Yashica Twin Lens Reflex Guide - Focal Press January 1964
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SUBJECTS FOR THE YASHICA
In dealing with various types of photographic subjects we shall necessarily confine ourselves to those of greatest interest
to the average Yashica user. We shall not discuss photography in general but devote our attention to the suitability of the
camera for depicting one or the other subject.
Landscapes
To the user of the Yashica who carries his camera as a constant companion, landscapes offer a rich variety of pictorial
opportunities. There are, of course, pitfalls, too, The typical picture postcard "view" with wide open foregrounds and the
distant background rich in diminutive detail is a somewhat thankless subject. Reduced to so much smaller size than it
appears to our eyes, it may drop altogether beyond the resolving power of the film. Much more easy to take are small
sections of a landscape with a pronounced foreground. The inclusion of foreground helps to start off the picture with an
interesting "profile" providing a hold for the eye and so making the interpretation of distance more easy.
Little subject matter and much characteristic mood yield the best landscapes with the Yashica. Sections of landscapes with
a foreground, for example, of water (reflecting houses, hills or clouds), interesting patterns of foreground shadows,
particularly in strong sidelight or against the light, lead to successful compositions. On the other hand, landscapes mainly
consisting of green values, e.g. meadows with woods in the background usually turn out disappointing.
Winter landscapes are only lively and show up snow and hoar frost if taken in sunshine and with strong side light or
against the light.
When taking black-and-white pictures: use a light yellow filter to get true colour rendering. If clouds and distance are to
be shown prominently a medium yellow filter is called for, while an orange filter gives dramatic sky and reduces distant
haze considerably. When photographing in strong side light and against the light expose for the shadows.
Outdoor Portraits
First and foremost, get away from the fear of approaching close to your subject. The photograph which is half landscape
with a figure placed half-heartedly somewhere in it is not a portrait. With the Yashica, 5 to 6 ft. is the most useful portrait
distance which will avoid distortion and, still produce a large portrait.
The background deserves special consideration. The less prominent it is the better; it should be kept strictly neutral. a self-
coloured wall or a sky being excellent.
The most important point in producing the "lifelike" portrait is the approach to the subject. You will not Let a good
portrait by asking for a smile; you will only make the sitter self-conscious and that is the one thing to avoid. Prevent your
model from thinking about being photographed by giving him something to do-let him read, smoke, play or work-and then
watch for your opportunity to snap.
The perfect light for outdoor portraits is hazy sunlight, strong enough to give good modelling to the face and soft enough
to avoid hard shadows. Failing this, shoot in the shadow of a building, for best results. In strong midday sun it is just as
well to give your camera a rest. Morning and late afternoon sunlight is helpful, particularly when the sun shines from the
side, and slightly in front of your subject.
The possibilities of a reflector in the form of a large sheet of white cardboard to lighten deeper shadows are worth keeping
in mind. Use a fast shutter speed and a wide aperture if possible so that you have less depth of field and the background is
less prominent.
Available Light Portraits
With fast films it is possible to take Pictures indoors as long as one works in reasonably good light and not far from the
window. While practically all that was said about outdoor portraits is also applicable to indoor conditions, one should take
into account the fact that if the light is coming from one window only it will cast heavy shadows. These heavy shadows
have to be lightened to produce a reasonably balanced negative. This can best be effected by a reflector consisting of a
large sheet of white paper, or any other white material, for example, a bed-sheet, a pillow case and so on.
