Three of My Favorite Vintage 35mm Cameras

      How were craftsmen in Japan and Germany able to produce so many excellent cameras during the 1950s? After all, not much time had passed since World War II had ended in 1945, and both countries were still recovering from that catastrophe. Even so, technicians at Canon, Yashica, Leica, Minolta, Agfa, Konica, Mamiya, Contax, and many others produced a constant stream of beautiful and functional cameras, many of which are still in use sixty or more years after they were created.

     Because I have quite a few of these historic cameras in my collection, it was difficult for me to select three favorites. But after much hemming and hawing, I finally managed to do so. My personal, subjective choices are: Agfa Karat 36; Aires 35 IIIC; and Canter Beauty.
                                           
       One thing I like about the Agfa Karat 36 is that you can retract the lens and carry the camera in your pocket. I also like the old style split image rangefinder, which I find easier to use than the

Agfa Karat 36

coincidence type rangefinder. The camera also has a unique film advance lever that you pull toward you. And the 2/50mm Xenon lens is a plus when you're shooting in subdued light. Notable, also, is the swing back, a feature that certainly makes it easy to load film. For more information about this camera, see 01/08/19 blog entry.

 
        The Aires 35 IIIC reminds me of a Leica M3 I owned

Aires 35 IIIC

many years ago. I like its large parallax corrected combined
viewfinder/rangefinder window, swing open back, whisper quiet shutter, and f2.4/45mm lens.That's right: f2.4. Who ever heard of a 2.4 lens? This camera has a solid feel to it. Interestingly, the lens cap has a little extension on it that lets you attach a leash. A nice touch. I guess that's why my Aires came with its original cap intact. For more information about this camera, see 12/26/18 blog entry.
 

Canter Beauty

       I'd never heard of the Canter Beauty until I discovered one at an auction site. Smaller and lighter than the Aires IIIC, it has a  a combined viewfinder/rangefinder window, helpful swing back, and a 2.8/45mm lens. When you push a little button on the rewind knob, the rewind lever pops up. Behind the shutter release there's a "shutter set indicator stud" that pops up to indicate that you've advanced the film and cocked the shutter.The tripod socket on the bottom of the camera is located in the center rather than off to one side as on many other cameras. For more information about this camera, see 11/30/18 blog entry.

COMING SOON: Three Interchangeable Lens Leaf Shutter Cameras

       

The Canon IIS2

      If you're confused when you try to identify one of the many knob wind Leica copies Canon produced during the 1950s, you're not alone. If you try to identify them by their serial numbers--as you can easily do with Leicas--you might as well whistle down the wind. That was a problem for me when I wanted to verify the models of several of the Canon Barnack copies in my collection. But when I discovered ricardojfb.wixsite.com/fotofix my problem seemed to have disappeared. If you share the same problem, you'll probably want to visit that site.

      At this writing I have ten of the Canon knob wind Leica copies cited above in my collection, one of which is the Canon IIS2 (photo, right with auxiliary finder). Manufactured between 1955 and 1956, it's quite similar to its cousins. For example, the IIS2 is identical to the IVSB2 but has a 1/500 shutter speed as opposed to the IVSB2s 1/1000. Another model, the IID2, is like the IIS2 but has no synch rail. A third model, the IIF2, is like the IIS2 and the IVSB2 but has a flash rail that allows for FP flash only.
   And to make matters worse, all three cameras are similar in one way or another to other knob wind Leica copies manufactured by Canon during the 1950s.

   

       Seen from above, and with the exception of the 135mm finder, the Canon IIS2 resembles several Canons Model II, III, or IV.  The white dot (left) marks the optical enlargement lever. Red denotes the rewind lever. Green indicates the high speed shutter dial, and blue marks the low speed shutter dial. Yellow marks the rewind lever; magenta locates the shutter release; and white (right) indicates the film advance knob.
        Note the <EP> mark, which indicates that this camera was manufactured during the Occupation of Japan (1945-52). But according to  ricardojfb.wixsite.com/fotofix it was manufactured between 1955-1956. Well, I did point out in my opening paragraph that identifying Canon copies of Leica screw mount cameras can be confusing, didn't I?

     There is no flash synch plug on the Canon IIS2. Instead, there's a somewhat  peculiar flash rail mounted on the rewind knob side of the unit (photo, left). To use flash with this camera, you must slide a "Canon Self Extension Adapter" onto the rail and then plug your synch cord into the adapter. Because these adapters are practically impossible to find nowadays, you're probably out of luck if you want to use this camera with flash.
      As usual, prices for this camera are extremely inconsistent. The Collectiblend website values the Canon IIS2 (body only) at a hefty $320-$800 depending on condition. That seems unusually high to me. A leading auction site listed just four IIS2s at prices ranging from $142-$192. I think those prices are more realistic.

     

      I must have been lucky when, not too long ago, I stumbled onto a near mint IIS2 with a Canon 4/135 lens, K2 filter, Canon lens cap, and 135mm viewfinder attached for just $125. Of course, with the 135 screwed onto the camera's body the unit weighs about as much as an elephant. But no matter. It's still a good choice for capturing images that are out of range of a "normal" 50mm lens. 

       A major problem with this lens, however, is that on sunny days the glare that's reflected from its barrel can momentarily blind you. That's why I've always preferred lenses that have black barrels.

      Depending on your needs as a photographer, the IIS2 would be an excellent choice, especially for street photography. Of course, one could say that about Canon screw mount cameras, all of which are beautifully crafted and mechanically sound. 

COMING SOON: Three of My Favorite 35mm Cameras of the Fifties

    

The Zorki 4 K

    If you are old enough to have gone to the movies in 1966, you can probably recall a film titled The Russians Are Coming, The Russians Are Coming, which won an Academy award the following year. In this motion picture a Russian submarine runs aground near a small New england town with hilarious results.     
      Today, more than fifty years later, the Russians are still coming--but not in a fictional submarine. If you study the listings on a leading Internet site, you'll discover what seems to be a never-ending parade of cameras with names like Fed, Zorki, Kiev, Zenit, Horizon, and many others. Judging by the massive number of cameras the Russians have manufactured since the end of World War II, you might think they've out produced both the Germans and the Japanese.
         Many photographers have written reams of reviews and critiques of Russian cameras. Some writers dismiss them as junk. Others embrace them as useful if somewhat crude cameras. If you want to read a fairly objective discussion of these instruments, visit  https://www.digitalrev.com/article/the-classic-cameras-of-russia.

Zorki 4K with Jupiter 3.5/50 lens

        One of six Zorki cameras in my collection, the Zorki 4K, certainly cannot compete with a Leica or Canon in terms of finish and, I suppose, mechanical excellence. But it does have many positive characteristics that qualify it as a useful tool for the photographer who drives a Ford rather than a Lexus.
        As has been true of several other Russian cameras in my collection, the Zorki 4K has an excellent viewfinder/rangefinder with an optical magnifier. It has a single speed shutter dial with settings from B-1000.
       The 4Ks back is removable for easy speed loading. It has a film advance lever with film counter, as well as a self timer. The unit I bought came with a Jupiter 3.5/50 lens which, incidentally, is more highly regarded than Industar lenses. Unlike the aperture adjusting dial on Industar lenses, the aperture dial on the Jupiter 3.5/50 isn't click stopped. Some photographers find that to be a problem.

      Viewed from above, the Zorki 4K reveals the traditional arrangement of controls found on most other 35mm rangefinder cameras.
       But note that, unlike many others, this camera's accessory shoe is pressed into its top plate rather than being screwed in place, as is the case with Leicas and Canons.

     From the rear you can see the texture of the camera's covering, which is distinctly different from the vulcanite commonly in use on most other cameras. I think it's called "alligator."

      Interestingly, the serial numbers on Russian cameras begin with the last two numbers of the year they were made. The camera shown here was made  in 1977. The same system exists for Russian lenses.It's too bad there are no strap lugs on the camera.

      The Zorki 4Ks tripod mount is located below the lens instead of off to one side as in Leicas and Canons. At each end of the base plate two D rings lock the removable back securely in place. The back slides off rather than swinging open. This can be a problem if you're not careful while you're loading a new roll of film into the camera.


       Although many of the criticisms directed at Russian cameras are true, units like the Zorki 4K with Jupiter lens are an excellent choice for photographers who have mastered the basics and like to shoot slowly and deliberately.
      But as always, there is a caveat. Because of what appear to have been less than stringent quality control requirements in Soviet Russia, you might end up buying a dud. But if the technician who assembled your Zorki, Fed, or Kiev hadn't been recovering from too many toasts with Vodka the night before he came to work, you might end up with a winner. If not, although prices continue to escalate, these cameras as cheap as chips. I paid just $45 for mine with the Jupiter lens.

       

COMING SOON: Canon IIS 2

 

The Nicca IIIA and the Tower Type-3

     During the 1950s the Nicca Camera Company manufactured about a dozen 35mm rangefinder cameras modeled on the Barnack Leicas. A decade or so later, the same cameras sold for $10-$15 as cheap Japanese copies. Today, however, photographers and collectors consider the Niccas to be at the same level of quality as their German cousins. In fact, one camera repair man whose name I've forgotten stated that the Niccas were better built than many of the Leicas. Others maintain that the Niccas are the best of all the Leica copies ever made.

Nicca IIIA

     Shown here wearing a Russian 2.8/55 Industar-61 lens, the Nicca IIIA is an excellent example of Nicca craftsmanship. Shutter speeds range from 1/30 to 1/500 in the upper range and T-1/20 in the lower range.
      The controls on top of the camera are arranged in the same order as those on other Leica copies. The Nicca features separate viewfinder and rangefinder windows with neither parallax correction nor frame lines. A diopter adjustment lever is mounted on the rear of the rangefinder window. The camera loads from the bottom.
     At this writing, an Internet auction site lists the Nicca IIIC (body only) at $139, $230, and $240. I paid just under $200 for the one I bought not long ago.

Tower Type 3

     In addition to cameras like the one shown above, the Nicca camera Company also manufactured the Tower Type-3, which was a re-branded Nicca that was sold thorough Sears Roebuck & Co. for several years. Except for the synch posts shown in the photo, this camera is identical in appearance to the Nicca IIIA.
      I've seen the Tower (body only) listed at $299-$469 on the Internet. I paid $125 for the one shown here.
     During the Occupation of Japan--which ended in 1952-- Japanese camera makers were required to mark their cameras with an  <EP> marking or a "Made in Occupied Japan" statement. Interestingly, the Nicca IIIA and the Tower Type-3 bore a third legend. On the inside of their locking rings at the bottom of both cameras the words "Made in Japan" appear.  This indicates that the Nicca IIIA and the Tower Type-3 were manufactured later than 1952. Because I've never seen a similar marking on the  locking rings of other cameras, I have to wonder about the reason for this.

Tower Type-3, top photo

        When you view the two cameras from below with their bottom plates removed, several differences become obvious. Not being technically oriented, I can't address the significance of these differences. It would be interesting, however, to remove the cover shown on the Tower to see what's inside. But I'll leave that job to others who are more daring than I am.

       Which of these two cameras would I prefer? Truth to tell, either one suits me just fine. Of course it would be a plus if both cameras had combined viewfinder/rangefinder windows and swing backs for easy loading.
       Which camera would I recommend for you? If you're a beginner who wants to get started creating photos with film, I would say, "Neither one." But if you're a more experienced shooter, "I would say, "Take your choice. Either camera will serve you well."
      By the way, if cost is a major consideration, I would advise you to buy whichever camera costs less. And keep in mind that you can always save money by using an inexpensive Russian Industar-61 lens, which you can buy for very little cash on the Internet. See What about Those Russian Lenses?" 11/14/18.

COMING SOON:The Zorki 4 and the Zorki 4K

The Tanack IV-S

Tanack IV-S with 1.8/50mm Canon Lens

      Estimating the value of a specific vintage camera is always interesting. That's because prices rise and fall like yo-yos depending on many factors. Timing is important, and so are the condition of the camera and its availability. Finally, to quote McKeon's Law, "The price of an antique camera is entirely dependent upon the moods of the buyer and seller at the time of the transaction."
      For example, at this writing there are only five listings for this hard-to-find camera on a leading auction site. Four of the listings are for units equipped with either Nikkor or Tanar lenses. The "Buy It Now" prices for those units are $399, $501, $737, and $980.
      The fifth listing offers the Tanack IV-S without a lens for $599. The Collectiblend website suggests a range of $180-$520 for a similar unit. I paid $179 for the flawless camera body shown at the right. I added the Canon 1.8/50mm lens later.
    

Tanack IV-S

Leica IIIb

     At first glance the Tanack closely resembles any of several Barnack Leicas, the IIIb for example. But when you look more closely, you can see the differences.
     For one thing, the rewind knob on the Tanack (black dot) is larger than that of the Leica. And the Tanack's shutter speed dial (yellow dot) is larger and shaped differently from the Leica's shutter speed dial..
      The low speed dial (red dot) on the Tanack reads T 1, 2, 04, 25 with 25 marked in red. On the Leica the low speed dial reads T, 1, 2, 4, 8, 20. The high speeds on the cameras differ as well: 500 on the Tanack and 1000 on the Leica.
      The shutter release  on the Tanack (violet dot, above left) is larger than the Leica's shutter release, and the film advance knobs on the two cameras differ as well. The Tanack knob (green dot) has a film reminder set into its top, but the Leica's knob does not. The Tanack has two synch connections (white dot). The Leica does not provide for flash synchronization. What's more, the Tanack has two black metal bands encircling it from front to back while the Leica remains unadorned.

Tanack IV-S

       Finally, the Tanack is blessed with a swing back for easy film loading. The Leica, unfort-unately, is a bottom loader.
       The Tanack IV-S was manufactured in Japan for two years from 1955-1957.  I couldn't find much information about it on the Internet, but I did discover that with a serial number of 78614 it was probably a later model, of which just 4,000 were produced. Lucky me!





       COMING SOON: The Tower Type 3and Nicca IIIA


          

 

The Zorki 1CS

       Comparing the Zorki 1CS to some other cameras of the 1950s is like comparing a Jeep to a Jaguar. It can't be done. That's because the Jeep is lean and rough while the Jaguar is sleek and smooth. Take your pick. But whether you choose the unadorned Zorki or the comparatively luxurious Leica, Canon, or Tanack, you'd be able to produce good photographs. That's because a camera is basically a light tight box with an adjustable opening (iris); a light gatherer (lens); and a timer (shutter).
      Consider, for example, Virginia Schau's 1954 Pulitzer Prize-winning photo of the cabin of a trailer truck hanging off the edge of a bridge. Schau captured the image using a Kodak box camera. You can't get more basic than that.
        And then there's the work of Magaret Bourke-White. The first female photographer hired by Life magazine in 1936, Bourke-White used, among others, a Kodak Medalist 35mm camera.
       During the early days of his illustrious career, iconic street photographer Henri Cartier Bresson used a 1930s Leica with just one 50mm lens and no rangefinder (photo, right). 
       In 1945 Joe Rosenthal captured the iconic image of the flag raising on Mount Surabachi during World War II with a Speed Graphic, which was a far cry from today's well appointed cameras that can do everything but boil eggs.
       Those are just a few of the legions of photographers who captured memorable images with cameras that are obsolete by today's standards.

      Although the Zorki 1CS has a few refinements not found in some of the cameras cited above, it's a good example of a rather basic, no frills camera that can still produce excellent images.
       Manufactured in the then-Soviet Union during the 1950s, the Zorki 1CS is more like a Jeep than a Jaguar, both mechanically and cosmetically.
    When activated, its shutter (top speed 1/500) is anything but quiet.  Its metal parts lack the luster and finish found on, say, a Leica, Canon, Tanack, Nicca, or Leotax of the same era. It has no strap lugs, it's a bottom loader, and it has separate eyepieces for its viewfinder and rangefinder.
      Anyone who's familiar with the placement of controls on similar 35mm cameras of the fifties would be right at home with this camera. In the photo (left) red marks the film advance knob. Violet denotes the synch plug. Blue indicates the shutter release; green the shutter speed dial;black the rangefinder window; and yellow the film rewind knob. The camera accepts Leica, Canon, and other screw mount lenses.

     Even though many photographers would rather chew on nails than be seen with this somewhat clunky camera, other photographers here in the States like to collect and/or use them. For one thing, all the Zorkis I've seen ( I have six in my collection) have excellent rangefinders. What's more, they are readily available from dealers in Russia, although you might have to buy a few units before you find one that's fully operational. Finally, if you accidentally drop yours into the ocean, you can replace it without having to sell the farm. The camera-lens combination shown below cost me just $30 plus shipping.

Zorki ICS with Soviet Indistar 2.8/55mm Lens

COMING SOON: The Tower Type 3






     

The NIcca Type-5 and the Leica IIIf

     Imagine that you've discovered two cameras that look like Barnack Leicas in mint condition at an auction site for the amazing price of $100. "Estate Sale," proclaims the listing. "Sold only as a pair." Marveling at your good fortune, you prepare to hit the "Buy It Now" button. But then you remember that your spouse has told you that if you buy more than one additional camera for your collection, you'll be sleeping on the sofa for the rest of your life.
     Okay. You contact the seller who agrees to let you have one of the cameras for $75. But which one? Because the seller claims that she "knows nothing about photography," and "can't tell the difference between the two cameras," you'll have to do a little research before you make your choice.

      At first glance both cameras appear to be identical twins. But then you discover that the camera shown on top in the photo (left) has two tiny screws in its top plate (blue) while the second camera has none.
      You notice, also, that the black metal band under the top plate of the bottom camera (red dot) doesn't appear on its mate. That's it so far.

      But when viewed from above, the differences between the two cameras are obvious, and the mystery of which is which is solved by the names engraved on them.
      Serial number 616166 on the top cover of the  Leica indicates that it's a Leica IIIf  and that it was manufactured between 1951-1952. Serial number 126558 on the Nicca Type-5 reveals that it was manufactured during 1955.
       Interestingly, although you can't tell from the photo, the viewfinder magnification lever on the Nicca (black dot) is more finely crafted than the one on the Leica. By contrast, the shutter speed dial on the Leica is more polished than that of the Nicca.
      What's more, the shutter speed dial on the Leica is larger than the one on the Nicca. The Leica's dial also makes it possible to set the shutter at 75, while the dial on the Nicca skips from 50 to 100. The range of speeds on both cameras, however, is T-1000. Another difference is that there's a series of red numbers spaced around the Leica's dial. These numbers cite the camera's adjustable flash contact scale. There are slight differences between the two cameras' A/R levers (blue dots, above) and more significant differences between their film advance knobs.

      But you can see the most striking external differences between the two cameras when you view them from the rear.  Note the differences between the two eyepieces and the positions of the flash synch plugs. And then there are those two tiny screws on the top plate of the Leica. And of course there's that wonderful swing back on the Nicca (red dot) that makes loading film into the camera much easier than it is on the bottom loading Leica.
      Not being technically oriented, I don't know which of the two cameras is better from the point of view of mechanics. But the fact that they're still functioning perfectly after sixty or more years have passed indicates that the Japanese Nicca is at least as hardy as the German Leica.
      If I had to choose between them, which of these two fine cameras would I prefer? Now don't get me wrong. I've used--and loved--several  different Leicas for many years. But in this case, I'd most likely select the Nicca Type-5
even though the Leica IIIf is the most advanced, most popular screw mount. Leica.  Why? That's a no brainer. Just take another look at the Nicca's swing back door.

Is this a Leica photo or a Nicca photo?

COMING SOON: Tanack 4S and Zorki 1CS

The Agfa Karat 36

      It's always interesting to consider vintage cameras in the context of history. Consider, for example, a 1950s Leica, Agfa, Canon, Contax, Voigtlander, or any of the many different brands that were manufactured during those years. I've always wondered about the owner of some of the cameras in my collection. What were they like? Where did they live? What kind of images did they produce? What did they look like? What were their thoughts about politics, religion, and life in general?

      Manufactured in Germany, The Agfa Karat 36 was produced between 1948 and 1952 while that country was still occupied by the Allies. Like many other European countries, Germany was still devastated by World War Two. The German economy was in a shambles; many of its cities had not yet recovered from repeated bombings; and its people struggled to find enough food and other necessities. Despite those handicaps, however, many German camera companies were able to produce beautifully designed, mechanically sound instruments.
     Agfa made its first camera in 1926 and continued producing cameras until the 1980s. This company also manufactured Rodinal developer and Agfa film. The Agfa Karat 36 is probably the earlier of two versions produced just a few years after the end of World War Two.
      Although its finish is much duller than that of a contemporary Leica, Canon, or Voigtlander camera, it is, nevertheless, a beautifully crafted, dependable camera that has a few features that are lacking in other cameras of the late 1940s. For example, it had a film advance lever (black dot) instead instead of a knob.
       It also had a lever (yellow dot) that you can adjust to hold the shutter open for extended periods of time while the shutter is set at T. And it had a swing back for easy loading (not shown in photo).
      The film advance lever (black dot) is shown elevated. To operate it, you place it in the horizontal position and pull it toward you. Note that the viewfinder and rangefinder windows aren't on the same level. That's because the rangefinder presents a split image rather than the rangefinder patch found on most cameras. Truth to tell, I prefer the split image to the more modern RF patch.
       The green dot marks the shutter release linkage that's activated by the shutter release above the yellow dot. The violet dot indicates the aperture adjustment pointer. The red dot shows the focusing knob, and the blue dot rests on the speed adjustment dial (B-250).

     The controls at the top of the Agfa Karat 36 are arranged in traditional fashion. From left to right: rewind knob (red); accessory shoe (blue); depth of field scale (yellow); shutter release (green); film counter (violet); film advance (black), shown depressed. In this view (left) the lens is shown retracted.

      The red dot in the photo (below) marks the catch that releases the lens to its extended position. The bellows isn't visible. At the base of the photo you can  see a second catch (blue dot) that allows you to open the swing back of the camera. The swing back is a feature that wasn't found often on other cameras of the time. Note that the eyepiece is positioned just to the left of center on the rear of the camera's back plate.                                                                                  

     I really like the Agfa Karat 36 with its f2.0-f16 Schneider Kreutznach 50mm lens. Although some photographers would find the relatively slow 1/250 shutter speed and the lack of flash synch to be inconveniences, they weren't problems for me. My only complaint would be that the camera lacks strap lugs.

COMING SOON: Nicca Type 5 and Leica IIIg

  

The Leotax Leica Copies

    I don't know how many Leotax cameras Showa Optical Works/Leotax Camera Company produced, but I have several of them in my collection. Because they are copies of the Barnack Leicas, the Leotax F, K, and  K3 (photo right) are similar in appearance. But a closer look reveals that they don't necessarily share the same mechanical features.
    For example the F (red dot) and the K3 (yellow) have slow speed shutter dials, which the K (blue) lacks.
   The F has a top shutter speed of 1/1000 as opposed to a top speed of 1/500 on its twins.
   The F and K feature FX levers, but the K3 lacks one.
   The K3 reveals 50mm frame lines in its viewfinder, but the F and K do not.
   The F and the K are labeled Showa Optical Works, Ltd. This indicates that they appeared earlier than the K3, which is labeled Leotax Camera Company, Ltd.
   Other than those differences (and a few minor ones), all three cameras have the same viewfinder/rangefinder windows, PC connections, as well as the same arrangement of controls on their top plates. All of them are bottom loaders. More about that later.

    Not shown above, the Leotax TV (Leotax Camera Company) is probably a later model in this series of Leica copies. Manufactured in 1957, it shares many of the characteristics of its older cousins while adding a self timer (blue dot). The green dot reveals the slow shutter speed dial, (T, 1, 2, 4, 30, 15, 8). As is true with the  the K and K3, the highest shutter speed on this model is 1/500.The red dot marks the focusing knob of the Industar-26 2.8/50mm lens mounted on the unit.
   The viewfinder/rangefinder window is the same as those found on the units pictured above.
     The Leotax Camera Company produced just  3,000-4,000 Leotax TVs in 1957. 

     Except for its film advance knob, the controls on the top plate of the Leotax TV are identical to those on the F, K, and K3.
         From left to right, rewind knob (yellow); viewfinder/rangefinder windows (white); accessory shoe (dark blue); PC connector (gray); shutter speed dial (light blue); shutter release (green); advance/rewind lever (violet); film advance knob (mustard).
      The film advance knob on the model TV differs from that of the models K and F as shown in the photo (left). The models K and F feature a red, white, and black film type/ASA indicator, while the model TV (and the K3) have small windows that house an ASA indicator.

                                                      

      Like the  Leotax F, K, and K3; the Barnack Leicas; and some Russian copies, the Leotax  K3 loads through the bottom. Many photographers have found loading film through the bottom so frustrating that they've thought about jumping from bridges or slitting their throats.
   Others have used tank loads of ink to propose solutions to the problem.
       Still others have spent their children's milk money to buy special film cutting devices.
      But such extreme measures aren't necessary. Shown here courtesy of jay.fedka.com/index_files/Page345.htm is a suggestion for a template  that offers an inexpensive, easy, do-it-yourself solution to the problem. Follow the link for more specific information.

COMING SOON: Agfa Karat 36

      

The Canon 7SZ and the Canon 7

      I was lucky when I bought this Canon 7SZ together with a Canon 3.5/135mm LTM lens at an Internet auction site for just $171. I say lucky because collectiblend values the body alone  at $340-$900. But that's not all.  Because Canon produced just 4,000 of them, the 7SZ is considered

scarce and highly collectible. And, to make the deal even better, this unit is in excellent condition.
    Manufactured from 1967-1968, the Canon 7SZ is similar to its near twin, the Canon 7S (not shown). Both cameras feature metal shutters; both are labeled 7S (there's no logic to this); both require batteries to operate their exposure meters; and both have outer bayonet mounts for the legendary Canon .95/50mm lens. The 7SZ, however, has a larger rewind knob. Because I'm not technically oriented, I don't know if other differences exist between the two cameras.
       As you would expect, these two cameras require outlawed mercury batteries to activate their meters. Believe it or not, my 7SZ came with one that still had life in it. If I were planning to use the camera, I suppose I'd have to find an alternative to the mercury battery soon. But I think my Canon 7SZ #121750 will spend eternity in my display cabinet.

     Between 1961 and 1965, just a few years before they produced the 7S and the 7SZ,  Canon introduced the Canon 7 (photo right). Seen from the front, the 7 bears a close resemblance to its cousins. The cameras share the same body, viewfinder window, self timer, and LTM/Bayonet mount. Like the 7SZ, the Canon 7 features a metal shutter.
     The two cameras differ, however, in the 7's   rectangular light gathering window that serves its selenium light meter as opposed to 7SZ's circular eye.
    Although most of these more-than-fifty-year-old cameras have wrinkled shutters, the one shown here does not. I suppose that would make it more desirable than many others. By the way, if they're not too badly damaged, wrinkled shutters don't affect the operation of these cameras.

      Seen from the top, the differences between the two cameras are obvious. Because the Canon 7 (red dot) features a selenium exposure meter, its meter window differs from that of the 7SZ. The 7 also has a rewind knob and lever that's smaller than that of the 7SZ, as well as a protuberance in front of the shutter release button to contain the camera's plastic bubble window for its exposure meter. The 7SZ, by contrast, mounts an accessory shoe, which is lacking on the 7.
     That said, the field of view adjusting dials next to the rewind knobs on both units provide for the same 35, 50, 85, 100, and 135mm views and are identical in appearance. The film speed dials, shutter release buttons, film counters, and film advance levers are twins as well. Both cameras have those little telltale circular windows with red dots that revolve when you advance the film...a nice touch.

     Viewed from the back, you can see a small dial to the right of the Canon 7's (red dot) eyepiece . That's the high range-low range switch. Just above the switch there are two tiny screws. If you know the purpose of those screws, please let me know.
     On the 7SZ you can see a somewhat larger dial below the black shutter speed dial. That's the battery check/on/ off switch.
     Other than those differences, the backs of the two cameras are identical.
      Are you wondering what those two little buttons to the left of the names and serial numbers of both cameras are for? Well, they're spring loaded gizmos that you depress to change the ASA settings on the camera's shutter speed dials.

     If I had my druthers, which of these two excellent cameras would I prefer? For me that's a no brainer. Because I don't like to rely on a battery operated meter; because I have no need for an accessory shoe; and because I've never used a flash unit for my mostly outdoors photography, my choice would be the Canon 7.

     In the past I used this  more than fifty-year-old camera  for street photography in New York City. The lens I used was a Russian 2.8/53mm Industar-61 lens (see "What about Those Russian Lenses?").  Here are two samples of the images it produced. As I recall, these were quick grab shots at f11 1/250 with the camera pre focused at 10 feet. I think I was using Kentmere film for both photos.

COMING SOON: The Canon VT