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CONTENTS
1 .
I n t r o d u c i n g
t h e
S e k o n i c
S t u d i o
D e | u x e . . . . . . . . . . . . . . .
1 - 1 .
F o r e w o r d
. . . . . . . . . .
I - 2 .
S p e c i f
c a t i o n s
. . . . . . .
. . . . . . . . . . . .
1 - 3 .
N a m e
o f P a r t s
. . . . . . . . . . . . . . . . . 4
I - 4 .
l n t r o d u c i n g
t h e A c c e s s o r i e s
_ - . . . . . . . . . . . . . . . . . . . . . . . . .
2 .
S p e c i a l F e a t u r e s
o f t h e
S e k o n i c
S t u d i o
D e l u x e . . .
g
2 - L . l n c i d e n t L i g h t M e a s u r e
. . . . .
B
2 - 2 .
L u m i s p h e r e
. . . . . . . . . . .
. . . . . . . . . . . .
2 - 3 .
M e a s u r i n g
l l l u m i n a t i o n
. . . . .
B
2 - 4 .
D i r e c t - R e a d i n g
M e t h o d
. . . . .
g
2 - 5 .
I n t e r m e d i a t e
V a l u e s
. . . . . . . . . . . . 9
3 .
H o w
t o
O p e r a t e
t h e
M e t e r
. . . . . . . . . . .
. . . . . . 1 1
3 1 .
F o e w o
d
. . . . . . . . . .
1
3 - 2 .
P r e p a r a t i o n s
. . . . . . . 1 1
3 - 3 .
T a k i n g
t h e P i c t u r e
. . . . . . . . . . . . 1 1
3 - 4 .
R e a d i n g
t h e M e t e r
. . . . . . . . . . . . . . 1 3
3 - 5 . E x p o s u r e
M a g n i fc a t i o n
a n d R e d u c t i o n
n d e x e s . . . . . 1 6
3 - 6 . E .V .S . N u m b e r s
. . . . . . . . . . . . . . . . . . I 7
3 - 7 .
M o t i o n
P i c t u r e s
. . . . . . . . . . . . . . . . . . L 7
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4 .
Co r rec t
Exposu res
unde r Spec ia l
Cond i t i ons
. . . . . 19
4 - I . Po r t ra i t s
. . . . . . 19
4 - 2 .
" S h o r t - d i s t a n c e "
a n d s c a p e s . . . . . . . . . . . . 2 O
4 -3 . D is tan t
Landscapes
. . . . . . 2 I
4 -4 .
Snow
Scenes . . .
. . . . . . . . . 22
4 -5 .
S ide
and Back - l i gh ted
cenes . . .
. . . . . . . . 23
4 -6 . Sh i lhou t t edScenes . . . . . . . . . 24
4 - 7 . D i r e c t R e a d i n g
M e t h o d
. . . . . . . . .
. . . . . . . . . . . . . . . . . . 2 5
5 .
Spec ia l
L igh t ing
Cond i t i ons
. . . . . . . . . 27
5 -1 . Fo rewo
d
. . . . . . . . . 27
5 -2 . L igh t ing Con t ras tCon t ro l
(
ndoo rs ) . . . . . . . 28
5 -3 . Ou tdoo r Con t ras t
Con t ro l
. . . . . . . . . 29
5 -4 . Re f lec ted
L igh t Read ing
. . . . . . . . . 31
5 -5 .
M ode rn L igh t ing Con t ro l
. . . . . . . . . 36
5 -6 . C lose -ups
. . . . . . . . . 38
5 -7 . Sun l igh t -F lash
ho tog raphy
. . . . . . . . . 4L
6 . Tak ing Ca re o f
You r
Sekon ic
S tud io De luxe . . . . . 46
6 - 1 . Z e r o S e t t i n g . . . . . . . . . . . . 4 6
6 - 2 . S l i d e S l o t
. . . . . . . . . . . . . . . 4 6
6 - 3 . O t h e r
P r e c a u t i o n s . . . . . . . . . . . . . . . . . . . . . 4 6
6 -4 . Se rv ice
. , , . . . . . 47
1. Introducing
he Sekonic
Studio
Deluxe L-28c2
Dual
PurposeExposure
Meter
1-1.
Foreword
For
years
Sekon ic
has marke ted
the
Sekon ic
Stud io
S,
wh ich
has
been w ide ly
accepted
throughout
the wor ld
by com m erc ia l
and
am a teu r
pho tog raphe rs ,
r t i s t s ,
nd
m ov ie
cam eram en .
The
Sekon ic
S tud io De luxe
is
a
new improved
mode l
o f
the
Sekon ic
Stud io
, ,S" .
l t is
easy
to
use and
designed
to
g ive
the
most
accura te
exposure
ead ings
based on
inc ident
igh t .
A
var ie ty
of
accessor iesmake the Sekon icStud io De luxe a pro fes-
s iona l
and
ve rsa t i l e
ns t rum en t
ha t
w i l l
m ee t
a l l
you r
photorga
h ic
req
u i rements.
L-2.
Specifications
M E A S U
E M E
T
q
I
q
M ethod
Ra
nge
Accuracy
SCALE
AS A
D I N
T im e
(Shu t te r
speed )
Aper tu re
C i n e
E V
sca le
Correct ion
actor
D i m e n s i o n
Approx.
we igh t
Inc ident
& re f lected
igh t
E V4 - L 7 a t
A S A1 0 0
+O.3
EV M ax .
( less
han 1 /3
a
per tu re
sca
e)
8 -12 ,000
LO-42
6A- I /2 ,O00
sec.
1 -
9 0
8 -128
f ram es
pe r
second
L igh t a ues
L 20
C : 2 5 K - 1 . 1 5
4 . 2 x 2 . 3 x
1 . 2 n c h
B.Boz .
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1-3.
Name
of Parts
Swivel
Head
lnd ica t ine
Needle
Mobi l
D ia l
"H"
Poin ter
DIN lndex
Windcrw
Needle Lock Button
ASA Cont ro l
Knob
Shut ter
Accessories
Lum
sphere
i d e n t
L i g h t
S c a l e
EV
lndex
Window
Dia l Sca le
" L "
P o i n t e r
ASA
Index
Window
C i n e S c a l e
Aper ture Sca le
H I G H
S l i d e
Set
of
9
Direct
ReadingSl ides
These a re ava i l ab le
wi th the
f o l l ow ing
ASA indexesz
25,
40 ,
50, 64,
90 , 100 ,
160 ,
200
an d
400 .
No t e
:
Di rec t
Read ing
S l i des
and
other
accessor ies
for the
S e k o n i c S t u d i o D e l u x e
c a n
b e
purchased
f rom
our l oca l
dea .
Iers"
5
Lumisphere
L u m i d i s k
ero Ad jus tment
Lumigr id
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L-4.
ln t roduc ing
the
Accessor ies
Lu
misphere
u s e d
o n l y
t o d e t e r m i n e
e x p o s u r e
by
i n c i d e n t
l i e h t ( i . e . ,
t h e
l i g h t
t h a t
f a l l s
on
a
s u b j e c t ) .
To i ns ta
l :
m
a tch the
wh te
do ts
on
the
pho tosphe re
a
nd
socke t , i nse r t
t he
Pho tosphe re ,
a
nd tu rn
i t
c l ock -
w ise
un t i l
i t
s t ops .
Reve rse
p rocedu re
to
remove .
Lumid i sk
U s e d t o o b t a i n b r i g h t n e s s i n f o o t - c an d l e s ( o r i n , , l u x "
i f
so
conve r ted )
a
nd
to
measu re
a
nd
con t ro l
con t ras t .
I n s t a l l
a s w i t h L u m i s p h e r e .
Lu
nn
gr id
Used to measu re
the re f ec ted
l i gh t
a
nd re la t i ve
b r i gh t -
ness o f a sub jec t .
ca
n a
so
be
used to
de te rm ne
ex -
p o s u r e
w h e n
a n
i n c i d e n t
l i g h t
m e a s u r e m e n t
c a n n o t
b e
t a k e n . I n s t a l l
a s
w i t h
L u m i s p h e r e .
o 'H lGH"
S [ [de
Used
w i th Lum isphe re
r Lum id iskou tdoo rs
r
in
b r igh t
p l a c e s
w h e n h e
n d i c a t i n g
e e d l e
m o v e sa b o v e1M
( o r
16
o n )
h e I n c i d e n t
i g h t
S c a
e .
I n s e r t h e H G H
S l i d e
n
the
s lo t
beh ind
he Lum isphe re
r
Lum id isk
o
conve r t
t h e
S e k o n i c
S t u d i o
D e l u x e o
h i g h
l l u m i n a t i o n
m e a s u r e -
n ren t .
The S l ide
se t t les
n
p lace
w i th
a c l i ck .
Di*"ectReadfrng
[ldes
U: ;ed
when
i t i s m o re
im po r tan t
t o ob ta in
one
qu ick ,
d i r e c t
e a d i n g
a t h e r h a n
a v a r i e t y f
l e n s o p e n i n g n d
shu t t e r
speedcom b ina t ions .
N ine
t ypes
a re
ava i lab le
w i t h
v a r i o u s
A S A
a n d D I N i n d e x e s .T o
u s e :
( 1 )
S e l e c t
t he
app rop r ia te
s l ide
fo r t he
pa r t i cu la r
f i lm
you
a re
us ing ;
(2 )
Se t
you r
cam era t o t he shu t t e r
speed
ind i -
ca tedon you r s l ide ; 3 ) I nse r t he s l ide n to you r Sekon ic
De luxe
m e te r
us t
as
you
wou ld t he H GH
Sl ide
(4 )
Po in t
he m e te r in t he
p rope r
d i rec t ion ;
(5 )
Read
he
n
u
m ber
on t he I
nc iden t
L igh t
Sca
e.
Th
s
i s
you r
p rope r
f /s top
read ing
(
6)
Set
your
ca
mera
to
the f /s top ,
a
nd
you ' re
ready for a
per fect
p ic tu re .
No te :
D i rec t
Read ing
Sf ides a re f o r
use w i t h
the
Lum isphe re
nd
Lum id isk .
They
can no t
be
used w i t h
the Lum ig r id .
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2,
SpecialFeatures
of
the
Sekonic
Studio Deluxe
2-1.
Incident Light
Measure
In
the
past ,
convent iona l
exposure
meters
measured
i l lumina t ion
by re f lected
l igh t .
The
Sekon ic
Stud io
De luxe ,
deve loped
and
per fected
by
the
wor ld ' s lead ing
photographers, de termines i l lumina t ion by a more
accura te
method
- inc ident l igh t .
The
d i f f icu l ty
with the
re f lected igh t
method s
the
t ime
i t
takes
a
photographer
o ob ta in
a
successfu l
xposure .
Every
sub ject
combines areas
of
high and low
re f lec-
t ion ,
and
to ob ta in
a
proper
exposure
y re f lected
igh t ,
one
has to take
many
d i f fe ren t ead ings
and to
average
them
successfu l ly .
Th is
d i f f icu l ty is
overcome
wi th
the
Sekon ic
Stud io
De luxe .
l t is
des igned o
measure
sub jects
by
a stand-
ard re f lect ion
of
L8/ ' and to
determine l lumina t ion
by
inc ident
igh t . Th is standard re f lect ionassures per fect
tones in
b lack
and wh i te
photography
and
estab l ishes
a
po in t
o f re fe rence
rom wh ich
devia t ions
an
be made
for
special
effects.
2-2.
Lumisphere
The
Lumisphere
f the
Sekon ic
Stud ioDe luxe
determines
exposure
n
a revo lu t ionary
way.
Because
su ject s
usua l ly
hree-d imensiona l ,
t
p resents
a con t ras t
o f
l i gh t s
and shadows
wh ich
t rad i t i ona l
meters
are unab le
to measurewi thout
er ro r o r
d i f f icu l ty .
The Lumisphere ,
however , ece ives l l inc ident
igh t
ust
as the sub jectrece ives t . l t au tomat ica l lyass igns to
each
l igh t
sou rce t s
pho tog raph ic
a lue
depend ing
on
i ts
s t rength
and d i rect ion ,
and
averages hem
in to
one
correct
camera
set t ing .
2-3. Measur ing
l tuminat ion
(1 )
The
Lum id isk
s
used
to
m easu re i l l um ina t ion .
l t
can
be
pointed
d i rect ly a t
a
l igh t
source o
measure
i ts in tens i ty .
(2 )
The top
numbers
on
the lnc ident
Sca le nd ica te
oot
cand les,
( i .e . ,
the in tens i ty
o f l igh t
on a
cer ta in
spot . ) .
For example ; i f the ind ica t ing
need le
po in ts
Io 64 ,
the l igh t
in tens i ty
or
i l lumina t ion
on the
spot
is
64
foo t -cand les.
In oqder o
conver t oo t
cand les
in to Lux
un i t s
o f
i l l um ina t ion ,
m u l t ip l y he
num ber
o f
foo t cand les
by
10.76. For
example , i f
the ln -
c identSca le reads 64 (wh ich is 64 foo t cand les) he
correspond ing
ux
measurement
wi l l
be
688.64.
64x10.76:688.64
When the
HIGH
Sl ide
is
used, the Inc ident L igh t
Sca le
number must
be mul t ip l ied
by
32
to ob ta in
the Foot -Cand le
Number .
For
example ,
f
the Inc i -
dent
Sca le reads 64 ,
then
64
x32:2,O48
(foot'ca
ndles)
The
Stud io De luxe
ptays
an important
ro le
when
l igh t ing
in
a s tud io
must
be recorded
for
future
dup l ica t ion
and when cont rast must be cont ro l led .
2-4.
Direct.Reading
Method
With the
Direct -Read ing
l ides here
is
no
need to
fuss
wi th
the
Mobi l
d ia l .
The
proper
f /s top
can
be
found
d i rect ly
f rom
the ind ica t ing
needle.
Th is
i s
a
grea t
advantage
when
speed s
more important
than
obta in .
ing
a
complete
selection
of
f/stop
and
shutter
speed
com b ina t ions .
2,5. Intermediate
Values
(1 )
The top
numbers on
the Ind ica t ing
Sca le
are
foo t
cand le numbers from 4 to 1 M (1000) .
The red
numbers
d i rect ly
beneath
them
are
for
f /s tops.
The va lues
of the
unnumbered
d iv is ions
n
both sca les
are
found in
the
d iagram.
(2)
The
numbers on
the
Time
Sca le ind ica te
shut te r
speeds.
The
numberson
the
Aper tu re
Sca le nd ica te
f/stops.
Not ice he
mark
beneath
each
number
on
the
Time
Sca le and
above
each
nuntber
on the
Aper tu re
h
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Sca le .
Every shu t te r
speed and
f /s top
ind ica ted on
the d ia l is a t
the exact
center o f
th is mark.
The
in te rm ed ia te
a lues ,
i . e . ,
he va lue of
t he un '
n
umbered
d iv is ions)
on these sca les
are
shown
below.
Foot -
c and/e
---a-
3"
How
to
Operate
The
lVleter
3-1.
Foreword
Read
care fu l ly
sect ions
3
and
4 to
learn
how to
opera te
you r
Sekon ic
S tud io
De ruxe .
com p le te
fam i r ia r i i y
w i l r
a l l ow
you
to
take
advan tage
f i t s
ve rsa t i l i t y
and
p ro -
fess iona l
accuracy.
3-2" Preparat ion
(1 )
I nse r t
Lum isphe re
Sect ion
1-4 .
(2 )
Tu rn
ASA
(o r
D tN)
index
o f t he
f i lm
window.
Every
ro l l
l ea f le t
nd ica t ing
ts
in to
socke t ,
as
exp la ined
n
exposu re
ndex
d ia
un t i l t he
you
a re
us ing
appea rs
in t he
of
f i lm
has i ts
own inst ruct ion
ASA
or
D IN
exposu re
ndex .
n te rmed ia te
Va lues or
Scale
f
/stops
:
In te rmed ia teVa lues
for
Sca le
f /s tops
Foot -Cand les
nd red
Shut te r Speeds
and
Inc iden t
Aper tu re
3-3.
Taking
the
Picture
(1 )
Po in t he Lum isphe re
rom
you r
cam era ,
on a l i ne
w i th
camera 's
ens.
(See
igure
of
the
sub ject
towards
the l igh t
ax is
of
your
next
page.)
/ E ?
O
Q l
I
tii
I
a
(s
\ e
2
-
1/.
/400
-Lao
1 0
1 1
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(2 )
f the
same
l igh t
f
a l ls on
you
camera
as on
the
sub ject ,
he
Sekon ic
Stud io
De luxe
ca
n
be he ld
a t
the camera
posit ion,
d irected
away
rom
the subject .
(See
figure
below.)
Remember hat when l igh t on the camera posi t ion
dif fers f rom
that on the subject ,
(e.g. ,
the
camera
or subject
is
shaded by
trees
or bui ld ings)
your
Stud io
De luxeshou ld be he ld
on ly
a t
the sub ject .
Note
1 :
when
you
are
tak ing
p ic tu res
indoors
under
art i f ic ia l
ight ing,
t
is
necessary
o
place
your
meter
close
to
the
subject ,
?s indicated
in
3-3-(1),
because
he
quant i ty
o f l igh t
a t
the
sub ject
and
ca
mera
wi l l
d i f fer
signif ica
i ly .
Note
2 z
Since
the
Lumisphere
s
a
n ext remery
sensi t ive
o l igh t ,
you
m
ust be care f
u l
no t to
shade
i t w i t h you r hand when m easu r ing igh t . you
shou ld
ho ld the
meter
a t
a rm 's leng th ,
especia l ry
when
wearing
ight
or
br ig lr t ly colored
cloth ing.
3 -4 " Read ing the M e te r
(1 )
wh i le
the
Lum isphe re
s
he ld
fac ing
the
cam era ,
push
the
Need le
Lock
But ton
which
s
at
the
center
o f
t he
d ia l .
The
Ind ica t ing
Need le
w i l l
sw ing
and
rest
a t
the
cer ta in
po in t
on
the
tnc ident
L igh t (Foot
Cand le )
Sca le .
Remove
your
f inger
from
the
button
to
lock
the
needle.
Now
you
are
free
to
read
the
foot
candle
num ber
wh lch
the
need le
has ind ica ted .
L2
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( 2 )
l f
unde r
b r i g h t l i g h t s t h e i n d i c a t i n g
n e e d l e m o v e s
p a s t
t h e
e n d
o f t h e
I n c i d e n t
L i g h t
S c a l e , u s e
t h e
H I G H
S l i d e .
T h i s s w i t c h e s
h e r a n g e
o f
t h e
S e k o n i c
S t u d i o D e l u x e
f r o m
l o w
t o
h i g h
i l l u m i n a t i o n .
W h e n
t h e H I G H
S l i d e
i s
u s e d ,
t u r n t h e d i a l
u n t i l
t h e r e d
" H "
m a r k
c o r r e s p o n d s
e x a c t l y
t o t h e
n u m b e r ( 4 t o 1 M ) i n d i c a t e d b y t h e n e e d l e .
W h e n
t h e
H I G H
S l i d e
i s
n o t
u s e d ,
t u r n t h e d i a l
u n t i l t h e w h i t e
" L "
m a r k
c o r r e s p o n d s e x a c t l y t o t h e
n u m b e r
( 4
t o I M ) i n d i c a t e d
b y t h e n e e d l e .
N o t e
: I n
o u t d o o r
p h o t o g r a
p h y
i t
i s
a d v i s ab l e
t o
i n s e r t
t h e
H I G H S l i d e
b e f o r e
a k i n g
m e a s u r e m e n t s .
O n
t h e
l o w e r
h a l f o f t h e
d i a l , a n d a d j a c e n t o
e a c h
o t h e r ,
y o u
w i l l
f i n d a l l t h e
c o m b i n a t i o n s o f s h u t t e r
s p e e d s
a
n d f
/ s t o p s
p o s s i b l e
f o r e a c h e x p o s u r e .
Y o u
may
s e t
y o u r
c a m e r a t o
a n y f l s t o p
and
s h u t t e r
speed
wh ich
a re
d i rec t l y ppos i t e
acho the ron
the
m e te r .
Fo r
exam p le , assum e
you
a re us ing
the
H I G H
S l i d ea n d a
f i l m w i t h
A S A
i n d e x 1 0 0 . T h e
needle
po in ts
to 64
on
t h e
I n c i d e n t
L i g h t
S c a
e .
S e t t h e r e d
' r H "
m a r k
t o
6 4
o n
t h e D i a l S c a l e .
Look
now
at the
Aper-
t u r e
a n d
T i m e
S c a l e s
be low.
Correc t
expo-
s u r e
r e a d i n g s
a re
71L25
a t f B , 1 / 3 0
a t
f 1 6 ,
a n d s o
o n .
I n c i d e n t
L i g h t
S c a l e
&
D i a l
S c a l e
D i a l
S c a l e
, , H ,
m a r k
" L "
m a r k
(3 1
F o o t C a n d l e s
Direc t
Read ing
/s tops
L 4
1 5
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3-5.
ExposureMagni f icat ion
I
n
dexes
Not ice
he
sym bo ls
x t l2 , x2 ,
and
o f
the
t ' H "
and " L "
m arks
on
the
and
Reduct ion
x4 on
both s ides
Dia
Sca
e.
3-6. E.
V.
S.
Numbers
E .
V.
S . m eans
Exposu re
Va iue
( l i gh t
va lue . )
l t
i s a
num ber
sys tem
used occas iona l l y
o rep lace
he t rad i -
t ion
a
sh
ut ter speed
a
nd
f / s t o p
c o m b i n a t i o n s .
F o r
c a m e r a s
e q u i p p e d w i t h
a
n E .
V .
S . s c a
e ,
use
t h e
E . V . S . n u m b e r s f o u n d i n
the
wi
ndow
a bove a nd
s l i gh t l y
to
the l e f t
o f t he
D i a l
S c a l e .
W h e n t h e
d i a l
i s
s e t
a s
u s u a
,
the
p rope r
E .
V .
S .
n u m b e r w i l l
a p p e a r .
3-7.
Motion
Pictures
Measu re
t h e l i g h t
and
s e t t h e
d i a l a s i n s t r u c t e d .
C ine
speeds
ra
ng ing
f rom 8
to L28
stops
( f rames-per .
s e c o n d )
a r e
g i v e n
i n
t h e
r e d
C i n e
Sca
e .
F i n d t h e c i n e s p e e d u s e d b y y o u r c a m e r a and r e a d t h e
co r respond
ng
f
/ s top
on the
Ape r tu re
Sca
e .
Th i s i s
the
p rope r
f / s top
fo r
you r
camera .
N o t e
:
l f
t h e
c i n e
s p e e d
on
y o u r
m e t e r
f a
l s
m
d w a y
between
two
f / s tops,
set
the
Aper ture Sca
e
on
your
c a
m e r a
i r i
t he
sa me way .
The r e d
n u m b e r s o n
t h e
c i n e
S c a l e a r e
e q u i v a l e n t
t o
the
fo l l ow ing
shu t te r
speeds
on
you r
camera
:
These
are
used for magnifying and reducing
exposure.
xL l2
is
fo r reduc ing
exposure ime
by one-ha t f .
x2
is
fo r doub l ing
he
exposure .
x4
is
fo r
increas ing
t
four
t imes.
With
the H
G
H
Sl ide
n
the
meter ,
se t
the red
x L 1 2 ,
x 2 , o r
x 4
t o t h e D i a l
S c a l e , r a t h e r t h a n " H" .
Wi thou t
t he
H IGH
Sl ide ,
se t
he wh i t e
xL12 ,
x2 ,
o r
x4
to
the
Dia
Sca
e, ra ther
th a
n
"
L" .
These
ndexes
are
he lp fu l , o r
example ,
when
i l te rs
are
requ i red .
When
using
a
f i l te r w i th
a
n exposure ndex
of 2 ,
se t the red
or wh i te
x2 to the
Dia l
Sca le .
Wi th
an
exposure ndex
of 4 ,
se t
x4 to the
Dia l
Sca le .
Note :
The
in te rmed ia te
a lues
of
these
indexes
are
g iven
in the f igure
be low.
Though
they
are
not
marked
on
the scale i tself ,
you
can
use
them
effect ively
when
needed.
r \5X3
r1,*,
8 (stops)
1 6
24
I
l15
(second)
L l 3 0
r
5 0
1 6
Q',7,
I 7
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M o s t
p o p u l a r
c i n e
cameras
use
1 6 f r a m e s ' p e r ' s e c o n d
w i th a
shu t te r
speed
of
1130 .
To
f i nd
the
p rope r
f / s top ,
r e a d t h e
n u m b e r
o n
t h e
A p e r t u r e
S c a l e
w h i c h c o r r e s '
p o n d s
t o
1 6
o n t h e
r e d C i n e
S c a l e .
(You ca n o f cou rse use o the r exposu res fo r spec ia e f
f
ects.
No te
1 :
Some
mov ie
ca
mera
s h
ave
sho r te r
exposu re
t i m e s .
F o r e x a m p l e
a
c a m e r a
w i t h
1 6 f r a m e s - p e r ' s e c o nd
ma y
have
a shu t te r
speed
of
L l40 -
In t he
ins t ruc t i on
book le t
o r ca ta
logue
th a t accom
pa
n ies
y o u r
c a m e r a
i s a
l i s t o f
t he
c a m e r a ' s
s h u t t e r
s p e e d s
a nd
co r respond ing
f
/ s tops .
S tudy
them
care f u l l y .
W h e n
y o u
k n o w
o n l y
t h e
a p e r t u r e
a n g l e
o f
a c i n e
cam e ra ,
compu te
the
shu t te r
speed
w i th
the fo l l ow ing
f o r m u l a :
W hen
: Sh
u t te r
a
Pe r tu re
a
ng le
:
Lq "
F ra
mes -pe r ' second
-
N
Shu t te r
speed
-T
T - 1 \ . / a
' -
N
' t
3 6 0
For exa
m
p le
:
W hen
the
a p e r t u r e
a n g l e
i s
L L Z B "
and
t h e r e
a r e
L 6
f ra
mes -pe r - second ,
hen
:
-r_
L
\.,
t28
1
' -
1 6
^
3 6 0
-
4 s
S ince
you r
me te r
does no t
i nd i ca te
a shu t te r
speed
o f
L | 4 5 ,
y o u
m u s t
j u d g e
the
p o i n t
w h i c h
i s m i d w a y
b e t w e e n
L
l3O
a nd
L l 6 0 .
D i r e c t l y
b e n e a t h
t h i s
m i d p o i n t
i s
t he
p rope r
f / s top
se t t i ng
fo r
you r
camera .
No te
2
z
The
s ta nd
a
d ca
mera
used
by
p ro fess ion
a
s
h
a s
a
sh u t te r
speed
of
1 / 50
wi th
24 f ra
mes-per 'second.
T h i s
s e t t i n g
i s
i n d i c a t e d b y
a
r e d
l i n e
b e n e a t h
t h e
24
on
t h e
C i n e
S c a
e .
4.
Correct Exposures
nder
Special
Gondit ions
4-1"
Fortrai ts
Fol low
he inst ruct ions
iven
n
sect ion3 ,
w i th
par t icu la r
at tent ion
to
3-3
(Note
1).
Because
of
i t s Lum isphe re
wh ich
uses
an inc iden t
l igh t system, the sekon ic stud io De luxe is idea l fo r
ta
k ing
por t ra
ts .
Deta
ls
a e
a ways
c lea
,
even
when
l igh ts
are
beh ind
he
sub ject .
32
64
L28
L
160
r
L25
L
25 O
T h e n :
t 8
1 9
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4-2.
r "Shor t -d is tance 'o
Landseapes
When
photographing
cenes
hich
are re la t ive ly
ear ,
( t r e e s ,
b u i l d i n g s ,
e t c . ) ,
h o l d
L u m i s p h e r e
a s d i r e c t e d
i n
3 -3 .
W h e n
t h e
s u b j e c t
a n d c a m e r a
a r e
s t r u c k
w i t h d i f f e r e n t
quan t i t i es
o f l i gh t ,
move
to
whe re the
sub jec t ' s l i gh t i ng
cond
t i on
i s
rep rod
uced a
nd
po in t
t he Lu
m
sphe re
to -
w a r d s a n d o n a l i n e w i t h t h e l e n s a x i s o f y o u r c a m e r a .
W h e n on
y
t h e s u b j e c t
i s i n
s h
a d o w ,
e i t h e r m o v e t h e
L u m i s p h e r e
w i t h i n
t h e s h a d o w
o r s h a d e
t h e L u m i s p h e r e
w i t h
y o u r
h a n d .
;ft
4-3 .
D is tant
Landscapes
P h o t o g r a p h s
o f
d i s t a n t
l a n d s c a p e s
a r e
o f t e n
h a z y
a n d
o v e r - e x p o s e d
d u e
t o
t h e i n f l u e n c e s
o f t h e
s u n . F o r
g o o d ,
c l e a r
p h o t o g r a p h s
t a k e
o n e
r e a d i n g i n
t h e
n o r m a l
w a y
w i t h
t h e
L u m i s p h e r e
h e l d a t t h e
c a m e r a
p o s i t i o n ,
a w a y
f r o m
t h e
s c e n e
a
n d a
s e c o n d
r e a d i n g
w i t h t h e
L u m i s p h e r e
p o i n t e d
d i r e c t l y
a t t h e
s u n .
S e t
t h e
' r H "
o r
t ' L "
m a r k
h a l f w a y
b e t w e e n
t h e s e
t w o
r e a d i n g s .
N o t e
1 :
T h e
q u i c k e s t
a n d e a s i e s t
w a y
t o f i g u r e t h e
h a l f w a y
m a r k
i s t o
f i n d
t h e
m i d - v a l u e
o f t w o
f o o t c a n d l e
w h i c h
t h e
n e e d l e
has
ind i ca t ed .
Be
care f u l
t o no t e
t he co r rec t m id . va lues
o f
f oo t
cand les . For
examp le ,
be t ween
25o
a n d 6 4
f oo t -cand les
t h e
m i d - v a l u e
i s
r 2 5 . B e t w e e n
r 2 5
a n d 6 4
f o o t - c a n d t e s t h e
m i d ' v a l u e
i s
i n d i c a t e d
b y
a n u n n u m b e r e d
w h i t e
l i n e o n t h e D i a t
S c a l e .
A n o t h e r
m e t h o d
f o r
f i n d i n g t h e
h a l f w a y m a r k
i s t o s e t
t h e
d i a l
t o t h e t w o D i a l
s c a l e
n u m b e r s a n d
t o
n o t e t h e t w o
shu t t e r
speeds .
The
shu t t e r
speeds can t hen be
averaged and
a n
f / s t o p
o b t a i n e d .
N o t e
2 : P e o p l e
i n
a
l a n d s c a p e
m u s t
b e t r e a t e d
a s
p a r t
o f t h e
s c e n e r y .
T h e y
s h o u l d
n o t
b e ' r e a d ' i n d i v i d u a l l y
a s w i t h
por t ra
i t s .
20
2 7
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4-4,
Snow
Scenes
(1)
Snow
pictures
taken
according
to ref lected
ight
measurement
f ten
a
l
beca se
he snow
m agn i f
es
and d is to r ts
he
read ing .
Th is
prob lem
does
not
ar ise , however ,
w i th Sekon ic ' s
nc ident
igh t
meter .
The
ref lect ion
actor
for
f resh snow
is 7O%.
l t is
60%
for
'c i ty '
or
o ld snow.
With
your
Sekonic
ou
compensate o r th is re f lect ionmathemat ica l lyand
therebyavo idmistakes.
You
ind
the shut te r
speed
by regu la r
nc iden t
igh t
m easu rem en t
nd
inc rease
i t
by
I /
4
2
or L/2.
For
example
When the
measured
shut te r speed s L lL25 a t f
16 ,
Then
L l L z s x t l 4
z
:
L l L 7 7
( L | Z O O )
r
l l L z s x L l 2
-
t l 2 5 O
Not e 1 :
Over -exposed
p ic t u res
lack c a r i t y .
l t
i s
t he re f o re
a d v i s a b l e ,
w h e n
a
c h o i c e
i s
p o s s i b l e ,
t o u s e t h e f a s t e r
s h u t t e r
s p e e d .
No t e
2 : The co r rec t i on
index o f
I /
' / Z - l / 2
i s based
on a s t and-
a rd re f
ec t i on f ac t o r
f o r
snow .
T
he index
w i l l va ry
s l i eh t l y
d e p e n d i n g
o n t h e n a t u r e
o f t h e s n o w
( c l e a n ,
d i r t y , e t c . ) , a n d
y o u
s h o u l d
c o n s i d e r
s u c h
v a r i a t i o n s
w h e n d e t e r m i n i n g
a c o r r e c t
sh u t t e r
speed .
No t e
3 : When
reg is t e r i ng
inc i .
d e n t
l i gh t ,
t he
sens i t i ve Lumis .
p h e r e
c a n n o t
h e l p b u t
p i c k
u p
some
of
the ex t ra
l i eh t
ref lec ted
f rom
t he su r f ace
o f t he
snow.
l t
i s t h e r e f o r e
a d v i s a b l e
t o
s h i e l d
t he
Lumisphere
f rom
t h i s
re f
ec t ed
l i eh t .
\ .
R e f e . r ' t e i J
i i i i r t
Sr tow aee
(2 )
When
tak ing
p ic tu res
under
a c louded sky, snow
ref lected
ight
measurement
wi l l
g ive
sat isfactory
resu l ts .
PlaceLumigr id n
the
socketo f the
Sekon ic
Studio Deluxe
a
nd direct i t
s l ight lydownward
rom
the
camera
posi t ion
o
the
sub ject .
The H
GH
Sl ide
canno t
be
used ,
bu t be su re
to
se t
t he
t ' H "
m a fk
to
the
D ia l
Sca le .
4 - 5 " S i d e a n d
B a e k - l i g h t e d
S e e n e s
"ffi
22
23
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l n
p i c tu res
o f
s ide
o r
back - t i gh ted
scenes ,
the
f ron t o f
t he
sub jec t
may
appea r
too
da rk wh i l e
o the r
pa r t s
o f
the
photogra
ph
are
over -exposed.
Th is ,
o f
course, m
ay
be
your
des i red
ef fec t ;
bu t , i f
no t , take two
read ings,
one i n
the regu la r
way
w i th
the
Lum isphe re
d i rec ted
away
f rom
the
sub jec t ,
a
nd a
nother w i th
the Lumisphere
d i rec ted
towards
the
l igh t
source.
Use
a
set t ing m
dway
between these two rea d ngs, a s exp la ned in Sec. 4-3 .
(No te
1 ) .
4-6,
Si lhouetted
Scenes
To
si lhouette
objects
(persons,
t rees,
etc.)
against
a
br igh t
sky
or
sunset , r€move
the
Sl ide and
turn
the
Lumisphere
i rect ly
owards
the
sun,
(as
i f
you
were
using
a ref lected
ight
meter).
Se t t he
' rH "
m ark
to t he
need le
read ing ,
t hough
the
Sl ide
s
out .
De l ibera te
nder-exposures
necessary
o
record
the
source
of
l ight .
Objects in
the foreground
w i l l
be s i lhouet ted .
4-7*
Direct Reading
Method
Thereare
n ine
d i f fe ren t D i rect Read ing
Sl ides
ava i lab le
fo r
the
Sekon icStud io
De luxe . They m
ay be
used
wi th
the
Lumisphere
or
Lumid isk,
bu t no t
w i th
he
Lumigr id .
As
prev ious ly
xp la ined,he H GH
Sl idecan be
used
not
on ly
fo r
h igh
i l l um ina t ion
m easu rem en t
bu t
a lso
fo r
d i rect
read ings. The
n ine
Sl ides,however ,
a re
on ly fo r
d i rect read ings.
I
H G H
S l i d e
A S A L 0
( D
N 1 1 )
Direct
Read ing
Sl ides
Sh
utter Speed
r
r/5o
(1/60)
Ll30
(1125
Ll60
(1/50
l t ( r r
n
( r r
/ / ( n
l t ( n
L L25
1/
OO
Ll25O(L2Oo
n ( r r
ASA
25
n 4 0
//
50
//
64
n 8 0
//
10O
//
160
n 2O O
n
40 0
D I N 1 5
//
L7
//
18
u 1 9
//
20
/ /
2L
//
23
// 24
n 2 7
N o t e :
S h u t t e r s p e e d s
o n l y
a
g e n e r a l
s h u t t e r
Sca le "
sec t i on
o f 2 -4
u s e .
w i t h in
paren t heses
are f o r cameras
w i t h
s p e e d
s c a l e . S e e t h e
" D i r e c t
R e a d i n g
f o r d i r e c t i o n s
o n
p r o p e r
i n s t a l l a t i o n
a n d
24 2 5
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Al though here
are
ten D i rect Read ing
Sl ides
( inc lud ing
the
H GH
Sl ide) ,
each
may be
used
wi th
d i f fe ren t lm
indexes
o obtain
a
variety of
shut ter
speeds.
For
ex-
ample ,
f i lm w i th
ASA
L00
use{
wi th
HIGH
Sl ide
(ASA
10)
requires
a
shutter speed of L/500.
The shutter
speed-with
which
you
must set
your
camera
for d i rect
ead ings-can
be ca lcu la ted
rom the
fo l low ing
f o r m u l a :
When
ASA
ndex
of a s l ide
Shut te r
speed
of
same s l ide
ASA
index
of
f i lm
used
Shut te r
speed
of
same
f i lm
Then
T'
:
A/A'x
T
ln the
example
above,
using
ASA
1OO
10
HIGH
Sl ide ,
you
ca lcu la te
10 /10oxL l5o -L /5oo
Wh
at
now
would
be
the
sh
utter speed
for
a f
lm
with
ASA 2OOwhen a sl ide of T L l6O with ASA 50 is used.
Answer
T ' _ 5 O l 2 O O x t l 6 O _
L l 2 4 O
In
other
words,
w i th
an
ASA 2OO
ilm
you
ma y
set
the
sh
utter speed
to I
l24O
and
use a
D
rect
Rea ng
Sl ide
of
ASA
5O-1
60.
: A
: T
: A '
: T '
f i lm w i th
an
ASA
5.
Special
Lighting
Gondit ions
5-1.
Foreword
For
genera l
photography,
or rect
exposure
ead ings
an
be
obta
ned
by
fol lowing
he
ir ist ruct ions
a
nd
exa
m
ples
in
Sect ions
3 a
nd
4. The
Sekon ic
Stud io
De luxe ,
how'
ever , s a prec is ion nst rument wh ich can be used to
obta
n specia
ef fects
u
nder
contro l led
condit ions.
Sec-
t ion
5 shou ld
be
stud ied
care f l l y
so
tha t
your
meter
can be used
to
i ts f
u l l
advantage.
(1 )
I nc iden t
L igh t
M easu rem en t .
Inc ident
igh t mea
surement
s the
most accura te ,
up-to-date
method
to
determine
exposure.
The
Sekon ic
Stud io
De luxe ,
wh ich h
as adopted
h is
method,
s w ide ly
used
by
pro fess iona l
ho togra-
phers
and
mot ion
p ic tu re
specia l is ts .
Un l ike
re '
f tected meters , t i s acc la imed by amateurs and
pro fess iona ls
l i ke
as
the
one meter
g iv ing
correct
exposu re
read ings
fo r
bo th
b lack -and ' wh i t e
nd
color
photogra
hy.
Flesh
tones
in
portra
ts
ar e
pa r t i cu la r l y
a tu ra l
w i t h t he Sekon ic
m e te r ,
ecause
i t rece ives
a
l inc ident
igh t
just
as
the sub ject
re '
ce ives
t , and
averages
he
l igh t
in to
one cor rect
exposure .
Th is
is a
grea t
advantage,
ES f
esh
tones
in co lo r
photography
are
the f i rs t
wh ich the
unt ra ined
eye
read i ly recogn izes
s e i ther
good
or
bad.
Standard
re f lect ion
o f L8% assures
per fect
tones, and estab l ishes a
po in t
o f
re fe rence rom
which devia t ions
can
be
made
for
spec ia l
e f fects .
( 2 )
The
Lu m
d sk
The
L u m i d i s k
i s i n d i s p e n s a b l e
i n
c l o s e ' u p s ,
t o
m e a s u r e
t h e
c o n t r a s t
r a t i o b e t w e e n
m
a
n
a nd f
l l -
i n l i g h t s . T h e
L u m i d i s k a l s o
m a k e s i t
p o s s i b l e
f o r
the
pho tog ra
phe r
to reco rd
h i s
l i gh t i ng
ra t i o
a
nd
d u p l i c a t e
i t
a t a n y
f u t u r e
t i m e .
26
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5'2'
Light ing
Gontrast
Gontrol
( lndoors)
L igh t ing
ont rast
cont ro l
s
necess
ry n
order
o
measure
the
m a n
a
nd f
l l - in
igh ts
d i rected
at
a
sub ject .
when
the
in tens i ty
of
these
l igh ts
s
known,
he
photographer
can
change
and
cont ro l
the
ra t io
be tween
them fo r
whatever
e f fects
he
wishes
o
ach ieve .
He
can a lso
dup l i ca te
h is
l i gh t ing
con t ras t
a t
som e
fu tu re
t im e .
To m easu recon t ras t :
(1 )
Rep lace
um isphe re
w i th
Lum id isk
(2)
Switch
on
on
y
the
m
a
n
(key)
t ight
(3 )
From
he
sub jectpos i t ion
o in l ' the
Lumid isk
d i rec i ly
a t
t he
m a in
l ign t ,
a
nd
read
ou t
the
foo t -ca
d les
registered
on
the
meter.
(4 )
Turn
on
the
f i l l - in
r igh ts ,
ancJ
po in t
the
Lumid isk
d i rect ly
a t
them
from
the
sub ject pos i t ion .
when
m easu r ing
he
f i l l - i n
igh t s ,
be
su re
to
shade
he
Lum id isk
rom
the
m a in
l igh t .
(5 )
D iv ide
the
in tens i t y
f
t h ;
m a in t i gh t
by
tha t o f
t he
f i l l - i n
l i gh t s
to
f inc l
he
con t ras t
ra t io
( l i gh t
ba lance ) .
Exa
m
ple
T h e
m a i n
l i g h t
r e a d s
5 00
Fi l l . in
igh ts
read
ZSO
Ligh t ing
cont rast
ra t io
-
49
-
Zo,
Z to 1
250
1
1",'
(6 )
l f
the
l igh t ing
cont rast
ra t io
i s
no t as
desi red , he
f
l l - in
igh ts
m
ust
be
read justed .
(7 )
when
the
p rope r
a t io
i s
found ,
he
Lum id is l<
a
n
be
rep laced
by
the
Lum isphe re .
ow
he
exposu re
can
be
de te rm ined
n
the
usua l
way .
No te : I n a fu l l y ' equ ipped tud io i t i s sugges ted
tha t
fo r
the
best
resu l ts
you
keep
he
l igh t i ;a
con-
t rast
ra t io
be tween
Z
to
1 and
4
to
1.
5-3.
Outdoor Gontrast
Gontrol
L igh t i r r g
ca
n
be measu red
a nd con t ro l l ed
ou tdoo rs
w i th
t h e
s a m e
p r e c i s i o n
a s i n
a
s t u d i o .
The
p r o c e d u r e
i s
a
m o s t
e x a c t l y
t h e
s a m e .
W h i te
or
s i l ve r - f
ced re f l ec to rs
a re
used to
b r i gh ten those
s i d e s
o f
a
s u b j e c t
w h i c h
a r e
i n
s h a d o w .
p l a c e
t h e
L u m i d i s k
i n
t h e
m e t e r
a n d t a k e
a r e a d i n g
w h e n i t
i s
d i r e c t e d t o w a r d s t h e s u n . Now t a k e a n o t h e r r e a d i n g
w i t h
the
L u m i d i s k
t u r n e d
t o w a r d s
t h e
r e f t e c t o r s ,
m a k i n g
c e r t a n
t o s h i e l d
t h e L u m i d i s k
w i t h
y o u r
ha
nd
f r o m
t h e
d i r e c t
r a y s
o f t h e
s u n . Y o u
n o w
k n o w
t h e i n t e n s i t y
o f
b o t h
l i g h t s
a n d c a n
c o n t r o l
t h e i r
r a t i o
b y r e a r r a n g i n g
the
re f l ec to rs .
Fo r
bes t
resu l t s
i n
co lo r
pho tog raphy ,
t h e f i l l - i n l i g h t
s h o u l d
b e f r o m
L l z
t o
L l 4
t h a t
o f
t h e
m
a
n l i g h t .
D r a m a t i c
b l a c k
a n d
w l r i t e
e f f e c t s
can
be
a c h i e v e d
by
u s i n g a
h i g h e r
r a t i o ,
s u c h
as
h a v i n g
t h e
r e f l e c t e d
i g h t s
as
f t t l e
a s L I L G
the
s u n l i g h t
i n t e n s i t y .
Note : when the need le moves outs ide he sca le (because of
br igh t l ieh t ) use the
HIGH
Sl ide.
To
obta in
foot -cand les
l ieh t
i n tens i t y )
w i t h
the
H IGH
St ide ,
he
number
ind i ca ted
by
ine
needfe
must be mul t ip l ied
by
32,
(as
exp la ined
n 2-3) .
Th e
l ieh t ing
cont ras t ra t io
can be
obta ined
ead i ly
by
comput ing
he
re la t ive
ntens i ty o f
the
main
l ieh t
and
the
f i l l - in
igh ts ,
as
ex.
p la ined
n
5 -2 ) .
whe,n he
proper
ra t io
has
been
obta ined,
ep lace
he
Lumid isk
w i th
the Lum isphe re
nd
de te rm ine
he
exposu re
s
usua t .
Be
su re t ha t a l l t he
l i gh t
f r om
the
sun
and
re f
ec to rs
fa l l s
upon
t h e
L u m i s p h e r e .
28
29
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Expusure
de te rm ina t ion
1 6
1
1 .
5-4" Ref lected
Light
Readings
The
S e k o n i c
S t u d i o
D e l u x e
a l l ows
one
to
read ex '
posu res
no t
on l y by
i t s
s p e c i a
i n c i d e n t
l i g h t s y s '
t em bu t
a
so
by
the re '
f lec ted l igh t sys tem of fered
by sta
nd a
rd
meters .
The
L u m i g r i d
i s
u s e d
t o
t a k e
these
re f
ec ted
l i gh t r ead '
I
ngs .
W h e n u s i n g t h e L u m i g r i d
i t
i s
n e c e s s a r y
o
r e m e m b e r :
( 1 )
T h e L u m i g r i d
s h o u l d
be
p o i n t e d
t o w a r d s
t he
su
b jec t f rom 4 to
6
inches away.
(2 )
No s l i des
ca n be used .
( 3 )
The
n u m b e r s
i n d i c a t e d
o n t h e
I n c i d e n t
L i g h t
Sca
e
do not represent
foot -ca
nd les .
(They
represent
foot -ca
nd
es on
y
wi th
the Lu
m
sphere
o r L u
m
d
s k . )
The
I n c i d e n t
L i g h t
S c a
e i n
th s
case
i s
on l y an
index
used fo r f i nd ing the
p rope r
shut ter speed or f /s top.
(4 )
A l l
i nd i ca t i ons m
us t
be
se t
to
a
nd
read
a t t he
' r H "
m a r k .
You w i l l no t i ce tha t r e f l ec ted l i gh t measu remen t
w i t h
t h e
L u m i g r i d
i s
p o s s i b l e
o n l y w h e n
t h e
i n -
tens i ty o f
the
inc ident l igh t
exceeds L25
foot -
ca
n d l e s .
M
d-po in t
o f b r i gh tness
ra
nge
R e f l e c t e d l i g h t m e a s u r e m e nt
i s
t a k e n
t o d e t e r m i n e
the
b r i gh tness
o f
the sub jec t . The
b r i gh tness
de -
pends
o n t h e
i n t e n s i t y
o f t h e
i n c i d e n t l i g h t
a n d
on
the re f l ec t i on o f t he sub jec t .
I nc iden t
l i gh t
measu re -
K e e p i n g
t h e m a i n
l i g h t
c o n s t a n t ,
a r y -
i n g
t h e f i l l . i n
l i g h t
c h a n g e s
h e c o n t r a s t
ra t i o
o f
t he l i gh t i ng
L : 1
8 : 1
30
2 .
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m en t i s
a m e thod
of
de te rm in ing
exposu re
by
m easu r ing nc iden t
igh t ,
assum ing
ha t
i l r e sub jec t
re f fects
18%
of i t s inc ident
igh t .
The
ef fect ive oo t -cand les
measured
by the
Lumis-
phere
o
determine
he
correct
exposure ,
e te rnr ines
the
m id -po in t
f
b r igh tness .
E x a m p l e :
A s s u m e
t h a t
b y r e g u l a r
m e a s u r e m e n t
w i t h the Lum isphe rew i thou t he S l ide , t he need le
ind ica tes
5OO foo t -ca d les . Wi th
a
f
lm
index
o f
ASA
10,
the cor rect
exposure
is
midway
between
F lL
and
F16 ,
w i t h
a shu t t e r
speed
o f
one
second .
When
he
"L"
m
ark
is se t
to
500,
t l re
"
H m
ark
po in t s o 16 . Th is
16
i s
t h e
m i d ' p o i n t
o f
b r igh tness
ra
nge.
T h i s
m e an s
tha t
i f
a
s tanda rd
18%
re '
f lec to r
is measured
wi th the Lum gr id
u n d e r
h e
s a
m e c o n -
d i t i ons ,
t he need le
w i l l
po in t
t o
16 .
ln
de te rm in ing
ex-
posure w i th
t i rc
L u m i s p h e r e
r
L u m i -
g r i d ,
t h e
r ' H "
m a r k
a lways
nd ica tes
he
cen te r
o f t he
b r igh tness
a
nge ,
r e g a r d l e s s
f w h e t h e r
t h e , ' H ' ,
o r
, . L , ,
m a r k
w a s
used
n de termin ing
he
correct
exposure .
f
t h e
" H "
m a r k
i s
o f f
s c a l e
w h e n
t h e
. . L , ,
m a r k
is
se t
to the need le ,
he
l igh t
leve l
i s
so low
th
a t
no
u s a b l e
e a d i n g
a
n
b e o b t a i n e d
w i t h t h e
L u m i -
gr id .
In o ther words,
re f ected
l igh t
measurement
w i t h
the
Lum ig r id i s
poss ib le
n ly
when
the
in ten -
s i t y
o f
inc ident
igh t
exceeds
25
foo t -ca
d les.
There
are
th ree reasons
or
choosing
the
use
of
re f
ected
igh t
mea
urement
a ,
To
determ
ne the
br igh tness
a
nge
of
a su
b ject .
4.
b . To
photograph
l lumina ted
ub jects
uch as
neon
sign .
c. To
photograph
subjects when
you
are unable
to
measure
he inc ident igh t
(F igures
n
show
win-
dows,
etc.).
To
determine
he
br igh tness ange, nsta l l
he Lumi-
gr id
and d i rect i t
about
6 inches
rom
var ious
areas
of the subject . Be carefu l that neither you nor the
meter
cast
a shadow
on
the area be ing ead
(a
6"
d iameter
c i rc le ) .
Note the var ious nd ica t ions
n
the
foo t -cand le
sca le ,
wh ich
is
a conven ien t sca le
for
determ
n ng
ra
nge.
Novr
d iv ide
he h ighest
oo t
cand le
read ing
by the
lowest
o
obtain
he
brightness ange
of the subjec t .
For
example
if
the brightest area
reads
64,
a
nd the
lowest
4,
then
:
Range
_
t o l
To determine
he
range l imits for
good
color
photo-
g raphs ,
o l low hese ru les :
(a)
None
of the objects
n
a scene
should be
more
than
four t imes br igh te r
or four
t imes
darker
than the mid-po in t
o f the
br igh tness
range.
ln
o ther words
he
foo t
ca
nd le
a
nge
shou ld
not
6 4
. ?
4 - r o
3 .
32
5 .
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exceed
6
to
1 . l f ,
o r
exam p le ,
he
m id -po in t s
16
and the
lowes t
a rea
reads
4 , t he
h ighes t
s l ' :ou ldnot
exceed
64.
(4x
16:64)
l f
any a rea o f the sub ject s
too br igh t to f i t
w i t h in h is 16 t o I range ,
i t s
co lo rw i l l appea r
washed-out . There fo re
h is
area
shou ld be
shaCed o reduce he i n tens i ty
of
l igh t
upon
t.
l f
any a rea
of
the sub ject s
too dark to
f i t
w i t h in
th is range ,
more l ight must
be
concent ra ted on
i t
to assure
proper
co lo r ing .
(d )
On the
Sekon ic
Stud io
De luxe two
f / s tops on e i ther
s ide
o f t he m id -po in t
l im i t t he no rm
br igh tness ange or
co lo r .
M i d - p o i n t
f
B r i g h t n e s s
R a n g e
E x p o s u r e
n d i c a t i o n
w i t h
Lum
s p h e r e
(b)
(c )
6.
Spec ia l
Uses
o r Lum ig r id
When
ak ing
pho tog raphs
f
i l l um ina ted ub jec t s
r
o f
sub jec t s o r
wh ich an
inc iden t
igh t
read ing
can -
no t
be m ade ,
he Lum ig r id
shou ld be
used
n
p lace
of the
Lumisphere .
See
5-4-1 fo r
genera l
inst ruc-
t ions , and
s tudy t he
p ic tu res
above . )
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5-5. Modern
Light ing
Contro l
The
Sekonic
studio Detuxe
a lows
f
ul l . l ight ing
contro l
and
is
therefore
the
most
eff icient
and
accurale
meter
for
indoor
movies.
Here
6re the
steps
recommended
o
arrange
a
studio
or
a
mot ion
picture
scene.
The
sa
me
general
procedure
may
be
fol lowed
or
st i l l
photography.
Requ i red
igh t ing :
F i lm Index ASA 16 (D tN 13 )
Lens
Diaphragm
t12.8
Shutter
Speed
LISO
second
Fra
mes
Z$-per-second
Step
1 -
F ind ing
gene ra l
igh t
in tens i t y
(a)
Set
Sekonic
Studio
Detuxe
o
ASA L6
(b)
Br ing
the
red
24
on
meter ' s
c ine
Scate n
l ine
with
t
12.8
on
the
Aperture
Sca
e
(c)
Locate
the
"L"
m ark.
The
corresponding
oot-
ca
nd le
read ing
shou ld
be s l igh i ly
over
5oo.
(650
foot-ca
n
dles
a
e
req
u
red
for
these
spe-
c i f ied cond i t ions) .
S tep
2 -Se t t ing
the key
(o r
m a in )
l i gh t
(a )
Swi tch
on
main
l igh t
and
d i rect
i t
as des i red
towards the subject .
(b)
Hold
he
meter
at
the
subject
posit ion
and
point
the
Lu
m
shere
at
the lens
o f
the
camera .
Do
not
use
a sl ide.
press
the
needre
ock
button
unt i l Step 3 .
(c)
Increase
or
decrease
he
in tens i ty
o f
the
main
l igh t
un t i l
the ind ica t ing
need le
po in ts
o
5oo.
(The
f i l l - in
igh ts ,
when
added,
w i l r ncrease
he
foo t -cand le
umber
to
the
requ i red
650. )
Step 3
"
Ad just ing
igh t ingcont rast
(a )
Rep lace
Lum isphe re
w i th Lum id isk .
(b )
Measure ntens i ty
f key
igh t . l t
shou ldmeasure
5OO
oot-ca
dles.
(c)
Switch
on
f i l l - in
l ights.
(d )
Ad just
he f i l l - in igh ts
or
proper
l igh t ing
con-
t rast
as exp la ined
n
5-2 . Back
igh tsw i l l
have
a negl ig ib leef ect on th s rat io.
Not e : For a 2 t o 1
ra t i o , f l l - i n l i gh t s
shou ld
reg i s t o r
an
in t ens i t y
o f 250 .
Step
4
-
Ad
ust ing
br igh tness a
nge
(a )
Rep lace um id isk
w i t h
Lum isphe re
(b)
Take
a foo t -cand le
ead ingwi th the Lumisphere
at subject
posit ion pointed
owards he
cam era.
The
read ing shou ld be
650
now
with
a l l
the
l igh ts on. l f
no t ,
vary
the
key
l igh t in tens i ty
un t i l
i t
does . Th is
shou ld equ i rea m in im um
of
a
d justment .
( c )
Turn
t tL "
mark to
650
foo t -cand les
and
read
out
the foo t -cand le
number cor respond ing
o
the
"H"
mark.
(See
5-4-2
for
explanat ion).
l t
w i l l read 20 , wh ich
is
the
mid-po in t
r igh tness
of
the subject .
Since a br ightness
ange of L6
to L
gives
he
best
results,
no
object should be
br igh ter
han 80
foo t -cand les
4x
the
mid-po in t
20)
or darker
than 5
(I l4
of
2O).
(d )
Rep laceLumisphere
wi th Lumigr id . Measure
l igh t
and dark a reas o f the sub ject o
be sure
none
of them is
br ighter th a
n
80 or
darker
t h a n 5 .
Step 5 - F ind ingcorrect exposure
(a)
The
read ing
obta , inedwi th the Lumisphere n
Step
4
(b) 'should
now
be complete ly
accurate.
I t
shou
d te l l
you
to
se t
your
ca
mera
at
t
12 .8
a t I l50 second.
36
37
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5-6. Close-ups
(1 )
Whenever
he
sub ject s
c loser
o the
camera than
ten t imes
the
foca l leng th
of the
camera lens,
he
exposure
ind ica ted
on the
Sekon ic
Stud io De luxe
m us t be inc reased .
Fo r
exam p le ,
a cam era
us ing
a
50
mm
lens must
increase
ts
exposure ime
for
any ob ject
c loser han
50O
mm.
Th is is becausea sub ject s increas ing lymagn i f ied
as i t
app roaches
he
lens
o f t he
cam era .
When
l igh t
f rom
the sub ject s
focused n to
an image
on
the
f i lm
through
the lens,
the fo l low ing
re ta t ion
ex is t s
be tween
i l l um ina t ion
on
the
f
lm ' s
face ,
br igh tness
of the
sub ject ,
and
magn i f ica t ion
f
the
sub ject .
W h e r e :
E
:
i l l u m i n a t i o n
f
f i l m
f a c e
L
:
br igh tness
of sub ject
M:
fn?gn i f i ca t ion
f
sub jec t
F
:
F
n u m b e r
r :
c i r cu la r
cons tan t
a
:
COnStan t
-
a . r L
1
4 'F2
(M
+
1)3
From th is fo rmu la
i t
w i l l
be seen that
when
there
i s
a
change
in
m agn i f i ca t ion ,
he
b r igh tness
i l -
l um ina t ion )
o f t he f i lm
face
changes
in inve rse
proportion
to
(M
*
t;2.
I n o the rwo rds ,
when
M is
sm a l l ,o r
when he
d is tance
f rom the
camera
to sub ject
s
grea t ,
the
e f fect on
the exposu re s
m in im a l .
However,as the distance from subject to object
decreases,
M
increases.
(M+1) ,
is
ca l led
he cor -
rect ion ndex fo r
c lose-ups.
See
3)
or
de termin ing
the va lue
o f M .
(2 )
Measur ing he
Inc ident
L igh t
(a)
Hold the
Sekonicmeter
as close o
the subject
as
poss ib le
and
po in t
the Lumisphere
owards
the
cam era
lens .
(3)
(b )
l f the
main
or f i l l - in
l igh ts
are
very
near
the
sub ject ,
he sub ject
shou ld
be removed
and
the
Lumisphere
he ld
in
the exact
spot
the
sub ject
w i l l
occupy.
The
l igh t s t r ik ing
the
sub jec t
w i l l
t hen be
the sam e
as t ha t
s t r i k ing
the
Lumisphere .
Exposure
correct ions
or
c lose-ups
(a) F i rs tdetermine xposure ' ,asxp la inedn 5-6-2 .
(b )
Measure
he
size
o f the
ob ject ,and
of
i ts mage
in t he
lens .
D iv ide
he
la rge r d im ens ion
n to t he sm a l le r .
You w i l l
thus
obta in
the magn i f ica t ion
( i f
the
image
is
la rger
than the
sub ject )
o r reduct ion
( i f
im age
s sm a l le r
han
the sub jec t ) .
Find
the
proper
correction
actor from
the
chart
on the
fo l low ing
page.
Mul t ip ly
h is cor rect ion
actor by
the exposure
t ime
ind ica ted
on
Your
meter.
(c)
(d )
(e)
: -#>.L-" .
. r t : r i , .
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2 0 :
1 9 :
1 8 :
t 7 :
t 6 :
t 5 :
1 4 :
1 3 :
1 2 :
l l :
l 0 :
9 :
8 :
7 :
6 :
5 :
4.5
:
4 :
3.5
:
3 :
2.75
:
2.5 :
' t ) \ .
2 :
1.75
1.5
:
1.25
1 :
*M;i.
4*4.e. .
Q
r . i .
4L
Reduct ion
I
fv f gn i f ica t ion
Ratio
of
Object
Correction
Rutio
of Object
Corre"t ion
l n l m a ^ ^ l E ^ ^ + ^ - r ^ l - ^ - - r - - t - - -
TABLE1: Exposure
orrection
or
Closeups
(Correction
actor
s
(M*l)z
where
M is
the
magnifi.
cat ion.)
5-7.
Sunl ight-Flash
Photography
The s imp lestand
qu ickest
methodof
accura te ly ba lanc-
ing
sun l igh t
w i t h
lash
s
o f f e red y
Sekon ic t ud io
De luxe .
Fo r he
f i r s t
t im e the sam e
bas icm e thod f l i gh tba lance
used by
pro fess iona l
tud io
photographers
s
app l ied
o
f lash
photography.
Th is method, the
most e f f ic ien t
et
dev ised ,accura te ly
cont ro ls con t rasts be tween
br i l l ian t
l i gh t and da rk shadows .
1 . De te rm ine
he in tens i t y
o f t he sun l igh tby
d i rec t ing
Lumisphere
rom the subject
pos i t ion
owards
the
sun .
Fo r exam p le ,
shou ld ead ingd i rec ted
owards
the sun
w i th
he
H IGHSl ide
nd ica te O0
oo t -cand les .
the
effective foot-candle
number
is 640O
(2OOx32).
2 .
Se lec ta
m a in t o f i l l - i n igh t
ra t io .
A
popu la r
one
i s
4 t o 1 ,
( i . e . ,
he f i l l - i n igh t
t o
have L l4 l igh t i n -
t ens i t yo f
t he
m a in
l igh t ) .
Wi th 6400
ef fect ive oo t -cand les, sed
n the
example
above,
the f i l l - ins
shou ld reg is te r
16O0
(640O+4)
foo t -ca d les.
3 .
Look
down the le f t
co lum no f t he f l ashbu tb
ha r t on
page
42-45.
Locate
160O. Read
across
to
learn
the
d is tance
he f lash
must be
he ld
rom the
sub ject
f o r
spec i fed
f
ashbu lbs
and shu t t e r speeds .
Fo r
a
Press
25 used
at
a shut te r speed
of L /1OO,
he
f lash
lamp
must
be
he ld22 712 oo t
f rom the
sub ject
fo r
the
proper
4 to L sun- to- f lash
at io .
4 .
Cam era
se t t ingsm ay
be
ob ta ined
y
us ing he l i gh t
v a l u e
o u n d
n
( 1 ) .
to lmage i Factor to lmage
-
Factor
t . t 0
t . 1 l
1 . 1 I
r . t 2
1 . 1 3
1 . 1 4
1 . 1 5
1 . 1 6
1 . 1 7
l . t 9
t . 2 l
1.24
1.27
1 .31
1.36
1.44
1.50
1.56
1.65
1.78
1.86
r .96
2.09
2.25
2.47
2.78
3.24
4.00
'
: l
:
1 .25
: 1 . 5 0
: 1.75
. 1
: 2.25
: 2.5
:
2.75
: 3
: 3. 5
: 4
:
4 .5
: 5
: 6
: 7
: 8
: 9
: 1 0
: 1 1
: 1 2
: 1 3
: 1 4
: 1 5
: 1 6
: 1 7
: 1 8
: 1 9
: 2 0
4
5
6
t .>
9
10.5
l 2
t 4
t 6
20
25
30
36
49
64
8 t
100
121
t44
169
196
225
2s6
289
324
36 1
400
44r
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TABLE
2:
Dis tanceof f lash
lamps f rom sub ject o r
cor -
rect f i l l - in
ra t ios
(Un i t :
Foot )
Note: The intens i ty of
l i gh t
of one
lamp at any d is tance
g iven
i n t h e t a b l e c a n
b e d u p l i c a t e d
b y
u s i n g ( a )
2 l a m p s a t
1 . 4 t i m e s
t h e
d i s t a n c e ,
( b )
3 l a m p s a t
I 3 / 4
t i m e s
t h e
d i s t a n c e ,
o r
( c )
4
l a m p s
a t t w i c e
t h e d i s t a n c e .
--la-6oo
13,000
10,000
9,000
6,500
5,000
4,000
3,200
2,500
2,000
1,600
1 .300
1,000
80 0
650
s00
1/100sec.
&
over
t7%
te%
22
25
28
3 t %
35
39
44
50
56
62%
70
79
88
l 2 l g . s o
I
vzsr.r.
/b0sec.
l4?::.r.
zrrur.
zuo..r.
|
8
| l 0 , f i r 4 I
e t 2 %
I
e
l r r% l r z% l ro
14 '
1 0
1 2 % l t 4
l r t % t t 6
t l t %
1 4
l 1 6 1 1 2 % 1 1 8
I
t 2 % l
1 6
I
l 8
|
r u
2 0 "
1 4
|
r S
l z 0 |
r 0
1 2 2 %
1 6
|
z o
l z z % |
r s
l z s ' -
1 8
1 2 2 % l 2 s l 2 0 l z s
2 0
|
2 s
|
2 8
1 2 2 %
3 2
2216,
28
1
32
I
2s
|
:O
2 s
l t z
3 6
2 8
4 0
2 8
I
r O
l + O l l z , 4 5
3 2
1 4 0 l 4 s 1 3 6
1 5 0
3 6 l 4 s I S O t 4 ( ) i S 6
4 0
|
5 0
l
S 0
|
q s
" 6 4
5
|
5 6
|
6 4
| 5 0 l 7
T A B L E :
tg,ggg-1:l-2,, tTI 2".
g%
7
l-af25=-V50
t/T0Gec.:
t/2s
t/so t/toosec.
l50sec.
I
sec.
sec. &
over_
i
sec.
sec. & over
| &
over
_
3
3%
6 , 0 0 0 4
l 5
s % l
s
6 % 7
|
3
3 , o o 0
4 % l s %
6 % ' 5 % t 7
8
|
Z N
0 , 0 0 0
s l 6 %
7
6 % 1 8
, 9 |
q
B , o o o
s % 1 7 , 8 l 7 l 9
1 1 0
I
q %
6 , 5 0 0
6 ) 4
1 8 L e l 8
l o
n %
l 5
< n n n 1 | o l l n I o 1 1 1 1 . / 1 1 1 / | < 1 . 1
J
l3,ooo
+%
|
5% 6%
1,
5%
t
7
"
8
l o , o o o
s
|
6 t 6
7
6 % l 8
9
s , 0 0 0 7
|
9
l t 0
I
9
I r t %
1 2 %
s %
4 , o o o 8 1 0 l l t % t l 0 t 1 2 % 1 4 | 6 %
3,200 9
, ,
t%
12% r r% t4
16
I
7
2 ,500
I0 t L t /
1
14 , , 12%
16
18
,500
I0
i
lL t /
114
12% 16
18
|
7%
2 ,ooo l t% 14
I
16
i t 4
18
20
|
8%
, ooo t t% t4
I
16
t t4
18
20
|
8%
1,600 12% 16
18
I
16 20 22%
|
9%
1,300
14
I
18
120
18
122% zs |
1 l
r ,ooo 16
20
122% 20
tzs
lzs I
t2%
s00 18
122%
2s
122%
28
132 1
13%
650
20
lzs
28
l2s
32
36
|
rs%
500
|
22%
128
132 128
,36
t40
|
t7 r
42
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8/17/2019 Posemètre Sekonic l-28c2
http://slidepdf.com/reader/full/posemetre-sekonic-l-28c2 26/26
6.
Taking
Care
of
Your
$ekonic
Studio
Detuxe
6-1
Tero Set t ing
Hold
he
meter
upr ight
nd
cover
he Lumisphere
i th
t h e
p a l m
o f
y o u r
h a n d
s o a s
t o s h u t o u t
a l l
t h e
l i g h t .
T h e i n d i c a t i n g
n e e d l e
s h o u l d
p o i n t
t o z e r o . l f t h e
ne -
ed le is s l igh t ly o f f , reset the need le to zero by s lowly
tu rn ing
w i th a co in
o r
pe r fo ra ted
s l i de
the sc rew
on
t h e
m e t e r ' s
n a m e p l a t e ,
o n t h e b a c k o f t h e m e t e r .
6 - 2 .
S i i d e
S Io t
U n d e r
v e r y
b r i g h t l i g h t i n g
c o n d i t i o n s
w h e n
t h e
s e k o n i c
m e t e r
i s
u s e d
w i t h o u t
a s l i d e ,
a
l i t t t e
l i g h t
may
e n t e r
th rough
t l r e
s l i de
s lo t .
Th i s
se ldom
e f fec t s
exposu re ,
bu t
fo r
t he
sake
of
h ighe r
f i de l i t y
i t i s
bes t
to shade
t h i s
s l o t w i t h
y o u r
h a n d .
6 - 3 .
O t h e r
P r e c a u t i o n s
You r
Sekon ic
s tud io
De luxe
s
a
h igh ly
accu ra te
a
nd
de f ca te
e lec t r i ca l
ns t rum en t .
Wi th
o rd ina ry
ca re
and
hand l ing ,
horr . rever ,
t
w i l l
g ive
long
re l iab te
serv ice .
Na tu ra l l y ,
t
shou ldn ' t
be opened
o r
taken
apa r t ,
and
s ince
t
isn ' t
shockproo f ,
he meter
shou ldn ' t
be d ropped
o r rough ly
hand led .
l t i s
im po r tan t
o
keep
he
Lum i -
sphe re
c lea
.
S l igh t sc ra t ches
n t he Lum isphe re
re
no t ha rm fu l
excep t ha t
t hey
co l lec t
d i r t
and
the re fo re
rn
ay s l ieh t ly
reduce l igh t
t ra
nsmiss ion
a
nd e f fect he
m e te r ' s
accu racy .
The
Lum isphe re
hou ld
be washed
lv i th
soap
and lukewarnr
water .
l t
may
ye l low
sl igh t ly
w i th ?g€,
bu t
th is
h
as
no e f ect on the
meter ' s
exposure
read ing .
The
H
GH
Sl ide m ay
be
ben t convex ly
o ha t
i t
w i l l f i t
the
meter t igh t ly .
Pro tect
our
Sekon icStud io
De luxe
rom ex t rem e
hea t
o r
hum id i t y .
Avo id keep ing
i t i n
yoL r r
a r ' s g love com par tm en t when the wea the r
i s
ho t .
6 -4 "
Se rv lce
Shou ld
you r
Sekon ic m e te r
requ i re
epa
r ,
re tu rn
t
t o
one
o f t he
o f f i c ia l
Sekon ic
Se rv ice
Sta t ions .
Fo r sh ip -
p ing ,
t shou ld be
packed
n
a co r ruga ted
ox w i th i t s
own
case a
nd
w i th
exce ls io r .
46