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61-547: The maximum image size that can be captured is 6 cm × 9 cm using 120 or 220 rollfilm , but images can be taken in a number of different formats, and using several types of film. Models prior to the Universal came with either a M-type or G-type back interface. M-type backs were compatible with rollfilm (120/220). G-type backs included Mamiya RB rollfilm backs and backs using the Graflok system . With Polaroid pack film,

122-474: A Time setting that would lock the shutter open when the release is actuated, allowing for longer exposures. The shutter plate consisted of a part of a sphere integrated to rotate behind the lens. It was a type of shutter found on the Photosphere and other cameras. A diaphragm or leaf shutter (as distinct from the simple leaf shutter above) consists of a number of thin blades which briefly uncover

183-610: A movie projector or a signal lamp . A shutter of variable speed is used to control exposure time of the film. The shutter is constructed so that it automatically closes after a certain required time interval. The speed of the shutter is controlled either automatically by the camera based on the overall settings of the camera, manually through digital settings, or manually by a ring outside the camera on which various timings are marked. Camera shutters can be fitted in several positions: Behind-the-lens shutters were used in some cameras with limited lens interchangeability. Shutters in front of

244-401: A Focusing Screen Holder (00000) and Ground Glass Back (60775) which accepted a Cut Film Holder (Type J, for 6.5×9 cm sheet film ; or Type A (60610), for 2 1 ⁄ 4 × 3 1 ⁄ 4  inch sheet film) and provided a ground glass screen for focusing. A Film Pack Adapter (60611) also was available for 520 film packs. The original line of Press cameras (1960–66) were equipped with

305-462: A continuously spinning disc which conceals the image with a reflex mirror during the intermittent motion between frame exposure. The disc then spins to an open section that exposes the next frame of film while it is held by the registration pin . A focal-plane shutter is positioned just in front of the film, in the focal plane , and moves an aperture across the film until the full frame has been exposed. Focal-plane shutters are usually implemented as

366-478: A detailed history and technical description of leaf shutters. The company Compur Monitor was still in business as of 2012 , but made only gas detection systems. Leaf shutters under the Compur, Copal, and Seiko names are no longer manufactured. A central shutter is not a type of shutter as such, but describes the position of the shutter: it is typically a leaf shutter (or simple leaf shutter ), and located within

427-464: A global shutter. Shutter lag is the time between the shutter release being pressed and the exposure starting. While this delay was insignificant on most film and some digital cameras, many digital cameras have significant delay, which can be a problem with fast-moving subjects as in sports and other action photography. Release lag of a bridge camera such as the 2010 Pentax X90 is a relatively short 1/50 s, or 21 milliseconds (ms). The Canon 50d dSLR

488-403: A hole punched in it along with a spring-loaded release lever, with the solid disk blocking light from entering the camera. When the shutter release lever is actuated, the spring causes the disk to quickly rotate once so that the hole passes the camera aperture and allows light through for a brief moment. Rotary shutters typically only had one fixed, imprecise shutter speed, although most cameras had

549-435: A lens with central shutter (for flash synchronisation); one shutter would be locked open. Film cameras, but not digital cameras, with a central shutter and interchangeable lenses often have a secondary shutter or darkslide to cover the film and allow changing lens in mid-roll without fogging the film. The main advantages of central and behind-the-lens leaf shutters compared to a focal-plane shutter are: Some disadvantages of

610-485: A mechanical focal-plane shutter, so that motion of either camera or subject will cause geometric distortions, such as skew or wobble. Today, most digital cameras use combination of mechanical shutter and electronic shutter or mechanical shutter solely. Mechanical shutter can accommodate up to 1/16000 seconds (for example the Minolta Dynax/Maxxum/α-9 film camera had a maximum of 1/12000, a record in its era, and

671-489: A pair of light-tight cloth, metal, or plastic curtains. For shutter speeds slower than a certain point (known as the X-sync speed of the shutter), which depends on the camera, one curtain of the shutter opens, and the other closes after the correct exposure time. At shutter speeds faster than the X-sync speed, the top curtain of the shutter travels across the focal plane, with the second curtain following behind, effectively moving

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732-773: A pneumatic mechanism, with a piston sliding against air resistance in a cylinder. They were quieter at slow speeds than clockwork, but potentially very inaccurate. More accurate clockwork mechanisms then replaced the airbrake, and the German Compur , and the later Synchro-Compur, became virtually the standard quality shutter. Later the Japanese Copal shutter was widely adopted in quality equipment. The German Prontor and Japanese Seikosha shutters were also widely used. Up and Down with Compur: The development and photo-historical meaning of leaf shutters , by Klaus-Eckard Riess, translated by Robert "The Professor" Stoddard gives

793-401: A prolonged burn, illuminating the scene for the whole time taken by a focal plane shutter slit to move across the film. These problems were essentially solved for non-focal-plane shutters with the advent of electronic flash units which fire virtually instantaneously and emit a very short flash. When using a focal-plane shutter with a flash, if the shutter is set at its X-sync speed or slower

854-603: A removable back that is not compatible with the Mamiya P-type interface on the Universal. Whereas the 600 is a fixed-lens camera, equipped with the Mamiya 127 mm lens, the 600 SE is fitted with an interchangeable lens mount similar to the Mamiya Press line; however, only three lenses were made (75 mm, 127 mm, and 150 mm, sharing their optical design with their Mamiya Press counterparts) that cover

915-405: A result, an unmodified 120 spool will not fit a camera designed for 105 film, such as a No. 1 Folding Pocket Kodak, as the overall length between the outside of the flanges is too long to fit the width of the film chamber. The 620 format was introduced by Kodak in 1931 as an intended alternative to 120. Although mostly used by Kodak cameras, it became very popular. The 620 format is essentially

976-479: A reverse Galilean viewfinder that had a magnification of 0.66× and an effective rangefinder baseline length of 60 mm (2.4 in). The upgraded rangefinder introduced with the Super 23 (1967) and Universal (1969) models had a magnification of 0.72× with a slightly increased effective baseline length of 61.2 mm (2.41 in). In addition, the upgraded rangefinder had switchable brightline frames corresponding to

1037-445: A single focal plane shutter in the camera body for all lenses, while cameras with a fixed lens use a central shutter. Many medium-format and most large-format cameras, however, have interchangeable lenses each fitted with a central shutter. A few interchangeable-lens cameras have a behind-the-lens leaf shutter. Large-format press cameras often had a focal-plane shutter. Some had both a focal-plane shutter (for lens interchangeability) and

1098-420: A single leaf, or two leaves, which pivot so as to allow light through to the lens when triggered. If two leaves are used they have curved edges to create a roughly circular aperture. They typically have only one shutter speed and are commonly found in basic cameras, including disposable cameras . Some have more than one speed. In the simplest version of Guillotine shutter a plate with an aperture slides across

1159-427: A slit across the focal plane until each part of the film or sensor has been exposed for the correct time. The effective exposure time can be much shorter than for central shutters, at the cost of some distortion of fast-moving subjects. Focal plane shutters have the advantage over central leaf shutters of allowing the use of interchangeable lenses without requiring a separate shutter for each lens. (Leaf shutters behind

1220-508: A timing mechanism. These were originally pneumatic (Compound shutter) or clockwork , but since the late twentieth century are mostly electronic . Mechanical shutters typically had a T ime setting, where the shutter opened when the button was pressed and remained open until it was pressed again, B ulb where the shutter remained open as long as the button was pressed (originally actuated by squeezing an actual rubber bulb), and I nstantaneous exposure, with settings ranging from 30" to 1/4000" for

1281-489: Is a set of two spacers (60453) available for the Universal that extend the back away from the body, equivalent to the close-up capability enabled by the rear bellows on the Super 23. On the Universal, a Tetraphoto (four-photo) or Duophoto (two-photo) adapter can be added to the front of the lens to capture multiple images simultaneously on Polaroid film. 120 film 120 is a film format for still photography introduced by Kodak for their Brownie No. 2 in 1901. It

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1342-403: Is being used creatively. Or it may cause mechanical vignetting if the diaphragm is outside of the lens (like a focal plane shutter or apodization filter). The term diaphragm shutter has also been used to describe an optical stop with a slit, near the focal plane of a moving-film high-speed camera. A few types and makers of leaf shutters became very well known. The early Compound shutter had

1403-582: Is compatible with both M-type and G-type back interfaces when properly equipped. The "native" interface accepted a Polaroid back (60780) or a focusing back (60781) directly on the camera, and adapters were available for M-type (Mamiya, 60778) and G-type (Graflok, 60779) interfaces. The Polaroid 600 and 600 SE are built by Mamiya, sharing their basic design with the Mamiya Universal but with physically incompatible back and lens mounts. The 600/SE are limited to using Polaroid Type 100 pack film through

1464-468: Is held in an open spool originally made of wood with metal flanges, later with all-metal, and finally with all-plastic. The length of the film is nominally between 820 millimetres (32 in) and 850 millimetres (33 in), according to the ISO 732:2000 standard. However, some films may be as short as 760 millimetres (30 in). The film is attached to a piece of backing paper longer and slightly wider than

1525-423: Is possible as there are no moving parts or any serialized data transfers. Global shutter can also be used for videos as a replacement for rotary disc shutters . Image sensors without a shaded full-frame double must use serialized data transfer of illuminated pixels called rolling shutter . A rolling shutter scans the image in a line-by-line fashion, so that different lines are exposed at different instants, as in

1586-467: Is specified at 131 ms lag. In many cases, autofocus (AF) lag is the root cause of shutter lag. Lower-cost cameras and low-light or low-contrast situations will make the effect more pronounced and it is in these cases that AF lag is more noticed. Most AF systems use contrast to determine focus; in situations where contrast is low, the speed at which the camera can determine the best focus can be quite noticeable. Since most modern cameras will not activate

1647-522: Is thinner than a film with a backing paper, a special pressure plate may be required to achieve optimal focus if the film is registered against its back side. Some cameras capable of using both 120 and 220 film will have a two position adjustment of the pressure plate (e.g. the Pentax 6x7 , Mamiya C220 or Mamiya C330 ) while others will require different film backs e.g. the Pentax 645 or Kowa Six . The specifications for 120 and 220 film are defined in

1708-540: Is trimmed in grey leather instead. The Press S is a simplified version of the original camera, introduced in June 1964. It features a fixed Mamiya Color Sekor 105 mm f /3.5 lens with four elements in three groups and does not have a rear bellows, but accepts the same rollfilm backs as the Press using a M-type interface. The original Press (Deluxe) was renamed to the Mamiya 23 Deluxe in 1965. The updated name reflected

1769-469: The ISO 732 standard. Earlier editions of ISO 732 also provided international standards for the 127 and 620 film formats. 120 film allows several frame sizes. (cm) User selectable on newer cameras, if a roll is only partially used then a "kink" may appear in the film where the roll touches rollers in a film back magazine and this may end up on a frame; this is not a problem when 15 exposures are used as

1830-629: The "native" Polaroid back interface on the Universal), and right-angle and magnifying focusing backs (for the G-type back interface). The original Mamiya Press was introduced in September 1960 with the M-type (Mamiya) back attachment system. It came with a 90 mm lens and has a bellows mechanism on the back that allows up to 15 degrees of tilt and 31 mm of extension. The camera was launched as

1891-496: The 100, 150, and 250 mm lenses, which automatically corrected for parallax. As an accessory, each wide-angle lens was supplied with a supplementary viewfinder that attached to the accessory shoe on top of the camera. In addition, an external wire-frame Sports Finder was available as an accessory. Several focusing aids were available, including the Focusing Hood (for the M-type back interface), Focusing Hood Model P (for

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1952-426: The 120 format cast-metal bodied Voigtländer Perkeo remains smaller than any 620 format camera. Leaf shutter In photography , a shutter is a device that allows light to pass for a determined period, exposing photographic film or a photosensitive digital sensor to light in order to capture a permanent image of a scene. A shutter can also be used to allow pulses of light to pass outwards, as seen in

2013-673: The Mamiya Press Deluxe for the United States market in 1962. The Press G, introduced in November 1963, is identical to the original except for the G-type (Graflok) back attachment system, which is compatible with the same interface used by Graflex Speed Graphic cameras. Externally, the Press G can be distinguished by the color of the leather covering, which is black to match the Graflex accessories. The Press (Deluxe)

2074-456: The No.1 Brownie, 6×6 cm format. These formats used the same width film as 120 film, but with slightly different spools. The 105 spool has a much wider flange, similar to the 116 spool, while the 117 spool's flange is slightly narrower than the 120. The 105 and 620 spools also have much thinner flanges than the 117 and 120 spools (0.635 mm (0.0250 in) vs. 1.524 mm (0.0600 in)); as

2135-574: The Super 23, by exchanging the rear bellows standard. The final model was introduced in April 1969 and was produced until 1991; it was an update of the Standard 23, also omitting the rear bellows but equipped with the same viewfinder as the Super 23. Like the Super 23, it was introduced initially with a chrome finish and a black-finished version followed in August 1971. As the Universal name indicates, it

2196-403: The best leaf shutters, faster for focal-plane shutters, and more restricted for basic types. The reciprocal of exposure time in seconds is often used for engraving shutter settings. For example, a marking of "250" denotes 1/250". This does not cause confusion in practice. The exposure time and the effective aperture of the lens must together be such as to allow the right amount of light to reach

2257-408: The camera aperture to make the exposure. The blades slide over each other in a way which creates a circular aperture which enlarges as quickly as possible to uncover the whole lens, stays open for the required time, then closes in the same way. The larger the number of blades, the more accurately circular is the aperture. Flash synchronization is easily achieved with a pair of contacts that close when

2318-450: The camera's added ability to use 2×3 inch sheet film or 12-sheet "520" film packs with the ground glass holder, as an alternative to the standard rollfilm backs, via the M-type back attachment system. A simplified version, omitting the rear bellows, was introduced in July 1965 and named the 23 Standard; the 23 Standard upgraded the Press S by adding the same interchangeable lens mount as

2379-457: The central shutter are: Digital image sensors (both CMOS and CCD image sensors) can be constructed to give a shutter equivalent function by transferring many pixel cell charges at one time to a paired shaded double called frame transfer shutter. If the full-frame is transferred at one time, it is a global shutter. Often the shaded cells can independently be read, while the others are again collecting light. Extremely fast shutter operation

2440-483: The digitized image is transferred into the digital memory in the sensor itself during readout and only afterwards transferred out of the sensor. This results in an electronic shutter which is as fast as a mechanical focal-plane shutter. Some cameras using stacked sensors, like the Nikon Z 9 , completely removed the mechanical shutter. Dynamic range and noise performance are not compromised, because these sensors do not utilize

2501-585: The film or sensor. Additionally, the exposure time must be suitable to handle any motion of the subject. Usually it must be fast enough to "freeze" rapid motion, unless a controlled degree of motion blur is desired, for example to give a sensation of movement. Most shutters have a flash synchronization switch to trigger a flash , if connected. This was quite a complicated matter with mechanical shutters and flashbulbs which took an appreciable time to reach full brightness, focal-plane shutters making this even more difficult. Special flashbulbs were designed which had

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2562-442: The film. The backing paper protects the film while it is wound on the spool, with enough extra length to allow loading and unloading the roll in daylight without exposing any of the film. Frame number markings for three standard image formats (6×4.5, 6×6, and 6×9 [4:3, 1:1, and 2:3 aspect ratios]; see below) are printed on the backing paper. The 220 format was introduced in 1965 and is the same width as 120 film, but with about double

2623-494: The full Polaroid Type 100 frame size of 83 mm × 103 mm ( 3 + 1 ⁄ 4  in × 4 in). Both backs and lenses are mutually, deliberately incompatible between the Polaroid 600 and Mamiya Press systems to preserve their respective markets; however, an adapter was made later that allows the use of M-type rollfilm backs on the Polaroid 600. All of the lenses have leaf shutters , which are released on

2684-611: The gaps between exposed frames is larger, nor if the camera is not used intermittently. The 6×9 frame has the same aspect ratio as the standard 24×36 mm frame of 135 film . The 6×7 frame enlarges almost exactly to 8×10 inch paper, for which reason its proponents call it "ideal format". 6×4.5 is the smallest and least expensive roll-film frame size. The wide 6×12, 6×17, and 6×24 cm frames are produced by special-purpose panoramic cameras. Most of these cameras use lenses intended for large format cameras for simplicity of construction. Cameras using 120 film will often combine

2745-414: The later digital Nikon D1 series were capable of 1/16000), while electronic shutter can accommodate at least 1/32000 seconds, used for many superzoom cameras and currently many Fujifilm APS-C cameras (X-Pro2, X-T1, X100T and others). Stacked CMOS sensors combine the image sensor itself with ADCs and digital memory in the same package. The readout of these sensors is faster than traditional sensors, because

2806-409: The length of film and thus twice the number of possible exposures per roll. Unlike 120 film, however, there is no backing paper behind the film itself, just a leader and a trailer. This results in a longer film on the same spool, but there are no printed frame numbers. Because of this, 220 film cannot be used in cameras that rely on reading frame numbers through a red window. Also, since the film alone

2867-464: The lens also allow interchanging the lens using a single shutter.) They have several disadvantages as well: A simple leaf shutter is a type of camera shutter consisting of a mechanism with one or more pivoting metal leaves which normally does not allow light through the lens onto the film, but which when triggered opens the shutter by moving the leaves to uncover the lens for the required time to make an exposure, then shuts. Simple leaf shutters have

2928-454: The lens assembly where a relatively small opening allows light to cover the entire image. Leaf shutters can also be located behind, but near, the lens, allowing lens interchangeability. The alternative to a central or behind-the-lens shutter is a focal-plane shutter . Interchangeable-lens cameras with a central shutter within the lens body require that each lens has a shutter built into it. In practice most cameras with interchangeable lenses use

2989-402: The lens itself, not through the body as is typical with most cameras. The shutter is typically triggered from one of several models of removable grips, all of which have a built-in release cable. The lenses also have flash PC terminals compatible with M (flashbulb) or X (electronic flash) synchronization. A set of five extension rings (60650) is available for close-up work. In addition, there

3050-406: The lens opening. Simple versions from the 1880s and 1890s were often known as Drop shutters. They worked vertically and were usually powered by a rubber band, a spring or just gravity. Later they were fitted to run horizontally in hand cameras where they were spring powered with spring tension or pneumatic regulation. Many inexpensive box cameras had a shutter consisting of a round metal disk with

3111-413: The lens, sometimes simply a lens cap that is removed and replaced for the long exposures required, were used in the early days of photography. Other mechanisms than the dilating aperture and the sliding curtains have been used; anything which exposes the film to light for a specified time will suffice. The time for which a shutter remains open (exposure time, often called "shutter speed") is determined by

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3172-435: The maximum image size is 73 mm × 95 mm ( 2 + 7 ⁄ 8  in ×  3 + 3 ⁄ 4  in), although only the 75 and 127 mm lenses will cover the larger size. The camera lacks an internal dark slide, so one has to be inserted into the film holder before changing the lens. There were several roll-film holders for the M-type back interface: In addition, for the M-type back interface, Mamiya made

3233-448: The numbers of the frame size in the name e.g. Pentax 6×7 (6×7), Fuji 617 (6×17), and many 645 s (6×4.5). The number '6' in general, and the word 'six' are also commonly used in naming cameras e.g. Kiev 60 and Pentacon Six . The 105 format was introduced by Kodak in 1898 for their first folding camera and was the original 6×9 cm format roll film. The 117 format was introduced by Kodak in 1900 for their first Brownie camera,

3294-400: The rest of the line. Externally, the top cover of the Standard has a satin chrome finish (instead of grey paint) and the body is colored black; the name is printed on the front of the camera near the rangefinder window. After the Super 23 was released, replacing the 23 Deluxe, the 23 Standard was renamed to the Standard 23. Introduced in August 1967, the Super 23 was the first major revision in

3355-443: The same film on a thinner and narrower all-metal spool (the 120 spool core was made of wood at that time): Hence the 620 is sometimes referred to as "small hole" 6×6 or 6×9 as opposed to 120 "large hole". The 620 format was discontinued by Kodak in 1995, but it is possible to rewind 120 film onto a 620 spool in the darkroom for use in 620 cameras. According to Kodak, the narrower metal spool allowed building smaller cameras. Nonetheless

3416-500: The series. The body was redesigned, but still retains the rear bellows system. The much larger viewfinder includes selectable bright lines for the 100 mm, 150 mm, and 250 mm lenses for the first time. The black-finished version of the Super 23 was introduced in October 1969. The 100 mm lens became standard. M-Back adapter integrated like in the other earlier versions. The G-type back interface also could be fitted to

3477-550: The shutter cycle information along with the photos, which contains valuable information such as shutter speed, aperture, and shutter count. There are multiple websites and applications to access the EXIF data. In movie projection , the shutter admits light from the lamphouse to illuminate the film across to the projection screen. To avoid brightness flicker, a double-bladed rotary disc shutter admits light two times per frame of film in 24 fps projection, resulting in 24 * 2 = 48 Hz, which

3538-427: The shutter is fully open. Ideally the shutter opens instantaneously, remains open as long as required, and closes instantaneously. This is essentially the case at slower speeds, but as speeds approach their maximum the shutter is far from fully open for a significant part of the exposure time. Effectively the shutter acts as an additional aperture, and may cause an increased depth of field , undesirable if shallow focus

3599-471: The shutter until autofocus is complete, the result is shutter lag. In these cases, the photographer can switch to manual focus to avoid the delay that is attributable to the AF function. A shutter cycle is the process of the shutter opening, closing, and resetting to where it is ready to open again. The life-expectancy of a mechanical shutter is often expressed as a number of shutter cycles. Most digital cameras save

3660-405: The whole frame will be exposed when the flash fires (otherwise only a band of the film will be exposed). Some electronic flashes can produce a longer pulse compatible with a focal-plane shutter operated at much higher shutter speeds. The focal-plane shutter will still impart focal-plane shutter distortions to a rapidly moving subject. Cinematography uses a rotary disc shutter in movie cameras ,

3721-418: Was originally intended for amateur photography but was later superseded in this role by 135 film . 120 film survives to this day as the only medium format film that is readily available to both professionals and amateur enthusiasts. The 120 film format is a roll film which is nominally between 60.7 mm and 61.7 mm wide. Most modern films made today are roughly 61 mm (2.4 inches) wide. The film

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