The Canon P and the Canon L2

     This blog entry should really be titled "Confessions of a Former Leicaphile." Although I used Leicas (M-2, M-3, M-4, M-6) almost exclusively for more than forty years, I was pleasantly surprised when I discovered the  wonderful Canon copies of the fifties and early sixties a few years ago. That's when I sold my treasured Leica gear and started shooting with a Canon L2, shown at the right here wearing a Russian Industar-61 2.8/55 lens (see "What about Those Russian Lenses?" 11/14/2018.)
      I liked the Canons so much that I added the following models to my collection:  IIB, IID,  IID2, IIF, IIS2, IIIA, IVSB2, VT, 7, 7S, P, and  L2. Hopefully, I'll be able to add even more in the future.
 
     Manufactured between 1949 and 1956, the II, III, and IV models resemble the Barnack Leicas (below, left). Later models (1956-1967) are similar to the L2  at least in terms of their appearance.
     But there are differences. In the photo (right) you can see that Model P (red dot) has a self timer, while the L2 (blue dot) lacks one. You can see, also, that the L2 has a slow speed dial.
     Not shown are the two shutters. The shutter on the L2 is fabric, while the P features a metal shutter. I was lucky enough to find one that was wrinkle-free...a rarity.
    With lines marked for 35, 50, and 100mm fields of view etched into it, the viewfinder on the P is slightly larger than the one on the L2. The L2 has a dial on its back that lets you adjust it to view 35, 50, and RF (100mm?) fields of view. I prefer the view shown on the Canon P.

     Viewed from above, the two cameras are identical in shape. But notice the difference between the two rewind knobs. The L2 (blue dot) features a spring loaded pop up rewind knob.  The Model P, by contrast, has a traditional rewind lever that folds up. Except for the ASA indicator on the L2, the film advance levers and film counters are the same on both cameras.
      Because it lacks the 35, 50, RF indicator found on the top of the L2, the Model P (red) appears have a somewhat  cleaner look to it.
      Note, also, the differences between the two dials that set the shutter speeds, as well as the higher shutter speed of 1/1000 on the Model P.

     Viewed from the rear, the Canon L2 (blue dot) reveals a black square that's slotted at it's top, probably to receive a card with photo/film information on it.The L2 also has a round viewfinder window as opposed to the rectangular window on the Model P. The small dial used to adjust the field of view on the L2 is  just below and to the right of the viewfinder window.
     The Model P sports an ASA-ISO indicator that can also be set to "Empty" when there's no film in the camera. The backs of both cameras swing open for easy loading. That's quite an improvement over the back loading Canon IIs, IIIs, and IVs, as well as the Barnack Leicas.
      At this writing, collectiblend values the Canon L2 (body only) at $100-$260 and the Canon P (body only) at $90-$260.
      Which of the two cameras do I prefer? Drum roll, please. If you said, "The Canon P," you'd be right. Here's why: (1) the parallax corrected viewfinder on the "P"contains frame lines...no cumbersome dialing needed, (2) there's a single speed shutter dial on the "P," and (3) the "P" has a metal shutter. Plus, I just like it better.

COMING SOON: Canon 7 and Canon 7S

     
      
      

The Aires 35 IIIC

      Several of the vintage rangefinders in my collection suffered from dim rangefinder patches, and the Aires 35IIIC was no exception. Fortunately, I discovered an easy fix for this condition on the Internet at http://rick_oleson.tripod.com/index-165.html.  It's  simple. You just place a small black
circle in the center of your camera's viewfinder window, and you're back in business. In the photo, right, I substituted a white dot for the apparently dark window.
    By the way, the viewfinder features automatic parallax correction.
      This camera has a few unique features that I haven't seen on other 1950s RF cameras. For example, the little lever (my red dot) allows for intentional double exposures and also allows for rewinding the film.
     Another interesting feature is the f2.4 lens. I don't think I've ever seen an f2.4 lens on another 35mm camera, but I suppose the designers at Aires Camera in Tokyo had a reason for including one on this camera. The self timer lever is at 9 o'clock in relation to the lens.

      The controls on this camera are straightforward and easy to adjust. The yellow dot denotes the combined aperture opening and LV system ring. Blue marks the shutter speed adjusting ring. Green highlights the XFM synchro switch ring. Red marks the focusing ring, and black denotes the depth of field scale. Note that distances are shown in meters.
     An old timey flash socket peeks out at 3 o'clock on the black shutter speed indicator ring. The focusing knob doesn't show up in the photo.
     This camera sports a Seikosha MXL leaf shutter that is extremely quiet...perfect for street shooters.

    Seen from above, the Aires 35IIIC looks like most other rangefinders of its time, except for the shutter release, which sits in a small depression with a cable release socket directly to its rear. I found this arrangement to be quite comfortable. That's interesting because most other shutter releases are elevated above their cameras' top plates.
    Note, also, the curved area in the top plate into which the film advance lever usually fits snugly. But when you advance the film and cock the shutter, the lever sets itself slightly apart from its usual resting place, where it is ready to operate once again. The hinged back swings open for easy film loading.

    Another nice feature is the camera's metal lens cap. The red dot in the photo marks a small eye that can accommodate a lens leash, which can consist of just a length of black thread. I have to smile each time I think about the many lens caps I've lost because I hadn't tethered them to my cameras.
    Not too long ago, I paid $60 for this camera in excellent condition except for the dim RF patch. The Collectiblend website currently values it at $80-$220. My 1995-1996 McKeown's lists it at $45-$60.

COMING SOON: Canon L2 and Canon P

   

     

The Retro Ricoh "35"

   If you're old enough to have driven cars that had no power brakes, no power steering, and no air conditioning, you'll probably relate to the Ricoh "35," truly a minimalist's dream if ever there were one. With its fixed 3.5/45mm lens and shutter speeds that top out at only 1/200, it certainly won't leave anyone gasping with anticipation. But as Tevya often said in the film Fiddler on the Roof, "On the other hand..." it does have much to recommend it to the thinking photographer who enjoys the process of creating images as much as he enjoys the results of his efforts.
      Manufactured in the mid fifties, this camera is at least as well-crafted as any other camera of its time. Interestingly, it features not only a knurled knob to advance the film and cock the shutter, but also a trigger wind to perform the same functions. The integrated viewfinder/rangefinder window is bright, and the rangefinder patch is well defined. The leaf type shutter is satisfyingly quiet. The back slides off for easy film loading.  But if you were to ask me about those two humps at 12 o'clock and 9 o'clock in the photo (above), I'd have to admit that I have no idea what they're for.

     In the photo (right) you can see the trigger wind lever at the bottom of the camera (yellow dot), the focusing knob (red), the old timey flash connector (purple) and the two large knobs that hold the removable back in place. The white dot at the left rests on the tripod socket.
     As I recall, I paid about $60 for this camera not too long ago. Curious about its current value, I checked with collectiblend.com where it's listed at $240-$520 depending on its condition. Then I consulted my 1995-1996 copy of McKeown's price guide where it's listed at $30-$45. Well, I thought, maybe I should have bought a dozen or so Ricoh "35"s when I bought this one.

    Seen from the side (photo right), the shutter speed indicator ring is shown by the blue dot. The thin knurled ring (red) next to it is the shutter speed adjusting ring. The purple dot denotes the f stop values, while the green dot marks the click stopped diaphragm adjusting ring. The yellow dot shows the focusing ring with its adjusting knob. Not shown in the photo is the depth of field scale, which appears on the front of the camera.

   Viewed from the top (photo left), you can see the film advance knob, film counter, and shutter release at the traditional right-hand side of the unit. The small button near the film advance knob disables the advance mechanism when it's time to rewind the film.  In the photo you can also see the integrated viewfinder/rangefinder window, which wasn't always present in many other cameras during the fifties.

    Some photographers claim that an f3.5 lens, a top shutter speed of 1/200, and no provision for electronic flash are a handicap. I suppose that's true in many cases. But during the more than sixty years I'd been active in photography, it wasn't true for me. In fact, I probably used an f stop wider than 5.6 and a shutter speed slower than 1/30 or faster than 1/500 no more than two dozen times during all those years. What's more, I rarely used a flash unit.
    Although I must admit that I'm not crazy about its trigger wind,  I really like everything else about the Ricoh "35." And I'd like it even better if it had strap lugs. I never could figure out why some designers omitted them from their cameras.

COMING SOON: The Ricoh S-2

   

 

The Regal Mamiya Crown

    If you think the little white dot in the center of this Mamiya Crown's viewfinder window is a specular reflection, you'd be mistaken. Here's why. Although it was in excellent condition when I obtained it, this fairly rare camera had one problem: the rangefinder patch was dim. Luckily, I remembered having read about a quick and easy solution at http://rick_oleson.tripod.com/index-165.html.  All you have to do is to place a small black dot in the center of the viewfinder window. But because the window in the photo appeared as black, I substituted a white dot for illustrative purposes. 

       Seen from above, the camera resembles most other 35mm cameras of the fifties. The film advance lever, film counter, and shutter release are at the right. The accessory shoe is at the center of the top. The rewind knob is at the left. Interestingly, the ASA indicator is found between the rewind knob and the accessory shoe. A film type indicator sits between the shoe and the advance lever. The camera features a hinged back.

     The f1.9 48mm Mamaiya Secor FC lens (photo, top right) is ideal for low light situations.   Shutter and diaphragm controls are conveniently located. The red dot (right) marks the click stopped diaphragm control ring. Blue denotes the EV system ring. Yellow shows the shutter speed control ring. Green indicates the depth of field scale. Violet marks the distance scale, and black shows the focusing knob. By the way, when I received the camera, the focusing ring was stiff and difficult to turn. Fortunately, a few drops of lighter fluid (naptha) solved the problem. An old timey PC connection peeks out just to the right of the green dot.

     If I hadn't been able to loosen the focusing ring and correct the rangefinder patch on this camera, it would have been extremely difficult to use. But as the Bard wrote, "All's well that ends well." Even though it lacks the refinements found in some other rangefinder cameras, the Mamiya Crown is a nicely designed, well made, and reliable unit that can still produce excellent photographs.

COMING SOON: Ricoh 35

  

  

The Minolta Super A

    Compared to other rangefinder cameras of the fifties, the Minolta Super A (left) seems massive. In fact, it's like viewing a rowboat placed next to a tugboat. For example, the top plate of a Canon IID2 (right) measures about one-and-one-eighth of an inch from front to back.. The Super A, on the other hand, is one-half of an inch wider across its top. And it's almost one-half an inch taller as well. Notice how squat the Minolta appears to be as contrasted to the Canon.


    "What's that round dial peeking out of the top of the camera?" you ask. Believe it or not, it's the shutter speed adjustment dial (B, 1, 2, 5, 10, 25, 50, 100, 200).
     And that small slot below the rangefinder window? Well, when the shutter is cocked, the slot changes from silver to red. I really can't see how that's of any great value.
     The flash synch selector dial surrounds the PC socket near the base of the camera. The focusing knob is shown at the three o'clock position in the photo. The camera doesn't have a self timer or a hot shoe.

    The hinged back cover shown at the right features a Depth of Field Indicator for the camera's 100, 85, or 35mm interchangeable lenses. This is a welcome (if cumbersome) addition to the camera because the supplementary lenses do not have depth of field markings.  Another plus is the integrated rangefinder/viewfinder window, which was lacking in many other cameras of the fifties.

  Viewed from the top (photo left) the film rewind knob is on the left; the shutter speed selector and accessory shoe are at the center; and the film advance lever with ASA reminder, film counter, and shutter release are at the right.
      The lens barrel mounts a  2/50mm Super Rokkor lens and a  leaf type shutter. The blue dot marks the click-stopped diaphragm adjusting ring (f2-f22). Yellow denotes the lens removal ring, and red shows the mark you use to line up the lens with the camera's body for removal or replacement. Green indicates the focusing knob. Note that the Minolta A will accept only lenses that match its unique mount.

     Although I'd like to try this camera's three other lenses, the only one I possess is the 2/50 lens, which I found to have adequate sharpness and contrast. So that's a plus.
     Another plus is that, if you need to clean and lubricate the helical mount, it's easily accessible. Just remove the lens and you can get to the mount without a problem. That's important when you consider that many vintage cameras suffer from lubricant that has hardened and made it difficult (or in some cases) impossible to focus the camera.


COMING SOON: Mamiya 35 S2

The Wounded T.K.C. Windsor

    Because it wasn't functioning correctly, I was disappointed when I received this neat little camera in the mail. The problem was that although the shutter, the diaphragm, and the focusing mechanism were working just fine, the film advance wasn't. Here's why. As with the Konica I, you must depress the camera's spring-loaded rewind button before you advance the film. You can see this button next to the white dot the photo at the right. But, because the spring was apparently broken, when I depressed the button nothing happened.
    No problem, I thought. I'll just remove the top plate and take a peek. With luck, maybe I'd be able replace the spring. But even after I removed all the screws and parts I could find, I discovered that I couldn't dislodge the top plate, which felt as if it were welded on. That's why it ended being one of very few cameras in my collection that isn't fully functioning.

    Manufactured during the early fifties in Japan by Toko Shashin, which later changed its name to Windsor, this somewhat rare fixed lens camera features shutter speeds of B-1/200; diaphragm openings from f3.5-f22; a cable release; and a self timer. I think it also had a PC socket, but the one on this camera was removed by a previous owner.
     An oversized spring-loaded screw reposes on the camera's bottom opposite the film advance knob. You can see it in the photo at the left. Unfortunately, because I couldn't find much information about the Windsor, I have no idea what purpose this screw serves.

    The layout of the controls on this old timer is typical of that of most other fixed lens cameras of the early fifties. The purple dot marks the shutter cocking lever. Orange denotes the diaphragm adjuster. Green shows the cable release socket. Dark blue indicates the shutter release. Red marks the self timer lever, and aqua denotes the focusing knob.                                                   
   The hinged back cover swings open to reveal a bright, silvery film pressure plate. If I were to use this camera, I'd probably paint this plate black. Notice, also, the integrated viewfinder/rangefinder eyepiece, which wasn't very common at the time. Unfortunately, the camera lacks carrying strap lugs.
    Like most other fixed lens cameras of its time, the T.K.C. Windsor is definitely not for the impatient photographer who likes to shoot from the hip. Even so, it would be fun to take it out to see how it flies. But because that isn't possible with this injured bird, I'll have to be happy with just letting it roost on the shelf with the rest of my collection.

COMING SOON: The Magnificent  Minolta 35

The Mighty Minolta 35 Model II

    The goddess of vintage cameras must have been perched on my shoulder when I scored this Minolta 35. That's because although these otherwise sturdy cameras are noted for having shutters that have become unreliable over time, the shutter on this gem still functions perfectly. What's more, the fact that Chiyoka-Kogaku Osaka produced just 3,000-4,000 units makes this one quite rare.
     Depending on the requirements of the photographer, the self timer lever below the low speed shutter dial can be set at three different speeds. The Minolta 35 has a longer rangefinder base than that of its cousin, as well as a diopter adjustment built into the viewfinder. I think the little screw at the bottom of the viewfinder window allows for adjustment of the rangefinder, but I'm not sure.The slow speed dial is marked for I, 1, 1/2, 1/4, 1/8 and 1/25 second. Top shutter speed is 1/500.

    A clone of the Leica III, the Minolta 35 Model II features interchangeable screw mount  lenses that are compatible with those of the Leica, but for lenses other than the normal Chiyoko Super Rokkor 2.8/45mm lens you would need an accessory viewfinder.
    Seen from the side, the beautifully finished normal lens is extremely efficient and compact. The blue dot marks the diaphragm adjusting ring, which is not click stopped. Green marks the focusing knob, and red denotes the depth of field scale. What could be simpler?
     The film advance knob at the right on the top plate in the photo below perches above the film counter. The shutter release is to its left next to the high speed shutter setting dial. The accessory shoe follows, with the PC connector just below it. At the left in the photo are the eyepiece with its diopter adjusting ring and the rewind knob, which can be pulled up for ease of use. The Minolta-35 has a back that swings open for ease of film loading. This is an improvement over the early Leicas, which had to be loaded by removing the bottom plate.

    Leicaphiles tend to disregard cameras that don't bear the Leica logo. That said, I've found that several other cameras--and especially this one--are as well made, aesthetically pleasing, and capable of producing excellent images as are those the master craftsmen created for Ernst Leitz Wetzlar during the fifties.
   After all, when push comes to shove, it's the final image that counts, isn't it?

COMING SOON: The Minolta Super A

     



    

  

The Canon VT De Luxe

      From 1957 to 1958 Canon introduced three VT DeLuxe models: the VTD, the VTDZ, and the VTDM. According to http://ricardojfb.wixsite.com/fotofix the model shown here with an Industar-61 lens mounted is the VTD, of which just 3,475 units were produced. That low number qualifies it as a rare camera. Although collectiblend values it at $240-$600 (body only), I paid just $149 for it.
      Although it features a trigger wind on its bottom plate, you can also advance the film and cock the shutter by raising the knob (red dot) and turning it as you would on any other camera. To depress the knob and use the base-mounted trigger wind, you push a small button located at the back of the camera behind the knob.
     To accommodate the trigger wind, the VTD is almost one-half inch taller than the similarly configured Canon L2, P, 7, or 7S. It has a cloth shutter, a self timer, and a separate low-speed shutter dial. The small screw to the left of the viewfinder window covers an even smaller rangefinder adjustment screw. You'll find this screw on other 1950s Canons. A PC connector with bayonet mount is at the side of the camera at  the same level as the viewfinder window.

       A view from the top reveals several interesting features this camera offers. The white dot in the photo (left) marks the dial that adjusts the view (50mm, 35mm, RF) shown in the viewfinder window. The unmarked black circle above the eyepiece contains an arrow that  indicates the chosen view.
     The yellow dot in the accessory shoe denotes a small button that automatically adjusts for parallax when you use an accessory viewfinder. That's quite a unique feature.
       The dark blue dot marks the FPM XF selection lever, and the black dot indicates the window that shows the selected range.

       The light blue dot indicates the small red marker that revolves as you advance the film. The green dot indicates the button you press when you want to lower the film advance knob and use the trigger wind. By the way, the camera has a swing back for easy loading.

        This view shows the VTD with its trigger wind extended. To advance the film and cock the shutter you pull the trigger to the left (down in the photo). To fold it into the camera's base, you activate the little gizmo located next to the yellow dot. Note that the advance knob atop the camera (red dot) is depressed while the trigger is engaged.
       The Canon VT De Luxe is a wonderful example of Japanese creativity just twelve short years after the end of World War II. With all the features it offers, it's a worthy competitor to to the Leica M-2 and M-3. The only thing I don't like about it is the trigger wind. As I see it, either a knob wind or lever wind would be a better choice. But that's just my opinion.

COMING SOON: The Leotax TV
        

    

Behold the Rough, Tough, Loud Zorki 3C

     Here it is--direct from the country that gave you Sputnik, the T-34 tank, the Gulag, and the Kalashnikov AK-47. Manufactured in 1956 when Russia was known as the Union of Soviet Socialist Republics, the Zorki 3-C is just one of the thousands upon thousands of Leica copies made by KMZ back in the days before the Berlin Wall came down.
    Although it's said to be fairly rare, I think I paid less than $25 (plus shipping from Ukraine) for this giant among 35mm cameras. 
     The Zorki 3-C weighs almost half a pound more than a Leica IIA, is about half an inch longer, and stands about half an inch taller. Unlike some other Zorkis, it has just one shutter speed adjusting dial set on its top plate. Far from delicate, the shutter release button requires a very firm touch. What's more, when you depress the shutter release, don't expect to hear the subdued sound of a Leica or a Canon copy. Instead, what you hear sounds more like the sound of a mini explosion.

     Here's what Lily Schwartz wrote about this behemoth at the Film Shooter's Collective on the Internet.
   "Pretty much everything on this camera is as Soviet as it can get. It’s definitely not designed for usability, and most of the time it gets in the way badly. The lenses don’t have click stops, the shutter speeds are not predictably spaced and you’re likely to break your fingernails on both the shutter speed dial and the film forwarding dial.
    The shutter also makes a horrendous noise that sounds somewhat as if a robot just ripped his (metal) trousers - which can be good since it doesn’t really sound like a camera shutter at all. It’s basically stealthy by being completely weird and obnoxious"

    But there is a positive side to this camera. Compared to those I've seen on some other 35mm vintage cameras, the Zorki's viewfinder/rangefinder is first rate. The viewfinder window is bright and clear, and there's even a little magnifier lever beneath the rewind lever. The square rangefinder patch is easily discernible. Of course, I can't vouch for how accurate it is.
    Another nice touch is that, unlike many other Zorkis, the 3-C has strap lugs. And it has a top shutter speed of 1/1000. Also, the back is removable for easy loading.
     Shown in the photos is an Industar-50 3.5/50 lens. When I received it, the aluminum barrel was badly tarnished. Luckily, I was able to brighten it up somewhat with Mother's Mag & Aluminum polish and a bit of elbow grease.
      Truth to tell, if I were still shooting photos, I might want to use this camera--but only just one time and for fun. But as a regular user, I'd have to say "no." The Zorki is simply too heavy, too cumbersome, and too noisy for my taste. But it does look nice on the shelf with the rest of the cameras in my collection.

COMING SOON: Petri 2.8 Color Corrected Super

The Ricoh Five-One-Nine...and More

     In an earlier blog (12/04/18) I highlighted the Ricoh S2 (photo left), a fine little camera that preceded the Ricoh Five-One-Nine (photo right). Although both cameras are similar in terms of build quality, style, and construction, there are a few differences between them. The S2, for example has a single focusing knob as opposed to the twin lugs on its cousin. What's more, the S2 has a Citizen MXV shutter as opposed to the Five-One-Nine's Seikosha MXL shutter.

Ricoh Five-One-Nine

Ricoh S2

    The S2 has a 2.8/45 Riken lens, while the 5-1-9  boasts of a faster 1.9/45. Interestingly, the S2 sports a self timer, which is lacking on its costlier counterpart. The S2, however, lacks the EV system that's found on the 5-1-9. The shutter speeds on both the 5-1-9 and the S2 range from B-1/500.
       Not being technically oriented, I have no idea as to why a Seikosha MXL shutter would be preferred over a Citizen MXV shutter. And because I'd be happy with a 2.8 lens as opposed to a 1.9 and probably wouldn't use an EV system, I'd go with the S2.

Enter the Ricoh 500 

     Better yet, if I had my druthers, I'd probably opt for the Ricoh 500 which, except for a few minor
differences and a slower 2.8 lens is essentially the same as the Five-One-Nine. It's built on the same platform as its counterpart and has

Ricoh 500

the same trigger wind, twin lugs, viewfinder/rangefinder, and more. Of course, I have no way of knowing what's inside the camera, but I suspect the folks at Riken didn't skimp on quality when they produced this little gem during the fifties.
    As an aside, the biggest problem I've had with cameras that don't have interchangeable lenses is that the lubricant in their focusing mechanisms tends to harden over the year. Fortunately for me, this hasn't been the case with the cameras in my collection.

     Here's an older version of the Ricoh 500. Although it appears to be somewhat taller and bulkier than its cousin, it really isn't. It has a 2.8/46 Riken Ricomat lens and a Seikosha MXL shutter with speeds from B-1/500. It also features an EV system and a  trigger wind.
    The viewfinder patch, however, differs from that of its predecessors in that it's diamond shaped rather than rectangular.  Made in occupied Japan, this camera bears the <EP> mark. It still functions perfectly.


      During the fifties when these cameras were manufactured, Riken Optical also produced a number of interesting accessories, one of which was the  Ricoh Meter.  Linked to their EV systems, this handy gadget mates with the Five-One-Nine and both versions of the 500. It can also be used on cameras that don't have EV capability.
    Not long ago, I was lucky enough to find one of these old timers that still works and, wonder of wonders, is accurate! As far as selenium cell meters are concerned, that was a first for me!


COMING SOON: Aires 35 IIIC

The Ricoh S-2

    Most likely, the first thing you'll notice about the Ricoh S-2 is that, compared to that of most other cameras, the top plate is as flat as the deck of an aircraft carrier. If you study the photo at the right carefully, you can just see the shutter release peeking up at the left and a sliver of the rewind knob at the right.
    Sturdily built and carefully crafted, this camera bears the <EP> mark, an indication that it was made during the occupation of Japan from 1945-1952.
     When you use the camera, the unique Ricoh trigger wind shown retracted just below the lens takes some getting used to. I found it to be effective, but having used lever and knob wind cameras for many years I wouldn't make it my first choice.
       The bright rangefinder/viewfinder window offers parallax lines, is bright and clear, and poses no problem for eyeglass wearers. The little red spot in the photo marks the self timer lever. The knob on the focusing ring, which rotates fewer than 45 degrees, is at 3 o'clock. The fixed lens is a 2.8/45mm Riken Ricoh.

   Seen from above, the Ricoh S-2 appears to be quite simple and elegant. The film counter sits at the right enclosed behind a little glass window. The shutter release button is to its left at an angle. Immediately to the left of the shutter release is a tiny screw. I think you would remove this screw to adjust the rangefinder, but don't take my word for it. The hot shoe is in the center, and the rewind knob is at the left.

The rewind knob has a little pull-up lever that rests at about 45 degrees from its base for ease of operation. And it even has a little red directional arrow on it. Of course, I haven't seen every camera ever made, but the only other camera on which I've seen a similar setup is the Canon VT.
     Viewed from below in the photo at the right, you can see the two large knobs that serve to hold the removable back in place. As with many other cameras, the tripod mount is on the left rather than in the center. The knob on the right houses an ASA indicator. The PC connector is at the bottom left. The <EP> mark appears on the bottom of the trigger wind.
    In the photo, left, the red dot denotes the shutter speed control dial; blue marks the aperture adjusting ring; yellow shows the focusing knob and ring; and green marks the depth of field scale.
    You'll notice that the lens barrel is is constructed of very shiny metal. That's the only thing I don't like about this camera. Here's why. When you're outside shooting in bright sunlight, reflections off the metal can sometimes make it difficult to adjust the controls.

      Amazingly, I "stole" this camera from an unsuspecting vendor for $14. Although I've spent some time trying to find more information about it on the Internet, I've been unsuccessful. If you have information to share, I'd love to hear from you.

COMING SOON: Ricoh Five One Nine

The Reliable Royal 35-M

   When I received my Royal 35-M in the mail, a few sections of the covering were peeling from its frame. Because that wasn't a first for me, it really wasn't a problem. As I had done with several other cameras I owned that suffered from the same ailment, I used a product called "Original Shoo Goo" to cure the patient. Who would've thought that a product that was created to repair shoes could also be used on cameras? But believe me, it works just fine.
    Manufactured during the 1950s by Royal Camera in Tokyo, the Royal 35-M was also  re-branded as the Torca, the Ogikon SP, the Luxall, the Unicorn 35, and others. Note the resemblance to the Zeiss Contax. The camera mounted either a  2.8 or 1.9 45mm lens and had shutter speeds ranging from B-1/500.
    Don't let the tacky plastic lens cap shown in the photo fool you. Fit and finish on this camera are excellent. It features a superior 10-blade iris; a fairly large viewfinder; a whisper quiet Copal shutter; a self timer; M/X/V flash synch capability with a modern PC socket; and an uncoupled selenium exposure meter, shown in the photo with the light baffle in the bright light position. In dim light you can pop it open to obtain a reading.

    Although  a great deal of information isn't available for this camera, it's known to be scarce.
     Seen from above, the film counter is at the far right in the photo. To its left is the film advance lever. The shutter release button is at 12:00 o'clock next to the exposure meter window and dial.
    Marked by the letters "O" and "C," there's a small screw just below and to the right of  "35-M." I suspect this screw serves to adjust the exposure meter's needle. If so, it wouldn't make a difference on this particular camera because the meter is kaput. But that's not unusual in older cameras.

     Of course, you really don't need a built in exposure meter to capture images with your camera. You can always use a hand held meter.
    Alternatively, you can use the "Sunny Sixteen" rule, as I did in the photo at the right. Because the scene was well lit, I set the aperture at f16 and the ISO at the speed of the film I was using, which was 125. If you're not familiar with this technique, you can find plenty of information about it elsewhere.

    Even though you probably won't be able to find a user's manual for the Royal 35-M on the Internet, it would be a wonderful addition to your collection...providing, of course that you could find one. Its design is elegant; its mechanics are robust yet quiet; and its lens is more than adequate. As a bonus, it even has strap lugs!

COMING SOON: The T.K.C Windsor