#Contax SLR

[upthespiralstaircase]

guitarist by Yu Wei Lin Via Flickr: fluidr

[contaxyashica]

The Contax RTS and the Contax/Yashica System

Full list of Contax/Yashica lenses

Timeline: SLRs of a decade (1971 – 1981)

Yashica FR

[ericlwoods]

Analog Therapy/Film Test: Contax 137 MA Quartz - Zeiss Glass - Kentmere Pan 200.

Analog Therapy/Film Test: Contax 137 MA Quartz – Zeiss Glass – Kentmere Pan 200. Before I get to the film, there is a matter of the camera. I have had many SLRs. I still have a few. This Contax 137 MA Quartz… …is my personal favorite. A claim I do not make lightly since there are other SLRs I rather like. Had quite a few of them. But when things got out of hand and it came time to thin the SLR…

[dancuny]

Minolta-35 Model II

The Minolta-35 Model II camera I have was an unexpected discovery, purchased with several other cameras through an online auction. It wasn't the camera I was originally after in the lot, but the only thing that distinguished it in the photo was the fitted case, with 'Minolta' proudly displayed on the face.

 There were so many different models of camera from Minolta during this timeframe that I wasn't sure what was actually in the fitted case. Still, when I received the "lot" of cameras and uncased the Minolta-35, someone had painted the camera black. And whoever painted it did an abysmal job of it. I only wish I had photos of the camera in that state, but I didn't think of it then. The camera was painted black, and the shutter wasn't working. The good news is that the camera had a good and clean lens.

 Over the years, I have brought the camera to a few different collectible camera shows in hopes of selling it, but no sales have been made. 

 One day, a few months ago, I was browsing the cameras on my shelf, looking for one to write about, when I picked up the Minolta. I felt a personal connection to it, and determined to do a blog post, I sent it off to my trusty camera technician, Allen, at CameraWerks in NY to have it CLA'd. Despite its modest value, the fact that it's from the early 1950s and a very respectable Leica thread mount 'clone' made it worth the investment for me.

 Before I sent the camera to Allen, I wanted to get the black paint off the camera and bring it back to the original chrome camera it was. I had bought some Acetone to see if I could gently get rid of the paint and not ruin any of the other parts of the camera. Unfortunately, the Acetone didn't work well and didn't take much of the paint off. Then, I noticed that if I used my fingernail, the paint would chip off reasonably easily. I also noticed that in our kitchen, we had some bamboo skewers, which seemed to work OK, so to get into some of the tighter spots, I used the bamboo skewer, and to get into the very tight areas, I used the tip of some of the metal tweezers I have for some very minor repairs.

 The camera still has some very minor spotting of black paint, as you'll see in the photos in the article, but 99.8% of the paint is gone. The camera looks considerably better than it did before. It's in great working condition, and even the rangefinder is clean and accurate, so it was time to do my blog on this early Minolta 35mm rangefinder camera.

The Company:

Minolta was a pioneering Japanese camera manufacturer known for its innovative contributions to photography. Founded in 1928 as Nichi-Doku Shashinki Shōten (which translates to "Japanese-German Camera Company"), the company was renamed Minolta in 1933. The name Minolta is derived from "Mechanismus, Instrumente, Optik und Linsen von Tashima," reflecting its German-Japanese technological collaboration.

 Minolta's early cameras were heavily influenced by German designs, particularly Leica and Contax rangefinders. The company released its first camera, the Nifcarette, in 1929, followed by various medium-format folding cameras in the 1930s. After World War II, Minolta resumed camera production, releasing the Minolta-35 in 1947, which became Japan's first 35mm camera with a coupled rangefinder.

 Minolta's breakthrough came in 1958 with the Minolta SR-2, its first single-lens reflex (SLR) camera. Throughout the 1960s, the company expanded its SLR lineup, introducing the Minolta SR-T 101 in 1966, which featured an innovative through-the-lens (TTL) metering system. The 1970s saw Minolta partner with Leica, resulting in co-developed cameras like the Leica R3 and Minolta XE-7.

 One of Minolta's most revolutionary releases was the Minolta XD-7 (XD-11 in North America) in 1977, the world's first camera with aperture-priority and shutter-priority automatic exposure modes. This technological advancement set the stage for further automation in cameras.

 In 1985, Minolta changed the photography world with the Minolta Maxxum 7000 ( Alpha 7000 in Japan and Dynax 7000in Europe). This was the first SLR camera with fully integrated autofocus, making it far easier for photographers to achieve sharp images quickly. The Maxxum series gained popularity, pushing competitors like Canon and Nikon to accelerate their autofocus developments.

During the 1990s, Minolta expanded into digital imaging and compact cameras while maintaining its SLR dominance with the Dynax (Maxxum) series. The Minolta RD-175, released in 1995, was one of the earliest digital SLRs, marking Minolta's transition into the digital era.

 In 2003, Minolta merged with Konica, another Japanese camera giant, to form Konica Minolta. However, due to declining camera sales, Konica Minolta exited the camera business in 2006, selling its assets, including the popular A-mount system, to Sony. This acquisition helped Sony establish itself in the DSLR market, leading to the Alpha series that continues today.

Though Minolta as a brand no longer produces cameras, its legacy lives on through Sony's Alpha series, which traces its roots back to Minolta's innovative technologies.

My Camera:

My Minolta-35, Model II is 5 3/8" wide by 3" tall by 3" deep, which includes the Chiyoko Super Rokkor 5cm (50mm) F2.8 lens. If I take the lens off, the body only is 1.5" deep. The camera weighs 1 lb. 10.9 oz is a very comfortable camera size and weight, and it fits into my hands nicely. The Minolta-35 Model II has shutter speeds ranging from 1/500 down to 1 second, with "T" for timed exposures and "B" for bulb. 

 The Minolta-35 Model II also splits the shutter speeds into two different dials on the camera with the higher speeds on the top dial, which go from 1/500 to 1/25 and "B" and from 1/25 to 1 sec, and "T" on the secondary shutter speed dial on the front of the camera just above the self-timer. To set the shutter speed, you'll need to lift up the dial and turn it to the desired speed for the exposure. Changing the shutter speeds should only be done once you cock the shutter.

To use the secondary or lower shutter speeds, the top dial needs to be set to 1/25, and the lower speed dial needs to be set at whatever of the slower speeds you'll be shooting. This method is prevalent for Leica copy cameras from this era. 

 The Chiyoko Super Rokkor lens on my Minolta-35 is smooth and in excellent condition. To focus, similar to other Leica thread mount lenses, a locking pin is used to lock the lens to the infinity position. To release the lock and focus to a closer range, press the release button and turn the lens to the desired focus distance. Inside the camera is a built-in rangefinder, which will aid the photographer in the distance needed to take a sharp photo. Along the outer rim of the lens is the lens's aperture ring, which goes from F2.8 to F22.

The shutter release is on the top of the camera, just to the right of the shutter speed dial. A small crown-shaped piece surrounds it, which can be removed to use a cable release for the timed or longer exposure times built into the camera.

 Just above the shutter release is the rewind switch, which you slide to the "R" position to release the camera's drive gear so you can rewind the film back into the film canister when you complete the roll of film. Just to the right of the rewind switch is the film winding knob which has an arrow on top to show the user which direction to turn to advance the film to the next frame. At the bottom of the film winding knob is the frame counter which you need to zero out when you load a new roll of film into the camera so you'll know how many photos you've taken on the roll you loaded into the camera.

On the far left of the camera is the film rewind knob. Lift the knob up to make the rewinding of the film back into the film canisters easier. Once the back of the camera is open, you can lift the rewind knob even higher to remove or load the film canister in or out of the camera.

 Right in the middle of the camera, on the top plate, is the Minolta-35 name along with the serial number, which on my camera is 90899, and Chiyoda Kogaku. I enjoy the modernistic font used on the older Minolta camera, which is very elegant.

 On the back of the camera is the viewfinder window for focus, and on the outside is a dioptric adjustment. This is for people who wear glasses. Turning the dial around the finder window allows you to adjust your glasses prescription to correct vision issues. You can put the camera to your eye without wearing your glasses and still get a sharp photo. In the center of the back of the camera is the flash sync plug, which is just below the accessory shoe used for a flash attachment.

To open the camera to load film, there is a small knob on the bottom of the Minolta-35 that you'll need to turn counterclockwise until the "open" dot is lining up with the arrow. When this happens, the back of the camera springs open, and you load the camera just like you would any standard 35mm camera. 

Lift the rewind knob to load the film cassette into the camera. Pull the leader across the drive gears and put the film leader into the slot on the take-up spool. Take the tension of the film up by turning the rewind knob clockwise to take the slack up on the film. Close the back turn the open/close knob to the "closed" position to lock the camera's back, and wind to your first frame. Watch that the rewind knob is turning when you advance the film so you know the film is transporting in the camera, and set the frame counter to number one.

 My Results:

I loaded my Minolta-35 camera with a roll of Ilford Pan F Plus 50 ISO black-and-white film. I wanted to use a slow speed to see how the camera would perform in lower-light situations. I also had my trusty Sekonic L-308 meter with me to achieve accurate exposures. I knew I could always count on Sekonic to give precise light readings. 

 Now that I had film loaded into the newly serviced camera, I walked through my yard and neighborhood to take photos with the Minolta-35 camera. Here are a few of the images I took on my walk.

My Conclusion:

The camera was enjoyable to photograph with. The rangefinder was bright and accurate. I tried many slow shutter speeds to see how the camera performed under these low-light circumstances. I had a great time using this camera and want to continue using it. The overhaul made a tremendous difference; without the black paint on the camera, it also looks terrific.

 Thank you for taking a few minutes from your busy schedule to read about this excellent rangefinder camera from Minolta

 Until next week, please be safe.

[shamsabaddai-ardn631]

Wk1: SDL: Analysis/Research of the photographer Teju Cole.

"My Looking Became Sacred"

Teju Cole is a Nigerian-American writer, and photographer, and a former photography critic for the New York Times Magazine. He is known for photography that explores themes of absence, and presence, and I noticed that he captures the mundane, normalities of life, the kind of images we come across daily as we live our lives, he portrays an observation simply as it is. His photographic work is characterized by serene and contemplative images, and he mostly captures landscapes, urban scenes, and still-life compositions, almost as if he is a tourist of his own life, and from his story, that comes from his loss of sight in one eye, and the importance to capture whatever he can, as all things he sees is sacred, even the mundane. Cole's photographs are often devoid of human figures, focusing instead on the environments that suggest human presence.

In his book Blind Spot, he does a stunning job of capturing spaces and moments, holding them still in time, showcasing his observation for us to also observe as he did, and he combines it with his almost lyrical storytelling of the 'place' alongside it. So, he doesn't make overt self-portraits, but you definitely capture the 'sense of self' of the photographer.

In terms of his tools, I found his preferred camera choice and his reasoning ( in the past) to be particularly interesting to me;

(Source: https://niemanstoryboard.org/2016/02/02/annotation-tuesday-teju-cole-on-far-away-from-here/)

Professional-Grade Canon DSLR: During a stay in Zurich, Cole used a high-end Canon digital camera. However, he found it less suitable for capturing the city's nuances, noting that while digital cameras perform well in bright conditions, they often struggle with highlights, resulting in a "plastic sheen" in images. 

Contax G2 Rangefinder: Alongside the Canon, Cole experimented with this film camera but felt it lacked the focusing control he desired and missed the tactile feedback of an SLR's mirror mechanism. 

Yashica SLR: Seeking a more responsive tool, Cole acquired a vintage Yashica SLR with two lenses from a dealer in Zurich. He appreciated the camera's simplicity and the immediate feedback provided by its mirror mechanism, which aligned with his preference for film photography's tactile experience.

...He may not be using that now, I did read that he uses a range, but just an interesting mental note about the 'tactility' of a portrait. Also he likes to stick with a particular lens for a whole project to create a standardised or unified look.

"— This idea that when you’re making art, you have to have a beginner’s mind. You cannot approach it from a know-it-all perspective. If you’re not opening yourself to the possibility of radical simplicity, then you’re going to miss it. You’re going to think there’s no there there. But you have to give it the chance." - Teju Cole

[accessibledaytrips]

Yashica Electro 35 GTN: Classic Camera Review

The Yashica GTN is a 35mm film camera that made its debut in 1973. Designed for both photography enthusiasts and hobbyists, it features an aperture priority mode, which makes it easy to use for photographers of all skill levels. This user-friendly approach helped the GTN become a favourite among families and everyday users looking for a reliable camera to capture life's precious moments.

With its portable design and sturdy design, the GTN is also an excellent companion for travellers wanting to document their adventures. Today, both the Yashica GTN and its chrome counterpart, the GSN, are celebrated as classics among film photography lovers. Their timeless design and ease of use continue to appeal to a new generation of photographers.

In this classic camera review, we’ll explore what makes the Yashica Electro 35 GTN great, along with some important things to know before you try one out for yourself.

A Brief History

Founded in 1949, Yashica Co., Ltd. started with eight employees producing components for electric clocks. In June 1953, Yashica launched its first complete product, the Yashimaflex, a twin-lens reflex (TLR) medium-format camera.

In the 1960s, Yashica faced challenges in gaining market acceptance for its 35mm cameras. To address this issue, they redesigned their SLR line in 1962 to accept the Contax/Praktica M42 lens mount. A significant breakthrough came in December 1965 with the introduction of the Yashica Electro 35, recognised as the world’s first commercially successful electronically controlled 35mm camera. This popular rangefinder ultimately sold 8 million units.

Throughout the late 1960s and 1970s, Yashica released several variants of the Electro 35, including the G, GT, and GSN, each featuring improvements in optical quality and metering systems. However, the rise of compact cameras and point-and-shoots led to the discontinuation of the Electro 35 line by the 1980s.

Facing fierce competition, particularly from Minolta’s advanced autofocus SLRs, Yashica shifted its focus toward budget-friendly point-and-shoot cameras, halting film camera production entirely by 2005. In 2008, there was a brief revival of the brand with the Y35 DigiFilm camera, but it faced numerous challenges and received largely negative feedback.

Aesthetics and Build Quality

For many consumers, the appealing aesthetics of the Electro series take precedence over its photo-taking abilities. While the chrome version, the GSN, gained notoriety after appearing in The Amazing Spider-Man, the GTN’s sleek black body and subtle gold lettering remain visually striking yet less flashy.

The ‘electron’ emblem on the front symbolizes the Electro 35's electronically powered exposure system, adding a "space age" vibe. Unique red and yellow exposure indicators on the top plate also contribute to its retro look, distinguishing it from competing rangefinders of its class.

Primarily constructed of metal, the body of the GTN provides a robust feel, giving confidence that it can withstand regular use. The well-regarded Yashica 45mm f/1.7 lens produces sharp images, and on a well-maintained GTN, the aperture ring moves smoothly with distinct clicks at each f-stop.

Priced for serious enthusiasts rather than professionals, the GTN strikes a balance between usability and quality. Although the GTN may not be a high-end camera, its electronic exposure control was innovative for its time and wasn't commonly found in other brands from that era.

Layout and Controls

Starting at the top plate, you'll find the shutter button with a lock switch to avoid any unwanted exposures. Next to it is an ISO dial ranging from 25 to 1000, along with an exposure indicator that shows yellow for slow shutter speeds and red for overexposure.

The only other items on the top plate are the film rewind spool, hot shoe, film advance lever, and frame counter.

On the back of the camera, there's a battery check button. When pressed, a green light in the frame counter is illuminated.

The battery chamber is located at the bottom of the camera. The GTN originally used two 1.3-volt mercury batteries, specifically the PX625 type, for its light meter. However, due to the phasing out of mercury batteries, users now have to opt for alternatives such as 1.5-volt silver oxide batteries (like the SR44) or lithium batteries (such as the LR44) with a battery adapter to ensure proper fit and function. Also on the bottom of the camera is the rewind release and tripod mount.

The GTN is an aperture priority camera, this means the only controls you will use while shooting are the aperture and focus rings, which are both located on the lens.

On the front of the lens, you’ll find controls for Bulb mode (which is used for long exposure shots), Auto mode (which is the primary shooting setting), and the flash selector. Additionally, there is a timer on the lens, but it's important to be cautious with this feature, as it's often the part that breaks most frequently. Repairing it requires completely dismantling the lens, so it's probably best to leave it alone if possible.

Focusing and Shooting

When looking through the rangefinder, users will see parallax-corrected frame lines, providing an accurate representation of the captured scene. Focus is achieved by using a rangefinder patch; users rotate the focus ring to align the two overlapping images.

At the top of the frame are indicators showing if the shutter speed is too slow or if the image will be overexposed. Adjusting the aperture ring in the direction of the illuminated arrow corrects exposure issues. Users with glasses may struggle to see the arrows, as your eye needs to be very close to the viewfinder.

Features and specifications

Metering: The GTN employs a through-the-lens (TTL) centre-weighted metering system, averaging light readings while emphasising the centre of the frame. I found the accuracy of the light meter impressive for a camera over 50 years old.

Shutter Speeds: Ranges from 30 seconds to 1/500 seconds, including bulb mode.

Size: 152 x 92 x 76mm

Weight: 728.4 g

Timer: 8 seconds

Hot Shoe: X contact, non-removable hot shoe.

Production Run: 1973 - 1977

Handling

Shooting with the GTN is enjoyable, thanks to its smooth advance lever and dials. However, at first, I found the focus ring felt slightly cramped due to its proximity to the camera body. Focusing is still quick and easy, though less precise than shooting with an SLR.

While often labelled as a travel camera, the GTN is still relatively large by today’s standards and won't easily fit into pockets. Those needing something smaller might consider Yashica's CC model.

Reliability

The Yashica GTN and GSN are generally considered reliable cameras. However, like any mechanical device, they can experience issues due to age.

One common problem, known as the "Pad of Death," occurs when a piece of foam degrades, preventing the secondary post from locking properly. When the film is advanced, the camera should make its characteristic "thunk" sound. There are many helpful YouTube tutorials on this, but buying refurbished models can offer more peace of mind.

Mechanical issues due to aging are particularly common in cameras that have been sitting unused for long periods. Fortunately, it’s easier to find parts and repair services for the GTN due to its popularity.

Most cameras from Yashica's era could benefit from a CLA (Clean, Lubricate, Adjust), but with a little care and regular use, they can remain reliable for many years.

Price

Prices for the Yashica GTN typically range from £60 to £180 on auction sites, while used camera shops usually charge around £200. Given its popularity, you shouldn't have trouble finding one, and with patience, you can score good deals online.

When shopping, ensure you only purchase from highly rated sellers or opt for reputable used camera shops that offer warranties. Before making a purchase, consider other rangefinder cameras in a similar price range, such as the Canon Canonet, Minolta Hi-Matic, and Olympus 35.

For a more budget-friendly compact alternative, the Ricoh 500G offers similar features at a lower price point, though its plastic build may not provide the same luxurious experience.

Lens and Image Quality

The Electro 35 is fitted with a fixed 6-elements, 4-groups Color-Yashinon 40mm f/1.7 lens, a reputedly sharp lens that is identical to their one with a mount for SLR cameras.

For sample photos, click here.

Conclusion

Overall, the Yashica Electro 35 series, including the GTN, offers a premium feel and comfortably sits in the mid-range of the 35mm rangefinder market. Despite recent price increases due to its appearances in popular media and coverage from YouTube creators, this camera is an excellent recommendation for both film novices and seasoned enthusiasts.

[todrobbins]

The Beauty Between from Frame of Mind Media on Vimeo.

The Great Salt Lake is often overlooked and misunderstood. Through her passion for wildlife photography, Mary Anne Karren unexpectedly fell in love with the lake's unique landscape and the 10 million birds that rely on it. She now uses her photography to bring attention to the lake's dire situation in an attempt to save it.

Shot on the Sony Fs5 and Sony Fx3. A mix of SLR Magic Anamorphics (35mm, 50mm, 75mm,) and Zeiss Contax lenses.

View more of Mary's work here - maryannekarren.com/

Directed by: Austin Smock Additional Cinematography: Asher Brown Editor: Austin Smock Finishing by: Paradox Post Colorist: Drew Tekulve Post Production Supervisor: Michael Stone Color Producer: Brittany Schultz

Special Thanks to EcoFlight. EcoFlight is a non-profit that provides the aerial perspective for conservation, with a strong focus on tribal communities and energy issues.

For more information visit saveourgreatsaltlake.org

[tokyo-camera-style]

Shinjuku, Tokyo

Contax RTS with Zeiss 28mm f2.8 Distagon lens

#PhotoHoHoHo2021

[apo-sonnar-blog]

Twistees by Gwenael Piaser Via Flickr: Gozo Malta, December 2020 Contax S2 45mm Tessar LomoChrome Metropolis

[texolux]

3—for sale now—a #vintage #zeissikon #contax “little d” #35mm #SLR (1952-54) film #camera with a Helios 44-2 58mm f2 #lens (artsy #bokeh has cult following) in VG condition; works great! Brown leather protective case and strap included... . We are #creatives camera-collectors + a place to #shop for #vintage + new #digital #film + #instant #photography #products! . . #cameras #films #filmphotography #filmisnotdead #believeinfilm #shootfilm #art #create #capture #camerasandfilms #cameraporn (at Cameras+Films) https://www.instagram.com/p/B_0UJkAAEhr/?igshid=16h7w4b1j5ba3

[sanalsergicom]

Basın Kamerasının Yükselişi ve Düşüşü Bu yazıda, basın kamerasının doğuşu ve şöhretinden görece belirsizliğe düşüşüne kadar olan büyüleyici hikayesine derinlemesine bir dalış yapacağız.

[camerasinthemedia]

Welker White with a Contaflex II in the 2019 movie, The Irishman.

[contaxyashica]

SLRs of a decade (1971 – 1981)

Perhaps the most important SLRs of a decade, from the Canon F-1 and Nikon F2 to the New F-1. In between, in the mid-1970s, the Contax RTS and Yashica's FR series. Not shown in the graphic: The transitional Yashica FX-1, Yashica’s first camera with the new bayonet mount (1975), and the quartz-controlled Yashica FX-D (1980).

Selling almost 100,000 units, the RTS was a decent success for Contax/Yashica, but they never caught up with Canon or Nikon. By 1974, FD-compatible lenses had already been available for a decade, the Nikon F mount since 1959. The mass market operated on a completely different scale. For example, 5.7 million units of the popular Canon AE-1 were produced. The number of Yashica FR cameras manufactured is not documented.

[ericlwoods]

Analog Therapy/Personal Favorite SLR: Contax 137 MA Quartz - Zeiss Glass - Fujifilm 400.

As stated in the blog title the Contax 137 MA Quartz… …is my personal favorite SLR. A claim I do not make lightly since there are other SLRs I rather like. Had quite a few of them. But when things got out of hand and it came time to thin the SLR herd this is a camera that was going nowhere. Never once thought of selling it. Why? I am glad I imagined you asked. While covered in great detail in…

[sandropezzi]

• • • #🎞 #photography #slr #slrcamera #toptags #photographyeveryday #ig_shutterbugs #photographer #contax #ilovephotography #dslr #slr_photography #photos #photographylovers #beautiful #instagood #picoftheday #slr_shot #analog #photooftheday #filmcamera #all_shots #film #analogphotography #focus #capture #fujifilm #masaimara #elephant (presso Africa) https://www.instagram.com/p/CS9cmH4jw9R/?utm_medium=tumblr

[nthngdffrnt]