Leitz Eldia

A simple film copying device from Ernst Leitz, the makers of the Leica camera.

I saw this device on Ebay with a very vague description – no real indication as to what the device might actually be. It was made by Leitz (the makers of the Leica camera) which suggests it would be both well designed and well made. So I put a bid in and got the device for £8.00 – a bargain! Fortunately for me, the device came with full instructions, making the use of the device clear (full instructions are three small pages of text plus a diagram).

The device itself has the maker’s name – Leitz Wetzlar, Germany – on it but no other writing. The box has the additional information of “Eldia 17900W” but no more and that is all the information that I had when I bought it.

The instructions (four small pages) have the additional information “Eldia printer” and “printing device for transparency film strips”. It seems that the device is intended for producing projectable positives on black and white film from black and white negatives. Searching on the Interweb suggests that this device was first introduced in about 1930 (dates on the Interweb vary a bit). Leitz Wetzlar was incorporated into a GmbH in 1930 and this name is printed on the instructions – “Leitz Wetzlar GmbH” so my device was made in or after 1930.

Early versions, according to the Interweb, had nickel plated knobs, later versions had chrome plated knobs and the last versions had plastic knobs. Mine has anodised aluminium knobs – so much for the Interweb! Both the device itself and the instructions say that it was made in Germany rather than West Germany which might suggest that it was made before 1945 but might also mean that it was of late enough manufacture that the distinction between West and East Germany was old hat and West Germany had returned to calling itself just Germany. On balance, I think mine is a later rather than earlier model.

The device itself is very simple – no lens, no shutter, no meter. It is fully manual and really simple. The device is basically a box with semicircular ends. It is made from brass which is painted black with a coarse crinkle finish. The is a hinged front – also brass painted black but with a finer crinkle finish.

The top has the only controls there are – a knurled knob at either end. These are different heights – the right hand one is taller and has an arrow embossed on top to indicate the direction of turn. The left hand knob is lower and has no arrow. Half way between these two knobs is a spring catch that holds the hinged front in place.

The rear of the device has a red glass window measuring 38 by 30 mm. It is far from clear why this window is there. In film photography it usually indicates illumination for blue sensitive emulsions but this red window is not involved in illuminating anything. if the red window was replaced by solid metal, the device would work just as well.

The front of the device has a hinged flap. This has a central clear window. On my device, this window measures 25 by 19 mm which is half a standard 35mm film frame. It can be replaced with a larger window measuring 25 by 37 mm. This hinged flap also contains the maker’s logo – “Leitz WETZLAR” and the country of origin: “GERMANY”. This flap is held in the closed position by the spring mentioned earlier.

When the flap is opened, the front of the device is exposed. There is a large aperture – 82 by 35 mm – with a glass window centrally. This time the glass is colourless but, as with the red window on the back, this glass window serves no discernible purpose. On the right side of the glass window is a sprocket shaft. When rotated, this shaft clicks once every time four sprockets pass the front – this equates to half a standard 35mm film frame. This allows you to measure one frame (two clicks) or one half-frame (one click) when winding the film in the dark. The inside of the flap has two guides to hold a strip of developed negatives.

If you open the flap, it is then possible to remove the top of the device – this top is just a push-fit lid with two holes. The two knobs that protrude through the holes are attached to spools to hold a length of 35mm film. The instructions say the spools will hold three metres of film which is about two 36 exposure cassettes worth.

In use, you load a length of unexposed copy film onto the spool with a small knob and pull the film across the glass window with the emulsion on the outside and on to the spool with a large knob. The strip of negatives that you want to copy fits between the guides on the flap, again with the emulsion on the outside. Note that the unexposed film you use must be copying film that can be used under a red safe-light. When the flap is closed, the emulsion side of the two films will be in close contact.

You expose the copy film through the glass window in the flap – through the negative you want to copy – by holding the front of the device 1.5 m from a 25 watt incandescent bulb. If you use black and white film and black and white negatives, you will end up with a black and white positive for projecting which is the original purpose of the device. If you use colour reversal film and colour slides, you will end up with a duplicate colour slide.

Miranda MS–3

A Cosina CT-( rebadged as a Miranda MS-3

While Miranda were never one of the top camera makers in Japan, they were a serious maker. In 1978, the company ceased trading and in the early 1980s the rights to the Miranda brand were brought by the Dixons group in the UK. This MS–3 dates to the Dixons period.

As I was perusing this camera after I bought it, I thought the top plate was very reminiscent of my Cosina CT–1. After a bit of research on the Interweb, it turns out this is one camera not based on the Cosina CT–1 – but it is a Cosina camera, and the CT range at that. It is a rebadged Cosina CT–9. Cosina is a major maker of cameras and lenses for other marques – they currently make many lenses under contract to Carl Zeiss of Germany.

The camera body measures 136 by 85 by 50 mm and weighs 425 g (body only, no lens). The main body is die-cast aluminium and the top and bottom plates are moulded plastic – an anti-slip finish is a part of the plastic finish so there is no need for a leatherette covering. This imparts a cheaper look and feel to the camera (although this type of finish soon became standard, even on top end cameras). After 40 years of use, the finish is much reduced.

As I usually do, I shall start by looking at the top plate. As I mentioned earlier, the top plate is moulded black plastic. On the far right is the window on to the frame counter. As is usual with Japanese SLR cameras, the frame counter is reset to ‘S’ by opening the back of the camera. ‘S’ is actually -2 (‘S’ stands for start) and is printed in red. All the even numbers are printed and the odd numbers are represented by dots. Numbers 12, 20, 24 and 36 are in red as these were the standard film lengths in the mid 1980s – all the other numbers are in white. The frame counter will count to 37 and then stop moving although you can still advance the film.

Right by the frame counter is the film advance lever. This lever is plated metal covered with black plastic. This lever moves through not quite 180º (165º according to the manual – 30º stand off plus 135º movement) to advance the film one frame. There is no ratchet here so the lever must be moved in one movement.

Hard by the film advance lever, at the front of the top plate, is the shutter release button. It was the design of this button together with the shape of the film advance lever that gave me the clue that this might be a Cosina camera. This shutter release button is a fairly broad and flat black plastic button with a central threaded hole for a standard cable release.

To the left of the shutter release button is a selector dial. This is where we would usually find the shutter speed selector – and that is one of the functions here. The outside of this selector dial is a three-way switch. In its central position, the camera is switched off and nothing works. Rotating this slightly anti-clockwise turns the camera to auto. In this position, the camera is turned on and the exposure system determines they exposure when the shutter release button is partially depressed. If the button is fully depressed, the shutter is fired – without power, the shutter can not be fired.

If this selector dial is rotated clockwise from the Off position, the camera is in manual exposure mode. Here, the exposure system still determines the ‘correct’ exposure and displays it in the viewfinder but does not control the actual shutter speed. Instead, the shutter speed is set by two buttons in the middle of the selector dial. The front button increases the shutter speed – if held down, the shutter speed continuously cycles through the range – the red LED in the viewfinder displays the changing shutter speed.

The rear button does the opposite –reducing the shutter speed – and, again, if held down cycles through the speed range but in the opposite direction. While you are using these manual controls, the exposure system displays its preferred shutter speed with a flashing red LED.

Next along the top plate is the pentaprism hump. On the front of this is the camera name – “MIRANDA” and the letter “M”. On the top of the hump is an ISO hot shoe. This is a plain vanilla hot shoe with no additional contacts.

To the left of the pentaprism hump is the rewind crank. This is a standard Japanese folding crank and, as is usual with Japanese SLR cameras, the crank doubles as the catch for the back – pulling up on the crank unlocks the back. Around this crank, there is a ring to set the film speed. This is entirely in ASA/ISO (it is actually marked as both ASA and ISO as this camera was made a the point when ISO took over from ASA). The speed range is from ASA 25 to ASA 1600 which is pretty standard for the day. The film speed can be altered in 1/3 stop increments, the thirds being represented by dots.

As always with SLR cameras, the front is dominated by the lens mount. This is a plain vanilla Pentax K mount with a twist. When Pentax introduced the K mount, it was a purely mechanical bayonet mount with a mechanical linkage to pass the aperture setting to the light meter. In time, Pentax added electrical contacts and a screwdriver link which were set into the bayonet mount. We have, over the years, ended up with quite a few official variants on the basic K mount.

This particular K mount is Cosina’s own, unofficial, variant. The lens mount ring has no electrical contacts or screwdriver link but it does have three electrical contacts inside the mount at the top. These are for Cosina’s own autofocus lens. This was a large and cumbersome affair containing its own batteries and electric motor – much like Pentax’s ME-F autofocus lens introduced a few years previously. Unfortunately, I do not have this lens.

So, looking into the mouth of the mount, on the left at about 9 o’clock, is a small lever. This latches onto a lever on the lens. When the shutter release button is pressed, this lever rises allowing the sprung lever on the lens to move, closing the iris diaphragm to its set value.

All around the inside of the mount is a rotating ring with a lug at around 2 o’clock. This lug latches onto a recessed lug on the lens. Changing the aperture setting on the lens will slightly rotate this ring, communicating the set aperture to the camera’s light meter.

Just to the left of the lens mount, near the top of the body, is a rectangular red light. This is the self timer button. If you press this in, it flashes for eight seconds and then flashes faster for two seconds and finally fires the shutter. On the far left of the body is a small grip for the photographer’s right hand.

The only feature on the back of the camera is the viewfinder eyepiece. The lens for this measures 15 by 10 mm. Inside the viewfinder is the focus screen. As this is a relatively cheap SLR the focus screen is plain ground glass rather than a Fresnel screen . It does, however, have focus aids. There is a ring of micro-prisms in the centre of the screen and in the centre of that is a split-image rangefinder.

On the left of the focus screen is the readout for the light meter. This consists of a list of shutter speeds with one second at the bottom and 1000 (for 1/1000 second) at the top. Above the shutter speeds are three more items. The first is the legend “OVER” and if the red LED next to this is lit the photograph will be overexposed. Above this is “M” and this will be lit when you have selected the mode to be manual. At the very top is the legend “AUTO” and this is lit when you have set the mode to automatic.

Below the shutter speeds are two more items. The first is “LT” which indicates that a shutter speed of between two and eight seconds has been chosen by the light meter (LT= long time?) or that the user has set two seconds manually. Below “LT” is “B” which is Bulb where the shutter stays open while the shutter release button is held down.

The base of the camera has four items on it. In line with the centre of the lens is a 1/4 inch UNC tripod socket. Just by the tripod socket is the battery chamber.

On my camera, this battery chamber is free from corrosion – far from a given on old cameras! Unfortunately, Cosina saw fit to use a soft plastic cap and the slot on this is now so damaged it is extremely hard to remove and replace.

At the other end of the base is the button to allow the film to be rewound. Pressing this in allows the sprocket shaft inside the camera to rotate backwards. Once pressed right in there is no need to hold it in. In front of this button is a small sticker with the word “RESET” on it. Beneath this sticker is a small hole. If the camera freezes up completely then you push a pin into this hole to reset the electronics and allow the camera to start working again.

Inside the camera is much as you might expect a Japanese 35mm SLR camera to be. In the middle of the door is a nice large pressure plate and to the right of that is a chrome spring to hold the film cassette snuggly.

The insides of the body are dominated by the film gate. The actual gate measures 36 by 24 mm which is standard for 35 mm photography. The surrounds are large enough to hold the film flat – the surrounds measure 65 by 35 mm. To the left of the film gate is the chamber for the film cassette. At this age there are no DX contacts. On the right of the film gate is the sprocket shaft. This measures the length of film required for one negative – eight holes passing over the sprocket shaft equals one frame. To the right of the sprocket shaft is the film take-up spool. There are six slots for attaching the new film.

Around the opening of the camera is a groove. When the back is closed, the edges of the back fit into this groove. To ensure light tightness, there is a strip of black foam plastic in this groove. After nearly 40 years, this foam has disintegrated into a sticky goo and needs to cleaning out and replacing with new foam – an easy DIY job.

When new, this camera came with a Cosina 50mm, ƒ/1.2 lens. My camera has a Topcon AM Topcor lens with a focal length of 55mm and a maximum aperture of ƒ/1.7. The lens is multi-coated. This is a cheapish lens – the mount is entirely plastic as, it would appear, is the rest of the lens. A search on the Interweb tells me this is probably a lens made by Cima Kogaku who made lenses for many smaller camera makers. The same interweb source also suggest that this lens has six elements arranged in four groups. As this is Interweb information, I cannot guarantee that it is correct.

The aperture has six blades and runs from ƒ/1.7 to ƒ/16 which is quite fast for a cheap lens. The absence of ƒ/22 might be a problem in bright light but many of my cameras have a minimum aperture of ƒ/16 and that has never been a real problem for me. The aperture ring has click stops at every marked aperture and also at the half-stops.

The focus ring is marked in both feet and meters and focuses from 2 feet or 0.6 meters to infinity. The throw on the focus ring (the amount by which it turns) is about 180º which means that critical focus is easy but fast focus is not – this is the opposite of modern auto-focus lenses which focus quickly but are difficult to focus manualy.

Sida – the camera.

This is a very simple camera from Sida in Germany.

This is a very small German camera dating from the late 1930s. The design is as simple as possible and still have a working camera. The overall shape of the camera was maintained for some years but the details seem to have changed on a regular basis. The shutter release lever moved from behind the shutter to in front of the shutter to the base of the camera – I do not know the actual sequence of the changes, it could be the other way around. The body was sometimes die-cast in gun metal and sometimes in Bakelite.

This camera is very small. It measures 70 by 55 by 40 mm. This is only just big enough to take a roll of film. Actually, although the Interweb says that this camera takes 35 mm film, it is slightly too small and the Sida film specifically made for this camera cannot have been wider than 33 mm – it cost one shilling for a ten image roll in 1937. The camera is painted matt black (or, rather, was in the case of my camera as most of the paint has come off over the last 80-odd years). The front and back of the camera have panels which are textured in the metal to resemble leatherette but the texturing is in the casting. I should say, perhaps, that I have the die-cast metal version, not the Bakelite version.

This camera was advertised in the 1937 edition of the British Journal of Photography Almanac where the price was five shillings (25p in modern money).

The top of the camera is very simple (a recurring theme with this camera). On the right is a round raised portion which is the end of the film chamber inside. On the left is a round knob which is the film advance knob. This knob is on a ratchet and will only turn in one direction, and has an embossed arrow on the top to make clear which direction this is. The knob makes a very distinct grating noise when turned.

In the middle of the top is a very small viewfinder. The viewfinder is towards the front of the top and is impossible to use while wearing glasses. It is also difficult to use without glasses! The viewfinder image is correspondingly small and only vaguely squarish.

The back of the camera has a central red window. Although this camera uses miniature film, it uses a non-perforated film with a paper backing much like a small version of 120 film. When winding on the film, you need to look at the frame numbers through this red window. Above the red window is the name of the camera: “SIDA”. Across the red window is the legend “PATENT ang DRWZ”. The DRWZ bit is short for “Deutches Reichswarenzeichen” and the whole legend tells us that either the design of this camera is protected by a federal trademark or the name SIDA is protected – I am not clear as to which it is.

The bottom of the camera has a round raised portion at either end. Again, these are the ends of the internal film chambers. Between these is a rather small – 3mm diameter – hole for a tripod. Clearly, this cannot be used with a standard 1/4 inch Whitworth or UNC tripod which is about 6mm. Actually, I cannot imagine anyone wanting to use such a simple camera on a tripod.

The front of the camera is the most complex part. Not very complex but more complex than the rest of the camera. There is a 38 by 45 mm raised portion which protrudes 11mm from the rest of the camera. In the centre of this is the lens. Around the lens it says “Sida-Optik” and “1:8 = 35mm”. For such a simple and cheap camera, this has got to be a meniscus lens – just one piece of thin glass. The colour of the glass tells us that this lens is not coated – not that any lens is likely to be coated in 1938. The 1:8 tells us that the lens has a fixed aperture of ƒ/8. This is rather slow and must be coupled to a slow shutter speed to achieve a decent exposure of 1930s films. This small aperture will be necessary to achieve a good depth of field with the simple, focus-free lens. The focal length is 35 mm. The negatives produced by the camera have a diagonal of 35 mm so this lens is a “normal” lens for this film format.

On the left of the lens, on the surface of the camera, is the shutter release lever. This is a simple mild steel lever attached to the camera withy a brass screw. This lever fires the shutter when pressed down and fires the shutter again when pushed up.

On the right hand edge of the raised portion, towards the bottom, is a small screw threaded with a nut. If this is pulled out, the shutter is converted from a brief exposure to B. With this pulled out, the shutter release lever opens the shutter which remains open until the shutter release lever is pressed in the opposite direction. In the metal beside the raised portion, there is a moulded legend: “T←M”. “T” is clearly time and I am guessing that “M” is the German for moment.

The back of the camera is opened by pulling back on a lug on the left hand edge of the camera. There is no catch of any sort nor any hinge – the back comes away in one piece. Inside the back – which is painted matt black – there is the number 1946 scratched in the paint. Is this the year of manufacture, the year of purchase or a serial number? Your guess is as good as mine.

Inside the body of the camera, there is a chamber on the right for the new roll of film. At the top and bottom of the chamber are two grooves to locate the ends of the film spool but the film spool is not fixed in any way. There is a steel leaf spring to keep the spool from moving and to keep the film taut.

On the left is the chamber for the take-up spool. This spool latches at the top into the inside of the film advance knob, the bottom of the spool sits loosely in a groove as both ends of the film spool do.

In-between the two spool chambers is the film gate. This is 25 mm square. Above and below the film gate is a rebate to guide the film. In total – film gate plus two rebates – this measures 33 mm which is the maximum width of the film. The Interweb says that this camera uses 35mm film but that is not the case – Sida produced their own size of roll film.

Petri Flex 7

Petri were a prolific maker of cameras in the 1950s, 60s and 70s — for themselves and for own-label resellers. I already have a Petri 7s rangefinder camera and a 2MTL made for Wirgin and sold as an Edixa 2MTL. It is possible that I have other Petri camera that I am not aware of.

lens: Petri anastigmatic
focal length: 55mm
apertures: ƒ/1.8 to ƒ/16
focus range: 0.6 m to infinity
lens fitting: Petri breech-lock bayonet
shutter: cloth focal plane
speeds: 1s to 1/1000s plus B
flash: PC connector
film size: 35 mm 

This Petri Flex 7 was introduced in 1964 and superficially looks like a Zeiss Ikon Contarex in its first incarnation. It is a sturdily made camera and quite heavy. It measures 151 by 98 by 91 mm and weighs 970 g which is heavier than most of my SLR cameras. Visually, the outstanding feature is the round exposure meter window above the lens — it is this feature that creates the similarity with the Zeiss Ikon Contarex.

In many ways, this is a ‘standard’ SLR camera. The layout of the top plate is much as you would expect with the film advance lever on the right. This is metal — anodised aluminium — and fairly straight. It has two rest positions, one flush with the edge of the top plate and the other standing proud about 5 mm which makes it easier to use.

In front of the film advance lever and slightly to the left is the window onto the frame counter. This is reset to ‘S’ when the back of the camera is opened — ‘S’ equates to ‘-3’. Next along is the shutter speed dial. This runs from one second to 1/100 seconds plus B. Speeds of 1 s to 1/60 s are marked by a red arc and the letter X. These are the shutter speeds suitable for electronic flash — this indicates that at these speeds the shutter is completely open as the flash fires. Faster shutter speeds can be used with flash bulbs as these give their maximum brightness for long enough for the shutter slit to move across the film gate.

Centrally on the top of plate is the pentaprism hump. This is bigger than you might expect as it holds the light meter as well as the pentaprism and focus screen. On top of the pentaprism hump is a Barnack accessory shoe. This has no electrical contacts so is a ‘cold shoe’.

On the rear of the pentaprism hump is the viewfinder eyepiece. This is large enough to be comfortable to use while wearing glasses. Inside the viewfinder is the focus screen. Most of this is a Fresnel lens which gives even illumination over the field of view. In the centre of the field of view is a circle of ground glass which the manual says is there to allow you to see the depth of field when the lens is stopped down. Fresnel lenses give nice even illumination but at the cost of fine detail. Mostly this does not matter but for critical focus (an judging depth of field) they are no good. Inside this circle is a rectangle of micro-prisms to aid accurate focus.

On the lower right of the focus screen is the light meter readout. This consists of a black rectangle with a gap on the left hand edge. To achieve a good exposure, you centre the needle in this gap by altering the lens aperture and shutter speed. It is intended to be used as a shutter priority system.

On the front of the pentaprism hump is the light meter sensor window. This is a CdS sensor and so requires a battery to work. The sensor window is circular and slightly recessed. Around the meter sensor window is a collar which rotates to set the film speed. This is in both DIN (red) and ASA (black). It is unusual for Japanese cameras to have film speeds in DIN but perhaps Petri were hoping for significant sales in Europe. Film speeds are from 11 DIN to 30 DIN or 10 ASA to 800 ASA. With modern digital photography, this range can seem a bit strange but, in 1964, films as slow as 10 ASA were available and films faster than 800 ASA were rare and niche. Just below the light meter sensor, to one side, is the camera serial number.

Left of the pentaprism is a signal to indicate whether the meter is switched on or not. When the flag is red, the meter is off — the meter is switched on by advancing the film so to conserve the battery you need to advance the film only when you are ready for the next shot. On the far left of the top plate is the rewind crank — this is the usual folding crank. Less usual, this crank only rewinds the film; it does not double up as a catch for the back and there is no memo function or any of the other functions that frequently appear here.

Now the front of the camera. At this point I usually mention that the front is dominated by the lens — and there is certainly a nice large lens sticking out of the front — but the eye is definitely drawn to the light meter sensor. It might not be as large as the lens but it is visually dominant.

The lens mount is Petri’s own three flange bayonet mount. This works much like any lens bayonet mount but instead of turning the lens to lock it you turn a locking ring — the lens itself remains stationary. This mount has an auto-indexing facility. The most prominent SLR camera at the time that this camera was produced was the Nikon F which had a curious requirement — on fitting a lens you had to turn the aperture ring from maximum to minimum to tell the light meter the aperture range of the lens. Petri have obviated the need for this by having a nodger which connects to a socket on a ring around the lens mount which is very similar to the AIS system introduced by Nikon in 1976. There is a small window at the top right of the lens mount which shows the set aperture. At first glance, this seems pointless as the aperture scale is clearly printed on the aperture ring of the lens. Unfortunately, the presence of the large bull’s eye light meter sensor means that you cannot read the set aperture off the aperture ring — hence this aperture window. If you remove the lens and move this indexing ring on on its own, it is apparent that this camera can only manage lenses with an aperture range of ƒ/1.8 to ƒ/16.

Inside the lens mount, my camera has a disaster. Just inside the mount there is a black steel plate with a negative sized rectangular hole. Someone has attacked this plate and bent and twisted it quite severely.This is obviously an attempt to repair the camera — the camera is quite jammed: the shutter will not fire and the advance lever will not move. The worry is what other damage has this person done in the futile attempts to repair this camera?

The locking ring for the breech lock is attached to the camera. In Canon’s FD mount, which is also a breech lock mount, the locking ring is attached to each lens. I find Petri’s version easier to use.

The lens is Petri’s own design and make (as far as I can ascertain). I am told that it is a seven element lens.It has a focal length of 55 mm and a maximum aperture of ƒ/1.8 which is quite wide for an amateur lens in 1964. Minimum aperture is ƒ/16 which is not as impressive.Focus is from 0.6 m (2 feet) to infinity. ƒ/11 is marked in red – with many cameras, this represents a Happy Snapper setting in conjunction with a red mark on the distance scale, but not here. I do not know the reason for ƒ/11 being in red. There is a switch on the lens for automatic diaphragm of manual diaphragm. If set to Auto, the diaphragm closes just before the shutter fires. If set to manual, the diaphragm is always closed to the set aperture. This aids in seeing the depth of field but gives a darker image which makes focusing harder.

Right of the lens mount, at the top right of the body, is the battery holder. This is intended to hold a PX625 cell which is a mercury cell and banned everywhere. However, I easily managed to find an alkaline alternative with the slight drawback that it gives 1.5 v instead of the 1.3 v intended.

Right of the lens mount, at the bottom of the body, is a PC connector for attaching a flash gun. The flash gun can be fitted to the accessory shoe for casual photography or mounted away from the camera for studio work.

On the left of the lens mount is the angled shutter release button. This was quite common on Praktica cameras from Germany and a similar system was used by Voigtländer and Zeiss Ikon in the 1960s but I have never been comfortable with it. The shutter release button, which is chromed metal, is not threaded for a shutter release cable. If you want to use a cable release, you need to unscrew a metal collar from around the button and screw a non-standard cable release onto those threads. A number of cameras have used a similar system but I fail to see the advantage of not using the more usual Gauthier tapered thread system.

Below the shutter release button is the self timer lever. To set this, you turn the lever anti-clockwise to wind the clockwork mechanism and then press a small chrome button that is revealed by moving the lever. Winding the lever through 180º gives a delay of eight seconds. Winding the lever through 90º gives a delay of two seconds — and between those two, a pro rata delay. Wind the lever less than 90º and the shutter will not be fired.

The base plate of the camera has little on it. In line with the lens is a standard tripod socket. This is the usual 1/4 inch socket and probably a Whitworth thread but the camera is recent enough that petri could have been early adopters of the modern UNC thread. Also on the base plate is the button to enable the film to be rewound.

The back of the camera is opened by a sliding catch on the left hand edge of the body. The inside of the back has a reasonably large pressure plate but none of the springs or rollers that are frequently found on the inside of 35 mm camera backs. However, there is a very small stud near to the catch which is intended to hold the film cassette steady.

On the left side of the inside is the film chamber which holds the 35 mm film cassette. The film gate surround is quite large which will help to keep the film flat over the film gate. To the right of the film gate is the sprocket shaft – this is there to count the number of sprocket holes that pass this point: eight holes equals one frame. Right of the sprocket shaft is the take-up spool. This has a single slot for the attaching the film leader.

The shutter is a cloth, horizontally moving, focal plane shutter. Shutter speeds are from one second to 1/1000 seconds plus the ubiquitous B. The flash synch speed for electronic flash is up to 1/60 seconds (which is the fastest shutter speed when the shutter is completely open) and the synch speed for flash bulbs is any shutter speed at all.

My camera does not work. Neither the film advance lever nor the shutter release button will mov e at all. As mentioned earlier, someone has viciously attacked the insides of the lens mount to the extent of seriously bending a steel baffle just inside the mount. What other repair attempts have they made? If someone has made such a crass attempt at a repair, I don’t think it worth my while attempting anything myself.

Hunter 35

A small, light, 35mm film camera made in Germany for a British company – RF Hunter.

This is a compact 35mm camera that literally fits in my hand. R.F. Hunter were a distributor rather than a maker and are better known (but far from famous) for the Purma Special camera but they also distributed Franka and Rolleiflex cameras and Schneider lenses in the UK. So, Hunter did not make this Hunter 35 camera which was made by Steiner-Optik of Bayreuth in Germany. It is, actually, a rebadged Steinette camera, made in 1957 or 1958.

 

  • lens: Steiner triplet
  • focal length: 45 mm
  • apertures: ƒ/3.5 to ƒ/16
  • focus range: 3 feet to infinity
  • lens fitting: fixed
  • shutter: not specified
  • speeds: 1/25 to 1/200 seconds
  • flash: PC socket
  • film size: 35mm

As I mentioned above, this camera is small. It measures 105 by 75 by 70 mm and weighs 333g. The camera is made from Bakelite, an early plastic, with satin plated metal top and bottom plates and the shutter/lens mount.

As the camera has a leaf shutter, there are very few controls on the top plate. On the far right of the top plate is an arc-shaped window onto the frame counter. Every fourth number is displayed with intermediate frames being represented by a line. This needs to be reset when loading a new film by using something fine and stiff – I used a penknife – to rotate the counter anti-clockwise. Just beside this is the film advance knob. This is fairly small – 18 mm diameter – and has two pillars, one either side, to aid turning the knob. This arrangement works very well and it is possible to turn this knob with just the thumb of the right hand. The knob sports two arrows to indicate the direction of turn, not that it is possible to turn it the wrong way.

The centre portion of the top plate is slightly raised – by about a couple of millimetres. On the front right of this raised portion is the shutter release button. This is a simple metal pillar and it is threaded for a standard cable release.

In the centre of the raised portion of the top plate is the accessory shoe. This is a standard Barnack shoe and so has no electrical contacts – a cold shoe. Either side of the accessory shoe is a screw which presumably fix the top plate to the camera body. To the left of the raised portion is the rewind knob.

On the rear of the top plate is the viewfinder eyepiece. This is small – 5 mm diameter – as was usual in the 1950s. This is a reverse Galilean finder – the image is smaller than life size. There are no bright lines or other compositional aids here. On the right of the eyepiece is a small serrated lever. Moving this to the left and in will allow you to rewind the film. The front of the top plate is just the viewfinder window. This measures 11 by 7 mm.

The front of the camera has the shutter/lens housing right in the centre. There is a pressed metal hood which protrudes 22 mm from the body to hold the shutter/lens in the correct place. This has the legend “Hunter 35” stamped on the top in Italic script. The shutter is anonymous and I suspect Steiner’s own make. It is a simple everset shutter offering four speeds: 1/25, 1/50, 1/100 and 1/200 seconds plus B. The shutter release lever is visible on the right hand side of the shutter housing where it immediately dives into the metal hood mentioned earlier to connect with the shutter release button on the top plate. Also on the shutter housing is a PC-socket for flash. There is no indication of whether this is M or X sync but for a cheap camera in the 1950s, I doubt the user would be buying an electronic flash gun so my guess is it is M sync.

The available apertures on the lens are from ƒ/3.5 to ƒ/16 which is a reasonable range for an amateur amera. The lens is a Steiner lens – it has no specific name – which is a triplet with a focal length of 45 mm – which is normal for 35mm photography. Steiner are a reputable maker of lenses and still have a good business making binoculars. The focus range for this lens is three feet to infinity. The minimum focus distance on the focus scale is 3.5 feet but the lens will move quite a bit beyond this. Beside the focus scale is a depth of field scale which is something I very much miss on modern autofocus lenses.

The back of this camera is unusual in as much as it does not open – film loading is through the base, much as an early Leica. What there is on the back is a printed exposure guide. This is basically variations on the Sunny 16 rule which generally works very well. Four options for film speed are given – in both ASA and DIN. These are: ASA 10-16 or DIN 11-13, ASA 32 or DIN 16 (both expected to be colour films which were much slower than monochrome films in the 1950s), ASA 50-80 or DIN 18-20 and ASA 100-200 or DIN 21-24 (both expected to be black and white films). There are also four weather options giving a grid of aperture options. This chart assumes a shutter speed of 1/50 seconds which is rather slow for hand holding the camera.

The access to the inside is by removing the base. The catch is in the centre of the base. This is a disc with two studs. While the studs are in line with the base, the base is locked. Rotating the disc through 90º anti-clockwise moves the studs across the base and one stud is now by the stamped “O” (for open). The base now lifts off. One end of the base has a standard 1/4 inch Whitworth tripod socket.

Inside the body of the camera are two chambers. One takes the film cassette and the other then take-up spool. The take-up spool is a removable plain black cylinder with a single longitudinal slot – inside this slot is a blue steel spring. Film is loaded by removing the take-up spool and pushing the film leader into the slit – this must be done outside the camera – and then putting the cassette and co-joined take-up spool into the camera making sure that the film slips in front of the sprung pressure plate. This pressure plate is not particularly obvious when looking into the camera.

What is missing from here is any sprocket shaft or sprocket wheel. This camera has no way of counting sprocket holes and so no way of measuring how much film has ben wound on. Each time you advance the film, the take-up spool turns one half a turn – the amount of film that is advanced is determined by the diameter of the take-up spool. For the first couple of frames this gives normal frame spacing but as more film is wound onto the take-up spool the effective diameter of the take-up spool increases and so more film is advanced, giving ever greater gaps between frames.

Test film

I have run a test film through this camera – Agfa Vista as usual – and now have the results. First, the positive: The camera works well for a cheap camera and the lens, although not brilliant, is quite good for family snapshots. Now the negative: there is a light leak on every frame. This is right on the right hand side of the image (so the left hand side of the negative) and could easily be cropped out if I wanted to use this camera.

To estimate the exposure, I used the table on the back of the camera which is basically the Sunny 16 rule. This has worked well. There is a dark bar at the top of each image which makes me thing that the film gate is slightly smaller than the standard 24 by 36 mm.

Here are are few images from the test film:

Chinon Genesis (GS7)

This is large and heavy SLR fillm camera from Chinon.

This camera is a child of the 1980s. Every part of its design shouts out that decade. It is big, black and cumbersome. The basic design concept seems to come from 1980s video cameras. In fact, this camera was introduced in 1988 and continued in production until late 1990. It is designed for one handed (right hand only) operation so is a disaster for the 10% of people who are left handed.

  • lens: Chinon zoom
  • focal length: 35 to 80 mm
  • apertures: ƒ/4.1 to ƒ/6.4
  • focus range: 0.85 to infinity
  • lens fitting: fixed
  • shutter: electromagnetic leaf
  • speeds: 1/4 s to 1/300 s
  • flash: pop-up
  • film size: 35 mm

The layout of controls on conventional mechanical cameras is determined by the position of the internal mechanisms. So, on SLR cameras, the film advance knob/lever is positioned above the take-up spool, the shutter release button is positioned above the part of the shutter that fires the shutter and the shutter speed selector is positioned above the part of the shutter crate that controls shutter slit width. The end result is that mechanical SLR cameras all have the controls in pretty much the same place.

This Genesis camera is an electrical/electronic camera and the controls are all electric switches. This means that the controls are positioned as suited the camera designer. In fact, as a fully automatic camera, there are few controls at all. This camera has no manual operation facility and so no manual controls. The camera measures 120 by 120 by 90 mm and it weighs 750 g.

The first thing that I need to mention is how you hold this camera. There is a horizontal hand strap on the right hand side. Your right hand slips up between the strap and the camera body, leaving your thumb around the back of the camera where there is a circular depression to aid your grip. The shutter release button should fall to the user’s index finger but I find this a bit awkward. Of course, the size of the user’s hand makes a difference here. Holding the camera one handed this way is quite comfortable and stable. The shutter button is nicely responsive.

In the centre of the top is the folding flash gun. In front of this flash gun is a grey slider. Pushing this forward both raises the flash gun and powers on the camera – the actual power switch is in the hinge of the flash cover. When using this camera, the flash gun is always raised and powered.

Behind the flash gun, on the top, is a small LCD screen. This displays sparse information. On the left is a battery power indicator. On the right is a frame counter. The frame count is maintained while the power is switched off (I assume a small amount of power is used for this) and is even maintained without the battery for a couple of hours using power held in a capacitor. Around the frame counter is a box. This box will flash when the multi-exposure mode is set. Between the battery indicator and the frame counter, at the top of the screen, is the self-timer indicator. Below this is an indicator for the Back Light Compensation system. Behind the flash gun on the top is a small LCD screen. This displays sparse information. On the left is a battery power indicator. On the right is a frame counter. The frame count is maintained while the power is switched off (I assume a small amount of power is used for this) and is even maintained without the battery for a couple of hours using power held in a capacitor. Around the frame counter is a box. This box will flash when the multi-exposure mode is set. Between the battery indicator and the frame counter, at the top of the screen, is the self-timer indicator. Below this is an indicator for the Back Light Compensation system.

To the left of the LCD screen are two banks of switches. The right hand bank has three buttons. These are labelled ‘M. EXP’, ‘SELF T’, and ‘BLC’. ‘M. EXP’ sets the multi-exposure mode. This will allow you to make up to three exposures without advancing the film. ‘SELF T’sets the self timer mode. With this set, there is a ten second delay between pressing the shutter release button and the shutter firing. ‘BLC’ sets the Back Light Compensation mode (and starts the square on the LCD screen flashing). In this mode, the camera allows for a strong backlight to achieve a good exposure.

The left hand bank is a sliding switch with two positions. In the forward position – single – the camera will take single shots only (or two in Multi Exposure mode) and in the backwards position – continuous – it will take up to three shots in succession.

Down the left side of the camera is a dark grey area. Thee are four items on this grey area. Near the top is a hole which is threaded. There is no indication as to what this is for. The manual says that it is to connect a flash slave unit. This is the electrical connection. Below that is a sprung slider. Sliding this upwards uses the flash as fill-in flash even in generally good light. Sliding this down switches the flash off. it is necessary to slide and hold this switch or it will default to off. Beside this switch second hole. Pushing a ball-point pen nib or such into this hole forces the camera to rewind the film even if it is not at the end. The fourth item is a small catch to open the camera back.

On the left, the main camera body is curved – it is basically the lens barrel. This has a vertical slider which zooms the lens. Three focal lengths are marked – 35, 50 and 80 mm. There is also a macro position for close focus. To achieve the macro position, it is necessary to depress a green button on the slider. This is not ‘true’ macro as it does not give a life size image on the negative.

Front, missing the plastic fascia over A/F lenses

The lens itself has eight elements in seven groups (information courtesy of the genesis manual). It is not a very fast lens – the maximum aperture is ƒ/4.1 at 35 mm and ƒ/6.4 at 80 mm. The lens focus is entirely automatic and there is no manual option. The autofocus works on infra-red light. There are two autofocus windows which are covered by a plastic fascia beside the lens. Looking into the lower of the two lenses (after removing the fascia) while operating the camera, you can see a flashing red LED. Looking into the top lens in the same way, there is a black sideways ‘H’ which I take to be a sensor of some sort.

The lens will focus from 0.85 m to infinity. If you use the inbuilt macro facility, the lens will focus down to 0.5 m. Chinon produced a 1.3X teleconvertor which extended the focal length to 105 mm. This fits onto a bayonet on the front of the lens and includes a secondary lens on the right which fits over one the two autofocus lenses mentioned above to recalibrate the autofocus system. If you try to use the teleconvertor below 65 mm focal length, the image is subject to severe vignetting.

The base of the camera is sparse. There is a 1/4 inch UNC thread tripod socket. This is right at the back of the camera and in line with the lens. Also on the base is the battery compartment. To open this you need to push a ball-point pen nib into the hole which allows the compartment lid to slide open. The required battery is a 2CR5 which is still available and rather expensive.

The back of the camera is also sparse. Above the opening back is the viewfinder eyepiece. This is a reasonable size. Inside the eyepiece is the focus screen. In the centre is a disc of micro-prisms. These have a dual purpose. Firstly, they indicate the area of the image that the autofocus system works on. Secondly, there is a small amount of manual focus possible when the zoom setting is on Macro.

To the left of the focus screen are two LEDs. On the top is a red lightning flash. While the flash gun is charging this LED flashes. When the LED is steady, the flash gun is ready for use. Below this are the letter AF in green. These appear when the lens is focused. When the lens is not focused, the AF LED is not lit and the shutter will not fire.

The opening back has a small window on the left. This is so that the user can see the film cassette as a memo of the film that is in use.

Inside is reminiscent of a Contaflex or Bessamatic from around 1960. The film cassette sits in a chamber on the left. This chamber has four pairs of electrical contacts which are there to read the DX code on the cassette. The DX code tells the camera about the film speed and film length. If you use a film cassette with no DX code (such as when you use bulk film), the camera assumes a film speed of 100 ISO.

In the centre is the film gate. This is the bit that is like a Contaflex – there is no focal plane shutter. Instead, there is the sloping reflex mirror. As well as reflecting the image up into the viewfinder, the mirror also acts as a light tight baffle to prevent fogging of the film while the actual shutter is open.

Shutter speeds available are from 1/4 seconds to 1/300 seconds – not a very large range for 1988! Below the film gate is a small sprocket whee. this takes the place of the more usual sprocket shaft and is there to count the sprocket holes in the film to measure one frame when advancing the film. Film loading is automatic. You pull out the film leader until it is just short of the hinge for the back, close the camera and switch it on. The leader will wind onto the take-up spool and the film will be advanced to the first frame. When the film has all been used, the film is automatically rewound into the cassette – all the way in with no leader protruding.

In Use.

This is an easy camera to use, even just one handed. It is, however, a bit on the large size and gets in the way if photography is not your main activity. I used it with the hand strap provided which meant that one hand was permanently occupied. There is provision for attaching a neck strap instead of the hand strap which would free your right hand but of the cost of a large weight around your neck.

This camera is just too big and too heavy for the casual user and too limited for a serious photographer.

Test Film.

I have run a test film through this camera and I am awaiting the return of the film. I will post results here when I can.

OK, I now have the test film back from then lab – Agfa Vista, as usual – and this camera is performing very well. Exposure is spot on as is focus. There are no light leaks.

Some images were shot in rather dull weather and others in bright March sunshine. The camera has coped with both of these quite well. The first image shows what happens if you use the supplied teleconverter with the cameras lens set to 35mm – Chinon recommend you use the teleconverter with the zoom set to between 65 and 80 mm to avoid this vignetting. The second image was shot using the lens’ macro facility.

Pentax Program-A

This camera dates from 1984. This camera is clearly a development of the Pentax ME Super of 1979. Indeed, the ME Super was discontinued the year that this model was released.

  • lens: n/a
  • focal length: n/a
  • apertures: n/a
  • focus range: n/a
  • lens fitting: Pentax KA mount
  • shutter: Seiko MFC-E5 vertical metal electronic
  • speeds: 15 to 1/1000 seconds
  • flash: hot shoe for dedicated Pentax flash guns plus PC socket
  • film: 35 mm

The Program-A has a fully automatic exposure system which is dependent on using ‘A’ series lenses. Other K mount lenses can be used but doing so will not allow the automatic exposure system to work – automatic aperture priority exposure is still possible.

As mentioned above, this camera is a development of the ME Super which is reflected in the top plate. This camera is made from metal. There is some plastic used but it is not used structurally. The body is die-cast aluminium and the top and bottom plates are black painted brass. The body measures 131 by 87 by 48 mm and weighs 490 g with no lens attached.

This camera is entirely electronic and will not do anything at all without batteries. The instruction booklet (which was nicely supplied with this second-hand camera) says that the camera takes two 1.5 volt batteries – no indication as to which style batteries. I have fitted two LR44 alkaline batteries which fit in the battery compartment nicely and the camera works well with them.

The top plate closely resembles that of the ME Super. On the right is the film advance lever. This has a stand-off position at 30º from the body. This is intended to make film advancing easier but if the photographer wishes, the lever can be kept flush with the body. To advance the film one frame the lever must be moved through 135º from the stand-off position. There is no ratchet so the lever must be moved in one movement.

In front of the film advance lever is the window to the frame counter. As is usual, this is reset when the camera back is opened. The automatic exposure system does not kick-in until the frame counter reaches 1. Before that, the shutter speed defaults to 1/1000 seconds. Even frame numbers are in white – odd numbers are dots. 0, 20, 34 and 36 are in red (34 is in red to indicate that the film is very nearly at an end.

Next along is a selector wheel. This has the options of LOCK, AUTO, MAN, 100⚡︎ and B. When this wheel is in either the LOCK or AUTO positions, it is locked in place and you need to press a grey portion of the wheel in order to turn it. In either MAN, 100⚡︎ or B positions, the wheel can be turned freely.

The lock position locks the shutter and turns off the electronics. AUTO sets the automatic exposure system. MAN allows the user to set both aperture and shutter speed – camera control of the aperture is disabled and the aperture ring on the lens must be moved from “A”. 100⚡︎ forces the shutter too 1/100 seconds for flash synchronisation. B allows the shutter to remain open while the shutter release button is depressed.

In the centre of the selector wheel is the shutter release button. This is chromed metal and is threaded for a standard cable release. This shutter release button is electrical and sends a signal to the electronic shutter.

Left of this selector wheel, hard by the pentaprism hump, are two buttons, 5 by 3 mm each. These are to adjust the shutter speed in manual mode – the front button increases shutter speed and the rear button reduces speed.

The pentaprism hump is in the middle of the top plate as usual. On top of the hump is a hot-shoe accessory shoe. This is synchronised for electronic flash as designated by the red X. As well as the ISO standard central contact, there are two smaller auxiliary contacts. These are for Canon’s dedicated flash guns and allow the camera to automatically set the shutter speed and lens aperture to the required values. For non-dedicated flash guns, the user must set the selector wheel to 100⚡︎ and manually calculate the required lens aperture.

On the front of the pentaprism hump is an oblong translucent panel that illuminates the meter display in the viewfinder. The rear of the pentaprism hump has the viewfinder eyepiece. This measures 15 by 10 mm. Inside the viewfinder is the focus screen. This is plain ground glass with a central micro-prism spot and a split-image spot in the middle of that. These are focus aids.

Below the focus screen is the light meter readout. On the left is a window for the shutter speed. When in AUTO mode with the lens aperture set to ‘A’, the shutter speed is preceded by a ‘P’ to indicate Program mode. On the right is the window for the aperture value. This only displays in program mode (aperture set to ‘A’, wheel to AUTO). Otherwise, it gives values from -3 to +3 to indicate how far out the exposure setting is.

To the left of the pentaprism hump is the film rewind crank. This is the usual fold-out crank. When pulled upwards, this crank acts as the catch for the hinged back. Around the rewind crank is a wheel to set exposure compensation. Normally, this will be set to 1x but the exposure can be adjusted from 1/4 to 4 times the value set by the exposure system. On the left of this wheel is a small button. if you press this while rotating the exposure compensation wheel, you adjust the film speed setting instead. This is in ASA (functionally the same as modern ISO speeds) and runs from 6 ASA to 3200 ASA. 3200 ISO film is still readily available (in 2020) but I think you would struggle to find 6 ISO film!

Moving to the front of the camera, the front is dominated by the lens mount. This is Pentax’s K bayonet mount introduced in 1975 (it was originally a joint development between the German Carl Zeiss and the Japanese Asahi Optical Co, but Carl Zeiss pulled out of the arrangement and development was completed by Asahi alone). Previously, Pentax cameras used the M42 screw lens mount and to make things as simple as possible the new K mount used the same flange distance (distance from the outside of the lens mount to the film) as the M42 mount. This made using adapters for older Pentax lenses much simpler.

Originally, in 1975, the K mount was entirely mechanical. There is a ring just inside the mount that connects to a lever on the lens to tell the exposure system what the set aperture is and a lever on then other side of the mount which closes the lens’ aperture when the shutter release is pressed.

lens showing the ‘A’ setting (white dot)

The version of the K mount on this camera is known as the KA mount. The difference between the vanilla K mount and the KA mount is the presence of six electrical contacts on the surface of the KA mount, on the lower left. Five of these contacts protrude slightly and are spring loaded so they can push in as a lens is being mounted/demounted. The sixth contact (the third one down) is flush with the mount and not sprung. This is the opposite on the lens portion of the mount – five contacts on the lens are flush and one is protruding and sprung. On the lens, this protruding contact is connected to the ‘A’ position on the aperture scale. If ‘A’ is set, this contact protrudes and if an actual aperture value is set then this contact is retracted – this signals to the camera’s AE system that the camera is to control the lens’ aperture.

The lens release button is on the left of the mount (or on the right when using the camera). This is the opposite way to most SLR cameras that I have . Just above the lens release button is a second lever. This is a depth of field preview lever and needs to be pressed towards the camera body. Slightly above and behind this is switch marked ‘SELF’. pushing this switch up sets the self-timer. This gives a delay of around 12 seconds between pressing the shutter release button and the shutter opening. A red LED flashes once the shutter release button is pressed and this flashes faster during the final two seconds of the delay.

On the other side of the lens mount is a PC socket for use with an off-camera flash gun.

The base plate of the camera has the usual items. There is a standard 1/4 inch tripod socket. The ISO standard for tripod threads was set in 1973. Previous to this, the threads were 1/4 inch Whitworth but the ISO states they should be 1/4 inch UNC. As this camera dates from 12 years after the introduction of the ISO we can be sure that this is a UNC thread. This tripod socket is in line with the centre of the lens. Next to this is the battery compartment which takes two LR44 cells. The third usual item is the release button to allow the film to be rewound. Once this button has been pressed in, there is no need to hold it in, making rewinding easier.

Also on the base plate are the paraphernalia for connecting a motor drive, two models of which were available. These consist of two locating holes, a set of four electrical contacts, a set of two electrical contacts and a clutch connected to the film advance system. Also on the base is the camera’s serial number.

As mentioned earlier, the back is released by pulling up on the rewind crank. The back can be completely removed and can then be replaced with the optional Data Back which would print the date and time on each negative. This data back uses another set of two electrical contacts on the back of the base plate.

The inside of the camera is quite normal. The chamber for the film cassette is on the left. Strangely, inside this chamber is a second serial number which is close to but not the same as there serial number on the base of the camera. The shutter is a vertically running metal focal plane shutter made by Seiko. This is the model MFC-ES shutter (detail curtesy of the printed instruction booklet) and it is entirely electronic – it does not work at all without battery power. Centrally is the film gate – this is absolutely standard. On the right is the take-up spool. This has what Pentax call Magic Needles. These are a series of loosely fitting plastic needles around the take-up spool. When you fit a new film, you just push the film leader between any two of these needles and wind the film advance.

Being a Japanese camera, the joint between the camera back and the camera body is rendered light tight by a groove with a foam light seal in it. As is also usual, these foam seals have deteriorated and will need replacing before the camera is used. One last thing that a is worth mentioning is the presence of a memo holder on the back of the camera. This is intended to hold the end of the cardboard carton the film comes in to serve as reminder as to which film type is in use. These should be on every camera to my mind but they are not so frequent, unfortunately.

A scanned copy of the instruction booklet can be found here.

Test Film.

I have now run a test film through this camera and the results are mixed. The film I used was Agfa Vista, 200 ISO – a couple of years past its best-before date so basically fine. On a positive, there are no light leaks and the shutter is moving smoothly. On the negative, quite a few of the negatives are very thin, indicating significant underexposure – I still have images from these as scanning is very forgiving but they are not really useable.

The images:

One of the thin, underexposed negatives, This was a bright but cloudy day – plenty of light around.
Well exposed, as are the next three.

Nikon F2 Photomic

Nikon F2 Photomic 35 mm film SLR camera from the early 1970s

This is my fourth Nikon camera but my first professional Nikon. My first two Nikons – the F301 and the F601 – were made from plastic and were automated. These two were strictly amateur cameras. My third Nikon – the Nikkormat EL – was metal with automatic exposure if required. Again, an amateur’s camera but a nicely made metal one. This Nikon – the F2 – is a strictly professional camera and it shows. The camera is metal, a cast aluminium chassis with brass top and base plates. The basic camera has no viewfinder but the buyer had a choice of viewfinders. This was basically a choice between a plain pentaprism finder for use with a hand light meter or the ‘Photomic’ finder with a built-in TTL light meter.

My camera has the Photomic finder – the DP1 version – which Nikon calls the head. The Interweb tells me that this model camera was made between 1971 and 1980. The Interweb also tells me the date of this particular camera. The serial number starts with 7 5xx xxx and this gives a date range of between February 1975 and April 1975. (data from www.destoutz.ch/typ_production_data_f2.html)

  • lens: n/a
  • focal length: n/a
  • apertures: n/a
  • focus range: n/a
  • lens fitting: Nikon F mount
  • shutter: Titanium foil horizontal focal plane
  • speeds: 1 s to 1/2000 s plus B and T
  • flash: Hot shoe plus PC connector
  • film size: 35 mm 

When writing these articles, I frequently skim over the description of the top plate as they tend to be much of a muchness. The top plate on this camera has a number of idiosyncrasies so I shall describe it in some detail. On there far right is the film advance lever. This has two rest positions. When close to the body, the lever acts as a switch to turn off the light meter if the Photomic head is attached. At the second rest position, standing proud of the body by nearly a centimetre, the metering head is switched on and the advance lever is readily available to the user’s thumb. The lever moves through 90º to advance the film one frame and is on a ratchet so the film can be wound on by a series of short strokes. The lever is metal with a metal cover.

Right in front of the film advance lever is the window to the frame counter. In usual SLR fashion, this is reset to S (-2) by opening the back of the camera. Even numbers are displayed in white, odd numbers by dots. 12, 20 and 36 are in red as these were the standard film lengths in the 1970s. The counter will count up to 40.

Shutter release with collar set to Lock

To the left of the frame counter window is the shutter release button. This is chromed metal as is the collar that it sits in. This button is not threaded for a standard cable release but the chromed collar is threaded for a Nikon proprietary cable. Around the release button is a second collar. This outer collar is black pained brass. This has two functions. If you lift it and turn it clockwise so that the notch aligns with the letter L on the top plate, the shutter is locked against accidental exposures. The second function is to set the shutter speed to T – more later.

Left of the shutter release button is the shutter speed dial. When the Photomic head is attached, this is covered by the head itself. This dial has speeds from one second to 1/2000 seconds. 1/60 and slower are in white, 1/125 and faster are in green. Between 1/60 and 1/125 is a red line. This is the flash sync speed and is 1/80 seconds. Between 1/1000 and 1/2000 is a pin. This is to connect the Photomic head to the shutter speed dial.

Top plate with no viewfinder

Next to the speed dial is a largish hole in the top plate. This gives on to the focus screen which is replaceable. Normally, the viewfinder fits over this hole. On either side of this hole, towards the front, are two sprung electrical contacts to provide power to the Photomic head.

On the left of the top plate is the rewind crank. This is the standard folding crank seen on nearly every 35 mm camera. This crank will pull up six millimetres to make rewinding the film easier. When the camera back is open, the crank pulls up further to ease the insertion and removal of film cassettes.

Rewind crank with flash shoe around it.

What is entirely missing on this camera is a standard, Barnack style, accessory shoe. This prevents you using non-Nikon flash guns. In order to allow you to use Nikon flash guns, there is a Nikon specific shoe around the rewind crank. This has two long springs, one either side of the crank, to keep the flash gun secure. At the rear is a single electrical contact for the flash. At this date, there is no fancy flash control so no extra contacts.

This camera had options for the viewfinder – what Nikon called heads. I shall use the term ‘head’ from now on. My camera has the light-metering head – the DP1 – which gives the model name F2 Photomic. First and foremost, the Photomic head is a pentaprism viewfinder. The pentaprism adjusts the image on the focus screen so that the viewer sees the image the right way around. It also includes a light meter, a method of reading the set aperture and a method to set the shutter speed.

The head measures 68 by 70 by 41 mm and weighs 220 g – which is a significant weight to add to a camera. Looking down on the head, on the right is a film speed dial in ASA. This runs from 6 ASA to 6400 ASA and can be set in 1/3 stop steps. Setting this is achieved by lifting and turning the outer ring of the dial. This dial is also used to set the shutter speed. In this case, you set the shutter speed by turniung the dial without lifting. This dial connects to the shutter speed dial using the pin between 1/1000 and 1/2000 mentioned earlier.

On top of the head, there is a square window. The rear portion of this is translucent grey. This provides the illumination for the meter display in the viewfinder. The front part of the square is a very small meter read-out.

On the right hand side of the head, in front of the film speed/ shutter speed dial, is a small lever. Pushing this towards the head and down at the same time releases the front of the head for removal (there is a second release for the rear of the head). On the left hand side of the head, towards the rear, is a small metal pin. This connects to the Nikon flash when fitted and provides a flash-ready signal in the head.

underside of Photomic head

Looking at the bottom of the head, the base is dominated by the base of the pentaprism. Behind this are two small pins which locate on the fastener on the body (this fastener is released by a small button on the rear of the top plate to the left of the viewfinder eyepiece). In front of the pentaprism base is a third pin which also locates in a fastener on the body and is released in the same way as the other two pins. In front of this third pin are two prongs which locate on two pins on the front of the body – these are released by the lever on the head mentioned earlier. Either side of the pentaprism base, towards the front, are two pointed pins. These connect with the two sprung electrical contacts on either side of the hole in the top plate already mentioned and provide the power for the light meter. Right at the front of the base of the head is a groove which contains a pin which locates on the rabbit ears prong on the lens. This pin relays the set aperture to the light meter.

The front of the head has the legend ‘Nikon’ in nice large letters. While looking at the front of the head, on the left is a small button. This is a test button – pressing this allows the meter needle to move across the meter window if there is sufficient battery power available and if the needle does not move much the batteries need replacing. On the lower left of the front of the head is a window which displays the maximum aperture of the lens. This gets set by the indexing process when fitting a new lens – more later. The rear of the head has the viewfinder eyepiece. This is circular and the eyepiece unscrews to allow the user to add a compensating lens if they find using the camera difficult when wearing glasses.

The front of the camera has the nice big lens mount. This is the original 1959 F mount. There is no screwdriver linkage for autofocus and no electrical contacts for automatic operation of the lens. This is where indexing the lens comes in – when fitting a lens, the aperture ring must be turned to the minimum aperture and then to the maximum aperture – the maximum aperture should then appear in the window on the front of the head. On the right of the lens mount (while looking at the front of the camera) is a button to release the lens. Above this, near the top of the camera, is a PC connector for off-camera flash.

On the other side of the lens mount, towards the bottom of the camera, is the self-timer lever. You set this by turn ing the lever to either 2, 4, 6, 8 or 10 seconds. When you turn this lever, a small chrome button is revealed. Pressing this button starts the count-down. This self-timer also has another function. If you set the shutter speed to B, the collar around the shutter release button to T and then set the self-timer to 2, 4, 6, 8 or 10 seconds then the shutter will stay open for that length of time. Example: shutter speed B, shutter release collar T, self-timer to 6 and then press the shutter release button (not the small self-timer button), the shutter will remain open for 6 seconds. Indefinite exposures can be achieved by setting the shutter speed to B, collar to B and then pressing the shutter release button. The shutter will then stay open until you return the collar to its normal position.

Still on the left of the lens mount, above the self-timer lever, is a combined button/lever. The button is a depth of field preview button. Pressing this closes the iris diaphragm in the lens and allows you to see how much is going to be in focus. The lever here raises the mirror before the exposure. This acts to reduce vibration during the exposure but has the side effect of blacking out the viewfinder, so a tripod is absolutely essential here. To turn this lever, you need to press the lever towards the camera body while turning the lever through 120º.

The base of the camera has six items on it. Starting at the right, there is a folding key marked O and C. This opens the back of the camera. Turn the key to O and then turn further against spring resistance and the back will pop open. When closing the back, you need to turn the key to C to lock the back closed.

Next along his the battery compartment. This holds two button batteries, either LR44 alkaline cells or A76 silver cells. This camera is entirely mechanical and works perfectly with no batteries fitted. The batteries are only required to power the Photomic metering head. Next to the battery compartment is the tripod socket. This is nearly in line with the centre line of the lens which is good for stability. I suspect that a this is the older 1/4 inch Whitworth thread rather than the ISO 1/4 inch UNC thread but I am quite happy to be contradicted.

Towards the other end of the base, near to the rear of the camera, is the button to disengage the film advance mechanism to allow the film to be rewound. It is necessary to keep this pressed in while rewinding the film. In front of the button is a second button. This is a secondary shutter release button which is used by a motor-drive if fitted. Right at the end of the base is the mechanical linkage for the motor-drive advance the film.

The rear of the camera has a memo holder which takes the end flap of a film carton to act as a reminder as to which film is in use. I have never understood why every film camera does not have one of these.

Inside the camera, things are as you would expect in a 35 mm SLR. In fact, it is pretty much the same as the 1949 Contax S which was the archetypical film SLR. In one respect, this camera is more like a German SLR than a Japanese SLR. This is the complete absence of any foam light seals. Light tightness is achieved by deep grooves and flanges. So, no foam to go bad and no need to replace the gooey foam seals with new ones, whichNI was fully expecting to have to do. I have new batteries installed and a film fitted – Agfa Vista 200 ASA (sorry, 200 ISO) which is actually Fuji film.

TEST FILM.

I have my test film back from the lab and all is well. The meter is clearly working well – all the negatives are well exposed. I cannot show this here as the scanning process corrects a lot of faults but visual examination of the film strips shows a good image density. There are no light leaks and I would not expect there to be any as there are no foam light seals here.

Belmira

An excellent 35mm fixed lens rangefinder camera from East Germany.

This is a smallish fixed lens rangefinder camera from East Germany. Initially, the Belmira was designed and made by Belca (who used to be Balda) and latterly by Welta. German camera makers are rather complex as a result of many mergers through the 20th century and particularly after WWII in East Germany. Zeiss Ikon was split in two with the West German and East German parts operating independently. Other makers – such as Ihagee and Balda – were entirely in the new East Germany but the prewar owners started new companies in West Germany using the original name. So, there were East German Ihagee and West German Ihagee and West German Balda and East German Balda. To avoid the confusion generated, East German Balda changed its name to Belca and there were further name changes. The East German camera makers were merged into a series of VEBs (Volkseigener Betrieb or Publicly Owned Enterprise) ending with VEB Pentacon (the name ‘Pentacon originated as a trading name of East German Zeiss Ikon to avoid legal conflicts in Western Europe and North America). My camera was made in the middle of these mergers, in between April and August 1956, going by the lens serial number.

  • lens: Tessar
  • focal length: 50mm
  • apertures: ƒ/2.8 to ƒ/16
  • focus range: 2.5 feet to infinity
  • lens fitting: fixed
  • shutter: Vebur leaf shutter
  • speeds: 1 second to 1/250 seconds
  • flash: PC socket
  • film size: 35 mm
<p value="<amp-fit-text layout="fixed-height" min-font-size="6" max-font-size="72" height="80">The only indication of maker is the Ernemann Tower logo on the shutter fascia which indicates either East German Zeiss Ikon or VEB Pentacon (depending on date). The lens is marked 'Carl Zeiss Jena' so this is before the end of the legal wrangles between East and West Zeiss Ikon companies.The only indication of maker is the Ernemann Tower logo on the shutter fascia which indicates either East German Zeiss Ikon or VEB Pentacon (depending on date). The lens is marked ‘Carl Zeiss Jena’ so this is before the end of the legal wrangles between East and West Zeiss Ikon companies.

<p value="<amp-fit-text layout="fixed-height" min-font-size="6" max-font-size="72" height="80">Also on the shutter fasciae is a 1 in a triangle. This indicates first quality and was reserved for export items.Also on the shutter fasciae is a 1 in a triangle. This indicates first quality and was reserved for export items.

There is another logo on the lens fascia which I suspect indicates first quality but I have never seen this particular logo before.

So, a description of this neat camera. The camera body is fairly plain. It measures 126 by 78 by 658 mm and it weighs 580 g. The top plate has a raised portion the right which houses the viewfinder. On the rear of the top plate is the viewfinder eye-piece which is circular and measures 7mm diameter. On the front is the viewfinder window. This measures 20 by 14 mm and is tinted quite a heavy green. I think that this is to provide contrast with the rangefinder spot which is uncoloured – at least, I can think of no other reason for the tint.

To the left of this raised portion is the frame counter. This consists of a knurled knob and a curved window. The knurled knob is to reset the counter to zero on loading a new film. The counter has every fifth number in white – the intervening numbers are represented by dots. The counter counts up to 35 and then continues from zero. The window is covered by a yellow plastic film. I am not sure if the colour is intentional or a result of ageing (or both, perhaps). Next is the accessory shoe, this is a standard Barnack shoe with no flash contacts.

On the left of the top plate is the rewind knob. This is a very sloppy fit on my camera which does not match the build quality of the rest of the camera. The centre of the rewind knob is a mnemonic for the type of film in use. The options are Schwarz-Weiß or Color and for each, Neg (negative) or Umk (Umk is short for Umkehrfilm which means reversal film or slide film in German). Each of these has a number of film speeds – these are in DIN only. Of course, these have no effect on the operation of the camera.

The back of the top plate, as well as the viewfinder, has the film advance lever. This is unique as far as I am aware. First, it does not rotate – it is a slide. It is also on the opposite end of the camera to the take-up spool and moves in what feels to be the wrong direction. Internally, this is the same (or at least very similar) to the Werra mat with this sliding lever rotating a sleeve around the shutter mechanism. On my camera, this grates quite a bit in use which I am putting down to ageing and dried-up grease. But it does still work.

The front of the top plates well as having the viewfinder window, has the rangefinder window. Mine has a rectangular rangefinder window but other Belmiras had a very thin window with a large diamond section – mine has this internally but the external window is plain rectangular. The shape change was around late 1958 to early 1959 – I am judging the timing by looking at images of Balmira cameras on Google Images and checking the serial numbers on the lenses for each type of rangefinder window. The range of lens serial numbers (Tessar lens only) for the rectangular window was 4467343 to 5208392 and the range of lens serial number for the thin/diamond window was 5180425 to 5309389 showing that the rectangular window was the original one. This also suggest that the rangefinder window change occurred part way through a batch of Tessar lenses or perhaps when Welta took over from Belca in making this model. Between the viewfinder and rangefinder windows is the camera name engraved in the metal in Italic script.

The body of the camera is covered by fine-grain black leatherette. As this is clearly an export camera, I would expect to see the country of origin (either Germany or DDR) embossed on the leatherette somewhere but I cannot find it. In the centre of the front is the shutter/lens assembly. The housing is anodised aluminium. The shutter is a Vebur which started off as an East German Zeiss Ikon shutter based on the West German Zeiss Ikon’s Compur or Prontor shutters. Seeing as they already made a Prestor shutter – the name clearly derived from Prontor – I suspect that the Vebur shutter was based on the Compur but apart from the name I have no reason for saying that.

Working outwards from the camera body, the base of the shutter housing has a depth of field scale with pointers to the focus scale. This focus scale is the first ring out from the camera body. The focus ring turns through about 120º in order to focus from about 2.5 feet to infinity. The lower part of this ring has coarse knurled cut-outs to provide a tactile grip for focusing with the camera at eye-level. This ring is coupled to the rangefinder so focusing is easy and accurate with the camera at eye-level. When focusing, the entire shutter/lens housing moves (so this is unit focusing, rather than front-cell focusing).

In front of the focus ring is the aperture ring. This runs from ƒ/2.8 to ƒ/16 which is a very useable range. This rings turns easily and smoothly – no indents here so the user can set intermediate aperture values if they want to. The aperture index is a large red triangle infant of the aperture ring. The iris diaphragm has nine leaves giving a very smooth aperture which will bode well for those concerned with bokeh.

The shutter speed setting ring is on the front of the assembly, around the lens. This is not as easy to use as a ring around the shutter housing would be and I find I need both hands to turn the ring – not because it is too stiff (although it is rather stiff) but purely because of the ergonomics of the ring’s position. Shutter speeds are from one second to 1/250 seconds plus B.

The lens is a Carl Zeiss Tessar – a four element lens with the elements in three groups. People can be a bit snotty about East German Carl Zeiss for purely political reasons but their lenses were as good with as high manufacturing standards as they had before the partition of Germany. The lens will accept filters – either 32m push-on filters or 30.5mm screw-in filters.

Beside the shutter/lens on the right (as you are using the camera) is the shutter release button. This is fairly low down and angled – it is very much like the shutter release buttons on my Pentacon F or on Praktica cameras starting with the Nova. This button is threaded for a standard cable release. There is no delay action facility here, for some reason. On the left hand edge of the body is a PC socket for flash. There is no indication as to synchronisation speed but as this is a leaf shutter it will not be too important.

The base of the camera has a central tripod socket – 1/4 inch UNC – and next to this is a small sliding button. Sliding this away from the tripod socket releases the back/base of the camera. There is also a fairly large button to release the internal mechanisms to allow the film to be rewound. When the back/base is released, they come away from the camera body in one piece to allow for inserting new film.

The film cassette goes on the left and the film pulls across the film gate to the right. Here is a novelty I have not seen before. There is a cover over the sprocket shaft which must be lowered before the film can be loaded. The task-up spool is on the right. This spool is loose which might help some people to attach the new film but I just find this to be an added nuisance, particularly in the field where I am likely to lose the spool and have to resort to hands and knees to find it again. The back/base fit nicely and, being a German camera, there are no foam light seals to go bad

Beauty LightOmatic III

This LightOmatic III camera is an addition to my collection of 35mm rangefinder cameras. It is a fixed lens camera from Japan and is firmly from the same stable as the Yashicas (Minister III and Minister D), Petri 7s, Taron Auto EE, Mamiya EE, Minolta Uniomat. There is a consistent feel about these Japanese rangefinders which makes them distinct from, say, the German fixed lens rangefinders from the likes of Voigtländer.

Beauty started off as Taiyodo in Tokyo after WWII. Taiyodo became Beauty in 1957 and seems to have ceased trading around 1963. In that bare twenty years, they made around thirty five models of camera.

Beauty LightOmatic III
  • lens: Biokar-S
  • focal length: 45 mm
  • apertures: ƒ/1.9 to ƒ/16
  • focus range: 0.8 m to infinity
  • lens fitting: fixed
  • shutter: Copal-SV
  • speeds: 1 sec to 1/500 sec
  • flash: PC connector, X or M sync
  • film size: 35 mm

This Beauty LightOmatic started as the LightOmatic in 1959 – it was also sold as the LM in some markets. In 1960, the LightOmatic II was introduced with some small improvements. My camera, the LightOmatic III, was introduced in 1961. The biggest change here is the light meter sensor is enlarged and moved to a ring around the lens together with a meter read-out in the viewfinder. This version was also sold as the Lightmatic III and the Lite III.

The camera measures 142 by 85 by 72 mm and weighs 693 g.

Top Plate

The top plate is fairly standard for a Japanese rangefinder. On the right is the film advance lever. This is cut from metal and appears to be aluminium, it moves through about 120º to advance the film one frame. This lever is not on a ratchet and must move in one throw. This film advance lever also doubles as a shutter lock. With the lever in its rest position, in line with the top plate, the shutter cannot be fired. To use the camera, you must first pull out the lever slightly. When you advance the film, the lever will return to the lock position which could become annoying.

Just to the right of the film advance lever, right on the edge of the top plate, is the window for the frame counter. The numbers are in yellow – only the even numbers are displayed – with 20 and 36 in red as these were the standard film lengths available in the 1960s. This counts up from 1 – the numbers are reset to S (or minus 2) by opening the back of the camera to fit a new film. To the left of the film advance lever is the shutter release button. This is chromed metal and is threaded for a standard cable release (50 threads per inch on a taper – this would seem to be the European standard and there is a straight threaded release in America).

The rest of the top plate is slightly raised – only by a couple of millimetres. Very nearly centrally is the light meter window. This is rectangular with a black mark on the left and a moving needle on the right. Setting the exposure is a matter of adjusting the aperture and shutter speed until the needle is against the black mark.

To the left of the meter window is the accessory shoe. This is a standard design first introduced by Oskar Barnack in 1913 for the first Leica prototype. The only change in over a hundred years is the addition of electrical contacts for flash – but not on this camera, this is the original Barnack cold shoe. In front of the accessory shoe is the camera name: LightOmatic III stamped in the metal and painted black. Also by the accessory shoe is the camera serial number: V38496. On the far left of the top plate, as is usual for 35mm cameras, is the rewind crank. This is the usual small folding crank. When the crank is not being used to rewind the film it locks in place. This has the effect that it does not rotate as the film is advanced. I always use the rotating of the rewind crank as an indicator that the film is advancing properly. Not on this camera.

Back View

The back of the top plate has the viewfinder eyepiece – it measures 8 by 5 mm which is larger than had been usual in the 1950s. This eyepiece also doubles as the rangefinder eyepiece. The rangefinder spot is square and orange – the orange colour is due to gold being used to ‘silver’ the internal mirror in the rangefinder. The contrast between the rangefinder spot and the rest of the image is good and very usable. Also in the viewfinder are bright lines for composition. These are parallax corrected – as you focus nearer, the bright lines move both down and to the right. Also in the viewfinder is a second light meter window. This sits at the top right just above the bright lines. When wearing glasses, it is a bit too high for comfort but is still quite usable.

The front of the top plate has a long window divided into three. On the right is the viewfinder window which measures 18 by 12 mm. On the left is the rangefinder window which measures 5 by 6 mm. It is 40 mm from the centre of the viewfinder window. This distance affects the accuracy of the rangefinder – the further apart the better. My Voigtländer CLR only has 28 mm, my Zeiss Ikon Contessa LKE has 25 mm, my Yashica Minister D has 35 mm and my Minolta Uniomat has 24 mm so the rangefinder on this Beauty is quite good (but not as good as my Soviet Fed 2 with 66 mm). In between these two is a grey translucent window. This provides the illumination for the bright lines.

The front of the camera has the shutter/lens assembly, as always. The shutter is a Copal-SV which is coupled to both the light meter and the rangefinder. Both the focus ring and the aperture ring have large plastic tabs on them to make adjusting them easy while the camera is at eye-level.

The focus range is from 0.8 m (2.7 feet) to infinity. The ring is quite stiff to turn. This is partly due to age but more because the whole lens moves to focus plus there is a linkage to the viewfinder to move the bright lines and a further linkage to the rangefinder.

The aperture ring is much easier to move – it has a lot less to do. Apertures are from ƒ/1.9 to ƒ/16. There are no indents here so intermediate values can be set. In front of the aperture ring, on the left, is a lever to select between X and M flash synchronising. At the bottom of the ring is a lever to set the self delay timer. This gives an eight second delay between pressing the shutter release button and the shutter firing, according to the manual. I am not going to try this as on old shutters the timer can wreck the shutter.

Next out is the shutter speed ring. This does have indents so can only be set to the specified speeds. The speeds are from 1 second to 1/500 seconds in the usual sequence plus B. By the 1/15 speed is a small window showing the set film speed. This is in ASA and runs from 10 ASA to 1600 ASA. 100 ASA is in red (why?), all the others are in green. The film speed is adjusted by a very thin ring in front of the shutter speed ring, with a serrated portion at the bottom for grip.

 In the front of the housing is the lens. this is a Biokor-S lens. This was made by Nitto. Nitto are not a well known company – at least not in the UK – but they are still an active optical company in Japan. According to Collections Appareils, the lens has six elements but with no mention of the arrangement of the elements. The focal length of the lens is 45 mm which is ‘normal‘ for 35 mm film cameras. The lens bezel states ‘F.C.’ which I am interpreting as ‘Fully Coated’.

In a ring around the lens is the selenium sensor for the light meter. As it is a selenium sensor, no battery is required. This sensor is inside the filter thread so if a filter is fitted, the light meter automatically compensates for the light loss through the filter. Not quite TTL metering but getting close.

On the base of the camera, in line with the lens, is a standard (1/4 inch UNC thread) tripod socket. Also on the base is the button enable film rewind. This is better than with most cameras as there is no need to hold the button in once it is depressed which makes rewinding film much easier.

Most of the body of the camera is covered with a coarse leatherette. Both the top and base plate are satin plated brass. On the front of the camera there is the legend ‘Beauty’ in gold near the top and beneath is a PC socket for flash. At the top of the body, just below the the top plate, on the corners are two strap lugs.

The back of the camera is opened by a sliding catch on the left hand end of the camera. The inside of the back has a central sprung pressure plate to keep the film flat over the film gate. Near the catch is a chromed leaf spring which keeps the film cassette secure. At the other end of the back is a chrome roller which helps to keep the film taut.

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