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.
lens: 
Just to the left of the film advance lever is the window to the frame counter. This has a magnifying lens over it which I find makes it harder to read the numbers. This counter resets to 
At the front of the top plate, left of the frame counter window, is the shutter release button. This sits in a chrome collar and only protrudes a very small amount. The button is threaded for a standard cable release. Behind the shutter release button is the shutter speed/ film speed selector. This, again, is of a standard design. The selector turns to select shutter speeds from one second to 1/1000 seconds. This has the flash sync speed for electronic flash marked on it in red, between 1/30 and 1/60 seconds so around 1/45. To select film speed, the selector is lifted and turned. Film speeds are in ASA only (which is functionally the same as ISO even if not technically) and range from 25 ASA to 1600 ASA.
I assume that other viewfinders were available but being removable meant that I could clean the top of the focus screen which was rather dirty. On the other hand, if the viewfinder was fixed and sealed, the focus screen would have stayed clean.
To the left of the pentaprism hump is the rewind crank. This is of the small sold-out type and, again as usual, pulls up to release the catch for the back. Around the crank is a film type memo – the options are B &W, colour negative and colour positive. To help the hard of reading, ‘B&W’ is in black, ‘color’ is in red, ‘neg’ in green and ‘pos’ is in yellow. This has no function other than as a mnemonic. As already mentioned, there is a ring around the rewind crank which only moves slightly anti-clockwise and releases the viewfinder for removal.
This is the ‘automatic’ version of the M42 mount which means that a plate moves forward at the bottom of the mount when the shutter release is pressed. This plate pushes a pin on the lens to come the aperture in the lens just before the shutter opens.
The base plate of the camera has a standard (1/4 inch Whitworth or UNC) threaded tripod socket. This is immediately behind the lens so should balance well. Beside the tripod socket is the battery holder. This takes one SR44 battery – I have no idea if this is what the makers intended but it fits and works. Towards one end is the button to allow film rewind.
John's Cameras. A collection of interesting and old cameras. 