Nizo

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How to Make Movies with the Nizo S 560 and Nizo S 800

Contents

Abbreviated Instructions 5 Drive Batteries 6 Testing the Drive Batteries 7 Operating from a storage battery or mains supply (AC) 7 Testing the automatic exposure system batteries 9 Checking the voltage of the exposure meter batteries 9 Cartridge loading 10 Filter Selector 11 Exposure Control 11 Split- image Rangefinder 12 Power Zoom 14 Holding the camera and operating the release 15 Electrical remote release 16 Using a tripod 17 Automatic single frame filming 18 Automatic single frames for speeded -up motion 20 Automatic single frame fi lming in conjunction with electronic flash 22 Slow motion filming 23 Automatic lap dissolves 24 Variable shutter 26 Time exposures 28 Synchronized sound recording 29 Ultra Close-up shots 31 Carrying the camera 32

Electronic

Automatic lap dissolve button

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Fi lm type indicator window

I -flashgun SO(:Ke't---

Power zoom buttons

+--\...

Ligbt intake window for aperture scale

Power zoom buttons

exposure system knob

Automatic lap dissolve button

Exposure meter battery check button

Check window for automatic lap dissolve condition Main switch and

•• - + motor battery check =====--=-~Variable shutter lever

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Abbreviated Instructions

Although we strongly recommend you to read all this instruction manual before you attempt to make a movie with the camera, you can start right away if you wish by following these simple instruc-tions. All controls should be set to «red»

1. Fold down the pistol grip until it snaps into position.

2. Insert the film cartridge into the camera.

3. Set the automatic exposure system knob on «autom» (red dot).

4. Set the filming speed knob to

Drive Batteries

The f ilm transport system and the zoom motor are electrically driven by six 1.5 volt batteries, located in aspec ial cartridge which is housed in the pistol grip of the camera.

If the pistol grip is in its operating posi -t ion , press the lock button which is located immediately below the release trisger and swing the grip backwards.

Slide back the serrated catch and the battery cartridge will jump up a little. Move the pistol grip into such a position so that the battery cartr idge will slide out.

Unscrew the two serrated knobs, which will be found on the underside of the battery cartridge until the lid can be re-moved. Insert six 1.5 volt batteries in the positions indicated on the inside of the cartridge. Replace the lid and screw down tight using t he serrated knobs. The pillars on the underside of the lid are of a dif-ferent length so that the lid cannot be replaced the wrong way round . Insert the complete battery cartridge into the grip, and press lightly until the serrated catch clicks into position over the lug on the cartridge.

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If the batteries have been inserted in-correctly in the cartridge the camera will not operate.

Testing the Drive Batteries

To test the drive batteries, push the main switch forward to the black dot and hold it in this position.

The pointer on the aperture scale in the viewfinder must move past the figure 8, which is coloured red . If the pointer fails to reach this mark, the complete set of batteries must be replaced.

The «0" position for the main switch, not only disconnects all the camera circuits and therefore conserves the batteries, but also avoids accidental starting of tho camera. When the pistol grip is folded back only the drive battery and power

7 zoom circuits are disconnected.

Operating from a storage battery or mains supply (AC)

The camera can also be operated from a 6.5 to 10 volt DC supply such as a storage battery, or mains charging unit (AC) .

In either case the battery cartridge should be removed from the pistol grip. An option3.1 accessory cable 'connects the camera to the nickel-cadmium or Barrix storage battery, or to the mains section (AC) of the Braun F 80 or F 800 electronic flash gun. The socket for this cable is located on the camera near the variable shutter lever. The other end of the cable is con- .. nected to the contacts on the storage battery or the mains section (AC).

A single charge of the storage battery is sufficient for transporting approximately 30 Super 8 cartridges. The voltage is checked in exactly the same manner as when using the camera with normal bat-teries ; the main switch is pushed forward to the black dot and the pointer must pass the figure 8 in the viewfinder (see the previous section of these instructions).

When used on the mains supply (AC) w ith the charging plug, the storage battery may also be used as a buffer. The mains sec-tion (AC) offers the advantage of practi-cally unlim ited service. Mains section (AC)

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and storage batteries for the Braun F 80 and F 800 can be obtained from photo dealers. The information in their in-structions for use apply to the operation of the power supply for Nizo cameras.

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Testing the automatic exposure system batteries

The automatic exposure system is driven by two 1.35 volt batteries. The battery compartment is located in the base of the camera under the pistol grip-the com-partment cap can be unscrewed by using a coin. The positive (+) mark on the battery must be inserted first, and the second battery must be inserted with its posit ive (+) mark against the head of the battery which has already been inserted.

If the batteries are inserted incorrectly the automatic exposure system wi ll not operate . Follow the diagrams ins ide the battery compartment.

Checking the voltage of the exposure meter batteries

Set the main switch to the red dot. Press the small black button which w ill be found in the centre of the automat ic exposure system control knob. The pointer in the viewfinder must move as far as the red figure 8 on the aperture scale. Should it not reach th is mark replace both batteries. If it indicates a higher value, then the bat-ter ies (e. g. 1.5 volt) must have been used. This will cause incorrect exposure.

Metering battery check

.... I.,.'"

.mom . • (-:} )1 manual~

Cartridge loading

The following types of film can be used in the camera.

Artificial light colour film from 13 to 23 DIN (16 to 160 A.S.A.). Daylight colour film from 11 to 21 DIN (10 to 100 A .S.A.). Black and White film from 11 to 21 DI N (10 to 100 A.S.A.).

Daylight colour film must not be used under artificial light conditions unless a correction filter is used on the lens.

When using black and white film the filter selector must be set to the «sun» symbol. Open the rear door of the camera and insert the cartridge with the film facing forward. The drive spigot on the cartridge must be towards the operating side of the camera. If the cartridge is inserted incorrectly, the door will not close. However, do not use force, in case this has occurred.

The cartridge automatically sets the ex-posure system to suit the type of film in use. The film counter is automatically in the start position, and will not begin to operate until the rear door is closed. The film counter shows the amount of film which remains, both in meters and feet. The window on the non-operating side of the camera indicates the type of film with which the camera has been loaded.

When the film is being correctly trans-ported through the camera, a red light flashes at the top of the viewfinder. When the end of the film has been reached this lamp is illuminated continuously. The film aperture in the camera should be cleaned from time to time by using a long handled soft haired brush. 10

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Filter Selector

Most Super 8 colour films are intended for use under artificial light conditions. When films are used under daylight con-ditions, a built- in conversion filter is ne-cessary to correct the colour temperature to suit the artificial light type film . This filter is in position when the filter selector is set on the «sun» symbol. When a film is shot under artificial light conditions, the filter selector must be set to the

background would be underexposed. Ob-viously the automatic reading would need to be corrected by manual override.

In this case , with the camera on «auto-matic», point it towards the subject at a very close distance from the subject. If this is not possible , point it towards a nearer subject which is simi larly illum i-nated. Read the number in the viewfinder and t hen set it manually. Now take your shot with this manual setting.

Another way would be to zoom in on the main subject with the exposure system on «autom» , note the number in the v iew-finder, set this same number manually, and t hen select the required focal length ·on the lens and carryon shooting.

Split-image Rangefinder

To obtain really sharp pictures it is essen-tia l to adjust the viewfinder eyepiece to suit your eyesight.

Point the camera towards a plain evenly illuminated background such as a white wall , or a blue sky. The setting of the lens, both for focus and zoom is entirely un-important at this point. If you wear spec-tacles you can get closer to the eyepiece if the rubber eyecup is folded forward.

Now turn the eyepiece until the horizon-tal line which bisects the circular area is in sharp focus . The eyepiece is now sst.

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To focus the lens, first set the zoom to its longest focal length. Now sight the subject and turn the focusing ring of the lens until the vertical lines which pass through the circular rangefinder area, are in line, and not broken. The lens is now focused.

If one half of the rangefinder circle ap-pears slightly unsharp, or a little darker, this has no bearing on your final film results.

Once the camera lens has been focused , it will remain in focus regardless of the

focal length used., so long as the subject distance does not change. However, this is only applicable when focusing has taken place with the zoom lens set to its longest focal length.

Critical focusing is only vital when the lighting conditions are bad or when long focal lengths are used (from about 30 mm and upwards) and when the distance between the camera and subject is less than 10 ft. If there is no time for cr itical focus ing you can take advantage of the very great depth of field at short or me-dium focal lengths. On the focusing ring

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of the lens the 12 ft. mark has been filled red. Similarly on the zoom scale the 15 mm position has been filled red. If this combination is used, then a depth of field of approximately 6 ft. to infinity will be obtained with an aperture of f /4. For even smaller apertures and shorter focal lengths, the depth of field will be much greater.

Power Zoom

The control buttons for the power zoom are located on the top of the camera towards the lens. The black knob nearest to the lens sets the long focal lengths, and the green knob nearer to the view-finder eyepiece sets the short or wide angle focal lengths.

There are two zoom speeds. If you press the control button lightly the power zoom will be slow, if you push it down firmly the zoom will be fast. The zoom effect can be slowed down further by use of one of the two slow motion filming speeds. Of course any focal length can be set manually if you wish to frame t.he subject before commencing filming.

Special note for the S 800 camera The power zoom system can be switched out and the focal length easily adjusted with a lever. This gives the possibility of a very rapid changes in focal length dur-ing shooting.

Screw the lever onto the stud on the focal length scale. The power zoom system is declutched by turning the black ring from the red dot to the zero mark.

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Holding the camera and operating the release

The camera may be used with the left or the right hand. Pass the hand through the wrist strap and hold the camera firmly by its pistol grip. The forefinger will easily reach the trigger release .

Hold the viewfinder to your eye using the most suitable eyecup. The large oval eyecup can be set in any position on the viewfinder eyepiece, but those who wear spectacles may prefer to use the smaller eyecup, which allows the eye to be closer to the eyepiece. Both eyecups can be re-moved simply by pulling them off the eyepiece.

The free hand is used for operating the focusing ring or the power zoom. During shooting it should be used to gently press the camera into the holding hand.

If the film is being transported correctly; a red light signal in the viewfinder will flash intermittently. Near the end of the film the flashing will become more ex-tended. If the light fails altogether, this shows that the film transport has stopped operating and if the indicating lamp is i llum inated continuously then the film has been completely transported. The camera

15 may be also operated by a cable release

or an electrical remote control. Details concerning these will be found in later sections of these instructions.

Electrical remote release

The camera may also be operated by an electrical remote release, th is consists of a reel of approximately 30 ft . of cable fit-ted with a press button and a socket for a further extension of approx 30 ft. of cable. Several of these reels can be connected in series to form a total release length of a maximum of 330 ft.

The electrical remote release allows subjects such as wild life to be filmed with the camera hidden. It can also be used when the cameraman himself wants to appear in the scene.

Socket for electric remote release

The camera should be mounted rigidly, preferably on a tripod. The automatic exposure system knob should be set to «autom» and the subject focused. The electrical remote release cable should be inserted into the middle socket on the side of the camera above the grip. Be careful not to move the camera, or worse still, pull the tripod over when you are feeding out the remote control cable.

Socket for extension

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Using a tripod

To obtain steadier pictures on the screen, it pays to use a tripod. This is particularly true for pan or zoom shots. A tripod be-comes essential for single frame ex-posure using the automatic time lapse facility, or when filming at focal lengths above 30 mm.

The camera is fitted to the tripod with the pistol grip in position. The thread in the base of the grip is used, and t he adapter can be. removed to suit tripods with a larger diameter mounting screw. When using the camera on a tripod, it is better to use a cable release , and this

can be inserted into the first socket nearest to the release trigger on the side of the camera.

Socket for cab le release

Automatic single frame filming

If there is sufficient interval between single shots it is possible to make inanimate objects come alive. At each shot the arm of a doll may be raised a little, or a matchbox may be moved a fraction at a time across a table. If these sequences are projected at 18 frames per second, the objects will have become animated. The doll will wave and the matchbox will travel across the table. For this type of fi lm-making the camera must be rigidly mounted, preferably on a tripod . If, during the sequence of exposures, the camera is moved inadvertantly, even only sl ightl y, it is advisable either to start

. run

Single-frame with cable or remote release

6 frames/sec

approx.1 frame/min

all ever again or to alter the position of the camera or the focal length of the lens. Single frames can be exposed either by using the trigger release, a cable release, or the electrical remote release . The red indicator mark on the automatic t ime lapse control knob must be set opposite the black square.

It is also possible to expose single fra-mes automatically by using the time lapse control and therefore saving time by going to and from the camera (for releasing) and the subject (for altering its position). The time lapse control knob

Continuous run

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is set so that the interval between single frames allows sufficient time for mani-pulations of both the camera and the subject. The electrical main switch shoul d be set to red , and the time lapse contro l knob to the first indication at the extreme left of the circular line. The continuous run lever on the camera base should be lifted and moved over to the right as far as possible. If this sequence of operations is followed , an unnecessary loss of f il m can be avoided. Losses in single frames during the setting of t he t ime lapse con-trol knob are insign ificant. For this pu r-pose, the knob itself is turned anti -clock-wise until t he required interval between single frames has been achieved. The interval can be recognized by the c l ick-ing of the so lenoid switch .

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Automatic single frames for speeded-up motion

Al l f ilmi ng speeds under 18 frames per second will produce a speeded-up effect when the f ilm is projected at 18 frames per second.

Using the automatic time lapse con-trol system, the camera offers all speeded-up settings between 6 f.p.s. and 1 f. p. minute.

The speeded -up effect between 6 and 2 f.p .s. is relatively small, but it is ade-quate fo r i llustrating, for example, the hectic tempo of street traffic. The camera does not necessari ly have to be mounted on a tr ipod. When carrying out all move-ments of the camera, do not forget that the speeded-up setting accelerates movements by at least three times.

Speed settings between approximate ly 2 f.p.s. and 1. f.p . minute definitely re-qui re a tripod or, at least, a stab le camera support. 2. f .p.s. produces nine times the speeded-up effect compared to the normal camera speed. If exposures are made at the rate of 1 f.p. minute the sequences taking place during one hour are reproduced in 3.3 seconds projection time .

The automatic time lapse control system gives cont inuously variable speeded-up motion effects, with the possibility of the correct choice of speed for each type of subject. The intervals are shortened as the knob is turned anti-clockwise and the camera will operate as soon as the con-tinuous run lever is lifted from its normal position and moved as far to the right as possible.

A complete sequence of single frame shots can be filmed automatically with respect to the film transport of individual frames, and automatically w ith respect to correct exposu re. The latter is achieved if the filming speed knob is set to

Screening times for 18 fram es/sec with

Retarded acti on Std. Slow*m otion shots

Frames per sec Shooting Interval between sing le frames in sec duration

54 24 18 0,5 1 2 4 8 15 30 80 120

min sec min sec mir sec hrs min sec min sec Imi sec Imi sec Imi sec Imin sec ';'in sec Imi sec Imi sec mir sec

3 1,33 1 1

6 2,66 2 2

12 5,33 4 4 0,44

24 0,66 8 8 0,89 . 0,44

45 20 15 15 1,66 0,83 0,42

1 30 40 30 30 3,33 1,66 0,83 0,42

3 1 20 1 1 6,66 3,33 1,66 0,83 0,42

2 40 2 2 13,33 6,66 3,33 1,66 0,83 0,44

4 6,6 13,3 6,66 3,33 1,66 0,89 0,44

8 3,3 6,6! 13 ,33 6,66 3,33 1,78 0,89 0,45

15 1 40 50 25 12,5 6,25 3,33 1,66 0,83 0,42

30 3 20 1 40 50 25 12,5 6,66 3,33 1,66 0,83

1 3 20 1 40 50 25 3,33 6,66 3,33 1,66

2 3 20 1 40 50 6,6 13,33 6,66 3,33

4 3 20 1 40 53,3 26,6E 3,33 6,66

8 3 20 1 47 53,33 P6,6E 13,33

16 1 47 153,3, 26,66

21 24 2 40 1 20 40

Automatic single frame filming in conjunction with e lectron ic flash To take just one example it is possible to reco rd the blossoming of a tropical plant, such as the Victoria Regia, automa-tically during the course of one night and to demonstrate quite clearly all the move-ments of the plant which would be other-wise invisible to the human eye.

W ith th is and other similar sequences, the use of lighting which produces heat is out of the question. However, the solution lies in the use of an electronic flashgun. This also avoids the effect of shift ing shadows, and variation in colour tempe-rature, if the f ilm was exposed using sun

Socket for electron ic-fl ashgun

light. It is important to ascertain that the interval between each single f rame is longer than the recycling time of the electronic flashgun. Exposure must be set manually and the reading given by a nor-mal still camera exposure meter should be increased by one stop (e. g. from fl 8 to f /5.6).

The filter selector on the camera should be set to the «sun» symbol , as the light from an electronic flashgun has the same colour temperature as that of daylight. The electronic flashgun can be fitted to the camera by means of a support bar.

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The contact plug is inserted into the ex-treme left hand socket at the side of the camera.

Slow motion filming

All filming speeds greater than 18 f .p.s. produce a slow motion effect when the film is projected at 18 f.p.s . The camera can be set to 18, 24 and 54 f .p.s.

The standard setting of 18 f.p .s. will re-produce the sequences at normal speed. Shots from moving vehicles and some zoom and pan shots can be improved by using the 24 f .p.s. speed. When these shots are projected at 18 f .p.s. all move-ments will appear to be slower than nor-mal by 1/3. Any uneveness in handling the camera will t herefore be improved.

The speed of 54 f.p.s. is a true slow motion setting. In conjunction with the projection speed of 18 f.p.s. it will pro-duce a triple slow motion effect. Move-ments which take place too fast at a nor-mal filming speed, will be easily studied at th is slow rnotion setting.

There is also a faci l ity for instant slow motion sequences when filming at 18 or 24 f.p.s. The small black button in the centre of the filming speed dial is pressed and the camera immediately increases in speed to 54 f.p.s. Therefore only the most important part of the film sequence can be filmed in slow motion.

Automatic lap dissolves

A lap dissolve is not only an interesting cinematographic effect, but it also offers the neatest way in which a change of scene and time can be clearly shown in the film.

A lap dissolve is achieved by fading-out the first scene, rewinding the required amount of film , and fading-in the new scene on it. The lap dissolve feature of the camera ensures that fading-in and out are superimposed exactly and automati-cally produces a technically perfect, smooth, and uninterupted lap dissolve.

Only two operations are required for this. To make a lap dissolve, press the rewind button «R» (on the top of the camera) for about 1 second before the end of the scene with the camera still running . After 1 second there is no need to press either the rewind button or the release trigger.

The rest takes place automatically and over a period of 3.5 seconds 63 frames are faded-out. This number of frames is then rewound and the camera stops. For fading-in the new scene, first press the release trigger and then the rewind button for at least 1 second and the camera automatically fades in the new scene. 24

The condition of the variable shutter, which causes the fading-in and fading-out can be checked in the small window which is located above the film counter. "R" against a black background signifies «rewound» and ready for fading-in again. The camera will only start to run when the rewind button has been pressed. The «0» against a white background signifies variable shutter «open» (normal position). A lap dissolve may therefore take place.

Special Note Avoid making lap dissolves on the last few feet of film since perfect rewind is not guaranteed over·that sec-tion.

To make lap dissolves with Super 8 car-tridges ; it is necessary to rewind approx. 27 cm of film in the cartridge . If the film material has unfavourable friction pro-perties this can cause a failure of the film transport.

In such a case; 1. Fold back the pistol grip to disconnect the batteries.

2. Undo the rear door and withdraw the cartridge a little to disengage the film

25 from the camera transport mechanism.

3. Fold the pistol grip back into pos ition again , so that the lap dissolve sequence, already started> can be completed.

4. Now push the cartridge back into the camera and close the rear door.

5. Do not make any further lap dissolves with this particular cartridge.

6. For lap dissolves use only film types which you have found by experience to be satisfactory for this purpose.

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Variable shutter

Correct fade-ins and fade-outs can be made under all lighting conditions with the aid of the variable shutter. The open sector of the variable shutter, which rotates in front of the film gate, is slowly reduced until no light reaches the film (fade-out); or the open sector increases from zero to normal (fade-in). These ef-fects can be achieved with the camera even during hand held sho·ts.

Fading-out: Hold the camera by the pistol grip and while filming, use the free hand to pull back the lever of the variable shutter (at the camera base on the operat-

ing side of the camera) as far as it will go. The movement of the lever should be positive and slow. When the lever reaches the end of its travel , stop filming . After this allow the lever to return to its normal position.

Fading-in: Before operating the trigger release pull the variable shutter lever to its rear stop. Now press the trigger and allow·the lever to move back to its normal position at about the same slow speed as used previously for fading -out. If a scene has been terminated by a fade-out, the next scene must commence with a fade-in.

Reduced exposure times: The variable shutter lever can be locked in a half closed position, about half way along its travel. This posit ion is indicated by a «half moon» symbol. The lever should be lightly pulled down at this point and it will lock down. The exposure time is now halved and, at the standard speed of 18 f.p.s ., the normal exposure time of 1/43rd of a second is reduced to approx. 1/86th of a second.

The automatic exposure system compen-sates for this by opening the lens aper-ture one stop. It continues to give auto-matic exposure readings.

This facility gives the following pos-sibilities: 1. Even if the pointer in the viewfinder enters the red zone and indicates that there is too much light, filming can con-tinue without the need to use a neutral density filter. The setting of the variable shutter in the half closed position in-creases the lens aperture by one stop.

2. The increase of the lens aperture by one stop, reduces the depth of field , and therefore gives the possibility of putting the background out of focus and keeping

27 the subject in the foreground in focus.

3. The reduced exposure time gives better definition when filming fast moving sub-jects.

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Time exposures

Time exposures are achieved in conjunc-t ion with the automatic time lapse system. Move the lever of the variable shutter as far as it wil l go. Press the push button marked with a white dot. This w i ll allow the variable shutter lever to move further into the section bounded by a dotted line. Release the push button and the variable shutter lever will stay locked back. The film transport mechanisim wil l now stop with the variable shutte r in the open positi on . This, in conjunction with the automatic time lapse contro l, gives ex-posure t imes between 1/8th of a second and approx. 1 minute.

Reduced times of exposure with VS stop at lock-point

Frame f req. Variable sector diaphragm

Open Half-closed

Single f rame 1/43 1/86

18/sec 1143 1/86

24/sec 1157 1/115

54/sec 1/129 No autom. expo I

Th is fac i lity makes interior shots poss ib le in museums, churches , and other buildings where there is only very minimal lighting. However, sufficient single frames should be exposed to ensure that the sequence is not too short when projected at 18 f .p.s.

It is essential that the camera is mounted on a tripod or another similar vibration free mounting. The intervals given by the automatic time lapse control are now ad-justed to give longer or shorter exposures as required by the prevailing light con -ditions. As a rule a rough estimate will suffice , since time exposures will on ly be employed under lighting cond it ions which will not give over exposures, and which any gain in lighting will give a satisfactory picture. However, for accurate settings of the time exposure it is necessary to use an exposure meter, which gives both the "f" number and time of exposure. All such exposures will normally be made with the camera lens at its maximum (f /1.8) . Therefore the exposure time indicated at this aperture on the exposure meter must be doubled. For example, if the exposure meter indicates a one second exposure for the lighting conditions, an interval of 2 seconds must be set on the camera. 28

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Synchronized sound recording

The camera is equipped with a 1000 Hz pulse generator and a special switch which , when operated, will start, the tape recorder an instant earlier than the camera. This means that the tape will be travelling at the correct speed at com-mencement of filming.

A connecting socket which will accept a special pulse cable is located on the left hand side of the wrist strap on the camera base. The diagram overleaf, in-dicates the various connections of the socket.

Many different types of pulse cables are now available and can be supplied by photo dealers. Some cables allow a pulse to be recorded for each frame, while others are for a pulse every 4th frame . These pulses will control the projector when the film is screened. The second track on the tape recorder can be used for the normal sound. The choice of cable is determined by the tape recorder used.

Uss [mVl 300

200

100

o 100 200 300 500 600 400 Impedanz Z en]

1 frame 1 pulse (1000 Hz)

4 frames 1 pulse (1000 Hz)

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Terminal Layout Terminal 1 is connected to the camera casing potential (chassis) Terminals 1 and 2.1 frame - 1 pulse; 1000 Hz (Kasy) Terminals 1 and 3.4 frames - 1 pulse; 1000 Hz (ETS) Terminals 6 and 7. Tape start switch (break contact) Terminals 7 and 8. Tape start switch (make contact) Terminals 6, 7 and 8, are insulated in respect of the casing and are electri-cally neutral.

Ultra Close-up shots

The range of accessories available for the camera includes three supplementary lenses for ultra close-up shots. When the zoom lens is set to the longest focal length, these close-up lenses make it pos-sible to cover very small areas and re-produce subjects· more nearly life size. This opens up the facinating world of macro photography.

There is no need to go into further de-tails here as the area covered will depend on the setting of the focal length of the lens and other factors which can only be shown in tables. However, each close-up lens is supplied with such a table giving exact information on field of view, focus-ing distance, depth of field etc.

The use of a close-up lens on the camera does not require corrections to the ex-posure, but exact focusing and the use of a tripod are essential.

Supplementary Lenses for S 560 Nizo NL 1 = 1.0 to 0.47 meter (40 to 22 inches) Nizo NL 2 = 0.53 to 0.32 meter (22 to 16 inches) Nizo NL 3 = 0.33 to 0.24 meter (16 to 10 inches)

Supplementary lenses for S 800 Nizo NL 8001 = 1.50 to 0.'72 meter (60 to 29 inches) Nizo NL 8002 = 0.80 to 0.51 meter (32 to 20 inches) Nizo NL 8003 = 0.50 to 0.37 meter (20 to 15 inches)

Carrying the camera

There is a special holster case for the camera with' provides adequate protec-tion and yet leaves it ready to be operat-ed at a moment's notice. The camera can be stored in the case with the pistol grip folded back with the lens pointing down. It is also possible to leave the pistol grip in the normal filming position. In this case the zip fastener is only closed to the point at which the handle protrudes from the case.

The upper compartment of the case will accommodate two film cartridges. If the packing material normally supplied with the film cartridge is removed space will be saved. The lower compartment is in -tended for the remote release cable, filters and other small accessories. The red loop fitted along the seam of the zip fastener can accommodate a cable release or the long zoom lever (S 800 only).

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7131 821 - engl. Printed in West Germany 18173