CamerAgX

March 17, 2017

Added to the Pages menu….the Index of CamerAgX’s camera reviews

I probably should have added it much earlier….

the Index of all cameras reviewed in CamerAgX,

including group reviews and  side by side comparisons.


 

July 11, 2017

Welcome

Filed under: Welcome — Tags: , , — xtalfu @ 8:01 am


Welcome

Paris- Garden of the Pont Neuf - April 2009 - Nikon F3; Nikkor 24mm

Paris- Garden of the Pont Neuf – April 2009 – Nikon F3; Nikkor 24mm

This blog is about photography. About old film cameras, and the pictures you can still make with them.

Like anybody else, I use digital cameras. They’re convenient. But I also love shooting with film cameras. It’s a different experience, and using different tools make you see the world differently.

Nobody makes new film cameras anymore. But there is such an ample supply of nice second hand cameras that finding one you like is not a problem.

Film cameras are now extraordinarily cheap, and as long as you’re in no hurry to see your images and don’t take too many pictures, using SLRs or rangefinder cameras from yesteryear is a rewarding experience.

In the nineteenth century, photography did not kill watercolor painting and cars did not drive horses to extinction. In the nineteen eighties digital watches did not kill mechanical watches, and vinyl records are making a comeback 20 years after CDs were launched.


People paint, ride horses, wear mechanical watches and play vinyl records for a multitude of reasons, some of them unsuspected 150 or 20 years ago. And they will still be shooting film 10 years from now.

I love taking pictures, I love old cameras, and that’s all it is about. If you’re in the same frame of mind, welcome.


SaveSave

SaveSave

CamerAgX – The three most popular blog entries of the past quarter

The three most popular blog entries over the last quarter

Angenieux 28-70 f:2.6 Angenieux 28-70mm f:2.6 AF

Nikon FE2 The Nikon FE2: one of the very best manual focus SLRs ever.

 

Eye Relief Viewfinders coverage, magnification and eye relief

 

The three most popular recent blog entries

 The Fujica film cameras – the best screw mount SLRs ever?

 Canon A-1 or Fujica AX-5?

Canon FD to Fuji X adapter, and Canon FL 55mm Old lenses on new gear – manual focus lenses on mirrorless cameras

 

 


Charleston – July 2009 – Nikon FM Nikkor 24mm

 

SaveSave

SaveSave

SaveSave

SaveSave

SaveSave

July 6, 2017

The Canon T90 – first impressions

Filed under: Canon cameras — Tags: , , — xtalfu @ 11:03 pm

The Postal Service just delivered a Canon T90 at my door step. I opened the box, inserted batteries, mounted a lens, and swiched it on. The T90 is a disconcerting camera, and I was in for a few surprises.

Why a T90? 

Recently I’ve been looking for a manual focus camera with a larger viewfinder than my Nikon FE2, and a bit more feature rich than the austere Nikon F3. I wanted to play with more metering options (spot, multi-spot, highlight, shadows) than what the FE2 and the F3 have to offer. And at the same time, I did not want to spend money on a new family of lenses, which excluded Contax, Leica, Minolta and Pentax, and limited my choice to Canon, Nikon and Olympus. I could have splurged on an Olympus OM-4T, but $200.00 is a minimum for a working copy in so-so condition sourced in Japan, and the beautiful ones are many times more expensive. Nikon had no manual focus SLR that interested me (I have used the FA and the FG in the past and did not like them, and the N2000 and N6000 are just mid level autofocus cameras deprived of autofocus).  That left us with Canon, and the T90.

The T90 is a very interesting piece of hardware. It’s at the same time a formidable precursor of all the Canon high-end EOS film and digital cameras to come, a shameless copy of the Olympus OM-4 (metering system, OTF flash), the most elaborate of the Canon manual focus reflex cameras, and an evolutionary dead end. It was launched in February 1986, one year after the Minolta Maxxum 7000, and was only manufactured for a few months, leaving the spotlights in favor of the new EOS autofocus product line, presented in March 1987. It is often seen as a test bed for the ideas successfully implemented in the EOS cameras. It’s a way for Canon to finish a long chapter of its history on a bright note, and for its faithful customers, one last opportunity to spend a lot of money on a high-end camera supporting the FL and FD lenses.

A lot has been written about the T90, its genesis and its legacy. There are countless descriptions and reviews of the T90  on the Internets. I listed a few links at the end of this post. I won’t write the nth review here. Today, I’ll share my first impressions, trying to understand how the camera can fit with the way I take pictures. And later, after my  summer vacation, I’ll come back with more definitive conclusions.

LCD display on the right side of top plate, control wheel, shutter release and spot metering buttons at the top of the grip. The ergonomics of a modern camera.

The first impression: it looks and feels like an EOS camera…

The T90 is a camera full of paradoxes. It looks and feels like a modern EOS camera (polycarbonate body and rubber covered grip, LCD display on the right of the top plate, control wheel), and when you bring the camera to your eye, you see the same very bright and smooth focusing screen that you would see through the same long eye-point viewfinder in a more recent autofocus SLR. But press the shutter release lightly, and …

  1. The image in the viewfinder stays blurry. Of course, it’s a manual focus camera…But intuitively, for a fraction of a second, because the camera looks and feels like an EOS, I had expected it would find the focus for me (*)
  2. You press the shutter. It’s LOUD. Really LOUD. More than a non-motorized film SLR of the previous generation, more than a modern dSLR, and of course, much much more than a mirrorless camera. In all fairness, it should be compared to the few motorized SLRs of the same period capable of shooting  4 frames/ second. I remember the racket when I was shooting with a motorized Nikon FA. It was screaming much louder than the T90.(**)
  3. And it’s heavy. Almost 900g with the batteries. You don’t expect that much weight from a camera with a plastic body.

It’s also very large (in the modern dSLR world only the EOS-1d and the Nikon D5 are larger), but because the FD lenses are much smaller than the huge f/2.8 autofocus zooms that the pros mount in their EOS-1d and D5 today, it does not look as big and intimidating.

…but it’s not an EOS-like camera

It’s a manual focus camera. With no matrix metering. In that sense, it’s a camera of the past, already outdated when it was launched. Like the Olympus OM-4, it’s an attempt to put the photographer at the center of the exposure determination process, when the market was rapidly going in the opposite direction and adopting “evaluative multizone” and “matrix” metering.

The default metering mode – center-weighted average – does not permit you to lock the exposure, and unless you’re willing to operate in full manual exposure mode, you need to switch to the  “partial” (large spot) or “spot” (the really tiny spot at the center of the viewfinder) modes as soon as you want to gain a modicum of control over the exposure of your image.

The “partial” setting lets you lock the exposure values as long as the shutter release button is half pressed, and the elaborate multi-spot, highlight/shadow and exposure memorization functions are only paired with “spot” metering. It should give you enough control over the exposure without ever having to switch to the manual exposure mode.

The manual and semi auto modes are weird, but stopped down aperture is surprisingly useful

The other reason to use the T90 in auto exposure mode is that the manual mode is weird. It’s really a manual mode (not semi-automatic), unless you operate with stopped down metering.

  • If you operate the camera at  full aperture (with a Canon FD lens unlocked from the “A” position), the LED display in the viewfinder only shows the recommended aperture value. But it does not give you any indication about the current aperture value, and there is no + or – sign in the viewfinder to tell you whether your image is currently over exposed, under exposed, or just right. The meter of the camera operates as a hand held light meter would, and it looks as if the meter is not coupled to the shutter and aperture commands of the camera. It may work in a studio, but it’s far too slow in the street.
  • However, if you press the “stopped down” lever at the left of the T90, a full featured semi-automatic mode becomes available. Which is fine if you shoot with FL or FD lenses at a wide aperture, but unusable at F/11 and beyond – the viewfinder becomes too dark. It’s frustrating to have to operate FD lenses stopped down, but using FL lenses is surprisingly pleasant. One last gift of Canon to its faithful customers.

Not everything is perfect though: the manual and stopped down modes come with all sorts of limitations, and the camera displays weird error messages if the aperture ring and the depth of field lever are not set as the camera would expect. I don’t know if the limitations are related to programming of the CPU of the camera, or whether they are flaws inherent to the FD mount, or a combination of both. Obviously the all-electric EF mount of the EOS series is a more flexible design.(***)

Canon T90 with a Canon FD 50mm f/3.5 macro lens. Thirty years later an EOS 1d does not look that different.

The Canon FL and FD lenses: they used to be cheap…

When Canon launched the EOS system in 1987, the FL and FD lenses – which are absolutely non-compatible with the EOS cameras, immediately lost most of their resale value. After the T90, Canon only launched one camera using FD lenses: the T60, in 1990. But it’s a rebadged Cosina semi-auto camera (a precursor of the Olympus OM-2000), not a true Canon. So for a very long time, FL and FD lenses – that could only be used on cameras last manufactured in the mid eighties – remained in the “orphan equipment” category, and were cheap, much cheaper than manual focus Nikon lenses, that could (and still can) be used on many current Nikon dSLRs.

The rise of mirrorless system cameras (Olympus, Panasonic, Sony and Fuji), and in particular of the full frame A7 series from Sony has given a new lease of life to manual focus lenses, and to Canon FL and FD lenses in particular. As a result, fast (wide aperture) Canon FL and FD pro and high end lenses have become seriously expensive (as usual, sliding aperture trans-standard zooms remain on the cheap side).

Canon used to propose a very large selection of FD lenses, with different maximal aperture and different qualities of glass in each category (from the ultra-wide angle to the super-tele), but they seem to have neglected the trans-standard zoom segment:  they never offered a constant wide aperture or pro-quality “L” lenses in that focal range, and  the T90 was never bundled with a zoom, but simply with the conventional 50mm f/1.4 prime lens.

Interestingly, the T90 is a good bearer of FL lenses (the semi-automatic exposure mode only works with the lens stopped down, there is no benefit  using FD lenses if you only want to shoot in this mode), and thanks to an adapter (and to the short flange distance of the FL/FD family), it also supports 42mm screw mount lenses.

More to come in a few weeks…


(*): and it happened repeatedly this week. I never had experienced such a thing before (my Nikon FE2 also has a very bright focusing screen, and I often use it with Nikon autofocus lenses, but I never found myself waiting for the camera to focus on its own).

(**): it’s not as loud when operated in stopped down mode. The iris command mechanism is probably the loudest sub system in the camera.

(***): there has been a lot of speculation on why Canon decided to ditch the FD lens mount in favor of a totally new EF mount in 1987. Some  say that the FD mount was too expensive to manufacture, that it was too small and could not be made solidly enough out of plastic, some say it was too small (diameter) and did not leave enough room for the electrical contacts needed for future evolutions, some say it was too small and made the design of ultra-luminous (or ultra-wide angle) lenses too difficult. Some say that the aperture control mechanism of the FD mount was too kludgy and made basic features offered by competitors, such as depth of field preview and semi-automatic exposure too difficult to implement on multi-automatic cameras such as the A-1 or the T90.


Links:

User reviews of Canon bodies and lenses: Canon Classics http://www.canonclassics.com

An interesting take on the design of the T90: http://www.massmadesoul.com/canont90 (and good links too)

The Canon T90 Performance Book. It was sold for $9.99 by Canon dealers: http://satnam.ca/cameras/Canon%20t90_performance_book.pdf

Easy to read reviews of the T-90 and other T-series cameras by Lewis Collard: http://lewiscollard.com/cameras/canon-t90/

In depth description of Canon’s R, FL and FD lens mounts: http://tinkeringwithcameras.blogspot.com/2008/03/canon-lens-mounts-from-r-to-fdn.html

And as usual, MIR’s exhaustive analysis: http://www.mir.com.my/rb/photography/hardwares/classics/canont90/index.htm


Canon T90 on a tripod and black dog.

SaveSave

June 22, 2017

The Olympus OM-2000 – not a true blood Olympus, but a cheap and convenient bearer of Zuiko lenses

Filed under: Gear, Olympus cameras — Tags: , , , , , , , , , — xtalfu @ 10:10 pm

Nobody’s going to argue that in the hands of a reasonably  competent photographer, and in most situations, a recent “pro-level” digital SLR is going to deliver much better pictures than an amateur dSLR released 10 years ago. Resolution, Dynamic Range, Low Light Sensitivity, Color Accuracy are all going to be significantly better. And for a much smaller level of effort:  scenes that used to require the photographer to shoot in RAW and spend 10 minutes “processing” each picture in  Adobe Lightroom (or even worse, hours in Photoshop) can now reliably be shot in JPEG and uploaded directly from the camera to whatever social network or on-line photo gallery.

Olympus OM-1n MD (left) and Olympus OM-2000 Spot (right). The OM-1 was launched in 1972, the OM-2000 in 1997.

In the world of film cameras, it’s different. As long as the camera meets a few basic requirements: mount the lenses with precision, meter and expose with accuracy and consistency, maintain the film plane flat, inform the photographer of the decisions taken by its automatic systems, and let him adjust the parameters when necessary, there will not be much of a difference between the pictures created with a pro and an entry level camera. The pro camera will be faster, more accurate, more solid, more durable and will provide more control options to its user, but ultimately, the quality of the results will be a function of the quality of the lens, of the film, and of the skills of the photographer.

OM-1 and OM-2000 – the organization of the commands is very different (the shutter speed ring is between the lens and the body on the OM-1, and classically on the top plate for the OM-2000. The film sensitivity is set on with a knob on the top plate (OM-1) and in a window in the shutter speed knob (OM-2000)

Which brings us to the mid-nineties. The big Four (Canon, Minolta, Nikon, Pentax) all have successfully converted their SLRs to autofocus, electronics and polycarbonate, and have persuaded most of the photographers to buy them. There are a few hold outs at the high end of the market who still buy and use manual focus semi-auto cameras built traditionally out of aluminum and brass or titanium (Leica R and M series, Nikon FM2, Olympus OM-3ti for instance), and “learners” or photography students, who are looking for cheap cameras to learn the basics of photography, and who generally end up buying entry level Pentax and Minolta cameras. Both manufacturers already have relocated the production lines of the K1000 and of the X-300 to China, and can propose them (body only) for less than $150.00. In comparison, Nikon’s FM2 is approaching $500.00, Olympus’ (automatic) OM-4ti  sells for $1,000.00, and the semi-auto OM-3ti – produced in very limited quantities –  is probably in Leica territory when you can get one (a semi-auto Leica R6.2 sells for $2,800.00 at Adorama in 1995).

OM-1 (bottom) and OM-2000 (top). The OM-2000 does not accept a winder or a motor. A totally different bottom plate denotes a fundamentally different internal architectures. Note the “made in Japan” engraving.

Following the example of Canon and Nikon (who had commissioned the design and the manufacturing of their entry level manual focus / semi-auto T60 and  FM10 to Cosina), Olympus launches the OM-2000 in 1997. Like its predecessors on the Cosina production lines, the OM-2000 is based on a platform originally developed for the Cosina CT-1, and somehow customized to Olympus’ requirements: unique to the OM-2000 are the Olympus bayonet, the gun metal color of the camera’s body, and the presence of a spot/average meter switch. It is generally sold in a bundle with a 35-70 f/3.5-4.8 lens, also made by Cosina. I did not test this lens and can’t comment on it.

OM-2000 – the SPOT/Average metering selector. When SPOT is selected, a LED acts as a reminder in the viewfinder.

The OM-2000 is not designed  to be great, but cheap and simply good-enough. The outer shell is of polycarbonate, the film rewind and the self timer lever are fragile (I had an issue with the rewind knob – I applied too much force to it and ended up unscrewing it from there body), the metallic shutter tends to be loud, but the camera, though basic and unsophisticated (the LEDs in the viewfinder look a bit crude), is pleasant to use (large viewfinder, smooth commands) and with its nice color, makes a good impression. The shutter is fast (1/2000 sec, 1/125 synchro), the spot meter useful and easy to use (there is a reminder in the viewfinder).

Contrarily to the OM-2 whose mirror and shutter are very well damped (you can shoot at 1/15sec without a tripod in a museum, for instance), the mirror or the shutter of the OM-2000 tends to generate strong vibrations, some of the pictures I took with it show it clearly. My advice: avoid low shutter speeds unless the camera is firmly held in place.

Vertical metal shutter – 100% Cosina. 1/2000th second and X-Sync at 1/125th second (the fastest of any Olympus OM camera).

As for the real value of this camera, it depends on your point of view. For a collector of  the “real” Olympus OM series cameras, it’s not worth much. It has nothing to do with the renown single digit family of OM cameras (OM-1, OM-2, OM-3, OM-4). It can not share any of their accessories (winder, focusing screen) and can not take advantage of the TTL flash capabilities of the units designed for the OM-2 and its followers.

Olympus OM-2000 – pull the wind lever to activate the meter and unlock the shutter (no separate on/off switch on the OM-2000)

With a good lens (Olympus’ Zuiko lenses have a great reputation), a good film and a good photographer, it will take good pictures – and should serve its owner well. It’s not as solid as a Nikon FM2, it’s not as beautifully made as an Olympus OM-3, it vibrates more than an OM-2, but when new, it was a fraction of the price of those cameras, and now, it can be had for a few dozens of US dollars. If you’ve heavily invested in OM Zuiko lenses and in expensive OM Ti bodies, adding a cheap  OM-2000 to your equipment list is a good insurance plan – you can use it when you don’t want to risk your precious OM-3Ti, and it can save your day if the electronics of your OM-4T decides it had enough.

Olympus OM-2000 – Viewfinder – 3 LEDs + o – to set the exposure. When the camera is set in Spot, a fourth round LED is lit at the bottom.

With the right lens and a good photographer, simple film cameras can take great pictures. The OM-2000, while clearly not a true blood Olympus OM camera, maybe the cheapest and easiest way to shoot film using Olympus Zuiko lenses  today.


06-2017-OM2000-14

On the beach in the morning – Florida – Olympus OM-2000 – OM Zuiko 135mm f/3.5 – Kodak Ektar 100

SaveSaveSaveSave

SaveSave

SaveSave

SaveSave

SaveSave

SaveSave

June 20, 2017

Why shoot film in 2017?

Filed under: Film Scanning — Tags: , — xtalfu @ 3:10 am

Last week-end, I tried a Nikon N90S that had just been delivered by UPS. The N90S does not feel very different from a conventional Nikon dSLR such as a D90 or a D7200. And instinctively, I started using it the same way I generally use a digital camera. Auto-everything, just compose the picture, press the shutter release, check the picture the LCD, adjust the exposure or the focus, and shoot again. Except that the N90s is a film camera. There was no LCD to check the picture. I won’t know if the camera nailed it until the film comes back from the lab. It could be weeks from now. And I started wondering why I had brought this camera, that wants to be used like a modern dSLR, but does not offer the convenience of digital.

It does not seem logical to shoot film:

– it’s expensive

– film is low ISO only (typically 100 to 800 ISO)

– there is a limited choice of film, and it’s difficult to find

– Film is not flexible – if you’ve loaded your camera with Kodak’s TRI-X, you’ll have 36 contrasty and grainy Black and White pictures. No magic switch or menu option will transform it into an Ektar or a Velvia on the fly.

– it takes days or weeks to get to see your pictures

– and most images are consumed on a smartphone or a computer monitor, or printed on a inkjet or giclee printer. Unless you enlarge your negatives in a dark room and only hang the prints on a wall, the images will have to be digitized at some point. So why go through the pain of using film, if you always end up processing digital images.

Most of the reasons given by the apologists of film are false pretenses:

Holga 120 CFN -Kodak color film.

Google “why shoot film” or check the Web sites of photo labs. You will often find the same reasons for shooting film. Most of them don’t resist  a close examination:

– “Film forces you to be picky because each image shot has a cost” – true, but nothing prevents you from being picky with a digital camera,

– “Film forces you to think and operate with method” – there is no possibility to check the picture immediately after it’s taken and adjust the parameters accordingly – trial and error does not work – you have to think hard and get it right. Again it’s true, but nothing prevents you from operating slowly and deliberately with a digital camera,

– “With a film camera, you’re not tempted to lose time looking  at your images on the LCD, you can focus on the subject and the next opportunity”.  True. But on a digital camera it’s simply a matter of discipline. Most digital cameras can be set not to display the image immediately after it has been shot, and nothing forces you to push the “play” button. (my digital cameras are set NOT to display the image which has been taken – but it came back to bite me a few times – when the images were not correctly exposed, and I only found about it when it was too late).

Venice – Bridge on the Rio de Palazzo o de Canonica – Shot with Nikon FE2. Scanned by a minilab. Jan. 2012

Some are true, but up to a point only…

You read frequently that in spite of all the film simulation modes (in camera or in Lightroom post processing), there is still something unique in the way film looks. Maybe. I’m not denying that some images originally shot on film look different. But I don’t know for sure if it’s the film, or something else. Because unless you use an enlarger and develop your prints in your own dark room, it’s likely that your workflow – and the processing chain of the lab who scan your film roll – are relying on digital technologies at some point. Minilabs and industrial labs have been printing from scans for years (even before consumers switched from film to digital), and that special film look you like so much may just be a product of the scanning software controlling the lab’s Fuji Frontier (or its Noritsu).

“Using film gives you access to cheap full frame and medium format equipment”  – True, you can get the “full frame” 35mm or  the medium format experience for less than $100. But the cost difference is not as high as it used to be (you can get a very  good second hand Full Frame dSLRs for $700), and digital medium format cameras, while still very expensive, will become more accessible when new cameras such as Fujifim’s GFX reach the second hand market and start pushing the price of older cameras downwards.

“Film can be stored for hundreds of years – and digital images are fragile”. True,  CDs and DVD may degrade over time, hard drives fail, and cloud storage only lives as long as the company offering the service stays in business. Digital imaging is based on short lived standards – will electronic devices of Y2050 still read today’s jPEGS, DNG and RAW files, will they mount the drives, the disks, the USB keys we store images on? . All those concerns are valid. Keeping digital images on the long run  will require work (moving images from an obsolete support or from a retiring on-line service to more current media, convert image files from old formats to newer formats). But it’s an archival issue, and archival of film also requires work – a shoebox can only get you so far.

Garden near Charleston, SC. Nikon FM, Nikkor 24mm AF.

What’s left? 

There still are plenty of reasons, good or bad, to shoot film…

– snobism,

– a desire to be  different,

– the refusal to fall for the latest and greatest electronic gimmickry,

– the love of film as a medium,

– the love of old cameras (mechanical devices made of aluminum, steel and brass) – there is no other way to use old cameras than to shoot film,

– love of old lenses,

– a preference for the way you had to work with those old film cameras (because you learned that way and you don’t mind showing your age…)

– the thrill of risking wasting a photoshoot  with cameras that are getting old and unreliable (not for me – I mostly use Nikons…),

– the unpredictability of results with old and inaccurate cameras and expired  film (basically, you let chance and mother nature be creative on your behalf)

– a search for authenticity and simplicity. Digital photography can be overwhelming (so many options, so many filters, so many plug-ins, so many ways to modify or improve the images, in the camera or on a computer, before and after shooting). Film is simpler. You load the film, your arm the shutter, you set the aperture and the shutter speed, you adjust the focus. You compose. You press the shutter release. And you’re done.


Panic in the sky – accidental double exposure on Olympus OM-2000. You would never get this image with a digital camera.

SaveSave

SaveSave

SaveSaveSaveSave

SaveSave

SaveSave

SaveSave

May 31, 2017

Pentax Spotmatic SP – why was it a disappointment? (for me)

Filed under: Gear, Pentax Cameras — Tags: , , , , , — xtalfu @ 12:35 am

Some cameras are a source of disappointment. Because they carry a famous brand name, had the privilege of being “the first camera to do this or that”, and because they still look cool, you feel compelled to buy one, and you don’t like it. Or don’t trust it. You don’t use it, and you sell it.

Pentax Spotmatic SP – Pentax Super-Takumar 35mmf/2

I had all the reasons to like the Asahi Pentax Spotmatic. I’m sympathetic to the brand – my first reflex camera was a Pentax MX that I kept for 15 years and my first digital SLR was a Pentax *ist DS (what a name!). Pentax also tends to make relatively small cameras,  and I tend to prefer small cameras to large ones. And I had bought a very nice Super Takumar 35mm f/2 lens a few months before, to use on a mirrorless digital camera,  and wanted to see how it would behave on the camera it had originally been designed for.

Historically, the Spotmatic is important. It was the first SLR from one of the 4 major vendors to offer Through the lens (TTL) stopped down metering as early as 1964. (Topcon had launched the RE Super with TTL metering at full aperture in 1963, but it did not have the installed base and the market presence of Asahi Pentax and did not make the same impact).

The Spotmatic was not an automatic camera (it just offered semi-automatic exposure determination with a matching needle setup) and although spot metering was implemented on the prototypes presented initially to the press, the models sold to the public determined the exposure with an average metering system.

The Spotmatic was so successful on the marketplace that Pentax did not feel the need to mess with it – the model remained virtually unchanged until the Spotmatic SP II was launched in 1971. Which only brought cosmetic improvements.

The first significant evolution was the Spotmatic F (in 1973), the first model of the series to support full aperture metering, but it required new lenses with a specific mount (a proprietary evolution of the universal 42mm screw mount that Pentax had been championing since the fifties), that it shared with Asahi’s first automatic SLR, the Pentax ES. The Spotmatic F was short lived: in 1975, Pentax introduced the K series (KM, KX, K2) and the K bayonet mount, effectively retiring the Spotmatic line and the M42 lenses.

Why the disappointment? 

Maybe I’ve been spoiled. Or lucky. Or maybe Nikon cameras of the manual focus era were really superiorly built and exceptionally solid. But none of the Nikon SLRs have bought so far have shown any reliability issue, or any marked weakness.

Pentax Spotmatic SP – the cloth shutter – one of the weak points of the camera

The first Spotmatic I bought was a SP500. It looked very nice on the pictures of the auction site, but when I received it, the shutter proved defective. Spotmatics have a textile horizontal shutter, and after the first curtain opens, the second curtain is pulled by two very narrow bands of textile. One was broken. Once you include shipping, the cost of the repair is probably in the $100.00 range. Much more than what the camera is worth. So it’s collecting dust.

The seller of the second Spotmatic I bought (the SP shown here) promised me it would work, and it does. It makes the right moves. The shutter fires at all speeds, the metering system seems relatively accurate with modern silver oxide batteries (good enough for print film, maybe not for slides), but it often takes two or three actions on the wind lever to arm the shutter, and the lever you have to lift to activate the metering (at the left of the lens flange) is very stiff and does not always come back into position after a picture has been shot (it did not on the SP500 either, so it’s probably a design feature).

Pentax Spotmatic SP. The base plate with the battery door.

I believe that those issues are related to the fact that the Spotmatic, like most of the cameras of its generation, is designed to let you compose at full aperture, but requires that you determine the exposure with the iris of the lens closed at the pre-selected value (you measure the exposure “stopped down”). I’ve yet to see a good implementation of stopped down metering (maybe Praktica cameras, I’ve never used them) . More often than not, it’s an ergonomics disaster: in the case of the Spotmatic, you have to hold firmly the camera with the right hand, use your left thumb to lift the metering lever (it’s stiff, you have to push hard and the upwards movement is not very natural), and use your remaining left hand fingers to adjust the aperture (stretch your fingers, you can do it) or the shutter speed (no, you can’t unless your fingers are as long as ET’s).

Pentax Spotmatic SP – the camera is compact compared to the monsters sold by Nikon or Canon during the same period, with a clean lines and a toned down design.

In the end, I did not trust the camera enough to bring it with me for a vacation in the  mountains. I don’t take pictures of brick walls and don’t shoot the same studio scene over and over. I use my cameras in the real life. At the risk of coming back without a picture if the camera decides it has enough.  I did not want to take the risk of missing a whole week of good picture opportunities because the camera had decided to misbehave. And I had no backup camera that could use the same lenses. So at the last minute, I removed the Spotmatic from my photo bag and replaced it with a Nikon FM.

Pentax Spotmatic SP with Asahi’s Super-Takumar 35mm f/2 lens

I like the Super Takumar 35mm lens very much though. Like most of the large aperture lenses of its generation, it tends to be a bit soft, but what a wonderful bookeh. It seems to work particularly well when mounted on an APS-C digital camera (where it becomes a 50mm equivalent).


What was the competition doing when Asahi Pentax was selling the Spotmatic? 

The Canon FT/QL and the Pentax Spotmatic SP both offer Stopped Down Metering. To determine the exposure, the photographer has to push the big switch to the left (Canon) or to lift the switch in the red circle (Pentax) – which is not a very natural movement. You wish you had three hands.

Asahi had a head start. When they launched the Pentax Spotmatic in 1964, none of the other big vendors had anything comparable: most of them were offering cameras with an external cell, sometimes optional and removable (Nikon Nikkorex), sometimes integrated, with its own little lens on the left side of the camera body (Minolta S7). The Spotmatic would remain the sole camera from a major vendor with through the lens metering for two years.

  • Canon launched FT QL in 1966 (stop down TTL) with the FL mount. Canon would only adopt Full Aperture metering with the FTb and the FD lens series in 1971.
  • Nikon and Minolta implemented full aperture through the lens metering (Nikon without changing its bayonet mount, and Minolta with a new  version of its SR bayonet, introduced on the MC Rokkor lenses). The Photomic T viewfinder for the Nikon F and the Nikkormat FT were Nikon’s first implementations of TTL metering (launched at the end of 1965).  Minolta’s SR-T 101, released in 1966, had an interesting arrangement of two CdS cells in the viewfinder, that were used to provide some form of weighted average metering (Minolta called it “Contrast Light Compensation system”, or CLC).

More about the differences between stopped down and full aperture metering in another page of this site.


Horace, French Bulldog – Shot with the Pentax Super Takumar 35mm f/2 mounted on a Fujifilm X-T1.

SaveSave

May 25, 2017

Olympus OM-1 or Fujica ST-801?

Filed under: Fujica Cameras, Gear, Olympus cameras — Tags: , — xtalfu @ 11:50 pm

They were launched at the same time (1972), and were both highly innovative. In different areas.

The Olympus OM-1, the first of a family of cameras which  sold until the end of the twentieth century, was remarkable by its small size, its impressive viewfinder, its great built quality, and its very good ergonomics.

untitled-shoot-2393

Olympus OM-1n MD – a very clean copy. A triumph of industrial design.

The Fujica ST801, although not a large or heavy camera by any means, looked bulkier and more primitive in comparison, but in 1972 it was very advanced technologically – the first to combine the use of Silicon diodes for metering with LEDs for the semi-automatic determination of the exposure in the viewfinder. And  – with full aperture metering and a shutter capable of 1/2000sec exposures – it was the most elaborate of the screw mount cameras.

02-2017-camera-5847

Fujica ST801 with a Pentax Super-Takumar lens – the camera is compatible with almost any 42mm screw mount lens (with stopped down aperture)

With the OM-1, Olympus introduced a whole new system (new bayonet, new lenses, new motor drives), as compact as the camera itself. The OM-1 was  a starting point.

02-2017-camera-5833

Fujica ST801 – the lens mount flange is surrounded by a recessed and spring loaded rotating ring. The little pin on the rotating ring is pushed by the tab at the periphery of the lens.

The ST801 could use any screw mount 42mm “universal” lens, but could only offer full aperture metering when equipped with a new range of Fujinon lenses, which added an aperture transmission mechanism and a locking pin to the standard 42mm mount. The screw mount standard was already at the end of its route when the ST801 was launched, and in 1979 Fuji was the last major camera manufacturer to abandon it for a new proprietary bayonet. The ST801 had no real successor, and the relative short production run of the Fujinon lenses explain why they’re so scarce now.

Back then: how did the two cameras compare?

  • Cost and Availability: Both brands were widely distributed, in brick and mortar stores and by mail order distributors. In 1977, the OM-1 was still the only high quality small size semi-automatic SLR, and as a result Olympus was in the position to extract a very significant premium for it. The OM-1n (with a f/1.8 50mm lens) was selling for almost $300.00 in 1977, when Nikon could only ask $270 for a Nikkormat FT3. The Fujica ST801 (which was at the end of its career) was selling for approximately for $200.00, in the same ballpark as the old SR-T models from Minolta. It was more expensive than the other screw mount cameras from Practika or Vivitar ($170.00) but significantly less than semi-auto cameras of the newer generation such as the Canon AT-1: $ 240.00 (all figures sourced from the Sears catalog of 1977 – courtesy http://www.butkus.org/).
  • Size, Weight, Features and Ergonomics
    Figures can be deceiving. Only 135g and less than one centimeter separate the weight and the height of the OM-1 from the ST801. It’s not a huge difference (the ST801 was significantly narrower and lighter than the semi-auto cameras sold by Canon or Nikon in the early seventies),  but the OM-1 looks and feels significantly more compact than the Fujica. It falls perfectly in the hands. The position of the commands is not conventional (shutter speed ring around the lens mount, aperture ring at the front of the lens, ISO selector where the shutter speed knob generally is) but extremely convenient for a photographer shooting with a semi-auto camera and a prime lens: the right hand holds the camera, the left hand operates the shutter and aperture rings, which are clearly separated by the large focusing ring. Advantage Olympus

Fujica ST801 – viewfinder (shutter speed on a disk on the left, 5 LEDs on the right)

  • Viewfinder – Even to this day, the viewfinder of the Olympus OM-1 is exceptional. There are very few manual focus SLRs with a finder feeling larger (I can think of the Nikon F3, but it’s a pro camera and it’s bulkier). Every time you bring the viewfinder of the OM-1 to your eye, you’re still impressed. The Fujica’s viewfinder is more informative, and was praised for being luminous when the camera was launched.  But compared to the OM-1, it’s narrower and darker.  Clear Advantage for Olympus
  • Shutter and metering system: Both cameras use a shutter with horizontal cloth curtains. The OM-1’s tops at 1/1000sec, the ST801 at 1/2000sec. It probably did not matter much in 1973 (when 64 ISO was the normal film sensitivity) but a faster shutter speed is a serious advantage today (400 ISO is the normal sensitivity for negative color and B&W film, and photographers looking for “bokeh” use very wide apertures). The OM-1’s metering system is very conventional (2 CdS cells, mercury battery, matching needle at the left of the viewfinder). The ST801 was the first camera to use Silicon photo diodes for metering, and LEDs. Advantage Fujica.

Olympus OM-1 – viewfinder with the matching needle on the left

  • Lens selection: when the two cameras were launched, the Fujica had the advantage of accepting all the 42mm screw mount lenses manufactured not only by Fuji, but also by Pentax, Yashica, and literally dozens of other brands. Of course, metering was stopped down (only the new Fujinon lenses supported full aperture metering with the ST801). In comparison, Olympus was starting to build a new camera system. A few years later, the situation had evolved – the 42mm standard was being abandoned by all its major proponents, and Olympus had succeeded in imposing its OM system on the market – and the offer of lenses (from Olympus themselves or third party vendors) was abundant.  Tie

And now

  • Reliability: both cameras were launched at a time when the Nikon F, the Nikkormat and the Canon FT/QL were the gold standard for Japanese SLRs. In comparison, both the OM-1 and the ST801 must have looked small, light and fragile. Today, none of the cameras is known to be unreliable- they’re simple mechanical devices – but the oldest copies are now 45 years old. Tie
  • Scarcity:  The OM-1 sold over 1 million units over a long period, and aged very well. A small and beautiful camera, it must have been handled with care by its owners – nice copies of the OM-1 are abundant on eBay, on Shopgoodwill.com, and in the stores of used equipment retailers. The Fujica ST801 – while not as easy to find as the OM-1, is still relatively common – you just have to be a bit more patient if you want to find a nice copy at a reasonable price. Advantage Olympus

Olympus OM-1 – the commands layout is unique (large on/off switch, knob for the film sensitivity, a ring on the lens flange for the shutter speed, and the aperture ring at the far end of the lens).

  • Battery: The ST801 uses one 6v silver oxide battery (the same as the Canon AE-1), which is still easy to find. The OM-1 was originally designed for Mercury batteries, which have disappeared from the market a long time ago due to the health hazards represented by Mercury. Mercury batteries deliver 1.35 volts. The simplest option is to use the zinc-air batteries sold by pharmacists for hearing aid devices – they deliver the same voltage, are very cheap and ubiquitous, but have a limited life (a few months at most) once they start being used. Other options exist (like having the camera converted to the voltage of silver oxide batteries – 1.55v) but I don’t like the idea of opening the camera and soldering diodes on the circuitry that much. My take on it: live with the zinc-air batteries, or buy an OM-2.  Advantage Fujica.

Fujica ST801 – the battery door at the left of the viewfinder – and 1/2000sec on the shutter knob. For the rest, a conventional layout of the commands

  • Lens selection: In my opinion, the ST801 only shines with lenses supporting full aperture metering. Except for the most common focal lengths (50mm, 135mm and the 43-75mm zoom) Fujinon lenses designed for the Fujica ST series are difficult to find, and seriously expensive when you can locate one. A more cost effective option is to use Tamron Adaptall lenses – Tamron developed an Adaptall Mount Adapter specifically for the Fujica ST cameras – the mounts are still available at a very moderate price, and the Tamron lenses are less  expensive than Fujinons. Olympus OM Zuiko lenses have an excellent reputation. They were often offered  in three versions representing three price points (slow aperture, medium aperture, fast aperture) for every major focal length category. Today, while the faster lenses are rare and expensive, the slower ones are still easy to find and comparatively cheap, much more so than the Fujinons. Big advantage for Olympus.

Fujica ST 801 (launched in 1972) and zoom Fujinon-Z 43-75mm (launched 1977). The Z-43-75 was the first zoom bundled with a SLR (the AZ-1) and is easy to find. It’s a very good lens – if you can live with a minimal focusing distance of 4ft (1.20m)

Conclusion:

  • The usage value of the two cameras is the same – both are good semi-auto exposure cameras. the Olympus has the better viewfinder, a significantly wider lens selection on the second hand market, and it looks and feels more modern. The Fujica’s  metering system and its shutter are better, and it works with a myriad of screw mount lenses.

Olympus OM-1 – the lens release and the depth of field preview buttons are on the lens, not on the camera’s body

  • You can argue that the Fujica line of SLRs reached its peak in 1972, with the ST801.  The subsequent screw mount models (ST901, AZ-1) were designed with amateurs in mind (auto exposure cameras without any semi-auto mode), and the last screw mount Fujica cameras were budget models priced just above Practika cameras from communist East Germany. This whole line of cameras and lenses met its end in 1979 when Fuji switched to its new X bayonet.
  • If you consider the whole system, spending your cash on Olympus makes much more sense. The OM-1 is the first member of a large family. It’s a nice camera of high historical importance, but in the OM system, there are even better choices: the OM-2 and the OM-4t.  In semi-auto mode, the OM-2  works exactly like an OM-1. It also operates in Aperture Priority auto-exposure mode, offers a pioneering flash metering system and accepts silver oxide batteries. If you wanted to spend a lot more money, the OM-4t with its 1/2000sec shutter, its very elaborate metering system and its titanium top plate would be my recommendation.  It was sold until 2002, and is often considered the pinnacle of 35mm manual focus SLR design.

More about the other Olympus OM cameras in CamerAgX: the OM-2 Series, the OM-2 S Program

More about the  Fujica screw mount line of cameras in CamerAgX:

As usual, MIR is a very good source of information about cameras of the seventies and eighties: Olympus OM-1 and OM-2

Hilton Head – 2010 – Shot with an Olympus OM camera.

 

May 20, 2017

Should we start collecting digital cameras?

Filed under: Gear, Nikon Cameras — Tags: , , , , — xtalfu @ 5:09 am

Collecting is different from hoarding junk.

I’m sure we all have a few compact digital cameras stored in a drawer somewhere, that we don’t use anymore because, let’s be honest, any decent smartphone will do a much better job at taking, editing and publishing pictures than a dedicated compact digital camera sold 10 years ago. It does not make us digital camera collectors. We’re simply consolidating our inventory of obsolete electronics before a future trip to the recycling center.

Samsung Digimax 35 (0.3 MP, 2001), Nikon Coolpix L14 (7 MP, 2007) , Sony DSC-T20(8 MP, 2007), Canon Powershot S400 (2003, 4 MP)  and the Palm Treo 600 (0.3 MP, 2004) in the fore plan. Are my old digital cameras collector items, or just drawer-ware?

Collecting implies an intent.

A collection tells a story. The collector assembles objects which are significant for him or her, because of their esthetic or sentimental value, or to satisfy some form of intellectual curiosity. He or she may hope that, over time, objects in his or her collection will gain value, but financial gain is not the primary motive (if it was, he or she would not be a collector, but simply a speculator, a scalper).

We have the benefit of hindsight, and it’s easy to see what makes a particular model of film camera a better collectible than another one. I will group the criteria in three categories:

  • what the camera was in its early days: its technical significance, its build quality, its beauty, its performance, its cost, its rarity,
  • what it can do for you now: its usability (are film, batteries and lenses still available for that type of camera), its reliability over the long run, its ability to help you get great pictures, and the satisfaction you derive from using it,
  • the legend around it: is the brand prestigious, was this model of camera used to shoot a  famous picture, or used by a whole generation of war correspondents or reporters, did this particular item belong to a star or a famous criminal?

Obviously, by all three groups of criteria, a Leica M3 will be a better collectible than a mass produced, entry level, plastic bodied and unreliable APS camera from the late nineties.

Venice – Dec 2011 – Sony DSC-T20 (Photo: Valerie M.) A good digicam could take good pictures. A modern smartphone could probably do as well today.

What if we apply the same list of criteria to digital cameras?

  • what it can do for you now: that’s the biggest issue: older digital cameras are not as good as modern ones. A film camera has the benefit of being different from a modern digital camera with which it can not be directly compared (it’s a different user experience, a different workflow, and the output is somehow different), but an old digital camera can directly be compared to a modern one, and it’s not to its advantage: the resolution and the ability to shoot in low light are massively inferior, and the dynamics of the sensor is much narrower. And to add insult to injury, old digital cameras are also outperformed by smartphones in many casual shooting situations.
    Older digital cameras may not be as durable as film cameras – they’re full of electronics, and are generally powered by proprietary batteries that may not age well, and will require specific chargers, specific cables that, if lost, will rapidly become difficult to replace.
    Some of the most technically original (and therefore interesting) digital cameras like the Sigma cameras using Foveon sensors or the old Fujifilm S3 or S5 cameras using SuperCCD sensors require specific software to process or get the best of their raw files – but the software may not work with current or future versions of Windows and Mac OS.
  • what the camera was in its early days: it has to be put in perspective with what it can do now. Does it really matter that a Panasonic compact camera was considered the best compact camera for enthusiasts in the fall of 2005, when it’s in any case outperformed by an iPhone 7 Plus?
    By that measure, only a few cameras that made history technically are worth of attention : you can argue that the Nikon D3 changed the way we take pictures in low light and made flash  photography obsolete – and as a consequence deserves be part of a collection focused on important digital cameras. Similarly, cameras of an unusual design like the Nikon Coolpix 995 or equipped with a unique sensor that helps create different pictures (like the Sigma Foveon cameras) could become interesting curiosities.
  • the legend around it: I don’t think any digital camera has reached the legendary status yet.  Some cameras may be of special interest to collectors of equipment from a legendary brand – the first digital M camera from Leica, or the last digital camera made by Contax. But so far, I can’t see any digital camera that defines its generation, the way the Leica M3, the Nikon F or the Olympus OM-1 did in their heyday.

What digital camera would I collect?

Pinup and Naomi playing – The oldest jpeg file on my computer’s hard drive – taken in 2002 with a Samsung Digicam 35 camera. 640 x 480 pixels (0.3 Mpx). Does it  qualify as a collector, or as junk?

What is  important to me is not necessarily what’s important to you. To me, a camera has to be usable for casual photography, at home with my dogs, on a stroll in my neighborhood or while traveling. That’s why, when I shoot with film, I prefer cameras from the late seventies-early eighties to their ancestors of the fifties or sixties, too complex and too slow to operate for my taste.

In the world of digital cameras, I would not buy anything not capable of providing a good 8 x11 print, which places the bar at 6 Megapixels. I would also want the digital camera to be better at doing its job than a smartphone (if it was not, I would never use it and it would collect dust on a shelf):  it would need a viewfinder (optical or electronic), and would have access to focal lengths ranging from  24mm to 135mm. I’m not necessarily willing to invest in a whole new system: if the camera accepted interchangeable lenses, I would prefer some compatibility with the lenses I already own (through an adapter, possibly).

Lastly, I’d like the camera to represent a significant step in the evolution of digital cameras, and to have a few unique characteristics that would differentiate it from the mass of the me-too products of its generation.

What camera would qualify? A few Nikon pro cameras from the mid 2000s (D1x, D3) because they pushed the boundaries of image quality and  low light capabilities and made the film SLRs and flash photography obsolete, their cousins from Fujifilm (a S5 Pro, maybe) for their original SuperCCD sensor and the unique images it captures, or the Epson R-D1, the first digital rangefinder camera, or one of the most original bridge cameras from Sony, the F828.

Your choice would be different. Up to you.


More about using old digital cameras today: Ashley Pomeroy’s blog – http://women-and-dreams.blogspot.com with interesting reviews of  the Fujifilm S series (Fujifilm S1 Pro, Fujifilm S3 Pro, Fujifilm S5 Pro) and its competitors from Nikon (Nikon D1, Nikon D1x).


Venice – Dec 2011 – Sony DSC-T20- (Photo Valerie M.)

May 8, 2017

A final word about the Fujica “X” cameras of the eighties

Filed under: Fujica Cameras, Gear — Tags: , , — xtalfu @ 12:04 am

When new, the Fujica AX cameras did not make a huge impact – the attention of the press and of the buying public was focused on the cameras of the big four, and on the duel between Canon and Minolta.

Fujica AX-3, AX-5 and AX Multi Program

There is not much information on the Internet about those cameras (and even fewer pictures), and since I’ve been enough of a fool to buy a few of them recently, I’ll go through a quick comparison of three models – with plenty of pictures.

Fuji launched the “X” bayonet mount in 1978-79,  with 4 models:

  • Fujica ST-X – a close derivative of the semi-auto ST605 of the previous m42 screw mount generation, updated with the new bayonet and full aperture metering. Designed for a low price point, with a shutter speed limited to 1/700 sec., it shares very little with the AX models (except for the bayonet, of course)
  • Fujica AX-1 – if it was a car, we could say that it shares its platform (or chassis) with the other Fujica AX cameras. Designed for people with no interest in the technical aspects of photography, it offers a simplified set of controls, and only works in a fully automatic program exposure mode, with no manual or semi-manual override.
  • Fujica AX-3 – a conventional “enthusiast” SLR, with all the functions needed by a knowledgeable photographer (aperture priority automatic exposure, semi auto and manual modes, depth of field preview, aperture and selected shutter speed information in the viewfinder). The AX-3 is a good surprise – it’s a compact and light camera, with well thought ergonomics  (an embryo of  control wheel replaces the conventional shutter speed knob) and all commands grouped on the top plate. All the features a photographer will need (depth of field preview, AE Lock, semi-auto mode in addition to the aperture priority auto exposure) are present and easy to find. It’s one of the easiest cameras to use without a manual. The compactness and light weight of the camera come at the cost: the viewfinder. It’s informative: shutter speeds with corresponding LEDs on the left, periscopic view of selected aperture on top, but a bit dark, with a short eye point and a strange barrel distortion if you wear glasses. The viewfinder is worse than what you find on Canon cameras of the same vintage, and than its Fujica predecessors (such as a the ST801).
  • Fujica AX-5 – the top of line, it adds a shutter priority mode and a program to the AX-3. The aperture and the shutter speed information are displayed in two columns on the left of the viewfinder, which is a bit confusing at first. The Fujica AX-5 was analyzed in detail in the comparison with the Canon A-1 recently added to this blog.    In my opinion, it draws a bit above its weight. The underpinnings of the camera (shared with the AX-1 and the AX-3) are more suited to a beginner’s or an enthusiast’s model, and the AX-5 feels (and probably is) too small and fragile to compete with the Canon A-1, and too limited technically (its shutter speed can’t exceed 1/1000sec, the viewfinder is the same as the AX-3’s) compared to the multi-automatic cameras that Nikon or Pentax proposed in the last years of its sales career.

In 1983,  Fujica cameras were rebranded as “Fuji”, and the the STX-1 was replaced with the STX-2 (the same with a black body, a 1/1000sec shutter and exposure information provided by LEDs instead of a galvanometer’s needle).

The Fuji AX Multi Program – here with the 43-75 f/3.5-4.5 zoom. The body shell is in plastic.

The three AX cameras were discontinued, replaced by the AX-Multi Program, a derivative of the AX-1, supposedly designed for people totally ignorant of the basics of aperture and shutter speed determination. To make their life easier, it offered 3 different program auto exposure modes, and no manual or semi-auto mode. Having 3 programs (one normal, one for action scenes, one for landscapes) was not a bad idea, but the execution was sure to alienate the very type of user the camera was trying to reach:

  • the 3 programs were not designated by a symbol corresponding to the intended use (normal, sports, landscape), but by obscure initials (P, DP, HP) and the possible aperture/shutter speed combinations were only documented on a diagram printed on the back of film loading door.
  • there was absolutely no indication of the shutter speed in the viewfinder – a single LED was supposed to blink when the shutter speed was too low, but what constituted “too low” was never clearly defined, and the camera could take pictures at 1/30sec with a tele-objective without a warning for the photographer.
  • There was not even the +2EV push button proposed by many simplified cameras to help photographers with back-lit scenes.
  • The camera used many more plastic parts than its predecessors, and was shouting “cheap” very loud.

The three programs (DP to maximize the depth of field, HP to maximize the shutter speed, and the default P) are described by this diagram on the back of the film door. Not very beginner friendly.

The AX-Multi Program was one of the many over simplified SLRs launched at the beginning of the eighties. The sales of SLRs had been going down for a while, and the camera makers, seeing that potential buyers were attracted by easier to use point and shoot cameras, tried at first to make the SLRs less intimidating by removing controls – but by doing so they did not make their  cameras more “intelligent”, they just deprived photographers of ways to override the basic automatic systems when they were obviously off the mark.

The fantastic success of the Minolta Maxxum 7000 proved that cameras had to be made more accessible to the public at large not by removing features and  controls from the photographer, but by adding better automatisms that made it easier to get good pictures, even in the most difficult situations.

For Fuji, the writing was on the wall, and they left the SLR market in 1987.


The viewfinders:

Fuji AX-3. The viewfinder shows the selected shutter speed. The aperture value is displayed at the top (not visible on this picture).

Fujica AX-5 – The viewfinder shows the aperture value (left column, yellow LED) and the selected speed (right column, red LED).

Fuji AX Multi Program Viewfinder – the LED only shows which one of the three programs is being selected.

 

The top plate

The top plate of the AX Multi Program is simplified – the three programs (DP, P, HP) are the only choice left to the user

 

The AX-3 and the AX-5 share the same command layout. The AX-5 represented here is in Program mode (Automatic Exposure on the control wheel, and diamond position on the lens)

The bayonet mount

The mount on the AX-5 is almost identical to the AX-3’s. A tiny sensor is added at the bottom right of the flange.

The mount is almost identical to the mount on the AX-5

The bayonet has been simplified on the AX Multi: the aperture value selected on the lens can not be transmitted to the body.

The FM and DM lenses

Fujinon 50mm DM (on the left) and FM (on the right). They look the same but the aperture ring of the DM has an extra position for the shutter priority and program modes (marked by the orange diamond). It is protected by a push button lock.

The X-Fujinon FM was bundled with the STX-1 and the AX-3, the DM with the AX-1, AX-5 and AX Multi Program.

One last picture…

Fujica AX-5 with the X-Fujinon 43-75mm zoom. The zoom is identical to the screw mount model sold with the AZ-1. Good lens but with a very long minimal focusing distance (1.2m or 4 ft)


More information about the Fujica “X” system on CamerAgX

User manuals and catalogs for the Fujica cameras (and many other cameras of the same vintage) on butkus.org

A thank you note to The Casual Photophile – for telling me how to take pictures of the inside of a viewfinder – the answer? use an iPhone.

April 26, 2017

Tamron’s Adaptall interchangeable lens mount

Filed under: Gear, Tamron Lenses — Tags: , , , , — xtalfu @ 12:00 am

Two Tamron “Custom  Mount Adapters” and a Tamron Adaptall lens in the middle. The lens can receive Adaptall and Adaptall 2 mount adapters.

Lenses with interchangeable mounts were developed primarily to solve the inventory management problems of the photo equipment retailers of the late 50s.

After Asahi launched their “Pentax” single lens reflex camera with interchangeable lenses in 1957, German and Japanese camera makers jumped on the band wagon and started releasing their own lines of SLR bodies and lenses.

They formed two camps – vendors like Mamiya, Petri, Ricoh, Fujica, Chinon, Yashica followed the example of Asahi and Practika and adopted the 42mm “universal” screw mount – with the promise of inter compatibility between brands. On the other hand, Canon, Exacta, Leica, Minolta, Miranda, Nikon, Topcon and a few others brands each decided to develop their own proprietary bayonet mount.

Those were the early days of the SLR, and the pace of progress was fast. Manufacturers had to revise their lens mounts every few years, in order to support new features such as the automatic diaphragm, full aperture metering and various exposure automatism implementations.

Imagine the nightmare for a retailer – having to stock expensive lenses for each variant of each of those mounts.

There was an opportunity for an inventive manufacturer to produce a line of universal lenses designed to be fitted with the lens mount adapter needed by the customer at the last minute, in the store, when he was ready to buy. The retailer could serve almost any customer need with only one copy of each universal lens, and one lens mount adapter per camera brand.

Tamron Adaptall lens and the Adaptall 2 lens mount – pairing or unpairing the two parts is not easy – it’s not something you want to have to do in the middle of a photoshoot.

Of course, the photographer buying one of those “universal” lenses could also play Lego himself – and use his lens with camera bodies of different manufacturers (if he happened to be transitioning from one camera brand to another one, for instance).

Tamron is widely credited for being the first to market such a solution in the late 50s (with their T mount lenses), but Soligor and Vivitar also adopted the T mount and developed their own lines of lenses.

In order to keep up with the increasing complexity of the lens mounts, they regularly launched new lines of adapters and matching lenses : Tamron with the Adaptamatic (in 1969), Adaptall (in 1973) and the Adaptall 2 (in 1979), Soligor and Vivitar with the T4 and the TX system.

Two Tamron “custom mount adapters” on the camera body side – left: Pentax KA (with the electrical contacts); right: the Fujica AX Bayonet

The progressive generalization of automatic cameras with multiple auto-exposure modes made the lens mounts much more complex and delicate. The growing use of electronics and the autofocus revolution of the mid 80s presented technical challenges of increasing difficulty that could not be overcome at a reasonable cost. And the concentration of the autofocus SLR market into a handful of players (Canon, Minolta, Nikon and Pentax) made inventory management easier for the retailers. As a result, the interchangeable lens mount system was gradually abandoned by its manufacturers in the 90s.

Today, does it make sense for a photographer using manual focus SLRs to buy interchangeable mount lenses ?

  • Canon and Nikon users should not be too concerned: their cameras were often used by professional photographers who had to invest in a large set of good lenses to stay competitive. Today, Canon FD and Nikon F lenses are abundant (and therefore comparatively cheap) on the second hand market, in any focal length.
  • but photographers using cameras of other manufacturers are not that lucky: the original buyers of those cameras were primarily amateurs, and the 50mm standard and the 135mm tele-objective seem to be the only lenses that they bought 40 years ago. They are the only ones easy to find on the second hand market today. When an OEM wide angle or a short tele-objective lens shows up on eBay, its  price rapidly reaches insane levels.
  • For those photographers using cameras from second or third tier manufacturers, Tamron or Vivitar lenses are an interesting alternative: the interchangeable lens mounts are still easy to find and cheap (some of them New Old Stock), and the lenses are more abundant and not as expensive as most OEM lenses.
  • Zoom lenses from the 70s and early eighties generally have a bad reputation, and those with interchangeable lens mounts are not better than the rest. But some prime lenses from Tamron are very well regarded, and constitute interesting purchases on their own merit (the Tamron 90mm f/2.5 Macro lens in particular)
  • Users of digital mirrorless cameras have an extra option – some vendors propose direct Adaptall to mirrorless adapters (for the most common mirrorless mounts: Sony, Fujifilm and Micro 4/3). Since mirrorless cameras don’t need to control the aperture of the lens to operate in some of their automatic modes, the adapter does not need to provide any linkage between the camera’s mount and the lens. It can be extremely simple – and cheap.

Sources:

https://en.wikipedia.org/wiki/T-mount

http://www.adaptall-2.com

http://www.tremyfoel.co.uk/photography/Adaptall/TamronAdaptallInfo.html

http://mattsclassiccameras.com/lenses/adaptall-2-system/

and specifically for the Fujica X bayonet (manual focus SLR bodies: ST-X and AX-1, AX-3, AX-5): tamron adaptall 2

https://www.photo.net/discuss/threads/t-mounts-t-t-2-t-4-tx.245015/


View of the Atlanta skyline – Fujica AX-5 – Tamron 28mm f/2.5 lens. Kodak Ektar.

Older Posts »

Blog at WordPress.com.