PROMINENT

Instructions for use

Nr. 3167 / 233 eng\.
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7

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Introduction Fig.1 The Voigtlander Prominent

The designer of the 'Prominent' Camera has, for the first
time, combined in this model all those features which make it
an instrument of the greatest precision and at the same t.ime
quick and easy to use. The ownership of such a masterpiece
is a distinction in itself a distinction which, however, carries
with it responsibilities! Before you thoughtlessly twist the
knobs and press the levers of your new Prominent, read this
booklet which will make you conversant with the various mo-
vements necessary for the correct handling of the camera.
When you realize how each part of the apparently complicated
mechanism is designed to make work with the camera easier,
then you will have taken the first step towards becoming a
'Prominent' amateur.
3
 Opening and
shutting the
camera
4
When opening, the
Prominent should
be held with the
body either vertical
or tilted slightly
downwards. Press
the button 4 (fig. 2)
on the left hand
side of the camera,
the base-board will
Fig.2 Opening the camera then open and the
lens carrier auto-
matically moves forward to the correct position by the spring.
Olle single movement is thus enough to make the camera ready
for an exposure.
The closing of the camera is also the matter of a moment.
The lever 7 (fig. 3) is pressed by the right-hand thumb and the
lens carrier pushed
back as far as it Fig.3 Pushing home the lens carrier
will go. The strut
is automatically re-
leased and the base-
board can be shut
without a further
movement (fig. 4).
The new folding
lens carrier re-
mains firmly on the
base - board when
the camera is shut,
so that damage
need not be feared.
4
 Focussing with
the coupled
range finder
The difficult and
lengthy process of
focussing becomes
a pleasure with
the Prominent. The
amateur is no lon-
ger left to the
uncertainties of
guessing the
distance from the
camera to the Fig.4 Closing the base-board
object, because the '
focussing knob 6 (fig. 1) is couplecl with and operates the optical
range finder, thus automatically excluding any possibility of
mistake. The mounting of the focussing knob on the side of the
camera body (fig. 5) is in itself a completely new departure in
camera design. This novel construction makes it possible to
focus whilst the camera is still closed, and then, at the correct
moment the base -board release button is pressed, the lens
standard slides out
to the correct Fig. 5 Turning the focussing knob
position and all is
ready for the expo-
sure. On the edge
of the focussing
knob the distances
from three feet
to infinity ( co) are
engraved. The
camera, is focussed
on the distance
which is opposite
the pointer on the
camera body(fig.5).
5
The range finder is built into the top part of the camera. In
figure 1 the two prism mounts with the lens windows 2 can be
seen on the right and left-hand sides of the camera, and-in the
middle the diopter 1 which is pulled out for use. 'fhe optical
construction and the paths of the rays are shown in figure 6. It
is obvious that an instrument of snch precision must be handled

Fig. 6 The Range Finder

with care and consideration if it is to continue working perfectly.

If you look through the extended ocular tube (fig.7) you will see
an enlarged circular section of the middle of the picture which is
cut ill half by a horizontal line. The lower half moves in con-
junction with the focussing mount so that the two halves of the
picture appear divided. If you wish to focus on a nearer or
more distant object, the range finder is directed on the most
important part "f the object, e. g. in figure 6a the wall of the
6
house.It is now very
simple to turn the
focussing knob until
the top and bottom
hal ves of the pic-
ture coincide with
one another, as in
figure 6b. As soon
as this is the case,
the camera is auto-
matically, and with
great exactitude,
focussed on the
point in question. Fig.7 Pocussing with the range finder

Depth of Focus
The Heliar F/4.51ens is a Yoigtlancler Anastig'mat of world-
wide repute which, of course, gives an absolutely sharp image
on the film of every object in the focussing plane. All the
objects to be included in the picture are, however, seldom in
the same plane. If it is necessary that both near and distant
objects are sharply defined on the film at the same time, we
need 'Depth of Focus' which and this is true for any lens
can only be achieved by 'stopping down'
For this reason there is the Iris diaphragm which is con-
trolled by the lever 21 (fig. 8) moving over the aperture scale
which is beneath the lens on the Compur Shntter. The smaller
the conesponding number the larger the aperture and, for the
sake of simplicity, the numbers are so chosen that t,he next
smaller aperture always requires double the exposure of the
one immediately preceding it, Thus the smaller the aperture
the greater the 'depth of focus' and exposure necessary, from
this it will be seen that the amount which you can stop down
is controlled to some extent by the length of the exposure
which can be given.
7
 The right combination of stop and exposure rests with the
photographer and must be so chosen that if possible, all im-
portant parts of the picture, particularly those nearer the
camera, come in the sharp zone. The solution of this problem
is facilitated by the 'Depth of Focus' table on the back of the
camera, which is arranged on a system of coordinates. In the
left-hand vertical column are the distances in feet, and in the
top horizontal column the aperture values. If you now move
along the horizontal column opposite a particular distance till
you come to the division under a certain aperture value, the
figures found here represent the zone in which all objects will
be reproduced sharply if the camera is focussed on the distance
and the lens stopped clown to the aperture in question.
For measuring the depth of focus necessary for any parti-
cular picture, you should first direct the range finder on the
nearest object which must appear sharp in your picture, and
secondly on the object farthest away The distance is, in each
case, read off the focussing knob. If, for instance, the reading
for the nearest object is 10 feet and for the farthest 16 feet,
the depth of focus must extend from 10 to 16 feet. By looking
in the table you will find that a 'Depth of Focus' extending
from 9' 6" to 16' is achieved by focussing on 12 feet and
stopping down to FIB . This would be the correct combination
of aperture value and focus for the above example.

"Close-ups" w ith the Focar lens

The nearest distance at which you can normally focus with
the Prominent is 3,5 feet. If you wish to get still nearer to the
subject, thus increasing the scale of the picture, you need do
nothing more than push a Portrait or Wide-angle Focal' lens
on to the front cell of the Heliar. The Portrait Focal' is for
Portraits and still life pictures between 20" and 40" from
the lens of the camera, whilst with the Wide-angle Focal' lens l
pictures of plants, insects, and other small objects on an even
greater scale (from 13" to 20" from the lens) can be made.
8
 When using the Focal' lenses, the exposure is the same as
would be nOl]nally used. The focal length of the lens is
slightly shortened and thus without lengthening the exten-
sion the following close-ups are possible.
Portrait Wide-angle
Focar lens No. 52 Focar lens No. 30
For HeHar F/4.5 in Prominent For Reliar F/4.5 in Prominent
Camera Camera
./<'ocussing Objects are Focussing Objects are
on obtained sharp at on obtained sharp at
Q;I 40 11 ex> 20"
50' 37" 50' 19"
25' 35" 25' 181/2"
12' 31" 12' 173/<,'
8' 28" 8' 161/:211
6' 20 '1 6' 153/,"
5' 23 11 5' Hi"
4' 211/2" 4' 133/,"
3,5' 20" 3,5' 13"
The Portrait Focal' lens can be used at full aperture (F/4.5)
for portraits. When using the Wide-angle Focal' lens it is
however advisable to stop down a little, primarily on account
of the "Depth of Focus" The distance meter should not, of
course, be used on objects so close to the camera, and it is best
to use a measure starting from the Iris diaphragm as the di-
stances must be exact. Close-up Portraits are best taken about
three-quarters full face so that the perspective is more natural.
Compur Shutter with delayed-action (fig. 8)
The shutter is surrounded by the revolving ring 23 on which.
the letter T (long time exposure), B (short time exposure), and
the instantaneous exposures from 1 to .1/250 th sec. are engraved.
The instantaneous speeds are not engraved as fractions, but.
as whole numbers so that they are easier to read.
Instantaneous exposures. By turning the ring 23, the
required speecl is brought opposite the pointer above the fo-
cussing scale. The speeds from 1 to l/1oo th sec. are all on the
same cam so that the shutter can be set between any two
9
numbers for speeds such as l/7s th which is between l/soth and
l/lOoth sec. The shutter must not, however, be set between l/lOoth
and the highest speed nor between Band 1 sec. The shutter
is set by pressing the level' 18 to the right (seen from the front)
as far as it will go. In the ordinary way it does not matter
whether you set the speed or the tension first. It is better,
however, when using the highest speed to set the ring before
the shutter is tensioned, as setting the ring to this speed after
the shutter has been tensioned is rather difficult. The shutter
can be released either by pressing the lever 20 or the wire
release screwed into the nipple 19.
Time Exposures. The shutter must not be tensioned for
time exposures, the tensioning lever 18 is locked when the
ring is set to T and B, and if it is forced the shutter will be
damaged. If the letter B is over the index the shutter will
open when pressure is exerted on the wire release or the lever
20 and remains open as long as the pressure is continued. If
you wish to expose, for instance, three seconds, you should
count as follows, "One little second, Two little seconds, Three
little seconds" At "one" press the release and at the end of
"Three little seconds" relieve the pressure.
If the letter '1' is over the pointer, the shutter is opened
by the first movement of the lever or wire release, and it
shut by a second
_A:!2:-------22 pressure on either
of these. This
position is used for
exposures that will
last for minutes
23 (for example, night
pictures) and when
working with flash·
light.
Delayed· action
device. If you wish
to take a photo of
yourself,the shutter
Fig. 8 The Compur Shutter should first be set
10
and tensioned as above, then the knob 22 on the top of the shutter
should be pushed in the direction of the engraved arrow when
the lever 1 can be moved -further to the right, thereby ten-
sioning the delayed-action device. As with an ordinary expo-
sure either th e level' 20 or the wire release is 'pressed, this
set the delayed-action in motion and the shutter will open
after an interval of about 12 seconds. The exposure will be
that which is indicated on the ring above the index. The de-
layed-action device cannot be used with the highest speed.
When the delayed-action movement has been released, the
shutter is automatically ready for a normal exposure.

The Voigtlander Exposure Meter

On the right-hand side of the camera body you will find
the optical exposure meter 13 (fig. 1) always ready for use.
This handy little instrument is designed on the principle that
the human eye can distinguish finer details the brighter the
light. Measurement of the light intensity is, therefore, achieved
with the aid of a revolving screen which consists of lines of
increasing and decreasing width and intervals.
The Voigtlander exposure meter consists principally of
four parts which are indicated by the arrows in figure 9.
Firstly there is the middle pllJ.te with the film speed values,
the three light filters, and nickelled knob 25; secondly, the
aperture ring 24 with two small spigots; thirdly, the revolving
ring 26 which is connected' with the screen and on which the
exposures are engraved, and lastly, the ocular 13 with a built-
in prism.
In order to determine the correct exposure for any subject
you first set one of the light filters opposite the ocular by
turning the knob 25; the correct position can be felt. Under
normal light conditions, the middle filter should be used. The
dark and light filters are provided for very bright (sunlight) and
weak (indoors) light conditions, so that the exposure meter is
practically universal.
Next comes the setting of the aperture ring which should
be turned by means of the two spigots until the red arrow is
11
 exactly opposite the correct film speed in the scale on the·
middle plate. In figure 9 for instance, the arrow is opposite
23 0 Scheiner. The Scheiner degrees (0 Sch.) cOlTespond to the
following speeds of Hurter & Driffield (H & D) :
5 0 Sch. '= 15H&D 210Sch. = 800H&D
10 0 Sch. = 50 H & D 23 0 Sch. = 1300 H & D
0
15 Sch. = 200 H & D 25 0 Seh. = 2400 H &D
18 0 Sch. = 400 H & D 27 0 Sch. = 3500 H & D
·20 0 Sch. = 600 H & D 30 0 Sch. = 7500 H &D
The filter and aperture ring do not usually need setting for
each exposure.
Whilst looking through the eye piece, the camera should
he held so that the lens is pointed towarcls the ground, and
the filter of the exposure meter is directed towards the suhject
(fig. 10). This vertical position of the camera is very important
as by this the eye is protected from stray light.
Now revolve the ring 26 until you can no longer distinguish
the lines in the circular field of the eyepiece. If this is not
possible, you should bring the darker filter into position.
Look at the subject again for a few moments in order
to accustom the eye
to the light once
lllore. Then, whilst
looking ag'ain
through the eye
pice,do not hesitate,
24 but turn the ring
25 back until you can
just distinguish the
lines on the screen.
It takes a little
26 practice to be sure
of this, but you will
soon get used to it.
13 Having set the
Fig.9 The Voigtlander Exposure Meter screen, the mea-
12
 surement is ended.
You can now read
off the exposure-
scale the correct
exposure for any
stop value. In
iigure 9 for instan-
ce, the exposure is,
1/1 ooth sec. for F/4.5.
For Fill, the
shutter should be
set to 1/10 th sec.,
i. e. the longer of
the two exposures Fig. 10
adjacent to the in- Holding the camera for using the exposure Meter
dicator.
As artificial light has a stronger or a weaker influence on
the eye than on phot.ographic emulsion, according to its actinic
composition, exposures result which differ from one another.
For this reason the values found by means_of the exposure-meter
should be;
doubled on using ordinary half-watt electric bulbs
multiplied by 11/2 on using the Nitraphot type of bulb
devided by two when using arc light or mercury lamps
without special iilters which absorb or weaken the short
wave band of light.

The Optical Finder

To assist in determining the actual confines of the pictUl'e,
the Prominent is equipped with a reliable optical finder 14
(fig. 1). If you look through the eye piece of the fiuder as de-
picted in figures 11 and 1<3, you will see a brilliant, sharp, and
clearly defined picture of all that will appear on the film. On
the front of the finder is a mask 15 (fig. 1) for use with the
small picture frame. When using the frame for small pictures
you should fold the mask in front of the finder lens; when not
13
in use, it is folded right back flat on the finder body Since
the camera is held at eye level when using the finder, the pic-
tures will be in the perspective to which we are accustomed.
When the subject is very close to the camera, the actual pic-
ture is slightly displaced, owing to the fact that the finder is
placed to the side of the lens. This is known as parallax and
must be taken into account particularly when using the small
picture frame and the Portrait or Wide-angle Focal' lens (see
page 19).
Holding the Camera
The holding of the camera plays a large part in the success
of your pictures, and as there is not always time to think
about this when about to make an exposure, it is a good idea
to practise with the camera unloaded until all the necessary
movements are entirely subconscious. Whether you are taking
full-size pictures (21/4 "x3 1/4") or small ones (2 1/s"X 13/4") has
very little to do with the holding of the camera. You must,
however, remember that when taking a small picture verti-
cally, the camera must be held horizontally and vice-versa,
i. e. exactly the opposite of the positions for full-size pictures.
The best way to hold the camera can be seen from figures 7,
11, and 12. Every-
Fig. 11 Holding the Camera, Vertical thing that will
assist in holding
the camera quite
still must be taken
into consideration
as any shake during
the exposure re-
sults in a double
image in the pic-
ture. The novel
carrying sling of
the Prominent is
of great assistance
in holding the
camera if it is
14
 released from one
hook so that it forms
a long sling. The
right hand can be
kept in the sling
during all the pre-
parations for an ex-
posure, as it does
not get in the way
when focussing,
using the exposure
meter, or making
any other adjust-
ment.Wlienholding Fig. 12 Holding the Camera, Horizontal
the camera hori-
zontally, the sling is most useful when fixed to both hooks
(fig. 12). As you are opening the camera and focussing you
should take up a firm position. When using the finder the
back of the camera is rested against the bridge of the nose
and the forehead. The camera must be held so that the side
edges are vertical, otherwise everything will be crooked in the
picture. Further, when buildings are in the picture, the camera
must never be tilted upwards or downwards, as this will result
in all the vertical lines running together.
The shutter is most comfortably released with tbe thumb
·on the lever 20 (fig. 11 and 12) you must however as with
a rifle - find the release position and then press smoothly
without a jerk. If you find that you are moving the camera
when releasing with tbis lever, you had better use the wire
Telease which should be held in a gentle curve so that the
movement of the hand is not trlJ,nsferred to the camera.
Exposures of 1/25 th sec. and shorter can be made quite
easily out of the hand. If you have to expose longer, the
camera must stand still so that you will either use the leg 9
(fig. 1) to stand the camera on a table or other flat surface,
or tbe camera should be screwed on a tripod. For the latter
purpose, two bushes are built into the camera, one in the base-
15
board and one in the side of the body 5 (fig. 1). Should the
screw on the tripod be too long, it must be shortened or a
washer must be placed underneath the camera as it is possible
to damage the thread otherwise.

Loading the Prominent

The insertion of a film, or "loading" as this operation is
termed, can be undertaken in daylight, as the actual film is
protected by many layers of light-tight paper. You will, of
course, not load the camera in brilliant sunshine, but at least
in your own shadow.
To open the film chamber of the Prominent, hold the
camera as depicted in figure 13 and press the two finger grips
10 on each side of the range finder diopter, when the back of
the camera will open.
In the lower film chamber next to the hinge, there is on
the right-hand side a knob 8 (fig. 14) which when pulled out
and turned, remains in this position so that the round pin is
withdrawn from the inside of the film chamber. On the left
of this film chamber there is a convenient winding knob with
a cut-out head 17 (fig. 14). This has on the inside, a key
which transfers the
Fig. 13 Opening the back movement of the
film key to the spool.
If you pull the
knob outwards this
key also disappears
from the film cham-
ber. It cannot, ho-
wever, be arrested
in this position
so you must hold
the film key out
whilst you insert
the empty spool in
_ _ _ _ _ _ _ _ __ the film chamber
-.l!!!E:..;~

16
(fig. 15). In doing
this, you must be
careful to see that
the end of the spool
with the slot in it
is toward the film
key, also that the
film spool is placed
in the camera quite
parallel. If you now
let the knob 8
(fig. 14) spring back
into position, and
tUl'll the film key Fig. 14 View of the film chambers
a few times to the
right, it will automatically find the slot in the film spool.
In the top film chamber there are two knobs 3 and 12
(fi~. 14) which can be pulled out and arrested by turning
slightly. This is where you insert the new full spool so that
the point of the red safety paper comes out on the side next
to the range finder. When unwinding, this spool will then
tUl'll in the same direction, to the right, as the empty spool.
Press the spool gently against the spring 27 (fig. 14) and
release the knobs,
Fig. 15 Inserting the empty spool when the pins will
engage with the
holes in the spool,
and hold it firmly
Now remove the
seal of the new
spool with your
finger nail, and
draw the beginning
of the safety paper
as far as the lower
spool chamber.
insert the point
through the long
17
 slot of the empty
spool (fig. 16) and
wind the safety
paper on to the
spool by turning
the film key once
or twice. The
ribbing 30 (fig. 14)
on the long sides
of the picture
window are to pre-
vent the film being
sucked outwards
Fig. 16 Fastening the safety paper by the bellows.You
must be careful
that the safety paper runs absolutely true, as otherwise the
spools will probably jam.
If everything is correct, the back of the camera should be
closed, by carefully pressing it home until the spring catches
engage.

3 1/4/1 X 2 1/4/1 pictures

Of the two red windows in the back of the camera, only
the top one is used for 3 1/4/1 x 21/4/1 exposures. Having inserted
the film, the winding knob should be slowly turned until after
about 10 to 15 turns a hand, some dots, and lastly the fignre 1
appears in the top window The camera is now ready for the
first picture; for the second and every other picture, the film
key must be turned until the figures from 2 to 8 have appeared
in the top window. You will be well advised to turn on to the
next number immediately after each exposure, and before the
lens canier is pushed back into the body, as it is possible for
the sensitive surface of the film to become scratched by the
bellows.
18
 Using the small
picture_ insert
If, instead of 8
3 1/4" x2 1/4 11 pictures
you would like 16
21/s"x13/4" on the
one spool, you must
use the small pic-
ture frame 28which
is made of spring
steel and which,
when not in use,
is held between the
two rivets 32 (fig. Fig. 17 Inserting the small pictnre frame
14) on the inside
of the camera back.
A small depression in the back makes the removal of the
mask quite easy. On the long sides of the picture opening,
there are four rivets 29 between which the mask can be easily
fitted as in figure 17. Which way round the mask is inserted
does not matter; you must, however, be careful that the middle
rounded notches of the mask come under the rivet and that
the edges fit the ribs of the picture opening correctly - When
taking pictures with this mask, the strip of film is used with
no waste, so that there is very little room between each
picture. You should, therefore, be careful that the numbers
are accurately placed in the film windows. For the first pic-
ture, the film must be wound until the number 1 is in the top
window. Having exposed the first picture the film is wound
until the same number 1 is in the bottom window The difference
between using 3 1/4"X21/4" and the small size, is that each of
the numbers 1 to 8 is exposed first in the top window and for
the next picture in the lower window.- When using the Portrait
or Wide-angle lens, particularly with the small picture mask,
the finder shows less of the picture on the camera side and
more on the opposite side than is actually on the film (parallax,
see page 14). The picture is displaced on the long sides by
about 1/6 th when focussed on 40 inches, to 1/3 rd. when the
19
 object is 13" away. As you are now aware of this fact,
it is quite easy to correct any mistake that might ot~erwise
occur.

Unloading the Camera

When you have exposed the whole film, wind it on until
the end of the safety paper has gone past the window, and the
film is all on the bottom spool. You cannot overwind anything
doing this. The back of the camera is now opened, as explained
under loading (fig. 13), then hold the end of the safety
paper with the left hand and turn the winding knob a little
further so that the film is tightly wound but not too much, as
you might then scratch the film, while a too loosely rolled
film lets in the light at the edges. Now pull out the knob 8
and arrest it as described under loading, then take hold of the
spool with the tips of the thumb and middle finger (fig. 18),
holding the safety paper firmly with the index finger, so that
the film cannot unwind. If you now pull out the film winding
knob the spool can be removed quite easily from the spool
chamber, and the end stuck down with the gummed slip
which you will find ready prepared. All this can be done
in daylight, but
it is naturally
Fig.IS Taking out the exposed film better to do it in
your own shadow,
rather than in
direct sunlight.
The best way to
pack the exposed
film (provided
you are going to
re-Ioad the came-
ra immediately)
is to wrap it up
in the paper and
put it in the
carton of the new
• 20
film. So as to avoid mixing' up exposed and unexposed films,
you should make some mark on the box. The empty spool
in ,the top film chamber is now placed in the lower film
chamber as described under loading.

Voigtlander Yellow Filters

A white heavy sky, black flowers,
grey fruit blossom against a dead white
sky, pale expressionless eyes and heavy
freckles are things that no one wishes
to see in their pictures; the colours of
nature will have the right tonal values
in your pictures only if you use really
orthochromatic film. Be sure therefore,
that your films have not only "ortho-
chromatic" printed on the box, but reaJly are colour sensitive.
The orthochromatism of the film cannot be fully utilised
unless the blue rays are, to a certain extent, cut down by a
yeJlowfilter. Do not use any filter, but see that you have a
Voig-tlander Yellow Filter, which is in a special mount to fit
over the lens of your Prominent.
Using a really orthochromatic film, the "Moment" Filter
requires about double the normal exposure, and for a greater
degree of colour correction the "Normal" Filter which requires
about 5 times the normal exposure should be employed.

To finish
We want you to get the best possible results from your
Prominent Camera and this aim can best be achieved ·step .
by step. We would therefore advise you to give the
developing and printing of your films to your dealer at least
at the beginning. The correct development of a film is the
most certain test for the mastery of exposure technique. The
exposure and we must always remember this is the
foundation of the photographic picture. If you have any
difficulties, your dealer will be very pleased to help you.
2l
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1h,~fumJ..e,,-Bmses are nof o~ e~caueJ '~~tr\.O..i" but:

the.i eeaU~ a.re what the'J -p1:ofess to 'be in eoer,! sense oyihe
n.aJ1'\..e . <n..e~ eeru:l.er 1'\.Ot onI.,,- sh.~ de~"" in. the c.enhe, huicooec
the plake o~~ mLlh needle-poW sh.cu::l>ness ...ighi upto the co"Cners.
u,'iilan.clee--¢arn.e:cas an.cllPo~tlan.de1:-.St~m.ses
a.re eniixe~ rna.n.u.Pa.d:u..,eA a.n..J assernbtedi:n oUX
OTt"'. fadocies a ....d are desl1n.ed to sutt. e~other.

,RHVotgUandec"m..a'j th.ecefoee be eetacded. as an

i.n.steu.rn.e.n.{ of ~ hi.f~st Wcade.

VOIGTLAnb€R 4 SOHll ft-.G.

Lens No. ---=J£!...f....l1...cL4tbJ....JL.I.~j'l---

Camera and Lens tested by

ControL Department

l
I

In the remote case of a complaint being necessary this certificate of test shouLd
accompany your Letter.