Foreword

This Astronaut’s Photography Manual has been

prepared by Hasselblad in close cooperation with
the Training and Man-Machine Divisions at the
Johnson Space Center of the National Aeronau-
tics and Space Administration. As a guidebook
for the NASA Photography Training Program, it
not only describes the operation of the Hassel-
blad 500 EL/M cameras used on the U. S. Space
Shuttle but is also a concise manual on photog-
raphy to assist astronauts in creating the best
possible space photographs.

Hasselblad cameras have performed with preci-

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and undoubtedly future missions will continue to
yield those awe-inspiring and beautiful images
from space - a priceless pictorial legacy for future
generations.

A Hasselblad lunar data surface camera was mounted into the Shuttle
Pallet Satellite and operated remotely by the astronauts by means of a
UDGLRVLJQDOWRUHFRUGLPDJHVRIWKH&KDOOHQJHULQÀLJKW

Sunlight coming through the windows can make beautiful "available
light" shots. The slide is perfectly exposed for the most important part of
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Table of Contents 
Camera Controls ............................................................................................. 
Film Magazine Controls ................................................................................... 
9LHZ¿QGHU&RQWUROV ......................................................................................... 3
The EL/M Power Supply .................................................................................. 4
Releasing the Camera ..................................................................................... 4
Remote Operation ........................................................................................... 5
Camera Steadiness ......................................................................................... 5
Operating Modes ............................................................................................. 
Film Magazines ........................................................................................... 
Film Magazine with Databack.......................................................................... 8
Permanently Attached Databack ..................................................................... 8
Databack with Removable Module .................................................................. 8
Changing Lenses............................................................................................. 
Lenses ........................................................................................................... 
Lens Controls ...........................................................................................
Viewing .......................................................................................................... 
Diopter Adjustment ........................................................................................ 
Focusing ........................................................................................................ 
Focusing Suggestions ................................................................................... 
Depth of Field .................................................................................... 
Depth of Field at Different Apertures ............................................................. 
Depth of Field with Different Lenses.............................................................. 
Focusing for Depth of Field ..................................................................... 
Use of Lenses.................................................................................... 
Lens Aperture ................................................................................................ 
Shutter Speed................................................................................................ 
Setting Aperture & Shutter Speed ................................................................. 
Changing Aperture & Shutter Speed ............................................................. 
Exposure ....................................................................................................... 
Exposure from Charts.................................................................................... 
The Exposure Meter ...................................................................................... 
ASA/ Shutter Speed Setting .......................................................................... 
9LHZ¿QGHURQ0HWHU....................................................................................... 
Operating Meter....................................................................................... 
Determining Lens Settings with Exposure Meter...................................... 
Exposing for Sun or Shade............................................................................ 
Exposing for Slides ........................................................................................ 
Exposing for Negative Film............................................................................ 
High Contrast Scenes.................................................................................... 
Bracketing Exposure ..................................................................................... 
Exposure Techniques .................................................................................... 30
Composition....................................................................................... 
Obtaining the Most Effective Images ................................................. 
Hasselblad 500 EL/M Camera 

Camera Controls:

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Film Magazine
Controls:

 0DJD]LQH5HOHDVH%XWWRQ
 0DJD]LQH,QVHUW/RFN7DSHG
 'DUNVOLGH
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 5 8     
The EL/M Releasing the Camera 4
Power Supply

7KHHOHFWULF¿OPDGYDQFHLVSRZHUHGE\ WHULHV$DUHLQVHUWHGZLWKWKHHQG¿UVW 7KHLPDJHLVUHFRUGHGRQWKH¿OPE\

WZR9UHFKDUJHDEOHQLFNHOFDGPLXP
batteries located in the battery compart-
ment. Two fully charged batteries provide
SRZHUIRUDSSUR[LPDWHO\H[SRVXUHV
and changing the batteries should not be
necessary. A slowing down of the wind-
ing cycle, however, indicates low battery
)LJ3URSHUO\LQVHUWHGWKHEDWWHULHV
rest on a spring and can be pushed up
&down. When inserted the wrong way, the
cover cannot be closed easily and may
be permanently bent. Do not force. Check
position of batteries. Cover is re-attached
by placing the hooks at the front of the
pressing the operate push button. The
VKXWWHULVUHFRFNHGDQGWKH¿OPDG-
vanced to the next frame, when removing
WKH¿QJHUIURPWKHEXWWRQ$VHFRQGH[SR-
sure can be made as soon as the winding
cycle is completed. If the camera does not
operate when the release is depressed:
voltage and that both batteries need to be
changed.
The battery compartment is opened by
FRYHULQWRWKHRSHQLQJV'LQWKHFDPHUD
WKHQSUHVVLQJWKHUHDU¿UPO\WRZDUGVWKH
 'DUNVOLGHPD\EHLQVHUWHGLQ¿OP
compartment while turning the slotted lock
magazine. Remove it.
WXUQLQJWKHVORWWHGFRPSDUWPHQWORFN FORFNZLVHWRWKHKRUL]RQWDOORFNHG
 7KHUHPD\EHQR¿OPOHIWLQPDJD]LQH
counter clockwise to the vertical position position.
&KHFN¿OPORDGVLJQDODLIUHG
XVLQJWKHOHQVFRFNLQJWRRO5HPRYH change magazine.
WKHFRPSDUWPHQWFRYHU)LJ$OZD\V NOTE: Camera operates only if a fuse in good 3. The fuse is dead. Replace.
remove both batteries and insert one condition is in the fuse receptacle. The fuse (C) 4. The batteries may have no charge left.
spare battery in either compartment. Bat- can be replaced and inserted in (B) either way. Replace.

),*85( ),*85( FIGURE 3

Remote Operation Camera Steadiness 5

Camera can also be released with remote The camera must be perfectly steady 5. Pressing the operate push button
FDEOH5HPRYHVRFNHWFRYHU)LJE\ when the exposure is made. Camera mo- slowly and gently so you are hardly
turning it counter clockwise and attach WLRQZKLOHWKH¿OPLVEHLQJH[SRVHGFDQ aware when the exposure is made
remote release cable to remote connector result in unsharp pictures. Reduce the and keeping it depressed until the
4. The camera operation is determined by danger of camera movement by: exposure is completed. Don't jerk the
WKHSRVLWLRQRIWKHPRGHVHOHFWRUSDJH release or depress it rapidly.
one picture in position 0 - or sequences in
 +ROGLQJFDPHUD¿UPO\ZLWKERWKKDQGV
position A. NOTE: Perfect camera steadiness is important
one hand on the bottom, the other on
with aIl lenses - but more so with the 250mm
WRS)LJ 3UHVVLQJERWKHOERZV 6RQQDU7KHORQJIRFDOOHQJWKPDJQL¿HVFDPHUD
into your body for additional support. shake.
3. Pressing rubber eyepiece of the view-
¿QGHUDJDLQVW\RXUYLHZLQJH\HWRIRUP
D¿UPFRQWDFWEHWZHHQWKHIRUHKHDG
DQG¿QGHU)LJ
4. Holding Breath.

FIGURE 4 FIGURE 5 ),*85(

Operating Modes Film Magazines 

 7KHPRGHVHOHFWRULVVHWDWDWODXQFK 7RDWWDFKD¿OPPDJD]LQHWRWKHFDP- OPERATlNG SIGNALS:)LJ

DQGWDSHGRYHU)LJ'RQRWUHPRYH era body, hook the magazine onto the
the tape and change the setting except WZRORZHUVXSSRUWFDWFKHV()LJ
7KH¿OPPDJD]LQHLQFOXGHVDIUDPHFRXQ-
for automatic sequence operation. VZLQJWKHWRSRIWKHPDJD]LQH¿UPO\DQG
WHUZKLFKFRXQWVXSDQGLQGLFDWHV
 )RUDXWRPDWLFVHTXHQFHRSHUDWLRQ FRPSOHWHO\DJDLQVWWKHXSSHUFDWFKHV)
number of frames exposed. Check once
SLFWXUHSHUVHFRQGUHPRYHWDSH and camera body while at the same time
LQDZKLOHVR\RXGRQRWUXQRXWRI¿OPLQ
FKDQJHVHOHFWRUWR$)LJ:KHQ VOLGLQJWKHPDJD]LQHUHOHDVHEXWWRQWR
the middle of an important picture taking
the release is depressed, the camera WKHULJKW)LJ$IWHUWKHPDJD]LQHLV
VHTXHQFH7KHUHDUHDERXWIUDPHV
takes pictures at regular intervals of DWWDFKHGUHPRYHGDUNVOLGH)LJD
RQDUROORI¿OP7KHUHLVDOVRDQHQGRI
IUDPHVHFRQGDVORQJDVWKHUHOHDVH To remove a magazine, insert darkslide ¿OPLQGLFDWRUD,WWXUQVIURPZKLWHWR
is kept depressed - and as long as VOLGHPDJD]LQHUHOHDVHEXWWRQWR UHGZKHQWKHUROORI¿OPLV¿QLVKHGDQGDW
WKHUHLV¿OPLQWKHFDPHUD:KHQVH- WKHULJKW)LJOLIWRIIPDJD]LQH)LJ that moment the camera will stop operat-
quence is completed, change dial back
to 0 and re-tape.
 LQJ)LOPDGYDQFHLQGLFDWRUEJRHV
IURPZKLWHWRUHGWRZKLWHWRVKRZ¿OPLV
NOTES: a) Magazines cannot be attached or advancing properly.
removed unless darkslide is inserted. b) Never
remove the darkslide from a magazine that is
not attached to the camera. It would expose
VRPHRIWKH¿OPLQWKHPDJD]LQH

),*85(

FIGURE 8
 

),*85( ),*85( ),*85(

),*85(D ),*85( ),*85(

Film Magazines with Permanently Attached Databack with 8
Databacks Databack Removable Module

6RPHRUDOO¿OPPDJD]LQHVXVHGRQ\RXU Proper operation is indicated by a green The electronics module is removed by de-
mission may be equipped with a databack. LED at rear. Check whether it goes on and pressing the latch and sliding the module
It may be permanently attached to the off after the exposure. This indicates that towards the rear. It can now be attached
PDJD]LQH)LJRUKDYHDUHPRYDEOH the data recording has been successful. to another magazine in the same fashion
electronics module which can be switched E\GHSUHVVLQJWKHODWFKDJDLQ)LJ,W
IURPRQHPDJD]LQHWRDQRWKHU)LJ is made operative with the On/Off Switch.
7KH¿OPPDJD]LQHRIHLWKHUYHUVLRQLVDW- Make certain that the exposure setting
tached to the camera body, as is the regu- VZLWFKLVVHWIRUWKH$6$UDWLQJRIWKH¿OP
ODUPDJD]LQHEXWWKHPDJD]LQH in that particular magazine.
UHOHDVHEXWWRQLVSXVKHGWRZDUGVWKH  3RVLWLRQIRU$6$
OHIWQRWULJKW7RUHPRYHD¿OPPDJD]LQH  3RVLWLRQIRU$6$
push the magazine release button again
 3RVLWLRQIRU$6$
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 3RVLWLRQIRU$6$
Instructions for the correct setting will be
supplied.
A green LED lights up momentarily at the
end of each shot to indicate a successful
data recording.
Malfunctioning or low battery power is
indicated by a red LED. The batteries,
KRZHYHUKDYHVXI¿FLHQWSRZHUIRUDQ
HQWLUHÀLJKW

),*85( ),*85(
Changing Lenses 

To remove a lens, press lens release b) Lenses can be attached only if the camera
EXWWRQDQGWXUQOHQVFRXQWHUFORFNZLVH body is cocked and the shutter in the lens is
DERXWWXUQ)LJ7RDWWDFKDOHQV also cocked (open). (Shaft J) in lens is op-
posite red dot (L) (Fig. 19). If a shutter should
match red marking on lens barrel with red
have been closed accidentally while lens was
PDUNLQJRQFDPHUDERG\)LJ7XUQ removed from camera insert lens cocking tool
OHQV¿UPO\FORFNZLVHXQWLOLWFOLFNVSRVLWLYH- (3) located under the taped mode selector (2)
O\LQSODFH)LJ'RQRWGHSUHVVOHQV in shaft slot (M). Make a full turn clockwise in
release button when attaching a lens. the direction of the arrow. (Fig. 20)

NOTES:
a) Lenses can be removed only when the shut-
ter is cocked, which is normally the case on
the EL/M. The lens could be uncocked only
if the camera stops before completing the ),*85(
cycle due to low battery power, or if a fuse
is blown. If so change batteries to complete
cycle or change fuse.

),*85(

),*85( ),*85( ),*85(

Lenses Lens Controls 

Hasselblad cameras may be equipped )RFXVLQJ5LQJZLWKGLVWDQFHHQJUDYLQJV

with either "C" lenses or "CF" lenses. The /RFNIRU)VHWWLQJ&)OHQVRQO\
"c" lenses have a VXM lever on the left $SHUWXUH6HWWLQJ5LQJZLWKDSHUWXUHHQJUDYLQJV
VLGH)LJ 6KXWWHU6SHHG5LQJZLWKVKXWWHUVSHHGHQJUDYLQJV
7KLVFRQWUROLVRQO\RQWKH&OHQVHV)LJ ,QGH[IRUGLVWDQFHDSHUWXUH VKXWWHUVSHHG
QRWWKH&)W\SHV)LJ2WKHU- (96(QJUDYLQJV
wise, the lenses differ only in the location  ,QGH[IRU(966HWWLQJ
and operation of the lens controls.  /HYHUIRUXQORFNLQJDSHUWXUH VKXWWHUVSHHGRQFOHQVHVRQO\
 %XWWRQIRULQWHUORFNLQJDSHUWXUHDQGVKXWWHUVSHHGULQJV2Q&)RQO\
 0RYDEOHGHSWKRI¿HOGLQGLFDWRUVRQFOHQVHVRQO\
 (QJUDYHGGHSWKRI¿HOGLQGLFDWRUVRQ&)OHQVHVRQO\
 )ODVK6\QF/HYHUPXVWEHRQ;RU0RQFOHQVHVRQO\
 )ODVKFDEOHFRQQHFWRU
 0DQXDOGLDSKUDJPVWRSGRZQ

C Lens CF Lens

),*85( ),*85(
 

C Lenses

),*85( ),*85( ),*85(

CF Lenses

),*85( ),*85( ),*85(

Viewing Diopter Adjustment 

7KHSULVPYLHZ¿QGHUSURYLGHVD NOTE: It is recommended that you remove 7KHSULVPYLHZ¿QGHULVHTXLSSHGZLWKDQ

PDJQL¿HGXSULJKWDQGODWHUDOO\FRUUHFW
image. Make certain that you always see
the entire square groundglass screen from
corner to corner. This requires placing
\RXUH\H¿UPO\DJDLQVWWKHUXEEHUH\HFXS
your eyeglasses. Eyeglasses prevent the close
contact between eye and eyepiece. They also
allow objectionable light to enter between the
eyeglasses and eye. (Fig. 31).
DGMXVWDEOHH\HSLHFH)LJ,WPD\
be adjusted to your eyesight for accurate
focusing and strain-free viewing. Remove
lens from camera. Remove eyeglasses.
9LHZWKURXJK¿QGHUDQGWXUQGLRSWHU
DQGLQWKHRSWLFDOFHQWHURIWKHH\H- DGMXVWLQJULQJXQWLOWKHJURXQGJODVV
SLHFHOHQV)LJ 7KLVLVHVSHFLDOO\ screen appears critically sharp. Remove
important when photographing through the the eye, relax it for a moment by looking
windows in the space shuttle. You may not DWLQ¿QLW\DQGYLHZWKURXJKWKH¿QGHU
see a window frame cutting into part of the once more to ascertain that the screen is
image unless you move your eye around still sharp. The eyepiece is now adjusted
the viewing screen. The rubber eyecup WR\RXUH\HV/RFNLWZLWKVFUHZ)LJ
which 0ffers a comfortable support for 
viewing can be turned for left or right eye
YLHZLQJ3UHVVLQJH\HDQGIRUHKHDG¿UPO\ NOTES:
WRZDUGVWKHYLHZ¿QGHUH\HSLHFHDOVR a) It is suggested that you read the diopter
provides an important camera support for setting after adjusting the eyepiece to your eye-
increased camera steadiness. sight (-1 in Fig. 30). This makes it unnecessary
to repeat the diopter adjustment after someone
FIGURE 30
else uses the camera simply set it to your pre-
determined number (-1 for example) and lock it.
b) If you cannot view without eyeglasses,
make the adjustment on the diopter correction
H\HSLHFHZLWKWKHJODVVHVRQF7KHYLHZ¿QGHU
is not meant to be a handle for carrying the
camera.
G6KRXOGWKHLPDJHLQWKH¿QGHUDSSHDUGDUN
the diaphragm in the lens is probably stopped
down. To re-open it, proceed as described
under "lens aperture" (Page 22).

),*85( ),*85(
Focusing 

7KHSULVP¿QGHULVDOVRXVHGIRUIRFXVLQJ NOTES:
WKHOHQVVHWWLQJWKHOHQVIRUWKHFDPHUDWR D:LWKWKHPPOHQVRQHRIWKHUDQJH¿QGHU
VXEMHFWGLVWDQFH7KHJURXQGJODVVVFUHHQ ¿HOGVUHPDLQVGDUN)RFXVLQJPXVWEHGRQHLQ
the microprism or groundglass area.
LVVSOLWLQWRYDULRXVVHFWLRQV)LJ
b) The image always appears sharp in the
$*URXQGJODVVVFUHHQDUHD UDQJH¿QGHUDUHDVR\RXPXVWKDYHDVWUDLJKW
%%ULJKWPLFURSULVPDUHD line intersecting the split.
&6SOLWLPDJHUDQJH¿QGHU

The distance is set by turning the focusing

ring on the lens until one or more of the
following conditions are achieved:
 7KHLPDJH)LJDDSSHDUVVKDUS
RQWKHJURXQGJODVV)LJE
 <RXVHHD¿QHGHWDLOHGLPDJHZLWKLQ
WKHPLFURSULVPDUHD)LJE
 $VWUDLJKWOLQHFURVVLQJWKHVSOLWLQWKH
UDQJH¿QGHU)LJDDSSHDUVXQEUR-
NHQ)LJE

),*85( FIGURE 33 FIGURE 34

Focusing Suggestions Depth of Field 

 )RUIDVWDQGDFFXUDWHIRFXVLQJWXUQ Theoretically, on Iy subjects that are

the focusing ring quickly back and forth
over the point of sharpness making
smaller and smaller back and forth
movements until the point of sharp-
ness is locked in. This is better than
turning the focusing ring slowly in one
direction towards the point of focus
H[DFWO\DWWKHIRFXVHGGLVWDQFH)LJ
DSSHDUVKDUSRQWKH¿OP6KDUSQHVV
gradually falls off in front of and beyond
the set distance. On the photographic print
or transparency, however, some degree of
"unsharpness" is acceptable. This range
of acceptable sharpness is called depth
)LJ RI¿HOG2QHWKLUGRIWKHWRWDOGHSWKRI¿HOG
 'RQRWWU\WRIRFXVYLVXDOO\IRUHDUWK is in front of the focused distance and two
VKRWVVLPSO\VHWOHQVDWLQ¿QLW\ WKLUGVEH\RQG)LJ
 ,IDOOWKHLPSRUWDQWHOHPHQWVDUHDWWKH 7KHGHSWKRI¿HOGVFDOHRQWKHOHQVLV
VDPHGLVWDQFHQRWVRPHFORVHUDQG XVHGWRGHWHUPLQHWKHGHSWKRI¿HOGUDQJH
VRPHIXUWKHUDZD\VLPSO\WXUQWKHIR-
2Q+DVVHOEODG&OHQVHV)LJ
cusing ring until these subjects appear
GHSWKRI¿HOGLVLQGLFDWHGE\WKHWZRUHG
VKDUSLQWKH¿QGHU
pointers which move automatically as
 ,ILPSRUWDQWVXEMHFWVDUHDWGLIIHUHQW ),*85( the aperture ring is turned. The distances
GLVWDQFHVLQIURQW UHDURIFDUJRED\
opposite the two red pointers indicate the
IRULQVWDQFHWU\WRVHWWKHOHQVVRWKDW
range of acceptable sharpness.
both are sharp. That means setting the
OHQVIRUGHSWKRI¿HOG On the Hasselblad CF lenses, the depth of
¿HOGLVHQJUDYHG)LJ5HDGWKH
close and far distances opposite the two
white lines corresponding to the aperture
VHWRQOHQVLIOHQVVHWDWI
7KHGHSWKRI¿HOGUDQJHGHSHQGVPDLQO\
NOTE: The CF lenses have distance scales in on the lens aperture. At large apertures
feet and meters. The footage scale is in orange, ILQ)LJ GHSWKRI¿HOGLVOHVV
the meter scale in white. WKDQDWVPDOODSHUWXUHVILQ)LJ 

 

Depth of Field at different apertures

FIGURE 38 ),*85( FIGURE 40

Large Aperture gives Small aperture gives Large aperture gives
VKDOORZGHSWKRI¿HOG JUHDWGHSWKRI¿HOG VKDOORZGHSWKRI¿HOG

),*85(
Small aperture gives
),*85( JUHDWGHSWKRI¿HOG
Depth of Field with Different Lenses 

'HSWKRI¿HOGDOVRYDULHVZLWKOHQVIRFDO 127(6KDUSQHVVEH\RQGWKHGHSWKRI¿HOG
OHQJWK7KHPPOHQV)LJKDV range falls off more rapidly with the longer
PRUHGHSWKRI¿HOGWKDQWKHPP)LJ lenses. Backgrounds are blurred more with the
250mm than the 50mm wide angle.
7KHPP)LJKDVOHVVLIWKH
lenses are used from the same distance
HDFKOHQVFRYHUVDGLIIHUHQWDUHD
7KHPPKDVGHSWKRI¿HOGIURPIHHW
GRZQWRIHHW)LJWKHPPDWWKH
same aperture from 50 feet only down to
IHHW)LJZKLOHWKHPPJRHV
IURPIHHWRQO\GRZQWRIHHW)LJ

50mm 100mm 250mm

FIGURE 43 FIGURE 44 FIGURE 45

50mm Wide Angle has depth of PPVWDQGDUGKDVGHSWKRI¿HOG 250mm Telephoto has depth of
¿HOGIURP
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GRZQWR
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Focusing for Depth 

of Field

If subjects at different distances are to be NOTE: If the two distances cannot be placed
recorded sharply, set the lens for depth of ZLWKLQWKHGHSWKRI¿HOGUDQJHEHFDXVHRI
¿HOG3URFHHGDVIROORZV exposure requirements), decide whether it is
more important to have the background or the
 )RFXVWKHOHQVDWWKHIDUWKHVWVXEMHFW foreground sharp, and set the lens accordingly.
to be sharp. Read the distance on the
VFDOH
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 )RFXVWKHOHQVDWWKHFORVHVWVXEMHFW
to be sharp. Read the distance on the
IRFXVLQJVFDOH
)LJ
 6HWWKHOHQVVRWKHWZRGLVWDQFHVDUH
ZLWKLQWKHGHSWKRI¿HOGLQGLFDWRUV)LJ


),*85(

LVWKHIDUWKHVW
subject distance
Focusing for Depth of Field 

),*85(
LVWKHFORVHVWVXEMHFWGLVWDQFH

FIGURE 48 
LVWKHGLVWDQFHVHWRQOHQV
Use of Lenses 

Three different focal length lenses are

used on Hasselblad. The focal length
engraved on the lens determines the
angle of view and thus the size of the area
included in the picture.
 7KHPP3ODQDUKDVDGLDJRQDO
angle of view of 43°. It is called a stan-
dard lens as it records an image on the
¿OPWKDWORRNVLQDQDWXUDOSHUVSHF-
tive. Subjects at different distances
from the camera appear as we see
them with our eyes.
 7KHPP
VZLGHDQJOHRIYLHZ
PHDVXUHGGLDJRQDOO\LVƒ,WFRYHUV
a larger area from the same distance
and includes large background areas 7KHPPZLGHDQJOHWRSFRYHUVDODUJHU Different focal length lenses can also be used
DUHDDQGWKHPPWHOHSKRWRERWWRPD to cover the same area by photographing from
HJDODUJHSDUWRIWKHHDUWK6XE-
jects are recorded smaller compared
to the standard lens. Background
appears farther away. It enhances the
size relationship of subjects close and
far.
VPDOOHUDUHDWKDQWKHPPVWDQGDUGZKHQ different distances. While the subject size is the
used from the same distance. With the wide same, the perspective is not.
angle, distant subjects are smaller and thus
DSSHDUIXUWKHUDZD\7KHWHOHSKRWRPDJQL¿HV
subjects and brings them closer.
 7KHPPWHOHSKRWRKDVDQDU-
URZHUDQJOHRIYLHZRIƒ,WFRYHUV
DVPDOOHUDUHDDQGPDJQL¿HVWKH
VXEMHFWWLPHVFRPSDUHGWRWKH
PPOHQV,WLQFOXGHVVPDOOEDFN-
JURXQGDUHDVHJVPDOOSDUWRIHDUWK
and compresses perspective. Distant
subjects appear closer.
$VKRUWIRFDOOHQJWKOHQVWRSFRYHUVDODUJH
EDFNJURXQGDUHDIURPDWRE$ORQJHUIRFDO
OHQJWKOHQVXVHGIURPDORQJHUGLVWDQFHERW-
WRPFRYHUVDVPDOOHUEDFNJURXQGDUHDIURPF
WRGZKLOHWKHPDLQVXEMHFWWKHPRGHOLVWKH
same size in both.
Use of Lenses 

1 2 3

The cargo bay area photographed with different

IRFDOOHQJWKOHQVHV7KHPPUHFRUGVWKH
area as normally seen, the 50mm wide angle
PDNHVLWDSSHDUORQJHUDQGWKHPP
WHOHSKRWRPDJQL¿HVWKHGLVWDQWGHWDLOV
1 2

The use of different focal length lenses to

SKRWRJUDSKWKHHDUWKPPPP
WHOHSKRWR
 

1 2

7KHPPPZLGHDQJOHXVHGLQPDGH
the church appear to be far away from the
VLJQ:LWKWKHWHOHSKRWRXVHGIURPD
longer distance, the sign is recorded of
equal size but the church appears much
closer. This size relationship between fore
and background is known as perspective
and is determined by the camera/subject
GLVWDQFH7KHZLGHDQJOHOHQVDOVR
includes a much larger background area
than the telephoto.

3 

$VPDOOOHQVDSHUWXUHIZLWKLWVODUJHGHSWK

RI¿HOGSURGXFHVDQLPDJHDVZHVHHLWZLWK
RXUH\HV7KHVKDOORZGHSWKRI¿HOGDWD
ODUJHDSHUWXUHISURGXFHVDQLPDJHWKDWLV
pictorially more striking, and can be used to
blur foreground and background to enhance a
SDUWLFXODUVXEMHFW
Lens Aperture
The lens aperture indicates the diameter
of the diaphragm opening. It changes by
turning the aperture ring. In addition to
GHSWKRI¿HOGLWDOVRFRQWUROVWKHDPRXQWRI
OLJKWWKDWUHDFKHVWKH¿OP

appears darker than normal, the aperture may
have stopped down accidentally. If so, re-open
it by doing the following: For "C" lenses. Turn
the aperture ring until the maximum aperture
(smallest f#) is opposite the white index. This
may require uncoupling aperture & shutter
$WDKLJKIQXPEHUIRULQVWDQFHWKH speed ring by depressing lever (24) towards
diaphragm opening is small, and lets in camera body, (Fig. 51), and turning aperture
OHVVOLJKW)LJ$WDVPDOOIQXPEHU ring (19) alone to max. aperture, (smallest num-
IRULQVWDQFHWKHGLDSKUDJPRSHQLQJLV ber). Re-set the ring to the correct aperture and
shutter speed combination. For "CF" lenses.
ODUJHUDQGOHWVLQPRUHOLJKW)LJ
Depress the bottom of the stop down lever (30)
and push the entire lever upwards (Fig. 52).
NOTE: The lens aperture is normally fully open
to provide the brightest image for viewing. In
case the groundglass image

),*85(
High f number is small aperture Low f number is large aperture

),*85( FIGURE 50 ),*85(

Shutter Speed Setting Aperture & 
Shutter Speed

There is also a shutter in each lens. It On some "C" lenses and on all "CF" You can set the aperture separately by
opens and closes when the release is lenses, aperture and shutter speed rings SUHVVLQJWKHFURVVFRXSOLQJOHYHUWR
depressed. The length of time the shutter are not coupled. Each can be turned WKHUHDUDQGWXUQLQJWKHDSHUWXUHULQJ
stays open is set on the shutter speed ring independently. The two rings on the "CF" )LJ:LWKWKHFURVVFRXSOLQJOHYHU
HQJUDYHGIURPWRPHDQLQJVHFRQG lenses can also be coupled by depressing pushed towards the rear, you can also
WRVHFRQG LQWHUORFNLQJEXWWRQ)LJ change the shutter speed separately by
The longer the shutter speed, the longer On some lenses, aperture and shut- WXUQLQJWKHVKXWWHUVSHHGULQJZLWKWKH
WKH¿OPLVH[SRVHGWROLJKW&KDQJLQJWKH ter speed rings are coupled. They both other hand.
VKXWWHUVSHHGIURPWRVHF change together while turning knurled Coupling aperture and shutter speed ring
makes the image darker - changing from IURQWULQJ$V\RXFKDQJHWKHDSHU- offers the advantage that all the inter-
WRPDNHVLWRQHVWRSOLJKWHU WXUHHJIURPIWRIWKHVKXWWHUVSHHG locked settings provide exactly the same
Whenever possible, select short shutter FKDQJHVIURPWR H[SRVXUH6HHSDJH
speeds when using the camera handheld.
/HDYHWKHVKXWWHUVSHHGDWVHF
Change to a slower speed only when low
light levels require it, and if so, do not go
EHORZVHFDQGWKHQRQO\ZLWKWKH
DQGPPOHQVHV1HYHUXVHDVSHHG
VORZHUWKDQVHFZLWKWKHPP
Sonnar.

NOTE: In case shutter speed ring on CF lenses

has accidentally moved to the green F setting,
depress green lock button (18) and re-set ring
to correct shutter speed,

FIGURE 53
Exposure
7KH¿OPLQWKHFDPHUDPXVWUHFHLYHD
VSHFL¿FDPRXQWRIOLJKWWRSURGXFHD
properly exposed image. The total amount
RIOLJKWWKDWUHDFKHVWKH¿OPLVGHWHUPLQHG
by the combination of aperture size and
shutter speed. The same exposure can be
obtained with a longer shutter speed and
small aperture or a short shutter speed
and large aperture. Changing from a low
Changing Aperture &
Shutter Speed
With the aperture and shutter speed rings
interlocked, all combinations give the
same exposure. To say it in a different
way, if you change the aperture or shutter
speed on the interlocked rings the shut-
ter speed or aperture size automatically
compensates. To increase or decrease
the light going through the lens, you must
unlock the coupling and change either the
Exposure from charts 
A general exposure setting can be used to
photograph any part of the earth but only
when the sun is at or near maximum sun
DQJOHLHDSSUR[LPDWHO\DPWRSP
When the sun is at an angle of less than
30°, lens aperture must be opened one or
two f stops to avoid underexposure. Con-
sult the sun angle exposure chart supplied
for your mission.
IQXPEHUWRWKHQH[WIWRIPHDQV
letting in only half the amount of light. You
can compensate for this loss of light by
letting the light go through the lens twice
as long, i.e. setting the shutter speed at
LQVWHDGRI
aperture only or the shutter speed only, or
both.
The necessary lens settings for correct ex-
posure can be obtained from charts, from
previous experience or from an exposure
meter.
In summary, for earth shots, determine
the sun angle, then consult the sun angle
chart and set each lens accordingly. Never
use the spotmeter for determining the lens
settings for earth shots.
The Exposure Meter 

 0(025<&/($5
3 ASA/TIME SELECT
4 TRIGGER
5 VIEWFINDER DISPLAY ILLUMINATION
BUTTON
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 6+$'2:%87721
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 +,*+/,*+7%87721
 $6$7,0(,1&5($6(%87721
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NOTE: The meter is battery powered.

There are no spares on-board.
,QGLFDWLRQRIEDGEDWWHULHVLVDÀDVKLQJPHWHU
display.

FIGURE 55
ASA/Shutter Speed 9LHZÀQGHU Operating Meter 
Setting

Before you use the exposure meter ascer- $GMXVWWKHYLHZ¿QGHUWR\RXUH\HVLJKWE\ 7RWDNHDPHWHUUHDGLQJSODFHWKH

tain that it is set for the ASA rating of the WXUQLQJWKHH\HSLHFHJXDUGXQWLOWKH circle over the area you want to measure
¿OPLQWKHFDPHUDDQGWKHVKXWWHUVSHHG FLUFOHHQJUDYLQJDSSHDUVVKDUS )LJ3UHVVDQGKROGWKHUHOHDVH
set on the lens. The ASA rating is indicat-
HGRQWKH+DVVHOEODG¿OPPDJD]LQH
Turn meter on by sliding the on-off switch
to ON. Check the ASA setting by depress-
NOTES: Meter readings should always be
made with the eye covering the eyepiece to
prevent light entering the ocular and affecting
WULJJHUXQWLODUHDGLQJDSSHDUVLQWKH
¿QGHU/&'GLVSOD\$IWHUWKHGLVSOD\VWRSV
changing release the measure button to
hold the reading. Set aperture on lens
LQJWKH$6$7LPHVHOHFWNH\5HDG the meter reading. according to reading in display window
ASA. If number is too low, depress ASA/ Exposure reading is not affected by the eye- )LJ
piece adjustment Never point meter directly at
7LPHLQFUHDVHNH\UHSHDWHGO\XQWLO 7KHPHWHUUHDGLQJWKHIQXPEHUFDQEH
the sun.
the right value appears. If too high, de- UHDGLQHLWKHURIWKUHHSODFHVGLJLWDO
SUHVVWKH$6$7LPHGHFUHDVHNH\Ļ GLVSOD\RQVLGHLQGLFDWRUDERYHVLGH
repeatedly until the ASA value is correct. GLJLWDOGLVSOD\DQGGLJLWDOGLVSOD\LQ
Check the shutter speed setting by YLHZ¿QGHU
GHSUHVVLQJWKH$6$7LPHNH\,IWKH The digital display of f/stop indicates
shutter speed is lower than the camera "Tenth's of a stop" as a small or subscript
GHSUHVVWKHLQFUHDVHNH\UHSHDW- number. This can be rounded off to the
edly until the shutter speed corresponds QHDUHVWVWRS)RUH[DPSOHDVPDOO
IRUVHF,IWRRKLJKGHSUHVV EHKLQGQXPEHU)LJLQGLFDWHV
WKHGHFUHDVHNH\UHSHDWHGO\XQWL,WKH H[DFWO\I7KHI)LJPHDQV
value corresponds. RIDQIVWRSVPDOOHUWKDQIOHVV
OLJKWWKDQI6HWDSHUWXUHEHWZHHQI
NOTES: The display should not show a small
DQGI
S or M (this would indicate seconds or minutes
rather than fractions of a second.) The ASA and
shutter speed display can only show 0 in the
third and fourth digit Thus 64ASA will appear as
64; a 1/ 125 shutter speed as 120.

),*85( ),*85(
 Determining Lens Settings with 
Exposure Meter

,IDQ(HUURUDSSHDUVLQWKHQXPEHU A basic understanding of light measuring WKHDPRXQWRIOLJKWUHÀHFWHGRIIWKHYHU\

display, it means the range of the meter will help you to use the exposure meter small area inside the circle in the meter
has been exceeded. Some parameter properly. ¿QGHU7KHPHWHUUHDGLQJLVGLIIHUHQWLI\RX
needs to be changed shutter speed and/ The lens settings that provide correct point the meter at a white, gray, black,
RU¿OPW\SH exposure are based on the amount of light green, blue, or red area even though the
0HWHUUHPDLQVDFWLYHIRUPLQXWHVDIWHULW
is turned off.
NOTES: Meter readings can be taken only
while in the TIME mode not ASA mode. F No/
EV key should not have to be actuated. The
falling on the subject you photograph, not
UHÀHFWHGRIIWKHVXEMHFW7KHOHQVVHWWLQJV
must be the same whether you photo-
graph a subject that is white, gray, black,
yellow, red, green or blue or whatever
the color might be as long as the same
VDPHDPRXQWRIOLJKWIDOOVRQDOO)LJ
Point the center circle of the meter at gray
RUJUHHQLWPLJKWVKRZIDWZKLWHRU\HO-
ORZIDQGDWEODFNRUGDUNEURZQI
Which is correct?
The readings shown on your meter are
meter is launched in F No mode.
Do not depress shadow (10) or highlight (12)
buttons.
DPRXQWRIOLJKW;LQ)LJIDOOVRQWKHP
Your meter, however, does not measure
the light that falls on the subject, but the
OLJKWUHÀHFWHGRIIWKHVXEMHFW,WVUHDGLQJLV
based on
correct only when the center circle is
SRLQWHGDWDVXEMHFWRUDUHDWKDWUHÀHFWV
DSSUR[LPDWHO\RIWKHOLJKW,WLVLQFRU-
rect when the reading is taken off an area
that

FIGURE 58 ),*85( ),*85(

Determining Lens Settings with 
Exposure Meter continued

UHÀHFWVPRUHRUOHVV,I\RXVHWWKHOHQVIRU For shuttle space photography, the following corrections should be used. These correc-
WKHZKLWHUHDGLQJIZKLWHZRXOG tions will produce slightly underexposed transparencies which are desired for duplica-
be recorded as gray, not white. The image tion.
is underexposed. A lens set for the black
UHDGLQJIZRXOGUHFRUGEODFN
also as gray, not black. The image is over-
exposed. This problem can be overcome
in various ways:
For white only scenes: 2SHQVWRSILQVWHDGRII
Reading off white cargo bay: 2SHQVWRS
Reading off white space suits: 2SHQVWRS
$ :KHQHYHUSRVVLEOHSRLQWWKHFHQWHU Reading off blue space suits: Close ½ stop
FLUFOHDWDQDUHDWKDWUHÀHFWVDSSUR[L- 5HDGLQJRIIVXQWDQQHGÀHVKWRQHV Correct
PDWHO\RIWKHOLJKWJUHHQOLJKW 5HDGLQJRIIEODFNÀHVKWRQHV &ORVHVWRS
brown, gray - and use the indicated
setting. Reading off black only scenes &ORVHVWRSILQVWHDGRII
% 3RLQWWKHFHQWHUFLUFOHDWZKDWHYHU
area is most important then try to
estimate whether the area in the circle
UHÀHFWVPRUHRUOHVVWKDQDQGLI
so adjust the lens setting. When read-
LQJDEULJKWZKLWHDUHDRSHQDSHUWXUH
RQHWRWZRIVWRSV)LJD:KHQ
reading a dark area, close aperture
RQHWRWZRIVWRSV)LJE

),*85(
Exposing for Sun Exposing for Slides High Contrast Scenes 
or Shade?

Frequently some areas included in a Slides look best when exposed for the Slides exposed for the lighted area, as
photograph are in sunlight, some in the lighted areas even though there may explained, usually look best. In a high
shade. Pointing the meter into the sunny be little detail in the shade. It prevents contrast scene where it is desirable to
DUHDRIWKHFDUJRED\IRULQVWDQFHJLYHV washed out highlights without color and see details in the lighted and dark areas,
a higher reading than from the shaded FRQWUDVW:LWKVOLGH¿OP(NWDFKURPH take a meter reading of both and set the
DUHD)LJ:KLFKH[SRVXUHLVFRUUHFW" therefore, point the meter at a subject in aperture in between the two.
7KLVGHSHQGVRQWKHW\SHRI¿OPLQWKH WKHOLJKWHGDUHD7KHVXQQ\VLGHRIWKH
camera. FDUJRED\)LJDWKHVXQOLWDUHDLQVLGH
the cabin, the sunlit side of the astronauts
face or space suit, the sunlit side of a
Exposing for VDWHOOLWH$FRUUHFWLRQQHHGVWREHDSSOLHG
Negative Film to the spotmeter reading if the subject is
QRWJUH\)RUEULJKWZKLWHVXEMHFWV
RSHQWKHOHQVRQHIVWRSORZHUQXPEHU
Negatives need shadow details. Lens
from spotmeter reading. Exception: If it is
settings, therefore, must be based on the
more important for record purposes to see
amount of light falling in the shaded area:
details in the shade rather than producing
the shaded side of the cabin, astronauts
a pictorially good looking slide, you should
face or suit, or the shaded side of the
expose for the shade. This, for instance,
FDUJRED\)LJE3RLQWWKHPHWHUDW
could be the case when you need to
the shade. Open the lens one f stop if the
record the launching of a satellite or the
shaded subject is white.
work of the astronauts in the shade of the
cargo bay. If so, try to compose the image
in such a way that the sunlit areas are not
very large and not in the center where
they are distracting. Bright areas attract
attention!
),*85(
Bracketing Exposure
Following these suggestions, exposure
should be extremely accurate - no need
for bracketing which means taking the,
same image at different lens settings. In
doubtful cases, or when the contrast be-
tween light and dark is very high, bracket-
ing is recommended when time permits.
Take the picture at the meter setting,
then take additional pictures at one f stop
higher and one f stop lower.
Exposure techniques 30

It is impossible to have "perfect" exposure for The spotmeter reading can vary within several
the shaded cargo bay and sunlit earth at the f stops depending whether it is pointed at dark
same time. Since the cargo bay with the Orbital or light colored subjects. It is correct when
Maneuvering System burn is the more impor- SRLQWHGDWVXEMHFWVWKDWUHÀHFWDERXWRI
tant part, the above image is properly exposed the light such as the brown building, the blue
to make the best looking transparency. sky, and the gray board in the foreground
ZKLFKDOOVKRZI

Slides look best when exposed for the lighted

areas. The spot meter should therefore be
SRLQWHGDWDOLJKWHGDUHD3>SRVLWLYH¿OP@
1HJDWLYH¿OPVQHHGVKDGRZGHWDLOV7KHVSRW
PHWHULVWKHUHIRUHSRLQWHGDWDVKDGHGDUHD1
Composition 

The effectiveness of an image is greatly  %DODQFH

determined by the arrangement of lines, An important subject, dominant line,
shapes, and colors within the square area. shape on one side of the image, or
This is known as composition. Evaluate on top or bottom must be balanced by
the arrangement of these elements on the a second, somewhat less dominant
screen and try to frame the scene so it HOHPHQWRQWKHRWKHUVLGH)LJ'R
looks like a pleasing, balanced image that not have all the elements that attract
keeps the viewers eye within the frame. the eye on one side. The image "falls
 6LQJOHVXEMHFW RYHU)LJ
If the scene is dominated by one single  &RORUEDODQFH
VXEMHFWDVDWHOOLWHEHLQJODXQFKHG Colors must also be considered for
place the subject in the center of the balance. Try to balance a subject of a
frame. It is a static image but all atten- VSHFL¿FFRORURQRQHVLGHE\DVHFRQG
tion is then automatically focused on subject of the same or similar color on
WKLVVXEMHFW)LJ the other side.

),*85( ),*85( ),*85(

Composition continued 

 5XOHRIWKLUGV  'LDJRQDOV $WWHQWLRQFUHDWLQJHOHPHQWV

In scenes including more than one Horizontals are static, diagonals are In any image the eye is attracted by:
important element, place the most dynamic. Framing the outline of the
important line, shape and color ap- earth, features on the earth, or parts of D 7KHEULJKWHVWDUHDUHJDUGOHVVKRZ
SUR[LPDWHO\ѿIURPWKHOHIWULJKWWRS the space shuttle as diagonals makes small.
RUERWWRP)LJ DPRUHVWULNLQJLPDJH)LJV E 7KH³RQHRIDNLQGWKLQJ´DFRORU
 3ODFHPHQWRIKRUL]RQ  7KHOHDGLQJOLQH or shape that is different from all
The horizon, the outline of the earth is A slanted line starting at the bottom of the rest, a line going in a different
frequently a dominant line. Avoid plac- the frame can be used to lead the eye GLUHFWLRQWKDQWKHUHVW)LJ
ing it through the center splitting the WRZDUGVWKHPDLQVXEMHFW)LJ F $GDUNOLQHRUVKDSHQH[WWRZKLWH
LPDJHLQWRWZRHTXDOKDOYHV)LJ G $OLQHEURNHQE\WKHIUDPHRIWKH
3ODFHWKHOLQHIURPWRSRUERWWRP LPDJH)LJ
)LJ
Use these elements to attract attention.
Avoid them if they are unimportant.

),*85( ),*85( ),*85(

 33

),*85( ),*85( ),*85(

),*85( ),*85(
Obtaining the Most Effective Images
The effectiveness of the image depends
on sharpness, correct exposure, good
composition and lighting.
Frontlighting: The sun illuminating the
subject from the front, is the least effec-
WLYH(YHU\WKLQJLVHYHQO\OLWÀDWZLWKRXW
shadows and highlights.
Sidelight: From a photographic point of
view, sidelight produces more effective
images. Some areas are in the shade,
some in the light. The result is a three
dimensional effect which enhances details
and textures. The increased contrast also
makes the images appear sharper.
Areas on earth are lit by sidelight only in
early morning or late in the afternoon. It
produces, photographically, the most ef-
fective and sharpest looking images. This
is true especially of areas that are of equal
FRORUHJÀDWODQGGHVHUWV/HQVVHWWLQJV
must be adjusted for low angle sunlight.
See exposure. Clouds photographed in
VLGHOLJKWWDNHRQDÀXII\VKDSHDQGDUH
not just patches of white.
Backlight: The sun shining towards the
camera, can be even more effective - but
mainly for effect, not documentation. Sun
OLJKWUHÀHFWLQJRQZDWHUVXUIDFHVFDQEH
very striking. The contrast is usually too
high to see details in the shaded and light-
ed areas. You must expose for one or the
RWKHUGHSHQGLQJRQWKH¿OP6HHH[SRVXUH
SDJH8QOHVVGHWDLOVDUHQHFHVVDU\LQ
WKHVKDGHGDUHDH[SRVHVOLGH¿OPIRUWKH
sunlit background, such as sky or earth.
Camera Angle: Best quality with most
details in earth shots is usually obtained
by photographing straight down, not at
an oblique angle. Oblique angle shots
DUHPRUHOLNHO\WRORRNÀDWDQGKD]\EXW
this can be pictorially effective because
they show a large area of the earth with
the curved outline of the horizon in the
background.
34
Sun Protection: Direct sunlight should
never shine directly on the lens. It pro-
GXFHVÀDUHDORVVRIFRQWUDVW+ROGWKH
camera so the lens is shaded from direct
sunlight. If not possible, place your hand
over the lens to form a sunshade, natural-
ly making certain the hand does not show
up in the picture. Check the image on the
groundglass screen.
The sun shining on a shuttle window also
produces a hazy picture. Try to shoot
through a window that is shaded from
direct light. Always try to shoot as straight
as possible through the window, not at an
angle. The top cabin window is usually the
cleanest and therefore produces the best
results.
Obtaining the Most Effective Images 35

The sharpness and contrast of the image

is decreased immensely when recorded
through dirty, greasy glass. Clean the win-
dows in the shuttle before you photograph
through them. Clean the lens surfaces
with the lens cleaning kit. Don't just clean
the front element, but the rear element as
well, especially when changing lenses.
Clean front and rear surfaces before you
attach the new lens.

Properly exposed to render the clouds as white as they should be, this
photograph silhouettes the shuttle and space walker for a dramatic
YLVXDOHIIHFW7KHUHÀHFWLRQVRIWKHFORXGVRQWKHORZHUOHIWKHOSWKH
composition by "balancing" the white from the top. Good use of a
leading line - the right side of the cargo bay leads the eye to the space
walking astronaut.

The beautiful quality of a strong sidelight is illustrated in this shot of a

Satellite Business System deployment. It brings out the patterns, the
details in the cargo bay and the SBS. Since the SBS is the one and
only important subject, it is properly composed in the center of the
frame.
Obtaining the Most Effective Images continued 

The effectiveness, sharpness and three dimen- 6XQOLJKWUHÀHFWHGRQZDWHUVXUIDFHVFDQSUR-

sional feeling that a low sun angle creates is duce a most striking image.
beautifully illustrated in this view of the Kam-
chatka peninsula in the U.S.S.R. The diagonal
shore line adds to the effectiveness from a
compositional point of view.

A low sun angle helps especially when photo-

graphing deserts or other land areas where the
entire landscape is of the same or similar color.
Space Photography 

The blue area attracts immediate attention because it is the only

blue in the picture. It is properly composed in the center.

A striking example of the beautiful and dramatic light quality created

by a low sun angle.
The future possibilities in space are beautifully documented in
this Hasselblad photograph of an untethered space walker.
The diagonal earth line creates a more dynamic image.

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Published and Printed in USA.