Zenith TTL User manual

Zenith TTL
Handbook
posted 12-10-'02
For reference use on many Chinon manual focus and metering cameras
This camera manual library is for reference and historical purposes, all rights reserved.
This page is copyright by , M. Butkus, N.J.
This page may not be sold or distributed without the expressed permission of the producer
I have no connection with Chinon Co., Japan
If you find this manual useful, how about a donation of $3 to:
M. Butkus, 29 Lake Ave., High Bridge, NJ 08829-1701
and send your E-mail address too so I can thank you.
Most other places would charge you $7.50 for a electronic copy
or $18.00 for a hard to read Xerox copy.
This will allow me to continue to buy new manuals and maintain these pages.
It'll make you feel better, won't it?
If you use Pay Pal, use the link below. Use the above address for a check, M.O. or cash.
https://www.PayPal.me/butkus
To main Camera manual site
Venmo is @mike-butkus-camera www.PayPal.me/butkus

Introduction
You can be justly proud that you have chosen the Zenith TTL*_ the latest and most advanced 35mm reflex
camera from the U.S.S.R. * Through-the-lens metering offers many advantages over other metering systems.
Close range pictures with the aid of bellows or extension tubes; using filters or teleconverters; taking pictures
with the aid of a microscope (photomicrography) -- all become easy and straightforward, since the meter cell
determines the amount of exposure required (and thus automatically compensates for same) by reading through
the accessory in use. This handbook has been systematically written and designed to take you through all the
operational and handling features of your new camera in easy stages.

Though many hints and tips towards better photography have been included, this handbook should in no way be
thought of as a comprehensive guide to general photographic techniques. There are numerous useful books of
this type available and if you are just taking your first shaky steps in photography it would certainly benefit you
to consult your local library or bookshop.
Your Zenith camera is sturdily built and will work happily under widely varying conditions. Do remember,
though, that it is a precision-built optical instrument and should therefore be handled carefully and protected
from violent shocks, damp, dust and sand and sudden changes of temperature. Take care of your camera and it
will give you years of reliable service and brilliant pictures. The wide range of accessories available,
particularly those from the U.S.S.R. which offer outstanding value-for-money, enable you to cope with almost
any photographic situation. You can build up as complete a system as you need at your own pace.
To get the best possible results from your Zenith, study this book thoroughly to make sure that you are
familiar with the essential features of the camera before you start taking pictures. Refer back to the book any
time there is something you are not sure of. Many operational features of this camera are unique and probably
somewhat different from other cameras you may have owned. It is therefore strongly recommended that after
carefully reading the instructions you shoot a 'test roll of film, have this film processed, and examine the
pictures before exposing additional rolls. This test roll will verify that you are using your new camera correctly
and allow you to make any necessary changes in camera operation. Additionally, it will confirm that all the
camera controls are functioning perfectly.
N. B. A policy of continual product development means that there may be minor differences in design or
specification between your camera and these instructions.
The illustration/description of equipment and accessories throughout this book is for information only and
should by no means be considered an offer of sale.
Contents
Specification p.2
Loading your camera p.3
Picture-taking technique p.7
Your TTL Meter and how to use it p.8
Exposure hints p.10
Setting camera and lens controls p.1 2
Choosing shutter speeds and apertures p.14
Viewing and focusing p.16
Depth of field p.18
Taking the picture p.21
Removing exposed film p.22
Taking flash pictures p.24
Using the self-timer p.26
Changing lenses p.28
Care of camera and accessories P.30
Trouble-shooting p.32
Taking better pictures p.34
Choosing lenses and accessories p.37
Specification
Format - 24 x36mm; using standard 35mm cassettes of 12,20, 24 or 36 exposure color or black and white film.
Shutter Horizontal traveling Focal Plane type, speeded 1/30, 1/60, 1/125, 1/250 and 1/500th second plus B
(brief time). Linked to self-timer giving approximately 7 seconds delay.

Flash Synchronization Electronic flash only at 1/30th sec. through a standard 3mm co-axial -- socket.
Viewing/Focusing system Eye-level pentaprism/instant return mirror shows upright laterally correct image.
Bright Fresnel focusing screen with central ground glass/microprism spot.
Exposure meter Built- in CdS cell with needle coincidence through viewfinder, calibrated for 6-500 ASA /l 3--
28 DIN. Power source Mallory or Ever Ready PX625 Battery.4www.butkus.o rg (Should be replaced once a year.)
Frame counter Additive 0--36 manual resetting type.4www.butkus.org
Standard Lens-Helios 44M 58mm focal length
Construction- 6 elements in 4 groups
Diaphragm type-Fully automatic instant re-open Optional manual over-ride
Aperture Range- f/2-f/16 with click stops at full and half apertures (except between f/11 and f/16)
Distance Scale-0.55-Infinity
Angle of View - 40degrees
Filter Size - 52mm screw 54mm push-on4www.butkus.org
Lens mount -'Universal' (42mm) thread accepts standard single pin automatic lenses and accessories
Loading your camera
Precautions:
(a) Your Zenith camera accepts any standard 35mm cassette, of color or black and white film.
(b) Always load the film in subdued lighting conditions, If outdoors, look for a shady area or shield the camera
from direct sunlight with your body or coat.
(c) Whenever possible avoid loading in a dusty place or at the seaside where strong salty wind is blowing.
(d) When loading take care not to touch the shutter blinds.
(e) Make sure Shutter Release has not been set in the '1 (or Time) Lock position. (See p.12)
Procedure:
1.Raise the Back Lock-catch (16) and swing the Camera
Back (27) open.4www.butkus. org
2. Before loading ensure rewind release mechanism has
been cleared. The Rewind Release Ring (4) must be
turned clockwise so that the three dots are fully lined up.
Turn Film Transport Lever (2) through a couple of short

strokes till no further movement is possible while
applying light finger pressure to the back Sprocket wheel
(24). The Sprocket should rotate in time with the lever
action and not 'free-wheel.
3.Push up the Cassette Retaining Spindle (21) from inside
the camera. Place the cassette into its chamber (22)
ensuring that the cassettes projecting end faces down.
Push Rewind Knob (18) back to its original position to
hold the cassette in place -- you may need to turn it
clockwise a little until it seats properly in the cassette
spool.
4. Draw out from the cassette enough film (about 3m) to
insert the leader into the Take-up Spool (26). The leader
can be inserted into any one of the spools slots. Ensure
that one perforation hole is caught by the Take-up Spool
tooth, also see that the Sprocket wheel (24) engages in a
p
erforation.
5. Make sure film cassette lies flat, then alternately depress Shutter Release Button (3) and turn film Transport
Lever (2) until perforations on both sides of film are engaged by the Sprocket Wheel (24). The film should also
be taut around the Take-up Spool-- turn bottom spool-flange with finger towards cassette position to take up
any slackness.
Note -- Film is advanced by sprocket drive, so it is most important for sprockets to engage film perforations
properly.
6. Complete film wind, if necessary, to its limit. Press Shutter Release Button (3) then close the Camera Back
(27). Firm pressure only is required as the back has a self-locking catch.
7. Take up any slackness of film within the cassette (especially important with shorter than 36 exposure lengths)
by slowly turning Rewind Knob (18) clockwise till slight resistance is felt.
8. Move Film Transport Lever (2) through two or more short strokes (letting it return to the starting position
after each stroke) until no further movement is possible, watching to see if the Film Rewind Knob (18) turns
while doing so. If the Rewind Knob turns it shows that the film is correctly loaded and moving properly through
the camera. If it doesn't turn, and you have taken up the slack as described in step 7, then the film may not be
securely attached to the Take- up spool or properly engaged by the Sprocket Wheels.

9. Now turn Frame Counter Dial (5) until the
number '0 shows against the Frame Counter
Index (29) and press the Shutter Release (3)
once
more.
• If you are not going to take
photographs immediately do not wind
on the film at this stage since it is
always best to leave the shutter in the
fired position, just in case the camera is
put away without being used for some
time.
10. If you are ready to take photographs, wind
Film Transport Lever (2) fully. .. and your first
film frame is in position, as shown by the
Frame Counter Index (29).
Notes
(a) Always make sure the Transport Lever (2) has been fully wound. This is easiest when you move this lever in
two short strokes. When the lever stops during the second stroke, you are assured that the cameras film, shutter
and frame-counter are all ready for exposure. Failure to wind the Transport Lever fully may result in a 'blank
exposure.4www.butkus.org
(b) To maintain accuracy in use, the Frame
Counter Dial (5) must be zeroed only after
winding the film/shutter. After this, every time
you wind on, the dial will come to rest with the
next division opposite the Counter Index (29).
The counter tells you how many frames (pictures)
you have taken and when it reaches 12, 20, 24 or
36 (depending on film in use), you will need to
rewind the film into its cassette and put in a new
film. Color film especially should not be left in
the camera for long periods and for the best
results should be processed as soon as possible
after exposure. Incidentally, do carry a spare film
-- nothing is more annoying than to run out of
film just before the best shot turn up!
Rewind knob should rotate anti-clockwise when
film is wound.
Picture Taking Technique:
Once the camera is loaded you have to consider three aspects of taking a picture -- exposure, focus and
composition. The first two of these are purely technical; the following sections, together with a little experience,
will soon enable you to handle your Zenith with sufficient enough ease to leave you free to concentrate on the
third aspect, composition, which is the artistic one.

Exposure:
Though sometimes thought to be photography's biggest problem, obtaining correct exposure is not really so
difficult thanks to the latitude of modern-day films. There are three governing factors: sensitivity to light of the
film (usually expressed as an ASA speed rating); shutter speed, which controls the amount of time the image is
allowed to affect the film; and the lens aperture, which controls the brightness of the image falling on the film.
It is recommended to use a minimum shutter speed of 1/125th second where possible, (certainly for the majority
of outdoor subjects). This speed is fast enough to prevent most 'blur due to camera or subject movement, yet is
slow enough to permit picture-taking in a wide variety of lighting conditions with today's sensitive films. If its
necessary to shoot at 1/60th or 1/30th second, hold the camera as steady as possible -- ideally by using a tripod,
or by bracing your arms on a nearby table or other support.4www.butkus.org
Your TTL Meter and how to use
Power Source
The camera is supplied complete with a battery (PX 625). To check that the battery is fitted, use a
small coin (half penny) to turn the battery compartment cover anti-clockwise for removal.
Ensure that the battery is fitted with the + sign facing you,
then re-fit the battery cover as follows. Holding the cover at
an angle to the camera (see illustration), insert the lug under
the rim at the top of the compartment and press the cover into
position so that the two spring clips engage in the cut-outs on
either side. The coin can then be used to turn the cover
clockwise until it locks.
Meter Check
The meter needle normally zeros (comes to rest) over the circle seen on the right-hand side of the viewfinder.
Before using the camera ensure the meter is working by setting the Film Speed Selector (17) at 500 ASA, the
Shutter Speed Dial (1)at 1/30th sec and the Aperture Ring (14) at f/2. Point the camera at any bright light source
and, while looking through the viewfinder, depress the Shutter Release Button (3). Continue depressing the
Release Button until it activates the meter switch which should deflect the meter needle upwards past the + sign.
If there is no deflection of the needle this indicates the probability of a dead battery. The meter should be
checked regularly in this way and batteries replaced at least once a year to ensure accuracy in use.
Using the Meter
1. Set Film Speed. The Film Speed Dial (17) has
2 scales of figures on it, one marked for films
rated at 16,32,65, 130, 250 and 500 ASA and the
other marked in DIN ratings of 13, 16, 19,22,25
and 28. Turn the selector until the speed number
for your film shows against the index marked on
the camera top. The dial is click-stopped and so
must be turned till it locks onto one of the
numbered or intermediate settings. Select the
number or setting nearest the speed of your film
2. Aim the camera at your subject. Bearing in
mind the subject matter of your photograph select
what you consider to be a suitable shutter speed.
Now, while looking through the viewfinder,
depress the Shutter Release Button (3) as
described in Meter Check procedure. This
activates a switch in the metering system which in
turn deflects the meter needle (either up or down
depending on the lighting conditions).

(e.g. foray 64ASA film set it to 65 on the ASA
scale, for a 25 ASA film set it to the click-stop
setting between 1 6 and 32 ASA.
3.Match the Needle. While continuing to depress
the Shutter Release slightly turn the Aperture
Ring (14) or the Shutter Speed Dial (1) until the
needle bisects the circle situated between the +
and -- signs on the right-hand side of the
viewfinder. When the needle bisects the circle
correct exposure is indicated. If the needle is
deflected towards the -- sign a slower
shutter speed or wider aperture is required, if
deflected towards the + sign a faster shutter speed
or smaller aperture is required. Should you find it
impossible to line-up the needle within the circle
this indicates that lighting conditions or film
speed need to be altered.4www.butkus.org
Helpful hints for better exposure Remember that your exposure meter measures all the light that reaches its
cell and 'averages out the brightness or contrast range before giving a reading. With subjects of average
contrast (e.g. scenes lit from the front, or at an angle from the side, where there are no heavy shadows and dark
and bright areas are fairly balanced) the right amount of exposure is indicated automatically. However, to obtain
the best results with subjects of widely varying brightness range it is wise to take some precautions.
• Take a close-up reading. If your main subject is much lighter than the background (e.g. a portrait of an
illuminated face against a darkened doorway, arch or foliage) or. . .if it is much darker than the
background (e.g. a person, boat or chalet set against a seascape or mountain scene directly lit by the sun)
move right up to your main subject until it fills the viewfinder. Note the exposure combination found
from this close-up reading and set your camera and lens controls accordingly before returning to the
original viewpoint to take the picture.
Take a substitute reading. Sometimes a close-up reading is not possible: if so, aim the camera at an
alternative subject of average contrast under the same lighting (the back of ones hand is a good example
or ideally a sheet of neutral gray card). Again, use an appropriate combination from this reading on the
camera and lens controls.
• An alternative to both the above is to close the aperture by 1 to 2 stops (f/no's) as compared with a
straightforward meter reading of the former subject and open the aperture by the same amount for the
latter subject. This method will prove more correct in most circumstances of this nature.
• Against the light, unless you're purposely striving after a silhouette effect, with your main subject very
deep in shade against full highlight detail, then you must open the lens aperture by at least one stop to
that indicated by an exposure meter reading.

• If using color slide film, avoid subjects with great brightness differences. Even a close-up reading of the
shadow areas often results in excessive exposure for the sunlit areas, which then appear too light and
burnt out when the slide is projected. A straightforward average brightness reading under conditions of
uniform frontal or side angled lighting yields slides of good color saturation which correspond most
closely to the natural color impression.
• In extremely dim lighting the exposure meter needle may rest near the circle situated between the + and
-- signs in the viewfinder, giving the impression that the camera is set correctly. It is therefore necessary
in poor lighting conditions to ensure that the meter needle does deflect away from the circle and comes
into alignment only when the Aperture Ring (14) and Shutter Speed Dial (1) have been moved and set
correctly.
Setting the Camera and Lens Controls
Shutter Speeds
Turn the Shutter Speed Dial (1) until the required speed aligns with the index mark on the body. Shutter speeds
may be selected before or after the Film Transport Lever (2) has been wound. However, the following points
must be observed to avoid mechanical damage.
(a) Always turn the Shutter Speed Dial tone of the marked speeds (30, 60, etc. that indicate fractions of a
second, or B, that indicates a hand-controlled time exposure) -- NEVER to a position between marked speeds;
and
(b) DO NOT TURN the Shutter Speed Dial the short distance between B and 500.
Long Exposure Times (Time Exposures)
Time exposures of one second duration or longer, enable you to take photographs in lighting conditions that
would be too poor for normal picture-taking, e.g. city streets at night or dimly lit interiors. To take a time
exposure with your Zenith set the Shutter Speed Dial (1) to 'B. At this setting the Shutter will remain open for
as long as the Shutter Release Button (3) is pressed down.
A sturdy tripod is really essential for this type of
work, though sometimes it is possible to find an
alternative firm support (a street bollard or church
p
ew, for example). A cable release, preferably the
locking type, is also recommended for extra
steadiness. If such a release is not available the
shutter can be kept open for extended periods, via
the "T" lock, simply by pressing the Release
Button (3) down firmly and turning at the same
time in an anti-clockwise direction (as seen from
top of camera) until it stops. 4www.butkus.org
The shutter will remain open for as long as desired and is closed on completion of exposure by pressing down
the Release Button once more and returning same, clockwise, to its normal position. To reduce the risk of
vibration it is recommended that a piece of black card (or even ones hat) be held in front of the lens as the
Release Button is pressed and turned -- the lens is then uncovered for the required time (using a stopwatch or
slow count) and then recovered to end the exposure while the Release Button is returned to its normal position.
Obviously this procedure only applies to long exposures of several seconds. Note: After using the "T" or Time
lock on the Release Button always make certain that the Release Button (3) is turned fully clockwise, that the

Rewind Release Ring (4) is still turned fully clockwise and the three dots are properly aligned. This will ensure
correct operation of shutter and exposure counter in subsequent pictures.
Your cameras Tripod Bush accepts a standard 1/4 in Whitworth screw. When fitting a tripod or other bush-
mounted accessory (e.g. flash bar) care should be taken to see that this is screwed in just finger-tight only (this
applies to the carrying-case retaining-screw also). If there is a safety locking -nut on the accessory, turn the
main screw up to three revolutions only, then hold it in position and lock into place with the safety nut.
Apertures:
The Hellos 44M,the standard lens supplied with
the Zenith TTL camera, is designed to be used in
Automatic or Manual mode. When the
Auto/Manual Switch (23) is set to 'A, the aperture
remains fully open for viewing and focusing and
closes down automatically to a pre-selected
f/number value when the Shutter Release Button
(3) is pressed down.
When the Auto/Manual Switch (23) is set to 'M, the aperture closes down immediately to whatever f/number
has been selected on the Aperture Ring (14). Thereafter apertures are changed manually by moving the
Aperture Ring into any of its 'click-stop positions. Normally the lens would be used in Automatic mode, in
which case the lens opening required (f/2, f/2.8, f/4, etc.) is selected by turning Aperture Ring (14) until that
f/number (or a position mid-way between marked lens opening if so indicated by meter needle movement in the
viewfinder) aligns with the Distance/Aperture Index Mark (10). As soon as pressure is taken off the Shutter
Release Button, the aperture automatically returns to its wide-open position.4www.butkus.org
Choosing shutter speeds and lens openings
Under given conditions of lighting and film sensitivity there are various combinations of shutter speed and
aperture that will produce good results, However, you will often need to select a particular a shutter speed or
aperture to suit your subject so how do you choose? For example, the suggested shutter speed of 1/125th
second, while fast enough to stop most normal subject movement, (people walking etc.) would not be enough to
freeze the really fast action of subjects such as children at play, sports events or racing cars -- here, speed of
1/250th or 1/500th second would be best.
Again, if taking a landscape type
p
icture, a small aperture of say
f/1 1 or f/1 6 would be needed to
obtain maximum sharpness (see
Depth of Field). Summarizing
then; with moving subjects,
choice of shutter speed is of
most importance, to stop the
motion use the fastest speed
p
ossible that lighting conditions
will allow; where you need your
subject to be sharp over a long
range from foreground to
background, then choosing a
small lens aperture is more
important.

It’s worth knowing too the relationship between shutter speed and aperture settings. These settings are so
designed that altering from one figure to another on either scale, will double or halve the amount of light
reaching the film. An aperture of f/5.6 is wider than, and will transmit twice as much light as, an aperture of f/8,
and at the same time is smaller than, and will transmit half as much light as, an aperture of f/4. Likewise a
shutter speed of 1/1 25th second is slower than, and will transmit twice as much light as, a speed of 1/250th and
is at the same time faster than, and will transmit half the amount of light as, a speed of 1/60th second. Thus if
you start from a given combination, say 1/1 25th at f/8, and you decide that a shutter speed of 1/250th would be
better for the subject and you want to finish up with the same amount of exposure, you will need to compensate
for the fact that only half the necessary light is reaching the film by opening the aperture one division to f/5.6. If
you had decided that 1/500th were the best speed you would need to open the aperture by two divisions (from
f/8 to f/4) since 1/500th is two divisions up from, or four times the speed of, 1/1 25th second. Remember though
that all combinations of shutter, speed and aperture are a compromise. There is really no 'correct exposure for
any subject, it all depends on the effect you want.
Viewing and focusing
First, make sure your lens is securely attached to the camera by turning it clockwise until no further movement
is possible.
Look through the viewfinder eyepiece (32) and
you can feel safe in the knowledge that there'll be
no parallax problems (no more cut-off heads in
close-up portraits and the like) as you are viewing
and focusing, by means of a ground-glass screen,
through the actual lens that takes the finished
p
icture. There is a built-in safety margin of
course, in common with many other modern
single lens reflex cameras, the viewfinder
showing an overall area somewhat smaller than
the total film area. This ensures that everything
y
ou see in the viewfinder appears in the finished
p
icture despite the fact that slide mounts and
masks in printing equipment actually cover part o
f
the films image.
Focusing should always be carried out with the aperture wide open, unless of course you want to preview
'depth-of-field, so follow the previous instructions concerning aperture operation. With the camera held to your
eye turn the Focusing Ring (11) towards the right for close distances or towards the left for far distances, until
the subject is sharp and clear on the large ground-glass screen. The Zenith TTL camera has in addition in the
center of its screen, two aids for speedier critical focusing, a microprism spot which is composed of literally
hundreds of tiny prisms that distort and accentuate an out-of-focus image. Simply focus the lens until you obtain
a single undistorted image at the center and you are at the point of sharpest focus. This microprism works well

for the majority of subjects and conditions but for subjects lacking in contrast or color the fine ground-glass
collar around the central spot is probably more helpful -- its quite handy when using long telephoto and wide
angle lenses too. (Aim your camera at this instruction book from about 2 feet away and you'll see how these
focusing aids work). You can of course also use the Distance Scale (12) of your lens, which is calibrated in
meters, to set the focus. Generally there's no need to check distance, its almost always easier to use the
viewfinder the only time it becomes necessary is when taking flash pictures (see p.24) or when 'depth-of-field is
important.4www.butkus.org
• The Red 'R" just to the right of the Distance Indicator (10) on the Helios44M shows the correction
required for infra-red films. When using infra-red films, first focus in the normal manner, and note the
indicated distance. Then move the Focusing Ring (11) so that that distance is now aligned with the Red
'R. Remember-- this is needed only when using infra-red films which are sensitive to light rays which
focus at a slightly different plane than ordinary light rays.
• "A 16mm diameter prescription lens can be inserted into the Viewfinder Eyepiece (32) and held in place
by Retaining Ring (31). Spectacle wearers may find this helpful for critical work. On certain E/EM
models the detachable Retaining Ring (31) has been replaced by an optional 'slip-on holder. If difficulty
is experienced in obtaining either of these accessories we recommend you contact Visual Aids, East
Street, Bromley, Kent, BR1 1QX.
Depth-of-field
All photographic lenses, when focused on a given subject, will show some objects in front of and behind that
subject more or less sharply. This 'range of extra sharpness is called "depth-of-field" and varies with different
lenses; its greatest with wide angle lenses, and least with telephoto lenses. With any lens, you'll find your depth-
of-field is always greater (more things in focus) at small lens apertures such as f/11 or f/16 and lesser (fewer
things in focus) at larger lens apertures such as f/3.5, f/2.8 or f/2. Depth-of-field is also greater in cases of more
distant subjects than it is with close-up subjects and increases nearly twice as much beyond the subject, your
main point of focus, than it does in front of the subject (towards the camera).
If your picture is such that you want both nearby and distant objects to be in sharp focus then generally the
smallest possible aperture should be used. However, the aesthetic quality of a picture can often be improved by
having the principal subject in sharp focus while other objects in the scene are soft and out-of-focus. Here a
larger aperture is necessary to produce the "differential focus" that de-emphasizes distracting background and/or
foreground detail and thus isolates, and concentrates your viewers attention on, the principal subject.
You may want to preview depth-of-field prior to exposure. This can be done in two ways, first by pressing the
Shutter Release Button (3) smoothly until it reaches the definite stopping point, just before firing the shutter.
This closes the aperture down to its pre-set value and enables you to get an idea (despite the dimness) of what
will or will not be sharp -- the final photograph will be at least as sharp if not sharper than the viewfinder image.

The second method is to turn the Auto/Manual Switch (23) to the "M" position which has the effect of manually
closing the aperture down to the selected lens opening --this is probably easier to master than the first method
but you must remember to return the Switch after use to the "A" position ready for normal operation.
Using the depth-of-field scale (13)
The scale consists of the aperture numbers repeated each side of the Distance Index (10) and shows, at any
given focus distance, the nearest limits and furthest limits of acceptable sharpness. Taking the Helios 44M lens
as an example, if this is focused at 4 meters, the depth-of-field stretches from 3 meters to 6 meters at an aperture
of f/5.6 while at an aperture of f/16 objects from 2 meters to infinity (oo) will be acceptably sharp in the final
picture. Note: For the sake of reading clarity some figures are omitted from the scale; however, its a simple
matter to 'fill in those missing if you remember they follow the aperture sequence exactly, with those
proceeding left from the index (10) showing the near limits of sharpness, and those proceeding right showing
the far limits.
Now for some practical examples
(a) You're taking a landscape view where you want everything needle-sharp from the foreground all the way to
the background. Easy you say, close the aperture right down to f/1 6-- the snag is that the sky has clouded over
and the light is too poor to use this aperture at a reasonable shutter speed. The remedy -- obtain the maximum
depth-of-field required with the minimum of 'stopping-down (decreasing aperture size). Focus through the
viewfinder on the closest object and note the distance (say 3m) registered against the Index (10), then focus on
the most distant part of your subject and note this distance (say 10m) also. Now look at your lens and move the
Focusing Ring (11) until both distances appear just between an identical pair of aperture numbers (f/8, in above
example), on the Depth-of-Field scale (13). Set the lens to the aperture thus found, use your exposure meter to
determine the correct shutter speed for an exposure at this aperture, then set this speed on the Shutter Speed Dial
(1). Everything between the two distances (3 to 10 meters) shown by the matching aperture numbers (f/8) on the
Depth-of- Field scale (13) will appear sharp in the final photograph. (b) If you need absolute maximum depth-
of-field at any given aperture focus on the 'hyper focal distance. This is found by aligning the infinity mark (00)
against the Distance Index (10). The distance then found to be aligning with the near limit of depth-of-field for
the aperture required will be the 'hyper focal distance. If the lens is now refocused so that this distance aligns
with the Index (10) everything will be sharp from half the distance to infinity.
(c) To obtain a "differential focus" effect, determine the closest and most distant parts of your subject as
described in example (a) above, then refocus the lens so that the distance of the important part of your subject
aligns with, or is near to, either the near or far limits (according to whether you want foreground or background
out-of-focus) on the Depth-of-field scale (13) when using a largish aperture, say f/4. Set lens and camera
controls as necessary and you'll be assured of obtaining a picture of high subject impact.

H
ere we can see that the 10 meter focus setting is
in fact the hyper focal distance for an aperture of
f
/8 which gives us the maximum depth- of-field
p
ossible from that lens, extending from half that
distance (5 meters) to infinity.4www.butkus.org
Taking the picture
Poor first-time results are largely attributable to camera shake, so its very important to hold the camera steady
using both hands. You will probably find it most convenient to grip the camera firmly with your right hand and
fire the Shutter Release Button with your right fore-finger. This way your left hand can easily turn the Focusing
Ring and give extra support at the same time. Always press the Shutter Release Button downwards smoothly
and firmly-- NEVER jab at it.
N
ote the extra support the le
f
t hand
g
ives and the "correct" finger position for smooth release of
s
hutter.
For each Successive Exposure. . . just move the Transport Lever until fully wound and you're ready for your
next shot. If lighting conditions have not changed it is only necessary to frame the subject, focus and fire the
shutter. If taking a photograph in a slightly different direction or if the sun clouds over, take a further meter
reading and make any adjustments to camera and lens controls that might become necessary before firing the
shutter.
Note: Keep an eye on the Frame Counter (5). When this registers a figure indicating that the entire length of
film has been exposed, or if the Film Transport Lever cannot be turned, it is time to rewind the film into its
cassette ready for processing. DO NOT try to get an extra exposure -- if the Transport Lever is wound forcibly
the film may be damaged and disengage from the cassette making it impossible to rewind.

Removing exposed film
(1) Before attempting to rewind a film put the cap, supplied with your camera, back on the lens. This is simply a
precautionary measure to prevent any portion of the last frame being exposed to light, since the Rewind Release
has the effect of firing the shutter even if, as sometimes happens, the Transport Lever is only partly wound
when the end of the film has been reached.
(2) Releasing the film for rewinding. The Zenith TTL has a locking device which permits rewinding without
constant application of pressure.
To engage it first press the Shutter Release Button (3) then turn the Rewind Release Ring (4) fully anti-
clockwise. Make sure the Ring is turned until no further movement is possible and you'll then be able to rewind
the whole film quite freely.
(3) Rewinding. To rewind the film it is necessary to lift the crank handle out of its recess and into the position
as indicated below. The Rewind Knob (18) should be gripped firmly by the crank and rotated in a clockwise
direction (as indicated by the engraved arrow). While resistance is felt you are rewinding the film back into the
cassette (the knob will turn freely without resistance when the film has been fully rewound).4www.butkus.or g
(4) Having rewound the film, remove the camera from its case, raise the Back Catch (16) and swing the Camera
Back (27) open. Pull the Rewind Knob (18) upwards fully and take the cassette of exposed film out of its
Chamber (22). Your film is now ready for processing.
(5) The camera can now be reloaded (after observing precautions on p.3). If you don't want to reload till a later
date return the Rewind Knob to its 'closed position.
Taking flash pictures
When the light is poor some form of auxiliary lighting will be required. This is why your Zenith has a built- in
synchronizer which enables you to use an electronic flashgun. This can be one of the simpler battery powered,
medium-range guns like the Helios 32 (detailed on p.44) or the more advanced type which can be powered by
mains supply or batteries and often have a built-in minicomputer which automatically regulates the duration of
the flash according to the subject distance. We recommend you to consult your Zenith camera dealer for advice
on the best type of gun to suit your needs -- here we can only give guidance on the procedure and technique of
flash photography.
1. The Shutter Speed Dial (1) must be set at 1/30th second when using
electronic flash.
• The shutter will not synchronize correctly (i.e. will not open at the
time the flash is at its brightest) if the wrong setting or any other
shutter speed is used.

2. Small light weight flash guns may be safely clipped into the Accessory
Shoe (19) on top of the camera. Some electronic guns being heavier may
need a separate mounting bracket or 'flash bar which screws into the
Tripod Bush (25) at the bottom of the camera.
3. Plug your flash gun lead into the Flash Synchronization Socket (7) making sure its tip is pushed in firmly.
• The short burst of light from a flash is too brief to be measured under normal circumstances, so exposure
for flash photography is governed by the sensitivity or speed rating of the film in use, light output or
power of the gun and its distance from the subject. This is why most modern flashguns have calculator
dials or scales on them which indicate the correct aperture according to film speed and distance.
Obviously the type of calculator dial or scale will vary with each make of gun, so consult the instruction book
supplied with your unit, or your dealer for exact information -- the general operating rule however is.,.
4. Look through the viewfinder and focus on your subject. You can then find from the calculator dial! scale the
correct lens opening for the actual camera-to-subject distance that is shown by your lens' Distance Scale
(12).The Aperture Ring (14) must then be set accordingly.
• Do not press down on Shutter Release Button (3) unless actually taking a flash picture since this will fire
the flash even if the Transport Lever (2) has not been wound. However, there will be no loss of film
should this happen.
• If the flash unit does not fire when you press the Shutter Release Button (3) make sure that the lead is
securely plugged into the Flash Synchronization Socket (7) and check that unit is switched on.
•
• Using the self timer:
Your Zenith camera has a built-in self timer that trips the shutter after at least a 7 second delay thus
enabling you to get into the picture yourself. Here is how to use it...
1.Support the camera on something firm, a tripod is best, but any stable surface such as a nearby table or
shelf will do.
2. All main controls are set as normal, i.e. Wind Film Transport Lever (2) then frame and focus on the
general subject area. Select the required shutter speed and close the lens opening down to the required
aperture (having first set the lens Auto/Manual switch (23) to the "M" position).

3. Turn the Self-Timer Lever (9) downwards in
an anticlockwise motion until no further
movement is possible. (As you move this Lever
on the camera you'll see an "M" sticker beneath it
which is there simply to remind you to set the
lens to the Manual position as previously
mentioned.)
•
4.Now press the Self-Timer Release Button (8) and move into the picture area as quickly as possible.
The Lever (9) will slowly return to its normal position releasing the shutter automatically during its
travel.
o Make sure the Self-Timer has been fully wound before pressing the Release Button (8) as
otherwise the shutter will not operate. (If this happens just move the Self-Timer Lever
downwards again -- fully this time! -- and press the Timer Release Button again.
o If you decide not to use the Self-Timer after moving the lever down, simply take your next
picture by pressing the Shutter Release Button (3)
as normal. Then before winding Film Transport Lever (2) press the Timer Release Button (8) and
the timer will return to normal position. NEVER leave the self-timer lever in the 'wound position
for extended periods.
o An extra tip: if the shutter speed is set at "B" and the self-timer mechanism is used you will
obtain a time exposure of between 1 and 5 seconds. The actual time of exposure will vary from
camera to camera, so we suggest you determine the time for your particular camera, as it may
well come in handy to know when taking pictures in dimly lit conditions.
o If required, the Self-Timer can also be used in conjunction with a flashgun observing of course
the previous notes on flash photography.
• Changing lenses:
Your Zenith TTL camera is fitted with a Universal 42mm thread mount. A range of 42mm mount auto-
diaphragm lenses, designed primarily for the Zenith, is available from your dealer. You are also able to
choose from literally hundreds of lenses made both by other camera manufacturers and independent lens
makers.4www.butkus.org

To remove the lens just grip the whole barrel firmly and give
it about three turns to the left (anti-clockwise). To attach a
lens simply screw it firmly into the cameras mount in a
clockwise direction; when it stops, give it a slight extra twist
to ensure that it is securely attached. Note -- when refitting
lenses with an auto-manual control, such as the standards
lens fitted on the Zenith TTL, make certain that the lens is set
to the 'A position before taking further photographs. This
ensures that you will be able to frame and focus easily.
o Thread mount lenses, particularly those of different manufacture
to the camera, may sometimes fit with the aperture and distance
scales slightly to the right or left of the center position. This
does not indicate any defect in your camera or lens and in no
way affects the camera/lens operation.
o Take care not to expose your cameras interior to dust, dirt or
moisture when the lens has been removed. Always replace the
lens in the body as soon as possible (or use a body cap
obtainable from your dealer). When removing or storing lenses,
protect them from accidental damage by placing them face
down and if possible, attaching a rear lens cap (again obtainable
from your dealer but usually included with accessory lenses).
This latter point is particularly important with lenses having an
automatic aperture mechanism since you should always avoid
putting undue pressure on the metal control pin at the rear.
o Only standard Automatic Lenses with a single pin operating the
aperture mechanism can be used with the Zenith TTL. Lenses
designed specifically for use with more advanced methods of
electrically or mechanically coupled automatic systems, which
have extra keying levers on the mounting flange, should not be
used (see illustration).
o All modern high-quality lenses such as that fitted to your Zenith camera are made from special
grades of optical glass. During the manufacturing process small bubbles almost inevitably occur
within the glass, but these have no adverse effect whatsoever on the functioning of the composite
photographic lens.
Caring for your camera and accessories
Your Zenith is a ruggedly-built camera designed to provide many years of dependable performance. If
you want the longest service and best performance, always treat your camera and accessories as you
would any precision instrument -- with care and respect!
o First and foremost keep them clean! Your camera should be kept in its carrying case whenever
possible. The case is designed to permit all operating functions, except loading/unloading, to be
performed while the camera is inside. It will help protect your camera and lens from dust, dirt,
moisture and light knocks against hard surfaces-- the natural enemies of all cameras.

The Zenith TTL camera can be carried outside its case if preferred (your dealer can supply an accessory
neck strap which attaches to the body eyelets (6) and (15), but if it is; take extra care to guard it against
bumps and jolts. Remember too that on the beach, sand and sea-spray somehow seem to get everywhere;
even a closed carrying case needs extra protection.
The lens in particular, which can be quite easily scratched, should be protected at all times an Ultra-
Violet filter is very good here since it needs no exposure correction and can therefore be kept on the lens
almost permanently as protection against dust and the weather.
o When cleaning becomes necessary as it almost inevitably will with outdoor use, any accumulated
dust in the camera body can be lightly brushed away with a soft brush, or preferably blower-
brush. Exterior metal parts can be cleaned with a soft clean cloth moistened with ether or
absolute alcohol.
NEVER touch the lens or mirror surfaces with the hands. Fingerprints diminish optical
efficiency and due to natural skin acidity may in time damage the delicate optical coating of the
lens and surface silvering of the mirror--silvering of themirror-only an air blower (bulb type or
similar) should be used for removal of dust. Any stubborn traces of dirt or condensation left on
the lens after this can be removed by lightly wiping over the surface with a clean soft piece of
lint-free fabric or cotton (or a pad of surgical cotton-wool on the end of a matchstick) that has
been dampened with absolute alcohol, ether or other spirit mixture; any smears can be removed
with a dry soft cloth. NO ATTEMPT should be made to clean the mirror or viewing screen by
wet means - air cleaning only is allowed and this is usually best left to a specialist.
o Protect your camera from extremes of heat, or humidity. Never leave it inside the glove
compartment or boot of a car - on a hot day temperatures of 100°C can build up - and most
important NEVER leave your camera out in the open sun. Heat is bad for the film and camera
lubricants and the lens acts as a burning -glass causing damage to the camera's interior.
o Storage - If your camera is likely to be left unused for some time (several days or more) always
make sure the shutter and self-timer mechanism are released first. When wound, these
mechanisms are under strong spring tension; by releasing them you eliminate the tension and
avoid any undue strain. Keep the camera enclosed in its carrying case with the lens cap on too.
Do not store in humid conditions unless a suitable drying agent, such as silica gel in a sealed
container, is placed alongside it. If you do not use your camera regularly, and especially before
going on holiday or an important occasion such as a wedding etc., we recommend that you run
off a test film making sure that all variable settings including the self -timer mechanism are used.

Trouble shooting
Your Zenith camera is designed to give you thousands of pleasurable photographs. Like any precision
instrument, your cameras controls must be operated correctly for best results. Should you
If this happens..... Here is why.... And how to correct it....
Prior to loading Film
Sprockets (24) free-
wheel and don not turn
when Transport lever (2)
is turned.
Rewind Release Ring (4) not turned
fully to the right (clockwise).
Turn Rewind Release Ring completely
to the right until no further movement
is possible.
After loading Frame
Counter (5) skips two or
more numbers after
being set to '0' position.
Film Transporter Lever (2) not fully
wound before counter is set to '0'
position.
Advance Transport Lever fully before
setting counter to '0'
Frame Counter (5)
'skips" counting
incorrectly
See-above-or Counter set before
Transport Lever was wound
See above-always wind Transport
Lever before setting counter.
Shutter Release Button
(3) does not trip shutter.
Film Transport Lever (2) not fully
wound.
Always operate Transport Lever in two
strokes. It will stop mid-way during
the second stroke assuring you that
shutter is completely wound.
Film Transport Lever (2)
does not stop after two
or more strokes.
Rewind Release (4) not turned fully
clockwise so that three dots are lined
up. Shutter Release Button (3) not
turned fully clockwise (to the right).
Turn Rewind Release Ring and Shutter
Release Button completely to the right,
until no further movement is possible.
Self -Timer does not trip
shutter.
Self-Timer Lever (9) not fully
wound. Transport Lever (2) not
wound.
Wind Self-Timer fully until lever
points downwards with no further
movement possible Always ensure
Transport Lever is fully wound before
setting Self-Timer Lever.
Lens does not close
down to indicated
aperture when Self-
Timer is used.
Auto/Manual Switch (23) on lens not
set on 'M'
Move Auto/Manual Switch to 'M'
whenever Self-Timer is used.
If anything should go wrong with your Zenith and the preceding chart has not got you out of trouble,
NEVER attempt to mend it yourself--you could turn a minor adjust men into an expensive repair.
Remember that your Zenith and its accessories are backed up by top-class service facilities where
factory-trained specialists are available to put things right, quickly and inexpensively.