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Olympus Accessory Shoes

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Nikon FILTERS

Nikon filters are made of optical glass, ground and polished so that both surfaces are optically flat and parallel. They are spring mounted in their frames to eliminate strain. For best results, only Nikon filters should be used with Nikkor lenses as they are designed to complement each other.

Nikon filters are available in both screw-in and series mounts. The former are screwed into the front lens mount and the latter are attached by means of the lens hood and filter retaining ring supplied with the lens. The filters also have female screw mounts on the front to accept lens hoods or other accessories. The table on the reverse side shows which filter to use with which lens.

( ) f /stop to be compensated.

Suggestions for Use

·    If you wish to use a UV filter as a lens protector, leave the L37C filter on the lens instead of the L39.

·    When the lens is pointed toward the sun or toward a very bright light at night, it is wise to remove the filter from the lens since the reflected light from the surface of the filter may form ghost images on the film.

·    The polarizing filter is designed to rotate in its mount. It should be turned to the position at which the minimum reflection is seen in the view-finder.

·    When two or more different types of light source are used simultaneously, it is impossible to balance the color by using a filter.

·    No filter should be used under ordinary fluorescent light bulbs available for home lighting. Use only fluorescent lights designed exclusively for color photography.

·    The filter factors given in the table are only approximate guidelines. They may vary slightly with differences in film and type of illumination.

·    When used with cameras equipped with thru-the-lens meters, no Nikon filter requires exposure compensation except for the R60. When using the R60 filter and tungsten light, increase the expo­sure value by 1 stop more than indicated by the exposure meter.

Caution:

·  Keep the filter surfaces free of dust, dirt, fingerprints or smudges.

·  Do not use more than one filter at a time. Otherwise, vignetting may occur.

 (• = available)

*The attachment size of the built-in filter is 34.5 mm.

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Olympus M - 1

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Photography with Extension Tubes

The extension tube’s function is to provide an additional variable amount of extension between the lens and the camera body. This added extension becomes necessary when an increase in the focusing range of the camera lens is desired, as in close-up photography. The extension tube may also be used to adapt long focus lenses to the camera body and provide the proper extension and (with the Focusing Extension Tube) means for focusing such lenses.

Using Extension Tubes with Lenses Fitted for the Camera

Any lens made for a specific camera has a fixed focusing range which is limited by the amount of travel provided by the lens barrel. This range varies according to the individual design of the lens barrel, but generally 50 (58) mm normal lenses have a range from between 1.5 and 3 feet to infinity. When it becomes necessary to focus closer than the near limit of these lenses, the use of extension tube is required.

Attaching the Extension Tubes

The extension tube is placed between the camera lens and the camera body in the same manner in which the lens is inserted into the camera. The tube set consists of various size tubes which may be used individually or in combination.

Exposure

Exposure is determined by the proper combination of shutter speed and f (diaphragm) stop. The shutter speed, of course, remains unchanged by the addition of the extension tubes, but the f value varies with the amount of the tube extension. The f value of the lens is calibrated and is completely accurate only when the lens is focused at infinity. In normal camera use the error in the f stop resulting from the extension of the lens when focused at distances closer than infinity can be ignored since it is minor and is well within the range of the film’s latitude. With a tube, the lens is extended beyond the point at which exposure compensation can be neglected, making it necessary to apply the proper exposure correction factor. The following tables show the exposure factors for the most commonly used lenses and are self-explanatory. The required exposure increase (exposure factor) is applied in the same manner as a filter factor. Thus, a factor of 2 requires a larger opening of one f stop or twice as long a shutter speed; a factor of 4x requires a correction of 2 f stops, and an 8x factor requires a correction of 3 f stops.

A simple method for correcting exposure with any known factor is to divide the ASA speed value of the film by the exposure factor; then the meter will automatically compensate for the exposure factor.

Exposure compensation can also be computed by determining the Effective f value (Ef) as contrasted with the Indicated f value (If). The general formula is:

Ef = If X [(Focal length + Extension) / (Focal length)]

Example: With a 50mm lens and a tube extension of 500mm, and the diaphragm set at f 8, the true or Effective f value is:

EF = 8 X [(50 + 50) / 50]

      = 8 X 2

      = 16

Therefore, the actual f/8 setting is equivalent to f/16 and is necessary to determine the proper shutter speed for f/16 rather than for f/8. Simply read the shutter speed setting opposite f 16 on your exposure meter and you will have automatically corrected for the 4x exposure increase which the table indicates as necessary in this example.

The focusing Extension Tube

The function of the Focusing Extension Tube is to provide a continuous varying extension over a limited range. The focusing tube is similar in design to that of the normal lens barrel which provides the variable extension required to focus the lens. The focusing tube provides an extension range of 15mm, from 40mm to 55mm approximately. The Focusing Extension Tube is invaluable in supplementing the normal extension tube set, and in using the special short mount lenses designed for use with Bellow-scopes and Focusing Tubes; and for adapting long focus lenses. Special short mount 105mm and 135mm lenses when used with the Focus Extension Tube will provide a focusing range from infinity to as close a distance as you wish, depending on the number of tubes you add to the focusing tube.

NOTE

When the tubes are applied to Pentax ES, adopt Stopped-down Aperture Reading.

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Filters for BLACK & WHITE Photography

| Correction Filters | Contrast Filters | Contrast Control | Copying with Filters | Portrait Techniques |

CORRECTION FILTERS

• PALE YELLOW X1.0

Lightens yellow, darkens blue, slight haze penetration, slightly darkens sky tones in landscapes. Clearer picture on hazy day.

• YELLOW X1.5

Lightens between clouds and sky. It is especially suitable for portraits of women and children in natural light also springtime landscapes. Yellow darkens blue lightens green slightly increased contrast.

• MEDIUM YELLOW X2

Creates subtle differences between green tones and enhances rendition of the sky, recommended for landscape and foliage. It also tones down skin blemishes and ruddiness in daylight portraits.

• DARK YELLOW X3

Improves reproductions of sand, snow and increases the contrast of foliage and clears distant haze. It also diminishes freckles in artificial light, darkens eye colours and lightens lip colours.

• YELLOW/GREEN X2

Lightens green and yellow, darkens blue and diminishes red. Good for landscapes and outdoor portraits as it corrects skin tones and beach scenes.

• GREEN X3

Lightens green, darkens red and blue, slightly darkens photographs containing a lot green such as a lawn and also for outdoor portraits as it corrects skin tones and lightens background foliage against a darker sky. Makes tans look darker.

• PALE BLUE X1

Lightens blue and blue-green colours slightly. Darkens red in artificial light. It removes the reddish tones from the lighting corrects skin tones. Be careful if your subject is wearing red lipstick, as it will turn it darker.

• MEDIUM BLUE X2

It deepens skin tones in tungsten light and is also useful in landscapes as it creates a light haze or fog effect

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CONTRAST FILTERS 

•     DEEP YELLOW X2.5

Lightens yellow and orange, darkens blue. Adds contrast between clouds and blue sky. Full correction to what the eye sees.

•     ORANGE X5

 Lightens orange and yellow slightly, but darkens blue and gives good haze penetration. Landscapes architecture, brings out detail of grain and texture in hard woods.

•     LIGHT RED X4

Lightens red and orange darkens blue and green. Penetrates haze and mist.

•     DEEP RED X10

Lightens orange and red turns blue to almost black; also green., penetrates mist and fog. Maximum contrast for landscapes with blue sky very predominant good for sunsets or dramatic cloud formations gives a moonlight effect, copying blueprints and for the reproduction of documents which have become illegible.

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CONTRAST CONTROL

There are more opportunities for controlling contrast in black and white than in colour. The basic options are:

•     The processing of overexposure and underdevelopment reduces contrast, and underexposure  and over-development raises contrast.

•     Reduce contrast by pre-exposing the film to a featureless light surface (such as the sky) then giving at least three stops less exposure than the meter reading.

•     Use degrading filters such as fog or diffusing filters to reduce contrast.

•     Use a coloured filter to alter relative values, in particular blue filter will increase the effect of haze and reduces the apparent contrast. A red or orange filter will cut through haze and tend to deepen shadows under a blue sky.

•     Treat a negative in a farmer’s reducer or chromium intensifier.

•     Print on a hard or soft grade of paper.

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COPYING WITH FILTERS

•     To eliminate unwanted coloured backgrounds or coloured stains and render them invisible chose a filter of a similar colour to the colour to be dropped out and use panchromatic film. In faint or highly detailed originals in low contrast with the background where they must stand out clearly, use a filter of an opposite or complementary colour and panchromatic film.

•     To render type material or line drawings in colour as either black or white images, use panchromatic and the following filters

NOTES ON COPYING

•      Check that the lighting is even, this can be done by placing a pencil upright in the centre of the picture to be copied and making sure that there is no shadows from the pencil on the picture. A high-speed lens e.g. (l.4f) is not always suitable, because sometimes the speed is traded off against the flatness. An enlarging lens is much better or an old three or four element lens such as a TESSAR 5Omm 2.8 Always have the camera and picture to be copied parallel to each other, make sure that the picture is flat, a good tip is to place the picture in a masking frame or under a sheet of non‑reflecting glass. To increase the contrast of the picture one underexposes and over-develops. To decrease the contrast one overexposes and under develops. A blue filter blocks out the transmission of yellow light, making the yellow stain on old prints register as a dark area like the area around it, with panchromatic film. Contrast in black and white film can be increased by using an orange or red filter, but avoid using these for sepia prints as the highlights will be lost.

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PORTRAIT TECHNIQUE

TYPE OF CAMERA AND LENS USED

•     35mm cameras with a 100 mm lens give the best proportion for a head and shoulders type of portrait. Medium format cameras require a 180 mm lens to obtain the same position to the subject, this enables the photographer to be in a good position as not too close.

POSING AND COMPOSITION

•     Focusing: always focus on the eyes and frontal features, make sure the face is in sharp focus specially when working at wide apertures as the depth of field is reduced. The depth of field is one third in front and two thirds behind the focus point. Focusing a 3/4 or full‑length portrait is easier because you are farther away from the subject. Shorter lenses are useful for 3/4 and full length because they have a greater depth of field. Medium format cameras have less depth of field than 35 mm cameras.

•     Choosing the working lens aperture is often a function of exposure level as the choice is limited especially when using electronic flash or shooting outdoors. When one has a choice use two stops below the maximum aperture for optimum sharpness.

•     The posing of the person's hand is often an indicator of the persons character, just as the mouth and eyes are, and the closer they are to the persons head the larger they appear, this is why one uses a longer focal length lens to give a more natural perspective.

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