Purma Guide

7/27/2019 Purma Guide

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WTTYWRITE A BOOK ABOUTIT?There is no ideal att-round camera;every camera s theresult of a compromisebetween performanceand price-

whether you measure he pr ice in terms of speed,con-venience, r s imply pounds, hi l l ings nd pence. The boxcamera, he miniature, the reflex, and the stand camera,offer certain characteristic dvantages ccompaniedn eachcase by equally characteristicdisadvantages.In the PurmaSpecial e have he resultof a new type ofcompromise-a compromise between the desire to takegood photographsand a strong reluctance o go to anytrouble over them. lt ls, in fact, a lazy man's cahera, andthosewho condemn t on that ground gnore he tremend-ouscontributlon o humanprogressmadeby menwho weretoo lazy o be happ)rdoing things the hard way.The shutter speed s the only thing about the PurmaSpecialwhich can be adjusted,and even his operationcallsfor neither knobs nor levers, t is regulatedsimply by themannerof holding he camera. Everythingelse s eitherdone for you or it cannot be done at all. The lens has notonly a fixed focus,but a fixed aperture,and t is neither lucknor coincidencehat this combinationof distanceand stopls the very one which the good photographeruses moston four days out of five. The good photographerarrivesat this setting after some deliberation,consultationof anexposure meter or guide, and finally, two separateadjust-mentsof focusand aperture. This cameradelivers t ready-made.In many ways the Purma Special s the ideal camera ornovices ut its utter simplicity s responsibleor its frequentappearance n more exalted company. More than oneFleet Street ace carries the Purma Special as a sort ofinsurancepolicy for the occasions hen split secondscanrob the Dailiesof a scoop.Natural ly, his s impl i f icat ions a mixed blessing: here

- ar9 many hings that the camerawill not do and as man),{ others that it does indlfferently. No attempt is made to



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glossover the very obvlous llmltatlons of the camera n theiollowine pages. lt is, in fact, very necessary or thesel imitat io-ns't6be understood f consistent ly ood resultsare to be expected. This is one answer o those who ask"lf the Purnia Special s such a simple affair,why write abook about it ?"The other answer s-read the book and find out.



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T}IE PT'RMJTSPECIAIJThe PurmaSpeclals a minlaturecamera aking l6 squarepictures l f x i i in. (3.2 x 3.2cm.) on standari V.P. ' f i lm(No.27 or 127). lt weighs l2 ozs. 340grms.)and measures

6 x2[ xZ t in . (15 .3x 5.7 x 7 cm. ) .The body of the camera s wlder -at the middle than atthe ends to accommodate he special metal focal planeshutter.The top carries the built-ln optical dlrect-vlslon view-f inder, i lm-winding nob,shumer ett ing lever,andshutter-release utton.- Th" original Purma camera,known as the PurmoSpeed,f { q metal-bodyand six Instantaneouspeedsrom | 125ol/200 sec. lt is now obsolete.The lrensThe lens is a Beck anastigmatwith a fixed aperture off 6.3,and afocal length of 2d In. (5.7cm.). All suifaceswtththe exceptionof the outsideof the front and backelementsare "bloomed" to reduce nternal reflectlons.When not in use, he lens n i ts cyl lndrical last icmountretractsand s held down by a blackplastic apwhich screwson to a threadedbosson the camerabody. Unscrewing hecap allows a spring to slide the lens out into the woikingposition.- This position s fixed. o give a sharp lmageof all objectsfrom l0 ft. in front of the camera o the horizon.Supplementar)rensesdescribed later are available orphotographing ubjectsat less han l0 ft. from the camera.The ShutterThe shutter has no meansof external adjustment. ttsspeed s decided olelyby the mannerof holding he camera.There are three speeds-Slow ( l125 sec.), Medium(l/ f 50 sec.)and Fast 11450 ec.). When the camera s heldlevel, he shutter automatically ets tself o work at l/150sec.; with the camera on its left side, the shutter speed



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THE SHUTTERaHGtm1,ffiCut-awayvlew of focalplaneshutter. A pivotedweight controls he width of theshutterslit. Iop: SlowSpeed l/25 sec.). Camera n left.side; lit widest;weightopposing hutter spring. Centre:MediumSpeed l/150 sec.). Camera evel; slitnarrower; weight neutral. Bottom;FastSpeed l/450 sec.). Cameraon ritht sidc;sllt narrowest;wclght helpingspring.

HOW IT VYORKSl. Before pressing thereleose button. A platebehind the lens"caps" it to stoplight from reachingthe f i lm whi le theshutter is being set.2. First pressure onreleose button. Cao-ping plate moves awiyand allows llght topass into camera. 3.Finol pressure oD ft -leose button. Thisreleases the shutterand as the slit movesacross light passesthrough and exposesthe film. 4, tMhen thereleose button is freed.The capping platecovers the back of thelens.


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becomes l45O ec.;and on its right side, l/25 sec. As thepicture is square, he shape s.not al tered by turning thecamera o set the shutter sPeed.The shutter itself is of the focal-planePattern, -That is, it works close

to the actual fi lm surface and admits light to the negative through. aif i t n fri itt travels-with the camera in the level position-across theoiitu." from right to left when the shutter release is pressed'' - t t ' t " s l i t is fo imed in a curved metal p late which runs in guides..Ametal vane,attached othis plate and l inked to a pivotedtrass weight 'narrows or widens the sl i t 'according to the posi t ion of the camera'varvins t l le width from about rk in. in the Fasi posi t ion to about { in.in itre"stow. As the pivoted wiigtrt is attached to the main shutteroi" to. i t a lso helps o tontro l the iote at which the shutter travels. Inl t to i tor,n posi t idn i t acts ogoinst he shutter spr ing; in the MediumDosition it'has no effect, andin the Fast position it acts with the.spring.' -Arur" i a i ic covers he backof the leni aperture to Prevent ight fromreaching he f i lm when the shutter is be. ing et. This.d isc s swung outof the r}ay by the ,'first pressure" on the shutter release button.The shit t6r parts are 'of rust-proof metal .

A moulded plastic lever, f itted flush with the uPPersurface f the camera o the right of the view finder window,sets he shutter. lt hasa white arrow on toP to show thedirect ion n which to set i t . The method of sett inS s thesame or alt shutter speeds. Once the lever has been seti t canbe returned o i ts or ig inalposit iononly by releasingthe shutter with the pressbutton. Any attemPt to forceit backwil l damage he shutter.The shutter rei-ease utton lies in a recesson the toPsurface f the camera.When the lens s held n the retractedposition by its cap, the shutter releasebutton is auto-hraticallydcked o preventaccidental xposure.The releasebutton must nevei be pressedunless he lens is in theworking posi t ion.The Viewfinder

The viewfinder is of the oPticaldirect'vision ype Slvlnga reduced-scalemage of the field covered by the lens.With the eyeclose olhe finder and ookingstraight hroughthe centre, he view seen ramed by the squareaPerture s8 correct for all subjectsbeyond en feet from the camera.



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When taklng photographs o{ subiects nearer than thls with the aidof one of the iupplerneniary lenses, the finder is no longer accurate.(See pp. 54 to 57.)As a guide o the mannerof holding.the amef to adjustthe shu-tterspeed, FAST,and SLOW are m.arked o the

r ight and lef t 'of the viewfinder,eachword. being uPrishtwhen the camera s held for the corresPondingpeed.The Body

The body is madeup of two black plasticmouldings.'9.necarrying he lens,shutter mechanism, iewf inderand f i lmwind, a-ndhe other forminga detachable ackandcarryingthe f i lm pressure lateand numberwindows.A curvedsteelplateacrosshe insideof the body Protectsthe shutter mechanism nd forms the f i lm guide and aper-ture. At eachcorner of the curved ilm aperture he metalframe is raisedso that the fi lm lies lat against he pressureplate. Springsteel clips at eachend of the back hold it in

iosi t ion when it is pressed ome.' The word TOP, stampedon the Pressureplate on thedetachable ack ndicatei he correct way round for replace-ment, the top of the camera being the face carrying theviewfinder, release, tc.

Red windows are normal ly f i t ted in the f i lm-number apertures, buti f panchromatic i lm is to be'used, he green transParentd iscssuppl iedwith the camera must be fitted instead. To change he discs, he springreta in ing r ings should be easedout with the point of a penknife.



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ITJTNDTING HE PIIRMABeforeyou put a film into the camera,spendsometimepfactisingwith it until you are familiarwith the operationsof holdingand shoot ing.

How to toad the Purmal. Free back at both ends.2. Remove back.3. Insert gnpty,spool at winding end.4. Insert full roll bf film.5. Break papgr seal and pull off 5 in. of paper.6. Attach en4 of paper td empty spool.T. Wind until taut.8. Replaceback.9. Wind to first exposure.

l . Lever the back free by pressing your thumbnail Into the recessesat each end of the bodi.2. slide both ends of the back out at the same time: do not ooen itl ike a book or you wi l l damage he body or the sDrins cl ios. '3. Drop the plain end o.f he g.pty spool'into the holeippbsite thewinding knob and pul l out the-knod to a l low the srotted nd of thespool to fall into place. Release he knob and turn it until it ensaeeswith the slot. lf the knob does not go back flush with the top dr itrecamera the spool !.s not correctly fitted.4. The ends of the full spool fit into the slots at each side of the recess.When the spool is pressed down it is held in place by the platedspring at the back of the recess. Blow out any dust fro'nr insije thecamera before you thread the film.5. Do not break the seal before the fi lm is in the camera, or it may slipfrom your fingers and unroll.5. Thread the tapered end of the backing paper into the wide side ofthe sl i t In the windine soool.7- Make sure that -the -uaiting paper ties absolutery flat and runssmoothly on to the winding Jp6oi while you give thl knob a coupleof turns.8. Brush.awa)' .anl sqe9k9of.dusr or fluff from the edges of the righttrap_where he backioins the body. Look for the wor-dTOp stamiedo.n he fi lm pressure plate, and piace this edge opposite the faci ofthe camera which carries the viewfinder and shutter controls. push.^ both ends of the back into place at the same time and make surelU that it is pressed well home.



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HOW TO IOAD THE PUR]'fA :

l. Free he backat both ends.2. Removeback.3. tnsertan emptyspoolat windingend.1. Inserta roll of film at feedlngend.5. Pull off 6 in. of backingpaper.5. Push nd of backingpaper hroughwide sideof slit.l. Wind until taut.8. Rcplacebackwith TOP at top.9. Wind flgure I into first wlndow.




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^ N.g,grpresson the shutter releosebutton with the lens coD n Dloce.z. wl".n the cap s unscrewed,he lensslidesout into'trre fuortinqpositionand unlocks he shutter mechanism.Do not;;t;ffi?the slighlsideplaybetween he lensmountand ts housing';h6 ianormal. Put he cap n your pocket,or you ."v i"r" ii. -3. The shutter is s:t by pustringhe revei;b"ilii.,;;;.a punme inthe directionof ths white airow.Makea habitof setting-the hutter mmedlately eforeyou want toshoot. lf you set it ear-iler, ou run the rlsk of ilt"r"inJit accidently,Tl.:lt:r:.I:: think of the two acrionsor Jttinf'anJ-r-;i;ilf;together,you will neverbe surewhether he shuttEr , s"t or not.ll*"I: use. our right forefinger for setting the shutter and thenlejp rr weil away.rom the setting ever. The lever fliesback o thesareposrtron-ashe shutter is released, nd if your finger is in the- y.ay,you will spoil the picture.4. Plantyour feet-firmlyod rhe ground,and makeyour body lnto asteadysupporr for th-ecamera.-Hold the ."r"ta i"""1 "nJ'orlii,r- l!r!'Try agatnst our noseand forehead. lf the horizonshowj rn inep!ctu1'e,. akesure that it is p^arallelo the top and bottom of ihiv-iewf,nder9r y?:_yl!,y3l1t" p.tcrure pace.In ,iuarinjii i, l i"iir."-5"gp ygy-t orefinger bent w6[ over the rtruti"-r rei"Le or you wirlflnd tt dtfficult to appry he flnar pressure. pressaown .iJ;t,';;not jerk.Therelease uttonmovesairlyeasilyforabout* in.,and hen,whenabout to refease,-?-u.pllt_:r-yeiyu'chharder ;, il;;: latil;;;I3:T.:lr]I::-may shake he iamera at the inGrla oi-exposure.efirm, but not fierce,grip on the camera, nd slow,steadysqueezinqof the rereasebutton ii the answer.. gbcaudoiiti-*diinl;ii;:shutter, there is a sharp impactat the "nJ oi ia; ;;;";i; d'ut"s tr,isoccursofterexposure, i dodsno harm.5. lf the number sshowing n the.firstwindow,wind until yousee hesamenumber n the seiondwlndow. tf the numb"i ii tn.*i"q iithe secondwindow (nearest o the windin! kn;ti'*i;l"i"iiitrilnext number shows in the first window. The-ippearance f inumber n either window ls.precededby a line "ftr,."" or fourdots. Always wind to a fresh frame.imriediateiy-aftei ,"[ing-.n, f,|los,ure,or,you may orget andspoil two picturLs.o. I ne snutter tock doesnot come nto operition until the tenscaohasbeenscrewed ight down. rf you tra'i" r"iir," itiiiti,,ii"ij'tnTfinot madean exposure,you can-releasehe settiniiever uv un-screwing he lenscap a {uarter of a turn and prJrrini-tr," ,;i.,'".ilireleasebutton.

How to Unload the Purmal .14 2. Wind end of paper to secondwindow.Take ofr bacli of camera.



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HOW TO SHOOT WITH THE PURMA

HOW TO UNLOAD THE PURMA

l. Turn film wlndingknob until end ofpapershows n secondwlndow.a Removecameraback,easing off both endstogether.3. Stlck down papersealand removeroll.4. Transfer empty spoolto winding end andreplacebackof camem,TOP to top.

l. Unscrew enscap.2. Push settint lever indirection of arrow.3. Sightsubject n viewflnder and prsshutter release.lL Wlnd film to ncxframe.



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Stick down seal and remove roll.Transfer empty spool to winding end.Replace back of camera.3. Fold about half an Inch of the backing paper under, and turn thewinding knob unt i l only the end of t l ie-gummed paper seal is le f t

sticking out. Moisten the gum and presithe seal bri to the roll asyou continue to wind, then remove the sealed roll. In this way thereis no risk of letting the unsealed roll slip from your fingers. lf thefilm is not going to be developed immedlateiy, retuin it to itswrapping foil and carton.

3.4.5.

16



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FIIMS AIVD FILTERS FOR THE PIIRMAThe Purma takes V.P. (Nos. 77 and 127) fi lms with anumberedpaperbackingwound on a metal.spool. Fi lmsof this size' are maiufactured by most makers ofphotographicmaterials n two types-of emulsion-ortho-ihrom"atii and panchromatic-aid in a range of speeds.Without underitanding the effects of the type of f i lm,whether orthochromat-icor panchromatic,and its speed,good photography s imPossible.

Orthochromatic FilmsA photographic i lm does not resPondegually o all ther.vs rf l ishi which al l on i t when hd shutter sopen. Somer"yt ".t

-uponthe emulsionvery strongly,while others aremlch *uik"r. Orthochromati ic r oi tho f i lm is highlysensitive o blue light, lessso to yellow, green and orange,and oracticallynot-at all to red. For this reason'an ortho-chromatic i lm may be developed y a red darkroom ight .Modern research'has produied f i ims of this tyPe withgreat ly mprovedsensit iv i tyo the yel low,greenandorangei.vt. *hi.h eive a better 6lack anil white renderingof thecoioutt of 6ur photographicsubiects. These f i lms areseneral ly ndicatddby 7'-chrome" at, he end of the brandi.r . und h. i r h igh peed and good photographic ual i t iesmake hem probably he mostpopular l lms or amateuruse.

Panchromatic FilmsPanchromatic r pan f i lm is almost equal lysensit ive oall colours and for that reason t givesa better all-roundrenderingof the averagephotograp-hicubiect. Because ftheir sen"si t iv iryo l ig6t 6f at t olours, panchro.mat ici lmsshould be opeiredan-dprocessedn complete darknessorby a very dim greensafei ight.The highspeed.panchromaticfi ims ..6 e*."fsively sens'it iveo red- ight with the resultthat red ones n th6 subjectmaycomeout unnatural ly ale.

PUR-8t7



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Film SpeedsThe speed of the fi lm is always stated on the carton in fisures whichmay refer to any one of a numbir of different classifying yst-ems.Theses),stems.are asedon different methods of measuremen-tnd while theycannot be accurately compared, the table given below can be regardeias a satisfactory practical guide.COMPARISONF FILMSPEEDRAI'N6S

B.S. ndA.S.A.lndexB..S..LogWeston G.E. H. & D. Europeon mericon DrNlndex Schiiner Scheiner

t2l t0t4 l t0r5 / 0t 7 l t 0r8 / 0re l 02 t t 0221t024lto

t 0t 62032406480t25160

2lo2302402627029"30032330

I, 2t 62432486496t28

t 2t 82436486496130t90

400660800| 300|6002400300048006400

230 |g"250 21"26" 22270 2429" 25"300 27"32" 2go33" 300350 320As the Purma has gnly three shutter speeds, it cannot take intoaccount small differences between one film speed and the next. Thisallows^a much.simpler classificationof fi lm sp'eeds.All fi lms below 24' Sch. (European) are too slow to be of much useto the Purmawhich cannot give dn eiposure longer than l/25 sec. The

remaining speedscan be grouped int i r three: Low speed'(24oSch. to26"-S:L.) :Middle speed (27'Sch. to29o Sch.)and High speid (30. Sch.to 32oSch.)., ,The Low speed films are roughly half as fast as the Middle speed films(they the.refore.require twice the exposure) and the High sieed filmsare roughly tqlcg as fast as the Middle speed films (t-hey'thereforerequire only half the exposure).Latitude- The fi lm is.gpable of. esponding tola very wide range of light varues,from very dull to very bright-a much widdr range thin is found in theaveragesubject. lt isthus generally possible o stray from the so-calledcorrect exposure-and stil l be within the range of the fi lm's power toreproduce the l ight and shade of the subject. Thanks to th i ; la t i tudethe three shutterspeeds of the Purmawil i usual ly nclude one which isnear enough tg the correct exposure for practi-calpurposes. As thelatitude of the fi lm extends more-above han below thecoirect exposure,it is a safe rule, when the correct exposure lies between two Shutterspeeds, o choose the slower,-i.., t6 over-expose.8



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GrainThe black parts of the negative are formed of microscopic grains ofmetallic silver. These grains are too small to show in contact prints orsmall enlargements, but in big enlargements they can appear as ageneral spottiness which breaks up the definition of sharp lines anddestroys detail.The size of the grain usually varies with the specd of the fi lm. Lowspeed films have a relatively fine grain and glve the best enlargements.High speed films have a much coarser grain which shows more whenenlarged to the same degree.Some developers tend to leave he negativewith a coansergrain thanothers. Ordinary developers, suitable for roll fi lms larger than V.P.,are unsatisfactory for negatives as small as those of the Purma. Forall ordinary sizes of enlargement any of the proprietary fine graindeveloperswi l l do, but for minimum grain size, one of the u l tra f inegrain formulae must be used. The disadvantage f the latter is that theymay require up to three times as much exposure, which practically

rules them out for Purma photography.When to Use WhichThe best i lm for eveq/dayuse s undoubtedly he Middlespeed panchromatic ind. This is not too slow for brightwinter days and not too fast for strong summer lighting.It hasa grainsize ine enough or all normalenlargement ndits tone renderingof natural colours s the best possible.Its balanced colour sensitivity makes it excellent forportraiture, particularlyof childrenandyoungwomenwhosecomplexionswould be reproduced n unduly dark tones by,orthochromatic ilm. Disadvantages:t must be handled n'complete darknessor by a veD/ weak green safelight,andjit costsmore than orthochromatic ilm.Next in order of all-round usefulness omes he Middtespeedorthochromatic ilm. lt hasmostof the goodqualit iesof its panchromatic relative, but it has not the samebalanced olour sensitivity. However, average ubjectsaresufficientlywell rendered. When used for portraiture, itslack of sensitivity o red means hat it darkens lesh onesandsun an, and s apt to emphasiseacialblemishes.On the,other hand, t costs ess.The High speed panchromatic ilms should be reservedJfor suchspecial ccasions s photography n the dull wintermonths, ndoor andartif icial ightingwork, and o allow the 19



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fastest shutter speeds to be used for moving subfects.Against the very high speed of such fi lms must be setcoarsergrain, need or greater care n handling,paleness fred tones,and last but not least,higher cost than of ortho-chromatic i lm.Low speed ilms give the finest grain, but they limlt theuseof the Purma o a narrow rangeof subjects nd lighting.

FILfiISFORTHE PURMAGroin

Ensign:UltrachromeGevaert:PanchromosaSuperchromellford:SelochromeSelo H.P.3Kodak:PlusXVerichromeSuper XXPanatomicX

Middle speed ortho MediumMiddle speed pan FineMiddle speed ortho FineMiddle speed ortho FineHigh speed pan MediumMiddte speed pan FineMiddle speed ortho FineHigh speed pan MediumLow speed pan Very fine

What is a FilterA filter is a colouredglassdisc which is f itted in frcnt oithe camera ens o prevent someof the light from reachingthe film. lt is used o correct the tendencyof the fi lm to:see omecoloursdul ler than we do, and some brighter.A f i l ter tends to br ighten its own colour. l t tends todarken all other colours.Nine t imes out of ten you wi l l want to usea colour i l terto darken the blue of the sky and makewhite clouds, ndthe yellow,green and brown of the landscape,tandout intheir t rue naturalbr i l l iance.This canbe done by a yellow or green ilter; the particularcolour and depth of t int dependinguPon he sort of f i lm20 you are using nd how dark you want the blue sky to look.



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TAIffNG THE PHOTOGRAPHKnowlng how to use the three shutter speedsof thePurma wil l not help you to take photographs nless ouknow when o use trdm.l f you.shootbeach cenes i th a High speed i lm in yourcamera n st rongsunl ightwith slow shuttbr speed ou'wi l lpro.dqce n almosr black negative,while if you shoot on adull December morning with a Low speed film ar Fastspeedyou will get an almost clear negative. Both wiil beq.ulte useless:what is wanted, s a ndgativewhich showsthe b.rightestparrs of the subjectas ndt quite opaqueandthe darkest as not quite transparent,with all the Inter_mediate tones re-producedn propoftion-i.e., a negatiyewtri.. l hasbeengiven the correcr exposure.What is the correct exposure? ilefore we can answerthisquestion we must firsd know two things: the speedofthe film, and he srrengthof the light.

The Effect of Film Speed.. fo produce he samedegreeof blackening f the negative,light must act for a longer time on a slower fi lm than on afaster one-i.e., the slower fi lm needsa longer exposureunder the same ight ing condit ions.^.As grouped.for the Purma user (see p. lB) Low speedf i lms need wice as much exposureas Miaatd speedhlmsand four t imes as muchas High speed i lms.The Strengrthof the light

The strength of daylight varies according o the monthand the t ime of d^y. In-winter he l ight is-weaker han insummer;at mid-day t is stronger hin in the morning orevening.. The photographic alueof the sunl ightalsodepends ponhow.much of it gets through the clouls and haze. lf thereare heavy.clouds.obscuringhe sun, he l ight at mid-day nJuly can be weaker than on a clear Decembermorning.



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So the weather must be taken Into account In decidingwhat exposure o give.Bear idg n mind-the imited rangeof the Purmashutter,only three very broad types of l ighting need be consideredat any t ime of year:-Bright: un hiningn a clear kY.Goid: Normal fine weather with thg sun iust strong enough toDroduce faint ly visib le shadows.' Dult:-Sky dompletely covered with cloud through which the suncannot be seen.Good light needs hree times as much exPosureas Brightl ight. Dul l l ight needs hree to six t imes as muchexPosureas Good light.

The Type of SubjectA photograph s madeby light reflected from the sub.iect.The 'l ight ieflected from'a whitewashed cottage will actupon t-he ilm much more strongly than the weaker reflec-tibn from a dark-timberedbarn,-aithoughhe samedaylightmay be i l luminat lng oth sublects qual ly .The barn, here-for'e,will needa longerexposlre than he cottage.Similarly,an open landscape r seascape ill need a much shofterexposure han one with heavy masses f bui ldings, rees,or groups of people in it, particularly if they form theinterestof the picture.Here again,dhreegroups are sufiicient or the simplif iedtechniqueof Purma photography:-Light:Open andscapesithout important oreground.Snowscenes.Normoli Open landscapes ith important foreground figures orobjects. Wide streetsand squares.Dork:Figures nd buildingsn narrowstreets'under reesor in verywell-lit interiors. Portraits n shade.Normal subiects need two to three tlmes the exposurefor Llght. Dark subjects three to six t imesthe exposure forNormal .

Controlling Exposure with the ShutterThe rightexposureor anyphotographepends pon hefactorsalready iscussed: 4I'



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l . TheFllmSpeedLow,Mlddle r High).2. TheDaylight Bright,Good,Dull) or the particularime of dayandyear.3. TheSubjectLight,Normal,Dark).In practice,once the film has been chosen,exposure scontrol led by varying he sizeof the lensapertur i and theshutter speed. Most camerasallow control of both lensaperture.and hutter speed,but the Purma ensaperture sfix:d and exposures controlledby the shutterspeedolone.The three shutter speeds re: Slow-l125 sei. , Medium-l/150 sec.,and Fast- l /450 sec.Another way of putting this makes t easier o understandwhat_happensw_|ren change s made from one speed o

another, i.e.: Slow-18145:0 sec., Medium-31450 sec.,fast-1i450 sec.In changing ver from Medium to Slow, therefore, heexposure becomes ix timesslower-i.e. from 3 to lg-andin going from Mediumto Fast, he exposurebecomes hreetimes oster-i.e. from 3 to l.Practical Exposure Guide

lf you cannotbe botheredwith technical i t ies,r havenot ime to be exact,- the fol lowing rule wi l l give you a veD/high proportion of satisfactorynegatives:. .-i!.4tu._lPpy_a__r!ry! Good Light+ NormotSubjectMEDIUM HUTTERPEED.For other f i lms, ight ingand subjects, tepup the shutterspeed o Fastwhen at least wo of the othei factorsgo up asteP:_-A!cI.l.PgZa_fil1_+_Brightisht+ Normol ubjectFAST HUTTERPEED.Step down to Slow when at least wo of the other factorsgo down a step:-.\i.d.dt-9 p_.:_a_ltgJ Dull Light DorkSubject:SIOWSHUITERPEED.2



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EXPOSURE GUIDE FOR THE PURMA

&ocr-r iAR ,ip( ^-speed( Middtespeedlr*o speed

Select,upperor.lower table for season. Pick out subject (Light, Normal, or Dark);for lighting (9i.s.ht, Good,,or Dull). use camera poiition opposite your filmspeed (Low, Middle, or High).r ; d z 'G Bright

l* & Lightl- | srow )*GoodlF I Ncrmoti5 8,,0,,",|H

E Dut t ) - $ Dark) ' 3 Fos t ) '

w nt d w aaaaEAE zt n H g H d anaw nH at w H aal l- l- l- l- l-.f-T:]aa a

G' I g ua a



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, A step up in one factor cancelsout the effect of a steodown in one or both of the others and reaveshe ttirt i" ',speedunaltered:

"HiJ,fitl"ii F,lp,ir}tt.t ight Lightsubjecto

The classificationf .daylight nto Bright,Good, and Dull shouldbeusedwith some hought tolhe time of"Jiy ;;J y";;. --"The aboveexposures ppry o the middreof the day rn summer.A more accurate guide to exposure is given below.

EXPOSUREGUIDEFORTHE PURI4|Af . Find the Subject-Weother Facar

Subject WeatherBright Good Dult456

3452. Add the Light Factor

Month Time of Day9 a.m.- ll a.m.- -2 p.m.- 4 o.m.-l l a .m. 2 p.m. a b.m. 6 b; .

3. Add the Film FoctorFilm Factor

Low speed 32IMiddle speed{4 High speed




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1. Add the Fllter FoctorFil ter Factoi'

No. I YellowNo. 2 OrangeNo. 5 Light Green

5. f the lotol is:Fast shutter speedMedium shutter speedSlow shutter speed

"In Between" Shutter Speedslf you use a meter or chart, showinga range of shutterspeeds nd lensapertures, ou wil l have o use he shutterspeed hownopposite he lensaperture,f 6.3 of the Purmalens. This speedwil l not alwaysbe an exact Purmaspeed.Forordinarysnapshoot ingou wi l l besafen using he Purmaspeedbelow-i .e. , s lower than the one indicatedby yourmeter or chart.To get a more accurateadjustmentof exposure you canusea suitable i l ter, or adaptyour viewpoint o the l ight ing.Whenyou usea xZ filter in front of the lens, t halves heamountof l ight reachinghe f i lm. This automatical ly alvesthe exposureand is thus a usefuladjust ingdevice,alwaysprovided hat the effectof the fi lter is acceptable.

l f, for example, your mecer gives the correct exposure as l/50 sec.,you can use he Slow shutter speed ( l/25 sec.) arrdadd a x 2 fi lter. Thesame fi l ter would enable you to use Medium shutter speed when thesubject needs l /300 sec.,and so on. Remember that al though you areshortening the exposure, he shutter speedhas not been altered, so thatyou cannot use his trick to help you to photograph fast-movingsubjects.The whole range of " in between" speedsgiven by f i l te rs is shown inthe table on page46.

I or 2: Use3 or 4: Use5 or 6: Use

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ADlUSflNG EXPOSURES |TH F'rrERSExposureReguired ShutterSpeed With Ortho Films With Pon Fitmsodd Filter add FilterI lzsriso-ri60

l/r00-tt2sNoneYel lowSlowSlow

SlowNoneYellow orLight GreenOrange

l / r s 0r 300r s00- 7s0

MediumMed iumM e d i u m

NoneYel low NoneYellow orLight GreenOranger/4s0-ts00r/e0Gt/ t000 NoneYel lowFastFast NoneYellow orLight Green, Tl" .exact exposuredep.endsn the proportionsof light ondshode n the picture,and thereforeon ihe direct ion-of hel ight ing. l f you stand with your back to rhe sun so rharyour subject.is .strongly liglited from the front, you cangive wo-thirds the.expo:jrrehat you wourduse or d subjectl ighted rom the side. l f you sh6ot towards the sun,mosrof your subjectwill be in shadowandwiil needat least wice

asrnuchexposure s he same ubject ighted rom the side.This is anotherway of .makinglie subfect it the exposurewhenyou cannotmake he exposure i t the l ight.,_!oIpl":,lf the,exposure.ivenby yourmeter or a subjectightedfrom,the. ide s l/100..sec.,y choosin-gour viewpointso that th-esun!s ?g.nl lo ou'youwii l be abte o useMedium peed.(213 f l /100sec.is l/ l50.sec.)-9t.uy shooting gainsthe r ightyou can'give rdw pludar tne r isk ot st ightover-exposure.l/100sec.doubled s lTso et.;

However, most f i lms allow so much latitude in exposurethat you wil l be safe, nine times out of ten, in rnorl i ing tothe nearest Purma shutter speed.tighting Angles

How he light allson the subject oesnotonryaffectheexposure,t decisivelyontrolshe oppeoroncef ie subject:46



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FrontolLightingeliminates shadows,destroystexture andmakes he subject ook flat. lt is, however,useful or playlngdown facialwrinkles.Side lighting gives a good balance of light and shade,emphasisesel ief , and adds model l ing.Bock Lightingsuggestsdepth and spaceand is good forstriking and dramatic effects.High-AngleLightingcastsmarked vertical shadowswhichare bad or portraiture and generallyunnatural.Low AngleLightingaddr pictorial quality, and casts longsideways hadows, nriching exture and model l ing.The same ules hold good by art i f ic ial ight and al thoughthe Purma s first and foremost an out-door camera, hose'who want to work indoorswith i t cando so within l imits.

SHUTTERPEEDSORPHOTOFLOOD'I.IUII4INAT'ONLomps in good reflectors shining at on overoge angle of 45" to comera-subject line. High speed Pan film.Distoncee One LompLamp-Subjectin feet Light Med. Dark

Two Lomps Three LompsLight Med. Dark Light Med. Dork

M + S +s-

M + S -4 S -6 -

M +s+

M + M + S+S + S -s -Where the lighting s srong enough o allow for a blue filter, thtshut terspeed s shown hus: M+, S+.

Why a Lrens HoodThe lenshood prevents unwanted ight from fatllngonthefront of the lens, and is probably the most important

"extra" that can be carried. Stray ight is apt to strike thelens from so many unsuspectedquarters that the ontyreallysafe ule is: olwoysuseo lenshood,no matter where,when, or what you are photographing.It is even more important to use the lens hood with acolour f i lter or supplementaryens,sinceboth add reflect-ing surfaceswhich increase he effectof stray l,ight. 47



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The Purma lens hood is a black plastic moulded tubewhlch screwson to the front of the camera n placeof thelens cap. The open end narrows, forming a real hood incontrast to the conventional unnel-shaped itt ing. Themethod of attaching he lens hood makes t independentofany filter or supplementaryens n useat the tirne.

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wfIEN THE SUBIECT S MOVTNGNo Purma photograp-her hould be content to thinkonly in ,"flt_ of static effects' es whenf.to matter how quickly the shutter oPeratl

ph"logffi ing .- ttJ'1s iub;ect' it remainsoPen for a

def ini te ength"f i i r . d i r ing which_the ubiectmovesand;;;Jr:"t " 'blurrint of the ii lrage' But so l6ng as the blurir;;;;rlt io UusEenby the niked eye t doesnot matter.So, by keeping [.- Ult" small "nough' we can "arrest"movement n the picture.Factors hat control the amount of blur are the speedofthe subiect, ts distance, nd its direction'When *. t no*- i t l " t " three things'.we can.work outthe slowestshutier rf""a that will pfuduce no visibleblur'Speed

The movingsubtects ou.will want to shoot will be any-thinq-from sl;w-moving walkers o fast-movin$ ilotof-cofS,;; '?;;h't"it i-."t i r" ' " 'diff. '"nt shutter speed' The Purmatr.t ontv three ,huta"t speeds o dealwith them' however';il i;;ii; t"k; ;i simpiicitvhree rouPs illserve'Eosy: Up to l5 m.p.h. Walkers, cyclisti ' animals moving at normalspeed. , t^^^ ^- - . , -r^Brisk: l5 to 30 m.P.h. People n-a hurry on foot or cycle' waYes'andr".hin"t-trains, motor cari not in a hurry'"'?iiiiil1.rc ;;ed ;:;:h. moi"'carsand aiiwayrainsn a hurrv.Qulcksubiects need the shortest 9"P?t-'-r1.Briskcan begivin twice as.much, nd Eosy our t imes as mucn

Distance from the CameraMovement near the camera calls for a higher shutterspeed o arrest it than the same movement at-a greater;Ts;; F;;;;;;"; i"n.", the distanceof the subject romthe camera anbe div ided nto three zones:Neor: 0 to 20 t. (3 o 6 m').MidwoY:20 to40 f t . (6 to 12 m ' ) 'Fo r :4b to 80 f t . (12 to 24m ' ) '

PUR-C



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For the samesubject, he exposurecan be doubled foreachzonegoing away rom the iamera.Direction

There is more apparent movement in a subiect whichis crossi.nghe l ine'df sight at r ight angles han'when it is1ft.: i:hing ol.Soing *..f. Thre6 conditionsare enough omeet the pract ical equirements f purma photograpF'y:Across:u_bjectovingcross_fierdt rightangreso the ineofsight.Obligue.'Subject moving at 45o to line"of sig'hi, - -"- ",n Lrne:subiect moving along line of sight.

Give the shortest exposure or the f irst ; twice as lonsfor. the second,and three times as lonq for tt u-if, irA.- i?makesno differencewhether the subiect"ismovinq orwardsor backwards,o the right or to thd left. c'The slowestshutter Jpeedswhich wiil arrest movementfor the whole rangeof 'speeds,distancet, nd Jirect ions,are givenon page5l.Swinging the Camera

ff a fast moving s,ubjectmoves.os o whole, t wilt appears^ha1pf you swing hecomero o keep it steady n the "i.n-inder. In swinging he camera, ieht-the ubi6ctandcentrei t in the viewfinderwel l in advanieof the aitual exposure.In this way you wil l have ime to become ccustomedo thet^t igfof holding lru subjectand moving he camerawith i t .A l i t t le before the spot where you *ant the shutter tore.lease,tart squeezirighe releaie button, and iet it clickwhen it wi l l . You maybe a l i t t le late or a l i t t le early,butIp1 yi l l q: t . .sharp.-pictureof your subject, eas. inaUiyplaced n the,viewf inder. l f you try to rel6asehe shutterlt 3 v.erydefinite point you-will f6rgq to keep swinging,ferk.the camera,arid hav6nothing to"show on t'h. nlniuu-ian i l lustrat ion f how not to do i i .By swinging he camerayou can use a stower shutterspeed. Your background i[ ] , however,be blurred.



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EXPOSURES TO ARREST MOYEMENT

!'."* E|MEDTuMH **The slowest shutter speed that will give a sharp picture of a movlng subiectdepends upon: t. How'fast the subjectis moving. 2. How far it is from the camera.3. Whethdr it is moving atong, acioss, or at an-angle1o.the sighting.line. Withthe Purma, the shutter-speedis already fixed by the-lighting-conditions' so )'oumust tackle movement by adjusting your position and angle of shooting.



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Changing Motion_,M1ny.movements,have asi ly _ecognised,deadspots, , .The.high-jumper s he clears he bar,- thegolfer at the endof his swing,__theorseand r ider lust ovei the hurdle,aree.xamplsyf "dead.spors"where the movemenr s retativelyslow. Theseare thd instants o choose or shooting,parti-cularly *h:T you are forced to use a stow shuttei's'peedPracticewith the empty camera until you have masieredthe knack of taking_up'the irst pressureon the shutterrelease o that a finll squeezewill 'make it click.Walking, running,cycl ing,and rowing are examples fmovement which need special reatmeni. The bodv of aman doinFa!\ .of thesedhingsmay be movingslowly, butthe speed o-f his.arms and lEgswill call for i very shortexposure. .For this reason, h6tsof peoplemoving t t ightangles o the camera and less han dwenty feet ri".y musrbe taken at the .Fastshutter s.peed. As'Fasr can dnly begiven under ideal ight ingcondir ions, r is betrer to shootthis sort of subject-atan angle,when Medium speedwil larrest the entire movement.

52



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AT TESSTTIAN TEN FEETThe Purma ensgivesa sharppictureof all.objects eyondl0 f t . , but nearer ihan this obi-ects re no longersharp.To work closer, however, we can use supplementaD'

lenses-also called "portrait attachments"-which fit infront of the camera ens.The Purma SupplementarY Lenses

There are six lenses,covering all distances rom l8 in.(46 cm.) to l0 ft. (3 m.).l. For subiects 8 in. (46cm.) rom th-ecamera.2. For subiects24in. (61cm.) from the camera.3. For subiects 2 n. (82cm.) f.rgq the camera.4. For subiectsbetwedn3{ ah{ 5 ft..(l-1.5-m.} flom the camera.5. For subiects etween tnd 1{ ft: (i:5:2.-3m.) from the camera.6. For subjects etween7f and10 ft. (2.3-3m.) from the camera.These ensesare mounted in the sameway as the colourfi lters-in a black plastic ring with a spring Qa.nd urvedto gr ip the lensmoirnt . Lensand mount are sold ogether,the-outer faceof the mount has he working rangeof the

lenspr intedon i t .To'attacha supplementaryens,simplyremove he cameralens cap and pi6ss the spring cl ip.over the camera ensmount ' f rom the side. To'remove the supplementaryens,simpfypull it off forwards.Th6 iurfacesof-thesesupplementae/ enses. re asdelicateas hat of the camera eni i tsel f . Avoid dul l ing hem withfingermarksand keep hem away rom dust.The viewfinderof ' the Purma s l I in. above he cameralens so that the picture it sees s always ust that amountabove he pictu16 hat the lenssees. This effect,known asparallax, s too small o be noticed n photographs f obiectsbeyond 0 ft . , but when working with supplementaryensesit ian be serious. When taking photographs t close range,therefore,allow a litt le extra room at the top of the picturein the viewfinder. 53



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This holds for the Medlum speed position. With thecamera n the Fastor Slow speed- ositions, he finder is tothe sideof the lens. so allow that-extra room in the finderon the side away rom the camera.Using the Supplementary Lrenses. A.supplemenraryenswil l giv.e .sharpmage f everythingin the range of distancesmarked on 'the riount. l i goeifurtherthan thar; i t reproduceshe subiect s t sees t f lomits unnatural lyclose ioint of view, ar id the f inal pr int isapt to be disappoint ing.lf the photograph is a portrait, then the features hatwere closesto ihe camerappear exaggeratedn proportionto the rest of rhe face.The closer he viewpoint , he greater he distort ion; heeffect s more obviouswirh the l8 in. ens han he 5 to7*f t .lens. This disadvantages common o al l such ensesndshouldalwaysbe borne in mind when using hem.The range of supplementary enses or the purma canbe div ided nto three groups:

SUPPLEMENTARYENSES:8 n., 24 in.,32 n. (46cm.,6t cm.,82 cm.). The important thing with these lenses is tb avoid subjectiwhere some parts are very much closer to the camera than others.A perfectly.flat.surface presents no difficulties, and such subjects as.".ry9d panelswhere the carvi.ng s not more than an inch or two deepwill be reproduced without distortion.The zone of sharpness s very narrow, and the distance rom the frontof the lens o the subjectshould be measuredand not guessed.A very full exposure (about twice normal) must be given when work-ing as close as this becauseshadow detail is much m6re necessary n aclose-up han in a distant shot. In most cases he useof a white refiectorto l ight up the shadowswil l improve the picture.Portraiture with any of these lenses needs care to avoid fore-shortening.SUPPLEMENTARYLENS: 3{ to 5ft . ( t to t .5 m.). The distort ionat this distance is_not serious in photogriphs of smail animals, flowersand all subjects.where there is not more ihan l2 in. (30 cm.) betweenthe nearest and most distant parts. When taking photographs of pets,l ie down on the ground.to br ing.the camera eve-lwith t-he ublecd andarrange for the gineral lines of-the animal's body to be across he line

F, of sight. In this way, all parts of the subject will 5e sharp and in reason-O|l able ProPortton.



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WHAT HAPPENS WHEN YOU USE SUPPLEMENTARY LENSES

Wlth a supplementary lens the camera works at less han l0 feet and sees ess ofthe subje i t 'but on a'b igger scale. The closer the lens works, the narrower i tszone of iharpness. This ii-shown by the depth of the black bandsopposite each ens.



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Even his lensworks too close o the subject o give good humanportraits except perhaps n profile.SUPPLEMENTARYENSES: to ft f t . and7* to r0 ft. (r.5 o 2.3m.:lj-il^::-l .:l:_ SupplementaryGnsesare'often cil'"J ;;fir;;;arracnments"' uggesting.har ponraits are a form of ,,ct6se-uf;;photography.The truth is that'the most naturalport..it, are takenwith the cameraat l-e_as12 eet away.from h;,iri;.-'ii-y"u want alarge magewith thesesupprementuryenre,you mustbe preparedorsome distortion.. Lgokout for prominent eatures nddon't ret them pornt towardsthe tens. Avoid ihooting a ui! irrin f';;; i.*;;;;;i,i ' io. " shakes-pearian row from a highonel At this distancu,oo, oriritt".'s armsandhands il l be n thJpictureandwii l . . t iroi ' . i* ' fJi;r ; ; tument orthey wil l look unnaturai lyarse.These enses re useful'for rchitectural detail and suchsubjects sexterior carvings nd sculpture.Snapshooters-should,airy the 5 to 7f ft. lens, n particufar,as astandardtem in their kit .f f you lvant to use a corour f ir ter with a close-up lens,remove the re ta ln ing r ing from the f i l te r mount , "na t i t . ou ill".ll,:l_gl.::: ,Pui t o-verhe cameraens efor" ou lipon the close-upens.

56



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SNAPSHOOTINGWITH THE PURMA iwhvWhen any camera laims o be universal,here s usual lyone ob that i t wi l l do better hanothers,andwith the Purmathat ' job is unquest ionablynapshoot ing.n a class f photo'graphy hat calls irst and foremost or speed n getting intoiction, it can be quicker "on the draw" than an), othercamera,however expensive.I t is an ideal camera or snapshoot ing ecause: l) l tdoes not have o be focused. (2) lt hasa fixed aPerture.(3) The shutter speedadjustment s automatic. (4) lt can6e usedon most dut-door occasionshroughout the year.HowYou can snapshootyour subiect with the Purma withlitt le more trouble than it takes to look at it ' but youwon't take good snapshotsunless you understand thel imitat ions of the camera and how to overcome them.Thereare hree things o remember:Everything eyond 0 ft. (3 m.) is shorp.Everything nder l0 ft. is blurred.

The negotives very smoll.EVERYTHINGBEYOND l0 FT. lS SHARP. When youlook at something hat interestsyou, you are only vaguelyaware of the backgroundand suirounding.objects. Whenthe Purma ens ooks at the samesubject,however, t seesthe whole of the picture area with the same impart ialc lar i ty. l t looksbeyond he smil ing 'oung. ladyn the deckchair'and sees he untidy garden fehce, he corner of thechickenhouse,and he ndxt--door eighbour'swirelesspole,all equallysharp. Almost certainly he snapshotwill showthe wirel'ess oie growing out of the young lady'sheadandyou are also ikely o f indthat a patchof br ight sunshine nihe end of the .hi .kun househasstolen hd picture. Thisfail ing s sharedby all f ixed-focus ameras 1d !s part of theprice-thathas o 5e paid or doing awaywith the trouble offocusing.



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Since he whole of the picture ls sharp, ncluding hesubject,you must get rid of the things you don't want tocomeout in the snap n one of lhe fol lowingways:. C.hoo;e a plain background for your zuU;ect-a grass)'banK, he wal l ol a house, he sea.

Shoot from a low angle and use the sky as your back-ground. Darken the blue sky with a f i l t6r and you wil limprove he picture even more.Work close o yo.ursubjectso that the unwantedobjectsdo not appe?r n the piciure. The further you are awayfrqT youl subject,he inoreof the scene ou fnclude.Shoot from a viewpoint that showsyour subjectagainsta dark area of the siene. There is usuallysome patln ofshadow-under trees or on the shaded id6of the street-againstwhich a wel l- l ighted ubjecrwi l l standout.EVERYTHINGUNDER l0 FT. lS BLURRED. Do not bedeceivedby the sharp appearance f near objects in theviewfinder; he cameia ens ooksat things dif ierentryandseesnothing sharp ess han l0 ft. away. tearn to estimatethis distance orrectly,or be on the saf6 ideand pace t out.Three long str ides rom your subjectwi l l put you at theminimum working distance. Remi:mber h'at he negat ivewill have to be enlarged,and an)' trace of blur wlll bemagnified n the final-.photograph. You can make yoursubjectas.bigas you l ike by Enl 'arging, rov ided hat i t issharp.on he.negative,.butf you try to increasehe sizebyshoot ingat less han l0 f t . , 6ven a contactpr int the sam!sizeas he negat ive i l l be blurred.Fo.rclose-u.p ortraits or subjects oo small to give asatisfactory icture on th.enegativeat l0 ft., however,youcan usean extra lenswith the camera seep. 53).THE NEGATIVE s VERYSMALL. As the negative akenb.y h9 Purma s only lf in. square-or just ovir trnice hesize. f a-postage tamp-a contactprintTrom it is too smallto be of much use, and you wil l 'a lmost alwayswant toenlarge t. The biggeryou makean enlarg"meni, he moreIgu are troubled by the grain of the -f i lm (see p. l9),blemishes aused y dust anii scratches n the nLgative, n'dB



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unsharpness.Al l these mperfect ions ecome essseriousif the amountof enlargemelt an!e kept down,and he wayto do this is o ma.kehe subject i l l the wholeof the picturLfpace..Work asclose o.the.subjectas possible nd drrangei t in the viewfinderwith the i


38/39

mlghtfust aswell buy picturepostcardsndsave oursetfthe troubleof carrying cameri. Don't waste irm on themagnificent iew you -limbe.d o admire. Make your suo6 rn r r r rn r . y rew /eu c i l t l t ( )eq fq aqml re . l - l aKe your snap-shotson the way: the acquaintancesho shared he cl im6;the party -getting their breath before the steep secrion;the glass f beeroutside he inn on the way back. 'Leavehefamousview to the specialist hotographdr.l f you wa.nr o t-akesnapsof buildinls that interest you,lr)r , to avoid point ingyoui camera- p it them or they'wi l ilook as hough they were toppling backwards. f you cannor_ook s hough they *6re toppling babkwards. f you cannorl i lg l ,v iewpoint highenough.tg nclude he whole bui ldingtook as hough thy were toppling backwards. f you cannort ind.a viewpoint highenough o inc lude he whole bui ldingwith the camerapointing elel, be satisfiedwith a characterlistic bit of i t.The appearancef the bui ld ingwil l depend ery muchonhow the light strikes it. Snap-it if yoti can widh the sunr.lrinilq at ?l angle so that it shows up the architecturaldetail in relief.And on to Pictures. J.us_tashe pencil n your waistcoatpocket s equallygoodat jott ing down an interestingquotat'ion,writ ini an essay.or producinga seriousworkbf art , your purma"wil l tuin

out .casual napsor seriouspictures ccording to how youuse t .However good your technique, unlessyour picture hast_?T::l irt !o l.)rl it wil l be eith6r a meaning'lessirangemenrot l ight and shade,or a stale repetit ion oTwhat soriebodyelsehasalready enderedsecond-hand.But,the. mportant lhins is the idea. Good picturesareT?d" by simpl ic i ty ndclar i tyof expressionthir ik about hethings you want to pho^tograph;eek hem out and photo-graph hem whereyou f ini l hem,str iv ing o show ust whatit is about them that stirs you. WhEn you sticceed ng*::l1g:?-T:_.ling that reallysatisfies ou,'it wiil prouabtyDea tooo Ptcture.

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ooc' Yo0c

?c;El!Slow

O Howto lood: poge 0 a How o choosehe frlm: poge19O How o expose:oge12 O How ouse he filters;poge 3


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Purma Guide