The early 1980s saw two major changes for Contax: in 1983 Kyocera Corporation acquired the Yashica company. Kyocera is an industrial conglomerate with a very diversified product palette ranging from industrial ceramics (which gave the Kyoto-based company its name), to audio components, photo copiers and laser printers, solar cells, mobile telephones (due to a merger with Sanyo Electric) and ceramic kitches knives, just to name a few. Kyocera inherited Yashica’s agreement with Zeiss and an expansion of the photography division was pursued by developing new products such compact cameras and even a medium format system, all equipped with Zeiss lenses.

Another significant development of that decade was Minolta’s introduction of the 7000 AF (MAXXUM 7000) 35mm SLR camera. It marked yet another significant milestone in photography as it was the first camera to feature both integrated auto-focus (AF) and motorised film advance.

Minolta 7000 AF (MAXXUM 7000) 35mm SLR camera

Obviously this was foreseeable for Zeiss and Yashica. The pressure to introduce AF had been building up over a long time. Yashica, perhaps unsurprisingly, was prepared to go ahead; a prototype based upon the Contax 137 SLR with a coupled Carl Zeiss 50mm f1.4 lens was presented at Photokina in 1982 and its workings were, in principle, identical to the 7000 AF introduced three years later. However, Zeiss disapproved of AF. It feared that the optical performance of its lenses was compromised by the entailing use of lighter materials. Especially the helicoid, the device controlling lens to film distance for focussing, had to be made of a lighter material to let the rotation be carried out by electric motors. The helicoid and the spacer rings, positioning and holding in place lens elements, had to be made of plastics. These components were not up to the longevity and optical expectations of Carl Zeiss. Consequently the plans for a conventional AF camera were dismissed and R&D continued.

An alternative to moving the lens for focussing was to move the film plane. This seems to be an alien thought after years of being used to turning a lens to achieve focus. Still, since the beginning of photography, using a view camera, it is normal to focus by moving the film plane — which is exactly what the Contax AX was designed to do when released in 1996.

The AX was an incredible engineering feat. It is said that over one hundred patents have been granted regarding the technology in the camera. At the core, two main technological achievements made focussing possible: the first is ceramic technology; a very finely finished ceramic rod acts as a guide rail and motor part to move the film plane forward and back. Secondly, an Ultra Sonic Motor (USM) drives the ceramic collar and an inner camera body forward and back on the rails to obtain focus.

Contax AX

USM offer precision control and extremely quick and quiet operation. The Automatic Back Focusing system on the AX can move from minimum focusing distance to infinity or back in less than 450ms, irrespective of focal length. The Contax AX utilized three computer CPUs to control all of the camera’s functions, a more sophisticated computer system than in any other camera. One of the CPUs controls the Automatic Back Focusing system, one to oversee auto-exposure, and a third, the Indicator CPU controls wind/rewind, shutter charging and viewfinder indications. Almost a byline is the novel concept of user configurable camera parameters, called Custom Functions, which are common today.

In 1994 attention once more shifted to rangefinders. The Contax G series was a 35mm rangefinder system with interchangeable lenses — with a difference. The G1 camera was unique in that it offered auto-focus by means of a rangefinder. Instead of displaying a fixed magnification viewfinder, the first G1 had a zooming viewfinder adjusting itself depending on the lens in use. The viewfinder is very similar to an SLR displaying focus confirmation and distance and of course light metering information.

Contax G1 AF rangefinder advertising in Oct 1994 issue of Nippon Camera (click to enlarge)

Unlike AF in an SLR camera determined through the lens alone, the G1’s auto-focus used the typical twin-window rangefinder. The difference was that the alignment determination was performed electronically, not by the photographer, by means of a phase-detection sensor. The system was very novel but to this day draws criticism from many rangefinder photographers as it did not conform to the classic heritage cameras like the Leica. Auto-focus, auto-winder, no frame lines, all in a modern titanium body were pushing the RF paradigm. The first incarnation became known to be finicky at time with AF speed and accuracy, improved in the G2 follow-on model. With the G series Zeiss and Contax celebrated a return to its rangefinder heritage. Rangefinder lenses are generally assumed to offer superior optical performance as there is no need to accomodate the reflex mirror box of an SLR, demanding a greater lens to film distance. Even by today’s standards the G lenses are considered stellar performers in their class. Unfortunately the G lens mount is proprietary and lenses cannot be used on other cameras without modification.

By now the digital age loomed, and unlike with auto-focus, Kyocera Contax could not afford to miss the boat. A number of compact digital cameras were made, but the top of the line was the Contax N series. The Contax N was an autofocus 35mm type DSLR system, announced in late 2000, and began to be sold in spring 2002, after several delays, for around ¥800,000 (~US$6550 at the time). Three models were made: the N1, the NX and the N Digital, an early Digital SLR. The Contax N Digital was the first professional digital SLR with a full frame size CCD chip (made by Philips).

Contax N1 DSLR

The N-series bodies required new N-Mount lenses which made them incompatible with the older manual focus SLR system. A total of nine lenses were produced and received high acclaim. An adapter that allowed lenses from the 645 medium format system to be used on N bodies was also offered. The N camera system itself was a market failure. While some aspects worked very well, like colour fidelity and resolution afforded by the Zeiss lenses, the camera also had serious shortfalls like sensor noise and power consumption, although that may not be too surprising provided it is a first generation digital product. Many observers criticised Kyocera’s haphazard release of the system and in retrospect this could be interpreted as an indication of a lack of commitment to the camera division. Contax users had their hopes pinned on an improved revision of the N-series DSLR, however on 12 April, 2005 Kyocera Corporation announced that it had “decided to terminate CONTAX-branded camera business. Although Carl Zeiss and Kyocera have entered into a long term co-operation regarding the development, production and sale of CONTAX-branded cameras, Kyocera has decided to terminate such business due to difficulties in catching up with the recent rapid market changes.”

In 2008, Kyocera sold the trademark rights of the Yashica brand to a Hong Kong-based company to use on photo products such as digital cameras, digital camcoders, digital photo frames, portable DVD players, digital audio players, digital voice recorders, binoculars, mobile phones and SD cards — undoubtedly a sad fate for any camera maker with such great history, but not the first and probably not the last time.

Contax Salon

What else is left in Japan of the proud Contax heritage and history? Like most other camera manufacturers Contax maintains a photo gallery called Contax Salon in the centres of Tokyo and Kyoto. I have to admit though that the work on display there is of little interest as it falls into the mainstream nature and landscape categories so often seen in Japan. Like other manufacturers there is a Contax Club.

Next to the Contax Salon Tokyo is the Kyocera Service Station (other locations also have their Service Stations) which is able to supply spare parts and little pieces like caps and covers for Contax cameras and lenses. Repairs are also accepted here for the the products still supported by the company (including the ROM upgrade for the G1 rangefinders); a list can be found here. Often repairs are impossible because parts are no longer available. In such cases a third-party repairer needs to be found, which for electronic cameras might not be easy.

The last remaining question is: what will happen to the great Contax name? Statements issued by Zeiss in reaction to Kyocera’s announcement in 2005 indicate that the agreement between is still in effect: “Kyocera has several years left of its agreement with Carl Zeiss. If they keep paying the minimum royalties, they could block any developments. Currently, we cannot initiate talks with a possible new partner until Kyocera makes a decision. In the meantime, they will have to keep using the Contax brand name or give it up.” Kyocera has not commented on the licence issue.

My personal experience with the Kyocera Contaxes is very good. I own a RTS II with a Distagon 28/2.8. I bought the RTS II due to its enormous focussing screen, it shows 97% of the image taken on film, which is great. The RTS II also has the best shutter release button I have ever experienced. Since it is electrical, there is only very light resistance and immediate response. Moreover it has no half-press, the first time you use it you wonder what is going on and how to obtain a meter reading. For that another button is placed in the front of the camera. My only qualm with it is the placement of the shutter speed dial on the left. It should really be on the right where the ASA/exposure compensation control is. With a manual focus camera your left hand is occupied focussing, so it is difficult to change shutter speeds as well.

The other Contax I own and currently actively use is the G1 rangefinder. A lot has been said about its perceived shortcomings, but perhaps it is often misunderstood. The G1 is an autofocus, autoexposure rangefinder camera offering a great degree of user control to meet the demands of the experienced photographer. This is not a Leica, and not trying to be one. This system offers its own advantages and would even complement a manual focus rangefinder: focussing in low light, focus tracking of moving subject, motor wind, auto exposure with bracketing just to name a few things that become easily possible.

The most important aspect of the Contax G system is the line of Carl Zeiss T* lenses that rival, or might even surpass, the quality of Leica lenses — at a fraction of the price.

The German-Japanese Contax venture was extremely popular in Japan and I think with the history we recounted in this article it is easy to understand why. Here are the world’s best engineers working together in creating top quality photographic products, with a great heritage. This is something that the Japanese very much appreciate. The popularity of Kyocera Contax has an interesting side effect: since there are so many cameras and lenses out there, with the change to digital enormous quantities of Contax equipment is reaching the second hand market at extremely low prices. Obviously these are still very capable cameras, and the quality of the fine lenses is not diminishing. Using an adapter, C/Y lenses can even used on digital bodies like the Canon EOS or Micro Four-Thirds bodies like that of Panasonic Lumix G1.

Please consider the Japan Exposures Equipment Sourcing Service if you are looking for any of these cameras.

Ken Rockwell’s review of the Contax G system

Contax Cameras UK

Contax and Zeiss Ikon on Camerapedia

Very detailed information on Contax RTS, RTS II and RTS III Series SLR camera pages

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Carl Zeiss in Jena around 1910

The first Contax did not manage to fully live up to its ambitions. It was a very sophisticated and also complex little device and soon became known to suffer from a lack of reliability, especially due to its complicated shutter. Hubert Nerwin, Zeiss Ikon’s camera designer par-extraordinaire, picked up the pieces from the first unreliable Contax designs, and re-designed it to one of most famous and desirable 35mm cameras ever to have been produced; the Contax II. In 1936 it was brought to market with many revolutionary improvements, such as a combined viewfinder and rangefinder. In terms of features, it beat the comparatively primitive Leica hands down. Not resting on its success, Zeiss immediately started working on the next generation, the Contax III. But another ambitious project was already lined up beyond it — the Contaflex twin-lens reflex camera (TLR).

Zeiss Ikon Contax I, image courtesy of Tomei Collection

The second world war saw the cities of Jena and Dresden become the Soviet sector of occupied Germany. The production facilities were damaged and everything salvageable was relocated to Kiev in the Ukranian province, to provide the Soviet Arsenal conglomerate with the means to construct a world class camera called the Kiev, initially entirely from leftover parts from Germany. Prior to the handover to the Soviets, the withdrawing US Army had recognised the significance of Zeiss and facilitated the relocation of over 100 key personnel, management and engineers to West sectors. This chapter alone is a fascinating period of Contax history and many papers and books have been published trying to establish on what exactly happened under the Russians’ control and what cameras where built at what location.

Like Germany itself, Carl Zeiss was now divided into East and West. In the West, Zeiss continued working on improving the classic II and III series rangefinder cameras, whereas in the Soviet sector work concentrated on developing the single-lens reflex. In 1949, at the Leipzig Spring Fair, an industrial showcase, Zeiss Dresden (East) released the Contax S (for Spiegelreflex [reflex mirror]. Due to increasing disputes around the Zeiss trademarks, which occupied German courts for 15 years, Zeiss Dresden renamed their cameras to Pentacon, derived from the combined words PENTAprism CONtax). It was the one of first 35mm SLR film cameras featuring a pentaprism allowing direct viewing from behind without a reversed image.

Contaflex ad in National Geographic, January 1958

The era of the rangefinder camera started drawing to a close and the SLR’s rise began. Carl Zeiss (West) released their first SLR in 1953, the Contaflex. Unlike its pre-war TLR namesake, it was a single-lens reflex camera (SLR) it featured a leaf shutter and but unlike the TLR only at a later stage was it equipped with a built-in (selenium) exposure meter. The follow-on model was called the Contarex and showed German engineering at its best: the world’s first exposure meter-coupled, focal plane shutter camera; it even sported interchangeable film backs. Despite its sophistication, the Contarex and its follow-on models were not commercially successful. While it was superbly crafted and packed with innovation, it was an engineer’s camera, which is to say ugly and heavy. Its selenium metering cell in front of the pentaprism gave it the name Cyclops or Bullseye. Production of the renowned Contax rangefinders IIa and IIIa (the a distinguishing them from the pre-war models) was ceased in 1961.

Meanwhile Japan had risen from its own ashes and started the onslaught that would leave the German camera industry practically wiped out (except for, ironically, the more and more archaic seeming Leica M). The Japanese practical design and not least pricing of cameras like the Nikon F simply could not be matched. Nonetheless, Zeiss continued to deliver in its cameras many world firsts that are taken for granted in today’s cameras: electronic auto-exposure, attachable motor drive and the technical feat of an electronically driven and vertically travelling shutter (a shorter travel distance means that shorter shutter speeds became possible). Undoubtedly SLR cameras would not be the same today if it wasn’t for the continuous innovation by Zeiss in their Contax cameras. The economic perspective was different, however. Zeiss simply could not continue to produce cameras in Germany alone, facing the fierce Japanese competition.

Yashica Electro 35 GSN, image courtesy kenrockwell.com

Perhaps it was the experience of the cyclops that prompted the addition of another ally: the F. Alexander Porsche Group. Industrial design was still in its infancy as a concept or product development consideration, yet Zeiss and Yashica must have recognised its importance and potential. Porsche Design were a pioneer in ergonomics and consulted on appearance and human interface design. The fruits of this collaboration were introduced at Photokina 1974 — the Contax RTS SLR.

Contax RTS

Read in Part 2 about how ceramic kitches knives from Kyoto helped Contax to remain on the cutting edge, tackling the challenges of auto-focus and the looming age of digital…

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Sankyo Camera Co.'s Hiroatsu “Hero” Akizawa photographed by Barry Kawa

Text and images by Barry Kawa for Japan Exposures

At most train stations in Tokyo, there are still film stores that can develop a roll of film in 45 minutes or less, so you can stop back and pick up your pictures on the way through, and enjoy looking at them on your train ride home. In the Japanese photography magazines, many articles are still devoted to film cameras each issue, although digital camera coverage is starting to pull way ahead. (There are even some dedicated magazines catering only to digital shooters.) Nonetheless most of the camera store ads in the front or back pages still list a huge selection of used film cameras and lenses for sale. These are now referred to as “classic” cameras.

Used camera shops like Sankyo Camera Co. [ map ], in the heart of the Ginza, Tokyo’s prestigious shopping district, located just off the famed 4-chome intersection, still offer shelves of Canon and Nikon rangefinder cameras and lenses for sale to film camera junkies like myself. In a store that is a throwback 20 years into the past, there aren’t any digital cameras for sale here.

At lunchtime, I have just enough time to walk up to Sankyo to see what’s new on their shelves since my last visit. Since I’m there, I can’t pass up the chance to stop by three other adjacent camera stores in this four-corner area of the Ginza that is a landmark for film camera buffs. My weekly “fix”.

There are actually two Sankyo camera stores within a half block, one specializing in Nikon and Canon rangefinders as well as other Japanese camera models, and another shop specializing in Leica cameras, although the window has a nice eye candy collection of Rollei 35mm, Rolleiflexes and Rolleicords for sale.

Across the busy street, there’s a Miyama Shokai Nikon branch store [ map ] that sells new and used cameras, mostly Nikon, but also enough used medium-format, rangefinder and other gear to take a look at. And just a few doors down is Katsumido [ map ], the ultimate store for Leica collectors who want everything in mint condition — and have the credit line to pay for it. This store also has a changing collection of highly priced and highly desirable cameras and lenses of all types in the window, with everything in near-mint condition.

“I’m also not going to be able to afford any of those line of Leica M3s or M2s on display. They know it, and I know it.”

But the stop I enjoy the most is at the Sankyo Camera store with all the Nikon and Canon rangefinder gear, managed by Hiroatsu “Hero” Akizawa (call him Hero-san). At most Tokyo camera stores, the language barrier is difficult. There’s also the snobbery factor, as in stores like Katsumido, where the staff is aloof, and I’m too self-conscious to even ask a question, knowing that they are going to have to find somebody to talk to me in English, if there is anyone.

I’m also not going to be able to afford any of those line of Leica M3s or M2s on display, starting from 200,000 yen (about $2,200) and up. They know it, and I know it. So, I nonchalantly make my way over to the display case where cheap Nikon, Canon and Sigma auto-focus lenses are for sale, kept apart from the Leicas.

When I stop by Sankyo Camera, however, I’m greeted by Hero-san with a smile and in English. It’s the same relationship I first had with the now-closed Ohba Camera, which was located about a 10-minute walk from the Ginza near Shimbashi Station [Now a standing sushi bar -- Ed.].

The rangefinder section at Sankyo Camera

The store manager at Ohba was friendly, spoke English, and since I was a good customer, always gave me a discount. If I brought back something I had bought there, he would always give me at least 80 percent in trade. That kind of service instills customer loyalty, since in most of the Tokyo used camera shops I’ve visited, I’ve been offered pennies on the dollar on my trade-in gear.

When Ohba was closing last April, one of the clerks asked me, “What are you going to do now?” They would see me stop by at lunch and sometimes after work, on my way to the station, to see what they had got in. When they closed, I went through withdrawal pains. Sankyo has stepped in to help ease the pain. The store has treated me well, offering me good trade-in prices, and usually knocking a little off the price of anything I’m interested in buying as well.

My first time there, I brought in some Nikon binoculars I wasn’t using, an old Nikon P camera and some Canon lenses to trade, Hero-san looked, and then grabbed a calculator to show me what he was offering. The price was very, very fair. Since that time, I’ve been a regular customer, wandering in off the street each week to see what’s in the display cases.

Prices are not cheap, and bargain hunters in the States still can get better buys on eBay or through their local Craigslist site, although the condition can be a craps shoot. But at Sankyo, there are good buys to be had on cameras and lenses that are impossible to find in the States, and usually in excellent condition.

One glorious day, there was an Olympus XA4 macro model, no strap, but I turned it over, and there was the extremely rare quartz date back on it. The price? 8,000 yen, or about $70. “I’ll take it,” I said. Hero-san smiled and nodded. I also traded in a Canon rangefinder cameras and some lenses one time for a Canon 7SZ with a 50mm 0.95mm lens, in fair condition, but a steal at under 90,000 yen (about $800).

“Happiness is finding a mint black Canon lens case for your 35mm F2 for a 100-yen coin.”

Other days, there have been cameras like a rare, heavily used black Canon P (gone the next day, when I couldn’t get it out of my mind and went back for a second look), and lenses like the Avenon 21mm and 28mm models don’t stay on the shelves very long. Sometimes, in front of the store, there are boxes filled with old lens cases and camera cases, selling for 100 yen (about a buck). Although I feel like a homeless person foraging through a garbage can, I still can’t resist jumping in.

“Most Japanese like the Nikon”

Happiness is finding a mint black Canon lens case for your 35mm F2 for a 100-yen coin, which I embarrassingly hand over to Hero-san, my “purchase” for the day. But these days, business is slow at Sankyo, Hero-san says. On this Saturday, there’s a steady stream of customers looking, but few are buying. “Now, it is very slow, slow, slow,” Hero-san says. The reason? Of course, it’s digital cameras. Hero-san says it’s understandable, with how easy it is to use a digital camera. In the future, is there hope for stores like Sankyo to survive? A resurgence in film cameras?

“Sometimes, the person wants to do the shutter timing, aperture… maybe, I hope,” he laughs. Looking around at all the shelves of Canon and Nikon rangefinder cameras, I marvel at the selection, and ask Hero-san where they are from. Surprisingly, Hero-san has attended many camera shows in the United States, buying cameras and returning them to the country where they were made, to sell to collectors. He said the Pasadena show in particular, is a good place for them to buy rangefinder cameras and lenses in great condition.

“The weather is good, dry, the condition is better than in Japan,” Hero-san says. “In Japan the weather is very wet – sometimes the lens gets mold, the shutter time gets very long – not so good.” So, Japanese collectors are drawn to stores like Sankyo Camera, to buy the cameras that were exported to the U.S. back when the exchange rate was at 360 yen to a dollar.

Hero-san said Nikon cameras and lenses, particularly Nikon Tokyo Olympic models, are his store’s best sellers. Although the store has a display case full of Canon rangefinder cameras and lenses, the Nikons outsell the Canons. “Canon (prices) are going a little down,” he says.

Hero-san points to all the Nikon collectible books, and says this interest has helped fuel the collector market. “Most Japanese like the Nikon, I think,” he says. “Then, also, the Nikon mechanical system is better than the Canon – Canon changes their mount, very quickly – and the old ones are very hard to use.” Himself, he still likes the Nikon F camera. He was born in 1946, (“after the Second World War,” he laughs) so he always wanted the Nikon F when he was in high school, but it was too expensive. So, he started off with a Pentax camera, then later got his Nikon F. I compliment Hero-san on his store’s friendly customer service, and generous trade-in offers. “Ah, so,” Hero-san laughs. “If it is quick to sell, I buy.”

In this digital world, leave it to the nostalgic Japanese to keep a flickering candle lit for the world of film cameras.

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Text and images by Barry Kawa for Japan Exposures

Recently, a young Japanese woman brought in an old shiny camera to my office, a curious look on her face. It was her grandfather’s 1950s Konica IIA, a rangefinder. She said her grandmother had wanted her to have it, an old antique that her grandfather, who had passed away recently, had loved using.

The young woman told me that she had taken the Konica to a camera shop, where they had charged her 30,000 yen (about $270) to do a CLA on it. But the young employee at the counter who returned it to her told her he didn’t know how to load film into the camera or use it. I told her that the camera was not worth that much, being an obscure Japanese brand, and she paid more than what it was worth. I admired the 1950s styling, always a sucker for an old chrome rangefinder camera. I asked her if she wanted to sell it. ‘’Oh, no, it was my grandfather’s camera. I will never sell it,” she said. So, I looked up the camera instructions on the Internet, put some film in, and showed her how to set the aperture and shutter speed. Without a meter in it, I printed her out the “sunny F16” rule, and told her to go have fun with the camera. It’s what her grandfather would have wanted.

“It was his father’s camera, and he had too many good memories of family pictures being taken with it.”

Then, another co-worker, a Japanese gentlemen who collects antique tin toys, brought in a Pentax S2 with the standard 55mm F2 lens, sold in the Japanese market, to show me. He asked me if I knew how it worked. When I looked at the viewfinder, I couldn’t see anything, even after checking to make sure all the lens caps were off. When I took off the lens, I noticed there was no prism! I took the camera to Ohba Camera, and they estimated it would cost about 10,000 yen to repair it. I told my friend at the office he should just toss the camera, that it had no value, and I knew he would never use it, even if he got it repaired. But he said he couldn’t do that, it was his father’s camera, and he had too many good memories of family pictures being taken with it.

Even though space is very limited in Japanese homes and apartments, most Japanese seem to pass their cameras down to the next generation. In the United States, looking at various local classifieds sites, Craigslist, Internet camera ads, eBay ads, I’m always struck by how many sellers say the camera was their father’s or grandfather’s camera. Since moving to Japan, I’ve myself benefited by my wife’s family passing down their cameras to me. We moved to Tokyo in 2001, and I became interested in photography. I had worked at many newspapers in the United States as a reporter, and then a bureau chief and editor. I had worked alongside many of the finest newspaper photographers, so I had never had the need to pick up a camera myself. In Japan, however, most journalists have to take their own photos, so it was a skill I needed to acquire.

My wife’s grandfather, a retired architect, had spent his lifetime shooting photos, mostly landscapes around Japan, and family photos. Now in his 90s, shakier of both hand and feet, he can only shoot with a Pentax Espio 115, a point-and-shoot film camera. He lamented the loss of control over his photos, but the convenience of that lightweight plastic body and zoom lens was more important. One night, my wife told me, ‘’Ojii-san (grandfather) wants to give you his camera.’’ She didn’t know what kind, so I was hopeful. Would it be a Leica, or maybe an old Nikon F? In the moment when he handed me the funny box-looking camera, I smiled. It was an early 1950s Rolleiflex, with a Tessar 75mm F 3.5 lens. Never having used a medium-format camera, I had to look up the manual on the Internet. My wife said he had bought it in the mid-1950s when his friend needed to sell it. Ojii-san asked his wife if he could buy it, since even at that time, the purchase of a used Rolleiflex with the leather case and all accessories cost them almost half their savings. It turned out to be a wise investment, back in the days when a good camera was a finely made instrument that would last a lifetime and — as we now see — even longer. In all his photo albums, I see that old Rolleiflex around his neck at family gatherings and visits to hot springs spas. At their small apartment in Tokyo, one storage room is completely filled with albums on the shelves. He still keeps a photo album year by year, his best photos enlarged and cut to fit spaces.

“Now it was me who said that, of course, I would never part with it; it holds too many sentimental memories for my wife’s family.”

Then, another night, my wife told me again, ‘’Ojii-san wants to give you another camera.’’ This time, it turned out to be a Minolta X-600, a model I had never heard of. From doing some searching it turned out this model was a rare one, only made for one year, 1983, and sold only in Japan. My wife’s grandfather had bought it to use in his architectural work. Later, he would travel with his wife on the group tours the Japanese are famous for, with that camera and a Minolta 35-105mm F 3.5-4.5 lens, to take some of the most beautiful landscape photos in Japan and around the world imaginable.

I posted on one Internet site asking about the value of an X-600, out of curiosity and the possibility of finding another one in Japan, and someone immediately sent me an e-mail wanting to buy that old camera. Now it was me that told the requester that I, of course, would never part with it; it holds too many sentimental memories for my wife’s family. I tried the Minolta X-600, even getting a 45mm F2 Minolta Rokkor for portability. It’s a fun camera to use, focus is manual, but there are confirmation dots that light up to tell you the subject is in focus. I mulled just outfitting that Minolta X-600 with the best lenses and making it my sole camera, but my friend at Ohba Camera in Tokyo laughed, and told me that only old men still use and collect Minolta cameras.

In brand conscious Japan, I knew that I would end up eventually carrying a Leica. So, the X-600 went into permanent “retirement.” Since then, my wife’s father also gave me his old camera: a Minolta 7000 and two Sigma zoom lenses. I thanked him, and took the camera, which he seemed pleased was going to someone who would use it and take care of it. I also found the old Minolta 7000 enjoyable to use, fast and responsive. Like the X-600 and Rolleiflex, they are all going into my dry cabinet. Since my wife and I have no children, I’ll pass them down to my nieces some day, with all my wife’s grandfather’s photo albums. Hopefully, they’ll gain that same love of film photography and appreciation for their ancestors and family that these old cameras have given me. For in Japan, there is a reason why family treasures such as these are never sold.

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Presumably the M stands for “magic” and comes as a result of the Copal Magic B shutter the camera employed, although Copal isn’t mentioned by name in the ad — unlike an ad for Copal in the same magazine, which features a picture of hands assembling a shutter and lens and the caption indicating that the camera in the photo is this same Fujica 35 Auto-M. The Fujifilm ad refers to the Auto-M as the world’s first camera to come with the “magic” shutter.

The text of the copy (more or less) reads “You don’t need to make any adjustments. Both the aperture and shutter speed are chosen automatically so that when you press the shutter button, you get a perfect exposure. In the past this functionality was only a dream, but this is a completely brand new camera.”

Among the Fujica line of fixed-lens rangefinders — there were about seven different models released between 1957 and 1967 — the Auto-M was unusual in that it didn’t have a focusing thumb-wheel at the back of the topcover (an interesting quirk of the Fujica rangefinders that can be seen here on the 35M model). The lens on these was a Fujinon-R 47mm that opened to F2.8 (the text says something lost in the translation about the lens having a sharpness that cuts deep).

The 35 Auto-M listed for ¥14,500 plus ¥1,500 for a leather case. That would have been about $40 US Dollars at the exchange rate of the day. Buying such a camera in Japan today would cost about ¥70,000 if we look at the relative value of the yen. Needless to say, one of these in today’s used market won’t set you back nearly as much.

Murakami-san’s “As Is” review (in Japanese, with a few sample shots)
Japan Family Camera (Japanese; see this page for more (!) Fujica cameras)
Sylvain Halgand’s Auto-M page (in French; scroll down page for more Fujicas)
Chris Eve’s old Fujica site (now defunct, but available via the Wayback Machine; see this page for non-SLR Fujicas)

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