adjusting the lens until they disappear. If the
subject has any depth, of course, there will
always be fringes around those details which
are closer and further away than the distance
to which the camera is focused. Just eliminate
them from whatever you want the audience
to concentrate on and do not worry about their
appearance elsewhere in the scene. For
example, in the shot of a bee gathering honey
it will be the bee that matters, not the petals.
Find some vertical detail in the bee and
eliminate the fringes from that. (Now and
again, you may come across a subject which
appears to have no vertical details sufficiently
sharp-edged to give a clear image of the
coloured fringes. There is an easy remedy. Pick
a horizontal detail, or any other reasonably
straight line, and twist the camera while
focusing so that it believes it is looking at a
vertical line.)
ii i. If you want perfect exposures from some
part of the scene, and not just good average
exposure for the scene as a whole, the manual
exposure control can be used to over-ride
the automatic control as explained in
paragraph 24. But unless you are totally
confident about what corrections to apply,
rely on the automatic control, supplementing
it - if the distribution of light and shade in
the scene is abnormal- by using the contrast
switch explained in paragraph 22.
22 Contrast switch. For nearly all the scenes
you will ever want to film, the automatic
exposure control system of the camera will
give you an ideal exposure. There are, however,
two main exceptions. When you are filming a
subject against an unusually bright
background, an automatic system may tend to
under-expose. When the background is
unusually dark, it may tend to over-expose.
So that you can compensate for this tendency,
your camera is provided with the useful
Bell
&
Howell "contrast" switch, For all
scenes with normal backgrounds, it should be
in the central "off" position. For very bright
backgrounds, slide it to the rear and for very
dark backgrounds slide it to the front. You will
not need to remember which position is which:
the symbols, showing a head against a dark
and a light background, make the correct
position clear at a glance. At all positions of
the "contrast" switch, you still have the full
benefit of the automatic exposure control.
10
23 Film length indicator, As soon as you start
filming, the red pointer of the film length
indicator begins to move across the scale
from left to right. measuring the amount of the
cartridge you have used and so, of course,
showing how much unused film remains. In
the illustration, the pointer is showing that of
the cartridge - or 150 seconds of screen ti me-
has been used and that
i
of the cartridge (50
seconds )remains. The indicator resets itself
automatically to zero whenever a cartridge is
removed from the camera. If ttierefore you
take out a cartridge before it has all been used,
perhaps to change to film of another type, note
the scale reading before opening the film
compartment and mentally add this reading to
the readings you obtain when you start filming
again with the original cartridge. The red signal
warning you that there are only 20 seconds of
film left in the cartridge is operated by the film
length indicator and will not be seen after a
partly used cartridge has been put back in the
camera. The up and down movement of the
indicator in the viewfinder, however, will stop
in the usual way when all the film in this
cartridge has been used.
24 Manual exposure control. Experienced
photographers and film makers will know that
for some scenes and certain special effects it is
desirable to set the lens aperture manually,
rather than depend upon the automatic
exposure control system of a camera. On
Model 2146 XL, this is easily done. With the
ON/OFF switch at ON, partially depress the
trigger. Looking through the viewfinder, rotate
the AUTO/ MAN ring in a downward direction
until the desired lens aperture number
(f/number) appears to the left of the horizontal
line.
If you are using a separate exposure meter,
regard the shutter speed as 1/30 second. It is,
however, often preferable to use the camera
itself as an exposure meter. With the AUTO/
MAN ring at AUTO and the zoom lens at its
extreme telephoto setting, aim the camera at
that detail in the scene for which exposure is
especially critical. Note the f/number which
appears in the viewfinder when the trigger is
partially depressed and then, after
resetting the zoom lens to compose the scene,
move the AUTO/MAN ring downwards until
(again with the trigger partially depressed)
the same f/number reappears. One application
16 Maintenez fermement la camera pour qu'elle
ne bouge pas, appuyez
a
fond sur la gachette,
et filmez votre scene. Laissez revenir la
gachette, et votre film s'arretere.
17 Durant vos prises de vues. vous verrez un
ternoin du viseur osciller verticalement dans
un carre situe
a
droite. II vous indique que
Ie film passe normalement dans la camera. Si
ce ternoin demeure immobile au sarrete en
cours de to urn age, ceci signifie que Ie film
s'est probablement bloque dans Ie chargeur,
et vous pourrez sans doute y rernedier en
retirant Ie chargeur de la camera (Fig. 19). en
Ie secouant et en Ie remettant en place. Cette
operation doit se faire avec Ie moins de
Iurniere possible mais, rnerne si vous etes bien
abrite. attendez-vous
a
voir quelques images
voilees sur votre film, au point ou il naura plus
ere protege par Ie chargeur. Si, apres tout ceci,
Ie ternoin ne bouge toujours pas, votre
chargeur doit etre delectueux. Demandez
11
votre fournisseur de Ie remplacer, ou ecrivez
au fabricant.
18 Acres trois minutes de tournage environ, un
voyant rouge sallurnera dans Ie carre afin de
vous avertir qu'il ne vous reste plus que 20
secondes de film dans votre chargeur. Des
qu'il ne reste plus de film Ie tsrno!n devient
immobile.
19 Pour retirer Ie chargeur expose, placez
I'interrupteur principal de la camera sur OFF
(ARRET). Mettez-vous dans un endroit
abrite de la lurniere, ouvrez Ie
compartiment-film (paragraphe 5) et
soulevez Ie chargeur, en Ie faisant doucement
sortir par I'amere du compartiment.
Envoyez-Ie des que possible
a
develop per, car
les couleurs ont tendance
a
sabirner sur un liln
expose rnais non developpe,
Comment utiliser les
dispositifs speciaux
20 Zoom e lectri que. Parmi les nombreux
dispositifs speciaux equipant votre camera
2146jXL, cest probablement Ie zoom
electrique que vous utiliserez en premier. II
vous per met de modifier la distance focale de
l'objectif en douceur sur toute la gamme
grande angle - telephoto ou. svidemment. sur
aucune partie de cette ranqee.
Vous avez deux vitesses de zoom au choix, la
selection se faisant
a
laide du commutateur
FAST (RAPID E)/SLOW (LENT). Pour
rapprocher un sujet eloiqne, appuyez
leglHement sur la touche TELE, et appuyez sur
la touche WID E (LARG E) pour augmenter
lanq!e de prise de vue. Si vous preterez un
zoom plus rapide ou plus lent que les deux
vitesses fixes, utilisez Ie levier de l'objectif.
mais attention. ne masquez pas
louverture de I'objectif avec votre main.
TELE WI E
.iij..
;
':'-
, .:
.
_.§..
FASf
9
=
SlO
21 Mise au point macro En utilisant Ie zoom de
tacon classique. la mise au point se fait sur un
objet distant de la camera entre 1,5 m et linfini
Mais avec cette camera vous pouvez mettre au
point sur des sujets tres rapproches. lis
peuvent presque toucher Ie devant de
I'objectif .
Avec la Macro, lorsque vous
projetterez votre film, I'ecran pourra etre
rempli dun bord
a
tautre par un objet qui ne
mesurera en rea lite qu'erwiron 3 cm.
En outre, Ie remarquable svsterne macro
ne com porte pas les inconvenients
inherents
a
ce genre de prises de vues En
generalla profondeur de champ est tellement
minirne que la mise au point. qui doit etre
parfaite, pose certains problemas. Avec Ie
modele 2146XL, une mise au point precise ne
pose, cornme nous l'avons vu, aucun
probleme car le;;ysteme dichroique lonctionne
rnerne en macro.
Generatement les cameras conventionnelles
demandent une compensation de lurninosite
lorsqu'cn filme de ires pres. Cela n'est pas
necessaire avec la 2146XL. La cellule placee
derriere l'objectif repond
a
la luminosite de
i'objet filrne et Ie svsterne automatique regie
Ie diaphragme en consequence; que ce soit un
paysage ou une abeille au creux d'une fleur.
7
