Focusing t0 Exposure Guide Numbers 54
Shooting i3 C_qlnera Care in Tropical
Lolding and Unlooding Climstes 56
t4 Using Alternative Lenses
Loadine t4 57
Unloading l6 Wide-angle Lens 57
Cutting off Exposed Telephotography 57
Leneths l8 rocuslng 58
C$itinc Partly-exposed Viewing 58
18 CIos.e-Up Photogrophy 59
Other Film Packines t9 Ltose-up lrnses 59
Handling, Winding-and The Proximeter 60
Trimming the Film l9 Fucts ond Figures
Loading Standard Cassettes 20 6l
Conversion of Feet and
Loading with Bulk Film or Inches into Metric
Darkroom Refills 20 Units
Loading with Daylight 6l
Dayiight Exposure Values 62
Refills 22 Zone Focusins 63
Films snd Filters 23
Shutter Speedl to Arrest
Black-and-White Film 23
Movement
Filter Factors
63
Colour Film 24 64
Colour Reversal Film 26 Apertures with Clear Flash
Colour Negative Film 27 Bulbs 64
Colour FiLn Speeds 27
Apertures with Blue Flash
The Choice of Colour .i Bulbs @
Film 28 Parallax Compensation
- in
Filters for Black-and-White Close-ups 65
FiLn 2g
Fo_cusingivith Close-up
Filters for Colour Film 30
Lenses 65
The Polarizing Screen 30
Proximeter Close-up
Focusing
Exposure 32 35 mm. Black-and-White
65
Aperture and Speed 32 Films 66
Choosing the Combination 4l 35 mm. Colour Films 67
Time Exposures 44 Co-nversion of Film Speed
The Self-timer 44 Systems 67
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The Green Section between pages 16 and l7 Page
THE BALDAMATIC AND BALDESSA: MODEL BY MODEL
The Buldtmatic Prontormut and I ...

Loading 2 - Unloading 4 - Shooting 4 - Special Controls 6
The Baklomatic II,III, and Prontormat II

Loading l0 - Unloading l0 - Shooting f 0 - Special Controls
I2
The Super Bsldamatic and Super Baldsmatic I ''' l4

Loading 14 - Unloading f4 - Shooting 16 - Special
Controls l7
The Baldessa I, Ia, and lb... l8

Loading f8 -
Unloading 18 - Shooting 22 - The Baldessa
Ib Exposure Meter 22
The Bsldamatic III Lens System 24
Lens changing 24
Some iterns of equipment or certoin moterials mentioned in this book mdy not be freely
avoilable in every country, tmport ond morketing conditions vary widely, and ore outside
the control of the photogrophic retoiler.
@ Focal Press Ltd., 1961

Printed in Great Britain by Keliher, Hudson and Kearns, Hatfields, London, S.E.l.
THE BALDAMATIC-BALDESSA SERIES
The Baldamatic and Baldessa cameras are a range of
miniature models of the same basic body design, with
features to make this a series of universal, dependable,
easy-to-handle instruments of modern conception. The
negative size is about 1 x lf in. (24 x36 mm.), using
standard perforated 35 mm. film. A single load in a
standard cassette will take up to 36 exposures. The film
can be loaded and unloaded in daylight.
The body is a precision light-weight die-casting covered
with a special imitationleather fabric. The interior is black
anodised, the outside metal parts are satin chrome finished.
Eyelets are provided for fitting a neck strap.
The various Baldamatic and Baldessa models are dis-
tinguished by different built-in features such as exposure
meters and coupled rangefinders, by different types of
shutters and lenses, and by different degrees of automatic
operation.
The dimensions of the Baldessa, as well as Baldamatic
Prontormat and Baldamatic f, are al {ft x2[ in.; the
weight is 201 oz. (model l, 16+ oz.). The other Baldamatic
and Super Baldamatic cameras are f-in. higher (af x 3$ x
2| in.) and weigh 22L, oz.
Lens and shutter are rigidly fixed in a metal tube, which
is connected to the main body, except in Baldamatic III,
which has an interchangeable lens mount. This does away
with opening or closing of the camera.
The camera is fitted with a folding quick-wind transport
key on the left-hand corner of the base of the instrument,
which, with one half-turn, transports the film, advances the
film counter and simultaneously tensions the shutter.
An interlock mechanism automatically prevents double
exposures or blank frames. A large, conveniently placed,
body release key facilitates smooth, shake-free releasing.
An accessory shoe is mounted on the top.
The automatic film counter is in the base plate and geared
to the film transport key, showing the number of exposures
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BALDESSA AND BALDAMATIC EVOLUTION
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still remaining on the film. A film indicator is let into the
base plate around the tripod bush, which is centrally below
the lens. A depth of field indicator is fitted. r*
The camera back is removable: the film is advanced by a
double sprocket on to a permanently fixed take-up spool.
The film is held in position by a pressure plate in such a
way that only the section outside the picture area touches
either the pressure plate or the glide rails on the film
aperture, thus avoiding any scratching of the film.
Rewinding the film is simplified by a folding crank.
Turning the reversing lever from the T (transport) to
R (rewind) position automatically swings the rewind crank
into position.
The original Baldessa I is fitted with an optical direct
vision viewfinder and the lens is focused by rotating the
* front cell.
pl
$: The viewfinder of all other Baldamatic and Baldessa

cameras incorporates a bright-line frame, which is projected
into the image area, showing a margin of the subject outside
the picture field for easy observation.
A special feature of this finder is its full parallax com-
pensation, as the line frame on most models is coupled to
the distance setting. The result is that at any distance, the
r correct image is seen without any parallax error.
s.
&.,
The Baldamatic and Baldessa (except Baldessa I, Balda-
"!.& matic Prontormat and Super Baldamatic) models have a
I:
built-in rangefinder combined in one eyepiece with the view-
finder, and coupled to the lens. A photo-electric exposure
meter is built into all Baldamatic and also into Baldessa
Ib cameras.
L
F
&' Baldamatic and Baldessa Evolation
f The {irst Baldessa appeared in 1957,without rangefinder or exposure
3
meter. An improved model in 1958 shows some rearrangement of the
controls. In 1958 the Baldessa Ia appeared with a built-in rangefinder,
followed in the same year by the Baldessa Ib, which had in addition a
built-in photo-electric exposure meter.
The Baldamatic, first introduced in 1958, is of similar design to the
Baldessa Ib, but with the exposure meter coupled to the aperture and
6
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shutter controls. This model was re-nafiied Baldamatic I in 1960 to

distinguish it from the other Baldamatic models, which were then
---iF
introduced.
Baldamatic Prontormat (1960) has the exposure meter.coupled
to a scale-less shutter and aperture and has no rangefinder. This model
wal followed by the Baldamatic II Prontormat,.a similar design jlo the
model I, but with built-in rangefinder. A second version of the Balda-
matic If has a Prontor SLK ihutter on which individual speeds and
apertures may be set. The aperture in use is visible in the viewfinder.
'The Baldamatic lII. also introduced in 1960, is a Baldamatic lI with
individual speed and aperture settings and interchangeable.lenses..
The Supei Baldamatic (1960) has no rangefinder, but a built-in photo-
electric eipot.t.e meter,'whiih is coupled .to the shuttel speed and
aperture aird can be set for fully automatic operation. Pressing the
sfiuttei release then selects the coirect aperture, which also appears in
the viewfinder.
The Super Baldamatic I (1960) is a Super Baldamatic with a coupled
rangefinder.
HANDTING THE BATDAMATIC AND
BALDESSA
_ In- order to simphfy the description and handling of the
Baldamatic and Baldessa models without betng con/usbd by
dffirent .features oJ' individual models, this gLide "has been
diyiled into a general section which applies- to all models,
while the
-requirements and consequently dffirent handling of
eoch model are found on the green pages.
For convenience, a symbolic reference system is also used in the
general section. Wherever the sign ! appears, further details will be
fgund.in the c-aqryrq pages of the green section for each camera type.
The sign !
similarly refers to lens details in the green section. The
appropriate pages are marked accordingly in the bottom left- or
right-hand corner.
Holding
It is obvious that the camera should be held as steadv as
possible, as the slightest shake, even if not seen in'the
negative, will become visible in the enlargement. Always
stand with your legs apart.
FOR HORIZONTAL PHOTOGRAPHS hold the
your nose while looking
camera horizontally against
through the finder with one eye. Keep both elbows close to
the body. Press the right thumb against the back of the
camera, let the right index finger rest on the release, while
the right middle finger, bent downwards, presses against the
camera front. The left hand grips the camera body on its
left side.
FOR VERTICAL PHOTOGRAPHS rest the camera
uprjsht against forehead and nose, gripping the camera top
with the right hand, right thumb against the camera back-.
The left hand holds the camera from below, left thumb on
the release, the camera resting in the palm of the left hand.
To release the shutter, press the release with the ball of
the finger (or thumb). Use finger pressure only and keep
the hand and its grip on the camera steady. The actual
pressing down must be done slowly and smoothly. The
slower the exposure time, the smoother must be the release.
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HOLD! NG
Press the camera firmly

against your forehead,
Right: The hold for vertical

pictures is very similar, with
just a slight change in the
grip of the right hand, to
provide better camera sup-
port from below.
and stand with your feet
slightly apart.
Eelow: To keep the camera steady during the exposure,

support your body whenever possible against some-
thing solid (for example, a tree) or prop up your
elbows against your knees or other support. Use a
cable release for time exposures from a tripod. The
release screws into the socket below the release key;
on sorne of the earliest Baldessa models the cable
release socket is on top of the camera (right).
jff
For series of photographs in quick succession, keep thumb
and index finger of the left hand on the quick winding key
and support the camera when releasing by holding the key
steady. This enables you to wind on without loss of time,
immediately after release. With some practice, up to 3
exposures per second can be obtained.
For slow exposures in the hand it is advisable to rest the
elbows or at least to lean the body against some support
in order to avoid shake. In this way lll5, l/8 and even l/4
sec. can be risked without camera shake. Such a support is
also desirable for faster exposures. A slightly unsteady hold
may easily lead to blurred pictures.
The use of a tripod is necessary when taking time exposures
and it is also recommended for speeds from l/15 to I sec.
For upright photographs from the tripod, use a ball-and-
socket head to allow changing from horizontal to vertical
position.
Carrying
To be ready for quick action it is best to carry the camera
on a short strap around the neck so that it lies on your
chest. Lifting it up to the eye then is a matter of a split
second.
For convenience and protection, the camera should
always be carried in its ever-ready case. The case is designed
to hold the camera ready for use. A retaining screw holds
the camera securely in the case, even when open.
Viewing and. Focusing

The viewfinder of the Baldamatic and Baldessa (except
the earliest Baldessa I) shows the subject in almost natural
size. Looking through the finder, you can clearly see the
brilliant reflected frame which outlines the exact field of
view of the lens.
However, the area just outside this field of view is also
visible. You can thus watch the immediate surroundings of
the subject to be taken.
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VIEWING AND FOCUSING
Most Baldamatic and Baldessa models have a

built-in rangefinder coupled with the focusing
mov€ment of the lens. The central measuring field
of the rangefinder (the bright circle) shows a
double image as long as the lens is incorrectly
focused. To set the lens correctly, turn the
focusing mount until the two images in the range-
finder fuse into one. This at the same time adjusts
the lens automatically to the correct subiect
d istance.
35t
"
50t"'
135"'
The finder of most models has automatic parallax com-
pensation. The white frame is coupled to- the distance
setting and moves downwards (when the camera is held
horizontally) at nearer distances.
The Baldamatic III with interchangeable lenses shows
also the field of view of the wide-angle and telephoto lenses
!y _means of additional reflected image framei within the
finder field.
, The viewfinder of the original Baldessa I is of the direct vision type

: and should be held close to -theDo not attempt to turn the camera
-the eye.
' !o the right or left, away from eye, nor muit the eye be moved
from the centre of the eyepiece to find the limitation oi the field oi
' view. This "spying round the corner" is deceptive. as only that section
seen in the finder with the eye close to and in-the centre oi the eyepiece
will appear on the negative. The field of view given is exact ror pfioto-
graphs taken. at 9 to 12 ft. distance. At infinity a trifle more appears
on the negative than is seen through the findir, and at 3* to'6'ft. a
shade less. To avoid parallax at w-orking disrances of 6 fi. and less,
discount about one-tenth of the top of the image (the same amount
appears additionally below). yith ilre camera hdld'horizontattl,. fti
corresponding-amount should be discounted on the long side'of the
picture alvpy fr94 the lens (the same amount appears aiditional on
the lens side) with the camera held vertically.
fi
To obtain a sharp negative, set the distanoe from the
camera to the subject as accurately as possible. On Balda-
matic and Baldessa models without 6uilt-in ransefinder.
estimate or measure it with a separate rangefinder "or othei
" aid. On these mg_de,ls, the distance is sei by turning the
focusing ring. u-ntil the_required distance figuie is opplsite
the distance index mark.
On the models with coupled rangefinder, the latter
measures the distance and at the same time brings the
camera lens automatically into correct focus. To uie the
fngefinder, look-through the combined viewfinder/range-
lqder eyepiece. You will see a bright circular field,'and-in
this field the image of the subject appears double. On slowly
turning the lens focusing mount, the two images will fusi:
into one. Stop when the two images are superimposed;
- the
lens is then focused accurately on the subject.
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The orthodox way of rangefinder focusing just described

is suitable for stationary or very slow-moving subjects. For
action subjects a different method of focusing is suggested.
There you set the camera and the rangefinder to a distance
at which the subject will be at a given moment, or focus on a
spot which the subject has to pass. Watch the scene in the
rangefinder, and press the release button when the two
rangefinder images coincide, indicating that the subject has
reached the pre-focused point.
- )Iith.
subjects liable to react self-consciously (e.g.
children), set the lens to a suitable distance an-d then
approach your subject quickly, exposing as soon as the two
images coincide in the rangefinder.
Alternatively, focus on some object which is the same
distance from the camera as your real subject, but in a
different direction. When the range is found, swing the
camera round and press the release button as soon as your
subject comes into the field of view.
See also p. 50 for quick shooting with zone focusing.
Shooting
Practise the following operations first with an empty
camera until you can do them practically automatically.
1. Work the film transport. This advances the film counter
and tensions the shutter.
2. S9t th9 exposure. Adjust the shutter for the right amount
of light for the subject conditions (p. 4l). On cameras
' with built-in photo-electric exposure meier, the meter
indicates the setting required oi even (on the automatic
models) sets the controls.
3. Select the aperture-speed combination you want to use;
smaller aperture for greater depth of field (p.49) or faster
speed to movement (p. 63). This is nbt required on
I automaticarrest
models.
4. Focus and determine the picture area to obtain a sharp
picture and the view you want.
5. Release the shutter gently.
l3
TOADING AND I.INLOADING
The Baldamatic and Baldessa models use standard per-
forated 35 mm. film. It is available in various packings
(see also p. 19), the most convenient being standard day-
light cassettes. These are light-tight containers with a ready
cut and trimmed length of film for 36 or 20 exposures and
are loaded into the camera in daylight.
Avoid loading or unloading the camera in brilliant sun-
light, though. Choose a shady spot or do it in the shadow of
your own body if nothing better is available.
Loading
1. Open the camera back. Simultaneously press down the
two locking catch buttons on the side of the camera. The
camera back will swing open and can be lifted away.
2. Insert the film cassette. Insert the recessed hollow end of
the cassette with film over the spindle in the cassette
chamber, with the protruding film end pointing towards
the take-up spool. The cassette will drop easily into the
chamber.
3. Fix the film end to the take-up spool. Pull out about 4 in.
of film until the first perforation on the lower part of the
film protrudes from the cassette. Turn the take-up spool
by its serrated flange until the slot is facing you and insert
' the film end into the slot with the perforation hooked
over the tooth just inside the slot.
Turn the take-up spool by its serrated flange until the
fllm is just taut and its top perforation engages in the
sprocket wheel.
4. Close the camera back. Insert the lip of the camera back
into the recess of the camera body and press the back
against the camera body, when it will click shut.
5. Set the film counter. Lift up the winding key in the
camera base and turn the serrated wheel protruding on
. the edge of the camera back in a clockwise direction until
the letter A appears in the cut-out.
When a fllm with only 20 exposures is inserted, set the
l4
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LOADING
Digitally signed by Mike Butkus
Mike Butkus
DN: cn=Mike Butkus, o=Butkus
camera manuals, ou=butkus.org,
email=mike@butkus.org, c=US
Date: 2020.10.18 15:37:07 -04'00'
Top left: Open the camera back.

Top centre: Insert the film cassette into the cassette chamber
Top right: Fix the film to the take-up spool.
Centre /eft: Tighten the film on the take-up spoot.
Centre: Close the camera back.
Centre right: Set the film counter to A.
Eottom /eft: Advance the film and release the shutter twice.
Bottom right: Set the film indicator.
film counter to No. 22. The film counter indicates the
number of exposures still to be taken.
6. Make two blind exposures. Now wind the film transport
!9y, release the shutter, and wind the key again. The
film counter will now indicate No. 36 (or 20), showing
the first film frame is ready to be exposed. While winding
the key, observe that the centre of the rewind handle-,
which is marked with a red cross line, rotates. This
$ indicates that the film advances correctly from the cassette
to the take-up spool.
7. Set the film indicator by turning with two finders the fine
serrated ring around the tripod bush in the centre of the
camera base until the type of the film inserted is visible in
the cut-out. This has no effect on the handling or working
of the camera, but enables you to refer to it at any later
date, to remind you of the film type in the camera. On
models with built-in photo-electric exposure meter, set
the film speed for the meter as well.
Unloading
When the whole film has been exposed, the fiIm counter
will indicate No. 1. If you didn't set the film counter, the
fact that you cannot wind the winding key any further
indicates that all the film has been used up. If the key stops
half-way, this has no ill-effect, and the key can be returned
to the correct position as soon as the rewind crank has been
opened up (see below). Do not force the winder if you feel
a resistance, otherwise you will tear the film ouf of the
cassette.
1. Set for rewinding. This disengages the transport sprocket
in the camera. Push the reversing lever (which at the same
time acts as counterpoise to permit the camera to stand
on a horizontal base) below the front of the camera, from
the position T (transport) to R (rewind). This dis-
gngages the rewind crank, which can now be lifted up.
- Rewind the film. Turn the rewind crank in the direction
2.
of the arrow engraved on it until you eventually feel a
resistance as you come to the film end hooked on the
Continued on page 17 after the green section.
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I
TI{E BATDAMATIC AND BALDESSA:

I MODEL BY MODEL
These green pages deal with the individual Baldamatic and
Baldessa cameros in detail.
- Sglf-contqineyl sections .for each model cover points

loading, unloading, shooting, and specifc controls.
of
For a fuller explanation of aspects common to all Balda-

matic and Baldesso cameras, compare these sections w-ith the
main text under the ,same heatlings.
The Baldamatic Prontormat and r The super Baldamatic and Super

Loading 2 Baldtmatic I
Unloading 4 lEgite 14
shooting
Controls
;6 ,1j8lxu- i2
Special eontrols
Special 17
The Baldessa I, fa and Ib

The Baldamatic II, III and Loading 18
Prontormat II Unloading t8
Loading t0 Shooting 22
Unloading tn The Baldessa Ib Exposure
Shooting ;:
ru Meter 22
The Baldamatic III Lens System
Special Controls 12 Lens Changing 24
.THE BATDAMATIC PRONTORMAT
AND BATDAMATIC T
These models have a bright-frame viewfinder showing the image in
natural size. A release key is fitted to the camera front with a cable
release socket underneath. A depth of field indicator around the
lens mount (which is calibrated both in feet and metres) shows the
extent ofdepth offield for any aperture and distauce set on the camera.
A photo-electric exposure meter is built into the camera top and
coupled to the shutter setting, the meter control window is in the top
of the camera.
THE BALDAMATIC PRONTORMAT is fitted with a lf in.
(45 mm.) Color Baldanar f 2.8 lens, a three-element triplet. The front
cell focusing mount focuses down to 3.3 ft. The shutter is a scaleless
Prontormat and is "X" synchronized for flash. The exposure meter is
coupled with this shutter. Lining up the setting marker with the meter
needle position selects an aperture-speed combination according to the
available light, but does not offer a choice of combinations. The
selection is continuous from 1/30 sec. at f 2.8 to l/300 sec. at f 22,
apertures and speeds being interlaced. The aperture combination is
not indicated and there is no shutter speed oi aperture scale (except
for flash). Time exposures can only be made at f 22. The camera has
no rangefinder. The brighrline frame finder has a parallax indication
line for close-ups.
THE BALDAMATIC I is fitted with a li in. (45 mm.) Xenar or
Westanar /2.8. This is a four-element triplet design with cemented
rear element, in a front cell focusing mount which focuses down to
3.3 ft. The shutter is a Synchro-Compur or Prontor SLK (on earlier
models). The Synchro-Compur has speeds from I sec. to 1/500 sec.
(Prontor SLK to 1/300 sec.) and B, an exposure value scale, XM-
synchronization for flash bulbs and electronic flash at all speeds. and
a delayed-action release. The built-in photo-electric exposure meter is
coupled to the shutter speed and aperture setting. The bright{ine
linder has automatic parallax compensation. A rangefinder is built-in
and coupled to the lens setting.
BOTH MODELS accept 40.5 mm. screw-in filters and lens hood.
FOR CLOSE-UP WORK from 39 to 12 in. close-up lenses are
available, and for Baldamatic I also the Proximeter which permits use
of the built-in rangefinder for close-up work.
Loading
l. Open the camera back.
2. Insert the film cassette.
3. Fix the film end to the take-up spool.
4. Close the camera back.
5. Set the film counter,
I 2 BALDA]TIATIC I
T- www.butkus.us
THE BALDAMATTC PRONTORMAT
Meter window
Focusing mount
Meter cell
Release
DOF indicator
Flash socket
Setting ring
Film speeds
Apertures
Reversing lever
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Transport key
Film counter
the setting marker, the latter being co.n-

The meter window shows the expos.ure merer needreând iilibrited in ieet and metres, and carries the
trolfed by the main settin g ring. TIg"f#;t;;; rit"^-t itinJiiator automaticallv show the zone of sharp-
focusins knob. Ttre't-io"p'oi;;;;. .f rhl;l;'ii ol netJ the camera front incorporates a coble releose
ness at the exposure setiing in use. The-rJreose
i"y_on
socket. The flosh,".iJl"t& fl"ttr-pirg..'The moin setting ring adiusts the exposure
-;i;;."itrt"nJ"ri ;;;;.;;;:;;""d-combinatiois
range
tr'J oi.superimposing the setting
(dayrieht or frash) ai; the ASA or DIN
marker with the merer needre. rne ft.-+".a .ing on.th" rnrrter sets appropriate
?"i lasrr ih"ts. The reversing lever uncouples the
value. The supplementary operture,;;i"';;-;"J-inirg cronk. Half a tu rn of the trdnspo rt key advances
film transport and "f it " rinrJ time r"il;;iil the in the camera base'
the film and tensio-n, lrru rr,rtter. lt film counter
"li"-"a""nces
BALDAMATIC I 3 T
6. Make two blind exposures.
7. Set the film indicator.
8. Set film sped on the exposure meter of Baldamatic Prontormat by
depressing the small milled stud on the base of the shutter rim and
turning it until the arrowhead on this rim points to the appropriate
film speed. There are two scales, calibrated in ASA anii in DIN.
On the Baldamatic I, turn the disc on top of the exposure meter
window by one of the two red studs on it until the required film
speed appears in the cut-out window for ASA or DIN speeds.
Unloading
l.
Set for rewinding.
2. Rewind the film.
3. Open the camera back.
4. Remove the cassette.
Shooting
l. Work the film transport key.
2'S.t th" exposure. On the Baldamqtic Prontormat, turn the large
milled ring of the shutter rim so that the symbol of the sun between
two yellow lines is on top, opposite the black diamond (f) mark.
Poini the camera at the subiect without obstructing the honeycomb
window of the meter cell. Turn the milled shutter rim until the red
setting pointer in the cut-out meter window in the camera top is in
line *ith the white meter needle. If the white needle disappears
behind the black mask at one of the ends of the window, the light
available is inadequate to take the photograph.
ON THE BALDAMATIC I pre-set a suitable shutter speed, e.g.
1/60 sec. for all general outdoor work. Turn the two black serrated
keys on the shutter rim until the required shutter speed is opposite the
black line on the lens mount barrel. The black figures on the shutter
speed ring indicate fractions of seconds 1:1 sec.; 2:l sec.;4:
* sec.;60:1/60 sec.: 125:1/125 sec., etc. (For green figures, see
under Special Controls.)
Now take the exposure reading: point the camera at the subject,
keeping your fingers clear of the honeycomb window of the meter
cell. Press the two black keys on the shutter rim backwards towards
the camera body and turn them to the right or left, until the red
setting pointer (in the cut-out window) covers the thin white needle
of the exposure meter. Look straight down on to the pointers.
As you superimpose the two pointers, the correct aperture figure
automatically moves opposite the set shutter speed (against the
triangular -e. mark). The exposure is now correctly set.
The black masks in the corners of the meter window indicate the
measuring limits. If the white exposure meter needle is behind these
marks, the light is too strong or too weak for the measuring range
of the meter. You may, however, still be able to make an exposure
at a longer or shorter shutter speed than originally selected.
. 4 BALDAMATIC I
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THE BALDAMATIC I
Meter window
Film speeds
Focusing mount
Release
Rangefinder
DOF indicator
Flash socket
Aperture and
speed scales
Reversing lever
Rewind crank
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Transport key
XM-lever
Film counter
The flm speed setting is on the top of the exposure rneter cell, next to the window for the meter
needle. The setting marker is linked with the aperture control. The releose key incorporates a cable
release socket. The rongefinder is combined with the viewfinder and coupled to the focusing hov€-
ment. The focusing scale is calibrated in feet and metres, and carries a focusing knob. The automatic
de1th of field indicotor is coupled to the aperture scale and shows the sharp zone at any setting. The
operture ond shutter speed scoles are cross-coupled, the linking can be disengaged for setting different
exposure levels. The reyersing lever uncouples the film transport and at the same time releases the
rewind cronk. Half a turn of the tronsport key advances the film and tensions the shutter, and also
advances the flm counter in the camera base.
The above details refer to the Baldamatic I with Synchro-Compur shutter. An alternative model,
with Prontor SLK shutter, differs only in the arrangement of the scales on the lens.
iifrffi$,l*
ffi
K
Shooting with the Baldamatic l. From left to right: Advance the film and tension the shutter with the
transport key; pre-select a suitable shutter speed; press down the black key on the aperture ring
and move the latter to superimpose the setting marker with the meter needle; view and focus the
subject through the rangefinder; release.
B* BALDAMATICI5I
3. The aperture-speed combination is automatically selected. by the
shuttei on the baldamatic Prontormat. No alternative combination
is possible. On the Baldamatic I you can change the aperture or the
shirtter speed, by turning the shutter speed ring by the two black
keys, withour'pr6ssing thEm backwards, until the aperture or speed
reduired is opfosite t[e black mark; the exposure will remain correct.
4. Focus and determine the picture area. On the Baldamatic Prontormat,
turn the front lens mount to bring the required distance figure-
corresponding to the subject distance-opposite the black diamond
mark (O) on the lens mount rim.
ON fHe SaLDAMATIC I look through the viewfinder and watch
thelmage,especiallyin the bright centre circle- Turn the focuqng knob
on the irdnt rim of the lens to make the double outlines in the centre
circle fuse into one. The camera is now set to the correct distance.
The subiect field reproduced on the film is that outlined by the
brieht-line frame in tlie viewfinder. The two red index lines behind
thidistaoce scale point to the beginning and end of the depth of
field zone for the aperture set.
5. Release the shutter genflY.
Special Controls
FOR FLASH SHOTS with the Baldamatic Prontormat, turn the
main shutter ring until the red aperture scale on the shutter ring
imarked with a fllsh symbol) is ontop. The shutter now remains set
io it:O sec. (for shots *ith flash bulbs or electronic flash), and you can
iit i"AiuiOuil apertures as required. For this pulpose, simply turn the
main iettl"g ririg until the appropriate aperture_ figure is opposite the
iust 5elow the finbbr *indow.-No other setting is required.
On the Iialdamatic I, set the lever on the side of the shutter to X
"-iio*tr"iO
- M
or for X- or M-sYnchronization.
FOR TIME EXPOSURES with the Baldamatic Prontormat turn
thJ laree shutter setting ring until the letter B is opposite the black
Aia-on? mark (O). The aperture is f 22 and not -adjustable.. On
oiessine the shutt'ei release, the shutter opens and remains open as long
is
- - vou keep the release dePressed.
On the -baldamatic I, s6t the index of the shutter speed ring t-o B'
Th;--B ietting is also obtained when the index points.to any of the
neri"s-to the left of the B setting. On releasing, the shutter will
".6"" -open as long as the release button is pressed down and closes
iemain
as roott as the pressure on the release is removed.
--iG ereen fisures indicate full seconds and are, in fact, the times for
*tti"tt iou muit keep the shutter open (by hand) at the corresponding
with any given exposure meter:e-ading--
apertuie-oBiAvnd-ecrtoN
--iHB RELEASE for self-portraits built into
thJ Svnchro-Compur or Prontor SLK shutter of Baldamatic I, _is
i,iorshl itto action by moving the lever on the lower- p-art of the
JhuttEr to "V". Tensiori the shutter (by advancing the film) first.
I 6 BALDAMATIC
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THE BATDAMATIC lfo m, and

PRONTORMAT II
These models have a bright-frame viewfinder with automatic
parallax compensation for close-ups, showing the image in 2/3 natural
size. A release key is fitted to the camera front with a cable release
socket underneath. An automatic depth of field indicator is fitted. The
built-in exposure meter is coupled with the aperture/shutter speed
controls; the aperture settings are visible in the viewfinder. A coupled
rangefinder is built-in and is combined in one eyepiece with the
viewfinder.
THE BALDAMATIC II PRONTORMAT is fitted with a 1* in.
(45 mm.) Color Baldanar f 2.8lens, a three-element triplet. The front
fl cell focusing mount focuses down to 3.3 ft. The scaleless Prontormat
shutter is X synchronized. The exposure meter is coupled with this
shutter. Lining up the setting marker with the meter needle position
(visible in the finder) selects an aperture-speed combination according
io the available light, but does not offer a choice of combinations. The
selection is continuous from 1/30 sec. at f2.8 to l/300 sec. at f 22,
apertures and speeds being interlaced. The aperture combination is not
iridicated and there is no shutter speed or aperture scale (except for
flash). Time exposures can only be made at f 22.
THE BALDAMATIC II is fitted with a 1* in. (45 mm.) Xenar
This is a four-element triplet design with cemented rear
f2.8 lens.
-element
in front cell focusing mount and focuses down to 3.3 ft. The
Prontor SLK shutter has ten speeds from 1 sec. to 1/500 sec. and B for
time exposures; it is fully XM synchronized for flash bulbs and
electronic flash at all speeds and has a built-in delayed-action release.
The viewfinder shows the aperture in use, in addition to the setting
control for the built-in photo-electric meter.
THE BALDAMATIC III is fitted with a 2 in. (50 mm.) Xenar/2.8
or Xenon /1.9 lens; this latter is a six-element design. The lens is
interchangeable with a quick-change bayonet mount; alternative wide-
angle andtelephoto lenses are available for this model. The lens is in a
hetical focusing mount and focuses down to 3 ft. The Synchro Compur
shutter has ten speeds from I to 1/500 sec. and B for time exposures,
is fullv XM flash synchronized for flash bulbs and electronic flash at all
speedi, and has a built-in delayed-action release. The rangefinder is
cbupled to the standard lens as well as to the interchangeable tele- and
wide-angle lenses. The viewfinder shows the field for the standard lens
and also for the tele- and wide-angle lenses.
All MODELS ACCEPT 40.5 mm. screw-in filters and lens hood.
FOR CLOSE-UP WORK from 39 to 1'2 in. close-up lenses are avail-
able and also the Proximeter which permits use of the built-in range-
finder at close range.
BALDAMATTC il, ilt 7 |
THE BALDAMATIC II PRONTORMAT
Release
Focusing mount
DOF indicator
Film speeds
Meter cell
Apertures
Rangefinder
Flash socket
Reversing lever
Rewind crank
Transport key
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Film counter
The releose key incorporates a cable release socket underneath. The rongefinder is combined with
the viewfinder and coupled with the focusing movement. The focusing mount is calibrated in feet
and metres. The automatic depth of field indicator shows the zone of sharpness at any exposure
setting. The main setting ring selects the exposure range (daylight or flash) and sets the appropriate
aperture-speed combination on lining up the meter needle and setting marker in the viewfinder.
The supplementary operture scale serves for flash exposures. The reversing lever disengages the film
transport and releases the rewind cronk. Half a turn of the flm transport key advances the film and
tensions the shutter, and also advances the film counter in the camera base.
re
i:iii1i"i?iti?'ii-1i-fi isii$
m
Shooting with the Baldamatic Prontormat ll. From left to right: Tension the shutter and advance
the film with the transport key; select the exposure range with the main setting ring; line up the
meter needle with the setting marker in the viewfinder; view through the finder and focus the lens
with the rangefinder; release.
r 8 BALDAMATIC ll, lll
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THE BALDAMATIC II
Exposure wheel
Focusing mount
Release
DOF indicator
Film speeds
Rangefinder
Flash socket
Exposure scales
Rewind crank
Reversing lever
Transport key
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Film counter
BALDAMATIC II, III 9 I

Loading
l. Open the camera back.
3. Fix the fiIm end to the take-up spool.
5. Set the film counter.
8. Set the film speed on the exposure meter of the Baldamatic II
Prontormat and Baldamatic II
by depressing the small milled stud
on the base of the shutter rim and turning it until the arrowhead
on this rim points to the appropriate film speed. There are two
scales, one calibrated in ASA and the other in DIN. On the Balda-
matic III, insert a coin into the centre slot of the film speed disc on
the top of the camera and turn until the required film speed in DIN
' or ASA is in the appropriate cut-out window of this disc.
(Inloading
1. Set for rewinding.
2. Rewind the film.
Shooting '
1. Work the fiIm transport key.

2. Set_ the -exposure. On the Baldamatic II Prontorntat, turn the large
milled ring of the shutter rim so that the symbol of the sun between
lyg yellow lines is on top, gpposite the black diamond mark (f).
Sight the subject_in the viewfinder. Without obstructing the honey-
comb window of the meter cell, turn the milled shutter rim uniil
the black meter needle at the left of the viewfinder lies between the
two prongs of the setting marker. If you cannot centre the black
needle between the.two prongs, the light available is inadequate to
take the photograph.
ON THE BALDAMATIC II AND III pre-select a suitable shutter
speed, e.g., ll60 sec.forall general outdoor work. On Baldamatic Il
turn the serrated shutter rim, on the model III turn the two keys on
the shutter rim, until the required shutter speed is opposite the 6lack
diamond-malk (a). The black figures in the shutter speed ring
indicate fractions of seconds: 1:1 sec., 2:! se*.,4:f iec., 60:
1/60 sec., 125:lll25 sec., etc.
Now take the exposure reading. Sight the subject in the view-
finder. Without obstructing the honeycomb window of the meter
cell, turn the milled black exposure wheel below the finder, until
the black meter needle at the left of the viewfinder lies between the
two prongs of the setting marker. If you cannot centre the black
needle between the two prongs, the light available is inadequate to
I BALDAMATIC II, III
'O
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THE BALDAMATIC III
Exposure wheel
Film speeds
Release
Rangefinder
Focusing mount
Lens mount
Flash socket
Exposure scales
Reversing lever
www.butkus.us Rewind crank
Transport keY
Lens catch
MX-lever
Film counter
The film speed adjustment is combined with a filter factor

setting for various filters. The exposure
wheel is coupled with the aperture rin]g'inJ *iirr
i't'i *..ing rn"it ". of the exposure meter'with visible
the
-;f " ."ble release-r"ii"l. The rongefn$r is coupled
in the finder. The releose key incorpo."-to oi at different
focusing mount. Th;;;l;;"tii alpirr fi;d'inaicotoi rtt"*r the zone scale' The reversing lever
sharpness
aperrure se*rngs. it. ,t utte*p"bj'tiil. i. .".up.fea with-the aPerture
disengages the film .i"îi".i-""0-ieleaset ihe ienind ,roit .
Half a turn of the tronsport key advances
coutnter. The lens cotch releases the inter-
tttu fii. 'itt"
the film and tensio;;il:"$ff;;,;;ffi;l
changeable tens on turning the "a"li,i.t
milleii;;;;;ii;g.i,ii. t'tx-l"ver selects the flash synchroni-
sation.
Shooting with the Baldamatic lll. From.left to right:,Tension the

shutter and advance the film with
wheet to line up the setting
the transport key; pre-select a.suitabl-e';i;t;; sp'eed; turn ih..*potureand focus the lens with the
marker with the meter needte in ttt-e-"L*-ri"i".;-"i""r"tii" *tii".t
rangefinder; release.
BALDAMATIC ll, lll ,l I
take the photograph. you may, however, still be able to make an
exposur.e oy cnoosmg a longer or shorter shutter speed than the
orgrnany selected onê. As yog.syperimpose the needlb and marker,
the correct,aperrure figure.(whicrryou ian read off i" ttriiiiLngr6
below the line frame, in the figd.er) automatically moves opposlte
the shutter speed on the control rin!. the exposure rs now correctly
set.
3. The aperture-speed combination is automatically selected bv the
shutter on the BaldamaticlI prontormat. No allernative conibina-
tions.are.possible. on the Baldamatic II you can ctringi thii-com-
bination by turning. the shutter ring (but not the eipoiure-wneet).
Move any pair-of shutter sqeed anii dperture oppositb ttre oiimona
ma1k.. .E.g., if you pre;selected_1/fQ sec. and the meiei iet fS
agarnst rt, you can use lll25 withf 5.6, llZ50 witl'f 4,1/30 with
jf lI, etc.,.as grvrlg an equally correct exposure. On Baldamatic III,
youcan,change the,aperture or shutter spbed by turning the two keyi
on the shutter speed ring until the aperture or ihutter 6.eo requir6o
l! opposlte the black mark; the exposure will remain cbrrect. -
-
4. Focus and determine picture area. Look through ttre vievrnnoer and
watch th_e image, especially in the bright ce-ntre circle. Turn the
Iocusmg knob on the front rim of the lens to make the double out-
lines in the centre circle fuse into one. The camera is nbw-ser to
the correct subject distance.
Th." subject field reproduced on the film is outlined by the bright-
,, fiame
Irne in the viewfinder. The two red index tines behindlhe
distance scale point to the beginning and end of the oeptrr-ol-neta
zone for the aperture set.
5. Release the shirtter gently.
Special Controls
FOR FLASH SHOTS with the Baldamatic II prontormat turn the
f{i :lr1t91 rile until the..red aperrure.scale on ttre strutiei--ring
(marked wrth a flash symbol) is on top. The shutter now remains set
to I /30.sec. (for shots with flash bulbs or electronic flash), and vou can
set individual apertures 3s-required. For this purpos,i, si-rilv-turn
the marn setting.ring until the appropriate apertursfiguie is brjposite
tne arrowhead Just below the finder window. No other setiing is
requrrecl.
on the Baldamatic rI and Baldamatic III, set the lever on the side
oftheshuttertoXorMforX-orM-synchionization
FoR TIME EXPOSURES with tie Baldamatic II prontormat
!qrn- t!9 large, shutter serting s it opboriie the
ring unril the letter
black diamond mark (l)- rhe qperture is f 22 and is noi'u'ojuriuut".
on pressing shgtter-release, the shutter 6pens and .emainiopetr as
long as v9g -the
kee-p the release d6pressed. Time exposures are best made
wrth,a cable release- (and with the camera supported on a tripod or
stano). I he cable release screws into the socket underneath theielease
key.
I t2 BALDAMATTC il, ttl
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On the Baldamatic II and III set the index of the shutter speed ring
to B. The B setting is also obtained when the index points [o any oT
the green figures to the left of the B setting. On releasing, the shdtter
will remain open as long as the release button is pressed down and
closes as soon as the pressure on the release is removed.
The green figures indicate full seconds and are. in fact. the times for
which you.must keep the shutter open (by hand) at iorresponding
aperture with any given exposure meter reading.
THE DELAYED-ACTION RELEASE for self-portraits built into
the Prontor SLK and Synchro-Compur of the Baldamatic II and III
is brought into action by moving the lever on the lower part of the
shutter to "V". Tension the shutter first.
ll
r
I
BALDAMATTC il, ilt t3 a

THE SI.]PER BATDAMATIC AND
] ST]PER BALDAMATIC I
These models have a bright-frame viewfinder with automatic
paiattii compensation for closE-ups, showing the image in 2/3 natural
-size.
A releaie key is fitted to the camera front wtth cable release
iocket underneath. A depth-of-field scale is engraved on,the front of
the shutter. The built-in exposure meter is coyqfep .to the.ape^rture-
itiuti.i spe.O controls, with the aperture setting vi-si-lrle in the viewfinder.
The Cbmpur Automat shutter can be set for fully automatic opera-
tion, so that on pressing the release the meter selects the aperture
aCcording to the available-light. On disengagi-ng the automatic qgypliiC,
inOiuiOuit selection of the shutter speeds and apertures is possible. The
shutter
-- is X synchronized for flash.
iHe SUpER BALDAMATIC is fitted with a lt in. (45 mm.) color
Baldaiar f 2.8. This is a three-elem€nt triplet. The front cell focusing
moJnf iocuses down to 3.3 ft. This camera has no rangefinder. The
ioiusins has also a three-point focus setting ("portraits",
;i;il;". mount
and "views') in addition io the normal distance scale'
"TAE sUPER BALDAMATIc I is fitted with a 1* in. (45 mm.)
xenar f 2.8. This is a four-element triplet. The frontcell focusing mount
ioiui"i down to 3.3 ft. This camera has a built-in rangefinder. scale The
ioc"iing mount has three-point settings and a normal distance
similar to the Super Baldamatic.
--BOiH
MOnnlS accept 40.5 mm. screw-in filters and lens hood.
FOn CLOSE-UP WORK from 39 to 12 in., close-up lenses are avail-
aUi.. itrJ S"per Baldamatic I can also be used with the Proximeter for
near focusing by rangefinder.
Loading
Z. fniert the film cassette.
6. Make two blind exposures. r
S. Sei tne flm speed on the exposure metgr. Depress the projecting
chromed stud on the shutter rim, and at the same time turn the liont
;iil"d ting of the shutter rim until the orange__d_ot engraved on it is
opposite t-he appropriate speed in ASA or DIN respectively.
Unloading
1. Set for rewinding.
2. Rewind the film.
I ,4 SUPER BALDAMATIC
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THE SUPER BALDAMATIC
Meter needle
Release
Rangefinder
Focusing mount
Speed ring
Aperture ring
Flash socket
Reversing lever
Rewind crank
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Transport key
Film counter
The meter needle indicates the actual aperture set by the automatic exposure control. lf the light
is insufficient for an €xposure, the needle moves into the red field. All this is visible in the view-
finder. The releose key incorporates a cable release socket underneath; pressing the key auto-
maticalfy selects the correct aperture for a pre-set shutter speed. The rangefinder is coupled with the
focusing movement of the lens. The lens mount carries zone focusing symbols as well as a distance
scale in feet and in metres. The shutter ring selects the shutter speed to be used. The operture ring
either sets the camera for automatic operation, or selects any aperture with the automatic control
disengaged. The reversing lever disengages the film transport and releases the rewind cronk. Half
a turn of the transport key advances the film and tensions the shutter, and also advances the ,?rm
counter in the camera base.
The above details apply to the Super Baldamatic l; the standard Super Baldamatic is closely similar,
but has no rangefinder.
Shooting with the Super Baldamatic models. From left to right: Tension the shutter and advance the
film with the transport key; pre-select a suitable shutter speed (preferably l/125 second) and set the
aperture ring to A for automatic operation; set the distance (focus with the rangefinder on model l)
view the subject through the finder and check that the meter needle is visible and clear of the red
field; release.
SUPER BALDAMATIC 15 I
Shooting
1. Work the fiIm transport key.
2. Set the exposure. For automatic operation, turn the rear milled
ring of the shutter mount (next to the camera body) until the red
leter A is opposite the red dot on top of the shutter, where it clicks
into position. By rotating the shutter speed setting ring, it is
possible to choose any shutter speed engraved on the rim (1/30 to
1/500 sec.). The most generally useful speed of lll25 sec. is marked
in red. The exposure meter automatically sets the correct aperture
on pressing the release button. The aperture in use is shown by the
needle in the field on the left of the frame line in the vievlfinder.
Should the needle not be visible at all, the light is too weak or too
strong for a correct exposure at the shutter speed set. It may, how-
ever, be possible to get a correct exposure by choosing a longer or
shorter shutter speed. Should the needle swing into the red field
when the shutter is at l/30 sec. the light is too poor to obtain a
correct exposure.
The figures on the shutter speed ring indicate fractions of seconds,
30:1/30 sec., 60:1/60 sec., 125:lll25 sec., 250:l/250 sec., and
500:1/500 sec.
3. The aperture-speed combination is pre-set by selecting the shutter
speed beforehand. It can, of course, be changed at any time, if you
want a different aperture to the one shown in the finder or a different
speed. Moving the red letter A on the aperture ring away from
the red dot disengages the automatic control; you can then set
apertures and speeds independently. A jagged scale then covers the
aperture scale in the finder.
4. Focus and determine the picture rreu On the Super Baldamatic tum
the front lens mount to bring the required distance figure, corre-
sponding to the distance, opposite the red arrowhead (r) on the
shutter rim. Alternatively you can use the zone focus settings
indicated by the symbol of a portrait, a group or a landscape. Then
look through the viewfinder; the white lines cover the field you will
get on the film.
ON THE SUPER BALDAMATIC I look through the viewfinder
and watch the image, especially in the bright centre circle. Turn the
focusing knob on the front rim of the lens to make the double out-
lines in the centre circle fuse into one. The camera is now set to the
correct subject distance.
The subject field reproduced on the film is outlined by the bright-
line frame in the viewfinder.
5. Release the shutter gently.
I ,6 SUPER BALDAMATIC
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Special Controls
FOR FLASH SHOTS disengage the automatic control by turning
the rear shutter ring away from A to the aperture required. The
shutter speed should be set to 30 on the speed scale for flash bulbs;
for electronic flash any speed may be used. The aperture indicator in
the viewfinder is out of action in this position and to indicate this fact,
a jagged scale is superimposed over it.
FOR TIME EXPOSURES set the shutter speed ring to B (opposite
the red dot). On pressing the shutter release the shutter opens and
remains open as long as you keep the release depressed. Time exposures
are best made with a cable release and with the camera supported on a
tripod. The cable release screws into the socket undemeath the release
kev.
SUPER BALDAMATIC .
'7
THE BALDESSA f, IA, and IB
These models have a depth-of-field indicator engraved around the
lens mount. They are fitted with a l* in. (45 mm.) Westanar or Balda-
nar f 2.8. These lenses are three-element triplet constructions. The
closest focusing distance is 3.3 ft. The Prontor SVS shutter carries an
exposure value scale with speeds from 1 to 1/500 sec. (earlier models to
1/300 sec.), B for time exposures, built-in delayed action and XM-
synchronization for flash bulbs and electronic flash at all speeds-
THE FIRST BALDESSA I has an optical direct vision viewfinder
and a release keyon top of the camera. Later models have the release key
on front, and are fitted with a brilliant frame finder. It has neither a
rangefinder nor exposure meter. The lens has frolt-cell focgsi4g mount.
THE BALDESSA IA has an optical viewfinder with bright-line
frame and automatic parallax compensation. The lens has a helical
focusing mount. The release key is on the camera front. The builrin
rangefinder is coupled to the lens setting, and operated by a focusing
wheel below the finder.
THE BALDESSA IB is similar to the Ia, but also has a built-in
photo-electric
^ ALL MODELS exposure meter calibrated in expolure values.
accept 32 mm. push-on or 30.5 mm. screw-in filters
and lens hoods.
FOR CLOSE-UP WORK from 39 in. to 12 in. close-up lenses are
available and for Baldessa Ia, Ib also the Proximeter which permits use
of the built-in rangefinder for close-up work.
Loading
8. Set the fitm speed on exposure meter of Baldessa Ib by turning the
inner disc by means of the button on it until the appropriate speed
(white numbers on black) in the cut-out segment is opposite the
arrowhead on the disc. Either ASA or DIN values can be set.
Unloading
l. Set for rewinding.
2. Rewind the film.
I ,8 BALDESSA
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THE BALDESSA la AND lb
Release
Focusing wheel
Rangefinder
EV lever
Shutter ring
Rewind crank
Reversing lever
Flash socket
Transport key
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XM-lever
Film counter
The rongefinder is coupled with the focusing movement of the lens thro.ugh the focusing wheel. The
latter cariies the distance and depth of field scales. The exposure value rever sets the exposure value,
as read offthe meter ring, on the shutter. The shutter ring selects alternative aperture-speed com-
binations. The XMJeyer selects the type of synchronisation or sets the self-timer. The releose key
incorporates a cable release socket underneath. The reversing lever d-isengages th-e film transport
and refeases the rewind crank. Half a turn of the tronsportkey advances the film, tensions the shutter,
and advances the film counter.
The above details apply to the Baldessa lb; the model la is simitar, but has no exposure meter (inset
on top).
Shooting with the Baldessa la and lb. From left to right: Tension the shutter and advance the film
with the transport key; set the exposure value (as read off the meter of the lb); select a suitable
aperture-speed combination; view the subject through the finder and focus the lens with the focusing
wheel; press the release key to expose.
BALDESSA 19 I
THE BALDESSA I
Release
Finder
Focusing mount
Exposure scales
Release
EV lever
Reversing lever
Rewind crank
Flash socket
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Transport key
XM-lever
Film counter
The front cell focusing mount.is.calibrated in feet and metres; a depth of field indicator is engraved
alongside. The aperture and shutter speed rings are cross-coupled; the shutter spe;d ring ielects
alternative aperture-speed combinations. The exposure .volue.setting leyer disengages the iperrure
speed coupling and sets alternative exposure values. The release key incorporalel a cable'release T
socket underneath. The XMJever selects the different types of synchronisation and also tensions ri
the self-timer. The reversing lever disengages the film transport and releases the rewind crank. cl
Haff a turn of the tronsport key advances the film, tensions the shutter, and advances the flm counter (r
in the camera base. tl
The above details apply- to the most recent model of the Baldessa l. An earlier modet (shown os inset)
e
had.only a single viewfinder window with no brilliant frame finder, and had the release key on rop
of the camera body with the cable release socket next to it.
Fr
m
br
SC
hr
Shooting with the Baldessa l. From left to right: Tension the shutter and advance the film with the or
transport key; set the exposure value; select an aperture-speed combination; set the distance; lir
release.
I 20 BALDESSA
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THE BALDESSA Ib EXPOSURE METER
Setting pointer
Meter needle
Exposure value scale
Film speed setrings

Meter setting ring
Th.e exposure meter of the Baldessa lb is.not coupled to th€ camera controls, bur indicates exposure
values on superimposing the setting marker with-the position of the merer needle.
.,.......'..,,.'.,
.'.'.'.'.'.t
..'.'.'.1
:.:.:.:.1
;:;:;:;:;:f;
ii:::i:::i:iii::Hil
For incident light readings, with the

meter pointing at the camera position to
be used from near the subject, a diffusing
screen clips over the meter cell. This
helps the mgter to take in all the light
gvgr _an angle of nearly 180o, being the
light falling on the subject.
BALDESSA 2I I
Shooting
l. Work the film transport key.
) Set the exposure value. The shutter rim carries a range of numbers
engraved in red from 2 to l'7. These are exposure values for correct
exposure. Each exposure value represents a range of shutter speed-
aperture combinations covercd by a single setting. To set the
eiposure value, press the serrated lever on the aperture ring, hold
it in this position, and rotate the milled shutter speed ring with the
other hand until the required exposure value on the red scale comes
opposite the red triangular mark beyond the green figure 60.
lntermediate exposure values, e.g., 10j, 1l'1, etc., can also be set.
The exposure value is obtained from the built-in exposure meter
ofthe Baldessa Ib or from an exposure table or a separate exposure
meter. I
3. Select the aperture-speed combination by turning the shutter speed

ring until the combination you want is opposite the triangular mark
below the finder. 'Io set the shutter speed and stop independently,
without using the exposure value, depress the serrated lever on the
aperture ring and set first the aperture required and then (while
still depressing the aperture lever) the shutter speed.
4a. Focus. To focus the Baldessa I without rangefinder, estimate or
!:!
i:
measure the distance of the subject with a separate rangefinder and :::
set this on the distance scale on the lens mount. :.:
On Baldessa Ia and Ib with built-in rangefinder, look through ;t

the viewfinder and watch the image in the bright centre circle.
Turn the focusing wheel on the camera front to make the double :ii
outlines in the rangefinder field merge into one. The camera is now :::
set to the correct subject distance.

4b. Determine the picture area on the Baldessa I through the finder;
with the later model I, as well as with the Baldessa Ia, Ib the view
reproduced on the film is outlined by the white frame in the finder. Ai
5. Release the shutter gently. ll
st
br
The Baldessa Ib Exposarc Meter l in
To use the built-in photo-electric exposure meter of the Baldessa Ib:

1. Set the film speed (see Loading, No. 8).
2. Point the camera at the subject, taking care not to obstruct the
honeycomb cell of the exposure meter.
3. Superimpose the setting pointer with the meter needle. Turn the outer
serrated ring of the exposure meter wheel until the red. setting
pointer in the cut-out window on front of the wheel exactly covers T,
the white instrument needle. If the white needle points to the left- m
AT
hand corner ofthe cut-out, no reading can be taken, the light being cl
too weak to register on the meter. Read off the exposure value (in al
cl
red numbers) in the cut-out on the top disc opposite the red triangular l€
mark. m
4,Set exposure value on the camera shutter (see Shooting, No. 2). tU
I 22 BALDESSA
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I NTERCHANGEABI-E LENSES
To remove the lens f rom the Balda-

matic lll press tlre catch below the lens,
and turn the milled mounting ring anri-
clockwise. Then lift out the lens. To insert
an alternative lens place it on the bayonec
chrnging mount with the red dot of the
lens opposite the red dot of the camera
mount. Let the lens drop into place and
turn clockwise to lock.
TENSES 23 |)
TIIE BATDAMATIC III LENS SYSTEM
The Baldamatic III standard lens can be removed as a whole and
replaced by wide-angle and telephoto lenses. These are coupled with
th'e rangefi-nder. ThJviewfinder-shows the correct view by means of
additional brilliant frames.
The standard lens, the 2 in. (50 mm.) Xenar f 2.8 is a four-compoqent
lens with cemented back element. The angle covered is 47" The lens
has a helical focusing mount.
The 2 in. (50 mm) Xenon/l.9lens is an alternative standard lens
of higher speed. It is a six-element anastigmat.
Th; 13 iir. (35 mm.) Curtagon f 2.8 increases the angle-of view to
64o, as compaied with'the 47" of the standard lens. It is a five-element
lens. The oirtside frame in the viewfinder, showing the largest field,
shows the correct area covered by this lens.
The 5* in. (135 mm.) Tele Xenar/4 reduces the angle of- view to
18|', giving a 2.7 times magnification compared with the standard lens.
It is'ifive--element lens. The inside frame in the viewfinder-showing
the smallest field-shows the correct area covered by this lens.
Lens Changing
To remove the lens, press down the lens catch (the flat lever) below
the shutter with the thumb of your left hand and at the same time turn
the lens mount by the large seirated ring anti-clockwise as far as it will
go. Now lift the whole lens out of the shutter.
- To fit a lens to the lens mount, place the red dot on the lens opposite
the red dot on the lens mount bayonet ring' Turn the lens clockwise
by the large serrated ring, past a-definite resistance till it clicks into
pirsition. When fitting anJ4lens, first turn the setting wheel until the
ied figure 4 on the apertuie scale is opposite the triangular mark .r.
a 24 LENSES
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UNLOADING
RT
-@
Top left: Before rewinding the fitm, set the reversing lever in the base of the camera to R. This
ar the same time releases the rewind crank.
Top centre: Turn the rewind crank to rewind the film into its cassette.
Top right: Open the camera back and remove the cassette with the film.
Bottom left: Fold down the rewind crank and press it against the base, at the same time move the
reversing lever back to T.
Bottom centre.' Close the camera back.
l7
tooth of the take-up spool. Turn on beyond this resist-
ance and give another two to three turns.
3. Open the camera back, explained under Loading No. l,
and fold down the rewind crank with its handle into the
hole of the base plate and keep it pressed down while
moving the reversing lever from R to T.
4. Remove the cassette, then close the camera back (Loading
No. 4), or reload with a new film.
Catting off Exposed Lengths

If a film which is only partly exposed has to be processed, set the
shutter for the next exposure and in the darkroom or in complete dark-
ness cut off with a pair of scissors the frame which lies in the film
aperture. Re-trim the remainder of the film (see p. l9), fix it again on
the take-up spool, and close the camera. It is ready for the next exposure
once the film counter has been set four numbers forward (the amount of
film lost through cutting and re-loading).
The re-inserting can be done in daylight. In this case a total of about
6 frames are lost, for, after inserting and closing, two blind exposures
have to be made to wind on the film length which was exposed to the
daylight.
Changing Partly-exposed Films

To replace a partly-exposed film by another one, for instartce if you
want to take a few colour photographs in between some black-and-
white shots, proceed as follows:
1. Check the number of exposed frames on the film counter.
2. Rewind the film, but stop immediately you feel a slight resistancp.
This resistance comes from pulling the film end from the take-up
spool. If the film is to be reloaded again, you must not pull the whole
film into the cassette, otherwise the film end would have to be
extracted by opening the cassette in the darkroom for subsequent
re-insertion into the camera.
3. Unload the re-wound film and write down the number of exposures
taken on the beginning of the film leader. Now you can load the
camera with any other type of film.
4. Reload the camera. When reloading, load the partly-exposed film in
the usual way (p. 14), but cover the lens with a lens cap or some
similar opaque object. Press the release and advance the film for the
initial blind exposures (p. 16, Loading No. O, and-with the lens
still covered-go on pressing the release and turning the transport
key to move on the frames already exposed before. Advance the film
in-this way until the film counter has reached the number of the
18
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frame you noted- before. To be on the safe side, it is advisable to

allow one more frame to pass.
The rest ofthe film can now be exposed in the usual way.
Other FiIm Packings

In addition to standard cassettes, 35 mm. film is also available in
various loose packings for loading into cassettes. This is a much
cheaper way.of using film as you do not have to buy a new cassette
every time with the film. The following packings are available:
DARKROOM REFILLS are lengths cut and trimmed for 36
exposures and have to be loaded into a cassette in total darkness (e.g.,
in a d.arkroom, a really wel! darkened room at night or a light-iigli
changing bag).
DAYLIGHT REFILLS are cut and trimmed lengths for 20 or 36
exp-osures which are qqun-d on to a centre spool (as ustd in the cassette)
and covered with a black paper leader strip to allow loading of 6
cassette in daylight.
BULK FILM is-supplied in lengths of 18 to ZW ft., and is the most
economical way of using film. A suitable length is cut off to be loaded
into a cassette in total {arlqnesp. Workiqs in total darkness for loading
darkroom refills or bulk film is not difficult. It is, however. advisablE
to p{actise filling with a dummy film first in daylight befoie starting
the darkroom work.
Handling, Winding and Trimming the Film
When handling the actual film, particular care must be taken not to
touch its emulsion (matt) side. Always handle it and wind on to the
ce-ntre spool -of the cassette by holding the film by either side of its
edge-, preferably between thumb and inilex finger. At the same time, it
iq of-1qr less imp-ortance -that the spot on which the loading is done
should be perfectly dry, clean and dust free.
- When using bulk .film in loading cassettes, the edge of the work-
bench can be marked with notches or drawing-pins tolndicate various
d.istances,let us say for 12,^2^!,39 exgosures otnm. This considerably
simplifies the measuring of film lengihs in the darkroom.
The film ends need trimming. At the beginning of the roll of film
make either a straight or wedge-shaped cut lor the centre spool of the
cassette and measure off the required length of film (see table, p. 20).
At the end of this make the curved cut for the take-up spool. The cut
should start between the fifth and sixth bottom peifoiation-when
emulsion is towards you-and must not go through b perforation hole.
The ready_-c_ut-film is-now spooled gn tlre centrelpool of the cartridge
or cassette. While winding on, hold the film only by its edges.
Also, take care not to press too hard on the film, and dbn't squeeze
the film-ends when drawing through the hand. Failure to take the first
precaution may result in fogging. while neglect of the latter precaution
may give rise to peculiar kinds of exposure effect known as'.,lightning
l9
flashes". These are due to electrical discharges, and appear as d-alk'
l'igiig tin". i"nning from the edge of the film towards the centre of the
picture.
LENGTH OF FILM REQU'RED FOR AN)', NUA4BER OF EXPOSURES
Nurnber Length of Number Leneth of Nurnber Length of

of fitm of fit^ of fitm
exposures required exposures required exposures required
in. cm. In. cm. in. cm.

| ilt 30 t4 3l* 80 27 51 130
2 r3t 34 ls 33 84 28 s2* 133
3 15- 38 15 34+ 88 29 54 137
4 )6* 4t tl lgf 92
96
30
31
5s* t4l
57 145
5 17* 45 18 37c.
6 re+ 4e le 3et l0o 32 s8* 148
7 20* s3 20 40+ t03 33 60 ls2
8 22' 56 21 42 t07 34 6l* ls6
9 222 60 22 43i ilr 35 63 160
lo 25+ 64 23 4s 14 36 64+ t64
|| 26i 68 2! 49+ I l8 37 66 167
t2 2el2 72 2s 48 122 38 67+ l7l
f3 30- 76 26 49+ 126 Including trimming
Loading Standard Cassettes

The majority of cassettes consist of a centre spool which. is in a shell
with ton and bottom cover. The film leaves the ahell by a light-trapped
;i;i. ih'" ielt.e rpoot can be removed from the s-hell by removing ofeither
iip oi U"iio- df tfr. cassette, according to the construction the
particular container.
Most cassettes are actually intended by their makers to be used once
oniu."unJ*iin ttti film originally suppiied in it. However, provided
itr.i'ui.i"uionuUtv rbUustt! made, and rhe light-trapping v'elvet slot
i;l; ;;;a-;;noitioh, these iassettes cail be reloaded ryanv times, and l. Cc
*iii gl"e ferfectly satisfactory results-r/ i andled careful ly' (whi<
with
of th
Loading with Bulk Film or Darkroom Refills plate
dowr
Work in total darkness and prepare the film as described (p' l9)' not
.PPei
I
1. Open the cassette. curv(

i. nl tfrl fitm to the centre spool. If the centre.spogl E fitted with a centr
film catch, thread the tapered end of the-film lnto lt. ln cases where film
the end under it and
ii;;^";;;;'.p"oi is nttea with a spring' thread without adher
impo
iliia-ifitt-pty Uact. If the cenire spool is any suitable calfil
hliiri-t, t'-.'t,f tt"r" nt-, it has been proved best to wind a l] in. the c
20
www.butkus.us
HANDLING FILMS
D0 )co
Film back glossy
FUfi@
l. Correct way of trimming the wedge-shaped end
(which is fitted to the centre spool of the cassette)
with a standard trimming template. 2. Trimming
of the curved cut with a standard trimming tem-
plate, Alternatively, cut the end square, and cut
down about 2 in. of the film to half width. Do
not cut through any perforation holes. 3. The
appearance of the trimmed film: left wedge, right
curved out. 4. The film cassette, its outer shell,
centre spool and separate top. 5. How to fix the
film to the centre spool of the cassette with
adhesive tape when normal fixing in the slit is
impossible. 6. Winding the film with the mechani-
crl film winder to the centre spool. 7. Assembling
the cassette,
2l
(4 cm.) piece of cellulose tape round the centre -spool, so that on
either side about t in. tape is used to secure the film.
3. Wind the film on the centre sPool.
4. Insert the centre spool into shell, leaving the first 2 in. of film pro'
truding through the light-trap.
5. Close lhe cassette. Where top and bottom are originally fastened by
the outside label, fix the top and bottom cover to the shell, pre-
ferably with a length of cellulose tape. -#. !
'*
Loading with Daylight RefiAs
Nodarkroomisnecessary,butworkinsubdueddaylightorartificiaI
light.
L. Remove film wrappings and label of refill.
2. Open the cassette.
f. fntioauce the refill into shell of the cassette; leaving the first 2 of {f',
in'
paper-leader protruding through light-trap. The actual centre spool v
of the cassette is not needed.
4. Close the cassette.
-paperJeader.and 2 in. of
5. Pult out the paper-leader film.
6. Cut off the Where top and bottom are originally
fastened by the-outside label, fix the top and bottom cover to the
shell, preferably with a length of cellulose tape.
?n;
ff
d'
t
-.4
Hbl
22
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. . F'ILMS AND F'ILTERS t,

'
There are two kinds of fllms available for the Baldamatic

and Baldessa: black-and-white and colour.
Black-ond-llthit e Film
This produces a negative in which the colours and bright-
ness range of the subject are translated into black and white.
$ From it, prints or enlargements on paper or black-and-
:::i
i\i, white transparencies can be made.
The black-and-white film used normally is panchromatic,
that means that it is sensitive to all colours. There is a choice
of several types differing mainly in sensitivity as well as
certain other characteristics.
SLOW FILMS are of low sensitivity, requiring compara-
tively great exposure. Their main advantage is the extremely
fine grain, permitting a high degree of enlargement without
its granular structure becoming unpleasantly visible. Such
films also yield images of the greatest sharpness. On the
other hand, these slow films are not very suitable for coping
with fast movement in other than exceptionally good light-
ing, nor for general work in poor light. Such films are rated
at 20-40 ASA or 24"-27" BS.
MEDIUM SPEED FILMS still vield a reasonablv fine
grain with good gradation. They are the most suitable
material for all-round photography, other than in poor
light. These films are rated at 50-80 ASA or 28'-30" BS.
FAST FILMS with somewhat coarser grain (still accept-
able for reasonable degrees of enlargement) will cope with
most light conditions including poor light and interiors in
favourable conditions. This is the right film for the photo-
grapher who wants to be prepared for the unusual, to arrest
fast movement with high shutter speeds, as well as shots in
poor light. The speeds are 100-200 ASA or 31'-34' BS.
ULTRA FAST FILMS are primarily intended for high-
speed sports shots in dull weather, interior snapshots in poor
light, night photography and ill-lit stage pictures. These
films are specialist types for conditions where normal
iL
:i: 23
materials are totally inadequate. They should not be used
for general photography. The high speed is achieved at some
cost in definition and graininess. Speed ratings range from
25V640 ASA or 35'-39' BS.
As a result of a revision of the ASA film speed system, many manu-

facturers have doubled the ratings of their films-without, however,
changing the film itself. In this system slow films would be rated at
40-80 ASA, medium speed ones at 100*160 ASA, and so on to ultra-
fast films going up to 1300 ASA and more. SettinC thg,qe new speeds on
the film speed adjustment of the exposure meter still gives correctly
exposed negatives, as the old ASA ratings inc_orporate a generous
saiety factoi against underexposure. Some manufacturers-even. specify
two speed figures: the old ASA rating, and a so-called "minimum
correct exposure" setting corresponding to the new.system. U-sing such
minimum correct exposures, of course, increases the versatility of the
film in poor light-and often yields improved negative quality,
esoeciallv with hieh-speed films.
The atrove appl-ies 6nly to black-and-white negative materials.
There is a wide range of different makes of films in all

speeds on the market. Their characteristics, apart from
speed, vary slightly from make to make. It is safe to say that
all well-known brands are reliable and good. The best film
is the one you are used to. Professional photographers and
advanced amateurs may flnd one or the other characteristics
of a particular make-i.e., its gradation, gralular_structure,
acuttnce, etc.-of particular value for specific jobs.
Colour FiIm
These films produce an image in- colour.after appropriate
processing, corresponding directly or indirectly to the
iratural colours of the subject. From the practical point of
viewo colour film is as easy to use as black-and-white film
but needs a little more care in exposure. Processing is more
complex and is often carried out by the film-maker or
specially
- appointed processing laboratories.
There are two basic types of colour film: reversal and
negative.
24
www.butkus.us
' iir
r;t
FILM SPEED, CONTRAST, cRAtN AND RESOLVTNG PO\trER
Zr"-z+'3
t*
l$
9-?1!1"!!,.p:"ting, low speed goes.with. greatcst contrast, finesr grain and the highest resolving
Poweranovlceversa. lh6tilmspeedin-thetop^rowpoints.tothecorrespondingcontrast,grainand
resofving power. The contrast ihows (fron lift to iigni how high .onirasi UEco-". meJium and
grows.,The,grain.row shows.(froi telt tiriintl how ine g.ain iu"r,s into mealum giain
foy.as lqe9d
y1t! .8fo-,ltlF speed and finally th€ resolving_power row shows the decrease of resolving p6wer
(numberof lanes) with increase.of film speed, Th€ bottom row indicates rhe type of subiects fdr'which
lilms ol thc various speeds are bcst.
25
colour Reversal Film :{lAgi} ' fliri,
This produces a colour transparency on the actual film
exposed in the camera. This transparency held up to the
light shows a positive image with all parts of the subject in
their original colours. It can be viewed in a suitable trans-
parency viewer with a magnifier or it can be projected in a
slide projector to give a large and brilliant picture on a
screen.
There is little doubt that the projected image is the most
natural and best for showing colour.
Although the colour transparency is an end product, it
can still be used to make:
(a) duplicate positive colour transparencies, ,i
(6) a black-and-white negative which can then be used to
produce black-and-white prints or enlargements,
(c) a colour negative for making colour prints and enlarge-
ments, as from colour negative film (described below),
(d) direct colour enlargements on colour reversal paper.
Colour prints on paper invariably show a loss of colour
quality as compared with the original positive transparency.
For correct colour rendering, colour reversal films have
to be carefully matched to the light by which they are to be
exposed. Accordingly, most makes are available in two or
more of the following types:
(a) daylight colour film (type D or T) which will give correct
colour reproduction in daylight or with blue-tinted flash
bulbs,
(b) artiflcial light type colour film which will give correct
rendering by photoflood illumination (type A or K),
or high-power tungsten light,
(c) flash type colour filn (type F) which will give correct
rendering with the normal clear flash bulbs.
Colour films made for one kind of light may often be used
under different light conditions with the aid of a conversion
filter as recommended by the manufacturer.
Different makes of colour fi.lm may yield transparencies
of a slightly different characteristic iofour quality, colour
saturation and colour contrast. Which you prefer is very
26
www.butkus.us
much a matter of personal taste, and you can only be

recommended to try various makes to find the one which
suits you best.
Coloar Negative FiIm

On processing, this produces a colour negative which
shows a negative image of the subject in its complementary
colours-e.g., blue appears yellow, red appears. blue-green,
and so on.lhese colours may sometimes be hidden under
an overall orange or reddish tint.
The main pu{pose of the colour negative is the production
of colour prlnts on paper. The quality is generally higher
than that obtained from a positive transparency.
Frorn the colour negative you can make:
(a) any number of colour prints in varying sizes,
(a) Oiiect black-and-white prints- or_ enlargements, in the
same way as from a black-and-lvhite negative,
(c) positive colour transparencies for viewing or projection.
' 'Cblour negative films are mostly suitable for exposure py
any type of [ight-e.g., daylight, flash or photofloods.. The
ne6esiiry adjustmenf of the colour rendering is. carried out
during the piinting stage. Manufacturers sometimes recom-
mend-conv-ersion-filteis even with colour negative films.
These mainly serve to simplify the subsequent correction
needed in printing.
Coloar Film Speeds

The majority of colour films, reversal an{ nega,tive, are
rated between 25 and 50 ASA or 25" and 28' BS, corre-
sponding to a slow to medium speed for black-and-white
materiaf A few films go up to 160 ASA or more for poor
light conditions. Others may be as slow as 10 ASA or 21"
BS.
As with black-and-white films, the slower types tend to
yield improved image detail, especially-with negative colour
hlm, while the fasteit emulsions may show slightly reduced
colour saturation and image sharpness-
27
The Choice of Colour Film
Making your choice between colour reversal or negative
film (in spite of the various uses that can be made of either
type of material) remains an individual question.
First there is the way you want to see the result, as a
colour print or as a colour transparency. The print has no
doubt much to commend itself. It is easily shown, stored
and carried about. The transparency calls for the aid of a
viewer or projector.
Next, the cost of a colour print is about three times that
of the transparency. This may at times be mitigated by the
fact that from unsuitable negatives no colour prints need
or can be made. The transparency user, however, has
additional outlay in the form cf a viewer or projector with
screen (in most cases both).
A final point to consider is the quality. The transparency
will record each colour and its brilliance in full. Held to the
light or projected on a screen, the brightness range, which
may be 100 : l, is fully or almost fully retained. It shows
colours brilliant with great depth and realism. The colour
print can at its best only reflect four-fifths of the light falling
on it and even the darkest tones reflect about one-twentieth
to one-tenth, so that the full range is reduced to no more
than 16 : l.
While the colour print is, by necessity, duller than the
transparency, it is only fair to say that the eye soon adjusts
itself to the reduced brightness range, and subjects without
great contrasts will be very satisfying.
From the point of view of convenience, reversal film has
the advantage that it directly gives finished colour pictures
of high quality and is still capable of producing colour prints
as well.
For the maximum versatility and control in print making,
however, negative film is superior.
for Black-and-White Film

Filters
By its nature, a black-and-white film can only translate
colour values of the subject into tones of lighter or darker
28
www.butkus.us
grey. Mostly these correspond fairly closely to the brightness

of the colours, but do not, of course, differentiate bitween
them. In certain cases the difference between the briehtness
of two colours may be so slight that both record in"almost
the same tone of grey.
There a filter helps by modifying the depth of one or the
other. colour, and so making ii sliow up iighter or darker
s than it would normally.
YJ
The commonest gidm.nle is the blle sky in a landscape,
s with white clouds. The blue is so brilliani (and the fiim is
often excessively sensitive to it) that the clouds do not show
up against it. By putting a yellow filter in front of the
camera lens we can subdue or " hold back " the blue, so
making it record darker in the final print. We can even go
further and over-emphasize the effecf progressively with an
orange or red filter; these darken the 6lue10 much that the
sky looks almost black for a really dramatic effect.
The same considerations hold for other filter effects. For
instance, the film renders a red rose in the same tone of grey
as the green leaves of the rose bush. With the colour ion_
trast gone, the rose disappears in its surroundings. A sreen
filter makes the rose daiker and the leaves lifhter;"con-
versely, a red filter will show up the rose as tiiht aeainst
dark foliage. Scientifically, both filters falsify" the tone
rendering-, but produc€ a more acceptable pictorial result.
In all these cases afilter lightens o|jects oiits own colour,
and darkens objects.of its complementary coiour. Apart from
isolated instances in pictorial photogiaphy, such contrast
control is very valuable in copying and siientific work (e.g.,
photomicrography).
All filters cut out some part of the light and thus, as a
compensation, an
.increase in _exposure time is necessary
when _using them. This is stated on most filters in the form
of a filter factor indicating
3 times) the exposure must be -by how much (e.g., 2 times,
increased wiih"that filter.
The factors .are approxima-te for they depend not only on
the nature of the filter but also on the exact colour sensitivity
of the film and on the colour of the prevailing light.
29
Filters for Coloar FiIm
The normal yellow, orange and other filters for black-
and-white film must never be used with colour films as
they would give the colour picture a strong overall colour
tint.
In daylight and with daylight type film, only two filters
are ever required. One is ahaze filter, almost colourless but
for a slight straw tinge. It is usefully employed on hazy days
and in high altitudes to avoid excessive bluishness of the
colour picture, especially with distant landscapes, seascapes
and near water. This fllter does not call for any change in
exposure.
On dull days, a skylight filter is also useful, as it com-
pensates for the excessive coldness of the colour rendering.
Either filter is also useful fcrr colour photography with
electronic flash as it produces somewhat warmer tones.
Conversion filters are used if a colour film, balanced for
one type of light, should be used in another type of light.
The film manufacturers give specific recommendations,
generally in the instructions with the film.
The Polarizing Screen

There are times when the judicious use of reflections will
enhance the pictorial effect of the picture, but they are also
frequently obtrusive and undesirable. Thus highly-polished
subjects are difficult to illuminate successfully so as to
obtain a true photographic rendering, since they will reflect
too much light and so spoil the reproduction with a glare
which obscures the detail. This difficulty can be overcome
by the use of the polarizing screen.
It has the special property of suppressing so - called
"polarized" light. Light reflections from glass, china,
enamel, polished wooden surfaces, water, to a large extent
are polarized and can, therefore, be almost extinguished by
placing the polarizing filter in proper position over the lens.
This screen will prove particularly useful when taking shop
windows. furniture, photography of wet objects, etc.
The filter must be rotated in front of the eve to find out
30
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I
lr" its best position on the lens and placed on the camera lens
I' in this position. As the polarizing filter is slightly tinted,
I
the exposure time should be increased, the factor being
I
about three times.
The polarizing screen is, in addition, particularly useful
in colour photography where it acts similarly to the yellow
filter in black-and-white photography-i.e., it darkens a
"milky" blue sky. The bluish colour cast obtained with
diffused sky light is removed or at least appreciably reduced
with the polarizing filter. The reduction or elimination of
reflections through this filter is of course just as useful in
colour pictures as it is in black-and-white.
EXPOSURE
Exposure means-to expose the film in your camera to
light. The dose of light any film needs to produce the right
sort of image depends on how sensitive that film is to light.
A fast film is more sensitive than a slow film.
Once your choice of film is settled, the basic condition of
exposure is settled with it. You are now left with the
problem of scaling the light you find in front of your
camera to the amount your film needs.
Your job is to judge the light reflected from the subject
you are about to photograph. Your grandfather as an
amateur photographer used to take into account his geo-
graphical position, the time of the year, the hour of the day,
the state of the sky, as well as the tone of the subject itself,
and by so adding one thing to another size up the light
reflected from the subject. The experienced professional, of
course, hardly ever worked that way. He just had a look
and he knew.
Today a light meter or exposure meter does the same for
c
any photographer. It takes a look, it measures the light and
it lets you know.
In fact, it does more than that. It translates the light
measured straight into terms of photographic exposure. It
does so by presenting you with the choice of aperture
numbers and shutter speeds, sorting them out in pairs.
Aperture and Speed

The aperture number or / stop controls the amount of
light allowed to enter through the lens. These numbers run
in a series: 2-2.8-4-5.6-8-11-16-22. Each higher stop
number lets through half the light of the next lower number
(next larger stop).
The shutter speed controls the length of time for which
the lens is kept open to light. Shutter speed figures represent
fractions of a second: 2 : $ second, 4 : t second
500 : U500 second.
32
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;l "$"
TANDSCAPES should be shorp from the foreground to the distonce. Here o

smoll stop provided suffcient depth to cover everything from the leofy
undergrowth to the conoe on the river ond beyond.-L|DBROOKE.
Opposite: NEAR yIEWS need more precise focusing; the moin subject is
the f;gures on the bridge. Use o lens hood when shooting ogoinst the li.ght;
it offords some protection ogoinst sproy from the woterfoll, too.-G. BOKE.
On page 33: ARCHITE CTURAL SUBJECTS ore by no rneons outside the ronge
of the Boldesso. Stond well bock to get the whole of Ne/son's Column in
the picture, if you hoppen to find yourself in Trafolgor Squore, in London.
.LIDBROOKE.
35
;-,ffi
q."$*
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s**fu*.*..*,,
\
I
CHILDREN, especiolly Young ones, need sto/king to c.otch th.9m gt the righ.t
moment. Witi the roigefiider it is eosy to keep the toddler in focus oll
the tirne.-LIDBROOKE.
On pages 36 and 37 THE SEfTlNG odds otmosphcre. The wrought-iron

gote'oi the Bovorion costle (poge 36) provide:. interesting potte.rns, while
ihe toddte, outside Buckinghom Poloce (poge 37) gives o touch of humour '-
G. BOKE ond LIDBROOKE.
Opposite: ,NDOORS, moke sure of bolonced ll1l1ing..-U-se reflectors or
ftdsh to tight up the shodow side of the foce.-K. H. KROGER.
On page 40: A QUIET CORNER, even of your own.gord.en, cdn suggest the
peoie 6f a hot summer ofternoon in brilliont sunlight. Meosure the exposure
'corefull'y
to ovoid detoilless shadows by the gorden gote.-W' D. EMANUEL'
38
t
NsN
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N
q:
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The actual exposure is a product of these two: "how

much" and "how long". A large amount of light striking
the film for a short time may produce an image similar to
that produced by a small amount of light_striking the film
for a long time. Hence the free choice from a series of
balanced lperture-shutter combinations offered by_ your
exposure rneter: more or less open apertures paired with
more or less quick shutter speeds, and more or less stopped
down apertures paired with more or less slow shutter speeds.
d Cameras of recent vintage combine these pairs, made up

of aperture stops and shutter speeds, into single figures which
are then called exposure values or light values. Once_ you
set the exposure value suggested by the exposure meter both
the aperture and the shutter speed move up- and down in
step against each other, and so keep the resulting exposure
right at every combination.
-With
exposure meters built into the camera and coupled
to cross-linked aperture-speed controls you set the right
exposure withouf looking up the number either on the
meter or the camera. You set the exposure visually by fol-
lowing the swing of the needle in the meter and matching
it with a pointer or a circle on the spot where the needle
comes to rest. Certain shutters (e.g., Prontormat) are
linked to the exposure meter in such a way that lining up
the meter needle with an index mark automatically selects
ru a correct aperture-speed combination. In that case, no
choice of alternative settings is available; simpler operation
q is obtained at some sacrifice of versatility. Another type
of automatic shutter (e.g., Compur-Automat) can be set for
fully automatic working or changed to individual setting to
give the advantages of both methods. The most advanced
$ iystem even does away with lining up meter needles or
index markers. On pressing the shutter release, an internal
mechanism selects the correct exposure an instant before
{l the shutter opens.
Choosing the Combination
But whether you work out the right exposure from an
elaborate table or chart:
4l
whether you are presented with a series of exposure
values or pairs of aperture figures and shutter speeds;
whether you just set the exposure to the point shown by
the needle in your meter;
or whether the meter does the job for you altogether-
you still have one decision to face: which aperture-shutter
combination to choose for any given shot. Paradoxically
enough, they all are right yet one is better than the other.
Why should it be so?
Because both the aperture and the shutter also have
secondary functions and effects.
$l The aperture not only controls the amount of light that
ul
.fj is allowed to pass the lens-it also has a bearing on how
Lt'{l
iil much of the image will be sharp.
The shutter, in controlling the length of time for which
H
the light strikes the film, will inevitably record any move-
1
rl ment that happened during that time as a slight or greater
iJ
q blur.
So you are left with three things to think of:
Il How fast is the action you want to catch?
'-i5
J
How much of the scene in front of the lens has to be
sharp ?
'III Is the light good enough to go by either?
I
Ifthere is fast action you have to choose and pre-set an
appropriately fast shutter speed (p. 48) and then pair it with
the stop you get by the cross-coupled controls of from your
meter.
If the scene is to be sharp from a point close to the lens
to some other point well away from it, you should choose
the_ stop that will yield the necessary depth of field (p. 49)
and then pair it with the shutter speed necessary for the
correct exposure.
, If the light is very poor, the chances
are that you may not
be able_to cope with either extremely fast or particilarly
deep subjects. Yet your choice in putting shutter speed or
depth of field first should still be governed by what you
value most about the picture you propose to take.
Exposure nowadays is no problem at all. You can arrive
42
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THE EXPOSURE VALUE SHUTTER
The Baldessa l, la and lb have an exposure value

iw 2'8 4 5.6 8t! t6 z f,'t
shutter with all aperture-speed combinations
paired off opposite each oth€r to correspond to
the same exposure.
The apertures and speeds are coupled and paired

off in the sarne way on the Baldamatic shutter
(except the automatic Prontormat), but this has
no exposure values, since it is coupled with the
exposure meter.
The aperture and speed on the exposure value shutter are coupled. With a given exposure value
(e.g., ll), setting a fast speed automatically opens the lens, while stopping down automatically sets
a slow speed to keep the exposure constant (right). To alter the exposure for different light con-
ditions, simply change the exposure value setting (,eft).
43
at the right exposure by guessing it, measuring it, or just
leaving it to the camera. But to hit it off in such a way that
it will produce the picture you want is still a matter of
intelligent judgment. Only the scale-less shutter relieves you
even of this decision.
Time Exposares
When the light is very weak, especially when you have to
use a small stop, even the slowest shutter speed may be too
short. In that case, you need time exposures. Set the shutter
to B and press the release button. The shutter now remains
open for any length of time until you let go of the release
button.
For such time exposures, the camera must be mounted
on a firm support such as a tripod.
It is safest to release the shutter with the help of a cable
release to avoid shaking the camera. This release screws into
the bush below the body release key.
For long time exposures, where the shutter is to remain
open for longer than you can conveniently keep the release
depressed, use a cable release with a lock. To make the
exposure set the shutter to B, press the cable release plunger
with the locking plate lifted. The shutter will now remain
open until the locking plate is depressed.
On cable releases with locking screws, tighten the screw
on pressing the plunger and undo the screw to close the
shutter.
The Self-timt,
*
The Baldamatic and Baldessa cameras (except with
Prontormat and Automatic Compur shutters) carry a
delayed-action release or self-timer. This is controlled by
the same lever as the flash synchronization (p. 54). When
you press the release button with the self-timer in opera-
tion, the shutter only goes off after a delay of 8-10 seconds
and you have time to take your place in your own picture.
The camera must, of course, be mounted on a tripod.
M
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Using an Exposare Meter

To get the best results an exposure meter has to be used
intelligently. This may look like a contradiction, since we
have already said that it is an accurate light-measuring in-
strument. But light from all parts of the subject-highlights,
shadows and middle tones-falls on the meter, so the reading
it gives us is an average one for the whole subject area.
Meters are scaled to suit typically average subjects-i.e.,
subjects with average areas of light, dark and middle tones.
So if you point the meter at a subject of this kind, the
exposure reading will be correct.
But if the subject is not average-if there are large high-
light areas and little shadow, or large shadow areas with
few highlights-then you have to modify the exposure
reading to obtain the best results.
So there is more to using a meter than just pointin g it at
the subject and accepting the reading without question.
The usual method of using a meter is to point it directly
at the subject. This gives the correct exposure reading pro-
vided the subject has an average mixture of highlights,
shadows and middle tones. But if there is a large bright area,
or a large dark area, the best method is to go near to the
main subject and take a close-up reading. For example, if
the subject is a figure against a white or dark background,
by going closer you will reduce the amount of background
affecting the meter and therefore get a reading in terms of a
more average subject, which is what you want.
For some subjects you can take a reading from really
close up, aiming the meter at the part of the subject that you
want to make sure has optimum exposure. For instance,
many photographers take a close-up reading of the sitter's
face in portraiture; out of doors you can take the reading
from the back of your hand.
If you cannot go close up to a subject that needs a close-up
reading, then try to find something near at hand that is
similar in tone to the subject, and take a reading from this.
When taking readings of general scenes including a good
deal of sky, you have to tilt the meter down slightly to
45
reduce the area of sky "seen" by the meter. The sky is a
bright highlight, and by tipping the meter down to exclude
some of it, the subject becomes "average" in tone range.
Open views, such as distant landscapes, usually have very
light shadows, so you can give a shorter exposure than thb
meter indicates. It is usual to give half the exposure-
i.e., use double the shutter speed, or use one stop smaller.
INCIDENT LIGHT MEASUREMENT. Another
method of assessing exposure is to measure the strength of
the light falling on the subject instead of that reflected-by it.
But if you point the meter straight at the light you get a much
higher reading than if you point it at the subject. So the
light has to be cut down for the meter to indicate the correct
exposure. This is done by fitting a white diffuser supplied
with the meter over the honeycomb cell. The diffuser
is designed to reduce the light by just the right amount.
It also serves another important purpose, and this is to
ensure that the meter includes all the light falling on the
subject over an angle of almost a full 180o.
The incident light method is particularly useful for
reversal colour fllms, and for subjects with contrasty
backgrounds when a close-up reading is impractical.
To take a reading, the method is simply to turn your back
on the subject and point the meter in exactly the opposite
direction. If the main light-say the sun-is coming from
the side, don't just partly turn round and point the meter at
this; turn round completely, and let the main light strike the
meter at the same angle at rvhich it strikes the subject.
If the light on the subject is different from that on yourself
at the camera position (say if the subject is in the shade,
and you are in the sun), you must then go up to the subject
and point the meter towards the camera position.
AGAINST THE LIGHT subjects are extreme cases of
Ironl&verage tone range. The main lighting becomes a very
bright highlight in the field of view, so if you point the meter
straight at the subject it will indicate too short an exposure
and give you a silhouette effect in the final picture.
This is all right if you want a silhouette. But if you want
46
www.butkus.us
EXPOSURE METER READINGS
...!..,.re....!t..,
!'i':,iF3...
'.'.'.'I 1i-r'.'. .
'.'...'t li t...........
:':.:.:l ll I.:':.:':.:':.:.:.....
For more accurate readings, especially
with very light or very dark backgrounds,
go close to the subject so that the meter
just takes in the subject itself. *
With contrasty subjects consisting of very

bright areas ond very deep shadows, take
separate close-up readings of the light and
dark parts. Use a mean of the two for
the exposure. +
For incident light readings-especially

with colour film-point the camera with
the meter from the subiect towards the
camera position to be used for the
exposure. For this reading fit the diffusing
screen supplied with the camera over the
exposure meter cell. *
*These individual variations are not avail-

able on the automatic shutters.
47
correct exposure for the subject, you should either take a
close-up reading, or take a reflected light reading from the
ca+era position and give four to eight times the exposure
indicated.
COLOUR FILMS have little exposure latitude, so parti-
cularly careful reading is advisable. The meter is used in the
same way as for black-and-white films.
Because of the importance of the highlights, if you are
Fing a meter from the camera position foran against-the-
light. sho!, it is best only to double the reading, and not
multiply it four to eight times as recommended for black-
and-white negative films.
Shutter Speeds and Movement

The actual shutter speed you need within a series of
available aperture speed combinations is governed by con-
siderations of camera steadiness as well as of zubiect
movement
An unsteady camera hold results in camera shake. to
which a small and light instrument such as the Retina is
particularly liable. Even the slightest shake will result in
inferior definition of the negative. Practical experience goes
to show that lll25 sec. is safe, while you have to hold-the
ca_mera_.particularly steady when using l/60 or l/30 sec.
Where lighting conditions make even longer exposure times
essential and there is no subject movement, either support
the camera on a tripod, or look round for extra suppo?[ for
your elbows and hands-e.g. a wall, railing, etc.
shutter speed required to arrest movement depends
of-The
course primarily on the speed with which the subject
moves. Remember,.however, that parts of the subject (-e.g.
the legs of a runner) may move faster than the subject is a
whole; you may sometimes have to compromise and show
such parts slightly unsharp. Often that is not a serious fault,
as slight blurring-provided the main part of the subject is
sharp-helps to emphasize the impresslon of movement.
Other factors to consider are the distance of the subject-
the farther away, the less noticeable the movement blur; the
48
www.butkus.us
focal length of the lens-a rong-focus

the subject nearer; ano irte aTr..tto.orens in effect brings
objects movins across your fierd of of the movement.
,h?'lT approichi nt ;; ;ilil;. " ui.* blur more than if
lhe most conygnjgnt
|lV.o.f {loylle for all these factors
is with the aid of a simple
I tluUf.ip. O:1.
Ap_erture and Depth of Field
When you focus tlie camera on a given
I of that object wl| be
gbjeq! the image
ii;li;;il";p-..on thd ni_.--rr,ing,
nearer or farther away_will Uti graJtplly l.;;;nd i.r, ,fru.p,
untit they are noticeiutv. uiur?.a.'rr,i
over which obiects.are ;;;s;';fiiriun..,
u.".piuUlv ifraipil."fori'vou Co
notice the "titt ;J ffi;n as the
losiof definitio;,
you depth ot neto.
can control the exienf ;iihl;;h"d;#U
aperture. As vou sto.p down the lens, Il. r.n,
ure zone of sharpness
f;::[::*:otf
directi;C;; fi il;,up tr,, i.n,,"iii d.ptr,
il
You can obtain the actual zone of
apertures and distances from depth sharpness at various
taUfei,. Uui ii" pi.ti..
the most convenient ;;t ir il"!. ,rt"
il
cator' This exists_r_l.ry.i tvpeq. - depth of fieid indi-
i
Baldamatic moders it is a Jfecial
on tt. ri;rdil uili r.,o.
scate or aperture numbers
opposite the.distari; ;;"il There
T-llk.d
such numbers are two sets of
from the larg_est stip tf Z.g)io tir.irnuff.rt
(f22) on each side or tte-?ocurin'[
ina.* (the mark that
indicates the distanc" to *t,i.t
iou"fruu. set the lens).
At any distance setting, ttr. Ai,ri"*.
pair of aperture numberi'on,r. figures opposite each
ll iliiirr
near and far limits of sharpnerr.-F[i of fietd scire gi'e the
.*yo]q;'s?"you
mayfind the two stop valuei 5:;;; ir,..rrul?7si)
about 7 and l0 ft.-so you have-u-rnurp opp"rit.
ft: zone from 7 to
A!{2.92
l0 be 7l and the^distJnc.r'Jpiolite the stop vatues 2.8
may 8f Jr. ,.rp."iiu-Jrf;
sharp zone from 6 ft. to l2+ ft- ' -'
J il7;;-5;".iiii e., u
You rvill arso notice tt'tui irt.
far distances than at near ones. At'5{ep_th of fierd is greater at
zone onlv covers from about ++
it-s$* ri.]i.*
î"a7s.;iffiilry
i*i iT n
49
altogether-against nearly 3 ft. at the 8 ft. setting.
Other Baldamatic models have an automatic depth of field
indicator consisting simply of two movable pointers. These
are coupled to the aperture control and directly show the
near and far limits of sharpness without reference to
aperture numbers.
Two more points on depth of field.
First, the depth obtained depends also on the focal length
of the lens. Short focus lenses yield more depth and tele
lenses less depth. That is why the alternative lenses of the
Baldamatic III ( o) have their own depth of field indicator.
Secondly, the sharp zones obtained by the indicator or
tables are based on a somewhat arbitrary assumption of
how much blurring is acceptable. So depth of field data for
different cameras with the same lens may not always agree,
and you are also quite safe in rounding off figures obtained
from such data. And if you intend to make really big
enlargements, you can use stricter standards of sharpness
by stopping down the lens one stop.
Zone Focusing
With action subjects and similar occasions where you
want to shoot quickly, determining sharp zones even with
the depth of field indicator wastes too much time. There
you need prepared settings covering given near and medium
distance ranges that you can easily memorize and set on the
camera. The focusing zone table (p. 63) gives such settings;
then you only have to worry about keeping the subject
within that zone while you shoot.
With landscapes and views you sometimes need depth
from infinity to the nearest possible point. Thus by stopping
down to/8 and focusing on 20 ft. you get a really extended
zone from infinity down to about l0 ft. But don't use this
setting if you want the maximum sharpness in the far
distance; in that case focus on infinity (oo).
On Baldamatic models with Compur Automat convenient
zone focusing settings are indicated by symbols on the lens
mount for "portraits," "groups," and "views."
50
www.butkus.us
DEPTH OF FIELD
The depth of fiq!{ scale shows clearly how much of the subject will be sharp at any given distance
and aperture. .The. figure-opposite the central index mark is the focused iirianid, ii"'ngu."t to
either side on the depth of field indicator are aperture settings. To obtain- tt'" i"n"'ol rtr"ip f;us
read off the distances opposite the aperture settings. For initan.", ot - tt. tiop-iuftiih;-;;p;h;
f8 ext-ends from about 4 to about I fi. et trearer d-istances (top right) tte Ae]pitr ii'iic.easea-; tLri
at 15 ft. it extends from l0 to 30 ft.
The Baldessa I and-Super Baldamatic I have the depth of field scale engraved on the front of the
shutter. (top.left)..On the Baldessa la and lb the.abplh scale is markej aUor"-trre f;;;;; *freel
(top r.ight). The Baldamatic models have autgmatic depth of field indicator consisting oit*o plinrers
coupfed to the aperture setting (bottom). This showi automatically the aepih ai
""ni-"p.i.,I.".
5l
FTASH PHOTOGRAPHY
Flash is an efficient light source where no or insufficient
daylight is available such as at night, indoors, etc. In the
flashlight you carry your own private "sun" with which you
can illuminate your subject or scene at any time and place.
THE FLASH BULB is similar to a small electric bulb.
J However, when current passes through it, it lights up in an
intense flash lasting usually about ll40 to 1/60 sec. Each
bulb will flash only once and has to be discarded afterwards.
The flash bulb is inserted in a flash gun and the current of
$,: the battery fires the bulb, while a reflector fixed behind the q:.,
#, bulb makes sure that all the light is directed towards the
subject. Most flash guns incorporate a capacitor unit which
increases the reliability of firing, even when the battery is
nearly exhausted. The shutter speed, provided it is slower
than l/50 sec., has no effect on exposure, since the flash is
shorter than the exposure time.
c Most flash bulbs are available with a clear glass bulb (for :i
black-and-white and negative colour film and for type F
reversal colour film) or with a blue-tinted bulb (for daylight
type reversal colour films). The blue bulbs can also be used
for fill-in lighting by daylight with any type of colour film.
ELECTRONIC FLASH UNITS utilize the discharge of
a high-tension capacitor through a flash tube. The power is
derived from an accumulator or battery (there are also
models working from the mains electricity supply). The
electronic flash outfit is rather bigger and heavier than the
flash bulb outfit, its comparative light output equals a small
flash bulb and its initial cost higher. On the other hand,
anything from 10,000 to 25,000 flashes are obtained from
one tube. The flash duration is extremely short (1/700 to
l/2000 sec.) and will arrest the fastest movements. The cost
of an individual exposure is negligible.
Electronic flash is suitable for black-and-white and
negative colour fi,lm and alsofor daylight type, reversal
colour films. It can also be used for fill-in lighting by
daylight.
52
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Eow to Use Flash
The Baldamatic and Baldessa shutters are internally
synchronized for use with flash bulbs and electronic flash.
The cable from the flash gun is plugged into the flash socket
of the camera. On releasing the shutter, an electric circuit
is automatically closed through the flash socket, setting off I
the flash at this moment. t
The Prontormat, Compur Automat and Vario shutters I

have a non-adjustable flash contact which has the charac-
teristics of the X-synchronization described below. On all
other shutters a synchronizing lever protrudes on the side of
the shutter. This can be set to X or M.
WITH THE SYNCHRONIZING LEVER SET TO X
the shutter closes the flash circuit at the moment when the
blades are fully open. Therefore, electronic flash is syn-
chronized at any shutter speed to l/300 or l/500 sec. This
setting may also be used with flash bulbs with short firing
delay-(i.e. bulbs which require only 4-6 milliseconds-
thousandths of a second) to reach the peak of their light
output with the shutter set to l/60 sec. With other bulbs,
the fastest usable speed is l/30 sec.
WITH THE SYNCHRONIZING LEVER SET TO M
the shutter closes the flash circuit 16-18 milliseconds before
the shutter blades open to allow for the firing delay of most
average flash bulbs. This setting is suitable for normal flash
bulbslt all speeds up to l/300 or 1/500 sec. The M-setting
will not synchronize electronic flash or short-delay bu!b_s.
WITH THE SYNCHRONIZING LEVER SET TO V
(not on Prontormat, Compur Automat and Vario shutters)
ihe delayed action release for self-portraits is brought into
action. At the same time the shutter works with X-synchro-
nization. This means that you can work with delayed action
and flash at X-synchronization; delayed action with
M-synchronization is not possible.
Exposure Guidc Numbers

There is a convenient way of working out exposures with
flash bulbs and this is by means of a guide number. When
54
r ---
www.butkus.us
you buy flaih bul-ls you will always find the guide
number
folany speed of film printed on tlie packet.
To find the correcl aperture to use, divide the e'ide
number by the distance betwcen ttt. n-uir, u"Jirr.îuE:..t.
For instance, suppose. you find thai th.- g;fu; ,rrBI;
the bulb with the film iduse i, iooliiv;;
g1^ho1o3ra-p-h atj! distance of rO ft. no* t[,
;d;;f "r
i6iur,
,iU:*i,'iiuid.
160+10:16. Therefore, the coirict aperture use is
f 16, Alternatively- if you want to use anâperture tooffs ror
any-reason, then ihe 60rrect flash drstance is 160+g:20.
So the flash must be 20
-- -
ft. from thi suU:ici.
so far we have assumed that the exp-osures have been
average shots withgg! much subject movement.
for
For these
a shutter speed of l/30 sec. is long enougt, i"
urt ilr,
light emitted from jtte uuju.-d?h; otf,er lr";a,.i;lrr.rt
"iilL.
fast movements a faster_ shurt., ,f.Lo i;;.a;;;a,'i.,i't,
ul?r 11250 or even ]/500 r... fittr ea.tr 6fJrr.J."Jp..o,u,
a different euide numler is needed (uil"ily;rilt.i oitrr"
flash bulb Jacket) to determinr tit. Lo*rct elposure.
They
allow for a wider aperture to comfen#. ror-ff."iJr?iiit
fast shutter speeds some of the tilhf emitted n"- ut
tirJ 6i,ru
rslost.
CAMERA CARE IN TROPICAL
CLIMATES
" High and widely varying temperatures with low humidity,
ar-o.i"t in deseri regionJ and dry seasons' and very high
["-iAit' in rainy seisons, call for special precautions to
pi"1."i it e life and continued good performance of the
[u..tu. These conditions also cause the growth of moulds
on organic matter. Sand, dust and insects may present
problems.
'-it, camera should be kept dry and clean. Leather-parts
should be wax polished, mela] parts lightly greased.^Never
leave the camdra unnecessarily exposed to heat. Always
Vito models, the
l..p it in its case. With the non-folding when not inûse;
leni should be covered with a lens cap
additionally, it should be protected by.a colourless tilter.
o;1;; 1.n; iurfaces have fo be kept clean, dirt and -grit
removed with an air-blower and by tapping' Iip.t the lens
surface with cotton wool or open mesh tabrtc (butter
muslin) when required.
- Siotl photogriphic equipmgnt.in an airtight metal..box
o, u ii" ,itti.tr itrdutd be^sealed with adhesive (e.g. medical)
iup.. tn a humid atmosphere, add some desiccating agent,
e.g. silica gel. , .,
tondeniation on the lens may occur when the camera is
moved from a cool place into humid heat; this- h-as to be
iemovea before use ind the whole camera carefully wiped
-
before re-storing.
fii., shouldiot be kept longer than six months in their
origi*t airtight tins (tropical packing) ?t^
tgnttlt114.tem-
p.i?tur.. of 10'F (32t'C): At Continual 100"F (3-8'C)' the
iii. of *ort films ii timited to a month or two. Keep films
for as short as possible a time in the camera'
---Fit-.
processed as soon as possible after
should be
a week or two or, in very hot humid
"*ooiui.-*itttitt
.iiinut.r, within a few days. Keep the fi1m in an airtight
;;;l;i# with desiccant (io absoib moisture)' If possible,
t..o i" a refrigerator, but only if you can dry out the
expbsed film an-d the container is sealed'
56
www.butkus.us
\ ' ,USING ATTERNATTVE TENSES

The field of view covered by the standard lens is ideal for
the majority of subjects. OcCasionally, however. a sreater
or reduced field of view has distinct advantages. fhe-nalda-
matic III camera lras interchangeable lens system pro-
viding alternative focal-a.n
lengths o for such occasions.
ll/ide-angle Lens
A wide-angle lens is a lens of shorter focal length: it sees
and reproduces more of the subject in front of iire 'cam.ra
than does the standard lens.
Such a wide-angle lens has definite advantages in cases
ylgrq the practicable distance between cameraind subject
is limited and insufficient for the standard lens to recordihe
subject.-in its _entirety. . The wide-angle lens is, therefore,
primarily us_e$ fo1 architectural photography and interiors.
In view of its short focal length, the-deitli of field covers
a. particularly wide zone, even at fuil bperture. It can,
therefore, be employed with advantage as d quick-shooting
lels for general purposes where accurate focusins or
distance-setting would be inconvenient (e.g. insuffiiient
time).
To g-et a-large ipu_gg, even of a near object, you have to
go really close to it. Near objects then tend to dwarf more
distant ones, and the resulting picture shows pronounced
perspective effects. In this way, ihe wide-anglelens can be
used to emphasize perspective.
Telephotography
- A tele lens, on the other.hand, has a smallerangle of view
than the standard lens. It is of longer focal rengtli. it repro-
duces less of the subject in frontlf the camJra than'the
standard lens does, but on a larger scale.
..!u.tt a lens is particu,larly suilable for subjects that are
ditticult to _approach closely such as animals, children,
architectural detail, sports-events, etc. In phoiographinf
distant views without near foreground, it briirgs th"e sribject
nearer. It also permits a greater camera-to-su6ject dista"nce
F57
in portraiture, producing a more pleasing and subdued
perspective. At the same time, its lesser depth of field con-
centrates definition on the portrait, avoiding a sharp back-
ground which would detract from the main object.
Focusing
Wide-angle and telephoto lenses are focused with the aid
of the built-in rangefinder of the Baldamatic III and auto-
matically coupled in the same way as the standard lens.
Viewing
The field of view obtained with the wide-angle or tele
lens is shown by the additional image frames visible in the
reflected frame finder.
www.butkus.us
CLOSE-I]P PHOTOGRAPI{Y
Close-up Lenses
While the camera normally focuses down to 3.3 ft., we
can work at still closer distances with the aid of close-up
lenses, making the camera suitable for photographing smail
gbjects such as plants and small creatures-, for c-opying
bogfs, stamps and documents, and for table-top worli.
_-These close-up lenses are converging meniicus lenses.
Their power is usually stated in diopters.
Two lenses are suggested:
* 1 diopter for distances from 391to 201in. (100 to 5l cm.)
-f 2 diopter for distances from 20 to ljin. (50 to 33 cm.).
These lenses, mounted into a filter mount, can be fixel
to the camera lens.
Mount the camera on the tripod, and approach the subject
until it appears the desired lize in the viewfinder field.
Accordin-g to the distancg,- place the appropriate close-up
lens on the lens mount. Then measureîcctirately the disi-
tance between the front of the close-up lens and ihe centre
of your subject and look for this disfance in the focusing
table on page 65.
. No change of exposure time is required with the close-up
lenses.
Al tull aperture the image will be slightly unsharp,
particularly.towards the corners. On stopping-down, the
defigition is improved and will be normal itTtl
"close-up
- The area reproduced when using these lenses
do.es not fully-correspond with the viewfinder image but is
shifted in the direction of the lens due to parallax. -
The shift of the image is sidewards towards the lens in
upright photographs and downwards for horizontal shots
when looking through the finder.
The amount of image shift in proportion to the picture
area is given in the table on page 65.'
For the Baldessa I a small instrument is made to fit into
the accessory shoe of the camera. Known as the proxirect,
this corrects the viewfinder image for use with close-up
lenses.
s9
Thc Proximeter
The Proximeter is an optical near-focusing attachment
for Baldamatic and Baldessa models with coupled range-
finder. Ils lens system adjusts the lens, the rang-efinder a-nd
the viewfinder so that the. rangefinder is adapted for close-up
work, the viewfinder gives the correct image free from
parallax, and both cover the same distance range as the
camera lens does. Thus hand-held close-up photographs
with the aid of the Proximeter are as easy as nbrmal distahce
ones.
There are two Proximeters available:
The Proximeter I serves for distances between 38 and
20 in., the Proximeter II for distances between 20 and 13 in.,
and a combination of Proximeter I+II on top of each other
for distances between 13 and l0 in.
The table on page 65 gives the picture area, depth of
field and scale of reproduction foi the various focusing
distances with the Proximeter.
- Different fittings of the Proximeters are available (a) for
the_ .Baldess?! (6) for the Baldamatic I; and (c) for the
Baldamatic II, ilI and Super Baldamatic I.
60
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FACTS AND FIGI.JRBS

This section gives the more important exposure, close-up, zone
focusing, film, etc., data for the Baldamatic and Baldessa in handy
tabular form for easy reference.
CONYERS'ON OF FEET AND iI4ETR'C UN'IS
'NCHES 'NIO
Many comeras ore marked only in either tJre metric or Sritish sfstem, while most of the
tobles in tlis book are also given in only one system. Ihe uble belat shows ot a glonce
cquivolent lengths.
British a Metric Metric to British
* in' 0.32 cm. 0.5 cm. rt in.

* in' 0.64 cm. I cm, * in.
* in. 1.27 cm. 2 cm. j* in.
I in, 2.54 cm. 3 cm. lrt in.
2 in. 5.08 cm. ,l cm, It in.
3 in. 7.67 cm, 5 cm. I il in.
4 in. 10.2 cm. 6 cm. 2* in.
5 in. 12.7 cm. 7 cm. 2t in.
6 in. 15.2 cm. 8 cm. 3{ in.
7 in, 17.8 cm. 9 cm, 3{ in.
8 in. 20.3 cm, l0 cm. 3*l in.
9 in. 22.9 cm. 12 cm. 4* In.
l0 in. 25.4 cm. 15 cm. 5* in.
ll in. 27.9 cm. 20 cm. 7l in.
I ft. 30.5 cm. 25 cm, 9ft in.
2 ft, 61.0 cm. 30 cm. I l* in.
3 ft. 91.4 cm. 40 cm. l5f in.
4 fr. 1.22 m. 50 cm. l9t in.
5 ft. 1.52 m. 60 cm. 23f in.
6 fr. 1.83 m. 80 cm. 3l* in.
7 tc. 2.13 m. l0o cm. 39{ in.
8 ft. 2.41 m. 1.5 m. 4lt. ll in.
9 fr. 2.74 n. 2m. 6 ft. 7 in.
l0 ft. 3.05 m. 2.5 m. 8 ft. 3 in.
15 ft. 4.57 m. 3m. 9 k. l0 in.
20 lt. 6.10 m. ,1 m. 13 ft. 2 in.
30 ft. 9.14 m, 5m. 16 ft. 5 in.
.l{l ft. 12.20 m. l0 m. 33 ft. 0 in.
50 ft. 15.24 m. 15 m. 49 ft. 2 in.
l0O ft. 30.48 m. 20 m. 66 ft. 0 in.
6l
DAYLIGHT EXPOSURE YAI.UES !
For Baldessa I and la models without exposure meter add up the respective figures in
tables l, 2 and 3. The result is the exposure value to be set, On Baldessa I models (Vario
shutter) without exposure value scale use table 4 to get aperture-speed combinations
(set the shutter to nearest marked speeds if necessary-e.9., l/25 sec. for l/30 sec.).
f, Subject and weather

Clear Cloudy Cloudy Cloudy
sun light med. dull
Distant land or seascape without fore-
l3 tl t0
-8i9:r9light foreground t2 tl
-with
Open streets, squares, light buildings tl
Figures, groups in open, near objects
without heavy shade t0
shade
-in
Average interiors, diffused light
2. Month ond time

MaY Nov.
June Aug. Sept. Oct. Dec.
Jrly April Morch Feb. lon,
I I e.m. to 2 p.m.
9 a.m. to | | a.m.
2 p,m. to 4 p,m.
4 p.m. to 5 p.m.
3, Film Speed
3 t-32' 3,{-35"
ASA r0 t6-20 2l,-32 r00-t25
-2* -t* +l +2
4. Exposure values and operture-speed combinations
Exp.
Value f2.8 f4 f5.6 f8 ft6 f72
3 I ?s 4s 8s l5s 30s 60s
4 tl7 I 2s 4s &
,{s l5s 3G
5 tl4 t12 I 2s 8s l5s
6 J18 tl4 ll2 | 2s + 8s
7 r/rs 1/8 114 ll2 | 2s 4s
8 | /30 r/ rs l/8 tl1 tl? I r
9 a160 | /30 f/f s tlB tl4 .12 |
l0 alt?5 t160 f/30 r/rs ,18 U4 u2
ll Jl2so tlt25 tl6o tlso tlts ti8 tl1
t2 t/2s0 tltzs tl60 t/30 t/ts alg
t3
t4
t5
5' 5*
tl2so
f/s00
tltzs
tl25o
r/500
tl6o t/30 t/ts
alt25 tl6o t/30
!/2s0 tlt25 tl60
t6 t/s00 llzso tlt25
62
www.butkus.us
ZONE FOCUSING
I
Subject Stop Wtth 50 mm. lens With 35 mm. Lens Wrth t3S mm. Lens
:.'a
Distonce Deptlr Distonce Depth Distance D"Dth
'!tl
Setting from to Setting from to Setting from to
, Portrai ts 8 4 It. 3*-4* ft. 16 ft. lsi-l6i ft.
#l Children 8 6 ft. S-7* ft. 6 ft. 4f-f0ft. 20ft. t8[-22 ft.
iJ Children 8 l0 ft. 7*-15 ft. l0 ft. 6-30 ft. 18*-22 ft.
Groups 8 12lr. 9-2O ft. t0 ft. 6-30 ft. 30 ft. 26-35 ft.
1 Landscapes 8 30 ft. 15 ft.-o 15 ft. 7l ft.-o 200 ft. lfi) ft.-o
I
Landscapes il 22ft. l0 ft.-o 150 ft. 75 ft.-o
SHUTIER SPEEDS IO ARREST MOVEMENT WITH THE SIANDARD TENS
t ,Wj
Itr
t#
l0
I m.
fr.
Distonce between Comero ond Object
20
6
ft.
m.
40
12.5
ft.
m.
80
25
ft.
m.
160
50 rn.
ft.
Ir$'. Swimmer 1160 t/30 l/ts tlB tl4

t,\ Walker... tl6o
Runner... lll?,
llz5,0 tlt25
t/30 f/ts U8
Ir$ tl6o r/30 t/ts
Cyclist ... t/500 t/2s0 lltzi tl60 l/30
I'i Skater t/sOO tlzsl tlt2s tl60
Horse galloping 1/500 | I?l,O I lt29 tl6o t/10
,' trottins ... 11250 lll25 1160 r/30 tits
,, walkins ... a ll25 | 160 l/30 tlts t/8
Racehorse t/500 ll2SO tlt25 tl6o
Waves ... t/500 ll25' llt2' tl60 t/30
Heavy waves l/5OO ll?5l} tltzs 1160
Boats making l0 knots l/250 lll2i 1160 r/30 t/ts
20 knots l/500 tl?5,O tlt21 tl60 l/30
Tramcar l/500 tlli} tlt21 tl6o t/30
Motor car on road l/S00 ll2SO I ltzs I 160
Slow train t/500 tl?5l0 tlt21 tl60 t/30
l"*
l"i:.'#l" ... . ..:
t l2s0
l/s00
| lt25
tl2so
, The shutter.speeds,as.listed above.are applicable to motion which cuts right across

rne orrecqon In wntcn the tens and the photographer look.
lf the.motion photographed is at an acure angle with the direction in which the lens
points the exposure time can be longer, say l/30 second instead of I/60.
lf the sublect moves directly -towards the lens (or for that matrer away from it) the
exposure time can be three or four times longer,-say l/g of a second instlaa of 160,
Where the above table shows speeds not marked on the shutter use the next fasrer
speed.
- The figures apply to the standard lens, with the tele lens use twice or four times as
fast a speed.
63
FILTER FACTORS
Pon films Pan films

CorreCl orersensitiye to red
Artificiol Dov Artificiol Doy
Light Light Light Lisht
Light Yellow t.5 t.5 t.5 1,5
i'ledium Yellow t.5 2 t.5 2
Deep Yellow 2 3 2 2.5
Orangc... 2 5 't 1
Light Rcd 3 7 2 4
Deep Red I t6 4 8
Yellow Green ... 1.5 z t.5 2.5
Green J 4 3 4
Dark Green 5 6
Light Blue
Ultra-violet f : t.5 1
APERTURES W\TH CLEAR FLASH BULBS (80-t0O AsA F'rlt4$
G.E., Mazdo, Philips: Philips:.

Mazdo, G.E., PF 38 PF 60
G.E.C. No. I G.E.C.: Sylvanio: G.E.:
Philips: No.5 Press 40 No. 2il
PFI Philips: Sylvonio:
PF5 ,f;.tri No. 2
Sylvonia:
Press 25
6 ft. (2 m.) t6
8 ft. (2.5 m.) r2.5
l0 ft. (3 m.) l0 l6
l2 ft. (3.6 m.) I t6 t
15 ft. (4.5 m.) 6.3 tl 2.5
r t
20 ft. (6 m.) 4.5 8 lo t2.5
25 ft. (7.5 m.) 4 6.3 8 il
30 ft. (9 m.) 3.5 5.6 6.3 9
In,bright rooms. (kitchen, bathroom) or with films faster than 100 ASA, use next
smailer aperture. rn very large rooms, at night outdoors or with slower 40-64 ASA
ilrm us€ next targer aperture.
.T,he,Foc.ol,Flo.sh-chort gives exposures for all types of flash as well as for flash combined
wrth daytrghr. tt further conrains a list of all flash bulbs with their use and performance,
also information on "colour and t-lash" and much additional-flash-i;;-'- -- -' "
APERTURES WITH BLUE FTASH BUTBS

(For 32 ASA Doylight Type Colour Filml
PF t18 PF 64197
No. 18 No. 228
3{ ft. (l m.) ft6
5 ft. (1.5 m.) fil f22
7 lt. (2.2 m.l F8 ft6
l0 ft. (3 m.) f s.6 fll
64
www.butkus.us
PARALLAX COMPENSATION'N CIOSE.UPS
Subject distonce
inches
l!l zl* 18 rs* t3+ t2
60.s 44.s
l/to t/8 40' i5. io.s
centrmetres...
Viewing imoge shifts by -
tttz
90_
ti6 tis itc
FOCUS'NG WITH CLOSE.UP TENSES
(For conversion into metric units, see page 6l)

Set distonce The-d.istonce from front Field size
on focusing ol tens to subject is Witlr* I lens With l2 tens
mount to With+l lens Wirh-f 2lens
Ir. in. in.
o 3e* te* 2l :i 32
20
l0
33*
29+
t8
t7
l8 x27 l3*I i;'
6
16 x24 9 xl4
2s* ts* l3 x20 8 xl2
4 2l
l8*
t3* llix 17 7[xll
3 t?* 9{x 14 7 xtol.
:r1t1.",.t'.*g.ti?l1Ji:"#:'5,::i,;.'":l?':"[",:?,:l;n,l};,.,,fJffl
field for close-up work. :l:"i""llf ;?
P RO XI METER CLOSE.U P FOCUS'N6
(For conversion into metric units, see poge 6ll

f Subject
Distonce
in.
Field
Covered
in.
Scale Tot.ol Depth of Field (in.) atx
f5.6 ftl ft6
38
30
lTx?5
13x20
l:20
l: l5 !.et2v!?
l+ 6+ to
24 l0x l5
9xl3
l:12 ?.* i+ 4' 6
20
t6 TxlO
l: l0
l:8 l+2*3*4
f*t*?i-3*
t2
t0
5x8
4x6
l:6
l:5
*This is the total deoth in.front ofand behind
ii'iii
Where this range.is ress ihan about.4 in., it is la{e'to-
the plane of maximum sharpness.
infrontofandbehindthefocuseddistance. Wt.nttr.o.pahrangeistrearer!itcovers
".srn."-it-to'ue "!-r"rri'a]riJ;tur."a
somewhat more behind the subject than in froni'(ioi rn.r"n.",
depth mlght ba 7 in. in front and-some lO i;. beti;d;de sharpesi poino.at 3g in." and f t6, the
65
35 mm. ELACK-AND-WHITE FILMS
Tvpe SPeed in
"8S ASA (old)
Agfo-
lsopan F P. 40 ef.
lsopan FF ... P. 230 16 uf,
lsopan ISS ... Pr. 3r" t00 mg.
lsopan Ultra Pr. 35" 250 mg.
lsopan Record Pr. 39" 640 mg.
Ansco-
Super Hypan mg.
Ferranio-
27" 40 ef.
3t' t00 fg.
Gevaert-
Gevapan 27 26" 32 ef.
Gevapan 30 29" 64 fE.
Gevapan 33 32" t25 Iz.
Gevaoan 36 P. 35" 250 mg.
I
r;
Dia-Direct 26 Reversal ... P. 25" 25* ef,
/
lnfra-Red t ... lR. 28" 50 le.
Houfi-
Pancola Granex P. 22" t2 uf.
Pancola 17 P. 27" 40 ef.
Pancola Super Pr. 33' 160 mg.
llford-
Pan F P. 250 E uf.
F.P.3 P. 29" 64 ef.
H.P. 3 Pr' 34' 200 mg.
H.P.S, Pr. 370 400 mg.
Kodok-
Panatomic X P. 25' 25 ef.
Plus X P. 30' 80 ts,.
Tri-X P. 340 200 mg.
Microfile Pan P. t5' 2.5 uf.
Perutz-
Pergrano 14 P. 24" 20 uf.
Peromnia 2l Pr. 3r' t00 E.
Peromnia 25 Pr. 35' 250 mg.
Perpantic 17 P. 27' 40 ef.
Miniature Reversal P. 77" 25* ef.
Schleussner-
Adox KB 14 P. 24" 20 uf.
Adox KB 17 P. 27" 40 ef.
Adox KB 2l P. 3t" 100 mg.
Adox KB 25 P. 35' 250 mg.
Adox UKB 17 Reversal ... P. 77" 48* ef.
The ASA speeds are the old ratings (page24l. Double these figures set on the exposure
meter still yield well-exposed negatives-except with reversal films. marked (*).
TYPE' P:panchromatic; p1.:panchromatic with increased red sensitivity; lR:
i nfra-red.
GRAIN: uf,:ultra fine grain; ef.:extra fine Srain; fg.:fine Srain; mg.:medium
grain.
f With deep red filter.
6
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35 mm. COLOUR FTLMS
Tvpe
,rt
*XjX Processing
Adox Color Rev.

Adox Color Nes.
Daylight (Type Cl8) 28. 50 M
-
Agfacolor Neg.
Universal (Tvoe NClT) 27" 50 u
Agfacolor Ner.
Universal (Type CNl4i 24. 20 u
Agfacolor Rev-,
Universal (Tvoe CNlTi
Daylight (Tvp'e Cttg) '
27" 40 u
Agfacolor Rev, 28. 50 M
Anscochrome Rev.
Artifi cial Light (Type' CK20)
uay||gnt
30" 80 M
Anscochrome Rev. Artificial Lirht
26" 32 u
Anscochrome Super Rev. 26" 32 u
Anscochrome Suier Rev.
Daylight
Artificial Lipht
3t. too u
Ektachrome Rev. 3t" t00 u
Ektachrome Rev.
Daytight 26" 32 u
H.S. Ektachrome Rev.
Flash (Type F)
Daylighi'
24" 20 u
H.S. Ektachrome Rev. 33. t60 u
Ferraniacolor Rev.
ArtiJicial Light (Type B)
uayilgnt
32" t25 u
Ferraniacolor Rev. Artificial Lisht
24" 20 u
Gevacolor Nes. Daylight (Tioe N5)
24" 20 u
Gevacolor Rev-. Daylight (Tvpe R5i
250 25 L
llfachrome Rev. 270 40 M
Kodachrome Rev.
Daylight (Type D)'
Daylight '- 2lo l0 M
Kodachromc 2 Rev. Daylight
2lo l0 M
Kodachrome Rev.
Kodachrome Rev, fi::'fii"J#'A'rvpe
A) 23" t6 M
Kodacolor Nes. 230 16 M
Pakolor Nes. -
Universal 260 32 u
Perutz Colo-r Rev.
Daylight
Daylight (Type Cl8)
27" 40 u
28" 50 M
PROCESSING: M:fitms:il-l:-?i9.:*ed onty fy the maker;

cessed only by an aooroved laborator), through jph|tograpnic !:filfns can be pro_
dealer; U:films can be
Drocessed by the usdr by means of special;.;.;J;;
i,,r.
CONYERS'ON OF FILM SPEED S}'STE/I4S
A5A ASA ASA

Arith.
(New)
8i8, oi:fl,,
D'N 85
Log
3 t.5
-+
6 3 lo
130
l2 6 t60
2" 190
25 t2
50 25
l2o 22o
r00 50
1o l5o 25o
200 t00
5" l8o 28"
400 200
60 21" 3l o
800 .(x, 7" 21" 34o

1600 800
80 27" 37"
90 30o 4Oo
I Also Weston.
67

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The Green Section between pages 16 and l7 Page

THE BALDAMATIC AND BALDESSA: MODEL BY MODEL

The Buldtmatic Prontormut and I ...

The Baklomatic II,III, and Prontormat II

The Super Bsldamatic and Super Baldsmatic I ''' l4

The Baldessa I, Ia, and lb... l8

The Bsldamatic III Lens System 24

@ Focal Press Ltd., 1961

BALDESSA AND BALDAMATIC EVOLUTION

$: The viewfinder of all other Baldamatic and Baldessa

shutter controls. This model was re-nafiied Baldamatic I in 1960 to

Press the camera firmly

Right: The hold for vertical

Eelow: To keep the camera steady during the exposure,

Viewing and. Focusing

Most Baldamatic and Baldessa models have a

, The viewfinder of the original Baldessa I is of the direct vision type

The orthodox way of rangefinder focusing just described

Digitally signed by Mike Butkus

Top left: Open the camera back.

TI{E BATDAMATIC AND BALDESSA:

- Sglf-contqineyl sections .for each model cover points

For a fuller explanation of aspects common to all Balda-

The Baldamatic Prontormat and r The super Baldamatic and Super

The Baldessa I, fa and Ib

THE BALDAMATTC PRONTORMAT

the setting marker, the latter being co.n-

THE BATDAMATIC lfo m, and

BALDAMATIC II, III 9 I

1. Work the fiIm transport key.

THE BALDAMATIC III

The film speed adjustment is combined with a filter factor

Shooting with the Baldamatic lll. From.left to right:,Tension the

BALDAMATTC il, ilt t3 a

THE SUPER BALDAMATIC

THE BALDESSA la AND lb

THE BALDESSA Ib EXPOSURE METER

Film speed setrings

For incident light readings, with the

3. Select the aperture-speed combination by turning the shutter speed

On Baldessa Ia and Ib with built-in rangefinder, look through ;t

set to the correct subject distance.

To use the built-in photo-electric exposure meter of the Baldessa Ib:

To remove the lens f rom the Balda-

Catting off Exposed Lengths

Changing Partly-exposed Films

frame you noted- before. To be on the safe side, it is advisable to

Other FiIm Packings

LENGTH OF FILM REQU'RED FOR AN)', NUA4BER OF EXPOSURES

Nurnber Length of Number Leneth of Nurnber Length of

in. cm. In. cm. in. cm.

Loading Standard Cassettes

1. Open the cassette. curv(

Film back glossy

. . F'ILMS AND F'ILTERS t,

There are two kinds of fllms available for the Baldamatic

As a result of a revision of the ASA film speed system, many manu-

There is a wide range of different makes of films in all