Pentax AUTO BELLOWS-M, SLIDE COPIER-M Camera Accessories User Manual

AUTO BELLOWS-M
SLIDE COPIER-M
Bellows
Rear Plate
Front Plate
Bellows-to-Camera
Mounting Ring Bellows Clamp Screw
Clamp Screw
Cable Release Socket
Front Plate Clamp Screw
>
Rear Plate Extension Knob ——
Gear Rail
Rear Plate Clamp Knob———— = Scales
Tripod Position Shift Knob | <
E mm
Double Cable Release — а
— ELL Е
саит = =
2 Slide Copier M 3 Auto Bellows M
Slide Insertion Slot
Lens Lock Release Button
Retainer Plate
Front Plate
Spring Clamp
Slide Holder
Strip Film Holder
Multiplication Calibration —
Slide Copier Rail
Slide Copier Clamp Screw — |
Slide Copier Attachment Screw
—— Scale Mounts
Rear Plate
Bellows
Bellows-to-Lens Mount
Red Dot Front Plate Extension Knob
© ot Tripod Mount Clamp Knob
= = ) Tripod Mount
top Screw
SPECIFICATIONS
Suitable Cameras
Suitable Lenses
Bellows Extension
(Distance from the
lens mount to the
body mount)
Automatic Diaphragm
Size
Weight
Accessories
Fb os
Pentax K Series cameras
SMC Pentax-M lenses, and SMC Pentax lenses up to 300mm.
NORMAL 38 ~ 170mm.
(Lenses mounted in the normal way)
REVERSE 56 ~ 174mm.
(For 50mm f/1.7 lenses mounted in the reverse direction)
Automatic diaphragm closed by double cable release.
Width 97 x height 131.5 x length 207mm (Auto Bellows only)
Width 158 x height 135 x length 298mm (With Slide Copier)
792g. (Auto Bellows only. Scales and double cable release included)
2569. (Slide Copier only) >
Double cable release, scales (for both 50mm and 55mm lenses)
=== сш та
FEATURES Me
The Asahi Pentax Auto Bellows M used with
an Asahi Pentax K Series camera and any of
the SMC Pentax lenses is all you need to be
ready for a wide range of photography, from
close-up work to macrophotography. And with
the addition of either the normal or the
automatic K extension rings, a complete range
from the closest of close-up work with all lenses,
right up to macrophotography is possible.
The lenses can also be attached to the front
plate in reverse, so there is no need for the
reverse adaptor K-52mm or K-49mm. It is also
equipped with diaphragm automation, operated
by the double cable release.
Moreover, together with the Slide Copier, vou
can also reproduce slides and film strips.
' HOW TO OPERATE THE AUTO BELLOWS M UNIT = |
WITH THE LENS UNREVERSED
Fig. 4 Loosen the clamp screw (2) on the
right side of the rear plate (1), and remove
the bellows-to-camera mounting ring (3).
Fig. 5 Remove the lens from the Pentax
camera, and attach the bellows-to-camera
mounting ring (3) to the lens mount (4)
of the camera in place of the lens.
Fig. 6 Now connect the camera to the
bellows unit by attaching the bellows-to-
camera mounting ring (3) to the rear plate (1)
of the bellows. If the camera is to be used in
the horizontal position, align the upper edge
of the rear plate (1) with the front edge of
the pentaprism housing of the camera, and
tighten the clamp screw (2).
Fig. 7 If the camera is to be used in the
vertical position, however, rotate the camera
so that the shutter release button is on the
operator's right hand side. Align the side
edge of the camera with the upper edge of
the rear plate (1), and then tighten the
clamp screw (2).
Fig. 8 Attach the lens to the bellows-to-
lens mounting ring (6) located on the
front plate (5). To remove the lens again,
depress the lens lock button (7), and turn
the lens 65° counterclockwise. Note that this
lock button does not operate in the same
way as the lens lock release lever on
Pentax K Series cameras.
E
Fig. 9 As shown in Fig. 1 on page 2,
there are 2 scales — one for 55mm lenses, and
the other for 50mm lenses. One side is marked
NORMAL, while the other is marked
REVERSE, Scale (8) in Fig, 9 shows the
NORMAL side, and it is mounted on the
two pins (9) at the upper side of the rear plate,
the scale being kept in position by magnets.
The extension (length) of the bellows is
indicated on the top of the front plate (10),
The magnification scale along the opposite
edge of the extension scale is only for use
with the slide copier.
Fig. 10 Loosen the front plate clamp screw (11)
10
and turn the front plate extension knob (12)
to adjust the extension of the bellows (13).
After focusing, always remember to retighten
the front plate clamp screw (11).
Fig. 11 The bellows can also be adjusted by
loosening the rear plate clamp screw (14) and
turning the rear plate extension knob (15).
Again, remember to retighten the clamp
screw (14) after focusing.
11
Fig. 12 The tripod mount (16) can be freely shift knob (18) is located on your right side (when
looking from behind), while the front extension (12)
and rear extension knobs are located on your left.
Fig. 13 The end of one of the cables of the double
cable release (19) has a red ring. Screw this cable
in the cable release socket (20) located below the
front plate, (At this time, be careful not to force the
socket in.) Screw the other cable into the shutter
release button (21) of your Pentax camera.
moved up and down the gear rail by turning the
tripod position shift knob (18) after the tripod
mount clamp knob (17) has been released. In
other words, the Auto Bellows K assembly can
be moved back and forth when mounted on
a tripod. But the clamp knob must always be
retightened again. This is a relatively simple
operation, especially if you remember that the
12 13
HOW TO OPERATE THE AUTO BELLOWS M UNIT
Fig. 14 First check the action of the
automatic diaphragm. While looking through
the front of the lens, press button (22) of the
double cable release. The diaphragm should
operate before the shutter. Because of the
slight delay between these two actions, the
auto bellows unit is not suitable for rapidly
moving subjects. Note that if the double
cable release is not inserted (or simply
forgotten), the diaphragm will remain open.
Double Cable Release Check
Since a shutter release occurring before
diaphragm closure will result in overexposure,
test the double cable release by the following
method. Screw the cable with the red ringed
tip into the cable release socket as before, and
set the diaphragm to the smallest aperture
opening (f/22 for standard lenses, and f/32 for
macro lenses). Do not screw in the other cable
at this stage. Depress the double cable release
button (22) as shown in Fig. 14. The diaphragm
will close down to its minimal aperture. Make
a note of this aperture position.
Now screw the other cable into the shutter
release button as before and depress the double
cable release button once again. Check whether
the shutter releases after the diaphragm has
closed down to its minimal aperture. If by
chance, the shutter releases before the diaphragm
reached its minimal aperture, loosen screw (23)
in Fig. 14, Turn (24) in a clockwise direction,
and (23) in a counterclockwise direction,
This reduces the amount of projection from
the cable for the shutter release, thus delaying
the shutter release time. But be careful not to
delay it too much.
Fig. 15 For T (time) exposure, set the
shutter speed to B. While keeping the double
cable release depressed (shutter remains open),
tighten the locking screw (25). This enables
you to make exposures of 10, 20 or more
seconds. To close the shutter, simply
release the locking screw (25).
15
Due to a change in the design of the Doubie Cable
Release now used with the Auto Bellows unit,
the “Double Cable Release Check” section of
this manual on pages 11 - 12 no longer applies to
operation with the double cable release. The
adjustment screw for the new double cable with
the black cables is at the tip of the cable with the
red ringed tip. When adjustment is required, do so
in accordance with the following paragraph.
Double Cable Release Check
The new double cable release is designed so that
the lens stops down well before the shutter
releases. With some cameras, however, adjustment
may be required before the shutter will release. To
check if this is necessary, screw the cable with the
red ringed tip into the cable release socket as
described on page 10 and set the diaphragm of
the lens to its smallest aperture opening. Screw
the other cable into the camera shutter and press
the double cable release button. If the shutter
fails to release, make the following adjustment:
Grasp the two knurled collar sections of the red
tipped cable just above the red tip unscrew the
collar furthest away from the tip by turning it
away from you until it separates a millimeter or
two from the other collar. Test the shutter release
again. If it still fails to release, unscrew the ring
another millimeter or so until the shutter releases.
| MOUNTING TO A TRIPOD
Fig. 16 Now the auto bellows assembly is
ready to be mounted on a sturdy tripod which
should be at least 3.5 kg in weight, and
have very firm interlocking parts.
16
The assembly should be positioned with the
lens side a little on the heavy side. Adjust
the position of the tripod mount by turning
the shift knob (18). Although mounting the
assembly at its center of gravity would appear
to-be more stable, it can in fact often result
in camera movement. A camera-heavy
situation is definitely undesirable.
| HOW TO ASSEMBLE THE AUTO BELLOWS M UNIT FOR REVERSE
Fig. 18 Loosen the bellows clamp screw (28),
and separate the bellows (13) from the front
plate (5),
Reversed lens photography is only for
magnifications of greater than 1X.
Fig. 19 Loosen the front plate clamp knob (11)
and remove the lens and front plate from the
gear rail.
Fig. 17 Undo the stop screw (27) from the
end of the gear rail (26),
Fig. 20 When using a 49mm filter size lens,
reverse the front plate (5) and then remove
the adaptor (29) by rotating it counterclockwise.
Fig. 21 Screw the adaptor (29) into the front
frame of the lens.
20 21
Fig. 22 Turn the lens and front frame in
the reverse direction, and reinsert onto
the gear rail (25).
22
Fig. 23 Attach the front of
the bellows (13) to the front
frame of the lens, tighten the
bellows clamp screw (27). 52mm
threads are found inside the
ring (30) at the rear side of
the front panel (30). This ring
is used for attaching a 52mm
screw-in filter, 52mm lens
hood, etc.
23
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Fig. 24 Turn the scale over to the REVERSE side
and mount it over the rear and front plates as
before. The magnification calibration along the
opposite edge is the same magnification for use
with the slide copier as explained before.
Fig. 25 The double cable release is attached in this
way as for NORMAL, and the same sturdy tripod
shown in Fig. 16 can be used. The screw-in filter, lens
hood, etc. are attached.
25
UN “Marigold”
® SMC Pentax 35mm, f/3.5,
Reverse f/16, Neo-Pan film,
Auto Bellows M, bellows length 173mm,
magnification 5.2x, “Autorobo”
Automatic flash, synchronized cord
for distance adjustment.
FOCUSING
The diaphragm remains open no mater what
aperture is selected. So it is possible to
focus in the same way as any ordinary
Pentax camera.
To focus the camera, move either the front
plate (12) or rear plate (15) extension knobs
or the shift knob (18), while looking through
the viewfinder (31). What focusing method
should be used depends on magnifications.
When magnification is low, use the front plate
extension knob. At higher magnifications, the
the cross microprism and split image become
dark, making focusing difficult. So the area
around the dark region has to be used for
focusing,
At higher magnifications, adjustment on the
lens barrel will usually not give you
a sharp picture.
Remember that when you use the Auto
Bellows M unit, the distance and depth of
field scales on the lens barrel cannot be used,
26
Depth of Field
The closer the lens is to the subject, the
shallower the depth of field becomes. Even
for minimum apertures of f/22 for standard
lenses and f/32 for SMC Pentax Macro 50
and 100mm lenses, you may still not be able
to get the desired depth of field. Therefore,
be very careful in your focusing.
For close-ups, the focus plane lies right in the
center of the depth of field. So in Fig. 28,
the best focusing of the area between the
closest and farthest limits of the depth of
field is achieved by focusing for a position
exactly mid-way between the two planes.
20
28
Closest
Focusing position
Farthest
Exposure
The automatic diaphragm is operated by the
double cable release with the exposure being
measured when the diaphragm closes down. If
Pentax K2 or ME is set to AUTOMATIC, and
the double cable release used to first close the
diaphragm down and then release the shutter,
the exposure will still be measured automatically,
but no stray light should be allowed to enter
via the viewfinder. If you need to take your eye
away from the viewfinder, cover it with the
viewfinder cap, Manual exposure measurements
with Pentax MX, K2, KX or KM must be made
in the stopped-down mode. To stop down
(close) the diaphragm, push in and rotate
clockwise either of the knurled rings shown in
the illustration, (32) or (33). After adjusting
the camera for proper exposure by
rotating the shutter speed dial and aperture ring,
release the shutter by pushing in the plunger of
the double cable release (illus, 14, p. 11). The
diaphragm can be reopened at anytime by
rotating the knurled ring counterclockwise,
21
Outside the Exposure Meter Range
When the subject is too dark and the exposure
lies outside the metering range at the particular
aperture you wish to use, first open the
diaphragm until a reading can be made. For
example, if you want to use f/11, but the
best possible reading is f/4 at 1 sec., increase
the shutter speed by the same number
of stops as the diaphragm is closed down to
the desired aperture. That is, f/4 to f/11 is 3
stops, 50 increase the speed by 3 stops also
— from 1 sec. to 8 secs.
F 1.4 2 28 4 56 8 11 16 22 32
Exposure
Tim» fess) 1/2 1 2 4 8 16 32 64 128 256
LL
Irregularities in Color Films
For time exposures of over 1 sec. (and
especially over 10 sec.) with color film,
certain irregularities in film response leads
to underexposure. So exposure times have to
be increased. Particularly with most
reversible color films, changes occur in the
color reproduction if the exposure times
exceed 1/10 sec. land especially 1 sec.). This
can be avoided by using CC filters (color
compensation). Refer to Kodak's Color Data
Guide for information on Kodak color films.
Larger Than Life Size
When the lens-to-film distance of any lens is
twice the focal length of the lens, as shown
Fig. 30-2 the photographic magnification
will be 1x (life size). The bellows of the Auto
Bellows K unit can be extended from 38mm
to 170mm (the distance from the bellows-to-
lens mount to the plane where the bellows-
to-camera mounting ring meets the lens
mount of the camera). So any lens of focal
length under 150mm can be used to photo-
graph larger than life,
Figs. 30-1~3 refer to the Macro 50mm lens.
The lens has been designed for focusing with
“a” larger than ‘’b’’ which is the case for
ordinary photography (Fig. 30-1). So it is
only natural that optimum sharpness when
photographing larger than life, as in Fig. 30-3,
is achieved with the lens reversed. The close-up
tables between pages 33 and 51 have been
roughly divided into those for up to life size
(pp. 33 +41) and those for larger than
life (pp. 43 ~ 51),
23
Aperture Not Shown in the Pentax MX & KX
$ м ER
30-1 5 a Viewfinders
5 & The aperture numbers of most SMC lenses can
= E normally be seen along the top edge inside the
a = viewfinder of Pentax MX and KX cameras.
But when the belows units is used, the lens is
too far away and the numbers can no longer
30-2
24
Using the Screw-Mount Takumar Lenses
Takumar screw-mount lenses can be attached
to the Auto Bellows M unit with the aid of the
mount adaptor K, shown in Fig. 31.
Fig. 32 First screw the mount adaptor into the
rear of the Takumar screw-mount lens. Line up
the red dot (34) on the adaptor with the red
dot (35) on the bellows-to-lens mount. Insert
the lens and roate it clockwise 65” to lock it
into position.
The lens and mount adaptor are removed from
the bellows unit in the same way as with the
Pentax K Series cameras,
Focusing and exposure measurements are also
the same as for ordinary cameras.
31
25
HOW TO USE THE CLOSE-UP TABLES
1. Area to be photographed
2. Lens
3. Picture area of film
NN 33
Length
NN
N Size of subject
Size of picture image N
a я
O film plane to subject
Width (24mm)
CAA
ci
A
Length (36mm)
26
Magnification
Size of image
Mannification = — — —
9 Size of subject
Height/ length of picture area
Height/ length of subject
The size of the picture area for Pentax K series
cameras is 24mm x 36mm. Therefore, magnifica-
tion can be expressed as
24mm
ar
Height of area to be photographed
36mm
Length of area to be photographed
Area to be Photographed
Is the subject area (measured as height x
length) which completely fills the picture area
on the film.
Exposure Factors
The Pentax K Series cameras have a built-in
through-the-lens exposure meter which
measures the amount of light actually passing
through the lens. Therefore, these exposure
factors will not be required. But bear in mind
that close-up work requires longer exposure
times than when photographing subjects of
the same brightness from normal distances.
27
How to Read the Close-Up Tables
These tables may be used in three different
ways, depending on whether you start with
the magnification, picture area, or the film-
to-subject distance.
Film-to-Subject Distance
The Pentax K Series cameras have no
markings to show the exact position of the
film plane, but the rear edge of the pentaprism
housing (see Fig. 34) is almost in the same
plane as the film. The desired distance is first
determined from the close-up tables, and then
the scales are used to measure the distance
between the subject and the rear edge of the
pentaprism more precisely.
When Starting with Magnification
When you want to photograph a subject
of a certain size so that the image will be
a particular size on the film, start by
determining the magnification.
For example, if you want to take a
photograph of a subject 40mm in size so
that its size on the film will be 32mm,
when using a 50mm f/1.7 lens, the
magnification will be 32/40 = 0.8. Table
1 shows that the bellows in this case
should be extended to somewhere in
between 40 and 50mm.
To find the exact extension, use the simple
mathematical formula given here. In Fig, 33
on page 26, "a" is the distance between the
subject and the first nodal point in the lens
(the point where light enters the lens and
crosses the principal axis), “b” is the distance
from the second nodal point (the point at
which light crossing the axis leaves the lens)
to the film plane, "f"" is the actual focal length
of the lens,
To determine “a”, the formula is
m (magnification) =
! 5 and to determine
“b” the formula is b = ma. Then, b — f (found
in mf) is the exact distance of the lens
extension.
Measure this distance with the scales (shown
in Fig. 9 page 8 and Fig, 24 on page 16) when
adjusting the position of the front plate. Focus
by turning the tripod position shift knob as in
Fig. 27 on page 19. Be careful not to touch the
rear plate extension knob, since this may alter
the bellows extension and the magnification.
Depending on the lens, the real focal length f,
may differ slightly from the quoted focal length.
See your local Pentax dealer or Service Center
for further details.
When Starting With Picture Area
When you want to photograph a particular
subject area, first measure the sizé of the area.
For example, if you want a subject measuring
30 x 45mm to completely fill the picture area
of the film when using a 50mm 1/1.7 lens, Table
1 shows that the bellows extension will have to
29
be about 40 to 50mm. Again, use the scales to
adjust the bellows position, and the tripod
position shift knob for the focusing. If small
changes in the size of the area to be photo-
graphed are permissible, focusing may also be
achieved by shifting the camera and tripod back
and forth a little, or the subject itself may be
moved. Even adjustments to the rear plate (by
turning the rear plate extension knob) are
possible.
The minimum magnification obtained when
using a 200mm lens with the Auto Bellows M
unit is 0.19 (Table 10); and 0.13 (Table 11)
when using a 300mm lens, Consequently, the
front plate will hardly ever be used for focusing
purposes. ,
Moreover, remember that ordinary focusing
30
(with the Focusing Ring of the lens) is rarely
adopted when using bellows units,
When Starting With the Film-to-Subject Distance
When the subject cannot be approached too
closely, first measure the distance to the subject.
For example, if you would like a magnification
of 0.2x when more than 1.5m distant from the
subject, you will find by checking through the
different tables, that this can only be achieved
by using a 200mm lens (Table 10), or a 300mm
lens (Table 11).
Focusing Problems and Aperture
In general, focusing becomes rather difficult when
you approach magnifications of 1x when using
any of the faster lenses, or the single lens reflex
wide-angle lenses of shorter focal length, or tele-
photo lenses whose lens barrel lengths are relatively
short in comparison with their focal lengths.
And where the lens is reversed for magnifications
of over 1x, the same focusing problem will be
encountered as the magnification approaches 1x.
Lenses not included in the tables have been
omitted because they are not suitable for close-up
work with the Auto Bellows M unit. The 50mm
f/1.2 and the 50mm f/1.4 lenses are more suitable
for photographing three dimensional subjects
where sharp focusing in all four corners is not
necessary. The 50mm f/1.4 lens can only be
used for photographing subjects in flat planes if
the small apertures (f/11 and f/16) are employed.
On the other hand, if the aperture is set at stops
smaller than f/11 in ordinary photography,
sharpness deteriorates due to diffraction. When
the 50mm f/1.4 and f/1.2 lenses are set to
1/16 or beyond for magnifications of 1x and
less in NORMAL, or 1x and more in REVERSE,
the sharpness will deteriorate somewhat due to
diffraction, but the improvement due to loss of
peripheral aberration is greater.
The close-up tables 1, 2, and 19-21 (standard
lenses) also list the apertures which will still give
satisfactory sharpness over the complete picture
area when photographing subjects in a flat plane.
Lenses Best for Close-Ups
The SMC Pentax Macro 50mm f/4 and 100mm
f/4 lenses are designed for maximum performance
at magnifications of 1/5 ~ 1/10x. Hence they are
particularly suitable for close-up work requiring
critical focusing. Distortion (a kind of aberration
where straight lines do not come out as straight
lines in the photograph) has been reduced to a
minimum. So the macro lenses are very good for
close-up work requiring highly accurate dimensions.
31
CLOSE-UP TABLES (use of Lenses in Normal Position)
SPECIAL NOTES
1. The wide-angle lenses up to 35mm and the
40mm 1/2.8 lens are excluded from the close-up
tables. For such wide-angle lenses with short
focal length and high-speed lenses are not suited
for close-up work of high magnification, unless
they are used in reverse,
The extension of the Auto Bellows K is 38mm
or more, Therefore, if a wide-angle lens, 35mm
or less, is used with the bellows, the
magnification exceeds 1x. The lens should be
reversed at such a time.
The 40mm f/2.8 lens, which provides
a magnification of about 1x, should be used
with the Auto Extension Tube K for close-up work.
2, Also excluded from the close-up tables are
fast lenses such as the 50mm /1.2 and 50mm
f/1.4, which provide a magnification of about
1x and have unsatisfactory sharpness for flat
subjects,
3. Magnification for the normal position has
only been listed up to a little over 1x, For
greater magnification, use the lens in reverse.
4, The SMC Pentax Macro 50mm f/4 lens can
attain magnification of 1x by employing the
Auto Extension Tube K No, 3, while the Macro
100mm /4 attains magnification of over 1x with
the Auto Extension Tubes No, 1, 2 and 3 (in
combination), Diaphragm automation and
full-aperture metering are also retained. The
use of the extension tubes is highly recommended.
NOTES: ** The optimum aperture for subjects in a flat plane is f/11 or smaller.
*** The optimum aperture for subjects in a flat plane is f/8 or smaller.
de
Table 1: 50mm f/1.7 (Distance scale set to ©)
E NE Bellows Area to be Film-Plane-to-
Magnification Extension Photographed Subject Distance Exposure Factor
0.73 38 mm 33x50 mm 209 mm x 72,8
0.77 ==. 40 31x47 208 x 3.0
0.986 +» 50 25X37 204 x 3.6
1.15 ** 50 21x31 205 > 4.3
Table 2: 55mm f/1.8 (Distance scale set to= )
EI Bellows Area to be Film-Plane-to-
Magnification Extension Photographed Subject Distance Exposure Factor
0.67 38 mm 35.9x53.8 mm 233 mm x 2.7
0.70 40 34.1 51.1 230 x 2.8
0.88 «+ 50 27.3x 40.9 224 x 3.4
1.06 ++ 50 22.7 34.1 223 XxX 4.1
33
Table 3: M-85mm f/2 and 85mm /1.8 (Distance scale set to <<)
Magnification Bellows Area to be Film-Plane-to-
Extension Photographed Subject Distance Exposure Factor
0.45 38 mm 53.8x 80.7 mm 378 mm x 2.3
0.59 50 40.9Xx61.,4 345 x 2.9
0.82 70 29.2 х 43.8 323 x 3.9
1.06 90 22.7 < 34.1 320 x 5.1
Table 4: SMC PENTAX-M 100mm f/2.8 (Distance scale set to co)
Magnification o ote ni prom Exposure Factor
0.38 38 mm 63X95 mm 499 mm x 2.4
0.50 50 48X72 448 x 3.0
0.70 70 34X51 411 x 4.0
0.90 90 27% 40 399 x 5.3
1.10 110 22X33 398 x 6.7
a4
Table 5: 105mm f/2.8
(Distance scale set to ® )
Magnification нЕ Publeumaned Arc Exposure Factor
0.36 38 mm 66.3 х 99.5 тт 548 mm x 2.4
0.48 50 50.4x 75.6 491 xX 2.9
0.67 70 36.0x 54.0 448 x 4.0
0.86 20 28.0x 472.0 433 x 5.2
1.05 110 22.9X 34.4 431 xX 6.6
Table 6: 120mm f/2.8 (Distance scale set to æ )
Magnification darian photon died Di ой Exposure Factor
0.32 38 mm 75.8X 113.7 mm 669 mm x 2.3
0.42 50 57.6x 86.4 590 x2.8
0.58 70 41.1% 61.7 528 x 3.8
0.75 90 32.0x 48.0 502 x 5.0
0.92 110 26.2% 39.3 493 x 6.3
Table 7: 135mm f/2.5 and f/3.5 (Figures in brackets for f/3.5 lens) (Distance scale set to oo)
il FA Ex re Fac
Magnification Eoin te sp Dunes e y
0.28 38 mm 84.9x 1727.3(85.3x 127.9) mm 801(795) mm x 2.2 x 2.1
0.37 50 64.5x 96.7(64.8x 97.2) 699(692) x2.7 x2.5
0.45 60 53.7% 80.6(54 x 81 |) 649(641) x 3.1 x 2.9
0.52 70 46.1 xX 69.1(46.3x 69,4) &16(607) x36 X3.4
0.59 80 40.3x 60.5(40.5x 60.8) 594(585) x 4.1 x 3.8
0.67 90 358» 53.7(36 X 54 ) 579(570) X4.6 x4,3
0.74 100 32.2x 48.4(32.4x 48.6) 569(559) xX 5.2 x 4.8
0.82 110 29.3X 44.0(29.5x 44.2) 562(553) x5.8 x 5.3
0.97 130 24.8x 37.2(24.9x 37.4) 557(547) XP x 6.5
1.04 140 23.0X 34.5(23.1X 34.7) 557(547) x 7.8 x7.
36
Table 8: SMC PENTAX-M135mm f/3.5 (Distance scale set to ©)
Magnification an on ne el Bolen Exposure Factor
0.28 38 mm 851728 mm 845 mm x2.4
0.37 50 65x 97 742 x 3.0
0.44 60 54> 81 691 > 3.5
0.52 70 46% 69 657 x 4.1
0.59 80 40x 60 535 x 4.7
0.67 90 36x 54 620 xX 5.4
0.74 100 32x 48 609 x 6.1
0.82 110 29x 44 603 x 6.9
0.96 130 25% 37 597 x 8.5
1.04 140 23Xx 34 597 x 9.4
37
Table 9: M-150mm f/3.5 and 150mm f/4 (Distance scale set to co)
Magnification Ei Bats Bad ibn Exposure Factor
0.25 38 mm 24.7 x 142.1 mm 783 mm x 2.3
0.33 50 72.0x 108.0 853 x 2.8
0.40 60 60 x 90 788 Xx 3.3
0.47 70 51.4dX 77.1 745 Xx 3.8
0.53 80 45.0x 67.5 714 Xx 4.4
0.60 70 40 x 60 693 x 5.0
0.73 110 32.7X 49.1 568 x 6.3
0.87 130 27.7X 41.5 656 dE ae
1.00 150 24. x 36 653 x 9.3
1.07 160 22.5% 33.8 554 Xx 10.2
38
Table 10:
M-200mm f/4, 200mm f/4 and 200mm f/2.5
(Distance scale set to oo)
Meanification Eatin MO fe Subject Dina Eo
0.19 38 mm 126.3x 189.5 mm 1561 mm x 2.0
0.25 50 96 <144 1321 x 2.4
0.30 50 80 x120 1197 x 2.8
0.35 70 68.6 102.9 1112 Xx 3.2
0.40 80 60 x 90 1051 x 3.6
0.45 90 53.3x 80.0 1005 X 4.0
0.55 110 43.6% 65.5 944 x 5.0
0.65 130 36.9x 55.4 208 x 6.0
0.75 150 32 x 48 887 xX7.2
0.85 170 28.2 42.4 876 = 8.4
39
Table 11: 300mm f/4 (Distance scale set to co)
Bellows Area to be Film-Plane-to-
Magnification Estacion Photographed Subject Distánico Exposure Factor
0.13 38 mm 182.9 x 274.4 mm 3141 mm x 2.0
0,17 50 139.0x208.6 2623 x 2.3
0.21 60 115.9x 173.8 2354 wr
0.24 70 99.3% 149.0 2164 x 3.0
0.728 80 86.9x 130.3 2024 X 3.4
0.31 20 77.2X115.9 1918 x 3.8
0.38 110 63.2x 94.8 1768 x 4.7
0.45 130 53.5x 80.2 1671 x 5.6
0.52 150 46.3X 69.5 1605 Xó.7
0.59 170 40.9x 61.3 1559 x 7.8
40
Table 12: Bellows 100mm f/4
Magnification E ón br Ония Exposure Factor
0.02 40 mm 1198 X1797 mm 5187 mm x 1.0
0.12 50 199.7 299.5 1044 x 1.3
0.22 60 108.9x 163.4 676 x 1.6
0.32 70 74.9x 112.3 545 x 1.9
0.42 80 57.1x 85.6 481 X 2.2
0.52 90 46.1 x 69.1 445 x 2.6
0.72 110 33.3х 49.9 412 x 3.4
0.92 130 26 x 39 402 > 4.3
1.12 150 21.4x 32.1 407 x5.3
1.32 170 18.2 х 27.2 409 x 6.4
41
USE OF LENSES IN REVERSE POSITION
À
1. For producing high magnifications in excess of
life size as described on page 23, the lens must be
mounted in reverse position with Auto Bellows M.
This type of close-up work is most effective with
retrofocus wide-angle lenses with a maximum
aperture of f/2.8 or slower and with standard lenses
that are f/1.4 or slower. When reversed, automatic
diaphragm action is retained and the highest
magnifications range from 6.2x~6.6x with 28mm
lenses, 6.1 x with the 30mm lens and 5x~5.2x with
the 35mm lenses. Fast f/2 wide-angle lenses and
f/1.2 standard lenses are not suited for bellows
photography with the lens reversed.
2. Telephoto lenses are also not suited for reversed-
lens photography. While magnification with the
85mm lens reversed runs from 0.3x~1.3bx, it has
been excluded from the reversed lens table because
of its limitations.
42
3. It is pointless to reverse the Macro 100mm lens
and other lenses with a longer focal length as
magnification will not exceed 1x, even with the
maximum bellows extension.
4. As exposure factor increase is also very high with
reversed-lens photography exposure times become
very long and it is necessary to bear in mind the
reciprocity characteristics of the film in use (see
page 22, "Irregularities in Color Films’).
5. When shooting highly magnified subjects on a
level surface or at specified angles, greater framing
precision will be obtained if the Macrophoto Stand
is used.
6. At high magnifications, the effective f-number
also becomes very high; consequently, focal
sharpness drops off in porportion to the degree that
the lens is stopped down.
Table 13: M-28mm f/2.8
LENS REVERSED
(Distance scale set to ©)
inl AE Bellows Area to be Film-Plane-to-
Magnification Extension Photographed Subject Distance E
2.61 56 mm 2.1 13.7 mm 158 mm XxX 10.2
5.22 130 4.5X 6.8 226 x 33.6
5.92 150 40x 6.0 246 x 42.3
6.63 170 3.6X 5.4 265 x 51.9
Table 14: M-28mm f/3.5 and 28mm f/3.5
(Distance scale set to ©)
VERS TUN TH boon Face
2.66 70 mm 9.0X 13.5 mm 172 mm x 110.8
3.36 90 7.1 X 10.7 189 x 15.9
4.07 110 59x 8.9 208 »22.0
5.12 1:30 5.0x 7.5 227 x 29.1
5.47 150 4.4X 6.6 246 x 37.2
6.18 170 3.9x 5.8 266 x 46.3
43
LENS REVERSED
Table 15: 30mm f/2.8 (Distance scale set to oo)
Magnification Еждепеют Te Subject Distance | ExPosure Factor
2.57 63 mm 9.3X 14.0 mm 166 mm x 9.8
2.80 70 8.5x12.8 172 x 11.3
3.47 90 6.9x10.,3 190 x 16.2
4.13 110 58x 8.7 208 x 21.9
4.79 130 50x 7.5 227 x 28.6
5.45 150 4.4x 6.6 247 x 36.1
6.11 170 3.9 Хх 5.9 266 x 44.5
44
LENS REVERSED
Table 16: 35mm f/2.8 (Distance scale set to ©)
Mogrifinion Blo eee Caer, er Fac
1.90 62 mm 12.6x 18.9 mm 171 mm x 6.6
2.12 70 11.3X 16.9 177 x 7.9
2.4] 80 10.0 1 4.9 186 x 9.6
2.70 90 8.9x 13.4 194 Xx 11.4
2.98 100 8.0x 172.1 203 x 13.4
3.27 110 73 11,0 212 x 15.6
3.8 4 130 6.2X 9.3 230 x 20.5
4.41 150 54x 8.1 249 x26.0
4.78 170 4.8x 7.2 268 x 32.1
45
LENS REVERSED
Table 17: 35mm f/3.5 (Distance scale set to ©)
Magnification ue Рожай ED Exposure Factor
2.01 58 mm 12.0x18.0 mm 166 mm x 7.6
2.34 70 10.2X 15.4 176 x 9.6
2.63 80 7.1 13.7 184 X 11.5
2.92 90 8.2x12.4 193 Xx 13.5
3.20 100 7:51 12 202 x 15.7
3.49 110 6.9x 10.3 211 Xx 18.1
4.06 130 59x 8.9 230 23.2
4.63 150 52x 7.8 248 x 29.1
5.20 170 4.6 х 6.9 268 x 35.6
46
LENS REVERSED
Table 18: 40mm #/2.8 (Distance scale set to ce)
Magnification E Pere om pa a Exposure Factor
1.32 45 mm 20.0x 30.0 mm 170 mm X 4.1
1.34 50 18.0x 27.0 172 x 4.6
1.58 60 15.0х 23.0 177 Xx 5.7
1.82 70 13.0 20.0 184 x 6.5
2.06 80 l1.6xX 17.4 191 x 8.2
2.30 70 10.4x 15.6 199 x 9.7
2.78 110 8.6Xx 172.9 216 Xx 12.9
3.27 130 73 11.0 233 X 16.6
3.79 150 6.4х 9.6 252 x 20.8
4.23 170 57x 8.5 271 x 25.4
47
LENS REVERSED
Table 19: SMC PENTAX-M50mm f/1.4, 50mm f/1.4 (Distance scale set to ©)
mm dee TC ERP pote Fat
1.10 = M 60 mm 21.7X32.6 mm 197 mm xX 3.3
1.18 64 20.3х 30.5 198 X 3.6
1.30 ** 70 18.5 х 27.7 200 Xx 4.1
1:50: == 80 16.0X 24.0 205 X 4.9
1.69 70 14.2X 21.3 211 X 5,9
1.89 100 12.7X19.1 218 Xx 6.8
2.09 110 11.5X 17.3 225 x 7.9
2.48 130 9.7X14.5 242 * 10.3
2.87 150 8,4x<12.5 259 x 12.9
3.26 170 72.AX 11.0 276 x 15.9
48
Table 20: 50mm #/1.7
NOTES:
LENS REVERSED
The optimum aperture for subjects in a flat plane is f/16 or smaller.
* The optimum aperture for subjects in a flat plane is f/11 or smaller.
***The optimum aperture for subjects in a flat plane is f/8 or smaller.
(Distance scale set to ©)
Magnification en ie ie big td Exposure Factor
0.90 «+ 56 mm 26.6x 39.9 mm 205 mm x 3.4
1.17 =» 70 20.5x 30.7 205 X 4.5
1.36 * * * 80 17.6 х 26.4 209 x 5.3
1.56 90 15.4X 23.1 214 x 6.2
1.75 100 13.7x 20.6 221 x 7.2
1.94 110 12.3 18.5 228 x 8.3
2.32 130 10.3Xx 15.5 243 X 10.7
2.71 150 8.8 13.3 260 X 13.3
3.09 170 7.7 11.6 278 x 16.3
49
LENS REVERSED
NOTES:
The optimum aperture for subjects in a flat plane is f/16 or smaller.
** The optimum aperture for subjects in a flat plane is f/11 or smaller.
***The optimum aperture for subjects in a flat plane is f/8 or smaller.
Table 21: 55mm f/1.8 (Distance scale set to co)
Aa Bellows Area to be Film-Plane-to- E Fact
Magnification Extension Photographed Subject Distance AER EA
1.08 ** 80 mm 22.2xX33.3 mm 224 mm Xx 4.2
1.26 e" 90 19.1x28.7 2726 x 5.0
1.61 110 14.7 272.4 236 x 6.6
1.96 130 12.2X 185.4 250 x 8.6
2.31 150 10.4 15.6 266 = 10.8
2.67 170 9.0х 13.5 282 ® 13.2
50
LENS REVERSED
Table 22: M-Macro 50mm f/4 and Macro 50mm f/4 (Distance scale set to =)
TAT Bellows Area to be Film-Plane-to-
Magnification Extension Photographed Subject Distance Exposure Factor
1.23 77 mm 19.5xX29.2 mm 210 mm x 5.3
1.49 90 16.2x 724.72 216 xXx 6.5
1.87 110 12.8 19.7 229 x 8.7
2.26 130 10.6x15.9 244 X 11.1
2.65 150 9.1 12.5 261 x 13.9
3.04 170 7.9x11.9 278 x 16.9
— siÚo o—l
| HOW TO ASSEMBLE AND OPERATE SLIDE COPIER K me
a
Fig. 1 Remove the stop screw from the end'of the gear
rail {as shown in Fig. 17 on page 14). Attach the slide
copier, inserting and then tightening the slide copier
screw (36) into the end of the rail.
Fig. 2 When using a 49mm filter size lens, remove the
panel (37) of Slide Copier M from the spring clamp
(38), hold the slide copier at the two grips (40) on both
sides of the lens mounting ring with thumb and
forefinger, remove the adaptor (41) (the same adaptor as
used for the reverse position) and screw it into the front
frame of lens. In the case of a 52mm filter size lens,
remove the adaptor but do not attach it to the lens.
In either case, the grips (40) should be attached to the
lens mounting ring (39).
Fig. 3 For the 50mm 1/1.4 lens, extend the front plate
right up to Slide Copier M, and then tighten the front
plate clamp knob (11). For the 55mm f/1.7 and macro
50mm lenses, extend the front plate up to the red dot
shown in Fig. 3, and then tighten the front plate
clamp knob (11).
Set the distance scale to = for the 50mm f/1.4 and
somm lenses, but to around 0.7m for the 50mm £/1.7
and the macro 50mm lenses.
Fig. 4 Release the spring clamps (38) from the panel
(37) of the Slide Copier M. Hold the slide copier at the
two grips (40) on both sides of the lens mounting ring
with thumb and forefinger as shown, and mount it
into the front of the lens. Lens hoods are attached in
the same way.
Fig. 5 Insert the slide to be copied into the slide
insertion slot (44) of the slide holder (43). This slide
holder can be moved up and down several millimeters
to facilitate trimming of the slide when magnifying by
more than 1x. The center position is indicated by
a click stop, and this is the normal position giving 1x
magnification.
53
Fig. 6 The magnification calibrations (46)
marked on the slide copier rail (45) are for
use with the 50mm and 55mm lenses.
Magnifications of 1x, 1.1x, 1.2%, 1.3%, 1.4%, and
and 1.5x are selected by operating the slide
copier clamp screw. The calibration for the
macro 50mm lens coincides with the other
50mm lens at the 1x position.
Fig. 7 Most copying is done at the 1x
position, so the scales (8) mounted on top
of the Auto Bellows M unit is set to NORMAL.
Match the magnification calibration on the
scales (8) with the magnification calibration
(46) on the Slide Copier M rail. The 50mm
lens calibration however, is not suited for
the macro 50mm lens.
Reverse
Fig. 8 When you want to "crop'' the slide
while making the copy, increase the
magnification. 1.5x will crop the slide by 2/3.
However, for magnifications of more than 1.2x,
use the lens in reverse, Reverse the lens in the
same way as described on pages 14 ~ 17. (Fia.
17 ~ 25), setting the assembly up as shown in
Fig. 8. The lens mounting ring (39) of the slide
copier 1s mounted into the rear of the front
plate (5) in the same way as it is mounted into
the front of the lens. But remember to turn the
scales over to REVERSE.
For the macro 50mm lens, the front plate is
extended up to the front edge and clamped
into place just like the other 50mm lenses.
The distance scale too is set to ==, However,
the bellows cannot be retracted to
magnifications any lower than about 1.2x,
All reverse positions differ from the normal
positions, so the magnification calibration
on the rail (46) (see Fig. 7) cannot be used.
55
Focusing
Fig. 9 Adjust the focus by rotating the rear
plate extension knob (15) while looking
through the viewfinder. The lens position
must remain fixed, so the front plate
extension knob (12) should not be adjusted at
this stage under any circumstances at all.
Copying Film Strips
Fig. 10 When the film to be copied is strip film,
align the two openings in the strip film holder
arm (48) with the pins found on the slide holder
(43), and push down.
Fig. 11 Open the retainer plate (49) (which
includes the ground glass window) attached to
the slide holder (43), and carefully insert the
strip film. Close the retainer plate.again.
Fig. 12 Wind both ends of the strip film 11
around the strip film holders (48) to prevent
any damage to the film surface. The strip film
Is unloaded by opening up the retainer plate
and pushing the strip film holders upwards.
Focusing is adjusted as before, by turning the
rear plate extension knob. The strip film
however, lies in a plane about 3mm further
away than ordinary slides. So the position
on the magnification calibration (46) (see
Fig. 6) will have to be moved by the same
amount towards the lens,
12
—_— mm —_—
HOW TO USE SLIDE COPIER K
Numination 2, At night, use a 500W color photographic
1. During the day, the simplest method is floodlight (reflector lamp). The brightness
to face the equipment towards the sky. But varies greatly with distance, but distances
on very fine days, the blue sky will tend to not requiring a shutter speed longer than
tint the copies a shade of blue. For reversible 1/10 sec. are preferable.
color film, the shutter speed should be shorter
than 1/10 sec. (1/1000 - 1/25 sec.) due to the
irregularities referred to earlier оп раде 22. 13
This should be relatively simple when facing
the sun. However, note that color slides tend
to "curl" if exposed to the sun for too long.
Another point to remember is that the sun 7
striking the ground glass window at an angle dete
may cause shadows of the the slide holder ey
retaining plate (49) to appear if the angle of |
the retaining plate exceeds 45 degrees, = - ее
58
3. Automatic flash ‘’Autorobo'’ (see
Fig. 13) may also be employed. Reflect
the light from a convex mirror at about 18cm
from the ground glass plate. Use ASA 100
reversible color film and apertures of f/11 ~
f/16. The height and angle of the mirror are
important factors. The Pentax exposure
meter cannot be used, but always set the
"AUTOROBO™ automatic flash to M (manual).
Nor are the guide numbers of any help, but
with experience, correct exposure will be
obtained.
Due to the reasons described under "Focusing
Problems and Aperture” on page 30, the
following apertures are recommended.
f/11 for 50mm f/1.7 or 55mm £/1.8 lenses, and
1/16 ог +/22 for 50mm f/1.4 lenses.
For Macro 50mm f/4 lenses, f/4 may be
used, but only if the surface of the slide
is absolutely flat. The surfaces of most
slides however, tend to bulge somewhat at
the center, so f/5.6 gives better results.
Exposure
Should be the same as that for the Auto
Bellows M unit. However, in the K2 and KX
cameras at a magnification of 1x, the shutter
speed values in the viewfinder are hidden,
and only the indicator needle can be seen.
59
TE Asahi Optical Co., Ltd. C.P.O. B95, Tokyo 100-91, JAPAN
“all” Asahi Optical Europe N.V. Weiveldlaan 3-5, 1930 Zaventem Zuid-7, BELGIUM
Pentax Handelsgesellschaft mbH. 2000 Hamburg 54 (Lokstedt), Grandweg 64, WEST GERMANY
Pentax Corporation 9 Inverness Drive East, Englewood, Colorado 80112, U.S.A
Pentax of Canada Ltd. 1760 West 3rd Avenue, Vancouver, B.C. V6J 1K5, CANADA
Asahi Optical Brasileira Ind, e Com, Ltda. Rua Estados Unidos, 1053, 550 Paulo-5P, BRASIL
06961 Printed in Japan
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