Camera Ready . . . with Every New Film
Setting the film speed. Depress the uncoupling
lever (3) and hold it in this position. Turn the shutter
speed ring (7) to the left or right until the speed
rating on the red DIN or ASA scale (1 and 17) -
correspondng to the speed of the film in the camera - is
opposite the red dot on the shutter speed ring. Then let
go of the uncoupling lever.
This film speed setting is essential to ensure correct
exposures with the automatic exposure control.
Inserting the film. Press together the locking
catches (4) and open the camera back. Push the film
reversing lever (25) to the left. The rewind knob (24)
springs up; pull it out fully (see illustration III in
Push the beginning of the film into the slit of the
take-up spool and anchor it to the hook (28 and 32) by a
perforation hole. Draw the cassette across the film
track, insert in the cassette chamber, and fully push
back the rewind knob. The rewind shaft (29) must engage
the centre spool of the cassette, and the sprocket of the
transport shaft (31) should engage the film perforation
(see illustration IV in main
pictures). Close the camera back.
Setting the film counter. Turn the milled knob
(19) until the diamond mark (for a 36 exposure cassette -
illustration a) or the circle mark (with a 20 exposure
cassette - see illustration c) is opposite the red dot.
Alternately operate the the rapid winding lever and the
release until the film counter indicates No. 36
(illustration b) or No. 20 (illustration d) for the first
From this point onwards the film counter automatically
shows the number of shots still available every time the
film is advanced. In other words, it runs backwards to
The Film Indicator (11) is intended to remind
you of the type of film you have loaded in the camera -
it has no effect on the exposure. Set it before loading
the film (while the rewind knob is pulled up) by rotating
Exposure . . . Shutter Speed and Aperture
Pre-set the shutter speed. Rotate the shutter
speed ring (7) until the required speed setting clicks
into position opposite the triangular mark. The exposure
times from one hundredth of a second to one fifteenth of
a second are automatically timed by the shutter; at the B
setting the shutter remains open as long as you keep the
Speeds up to one sixtieth of a second are suitable for
hand-held exposures. For a longer time - with the camera
firmly supported or mounted on a tripod - a cable release
can be screwed into the socket (16).
Align the two pointers by turning the aperture
ring (10) while pointing the camera at the subject. That
is all: you have now set the correct aperture
corresponding to the shutter speed. See Meter
Readings for methods of meter readings.
If the two pointers cannot be aligned within the
movement range of the aperture scale (from f/22 to
f/2.8), conditions are not suitable for an exposure with
the pre-selected shutter speed. In this case select a
slower speed, if possible with the subject to be
Aperture and Depth
The depth of field zone depends on the aperture
setting, and covers that part of the subject area in
front of, and behind, the focused distance, which is
reproduced on the film with acceptable sharpness. Note
large apertures (e.g. f/2.8) yield limited
depth of field
small apertures (e.g. f/16) yield greater depth of
Reading off the depth of field. - After having
set the distance (see Setting the
Distance) hold the camera so that you can read the
aperture marks on the depth of field scale (6) as well as
the distance scale (5) at the same time. The depth of
field extends from the distance figure above any given
left-hand aperture number to the distance figure above
the corresponding aperture number at the right side of
the triangular mark.
Consider the depth of field when you adjust the
aperture to match a pre-selected shutter speed. If your
subject calls for a greater depth of field zone than
obtainable at the correct aperture setting, you may have
to pre-set a longer exposure time in order to arrive at a
The bright circle in the centre of the crystal-frame
finder is the focusing area of the coupled rangefinder.
This rangefinder field shows the subject with double
outlines (see top illustration) as long as the lens is
not correctly focused.
Turn the focusig mount (5) until the double outlines
in the rangefinder field fuse into one (see bottom
illustration). This sets the camera exactly to the
To make focusing easier, watch the vertical lines of a
subject when you hold the camera horizontally. Similarly,
focus on horizontal subject outlines with upright
Settings . . . Without the Rangefinder
Candid action shots, for instance children at play,
sports, and the like, often yield surprisingly live and
attractive pictures. In this case you don't bother to set
the distance exactly with the rangefinder, but use
instead the following red symbols on the distance
black spot = PORTRAITS - subject distance 4
inverted triangle = GROUPS - subject distance 11
circle = VIEWS - subject distance 33 feet.
According to your subject, set the distance scale
simply to one of these three symbols. This gives you,
among others, the following depth of field zones:
Once you have set the exposure (shutter speed and
aperture) and the distance, and tensioned the shutter,
pull the small red lever (18) sideways as far as it will
go. On pressing the release, the exposure now takes place
automatically after a delay of about ten seconds. You
therefore have tme to take your place quickly in front of
the camera. Do not, however, use the self-timer with the
shutter set to B.
Small light-weight flash guns can be mounted directly
in the accessory shoe on top of the camera. Larger guns
or the lamp holders of electronic flash units are
generally mounted to one side of the camera with a
special bracket. The flash cable completes the electric
circuit; it plugs into the flash socket (15) on the
The shutter has only one synchronizing setting: X. For
flash shots (with or without the self-timer) you must
therefore use only the shutter speeds shown in the table
The correct aperture setting can be obtained
from so-called guide numbers, usually quoted on
the flash bulb packing or in the leaflet issued with the
bulb or electronic flash unit. Divide the appropriate
guide number by the distance in feet between the subject
and the flash gun on the camera: the result is the
aperture to be used.
Aperture = Guide No. : Distance
Example: Guide No. 75 divided by Distance 15 feet =
So set the aperture between f/4 and f/5.6
Shooting . . .
Frame by Frame
Voigtlander crystal-frame viewfinder. The
brilliant reflected frame finder system shows you the
subject in natural size. When sighting you can therefore
keep both eyes open and have a clear view over the
surroundings of the subject as well.
Please note: with subjects at about three and a half
feet the limits of the field of view are displaced
downwards or sideways (according to whether you hold the
camera horizontally or upright) as shown by the two short
lines on the reflected image frame.
Releasing. Always press the release gently and
smoothly - never jerk it as that would produce blurred
Rapid winding lever. After every shot pull out
the lever as far as it will go (with one full stroke or
several short ones). This tensions the shutter, advances
the film, and advances the film counter. An automatic
lock prevents operation a second time before you have
made an exposure. Also, you can only release the shutter
after working the rapid winding lever.
Camera . . . after the Last Exposure
Rewinding and removing the film. Push the
reversing lever to the left, letting the rewind knob jump
up. Turn the knob in the direction of the arrow until the
diamond or circle mark reappears on the film counter
window. Then open the camera back, fully pull out the
rewind knob, and remove the cassette.
With the VITO CLR you can always remove a partly
exposed film in the middle and change it for another one
(for instance to switch over from black-and-white to
Remember - or make a note of - the number of the last
exposed frame, and rewind the partly exposed film, into
its cassette. When reloading this film later on, proceed
as already described up to the point of setting the film
counter ot the diamond mark.
Then depress the release, let go, press down again,
and hold it down in this position. Keep on pulling out
the rapid winding lever as far as it will go, until the
film counter again indicates the number of the frame you
noted before. Now let go of the release, work the rapid
winding crank once more, and carry on shooting.
Meter Readings .
. . in a Nutshell
Generally you get reliable exposure setting by
pointing the exposure meter straight at the subject from
the camera position. This so-called reflected light
measurement is suitable for average subjects without
excessive contrasts of light and shade.
Out of doors - especially with open views - it is
advisable to point the camera slightly downwards as the
bright sky reflects far more light than the actual
subject. Exceptions are cloud studies with figures,
buildings or other landscape features deliberately
rendered as silhouettes; also sea and beach scenes.
In some cases a more accurate way of taking reflected
light readings is necessary, namely close-up readings.
This may arise with bright objects against a dark
background, with close-ups with the aid of Proximeter
lenses, and with nearly all pictures of people,
For a close-up reading go near enough to the subject
to take in only the parts that really matter. Take care
not to cast a shadow over the area which you are
With tricky subjects, incident light readings
are particularly reliable. Use this method for scenes
with extreme brightness differences between the subject
and its surroundings, for instance against-the-light
shots, snow scenes and seaside views.
For this purpose fit the diffusing screen included
with every camera in front of the exposure meter cell.
Then take the exposure reading from the subject towards
the camera viewpoint to be used. Incident light readings
are also successful for interiors with or without
Note: with incident light readings the correct
exposure will of course also depend on the light
reflected from the subject. Obviously it is not possible
to quote any correction factors for that. So in deriving
exposures from incident light readings go by your own
experience, gained as you go on.
Filters are hard coated and carry a 32 mm.
diameter push-on mount. Every filter (except for the
ultra-violet filter) needs some extra exposure. The
exposure increase, in the form of a filter factor, is
marked on the filter e.g. 4x (exposure without filter one
hundred and twenty fifth of a second, with filter one
thirtieth of a second).
Yellow filter G 1.5x Slight filtering effect
for outdoor shots. Ideal for sports and action subjects
and pictures with low sun. Filter factor: 1.5 x, or open
the lens aperture by half a stop.
Yellow filter G 3x Universal filter for
landscapes and other outdoor subjects; indispensable for
snow pictures. Filter factor: 3 x, or open the aperture
by one and a half stops
Green filter Gr 4x Lightens green tones in
landscapes. Recommended for artificial light portraiture
and for copying coloured originals.Filter factor: 4x, or
open the aperture by 2 stops
Orange filter Or 5x Strongly cuts blue for
dramatic effects. Reduces atmospheric haze in distant
views. Filter factor: 5 x, or open the lens aperture by
two and a half stops.
Ultra-violet filter UV Cuts out ultra-violet
radiation in high mountains or near the sea. Eliminates
unpleasant blue casts in colour shots. Requires no
with the Voigtlander Proximeter
Do not miss this fascinating and interesting field -
you enter a completely new world, a microcosm of small
objects and animals.
Whether you are interested in blossoms, aquarium or
insect life, coins, small objets d'art or postage stamps
- with the Voigtlander Proximeter you can record it all
just as you see it.
The special advantage of this ideal focusing unit is
that it permits hand-held close-ups down to 10 inches
from the subject. The camera is ready to shoot all the
time, an important point with moving or live objects. At
the same time the Proximeter compensates for the finder
The Voigtlander Proximeter system uses two
supplementary lenses. One is a positive meniscus which
fits in front of the camera lens, and the other is a
cylindrical lens unit which fits over the rangefinder and
deflects the two measuring rays. This couples with the
rangefinder and the lens for the near range as accurately
as over the normal focusing range from infinity to three
and a half feet.
Hints for Colour
Subjects with large areas of colour, but without great
brightness differences, make the best colour pictures.
Put people against a quiet neutral background to make
them stand out; outdoor portraits are best taken by
slightly hazy sunlight.
With landscapes be sure to get a colourful and live
foreground into the picture. For mountain views and at
the seaside, use the ultra-violet filter to eliminate
disturbing blue casts.
Early morning and late evening sunlight tends to be
orange in tone. Subjects illuminated only by the blue sky
and not directly by the sun often take on a predominant
With daylight shots, you can light up shadows by white
reflecting screens or with a blue flash bulb or
electronic flash. Mixed lighting (for instance tungsten
lamps combined with daylight) leads to colour
Care of the Camera
Successful results and long life of your valuable
camera depend largely on proper care and correct
Therefore always handle the camera gently; never use
Protect the camera against hard knocks and do not drop
it. When travelling by car do not keep the camera in the
glove compartment where it is exposed to a great deal of
vibration. In the long run that may harm the built-in
photo-electric exposure meter.
Clean the lens only with a soft, fluffless cloth.
However, first dust off coarse particles of grit (or sand
at the seaside) carefully with a soft sable brush. Finger
marks and other traces of grease on the lens surface can
be removed with a piece of cotton wool moistened with
pure alcohol or ether.
Top of Page