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7. Roll Film Cameras

If the words "Candid Wedding" were thrown at a photographer responding to word association, the image evoked would be that of an imposing 4x5 Graphic bristling with accessories. If the image were to include for example, the unimpressively sized Rollei the consternation produced would be great! Alas! I am among the tainted—a user of small cameras, so read on at the risk of contamination!

2¼x2¼, 1⅝x2¼,2¼x 3¼, 2¼x2¾, Sizes

Shooting candid weddings with a 4x5 camera can be compared to using a five-ton truck for a two-ton load. One practical solution to the problems cre­ated by the bulky 4x5 lies in the roll film camera.

If you are careful with your composition and are shooting only for your­self, the smaller camera offers a wide choice to select from. It is necessary that I stress, "shooting for yourself." Studios that hire photographers to shoot candid weddings are willing to pay the difference in cost between roll and sheet film. It is a small price to pay for the security that a 4x5 negative provides—espe­cially when the not too experienced "professional" exposes a "2x3" portion of his 4x5 film.

Even if a studio were to consider the advantages (in dollars) of the roll film camera it would be confronted with an impasse: almost without exception all free lance photographers have the 4x5 that studios insist they own. With studios, the 4x5 is here to stay—at least for the present.

So if you are thinking of adding to your income by shooting candids both for studios and for yourself, buy a 4x5 and a good roll film camera. The 4x5 can be used for studio assignments; the roll film for your own weddings. Hav­ing two cameras should offer no hardship. No candid man should undertake to shoot a wedding without a substitute camera. In candid wedding work you've had it the first time—there are no retakes!

If the roll film camera is going to make an inroad into the candid wedding field, the example will have to be set by the candid men or less busy neighborhood studio owners shooting jobs of their own. They are not restricted to the  4x5.  But most  photographers  are  creatures  of convention  who   go strictly by the book. They reason that the large studios must know best and have not thought to explore for themselves the possibilities of the roll film camera. They mistrust the ability of anything so small as a roll film negative. They are so wrong! Paradoxically, many of these same photographers will swear by the 2¼x2¼ reflex as the perfect camera for baby sittings.

Why Roll Film Cameras Are Suitable

As far as candids are concerned, the expensive, precision roll film camera, reflex or rangefinder, can produce photos equal in quality and sharpness to those taken with a 4x5. And only normal treatment is required to make fine-grain 8x10 or 11x14 enlargements from roll film negatives.

The finest camera artists in the fashion and editorial fields have driven home this point by their consistent use of the roll film camera to produce much of the high standard photography we see in our top publications. Even the newspapers are discovering the roll film camera and are getting to depend upon it more and more. A short time ago they would have considered anything less than 4x5 as amateur equipment.

Automatic film advance with simultaneous shutter cocking, double-ex­posure prevention, and lack of weight and bulk make the smaller camera an ideal instrument for candid weddings. As for graininess, there is no preceptible difference between a print made from 4x5 Tri-X film pack or Royal Pan sheet film developed in DK-50 and that made from a Tri-X, 2¼x2¼ negative developed in Microdol. The difference of cost between 4x5 and roll film is a revelation. A wedding can be shot on roll film (60 exposures) for about $2. With sheet film the cost would be about $6; film pack, $12.50! Film process­ing with roll film is simple and manufacturers offer developing tanks to fill every need. The Nikor tank in particular comes in several sizes to accommo­date from one to eight reels of 120 or 620.

All right, you are convinced that the roll film camera is for you. But what about the public? Will the bridal couple lose confidence in a photog­rapher with just a handful of camera? Let's ask the man who owns one.

About two years ago it occurred to me that no one had ever commented on the size of my stereo camera so on my next black-and-white job I shot one roll with my 2V4x2Y4 reflex during the wedding reception. I had no doubts concerning the quality of those negatives, but how would the couple react to my reflex? To my surprise, they didn't! I used the reflex more and more—still no reaction. About a year ago, I began using the reflex for the entire candid wedding. Every now and then an amateur will express mild surprise that my camera is not a Speed Graphic, or another candid man will assume that I am an amateur pursuing my hobby and patronizingly assure me that, "There's nothing like a Graphic."

A between-the-lens, fully synchronized MX shutter is more suited to flash photography than the focal-plane shutter, which is usually limited to a 1/25 to 1/50 second shutter speed with electronic flash or the M-type bulb. And a coupled rangefinder or reflex focusing are imperative for sharp pictures of bride, bride and groom, and group "formals."

An f/3.5, the most popular lens in 120 or 620 roll film cameras, is fast enough to cover any shot that is expected. A good lens with four or more ele­ments will usually produce clearly defined eyes on all subjects in a group.

45. The most popular pose of the bride and groom together is this full-length (left). Be sure that the groom is not so close to the bride that he interferes with the natural draping of the gown. Have him place his hand on the .small of the bride's hack and not completely around her waist. Check that the bride is holding her bouquet, that her gown is attractively draped, that the groom's tie is straight and his suit collar is correctly hanging. (Busch Pressman; Tri-X; 80 w/s electronic flash, 1/200 second, f/13; DK-50.) 46. The three-quarter length portrait (right) may be less formal. It may he taken with the couple either sitting or standing or even with the bride sitting and the groom stand­ing. The couple may look at the camera as in this photograph, they may look at each other, at the bride's fiowers or at her wedding ring. (Rolleiflex; Tri-X; 80 w/s electronic flash unit, partial bounce, 1/250 second, f/8; film developed in Microdol.)

47. My usual arrangement of the whole wedding party is illustrated in the photo across the page. When there are more than six in the wedding party I pose the bride and groom and then the maid of honor and best man. Then I stand the ushers on either side arranged by height, then I seat the brides­maids in front of their respective ushers. The ring hearer or flower girl may be placed on either end of the group. If the feet of the seated girls show have them cross their ankles. For outdoor groups such as this I keep six camp stools in my car. With good grouping you achieve a compact composition; figures are larger and faces are clearer. (Busch Pressman; Tri-X; synchro-sunlight, 80 w/s electronic flash unit, 1/200, f/16; DK-50.)

The Two Types of Roll Film Cameras

Roll film cameras can be classified in two groups: the non-reflex and re­flex. The non-reflex is usually made with a collapsible bellows and a rigid metal lens mount. This collapsible camera can be folded for ease in carrying. In the expensive makes all have coupled rangefinders and fully synchronized MX shutters.

The reflex field is divided into single- and twin-lens reflex cameras. Be­cause of the focal-plane shutter usually found on the single-lens reflex, the decision should go to the twin-lens model with its fully synchronized MX shut­ter.

As to preference between the reflex or rangefinder camera, ordinarily, the rangefinder would have the edge for faster and more accurate focusing. But public demand for the reflex has resulted in a more generous selection of precision twin-lens than rangefinder roll film cameras. One specific combina­tion, the superbly machined Rolleiflex with its sportsfinder and accessory coupled rangefinder (Rolleimeter) is the equal of any rangefinder camera. The Kalart Focuspot (works same as Focuspot on press cameras) is another focus­ing aid for many reflexes. Two beams of light are projected on the subject. When they are superimposed, you are in focus. In norm ally-lighted rooms the Focuspot is useful up to about fifteen feet, in dimly-lit rooms, twenty-five feet is not too far.

Even without these focusing accessories, the preference of rangefmder over reflex, where candids are concerned, is a matter of individual choice. There is no lack of light either in the home or reception room or at the well-lighted altar. Necklaces, earrings, and reflecting sequins are excellent for reflex focusing and in candlelight ceremonies, use the candles themselves.

2¼x2¼  (12 shots on 120 or 620 film)

Other than the 35mm the 2¼x2¼ is the most popular camera sold. Com­petition in this field has produced many fine cameras, but mostly of the reflex-type. Choice in the more expensive rangefinder type is very limited. Well-known examples are: the twin-lens Rolleiflex and the rangefinder Ikonta 4. The 2¼x2¼ is especially suited for shooting weddings. Twelve shots on a roll will require only two, or at most three, film changes when working with two cameras. The square format eliminates the necessity for shooting a hori­zontal or vertical composition. That choice is made on the enlarging easel.

1⅝x2¼  (16 exposures on 120)

The 1⅝x2¼ camera can be placed in the same class as the 2¼x2¼.  How­ever, with this size, composition must be determined at the time the shot is taken. The film size is slightly narrower than the portion of a 2¼x2¼ used to make an 8x10 enlargement. This camera takes sixteen exposures on a 120 roll and is worth considering especially for shooting the ceremony. The 16 ex­posures will eliminate the necessity of a second camera in church. With this size camera, choice is limited.

2¼x3¼ (8 exposures on 120 or 620 film)

This size film can be used for candids but has several drawbacks. First, more frequent film changes are required than with 2¼x2¼. Second, almost all candid wedding photos are enlarged to 8x10. So for convenience the view-finder should be masked to give a 2¼x2¾negative that will conform with this paper size. However, the longer than necessary 100mm to 105mm lens for a film size masked down to 2¼x2¾can make it difficult to shoot full-length photos in smaller living rooms.

Several cameras in this film size are constructed to give in addition to 2¼x3¼, 12 2¼x2¼or 16 1⅝x2¼ exposures. This further reduction of film size increases still more the telephoto effect of the lens and is undesirable for house, reception and group shots. If you have a choice, avoid the 2¼x2¼roll film camera. The disadvantages are many; the advantages none.

For the photographer who has jobs during the week which require only a few shots, an excellent compromise is the relatively light 2¼x3¼, miniature press. Film pack (about the same cost as 4x5 sheet film), sheet film and eco­nomical roll film can be used. It is particularly suited for roll films as holders are available that can be loaded in advance and slipped on and off as simply and rapidly as a film pack adapter. These holders are obtainable for 2¼x3¼, (8 exposures) or 2¼x2¼(12 exposures). As was the case with the 2¼x3¼, the viewfinder will have to be masked down to the 2¼x2¾or 2¼x2¼format. A mask is available for the telescopic finder. The coupled rangefinder is a necessary accessory for this camera. The miniature press, when fully equipped, comes with a 100 to 105mm lens that can be used but is a longer focal-length than needed for the usable 2¼x2¾portion of the film and much too long for the 2¼x2¼size. The miniature press has a removable lens board, making a choice of lenses possible. A 90mm lens is "normal" for 2¼x2¾.Wollensak makes this focal length in f/4.5. The 80mm f/8.3 Kodak Wide Field Ektar (discontinued, but still to be found) would be a good choice. It gives the smaller 21/4x21/4 picture a normal field of view, and the 2¼x2¾ a moderate wide-angle effect, but corner to corner coverage. Using this lens the 2¼x3¾roll film holder (with viewfinder masked to 2¼x2¾)could be your choice in the house, and for bridal groups; with 2¼x2¾masking, for church and recep­tion. The f/6.3 lens, with a smaller (60-watt-second) electronic flash unit, will not "make it" to the altar of larger churches, and with shots like "throwing the bouquet." An 80-watt-second input unit is needed for an efficient job. Psychologically (for the photographer who thinks it necessary) the small press camera is effective in that it resembles the professional looking 4x5.

Other Sizes

Before the introduction of fine-grain film and developers, and precision enlargers, most picture taking was done on large film and ended in a contact print. Now, the serious photographer, amateur as well as professional, exposes a negative for future enlargement to 8x10 or more. This condition has caused two camera manufacturers to re-evaluate the practicality of the odd-size 2¼x3¼ negative and introduce in its place the realistic 2¼x2¾proportions that make an 8x10 enlargement without waste of film. The Omega 120 (9 ex­posures on 120 film) with 90mm lens is one (if only it had a removable back like the Hasselblad's); the other is the Graflex 70mm Combat Camera with its 50-exposure cassette, spring motor drive, automatic film advance and shutter-cocking, built-in film sheer, etc. It is the answer to a wedding photographer's dream with one substitution: the use of between-the-lens shutter in place of the present focal-plane so that electronic flash or Class M bulbs might be used at all speeds for synchro-sunlight photos. This camera was originally designed and manufactured for the Signal Corps. The focal-plane shutter is needed for the three interchangeable, barrel-mount lenses. There is a limited surplus avail­able for the public. So you rush to your dealer, see it—want it, focal-plane shutter or no! (You can always use that second camera for the few synchro-sunlight photos.) But remember this dream camera, with a 4-inch f/2.8 Ektar, "is such stuff as dreams are made on." Eighteen hundred and fifty dollars worth!

At any rate, the number of features the Graflex 70mm has incorporated, features found only in the 35mm class, portend wondrous advances to be ex­pected in the press camera of the future. How far in the future depends on the advanced amateur. Professionals exert an important influence on what the amateur will choose but they constitute an unimportant percentage of the total camera buyers. It is faith in the amateur's readiness to accept a new or improved piece of equipment, and faith in his ample purse that induces a manufacturer to undertake the cost of designing, tooling and producing a new model. For proof that the amateur is "king" to the manufacturer, consider the 35mm camera. An enormous number of higher-priced 35's are sold today. This market is so lucrative and competition so keen, that no matter what com­bination of features you desire, it's an even bet your dealer carries the camera that has them. So, the next time you see an amateur with a Leica M-3 or Rol-lei 2.8E shooting into the sun without a lens-shade, suppress that guffaw, ap­proach him with deference. Take off your hat and cast a protective shadow over his lens. Due him, is the credit for that intricate instrument hanging from your own shoulder.

A Matter of Choice

Off that cloud and down to earth! What is the best roll film camera for candid weddings? Any one of a dozen good cameras with fully synchronized MX shutter will do, but I'm afraid you will find most of them in the reflex field. In the rangefinder group the pickings are poor: the Ikontas focus by varying the distance between the lens elements—a feature not conducive to the sharpest pictures. The Mamiya folding camera has a satisfactory body and its Olympus lens is excellent. It can be adjusted to take, in addition to the 2¼square, 16 1⅝x2¼negatives on the 120 roll. The discontinued automatic Kodak Chevron, though bulky, came closest to what might be expected of a really good roll film rangefinder camera.

The press-type Omega 120? You couldn't do better were it not for the nuisance of changing film every 9 exposures. As a matter of fact, a camera like the Omega 120 with a back like the Hasselblad would probably make an ideal candid wedding camera.

48. A group such as this may have an informal air even though it is obviously posed. It may be set up either indoors or out, with the parents of the couple on either side, or with the women seated and the men standing. The subjects may be looking at the camera or at each other. When as large an area is included as in the picture opposite, watch to be certain that no one walks into the background of the picture. (Rolleiftex; Tri-X; synchro-shade, 60 w/s electronic flash unit, 1/100 second, f/5.6; film developed in Microdol.)

My Personal Choice

At present I use two types. One is the folding, bellows-type Maraiya6 from Japan. I like this camera particularly for the church shots because of its 16 1⅝x2¼frames on a roll of 120 film. On an average I only need 14 shots in the church and 16 gives me a margin of 2 pictures. Furthermore the negative size is just about right for tin 8x10 enlargement because the proportions are nearly the same. The camera has a good, sharp Olympus f/3.5 lens, and eyes on my subjects show up clearly in shots made at 12 to 15 feet and enlarged to 8x10. I also use the twin-lens Rolleinex continually. Of course there are many other good twin-lens cameras to choose from: the Rolleicord, Ikofiex (with Tessar lens), Kalloflex, Minolta Autocord, Mamiyaflex, Aires Automat, and Tele-Koniflex. Any of these will take top quality pictures. Too, the twin-lens reflex is a solid camera, capable of taking the strenuous treatment of a candid wedding. Focusing is a little more difficult than with a rangefinder camera, but not enough to make a serious difference. And with a twin-lens reflex you have an added bonus—you are equipped to photograph the bride and groom now, and their baby later.

So I'll take the Rolleiflex. It is the camera I most like to live with today. Equipped with an f/3.5 or f/2.8 lens and the accessory rangefinder (Rollei-meter) it is the camera without a fault.

Without a fault? Well . . . the Rolleimeter (rangefinder) is a useful acces­sory, but I've often wondered if designers of equipment ever use their own brainchildren. Attached to the Rollei the activating arm of the Rolleimeter is directly above the indicator window however, in poor light conditions, at a time when the rangefinder is needed most the diaphragm numbers can not be read. Burleigh Brooks was kind enough to grind away a portion of the arm directly over the window, but that helped little. I took the Rollei to a camera repair shop and had them drill a burr on the face of the lens mount on the side closest to the diaphragm wheel. On the wheel itself six burrs were drilled, one for each f/stop. The indentations were painted black. Now I just refer to the dots on the diaphragm wheel and not to the window. This operation was not repeated on the shutter speed wheel. The click stops let you know what speed you are using. With this slight modification; I guess I still say, "The camera without a fault."

49. Couples are frequently receptive if a few pictures with imagination are included in the wedding coverage. The formal portrait above was made while the bride was waiting for the ceremony (Jewish) to begin. Tri-X film was purposely over-exposed by two stops (1/30, f/1.8) and force developed. The dense, grainly negative and the wide open aperture produced the soft, tex­tured, dreamy effect. (Nikon; 35mm Nikkor.)

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