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4.Flash and Electronic Flash

SOONER on later every potential candid wedding photographer faces the  same set of problems. Which type of artificial illumination should he use: electronic flash with X-sync or the familiar flashbulb with M-sync? If he chooses electronic flash what factors should be taken into consideration? And how should either type of lighting be used for the best results in candid wedding photography? Before you make any decision (or purchases) let's take a look at the entire situation.

The term "strobe light" for the electronic flash is a misnomer. A strobo-scope is an instrument that interrupts the light at intervals. An appropriate name is the one used by both manufacturers and photo magazines—"speed-light." But the power of the press seems to be waging a losing battle with the power of usage and I believe that "strobe" is here to stay. In this book, how­ever, I will refer to the "speed light" or "strobe," as electronic flash; the "flash-lamp" as a flashbulb or bulb.

In June, 1851 in England, William Henry Fox Talbot made the first photograph by the brief flash of an electric spark. In 1931, improvements made by Dr. Harold E. Edgerton took the one millionth of a second spark out of the category of an intriguing though impractical curiosity and put it into everyday application.

Other improvements followed quickly: Today we have three to five-pound battery-powered units. Electronic flash is the most dramatic flash "discovery" since the introduction of the flashbulb. In professional photography and with candid weddings particularly, it has all but replaced the flashbulb. Indoors, its very short flash duration produces negatives that are devoid of both camera or subject motion. Cost of operation is about three cents per shot for some dry-cell units, to almost no cost at all for the line current studio and home AC units. There are several sources of power: AC electricity (house current), wet and dry-cell batteries, and nickel-cadmium batteries. Some units permit use of both line current and battery. In all, electrical energy is fed into a capacitor and then is discharged through a flashtube containing xenon gas (usually). The result is a flash of very short duration.

23. The father hisses the bride before giving her to the groom in the Catholic ceremony; in the Protestant service there is no kiss. You may leave your camera focused as for the previous shot (bride and father coming up the aisle) or, if there is time, focus on the subjects, so altar will be clearer. Father handing over bride will probably he the last flash exposure permitted in the Protestant service, but you may be able to re-stage the other important shots after the service is over or use slow exposures for the following shots. (Konica III; Plus-X; No. 5 bulb, 1/200, f/8; Microdol.) 24. A shot from the floor in the aisle is best made from about the fifteenth pew back. Focus accurately on the bride and groom. It is easiest to compose this in a reflex camera; with others you may practically have to lie on the floor to see your picture. I get good results by placing the camera on the floor with the front propped up about half an inch with a small object. Do not use flash with this shot. (Mamiya 6; Tri-X; 1 sec., f/4.5; Microdol.) 25. Thispicture (lower left) may be made as the bridal couple advances to the altar and genuflects, or it may be made later in the service. This particular photograph indicates the pos­sibilities of using a hand-held camera and forced negative development under available light conditions. It was made with a Rolleiflex and Tri-X film exposed at 1/30 and f/5.6, forced developed in FR X-500 (diluted 1:10) for 11 minutes. 26. When photographing from the balcony, focus on the bridal couple and place the camera on the railing or some other firm support. Wait until the organ stops because vibration will soften the image. This picture was made with a Mamiya 6 using Tri-X film and a combination of a slow exposure (1 sec, f/3.5) and electronic flash. (Flash exposures are often permitted dur­ing the Catholic ceremony.)

27. This balcony shot in a smaller church was made with available light only (Tri-X, 1 sec. at f/3.5, Microdol) with a Mamiya 6. 28, 29. In many Catholic churches the door to the Sacristy is directly off the altar and so situated that the faces of the bridal couple may be seen from it. From this inconspicuous spot I photographed the bride placing the ring on the groom's finger (upper right) and the couple being blessed with holy water (lower left). Picture 29 was made with flash but you may also try an available light exposure (like 28) for a more dramatic effect. In Protestant services when shots are posed after the ceremony there will be no problem of finding an inconspicuous vantage point (28: Retina IIIc; Tri-X; 1/30, f/4; Microphen; 29: Busch Pressman; Tri-X; 80 w/s electronic flash unit, 1/200, f/8; DK-50.) 30. During the Nuptial Mass, there are long periods without motion which provide excellent op­portunities for available light shots. The Prie-Dieux pose, (lower right) was made from the door of the Sacristy. (Busch Pressman; Tri-X; 1/2 second, f/4.7; film developed in DK-50.)

How to Rate Your Electronic Flash

The prevailing practice is to rate electronic flash units by watt-seconds input—in other words, how much energy is transmitted from power pack to flashtube. This rating system is not adequate as it fails to take into account the efficiency of the flashtube and the design and finish of the reflector.

A system has been worked out for standardizing the terminology and method of rating an electronic flash unit. It is based on the amount of light reaching the subject, the area it covers, and the duration of the flash. To put it technically: effective beam candlepower seconds, coverage of the reflector and speed of flash. Until this method of rating an electronic flash is established, the rudimentary expedient of testing by standing three people against a light wall (so that one appears at either end of the viewfinder, and one in the mid­dle) and shooting from about 12 feet away, will serve to determine the output and coverage of a unit.

How to Find Your Guide Number

Try this test for rating your unit with camera on a tripod, gun close to camera, reflector parallel to camera front, and room light low. The electronic flash unit (with reasonably fresh or fully charged batteries) should be turned on for about three minutes to make sure the unit is operating at maximum output. Discharge it and let it recharge.

Make the first exposure with No. 5 flashbulb, and camera at 1/10 second (to eliminate possibility of shutter inaccuracy) at the guide number recom­mended for open flash by the manufacturer of your film. This will be your "normal negative" against which all electronic flash exposures will be matched. The flashbulb reflector should be polished and of a good make. The room light during the exposure, should be out or very low.

Next make one exposure with the electronic flash at a fast shutter speed so room light does not register (about 1/200) using the guide number recommended by the electronic flash maker: then ten exposures, progressively open­ing the diaphragm one quarter of an f/stop. Allow at least triple the recommended recycling-time between exposures. Develop all the film in the same developer, at once, for the time and temperature recommended by the film manufacturer on the instruction sheet.

If you're using sheet film, before development clip a corner of the flash­bulb negative to identify it. For the electronic flash pictures, be sure to develop film 10 percent more if you're using a unit with a flash duration faster than 1/500 second. To locate the flashbulb exposure on roll film during develop­ment, you will have to develop by inspection. Use Kodak Desensitizer and a green Wratten 7 Safelight Filter, or inspect briefly during development (with­out using the desensitizer) by light from a very dim green safelight (Wratten 3 Safelight Filter). In either case your first, or flashbulb exposure, will be at the taped end of the film. Cut this exposure off. Fix it. Continue developing the rest of the roll.

The electronic flash exposure that most closely matches the flashbulb negative is the one you need for candids. To determine the guide number, multiply the f/stop of the chosen exposure by the number of feet from elec­tronic flash lamp to subject; in this case, 12 feet. If f/11 was the aperture, then: 11 x 12 - 132. If half way between f/11 and f/16, then: 13-5 x 12 -162. That's your guide number.

Here's how to prove the correctness of your electronic flash negative be­fore you settle on a final guide number. Make one straight enlargement from the flashbulb negative, and one from the electronic flash negative. Expose for identical times, at the same f/stop, and from the same enlarger position. The exposure for enlargement (at least 15 seconds) should be such that the flash­bulb print is fully developed in the time recommended by the paper manu­facturer. Develop both sheets at once and take them out at the same time.

These enlargements, printed straight and without burning-in or dodging, and using the whole negative, will reveal if the flash is distributed evenly over the three people and over the light wall behind them. (Be sure your enlarger light distribution is even.) If your electronic flash negative is right, the density and contrast of the prints should be almost identical—with one exception: an electronic flash exposure on pan film will produce a print with lighter blues (eyes, gowns, etc.), and darker reds (lipstick, freckles, etc.) than a flashbulb shot.

The enlarging chart (Chapter 10) will help you in adjusting the devel­oping time to fit your particular enlarger system.

Buying an Electronic Flash Unit

What kind of electronic flash unit is best suited to candid wedding pho­tography? There are several important considerations: Whether a unit pow­ered by "D" cell photo-flash batteries (giving about 30 to 50 flashes) is compatible with your needs, or you require a high-voltage dry-cell battery unit (some 400 to 800 flashes); the rapidity of the recycling time; if recharg­ing your battery is practical (we'll go into that later). Shelf life is about 6 to 12 months for high voltage dry-cell batteries. The candid wedding photog­rapher shooting often will not want to be bothered with frequent battery changes. In all probability he will choose the electronic flash which provides a large number of flashes per battery, or per charge. A ready-light is a must, not so much to indicate when the unit is charged (most 60-100-watt-second high voltage dry cells, and rechargeable battery units charge between flashes in 3 to 7 seconds) as to warn, by increasingly longer delays, when the life of the battery is nearing its end.

Electronic flash, though efficient, can be considered still in an experimen­tal stage. Improvements are being effected with a rapidity that makes current models seem outdated, sometimes within a matter of months. Basically, how­ever, all electronic flash units are similar and the following paragraphs which include information on three popular portable units I have used should provide some idea of what the uninitiated can expect of the various types of elec­tronic flash units.

Which Type of Electronic Flash Unit?

For the photographer who shoots several candids a month, an electronic flash unit is profitable. The cost of operating the dry-cell Heiland Strobonar V, excluding costs of repairs, is about three cents per shot, for the dry-cell Mighty Light DeLuxe about two cents, and for the wet-cell Ultra blitz Matador I, a fraction of a cent as against eight to ten cents each for the No. 5 or 25 flashbulb. (Amplex has a baseless bulb they rate at 7,500 lumens. It retails for about six cents.) The old 10- to 15-pound portable wet-cell electronic flash has developed into a 2- to 7-pound dry-cell, or rechargeable wet, or nickel-cadmium cell unit. (The nickel-cadmium will give more flashes for each charge than the wet cell.) Studios will pay five to ten cents extra per shot for elec­tronic flash and encourage its use. It eliminates the possibility of camera movement showing in the negative.

The Strobonar V, one of the three dry-cell units I have used, is rated at 80-watt seconds' input. Another is the 60-watt-second (w/s) Mighty Light DeLuxe. Both these units proved reliable and trouble-free. Weight with the Mighty Light DeLuxe is negligible (2 pounds for the battery pack) and it gives roughly 800 shots with each set of batteries, twice as many as with the four-pound Strobonar V. (Some units have a half power switch and provide more flashes per battery.) When the Strobonar indicator lamp reaches a delay of 10 seconds and the Mighty Light DeLuxe 7 seconds, it's time for a battery change. The Strobonar V gives about one-half the intensity of a No. 5 bulb shot with the shutter at 1/200; the Mighty Light DeLuxe about one-quarter. The 60 w/s unit is the smallest that should be used. In the 60 to 100 w/s field there are many brands from which to choose. With film the speed of Tri-X, the light output of the Mighty Light DeLuxe is adequate to cover all wedding shots. In point of fact, the average altar shot (about 20 to 25 feet) can be taken at f/5.6, a cake shot (about 10 ft.) at f/12 when using a Mighty Light DeLuxe unit, a 4x5 camera, Royal Pan film and DK-50 developer. The depth of field in either shot is ample.

The third unit, the rechargeable wet-cell Ultra blitz Matador I is a verita­ble (135 w/s) powerhouse all packed into a 5-pound load. Its salient features: at full power an output greater than that of a No. 5 bulb with shutter at 1/200; window to show charge left in battery; can be operated off line electric current (ideal for studio use—also takes extension). I've gotten 30 full power and 75 half-power flashes from one charge without draining the battery. I have two Matador I units as I frequently shoot two weddings in one day.

About Rechargeable Batteries

For all practical purposes there are only two basic types of rechargeable batteries readily available in the United States today. They are the wet-cell and nickel-cadmium batteries. You can recharge these batteries often and over a long period of time (but if not used for two weeks or so, they require short recharging).

Penny for penny, and watt-second input for watt-second input, the re­chargeable cells mentioned have it all over the expendable dry-cell battery incandid wedding photography. Flashes cost next to nothing. And recharging is done by household (AC) current. I find I can easily cover one entire candid wedding before recharging. As a man in the business of candids I prefer the rechargeable battery.

Testing Flash and Electronic Flash Synchronization

Checking your shutter for synchronization is easy with electronic flash. Set your shutter at its highest speed (needed with electronic flash and synchro-sunlight) and your diaphragm wide open. Flash your unit about a foot in front of your lens. If you see a round disk on the ground glass, or on your lens through the open back of your camera, you are on the button. If you see the leaves of your shutter or no light at all your sync is off.

31. An intimate close-up may be made at smaller ceremonies such as this one (upper left), presided over by a fudge. (Busch Pressman; Tri-X; 60 tv/s elec­tronic flash, 1/200, f/8; -film developed in DK-50.) 32. Another important picture in the church ceremony is when the couple turns to leave the altar (upper right). This is the only shot with altar as a background in which the bridal couple's faces show. Ordinarily, I shoot just after the couple has turned, trying to catch the maid of honor as she adjusts the train. Here, 1 saw that the bridal party formed a line on either side of the aisle so I adjusted focus and f/stop for 15 feet and waited until the couple reached the group before shooting. (Busch Pressman; Tri-X; No. 5 bulb, 1/200, f/14; DK-50.) 33. If there is no kissing shot at the altar, stop the couple at about the fifth pew from the end of the aisle. Ask them to kiss. The background will go nearly black but will establish the locale and couples rarely object to this dark background which imparts a sense of privacy. An alternate shot would catch the couple at about the third pew from the front so the parents and relatives would also be

included. In the Protestant service, where the couple usually kisses before turning to walk down the aisle, this action may he caught then or re-enacted afterwards. (Konica III; Plus-X; 60 w/s electronic flash unit, 1/200 second, f/5.6; film developed in Microdol.)

This test can be applied to the flashbulb but only as a rough

check. If we were testing a shutter at 1/400 of a second, the No. 5 bulb's duration would be seven or eight times as long as the shutter's. The light we see would not necessarily be the peak of the flash. There are several homemade methods, as well as the Ansco Synchroflash Tester for detecting inaccurate flashbulb synchronization.

Synchronization and Press Cameras

In almost all cases, today's press camera shutters have an X setting for electronic flash, and an M setting for Class M flashbulbs. Work on any MX shutter can be done only by a skilled mechanic. Some press cameras have only X-sync, and a solenoid is used to synchronize Class M flashbulbs and the front shutter. Restoring this solenoid synchronization is rather involved and entails the loss of considerable time and the use of several flashbulbs. It is well worth the repairman's charge of about $2.

Testing Solenoid-Flashbulb Synchronization

If "sending the camera out" means a week or two, you can check the accuracy and adjust the shutter with this method:

On roll film cameras, place a piece of printing paper across the film plane and close the camera. Put your gun with bulb (without reflector) as close to the lens as you can accurately focus on it. Set the diaphragm wide open and the shutter at 1/200. Shoot. Develop the paper for about two minutes. With a press camera do the same but insert the paper in a holder.

If the bulb is all black, synchronization is on the button. If it is gray in the center and black toward the edges, shutter is late in opening. Turn sole­noid screw down. If bulb is black in the center and grey toward the edges, the shutter is opening too soon. Turn the solenoid screw up. As I mentioned earlier, it's a lot of trouble for two dollars. This test can be made on internally synchronized shutters, but adjustment on them must be made only by a skilled camera repairman.

Should the occasion arise when you know your shutter is firing but you doubt its being on the button, shoot at 1/25 until you can change cameras or have the timing corrected.

Reciprocity Failure

"Reciprocity-law failure" is the incompatible partner of electronic flash. Understanding how it works (or doesn't) will explain all this talk of overdevel­oping electronic flash negatives.

According to the "law of reciprocity," film that is exposed to "X" amount of light at a very fast shutter speed will have the same density (all other fac­tors being equal) as the same kind of film also exposed to "X" amount of light, but at a very slow shutter speed. This does not hold true. A negative with a 1/10,000 second exposure will not be as dense as with 1/100 second exposure. This phenomenon is called reciprocity law failure, that is, the inability of film to respond normally to very short intense exposures, or at the other extreme, very long weak exposures. Reciprocity failure affects some films less than others. By developing the negative longer than the times recommended in the manufacturer's data sheet, for sunlight or flashbulb, we are able to compensate for this failure and attain both the density and contrast needed for printing on a No. 2 paper. With units of not too short a flash duration (1/500), little or no overdevelopment is needed.

Still the electronic flash manufacturers will recommend as much as 50 percent overdevelopment of film for general photography. I find that today's portable units of 1/1000 or 1/2000 second duration necessitate only a 10 per­cent overdevelopment. Longer developing will not increase the output of your unit—just the contrast of your film. The 50 percent overdevelopment applies to studio units of 1/10,000 second, or shorter, durations and is needed as these units are well within the range of reciprocity-law failure.

Guide Numbers and Electronic Flash

I use no guide number. Through repeated use you too will come to know the f/stop for every shot. Until then, the following data will be helpful to the photographer with limited experience.

In the table that follows, the lower guide numbers provide a half-stop more negative density than the higher ones. Your tests will give you an exact guide number somewhere between these limits, which will provide you with a safety factor of 2 for your individual unit.

Guide
Film                  Strobe                   Developer    Number °
Tri-X Film Pack      Ultra blitz Matador I
(135 w/s)                                  DK-50         220 to 270
or  Ultra blitz Matador I
(½  power)                                     "              160       190
Royal  Pan Cut        Strobonar V   (80 w/s)  "  160        190
Film      Mighty Light DeLuxe
(60 w/s)                                         "              110      135
Tri-X Roll Film        Ultra blitz Matador I Microdol◦◦  190            220
Ultra blitz Matador I (½)                       "       135     160
Strobonar V                                              "  135     160
Mighty  Light DeLuxe                           "         95    110
Plus-X or
Verichrome Pan      Ultra blitz Matador I Microdol oo    120            145
Ultra blitz Matador I (½)                      "          84    100
Strobonar V                                              "    84     100
Mighty Light DeLuxe                           "           60      70
Panatomic-X          Ultra blitz Matador I  (smaller         D-76    75         90

than   100   w/s   not  recom­mended)

◦ Up to one-half of the battery's potential number of flashes; beyond that, open ½-stop or decrease guide number 15 percent.

◦◦With D-76, close ½-1stop or increase guide numbers by 20 percent. For candid weddings with 120/620 Tri-X, I prefer Microdol; with Verichrome Pan, D-76, with Plus-X or Tri-X 35mm,  Microdol.

34. In the Jewish service the groom's parents escort him to the altar. (Mamiya 6; Tri-X; 60 w/s electronic flash, 1/200, f/7; Microdol.) 35. The shot at right is an available light shot made during the Jewish service. (Nikon, 35mm Nikkor lens; Tri-X; 1/30, f/1.8; FR X-500, diluted 1:10.)

Now for Some Pros and Cons

A good 60- to 135-watt second input electronic flash for professional use, means the initial outlay of about $70 to $125. The high voltage dry-cell bat­teries list for about $15, and regardless of how little they are used they have shelf life limits from about 6 to 12 months. There is also the hidden cost of repairs and the possibility of forgetting to turn off the power and burning out the batteries. (No, it hasn't happened to me yet, but as sure as tomorrow is another day, it will.)

The rechargeable-cell units, other than for the periodic battery charges, are no more trouble in actual operation than non-chargeable dry-cell units. But on the credit side is the $1.25 to $2.00 saved on each wedding by a recharge­able battery. The nickel-cadmium rechargeable-cell unit with its generous number of flashes per charge, should in time become the most popular choice with professionals. It should replace the less capable wet-cell and, unless dry-cell prices drop considerably, the high-voltage dry-cell unit as well.

With units powered by inexpensive "D" cells, shelf life is unimportant, but these units have in common a disturbing characteristic: recycling time for a full charge usually takes from 10 to 25 seconds. This delay is too long for candid weddings, and can mean the loss of important shots.

About Flashbulbs

For the man who shoots only an occasional wedding, the economical choice should be the flashbulb. The No. 5 or 25 (used with M-sync) is perfect for candids and 15 bulbs can fit comfortably into a man's coat pocket: enough for all the shots in church. {The No. 5 and 25 at 1/200, are roughly twice as powerful as an 80 w/s electronic flash unit or about equal to a 100 w/s unit.) With a flashbulb you know, to the penny, the cost of each flash. The price of a good BC (battery-capacitor) unit is from $5 to $15, and the batteries will last for as long as two years. Mechanical trouble with a BC unit is rare and failure of bulb to fire minimized. There isn't the added burden of carrying an electronic flash battery-pack. Camera motion should present no problem to the careful photographer, and most subject motion in a candid wedding picture can be stopped at 1/200 second.

This following chart gives the guide numbers for flash bulbs most com­monly used in candid wedding photography, as well as the suitable film-developer combinations and shutter speeds.

Flashbulb At 1/200 Second

Focal-                                                              Guide
Guide Number         Plane                             Number
No. 5 or 25       No. 8    Shutter              No. 6 or 26
Film            Developer   Flashbulbs Flashbulb      Speed            Flashbulbs
Tri-X Film Pack     DK-50       210      185
Royal Pan Cut
Film                  DK-50     210 185
Tri-X Roll Film        Microdol ◦       180              150    1/100   180
1/250                                                                 110
Verichrome Pan
(Roll and Film
Pack)                                Microdol◦         120  100     1/100   100
Plus-X   (35mm)       Microdol ◦         120          100     1/100   100
Panatomic-X
(1/100)             D-76                      100              1/100            75

◦ With D-76 (undiluted) close diaphragm ½-1f/stop, or increase guide number by 20 percent.

Note: At 1/200 second the No. 8 bulb has a guide number of one-third f/stop less than for the No. 5 but at 1/100 or slower it loses a full stop. At any shutter speed it is powerful enough with straight flash for Tri-X or Verichrome Pan or Plus-X. Of course, not enough can be said for its "peanut size" and some photog­raphers may decide to stock both sizes using the No. 8 for church and reception and the No. 5 (with its greater output at 1/100 and 1/50) for partial bounce and very long shots. The No. 8 bulb is one cent per bulb cheaper.

Shutter inaccuracies do affect flash but not electronic flash guide numbers. Tests of your camera's speeds can be made by shooting a flashbulb exposure at the recommended guide number on color film for each shutter speed over 1/25 second and comparing them with one made with open flash. Kodachrome is the most suitable material for this test because of the exacting laboratory con­ditions under which it is processed. However, cheaper and more conclusive results can be gotten from a competent repairman. For about three dollars, he'll tell you, within 5 percent, the actual speed of each shutter setting. Re­member, you'll avoid repairs and prolong the accuracy of your press cam­era shutter if—between jobs—you get into the habit of releasing the shutter and setting the speed at a setting under 1/100. With cameras that permit double exposures, cover the lens, trip your shutter then set speed under 1/100,

To Sum It All Up

The candid photographer who shoots a wedding every week or two will find the electronic flash a profitable investment that in time will pay off for itself. On the other hand, the not too active photographer may discover after "the thrill is gone," that contrary to what he has led himself to believe the electronic flash can be an expensive "economy." He will discover also, that though both flashbulb and electronic flash offer some individual benefits, the end results are practically the same; that if 1/1000 or 1/2000 second exposures intrigue him, flashbulb exposures of 1/400 or 1/500 (the speed of some electronic units) are not exactly a turtle's speed; that it is more trouble to carry a battery pack than a pocket full of bulbs; that changing bulbs takes little more time than switching a unit on or off.

From a practical standpoint, the decision to change from bulbs to elec­tronic flash should be based only on a savings of dollars and cents. As time goes on the decision in favor of electronic flash will become progressively easier to make. Today there are, conservatively, twenty-five manufacturers of elec­tronic-flash waging a war for supremacy. The result has been, and will con­tinue to be, better units at cheaper prices.

36. This picture is the equivalent of the shot made from the floor of the aisle during the Catholic ceremony. In this Jewish ceremony 1 shot by available light for a more interesting pictorial result. Using a Mamiya 6 camera and Tri-X film, I exposed a full second at f/5.6, developed in Microdol.

1. Dry-cell, wet-cell, nickel-cadmium battery, or "D" (flash-battery) cell? This question has been answered by the preceding paragraphs, but in em­phasis it might be added the "D"-cell   (flash-battery units) will not take the beating of candid shooting.
   
   
2. 60-80-100 watt second input? The 60 w/s will do with the fastest films, but partial bounce (see illustration 2) may be very limited (f/3.5 to f/4.5 with Tri-X at 12 ft.). The 80 w/s is a good compromise insofar as carrying weight and output are concerned. It will give satisfactory coverage with partial bounce (Tri-X, f/5.6 at 12 ft.). The 100 to 135 w/s, preferably with a ½ power switch, is ideal if most house shots are partial bounce. Full power can be used for partial bounce and 1/2power for straight flash. I use the 135 w/s Ultra blitz Matador I at full power (partial bounce, f/5.6 at 12 ft. with Verichrome Pan and D-76 or Microdol; f/8 with Tri-X and Microdol).

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