Voigtlander Ultramatic CS + Septon Camera User Manual
- June 11, 2024
- Voigtlander
Table of Contents
- Ultramatic CS + Septon Camera
- Loading the camera
- Setting the Film Speed
- Inserting the Film Cassette
- Changing Partly Exposed Films
- For Automatic Control
- Focusing
- Aperture and Depth of Field
- Setting the Shutter and the Aperture
- Voigtlander Focar lenses
- How to use the Exposute Meter
- Small Accessories – both Handy and Useful
- Care of Camera and Lens
- A Guarantee
- Read User Manual Online (PDF format)
- Download This Manual (PDF format)
The
ULTRAMATIC
in use
User Manual
Ultramatic CS + Septon Camera
Right Here is the most important piece of advice of this instruction
booklet. We have prepared it with a great deal of care to show everything in
the clearest possible way. So
pleose read this booklet carefully before putting your first film in the
camera!
First of all, make yourself thoroughly familiar with the ULTRAMATIC and
practise the various operations with the empty camera. Remember also that the
ULTRAMATIC is very robust, but nevertheless an optical and mecha nical
precision instrument. It therefore requires gentle and sensible treatment. The
camera will repay careful handling with beautifully clear and sharp pictures
for many years to come.
ULTRAMAATIC
24×36-35mm
1. Di stance ring for focusing
2. Distance scale with depth of field indicator
3. Control ring for automatic or manual aperture control
4. Synchroniser for M or X flash synchronisation, and self-timer V
5. Fl ash socket for plug from flashgun
6. Reve rsing for film rewind knob
7. Shutter ring for setting the shutter speed
8. Release
9. Filte factor disc to compensate for filters| 10. Film rewind knob with
film type indicator
11. Film speed catch for adjusting film speed scales
12. Film speed scale in DIN
13. Cable release socket
14. Film speed scale in ASA
15. lens catch
16. Film counter with adjustment button for 20 or 36 exposure cassettes
17. Tripod bush
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Loading the camera
You moy use ony type of film in your ULTRAMATIC comera.
The usual daylight cassettes with perforated 35-mm black-and white or colour
film yield 36 or 20 exposures of 24 x 36 mm each. Colour film can be the
reversal type for colour transpa rencies, or colour negative film for colour
prints on paper.
Although the cassettes ore light-tight, it is better not to handle them in
direct sunlight. Always lood or unload the camera in the shade – even in your
own shadow if need be.
The film type indicator
is intended only to remind you of the type of film actually in the camera. It
has no effect whatsoever on the exposure.
Tosetit : press reversing lever (6) to the right, and rewind knob (10) will
spring up. Turn the coloured disc until the sector with the corresponding film
symbol is situated opposite the engraved mark.
White = block-and-white film
Blue = colour film for daylight
Yellow = colour film for artificial light
Setting the Film Speed
Make it a rule to set the film speed always be for e loading the camera, because the automatic exposure control depends on this setting. You will find the film speed marked in ASA or DIN on the film carton or in the instruction leaflet accompanying the film.
To set the film speed, press catch (11) and turn the ring marked with scales
(12) and (14) until the required ASA or DIN number is opposite the red Δ index
mark.
10 ASA : I dot b efore 12 ASA
32 ASA : I dot after 25 ASA
18 Rewind knob
19 Viewfinder eyepiece
20 Cassette chamber
21 Film track| 22 Rapid winder
23 Sprocke t wheel
24 Take-up spool
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Inserting the Film Cassette
To open the camera: push reversing lever (6) to the right; rewind knob (18) will then spring up. Fully pull out the rewind knob (through the intermediate stop position) and the ca-mera back can be opened (see Fig. III). Anchor the beginning of the film to the hook of the take-up spool by a perforation hole. Draw the cassette across the film track, in-sert it into the cassette chamber and push the rewind knob home. At the same time, ensure that the shaft of the rewind knob engages the film cassette core correctly (see Fig. IV). Finally turn the lower milled ring of the take- up spool until the full width of the film lies tightly upon the sprocket wheel and two of its teeth engage two film perforations (see Fig. V). Close the camera back by clicking into the locked position.
Getting Ready for the First Exposure
The film counter can be set to one of two positions: for a 36 or 20-exposure
cassette. Accordingly turn film counter (16) to the left or right, and the
appro-priate number (36 or 20) will appear in the window.
Setting: When the camera was opened, the counter automatically returned
to the zero position . Now operate the rapid wind-ing lever and the release
button (8) alter-nately until the film counter indicates No.36 or No. 20 below
the mark in the window. After each exposure the counter will show the number
of exposure still available.
If the rapid winder is locked to start with (when the shutter is still cocked)
first press the release. The Rapid Winder
cocks the shutter, advances the film by one frame and also operates the film
counter. The rapid winder must always be pulled as far as it will go — only
then will it fly back automatically.
Unloading the camera
When the last exposure has been made, the film must be rewound: Push reversing
lever (6) to the right and the rewind knob will then spring up; turn the
latter in the direction of the arrow until a definite resistance is felt,
sufficient to stop the knob rotating. This ist the signal that the exposed
film has been wound back into the film cassette. Now you can open the camera
back by fully pulling out the rewind knob, and remove the cassette from the
camera. When trying to obtain more than 36 or 20 exposures on one roll of
film, it may happen that the rapid winder cannot be swung completely and that
it blocks. In this case do not apply force, otherwise you will tear the
perforation or make the film end slip out of the cassette. Proceed as follows:
push reversing lever (6) to the right, and the rewind knob will then spring
up; turn the rapid winding lever as far as it will go and let it fly back to
its original position. Unload the camera as described above.
Changing Partly Exposed Films
Rewind the partly exposed film as described on page 14. Remember to make a note of the number of the last exposed frame, and to re-set the film speed and film type if necessary. When reloading the original film, first of all place the black lens cap over the lens mount. Then insert the film in the usual way and alternately actuate the rapid winder and the release button until the number of the frame you had noted appears in the film counter window (16). Advance the film once more and you are ready for further picture taking. Don’t forget to remove the lens cap!
The Technique of Picture Taking
The ULTRAMATIC camera has a universal auto-matic exposure device, i. e. you
can either use the “automatically” correct lens aperture with a pre-selected
shutter speed, or you can transfer the correct exposure value “manually” to a
chosen aperture. The latter method has the advantage that you can use the
camera under the most favourable balance of aper-ture and shutter speed for a
particular picture. We may add to the above advantages those offered by the
perfect single-lens reflex sy-stem. With one look through the
viewfinder:—
- you can see the subject upright, right-way-round, and free from parallax, with preci-sely the field of view covered by the film frame;
- you can accurately focus with all inter-changeable lenses, either by means of the optical split-image rangefinder or on the ground-glass screen;
- you can read off the automatic aperture indication;
- you can control the adjustment of the shutter speed/aperture combination; equal-ly, if, when using a filter, the relevant factor has been compensated for.
For Automatic Control
With control ring (3) set at the “A” position the correct aperture will be set automatically.
-
Setting the shutter speed
Turn shutter ring (7) until the required shutter speed clicks into position opposite the red mark . The shutter speed should be chosen according to subject move-ment and prevailing light conditions. -
Setting the distance (focusing)
as described on page 14 -
… and Taking the Picture
Look through the viewfinder and frame the subject in the best possible way; if the aperture pointer lies in the white area —just press the release and the picture is taken.
Should this pointer be in one of the two red areas it is not possible to take
a picture because of the light conditions or because the preselected shutter
speed is too short. If possible, select another longer shutter speed.
The depth of field indicator which rides over the distance scale does not
func-tion with the HA” setting. However the aperture number indicated by the
pointer in the viewfinder will serve as a guide to the extent of the depth of
field. But more about depth of field on page 17.
For Manual Aperture Control
Sometimes it is desirable to disengage the automatic exposure control in order to be able to set the shutter speed/aperture combi-nation personally. This can happen with flash shots or when you wish to use “differential focusing” for greater picture impact.
-
Changing to “Manual” control
Turn control ring (3) from the “A” position to the range of aperture numbers. At the same time the depth of field indicator will commence to operate and the two red pointers will slide over the distance scale. -
Setting the distance (focusing)
as described on page 14. -
Determining the depth of field
Set the aperture ring to that aperture number which shows the desired depth of field on the distance scale.The example in the illustration shows that at the aperture fill, at a distance of 16 feet, the depth of field already begins at 10 feet and extends to 67 feet. -
… and Taking the Picture Look through the viewfinder and turn the shutter ring till the needle (in the white area) points to the same aperture number to which you have already set the control ring … and then take the picture.
The SYNCHRO-COMPUR Shutter
The white figures on the shutter ring (1/500 —1/30 second) are shutter
speeds which, under normal conditions, may safely be used for hand-held shots.
With the yellow figures 1/15 —1 second the camera should be firmly sup-ported
on a tripod, tree trunk, etc., to avoid unsharpness through camera movement
during exposure.
At “B” the shutter remains open as long as release (8) is pressed. Here, too,
a tripod is necessary, as well as a cable release which can be screwed into
cable release socket (13).
Focusing
may be done in two ways:
- In the split-image rangefinder vertical lines of the subject are displaced to the left or right (with the camera held horizontal) or upwards or downwards (with the camera held upright) as you turn the di-stance ring (see examplel). The lens is accurately focused when the two parts of the image register precisely across the split circle (see example Il).
- The ground-glass screen is most suitable for focusing subjects without prominent vertical or horizontal lines.
In this case turn the distance ring until the subject appears sharp on the ground-glass screen, which is arranged around the central split-image area.
Holding the camera and Taking the picture
For an exposure we recommend that you hold the camera as shown in the two
illustrations. The eye should be as near to the eyepiece of the view-finder
that the entire image area can be seen in comfort. Always press the release
button as smoothly as possible — never jerk it! The image in the viewfinder
disappears at the instant of ex-posure and re-appears immediately after-wards,
so that the subject can be watched virtually without
interruption.
Interchangeable Lenses
Insertion and Removal
A full range of Voigtkinder high-performance anastig-mat lenses, of different
focal lengths and apertures, are available for the ULTRAMATIC camera. These
lenses enable you to take any subject in the most effective way. All
interchangeable lenses are fitted in a quick-change bayonet mount and are
accurately focused with the two-way rangefinder. As the taking lens it at the
same time also the viewfinder lens, you always see the correct view in the
finder irrespective of the subject distance or the focal length of the lens
used. When inserting a lens, make sure that the red dot on the lens mount is
opposite the red dot on the aperture control ring (see illustration). Then
turn the ring slightly to the right until it clicks into position and it will
be firmly mounted in the camera. To remove the lens, press
catch (15), turn the lens to the left and pull it out of the shutter (see
illustration).
Aperture and Depth of Field
The depth of field covers that part of the subject, in front of and behind the
focused distance, which is re-produced on the film with acceptable
sharpness. This depth of field, how-ever, is not permanent; it grows when
stopping down and it decreases the more the lens is opened up.
Please note: —
Large apertures (e. g. f/2.8)
= smaller depth of field; Small apertures (e. g.
fi16)
= wider depth of field.
You can instantly read off the depth of field at any distance setting and with
every interchangeable lens, with the exception of the Voigtldnder Zoomar lens,
as long as the aperture has been set “manually”. The two red pointers above
the distance scale indicate the limits of the sharply focused zone (see
illustra-tion).
Flash!
With flash you can take the most delightful indoor pic-tures of the family
circle or of festive occasions; you can also give your outdoor portraits a
beautiful sunny effect on a cloudy day, or make heavy shadows in “against-the-
light” pictures just that little lighter. With black-and-withe film the flash
can be used on its own, or equally well combined with daylight or artificial
light sources, such as tungsten lamps. For flash shots with daylight type or
artificial light type colour film refer to the appropriate instruction
leaflets. In case of doubt your Dealer will be glad to advise you.
Mounting the Flashgun on the Camera
The flashgun or the flash tube of an electronic unit is usually fitted to the
side of the camera by means of a special bracket. A separate accessory shoe
can also be clamped behind the viewfinder eyepiece mount; you can then fit the
flashgun on the top of the camera as well. The illustration shows the
Voigtlander Flashgun in position. The flash cable completes the electric
circuit between the flash unit and the camera shutter. Push the plug of the
flash cable into the flash socket (5).
Setting the Shutter and the Aperture
Flash-bulbs and electronic flash units differ in their characteristics such as the firing de-lay and light output. To ensure that the peak brightness of the flash coincides with the instant when the shutter is fully open, there are two types of synchronisation: M and X. According to the type of flash-bulb or electronic flash, the synchroniser (4) is either left at the “X” position or moved to “M” (past a small locking pawl). You will find all the necessary information on “X” and “M” as well as on suitable shutter speeds, with the flash-bulbs and with the flashgun or elec-tronic flash unit itself. For flash shots with the self-timer (synchroniser set to “V”), use only the shutter speeds intended for the “X” position (see also page 20). The lens aperture required for correct exposure can be obtained from the so-called guide number. This is usually quoted on the flash-bulb packing or in the leaflets issued with the bulb or electronic flash unit. To find the correct aperture divide the appropriate guide number by the distance in feet between the subject and the camera; therefore: —aperture = guide number ÷ distance.
Shots with the Self-timer
The Synchro-Compur shutter can also be released through a delaying device
(self-timer) with the con-trol ring set io Automatic or to any of the manual
settings.
It is very simple indeed: —Put the camera on a firm base, preferably screwed
on a tripod, and move synchroniser (4) to “V”. If you now press the release
you will have time to move to your position; after a delay of about 10 se-
conds the shutter will be reased automatically. The synchroniser then returns
itself from the “V” to the position.
Do not use the self-timer with the shutter set to “B”. The synchroniser, once
set to “V” cannot be pushed back to the X or M positions by hand.
Voigtlander Focar lenses
are obtainable in different powers for all inter-changeable lenses from 40 mm
focal length, from 0.25 to 6.5 diopters; they may be combined to a maximum
power of 10 diopters, which will allow a scale of reproduction of 1 : 1.85.
Simply screw the Focar lenses on the camera lens mount. Focus with the
rangefinder or ground-glass screen. The finder at the same time shows the
correct field of view, in full brilliance right into the corners. The image is
the right way round and free from any parallax error.
To make sure of adequate depth of field for such close-ups, stop down to at
least f/5.6 of f/8. When copying documents and similar originals an aperture
of f/11 or f/16 is advisable. The use of Focar lenses does not affect the
exposure. If filters are to be used, screw the filter in front of the Focar
lens. When using more than one Focar lens, place the one with the highest
power (engraved with the largest number of diopters) immedi-ately in front of
the camera lens.A detailed Focusing Table for all
Focar lenses and interchangeable lenses, in-cluding data on scales of
reproduction, depth of field, etc. is available from your Dealer.
Voigtlanser Filters
are hard-coated and do not impair the lens performance in any way. The yellow, green and orange one can, of course, on ly be used with black-and white films – ultra-violet, sky-light and polarising filters are suitable for colour film as well.
Yellow filter G 1.5 x| Slight filtering effect for outdoor shots such as
sports and action subjects ……………………………. …. … .|
---|---|---
Yellow filter G 3 x| Universal filter for landscapes and other outdoor
subiects; indispensable for snow pictures ………. ………. ….. .
Green filter GR 4| Lightens green tones in landscapes. Recommended for arti·
ficial light portraiture and for copying of coloured originals
Orange filter OR 5 x| Stran(lly cuts blue light for dramatic effects. Reduces
atmo-sphene hoze in distant views ……. . ………………. .
Ultra-violet filter UV| Cuts out ultra-vialet radiation in high mauntains or
near the sea. Eliminates unpleasant blue casts in colour shots.
Requires no exposure increase …….. . .. . .. . ………… .
Sky-light filter SF| A combination of the u. v. filter and a weak conversion
filter; it completely eliminates the ultra·violet part of the spectrum
………………………………………… .
Polarising filter POL| Reduces or cuts out disturbing reflections from shiny
sur· faces (spectacles, polished areas, water) other than metal
Compensating for a Filter
With any filter (except the u. v. and sky-light filters) the exposure setting
requires some correction. You can carry out this adiustment simply by turning
filter factor disc (9) to the number of the corresponding filter factor, so
that the presence of a filter will be automati cally taken into account by
the exposure meter.
Just to remind you that you have compen sated for a filter, a small black
circle will have become visible in the top left corner of the viewfinder. This
circle will disappear
when the filter factor disc is turned back to unity.
The indicated filter factors are only approximate values, because they also
depend on the type of film emulsion and on the lighting conditions when the
picture is taken.
How to use the Exposute Meter
When you point the camera from the taking position to the subject, the built-
in photo-electric exposure meter automotically determines the correct aperture
and indi
cates its value in the viewfinder.
In many cases, however, a more refined method must be adopted, using close-up
readings – especially for light subjects against a dark background and vice
versa, as well as in portraiture.
In this case one goes so close to the subject that only the important parts
are “read”. At the same time change to “manual” and transfer the number
indicated in the viewfinder to the aperture scale. You can now return to the
original taking position and photograph the subject at this aperture.
Colour Shots
The most suitable subiects for colour pictures are those containing large
coloured areas without excessive light con trasts. Persons should be placed
in good contrast against a quiet and neutral background; outdoor portraits
give best results when the sun is slightly covered by clouds.
When shooting landscapes make sure to include a coloured foreground in your
picture. In high mountains and on the beach a UV haze filter helps to avoid a
bluish colour cast.
The film speeds (in ASA or DIN) of daylight colour reversal film are valid in
sunny, fine weather; you will need to give more ex-posure under conditions of
poor light and little contrast.
Attention should therefore be paid to the instructions which accom-pany every
colour reversal film. If the manufacturers state, for example, that the
aperture should be increased or the light value changed in the absence of
direct sunlight, i. e. in diffused light, follow this procedure: for an
increase of half a stop (light value 0.5) turn the filter factor disc (9) to
1.5; for an increase of a full stop (light value 1) turn this disc to 2; for
11/2 stops (light value 1.5) to 3; for 2 stops (light value 2) to 4; and for
21/2 stops (light value 2.5) to 5.
Micro Pictures
The value of photomicrography in the Natural Sciences does not need any
special mention; many professional people and scientists could not do without
this farm of photography.
But microscopy should nat only be confined to institutes, clinics and research
laboratories, nor should micro pictures only be taken of biological
preparations and living organisms; this captivating and interesting field of
picture taking is wide open to nature lovers, iust for the fun of it.
The accessories needed are not expensive; they are handy, quickly prepared for
action, and the entire photomicrographical set-up can be arranged on any
table. Thanks to cassettes of colour or black-and-white miniature film it is
possible to take 36 exposures in rapid sequence, for instance of the growth of
a crystal, a biological process, etc.
A special instruction book is available to tell you more about micro
pictures.
Small Accessories – both Handy and Useful
Right-angle Viewfinder
This accessory is used for the more convenient taking of certain sub-jects,
e.g. close-ups with Focar lenses as seen from below (worm’s- eye view). It is
fitted to the eyepiece of the camera by means of its push-on shoe and can then
be used to shoot round the corner.
Portrait Supplementary Lens for SUPER-DYNAREX
With this supplementary tens you can take frame-filling portraits with the
Super-Dynarex f/4, 135mm lens and approach your subject as close as 6 feet.
The supplementary lens is screwed into the lens mount and can even be used at
maximum aperture.
Lens-hood
This small accessory should really be used for every picture you make; it not
only eliminates annoying side-light which can give rise to reflections and
loss of contrast, but it also protects the lens from rain and snow. The lens-
hoods are made in several sizes for the diffe-rent interchangeable lenses —
wide-angle, normal and telephoto.
Adapter Ring for SEPTON Accessories
With the help of this adapter, all filters and Focar supplementary lenses for
the Septon f/2, 50 mm lens (54mm diameter) can also be fitted to all the other
interchangeable lenses of a diameter of 40.5 mm.
Care of Camera and Lens
Successful results and long life of your ULTRAMATIC camera depend largely on proper care and correct operation.
-
Therefore always handle the camera gently and never use force. In particular protect the camera against hard knocks and do not drop it.
-
Clean the lens only with a soft, fluffless cloth.
However, first remove coarse particles of grit (or sand at the seaside) with a soft sable brush. Finger marks and other traces of grease on the lens surface can be removed with a piece of cotton wool moistened with pure alcohol or ether. -
Clean the interior of the camera periodically with a soft brush and remove any dust or film particles.
Dust which has accumulated in the viewfinder can only be removed by taking out the lens and blowing out with a small blower.
A Guarantee
is enclosed with this comera as with a ll other Voigtlander cameras. Kind ly
check that your Dealer duly fill s in and stamps this Guarantee.
Only then you will be sure that if the camero should need any attention within
the dura tion of the Guarantee – as set out in the document – this will be
given by the world wide Voigtlander Service – free of charge.
Keep the Guarantee, even after the expiry date; in case of loss you wi ll need
the camera and lens numbers registered in the Guarantee.
VOIGTLANDER A.G. BRAUNSCHWEIG
.. and for showing your beautiful colour slides there is of course a Voigtlander projector matching the Voigtlander cameras in performance and design
because the lens is so good
Subiect to modification – Printed in W . Germany
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