Gentilmente oferecida pelo Daniel. Muito obrigado!
This photo is from the copy I own
History and technical features
The Baldessa is a range of modestly priced 35mm viewfinder and rangefinder cameras produced by Balda in Germany from c.1957 to the late 1960s.
Baldessas have an unusual folding film advance key in the base - requiring a 180° turn, along with a spring-out rewind crank. On the simpler models, this along with the front-mounted shutter release and the frame counter to the left of the viewfinder ocular leaves the top plate empty except for the accessory shoe. Early models have a removable back; later examples are hinged.
The Balda Baldessa Ia (or Balda Baldessa 1a) is a 35mm rangefinder camera introduced by Balda Kamera-Werk in 1958, about ten years after founder Max Baldeweg fled Socialist Dresden to reestablish his company in the soon-to-be West German city of B ünde. The Baldessa Ia and its sister model the Ib are basically identical to the original Baldessa I with the addition of a coupled rangefinder. The Baldessa Ib then went a step further by also including a built-in light meter.
he Baldessa 1a was introduced in 1958, and adds a coupled rangefinder to the Baldessa I design. It was available with a Color-Westanar or Baldanar 45/2.8 lens in a Prontor-SVS shutter.
I love unusual cameras and am happy to say that the Baldessa Ia boasts a number of peculiar design choices. First off, the Baldessa Ia’s top plate is completely barren apart from the cold shoe. Instead, the shutter button (which has a threaded socket for a cable release on its underside) is adjacent to the Baldanar 45mm f/2.8 lens on the front of the camera. Both shutter speed and aperture control rings are on the lens barrel as expected but a black tab has to be pushed in for either of them to move. Most cameras are focused via a ring on the lens barrel but the Baldessa Ia’s designers decided to use a wheel embedded into the body above the shutter button instead. Also on the front are a flash sync socket just off the lens barrel at five o’clock and an accompanying flash mode selector on the lens barrel at nine.
As we move to the camera’s bottom plate, we encounter more eccentricities. The tiny “kickstand” which allows the camera to balance on a flat surface can also be shifted to the “R” position to release the comma-shaped film rewinding lever. Opposite the rewind mechanism is a winding key which, when unfolded, reveals an automatic film counter while advancing the frame with every half turn. In the middle of it all is a tripod socket which also houses a film speed indicator. Last but not least on the list of oddities are the two silver buttons on the user’s right-hand side which can be simultaneously depressed to open the back of the camera.
The AE-1 with shutter speed-priority AE and TTL metering became wildly popular in Japan and overseas.
However in a few overseas markets, the AE-1 had a high price tag. There were also many users who still preferred manual metering. In response to these people, the AT-1 was developed. It had the same body as the AE-1. It featured match-needle metering and TTL centerweighted averaging metering with CdS photocell. The camera could use the same accessories as the AE-1.
Canon introduced the AT-1 in late 1976, about eight months after the immensely popular AE-1 made its debut. Both SLRs utilize the FD lens mount.
While outwardly the two models are near-twins, and share many accessories, the AT-1 was an export-only model offering cost-conscious buyers a cheaper alternative. Where the AE-1 offers shutter-priority autoexposure, the AT-1 is a pure match-needle, manual-exposure camera. Its viewfinder display is a simplified throwback to earlier match-needle SLRs: an analog needle floats to reflect a TTL reading of the scene brightness; and the user adjusts either aperture or shutter speed until the EV "lolipop" aligns with the needle position. There is no indication of either the selected aperture or shutter speed in the viewfinder.
Despite these appearances, the AT-1 is not a full-blown retro mechanical SLR: it is based on the innovative cost-cutting electronics of the AE-1. The shutter is electronically timed and entirely dependent on battery power. A 10 second self-timer with blinking LED indicator is activated by rotating a tab alongside the shutter release to its forward position. (Rather illogically, returning the tab to its normal position does not cancel the self-timer; instead it fires the shutter immediately.)
While never selling in the same numbers as the AE-1 or AE-1P, today an AT-1 offers photographers access to numerous inexpensive, used FD-mount lenses, in a body free from extraneous bells and whistles.
Type: 35mm focal-plane shutter SLR camera
Picture Size: 24 x 36 mm
Normal Lens: Canon FD 50mm f/1.8 SC
Lens Mount: FD mount
Shutter: Four-axis, horizontal-travel focal-plane shutter with cloth curtains. X, B, 2, 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000 sec. All speeds controlled electronically. Built-in self-timer (with blinking LED).
Flash Sync: X-sync automatic-switching sync contacts with German socket and hot shoe.
Viewfinder: Fixed eye-level pentaprism. 0.82x magnification, 93.5% vertical coverage, 96.3% horizontal coverage. Split-image rangefinder encircled by microprism rangefinder at center of fresnel matte screen. Metering match needle, overexposure warning (also battery check indicator), and underexposure warning provided.
Exposure Control: CdS cell for TTL full-aperture, match-needle centerweighted averaging metering. Metering range at ISO 100 and f/1.8 lens: EV 3 – 17. Film speed range from ISO 25 to 3200.
Power Source: One 4G-13 6 V mercury oxide battery or 4LR44 alkaline battery
Film Loading & Advance: Slotted take-up spool. Advances with camera-top lever’s 120 stroke (partial strokes enabled). Ready position at 30.
Frame Counter: Counts up. Resets automatically when camera back is opened.
Film Rewind: Camera-top crank
Dimensions & Weight: 141 x 87 x 48 mm, 590 g
The Beauty Lightomatic is a series of 35mm rangefinder cameras made by Beauty Camera from 1959 to 1963. The early Lightomatics helped pioneer integral coupled metering, following the Mamiya Elca, Minolta Autowide and Konica S, made possible by their use of the Copal SV series of shutters.
List of versions:
Beauty Lightomatic or Beauty LM
Beauty Lightomatic II
Beauty Lightomatic III, Lightmatic III and Beauty Lite III
Beauty Lightmatic SP
It is sometimes said that the "Lightomatic LM" is a name variant of the Lightomatic II, but this is perhaps a mistake. A Beauty LM2 is also reported.
Cosmetic restyle and improvement of Lightomatic / LM chassis.
Addition of brightline finder window at front panel.
Coupled selenium meter with squared match-needle window on top, and magnified match-needle window seen in finder.
Copal-SV shutter with speeds B, 1sec to 1/500s.
Biokor-S 45 mm / f1.9 lens with 5 aperture blades. Rotation for focusing is opposite from earlier lenses.
And again the advance lever must be pulled out to unlock shutter release.
The Beauty Lightomatics are a series of 35mm rangefinder cameras made by the Beauty Camera Company between 1959 and 1963.
Each model shares some common features.
Viewfinder: Integrated coincidence rangefinder/viewfinder with self-correcting bright line.
Focus: Coupled rangefinder with manual ring on lens barrel.
Meter: Selenium meter electro-mechanically coupled to lens barrel aperture, shutter speed settings, and film speed index.
Exposure: Centre-the-needle system with pointer window on the top plate of the camera.
Lens: 45mm f1.9 (6 elements in unknown number of groups) stopping down to f16.
Close Focus: 0.8m / 2'7".
Shutter:. Five blade Copal-SV shutter with speeds: B, 1, 2, 4, 8, 15, 30, 60, 125, 250 & 500 sec,. plus B. Shutter speeds and aperture settings can be interlocked. The shutter release locks when the advance lever is flush with the camera body.
Cable Release: Standard socket in shutter release button.
Filter Size: 55mm screw in.
Flash: Cold shoe and PC terminal. M and X sync.
Film Advance Single stroke lever.
Frame Counter: Counts up. Resets automatically when camera back is opened.
Rewind: Collapsible crank, and rewind selector switch.
The Beauty Lightomatic II was introduced in 1960.
The lens is a Biokor-S.
The meter needle pointer window was re-designed so that it's shape changed from circular to rectangular, and the exposure adjustment graphic was abandoned along with the film type reminder. This was replaced by a table showing film speed setting parameters (e.g. a setting of 100 ASA accommodated films between 75 - 120 ASA.
The viewfinder was changed to Bright-Frame (i.e. projected lines) which required an illumination window, and this along with the rangefinder and viewfinder windows where unified by a singe glass covering.
The Konica C35 of 1968 is a 35mm camera and first of a series of four cameras from Konishiroku that are dealt with in this article, the others being the C35V (C35E&L), C35 Automatic (C35 Flashmatic), and Auto S3 (C35FD). The Konica C35 EF is dealt with in another article.
The Konica C35 was the first of a number of compact cameras that swept the marketplace in the early seventies. Cameras from other Japanese companies after 1970 (see photo at end) show its importance and influence. Its appeal to the general public was obvious from the start: it was a compact, light and simple to use camera with an excellent lens that was distinctly wider than average for the time and that took good photographs because it could be focused accurately. It was an outstanding sales success throughout the world.
Konishiroku may at first seem a mere follower of fashion, updating the design theme of the compact Minolta Minoltina S and Olympus Trip 35, or even its own Konica Eye of 1964. However, the C35 was much more than an update: it brought together a number of other desirable design strands into one camera, not simply light weight and compact size, but a CdS meter in the lens mount (eliminating worries about filter correction factors), a rangefinder and most importantly of all, the simple operation of "auto only" exposure.
There are three versions of the modestly-priced C35:
Konica C35 (1968 - Silver 1969 - black)
The non-rangefinder Konica C35V (1971 - silver), known in Japan as the Konica C35E&L
The Konica C35 Automatic with a more advanced flash control (1971 - silver), known in Japan as the Konica C35 Flashmatic
Available only in silver
38mm f2.8 four-element Hexanon lens - 46mm filter thread
Zone adjustment by four click stops (with pictogram's)
CdS meter (19-27 DIN, 25-400ASA)
No self timer
Closest focus - 1m, 3.3ft
2 blade programmed shutter
Combined aperture/shutter blades
Speeds 1/30 to 1/650
Lever wind, double-exposure prevention, resetting frame counter
Bright line finder
Needle indication of shutter speed and aperture visible on right hand side of viewfinder
Window lower right to few focus positions on lens
Width 112mm (actual 120mm with strap lugs) Height - claimed 70mm (actual 75mm) - Depth 52mm
Weight 340g (12 oz)
Price in Britain £41.48 (April 1974)
Konica X-14 matching flashgun available
Set to 1/25 automatically for flash
A sibling of the QL 17, the QL 19 used the same lens as the original Canonet and was priced 3,000 yen less than the QL 17.
The QL (Quick Loading) feature was Canon’s unique way to load film quickly. All you had to do was align the edge of the film leader with the specified mark on the camera and close the camera back. The film winding arm with hard rubber pads then grabbed and wound the film around the take-up spool.
Handsome. Stylish. Solid. This camera has just about anything you could want in a vintage rangefinder, except that it’s not the GIII QL17. Methinks a 1:1.9 is pretty nice, though of course 1:1.7 is slightly better; also instead of 6 elements in 5 groups, this lens — the same one as on the original Canonet — has 5 elements in 4 groups. Still pretty sharp although perhaps not as contrasty as some. Besides the lens, the specs are much the same as the QL17, noting that this is the first generation (early 1965) before the Seiko shutter version (late 1965) and the smaller ‘New QL19’ (1971). Not to mention the later GIII model (1972). Yeesh. This must be where Apple gets its infamous hardware naming scheme. (Ouch.)
It’s significantly larger than the ‘new’ QL series like the GIII QL17 and has a bit more heft to it. In fact it’s as wide as the K1000, though it doesn’t have the SLR feel that the slightly smaller and lighter Yashica Electro does – the difference I think being the prominence of the lens (the 1.7 Yashinon is pretty big glass). The other difference is that like the later Auto S2 and Hi-Matic 7s this camera works in manual or automatic mode, meaning that you can use it without a battery if you don’t need the meter, as long as the shutter blades aren’t stuck!
Type: 35mm Lens Shutter rangerfinder camera with shutter speed-priority EE
Picture Size: 24 x 36 mm
Normal Lens: Canon SE 45mm f/1.9 (5 elements in 4 groups)
Shutter: Copal SV; B, 1 to 1/500 sec. Built-in self-timer. Flash sync enabled with M-X switchable German socket.
Viewfinder: Coincidence rangefinder integrated with reversed Galilean viewfinder. Automatic parallax correction with projected frames and marked finder. 0.7x magnification. Viewfinder bottom features aperture scale (f/1.9 – f/16) and match needle correct exposure window/exposure warning indicator.
Exposure Meter and EE: CdS comb-controlled shutter speed-priority EE. Metering range of EV 2.5 – 19 (at ISO 100). Film speed range of ISO 25 – 400. Manual exposure enabled by disabling AUTO.
Power SourceOne 1.3 V MP mercury cell
Film Loading & Advance: After opening camera back, film leader is aligned at mark then advanced to first frame with Quick Loading (QL) system. Advances with camera-top lever. (120° single stroke)
Frame CounterCounts up. Resets automatically when camera back is opened.
Film Rewind: Camera-top crank
Dimensions & Weight140 x 79 x 33 mm, 800 g
Produced 1965 Canon Camera Co., Japan
Film type 135 (35mm)
Picture size 24mm x 36mm
Weight 24.2oz (686.1g)
Lens Canon SE 45mm 1:1.9
Focal range .8m to infinity
Filter size 55mm
Shutter Copal SV
Shutter speeds B, 1-1/500 automatic or manual
Viewfinder coupled rangefinder
Exposure meter lens mounted CdS with viewfinder needle (aperture)
Auto EV range 2.5-19 at ISO 100
ASA range 25-800
Battery 1.3v mercury (RM1 1st model, 625PX second model)
Canon Quick Load (QL) film loading system
Accessory shoe, PC sync
Fast-action wind lever
Zeiss Ikon is a German company that was formed in 1926 by the merger of four camera makers (Contessa-Nettel, Ernemann, Goerz and Ica), and an infusion of capital by Zeiss[1]. The company formed one part of the Carl Zeiss Foundation, another part being the optical company Carl Zeiss. Logically, most of the Zeiss Ikon cameras were equipped with Carl Zeiss lenses; and the formerly independent companies, in particular Goerz, had to shut down their own lens manufacture.
The merged company was also obliged to use Compur shutters for 80% of its cameras. Thus only the simplest cameras could get cheaper shutters like the Klio. Soon AG Hahn für Optik und Mechanik, Kassel, and Goerz Photochemisches Werk GmbH, Berlin, joined the Zeiss Ikon syndicate. Both companies, Zeiss Ikon and Hahn, were also in the business of producing keys, latches an lock cylinders. This business was more and more concentrated in the former optical factories of Goerz in Berlin.
The group became one of the big companies in the photo technology capital Dresden, with plants in Stuttgart and Berlin. It continued several products of its constituents for a while, but also created new ones like the quality folder Ikonta and the medium format rangefinder camera Super Ikonta. Until WWII Zeiss Ikon was the world's market leading maker of 8mm movie cameras. In addition to cameras and lenses, Zeiss Ikon also produced some optics for medical applications.
West Germany: Zeiss Ikon AG Stuttgart
After World War II Zeiss Ikon was split into a West German and an East German part. It was reformed in West Germany, and trademark disputes followed with the part that was left in East Germany. Stuttgart became the company's domicile. Zeiss Ikon merged in the mid 1960s with Voigtländer, another important German manufacturer, and one that had been controlled by the Zeiss Foundation since 1956.
The product lines of Zeiss Ikon Stuttgart were different from the East German company's products. The Ikophot light meters were made in Stuttgart.
Zeiss Ikon ceased the production of cameras in 1972. This was a great shock for the entire German camera industry. Parts of the Zeiss Ikon product line then went to Rollei, and part of the know-how was used to revive the Contax name in collaboration with the Japanese maker Yashica.
Before reunification the whole Zeiss Ikon keys, latches & locking cylinder business was separated into a separate company.
East Germany: VEB Zeiss Ikon Dresden
Postwar production, begun early in May 1945, was soon interrupted as several factories were closed for dismantling their production machines. The machines were given as reparation to Soviet camera makers that had suffered demolition during the war. The production of the sophisticated Contax rangefinder cameras was prepared in Dresden and relaunched with new machines in Jena before all the machines were transferred to the Soviet camera maker Kiev. In 1948 the East German part of Zeiss Ikon became state owned. Production and development of Ernemann projectors and movie cameras were continued from 1949. Camera production was continued in 1947 with the Tenax and the Ikonta models. Soon the company's stock of leaf shutters was running out. In 1950 it could produce its own shutters since it took over the shutter production of Balda and the shutter factory of Mimosa. In 1952 the Tempor was Zeiss Ikon's first own leaf shutter development, followed in 1954 by the Prestor, the fastest leaf shutter at this time.
In 1948 the company could introduce its advanced SLR model, the Contax S. Since there were suits about trade mark names with the West German Zeiss Ikon AG, VEB Zeiss Ikon was renamed VEB Kinowerke Dresden in 1958. Later it became the main part of the East German combine Pentacon.
After German reunification
Today Carl Zeiss is reviving the Zeiss Ikon name. The new Zeiss Ikon camera, introduced at the 2004 Photokina show, is a rangefinder camera with Leica M-mount, developed in Germany and built by Cosina in Japan. Like the Contax G1 and G2), it has lenses made in both Japan (by Cosina) and Germany.
Manufactured from 1956 to 1958, this well-made 35mm viewfinder camera was fitted with either Novicar Anastigmat or Novar Anastigmat lenses in a Prontor SVS shutter.
The camera has an uncoupled exposure meter. Early examples have a twin range meter like this one.
You can identify it as a twin-range meter because the cover flap over the meter cell has a slot machined through it. It is normally closed for bright conditions, so it lets through less light, and you read the meter on the high scale.
In lower light conditions, you open the flap to let more light act on the selenium cell, and you make your readings on the low-light scale.
Later examples like this one below, have a single range meter. The meter flap looks much the same, but is actually a cover, and blocks all the light. The meter flap must be opened to take a reading.
There appears to be confusion as to the correct name of this camera, which identifies itself as simply Contina (on the lens bezel). Some sources say it's a Contina II, while others claim the model is a Contina IIa.
Ivor Matanle's book Collecting and Using Classic Cameras, explains that the camera is often referred to as the IIa, with the a having been added by camera buffs to differentiate this (527/24) model from an earlier folding (524/24) camera also called the Contina II. Ivor's observation is incorrect, because there were actually two 527/24 models - the II and IIa - and while their differences are acknowledged, reviewers often assume the IIa was a later version of the II, rather than a different model.
The facts are, the IIa was the first model, and Zeiss (not collectors) added an a to the name to distinguish the camera from the 524/24 folding Contina II. The 527/24 Contina II followed the IIa in 1956, with some logic to Zeiss dropping the a from its name, because production of the 524/24 folding Contina II had ceased in 1953. The II and IIa had quite a few significant differences.
Contina IIa (527/24)
1954 - 56
Look for
• small slots in meter cell flap
• dual range meter with scoop cut from outer meter dial, which reveals a scale (green for flap closed, and black for flap open)
• EV number scale in meter window
• lens mount front plate has very shallow horizontal grooves
• smaller viewfinder window with no frame around.
Contina II (527/24)
1956 - 58
Look for
• no slots in meter cell flap (its just a cover)
• single range meter
• no scale in meter window because its a match-needle system rather than a pointer
• lens mount front plate is smooth
• larger viewfinder window with surrounding frame.
There was a further Contina II from 1958, but this was also known as the Contina-matic, had a coupled exposure meter, and therefore no top-plate dials. It's clearly a different camera, and I haven't included details because the point of this table is to show the a designation pertains to one specific model.
This Contina II is a completely manual viewfinder camera and was fitted with either an f/3.5 Novar or f/2.8 Novicar Anastigmat 45mm lens with a Prontor SVS shutter. My understanding is that Novar and Novicar were names owned by Zeiss, but the lenses were not actually made by the company. My camera has the faster f/2.8 lens.
The camera has an uncoupled exposure meter. It works like a hand-held; turn the dial to match the needles, and read off the recommended aperture / shutter speed combinations for transfer to the camera lens settings.
A nice feature is that the rewind knob extends away from the camera body as it is turned - making it easier to operate.
One source reports that the camera cost £43 15s 1d new, which would be equivalent to about 3 weeks average UK wages.
Shutter: B, 1, 1/2nd, 1/4th, 1/8th, 1/15th, 1/30th, 1/60th, 1/125th and 1/300th. The shutter can be set at M or X synch. Prontor SVS five-blade leaf shutter.
Cable Release: Standard socket in shutter release button.
Meter: Uncoupled Selenium.
Exposure: Manual, read from meter scale.
Film Speed: From ASA 5 - 640.
Filter Size: 27mm screw in.
Flash: Cold shoe and PC terminal. M and X sync.
Film Advance: Long stroke lever.
Frame Counter: Set manually with auto count-up.
Rewind: Via crank and separate bottom release button.
The Petri 7s was introduced by Petri in 1963 as a variant of the Petri 7 which was introduced in 1961. The main difference being an improved film advance lever and frame counter. It took 35mm film, had a coupled rangefinder, and an around-the-lens selenium cell light meter. Production ended in 1973.
Compared to its predecessor, the 7s is very advanced. It has ATL (around the lens) selenium metering with a match-needle visible both in the viewfinder as well as the top of the camera. From the 7s came the compact Petri Color 35, which was wildly popular when released in 1968
The 7s was available with either a 45mm f1.8 or f2.8 lens. The shutter had speeds up to 1/500, and the viewfinder used Petri's Green-o-Matic system.
Manufacturer: Petri Camera Company
Place of Manufacture: Japan
Date of Manufacture: 1963 – 1976
Focusing System: Fully coupled rangefinder
Rangefinder: Helicoid-type Coupled Rangefinder
Focusing: 2.65 ft to Infinity.
Lens: 45mm f/2.8 (4 elements in 3 groups), coated, 52mm filter thread mount; 45mm f/1.8 (6 elements), coated, 52mm filter thread mount
Shutter: Petri MVE leaf (in-lens) shutter
Shutter speeds: 1 – 1/500 + B + self-timer
Metering System: Around the lens (ATL) selenium manual metering cell
Aperture: f/2.8~16; f/1.8~16
Flash: “Cold” flash shoe; PC external flash connection
Flash type selector: M – X
Film type: Standard 135 (35mm) film
Film Transport: Single-Stroke (180 degree) rapid transport lever.
Battery type: n/a
Dimensions and weight: 132 × 79 × 72mm xxxg / 132 × 79 × 72mm 635g
Also called ALDIS RANGER 35 or MAMIYA RANGER 35.
It is in fact a MAMIYA 4B renamed under the trademark RANK, for the British market.
It belongs to a line of medium range small rengefinder cameras, whose precursor was the MAMIYA RUBIS in 1959.
The manufacture is neat, but much lighter than for the previous ranges.
MAMIYA RUBY
In September 1959, Mamiya introduced another leaf shutter 35mm camera, the Mamiya Ruby. It was a front-lens focusing linked rangefinder with a point matching exposure meter, read in a dial on top of the camera, not through the lens (see picture at right). It had a 48mm f/2.8 Mamiya-Sekor lens. A more advanced version, featuring lens and aperture control, with an f/1.9 Mamiya-Sekor lens, was introduced in May 1960. The Ruby was to become the style basis for several Mamiya rangefinders.
Building on the Ruby line was the Mamiya M3, a less expensive cousin, introduced in May 1961. It featured a fully synchro flash contact, shutter speeds from 1 to 1/500, and came with a fixed 48mm Mamiya-Kominar f/2.0 lens. Yet another related camera, the Mamiya 4B, released in 1963, came with a selenium-cell meter, a fixed 40mm Mamiya-Kominar f/2.8 lens and a much more limited shutter (1/4 - 1/250). Similar Mamiya rangefinders were often rebranded as Rank Mamiya cameras when sold in the U.K.
Specifications
35mm rangefinder for 24 x 36 images. Fully mechanical with selenium cell.
Quick-cocking lever, with mechanical counter, at its base.
Knob with rewind crank, accessory shoe; Cell dial scaled in IL (1 to 11).
40 mm collimated frame viewfinder with parallax correction marks.
Rectangular rangefinder image of comfortable size and well contrasted yellow.
Selenium cell on the front.
Adjusting of the film sensitivity on the shutter.
MAMIYA lens SEKOR 1: 2,8-22 / 40mm
SEIKOSHA shutter from ¼ second to 1 / 250th + B
Front-mounted flash sync.
A 1970 compact rangefinder camera from Canon, similar to the Canonet series but with an early date-imprinting function.
It uses a 40mm f/2.8 (5 elements in 4 groups) lens. The shutteris the electronically controlled Seiko ESF. The exposure meter uses a CdS cell for electronic exposure. Metering range of 1 to 17 EV (at ISO 100). Film speed can range from ISO 25 to 400. The finder has 0.6x magnification with 84% coverage which also contains parallax correction marks. It is powered by 2x 1.3V mercury cells batteries.
A newer minor revision of the Canodate E was released three years later in 1973. Canon refers to this as the Canodate E-N, but was just sold as the same Canodate E. This is mostly just a cosmetic change with the name plate's E in red. The date dials text with the Year in Blue, Month in Orange and Day in Red. The focusing ring is black coloured. The shutter also no longer functions when the battery is flat.
A databack to imprint the date on the picture is a standard feature today. The Canodate E pioneered this feature and realized the dreams of users.
With ISO 100 film, the camera’s Seiko ESF electronically-controlled program shutter could handle a wide exposure range from EV 1 (4 sec. at f/2.8) to EV 17 (1/500 sec. at f/16). With the dedicated Canolite D, the flash could fire automatically at EV 8 or lower.
For focusing, the camera had a double-image superimposing rangefinder. The viewfinder frame lines indicated the position of the imprinted date. The viewfinder also had a combination battery check and camera shake warning indicator, and flash indicator.
Type: 35mm Lens-Shutter rangefinder camera with program EE and date imprinting (year, month, day).
Picture Size: 24 x 36 mm
Lens: 40mm f/2.8 (5 elements in 4 groups)
Shutter: Seiko ESF (electronically controlled), EV 1 (f/2.8 at 4 sec.) – 17 (f/16 at 1/500 sec.), X-sync, hot shoe and German socket for automatic flash. No self-timer.
Viewfinder: Coincidence rangefinder integrated with reversed Galilean viewfinder. Parallax correction with projected frames and correction marks. Date imprinting indicated on projected frame. Same lamp used for battery check, camera shake warning, and flash-required indicator. 0.6x magnification, 84% coverage.
EE: CdS cell for full-auto program EE. Metering range of EV 1 – 17 (at ISO 100). Film speed range of ISO 25 – 400.
Power Source: Two 1.3 V HM-N mercury cells
Film Loading & Advance: Slotted take-up spool. Advances with camera-top lever’s 130° single stroke (possible to wind with several short strokes).
Frame Counter: Counts up. Resets automatically when camera back is opened.
Film Rewind: Camera-top crank
Dimensions & Weight: 133 x 76 x 59 mm, 580 g
The Canonet Junior is a 35mm viewfinder camera with programmed automatic exposure controlling the shutter and aperture. It was made in Japan by Canon, from 1963. For compactness, a sprocketless advance mechanism was used. The Reverse Galilean viewfinder shows the programmed shutter speed and focus zone.
A sibling of the Canonet, this camera was conceived for compactness and operation ease. The shutter speed and aperture were set automatically, making it easy to use by anybody. The zone focusing system divided subject distances into close, medium, and far with icons. Exposure was set automatically by the EE (Electric Eye) program. The film advance used a sprocketless spool. This made the camera 10 mm less wide and 60 g lighter than the Canonet.
Manufacturer: Canon
Introduced: 1963
Lens: Canon SE 40mm/f2.8 (4 elements, 3 groups), zone focusing
Shutter: Seikosha-L programmed, 1/30 to 1/250 sec. and B. X-sync flash with PC socket
Metering: Selenium cell; EV 7-17 (100ASA);
Film Speed range: 10-200 ISO
Type: 35mm Lens Shutter, zone-focusing camera with program EE
Picture Size: 24 × 36mm
Lens: Canon SE40mm f/2.8 (4 elements in 3 groups)
Shutter: Seiko-sha L with program. 1/30 to 1/250 sec. and B. X-sync flash. German socket on camera front.
Viewfinder: Reversed Galilean viewfinder with projected frames. 0.55x magnification. Shutter speed scale and match needle window (coupled to external window and flash mark) at viewfinder bottom. Right of viewfinder has three zone focusing marks and moving needle coupled to lens draw.
Exposure Meter and EE: Selenium photocell coupled to program. Metering range of EV 7 – 17, f/2.8 & 1/30 sec. to f/22 & 1/250 sec. (at ISO 100). Film speed range of ISO 10 – 200.
Film Loading & Advance: After opening camera back, insertion onto spool. Advances with camera-top lever (210° single stroke).
Frame Counter: Counts up. Resets automatically when camera back is opened.
Film Rewind: Camera-top crank
Dimensions & Weight: 130 x 79 x 36 mm, 640 g
The Pax M4 from about 1958 is a revision to the Pax M3 which added a frosted central window to illuminate a bright-line viewfinder frame. The change required Yamato to add a taller top housing. Unlike other Pax models this does not have a dropped shoulder around the rewind, which is a folding crank, replacing the rewind knob of earlier models. The film speed reminder dial also differs from that of the M3, and the name Pax is not impressed in the leatherette of the back, as on all the previous Pax cameras. The lens is a Luminor Anastigmat f/2.8 45mm.
The rangefinder adjustment screws are also differently placed. The screw to adjust for distance (at infinity focus) is inside the camera; it is accessed through a hole at the top of the internal panelling behind the lens. The screw for vertical alignment is accessed by removing the front screw of the three that secure the flash shoe; the adjustment screw is beneath that screw hole.
The camera was also sold as the Pal M4, Rex, Rex M4 and the Tac Deluxe .
Yamoto Koki Kogyo, better known as Yamoto Optical, produced a range of rangefinder cameras in the 1950's and '60's, priced in the low-to-medium range. Best known is probably the 1953 Pax M2, a little Leica look-alike with a 45mm Luminor Anastigmat f/3.5 lens, and especially the "Golden View" version of that camera, finished in faux gold with coloured leatherette trim. Despite the fact that there was nothing very Leica-like about the quality of the camera or it's images, the Golden View fetches four-figure prices at auction. This little Pax M4 is a later development from around 1960 and appeared under a bewildering variety of names. "Pal M4" was one common derivation, and I've seen it referred to as "Ricsor" and "Rex". A version was apparently imported into the US by the Trans-American Import Export Co., and branded the "TAC Deluxe Rangefinder".
This is a nicely-made rangefinder, rather like a Braun Paxette in heft and construction. The viewfinder is bright-lined with parallax compensation marks, the coupled rangefinder is clear enough, the inaudible shutter trips sweetly and offers speeds of 1/10th to 1/300th plus B. It has a nice short and snappy film wind, orthodox film rewind, and a friendly internal film counter set below a magnifying lens on the top deck...Nice touch. The overall finish is excellent, with no plastic visible anywhere, a somewhat unusual feature for mid-range Japanese cameras of this era. The entire back and base detaches for film loading, European style, revealing some tidy all-metal engineering. As one can tell by comparing the camera with the size of the film cassettes in the photograph, it's a very small camera indeed.
All the Yamoto lenses were named "Luminor", which makes researching their characteristics a little tedious. The earlier f/3.5 lens fitted to the M2 was a triplet design, but apparently capable of quite high-quality work. The 45mm f/2.8 LuminorAnastigmat fitted to the M4 is rumored to be a 4-element Tessar-like design, and a "reflection inspection" seems to confirm this, though I'm not adamant on the point. While it's marked "45mm", after handling the camera and viewing the images, I suspect it's actually a little wider, possibly nearer the 40mm mark. It's a very bright and clear lens with a light coating, and I have no criticism of it's performance. Indeed, I was actually very agreeably surprised, if not somewhat amazed. In the fashion of the day, auxiliary tele-and wide-angle attachments were available, along with supplementary viewfinders.
Where the Chinon 35EE seems like a near carbon-copy of the Konica C35, this little rangefinder doesn’t have much more than size in common with its forerunner than its size. In its features it’s like a scaled-down version of the Yashica Electro, right down to its lens barrel symbols and over-under LEDs.
Similar-looking to the 35EE and C35 but with a restyled body, plastic lens barrel, and advanced features like manual aperture and shutter release lock. That and the nice touches like a redesigned wind lever make me think this was aimed at a higher-end market than its predecessor at a time when rangefinders were losing out to AF compacts and SLRs in the marketplace.
Like on some other compact rangefinders, the aperture ring is next to the camera body and the focus ring is on the edge, which I found a little awkward. I missed having the focus tab that makes the C35 such an intuitive little shooter. This 35eeii had some leaky-battery induced electronic problems (see repair section below), but luckily the shutter fires at a default speed (1/500?) and the aperture is manual, so I had no problem taking pics with 400 speed film in daylight even without a working meter (see sample). When the meter is working, the camera utilizes 3 LEDs in the eyepiece to signify under-, over- and correct exposure.
What it lacks: PC sync terminal, manual aperture setting. Other than that it’s a great little shooter! Like its cousins the Chinon 35EE and Konica C35, lens is sharp, contrasty and colorful when stopped down, though soft wide open. Use a flash or fast film in lower light.
Repairs
‘Defrosted’ the battery chamber and adjacent wiring. Corrosion from leaky mercury batteries caused a frostlike growth that literally looked like a freezer that needed defrosting. A Q-tip dipped in vinegar softened the stuff, a toothpick did the rest. Carefully. That revealed the corrosion on the delicate contacts near the battery chamber. I removed the battery chamber (3 screws) and saw that the negative lead to the first of the brass contacts had completely disconnected… on both ends! So with my trusty dental picks I carefully cleaned up the contacts and soldered a new piece of wire from the battery chamber to the first brass tab. Carefully reassembled, then put two silver button batteries in the chamber, gapped with springs. I can’t believe it but it’s working! Over/underexposure LEDs, hot shoe, auto shutter… I was so happy I replaced the light seals immediately.
Tips & Tricks
Manual aperture plus aperture-priority autoexposure, over-under LEDs in the viewfinder (actually in the plastic frame right next to your eye!). Self-timer countdown LED on the front, the self-timer lever is in-column as on the Yashica Electro.
Battery was originally two mercury PX640, and my experience with the 640KA is that their voltage doesn’t stay constant enough to be proper replacements, better to adapt silver 1.5v button batteries and adjust the ASA accordingly (say, 2/3 to 1/2 of actual ASA).
Produced early 80s by Chinon Industries, Inc., Japan
Film type 135 (35mm)
Picture size 24mm x 36mm
Weight 12.4oz (351.5g)
Lens Chinon Chinonex Color lens 38mm 1:2.7-16
Filter size 46mm
Focal range 3.4′ to infinity
Shutter Chinon leaf shutter
Shutter speeds ?-1/500
ASA 25-800
Viewfinder coupled rangefinder
Exposure meter lens mounted CdS with over/under LEDs
Battery originally 2 x 1.3v PX640 mercury
Hotshoe
Shutter button lock lever
Self-timer
Fast-action wind lever
Paxette was a line of 35mm film viewfinder and rangefinder cameras made by the Braun company in Nuremberg, Germany in the middle part of the 20th century. These cameras were of high quality, with excellent optics. Some of the models in this line had interchangeable lenses, something that was notable since these cameras all used Prontor leaf shutters, rather than the focal plane shutters typically used on such cameras (like the Leica). The interchangeable-lens models, which offered several different lines of lenses made by different noted lens manufacturers, included sizes from 35mm (moderate wide angle) to 135mm (telephoto).
The Paxette lenses had a M39 screw mount mechanically compatible to the Leica M39 screw mount (Leica thread mount, LTM), but the flange focal distance differs, because the leaf shutter needs more space than a focal plane shutter, so the Paxette lenses are not interchangeable with the Leica lenses.
There were also Paxette SLR models, the Paxette Reflex.
Later models of the interchangeable-lens cameras, the Super Paxettes, included a coupled rangefinder, some even a coupled selenium meter.
The Super Paxette was the name for Paxette models with a coupled rangefinder. Most of these were interchangeable lens cameras, but not the Super Paxette I shown here, which had a fixed lens. To make space for the rangefinder the top housing had to be made a little higher. Another innovation compared to the previous model was the addition of a lever wind.
Here we have another compact rangefinder from the early 70s, similar in size to the Konica C35, and similar in features to the Olympus 35RC or Canonet QL28. In other words it has the advantage over the C35 of having full manual override in addition to the aperture priority settings, and the disadvantage of having no ‘Flashmatic’ setting for automatically relating GN to aperture. You have to manually set the aperture for flash photos. The Ricoh 500G is almost the exact same size as the C35 and like it a black model is also available. But for a change I think the silver one looks cooler. And as with many Ricoh cameras a Sears-branded equivalent can be found, called (I believe) the Sears 35|rf.
It is full manual or shutter-priority automatic, you set the shutter speed and either set the aperture to A for auto or manually select the shutter speed. It’s a perfect size for compact rangefinder, and rather full-featured, the lens isn’t as fast as the Canonet QL17 or Vivitar 35ES but it’s definitely a good performer and if you wanted a full-featured compact rangefinder on a budget you wouldn’t have to look any farther than this. I think the performance of even the 2.8 Hexanon on the C35 is slightly better and more contrasty but then, as everyone who has followed my advice and picked up a C35 finds out for themselves, that little Hexanon is in a class by itself. (This one might be better at wider apertures though.) I should point out that though I keep comparing the two, the 500G is its own design and not a copy or rebranding of the C35 as cameras like the GAF Memo appear to be.
Very ugly light seals, fixed with creatively placed strips of Foamies (see your local craft store) attached with Pliobond. CAREFUL with this – I thought I had it all set and found it was still leaking light. I had to go back and put in additional strips of felt at the back latch area. (If I were to do it over I might just use all Presto-felt.) Also cleaned up the glass and metal with Windex and the leatherette with Lexol.
he focus ring is on the very edge of the lens barrel, opposite of what I’m used to with these little rangefinders; usually it’s close to the camera body with a lever or thumbrests to help you focus, here that job is given to the aperture ring and also to the shutter speed selector so practice practice or it gets a little confusing. By the way, the camera does a nice job on the auto aperture setting ‘A’, shutter speed is still manually set.
The manual states explicitly that for flash pictures you need to manually calculate the aperture according to the standard formula ‘flash guide number’ / ‘distance to subject’ = ‘aperture’. I intend to verify this but in the meantime I’d take its word for it. No ‘Flashmatic’ setting here.
Replacements for obsolete batteries such as the once-common PX675 (this one) and PX625 can be got at www.photobattery.com or Radio Shack. In this case, the shutter works using a 1.4v zinc air hearing aid battery, $5 for a pack of 8 at Radio Shack
Produced 1972 Taiwan Ricoh Co., Ltd (mfg. subsidary of Ricoh Co., Ltd., Japan)
Film type 135 (35mm)
Picture size 24mm x 36mm
Weight 14.8oz (420g)
Lens Ricoh Rikenon 40mm 1:2.8-16
Filter size 46mm
Focal range .9m to infinity
Shutter mechanical shutter
Shutter speeds 1/8-1/500
ASA 25-800
Viewfinder coupled rangefinder
Exposure meter lens mounted CdS with viewfinder needle (aperture)
Battery originally 1.3v PX675 mercury
Hotshoe and PC Sync (syncs at any speed but 1/125-1/500 recommended)
Self-timer
Fast-action wind lever
