US$9.99: Basic Training in Camera Repair

Here are the Instructions / Guides / Manual you may need on How to Repair / Restore / DIY / CLEAN, LUBRICATE, AND ADJUST classic cameras

Pictures uploaded are considered an important part of this description. Please examine carefully.

 

“Basic Training in Camera Repair”

Language: English  

File TypePdf

Number of pages: 106 pages.

File Size: 47.8 mb.

 

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US$9.99: Contaflex I, II, III and IV Service and Repair Guide / Manual

Here are the Instructions / Guides / Manual you may need on How to Repair / Restore / DIY / CLEAN, LUBRICATE, AND ADJUST Contaflex I, II, III and IV Cameras

Pictures uploaded are considered an important part of this description. Please examine carefully.

 

“Contaflex I, II, III and IV Service and Repair Guide / Manual”

Language: English  

File TypePdf

Number of pages: 190 pages.

File Size: 18.5 mb.

 

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The file(s) will be emailed to you within 3 working days (Usually I will do this within a few hours). Due to the high quality scan, some of the file sizes are very big, i.e., >10MB. We will email you a link of the file so that you can download anytime.

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The Contaflex I, launched in 1953, was equipped with a fixed Zeiss Tessar 45mm f:2.8 lens with front-cell focusing. The very first Contaflex I had a Synchro-Compur shutter with the old scale of shutter speeds (1-2-5-10-20-50-100-200-500), but very soon it adopted the new scale 1-2-4-8-15-30-60-125-250-500.

The Contaflex II, introduced the following year, was the same camera with an uncoupled selenium meter added to one side of the front plate.

Both had a fixed lens but to the front of which could be attached a supplementary lens, called the Teleskop 1.7x.

The Contaflex III, launched in 1956, was the same as the I, but equipped with a Zeiss Tessar 50mm f:2.8 with helical focusing. The front element of the lens was removable and could be replaced by supplementary lenses, discussed in the section Contaflex lenses.

The Contaflex IV, introduced the same year, was the same camera with the uncoupled meter inherited from the Contaflex II.

 

We have already seen that the Contaflex I and II could only take the Teleskop 1.7x supplementary lenses, and that the Alpha, Beta and Prima had their own limited range of Pantar supplementary lenses.

The models III, IV, Rapid, Super, Super (new), Super B, Super BC and S all have a Zeiss Tessar 50mm f:2.8 lens (27mm screw-in or 28.5mm push-on filters) with interchangeable front element. All of them can take a small range of supplementary lenses:

  • Zeiss Pro-Tessar 35/4 (49mm filters), later replaced by the Pro-Tessar 35/3.2 (60mm screw-over filters)
  • Zeiss Pro-Tessar 85/4 (60mm screw-over filters), later replaced by the Pro-Tessar 80/3.2 (60mm filters)
  • Zeiss Pro-Tessar 115/4 (67mm filters)
  • Monocular 8x30B, equivalent to a 400mm lens (attaches to the 50mm f/2.8 Tessar lens).

There was also a Zeiss Pro-Tessar M 1:1 supplementary lens, that kept the focal length of 50mm but allowed 1:1 reproduction. The effective speed of the M 1:1 lens is f/5.6. The 50mm standard front elements, as well as the Pro-Tessar M 1:1 elements, were different between the early models III, IV, Rapid and Super with the old model of Tessar, and the later models Super (new), Super B, Super BC and S with the recomputed Tessar. It appears that the mount was very slightly modified, and it seems physically impossible to mismatch the elements as the journal diameter above the bayonet mount had been reduced by approximately .006″

There were also stereo attachments:

  • Steritar A for the Contaflex I and II
  • Steritar B for the other Tessar-equipped models
  • Near Steritar for close up stereo pictures .2 – 2.5 meters

(Normally interchangeable with the older Tessar line of Steritar B camera lenses)

  • Steritar D for the Pantar-equipped models

A complete line of these Contaflex Steritar lenses can be seen at (http://www.flickr.com/photos/12670411@N02/)

 

US$9.99: Contax RX Camera Service and Repair Guide

Here are the Instructions / Guides / Manual you may need on How to Repair / Restore / DIY / CLEAN, LUBRICATE, AND ADJUST Contax RX Camera

Pictures uploaded are considered an important part of this description. Please examine carefully.

 

“Contax RX Camera Service and Repair Guide”

Language: English  

File TypePdf

Number of pages: 88 pages.

File Size: 29.7 mb.

 
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Strengths:    Built quality, handling, metering , totally customisable and of course Zeiss lenses, but we all know this 🙂

Weaknesses:    None disturbing to me.

Bottom Line:   

I took an opportunity on that one, aiming for an Aria in first place.But i don’t regret this buy at all. Constuction and handling is amazing, viewfinder is clear and bright ( grid screen ) which might be disturbing in first place , but is very useful for achitecture and landscape shots.

The keys are incredibly well placed on this camera, as in most late Contax bodies with this speed dial on the left, and the rest of the right, well done. Not too much gadgetery, and the custom functions are quite useful. I’m not using the DFI , but it might be helpful in macro i guess. Not overload indications in the vf, i use av info. Shutter is quiet, i love the sound of it.

I really appreciate this camera more and more. Use it with a 50 mm Planar 1.7, a perfect combo for me sor far. I plan to add a 85 mm and surely buying an Aria, lighter and smaller.

Highly recommended, the price being now affordable.

Strengths:    Built like a tank: heavy but substantial
well designed
Leitz optics: no better made
Nice viewfinder
Focus confirmation
Durable and reliable

Weaknesses:    No autofocus
No longer supported

Bottom Line:   

My last stop in film cameras. Have used different 35mm cameras since the 70’s: Nikon, Canon, Konica, Minolta, Rolleiflex and Leica M. 2 Years ago I got a Contax G and was blown away by the quality of the camera and the Zeiss lenses…so much so I sold my Leica M outit as quality was comparible. I then got a 137MD cheap and again was blown away. I have put away my Maxxum outfit for good. I then got an RX used and some AE lenses (18/4, 28/2.8, 50/1.4, 85/2.8, 135/2.8 and 300/4). This outfit is so good, so well made, I don’t mind going back to manual focus (my older eyes appreciate the focus confirmation in the RX). This is it; my wonderlust is over, no camera has ever impressed me as this one has.
 

In 1993, Yashica introduced a camera that preserved the integrity of the Carl Zeiss manual focus lenses and still provided digital focus assist within the camera body. This camera was called the Contax RX. The RX is an integrated motor drive camera, similar in features to both the Contax 167MT and the Contax ST. The RX provides focus assistance by graphically displaying focus information in the viewfinder. The user still retains responsibility to move the lens but the Digital Focus Assist system indicates, not only the point of focus but the depth of focus, as well. The RX also introduces Custom Function features for the first time. These Custom Functions allows the users to customize the way they want to use the camera.

Specifications

TYPE: 35mm Focal Plane Shutter AE SLR Camera
FILM SIZE: 24 x 36mm
LENS MOUNT: CONTAX/YASHICA MM Mount
SHUTTER: Electronically controlled, metal Vertical travel Focal Plane Shutter
SHUTTER SPEED: AV (Aperture Preferred); P (Program) 16 sec. 1/4000 sec., TV setting (Shutter Speed Preferred)4 sec. to 1/4000 sec Manual: B,X(1/125 sec ), 4 sec. to 1/4000 sec.
FLASH SYNCHRONIZATON: X setting at 1/125 sec or slower; Direct X setting, synch terminal provided.
SELF TIMER: Electronic type with 10 sec delay
SHUTTER RELEASE: Electromagnetic release with exclusive release socket.
EXPOSURE CONTROL MODES:
1)Aperture preferred AE (Av)
2) Shutter Speed Preferred AE (Tv)
3) Program AE (P)
4) Manual Exposure (M)
5) TTL Auto Flash
6) Manual Flash
METERING SYSTEM: TTL Center weighted Average Metering & Spot Metering
METERING RANGE:(ISO 100; f/1.4) Center weighted Average Metering EVI-EV20, spot metering EV5-EV20
FILM SPEED SETTING: Automatic with DX coded film of ISO 25-5000 Manual setting ISO 6-6400AE LOCK By Exposure Value on the image plane in memory.
EXPOSURE COMPENSATION: + 2EV to 2EV (in 1/3 EV steps)A B C SYSTEM A B C. Lever 3 frames continuous exposures or single frame advance Exposure range: 0.5EV to +/-1.0EV
COUPLED FLASH SYSTEM: TTL Direct Flash Control w/TLA flash
FLASH COUPLING: Automatic shifting of shutter speed at full charge of the exclusive TLA flash.
AUTO-SET FLASH SYSTEM: Automatic switch on system works with TLA 360
SECOND CURTAIN SYNCHRO: Possible with an exclusive TLA flash which is capable of second curtain synchronization.
FOCUS INDICATOR: TTL Phase Difference Detection on method, Display with Digital Focus Indicator in the finder Focus sensing range (ISO 100) EV 2 -20
VIEW FINDER: Fixed Eye-Level Penta-prism (long eye point) with 95% of field of view 0.8X magnification with 50mm standard lens at infinity & 1D diopter.
DIOPTRIC ADJUSTMENT: Internally adjustable from +1D to -3D
FOCUSING SCREEN Horizontally split image/Micro-prism (FW-1) as standard. Focusing screens are interchangeable.
FINDER DISPLAY: Digital Focus Indicator, Shutter Speed, Aperture, Exposure Mark, A B C display, Exposure compensation, Metering display Flash mark, Film counter
EXTERNAL LCD PANE: Display of Film counter, Film speed, Self-timer count, LT exposure (Bulb)count, Customs function display, Battery warning mark, A B C display, Multi exposure display
FILM LOADING: Auto loading, Automatic film advance to frame No 1 when the shutter release button is pressed
FILM ADVANCE: Automatic film advance with built in motor
FILM REWIND: Automatic film rewind with built-in motor (Film rewind stops when the film is rewound ) Mid-roll rewinding possible
DRIVE MODE: Single Frame continuous exposure, self timer and multi-exposure modes
FILM ADVANCE SPEED: Max 3 frames per second in continuous mode (with fresh battery at normal temperatures )
FILM COUNTER: Automatic resetting, Additive type; display shows LT exposure (Bulb) count, self timer count, A.B.C. display
ACCESSORY SHOE: Direct x-contact (Coupled With TLA flash)
CUSTOM FUNCTIONS:
Display of selected mode in the finder (Focus priority mode/Exposure priority mode/No display)
Mode selection at green position
Method selection of AE lock (by half-way pressing of shutter release button/by exposure check button, or no AE Lock setting)
Multi exposure selection
A B C exposure order selection
Depth of field preview operation
Film rewinding mode selection
CAMERA BACK COVER: Opened by the camera back opening lever; Detachable, Data back and film check window are provided.
DATA BACK: Built in Quartz clock (auto calendar), Imprint Year/Month/ Day, Day/Hour/Minute, Month/Day/Year, Day/Month/Year, and No print.
POWER SOURCE: 1 6V Lithium Battery (2CR5), 1 3 V Lithium Battery (CR2025) for Data back.
BATTERY CHECK: Automatic checking system Display on the LCD panel.
OTHERS: Depth of field preview button.
DIMENSIONS: 151(W)x104.5(H)x59mm(D) (6×4-1/8×2-3/8in.)
WEIGHT: 810grams (28.57ozs) without battery.

US$9.99: Mamiya RB67 Pro-S and RZ67 Service / Repair Manual / Guide

Here are TWO Instructions / Guides / Manual you may need on How to Repair / Restore / DIY / CLEAN, LUBRICATE, AND ADJUST Mamiya RB67 Pro-S and RZ67

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“Mamiya RB67 Pro-S Service / Repair Manual / Guide”

Language: English  

File TypePdf

Number of pages: 136 pages.

File Size: 9.31 mb.

 

“Mamiya RZ67 Service / Repair Manual / Guide”

Language: English  

File TypePdf

Number of pages: 138 pages.

File Size: 48.3 mb.

 
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The file(s) will be emailed to you within 3 working days (Usually I will do this within a few hours). Due to the high quality scan, some of the file sizes are very big, i.e., >10MB. We will email you a link of the file so that you can download anytime.

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Features
For over two decades, the world-wide popularity of the Mamiya RB Series has earned its reputation as the “workhorse of the pros.” The RB67 Pro SD is the successor to the legendary RB67, Mamiya’s original revolving back 6x7cm ideal format SLR introduced in 1970. Today the RB67 Pro SD offers the same fully mechanical reliability and simple operation of its predecessors, and complete system compatibility with all previous RB lenses, backs, finders and accessories.

The all mechanical Mamiya RB67 Pro SD is the top choice of commercial and portrait studios in the world today because of its many unique features including 6x7cm format negative size, over four and a half times greater than 35mm, ideal for retouching and reproduction. Its revolving back allows for quick changes from horizontal or vertical composition, without turning the entire camera. Fast and precise bellows focusing with locking feature permits fast and easy close-ups without special attachments.

Specialized Mamiya lens designs including the RB 150mm f/4 Variable Soft Focus and 100-200mm f/5.2 Zoom make the reliable, all mechanical Mamiya RB67 Pro SD system ideal for heavy commercial and studio use, as well as portraiture, glamour and wedding photography.

The RB67 Pro SD features a larger lens mount diameter to accommodate new 75mm PC shift and 500mm APO lenses. New design RB K/L Series ultra-high performance lenses are optically identical to the RZ Series lenses. In addition, the new RB67 Pro SD is fully compatible with all earlier RB Series lenses, finders and accessories. The optional PD Metering Prism Finder has TTL spot or average metering patterns.

The Mamiya RB67 Pro SD’s multi-format capability offers an impressive choice of interchangeable film magazines from 6×4.5cm to 6x7cm, economical 6x7cm pre-loadable film inserts, Polaroid Instant Proofing back, 70mm roll film magazine, motorized 6x7cm and 6x8cm 120/220 film magazines, and Quadra 72 sheet film backs. Other system accessories include interchangeable focusing screens, variable-diopter eyepiece magnifier, and extension tubes, making the RB67 Pro SD excellent for commercial copy work as well.

6x7cm – the ideal format
The 6x7cm format is nearly 5 times larger than ordinary 35mm format. 6×7 is called the ideal format because it enlarges to standard 8×10″ paper size with a minimum of cropping, thereby using virtually the entire image area. Professionals, art directors and clients appreciate the large, detailed 6x7cm format over others.

Revolving Camera Back
The RB67 Pro SD unique revolving back feature permits instant change from vertical to horizontal composition with the flip of the wrist. Fast and easy operation makes it ideal for studio, portrait and wedding use. Built-in auto-frame masking assures accurate composition at all times.

RB67 Pro SD – The Ideal Platform for Digital Imaging 
If your plans include moving towards digital imaging, you will find Mamiya to be your ideal camera platform. Mamiya has always been recognized as the leader for providing a solid front end for all brands of digital backs. In fact, manufacturers of digital backs have come to rely on what traditional Mamiya users have often taken for granted. There are many features that make the Mamiya RB67 Pro SD perfect for the task. For example, the RB has a secure locking mount system that is solid enough to hold even the heaviest of digital camera backs; Bellows-focusing for closeups without additional accessories; and, world-class Mamiya RB lenses.

Bellows Focusing
The RB67 PRO SD built-in bellows permits continuous focusing from infinity to close range with all focal length lenses, without the need for added accessories. Optional extension tubes may be added for macro focusing to 1:1 magnification or greater.

Full Speed Flash Sync
Mamiya’s world class RB Series lenses feature mechanical leaf shutters that allow flash synchronization at all speeds from 1 second to 1/400 second, allowing mixing of flash and ambient light exposure for outdoor fashion, portrait and wedding photography as well as complex studio situations.

Multi-purpose, Multi-format Interchangeable Film Magazine Capability
The Mamiya RB67 Pro SD system offers many interchangeable multi-format options including 6x7cm and 6×4.5cm ideal format, 6x7cm and 6x8cm motorized backs, 6x7cm 70mm film magazine, Polaroid Instant Proofing back and Mamiya’s exclusive Quadra 72 Super Square 72x72mm sheet film back accepting Polaroid 4×5 or Kodak Readyload 4×5 sheets. Switch from instant Polaroid proofs to chrome film, to black and white, or any combination instantly in mid-roll. All Mamiya Film Magazines feature handy dark slide storage pockets for added safety and convenience on location.

Interchangeable Focusing Screens
Select from eight factory designed bright focusing screens including grid screens for product photography or architecture, precision microprism or Mamiya’s exclusive vertical split image screen designed specifically for fashion and portraiture.

 

Mamiya RZ67

From Wikipedia, the free encyclopedia

RZ67 Pro I ready for shooting

The Mamiya RZ67 line of medium format single-lens reflex cameras manufactured by Mamiya includes three successive models, the RZ67 Professional (first model released in 1982), RZ67 Professional II (released in 1995) and RZ67 Professional IID (released in 2004). RZ67 is a modular camera system, meaning lenses, viewfinders, ground glasses, film winders and film backs are all interchangeable. It is primarily designed for studio use, but can also be used in the field. The RZ67 Sekor lenses have built-in electronic leaf shutters which are cocked and triggered from the body. Focusing is performed with a bellows on the body instead of the lenses.

The camera accepts 6×7, 6×6 and 6×4.5, 120 and 220 film magazines and Polaroid as well as Quadra 72 4×5 sheet film backs. Mamiya RB67 backs are also supported via the G-Adapter. The film speed is set on each RZ back via a dial. There are two versions of the 6×7 and 6×4.5 backs, the model II versions have a second film counter to always show the film count on the top. The RZ67 operates on one 6V silver oxide 4SR44 battery, or 6V 4LR44 alkaline battery. It can be used in emergency mode fully mechanically with a fixed 1/400 sec shutter speed. Multiple exposures are possible in the M-mode. Mirror flip up is supported. The body has one standard flash hot shoe on its left side, one plug for a standard remote shutter cable release, and a socket for an electronic shutter trigger. The RZ67 measures 104 mm (W) x 133.5 mm (H) x 211.5 mm (L) with the 110mm f/2.8 lens, and weighs approximately 2.4 kg (5.29 lbs). The flange distance is 105 mm.

The RZ67 name is adopted from the model name of the Mamiya RB67 (where RB stands for Revolving Back), which was first introduced in 1970, thus the RZ67 also takes backs which can be rotated 90 degrees to provide a horizontal or vertical composition. The orientation is shown in the viewfinder with black guides. The viewfinder also hosts LEDs informing of the state of the camera (flash ready, low battery, dark slide not removed, shutter not cocked). In addition to manual operation (photographer chooses aperture and shutter speed), the RZ67 is able to operate in AEF mode with an AE viewfinder (AE being an abbreviation for automatic exposure), which transmits exposure information directly to the body. In RBL compatibility mode, the RZ67 is able to use RB67 lenses. The biggest difference between RB67 and RZ67 is, that RB67 is completely mechanical. The RZ67 has also mechanical couplings between the parts, but the shutter is electronic, and parts are able to transmit exposure information with electronic couplings. In addition, the RZ67 has plastic exterior body, which makes it somewhat lighter.

Original RZ67 Professional (RZ67 Pro I):

  • Electronic shutter 8 sec – 1/400 sec with full EV steps

RZ67 Professional II (RZ67 Pro II):

  • Some improvements of the electronics
  • An additional knob was added to the right side of the focusing unit for fine tuning of the focus
  • Shutter can be adjusted in 0.5 EV steps

RZ67 Professional IID (RZ67 Pro IID):

  • Has an integrated interface for communicating with digital backs (the earlier versions need either an interface plate or external triggering wires)
  • Minor internal mechanical improvements

 

  • RZ67 Pro I

  • RZ67 Pro II, not much exterior difference between the mode

US$9.99: Pentax 195 / K1000/ MX/Spotmatic/ Me / MZ5 SLR Repair/Service Manual Package

Here are SEVEN Instructions / Guides / Manual you may need on How to Repair / Restore / DIY / CLEAN, LUBRICATE, AND ADJUST the Pentax 195, Pentax K1000, Pentax MX, Pentax Spotmatic, Pentax Me, Pentax Me Super, and Pentax MZ5 SLR Cameras

Pictures uploaded are considered an important part of this description. Please examine carefully.

“Pentax 195 / K1000/ MX/Spotmatic/ Me / MZ5 SLR Repair/Service Manual Package”

Language: English

File Type: Pdf

Number of pages: 290 pages in TOTAL.

File Size: 32 mb.

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The file(s) will be sent to your paypal registered email address within 3 working days (Usually I will do this within a few hours). Due to the high quality scan, some of the file sizes are very big, i.e., >10MB. We will email you a link of the file so that you can download anytime.

Any questions, please ask.

We accept paypal only.

4547016845_d35a136881.jpg
Pentax K1000 with SMC Pentax-A, 35–80mm f/4–5.6 (1990–97 version, assembled in China)image by Süleyman Demir (Image rights)

K1000 is a 35mm film SLR camera made by Pentax and produced between 1976–97.

An affordable camera for the amateur photographer, it was a fully mechanical, manual camera designed without any program modes. It survived much longer than originally intended and became the archetypal “student’s camera”. The K1000 was equipped with all features required for manual photography: a TTL metering system, wide-ranging shutter speeds from 1/1000 to 1 s, and the ability to use all the available K-mount lenses made by Pentax and licensees such as Ricoh and Cosina.

Despite its great popularity and longevity of the same basic design, Pentax finally ceased production of the K1000 after more than 20 years in 1997.

The K series evolved from the classic Spotmatic SP 1000, in fact the K1000 itself is essentially a Spotmatic with a bayonet rather than M42×1 screw mount.

Versions

  • Original made in Japan, produced between 1976–78, metal body
  • assembled in Hong Kong between 1978–90, slightly modified, metal body
  • assembled in in China, between 1990–97, lid and bottom plate made of plastic
3641742012_122670f501.jpg
Asahi Pentax K1000 (original version) image by Alfred Sigaro (Image rights) 

The Spotmatic SP

The Spotmatic was introduced by Asahi in 1964 and was the first camera to sell well with Through-the-Lens light metering. The camera was entirely mechanical apart from the light meter, which was powered by a 1.35 volt PX400 mercury cell[1]. A small switch on the (photographer’s) left side of the lens housing was pushed up to stop down the lens and activate the meter; the exposure controls would then be adjusted to centre a needle on the right edge of the viewfinder. The body took lenses with a 42mm Pentax/Praktica screw thread, giving a huge range of alternatives. The system became the workhorse of many professionals of the period.

458912078_c2b86afce3.jpg
Picture by Clicks_1000. (Image rights)
  1.  Mercury batteries are now banned; “Zinc-Air” cells can now be used instead, or it is possible to carry out a minor modification to the meter circuit to allow the use of 1.55 volt 387S silver-oxide cells.

The SL

Similar to the SP but without light metering

The SP500 and SP1000

Similar to the SP, but without self timer and max speeds of 1/500 (SP500) and 1/1000 (SP1000) The SP500 actually has a 1/1000 shutter speed one click past 1/500, although not marked on the shutter speed dial. It may not be an accurate 1/1000 speed, however; since the accuracy of that speed relies on careful selection of a speed cam, which was not done on SP500 bodies.

The Spotmatic SP II Edit

2043581398_cae44113d8_m.jpg
Honeywell Pentax Spotmatic SP IIa

An updated version of the original Spotmatic SP, launched in 1971. As well as a number of minor improvements to the meter components and film transport, the SP II was fitted with a HotShoe with a switch under the rewind crank for FP and X-flash synchronization and the ASA range was increased to 3200.

The Spotmatic SP IIa

Virtually identical to the SP II, but with an “electric eye” introduced to support the Honeywell line of dedicated flashes. It was only available in the North American market.

The Spotmatic SP F

81294243_2728c47aea_m.jpg
Spotmatic , body only

The Spotmatic SP F, launched in 1973, included several improvements. It was the first version to offer open-aperture metering, but this needed the updated Super-Multi-Coated (S-M-C) Takumar lenses with an aperture-position linkage to the camera. The FP option for the hot shoe synchronisation was dropped and the meter circuit design was revised to take account of the lens aperture setting and to indicate correct exposure when zero current is flowing through the meter, which now allowed for a variation in voltage from the battery. The battery now needed extra capacity and was changed to the now-defunct PX625 mercury cell. The light meter is constantly switched on but there is an automatic cut-off when the light is at EV2 or less, so it is important to keep the lens cap on when the camera is not in use, in order to conserve the battery.

457990273_9f27098c51_n.jpg

The ES Edit

Automatic exposure (aperture priority) and manual mode camera with automatic speeds from 1-1/1000 and manual speeds from 1/60 – 1/1000 seconds. The light meter operates only when the shutter button is pressed and only in auto mode and the meter needle now indicates the auto shutter speed. Open-aperture metering with the S-M-C and SMC Takumar lenses, as for the SP F, is maintained. This camera is powered by one 4SR44 6.2v silver oxide battery and there is a battery check button.

The ES II

Similar to the ES, but with a self timer, shutter release lock, interior viewfinder blinds and shutter speeds from 8 seconds to 1/1000th second in auto mode. The power supply is now four modern 1.5v alkaline or silver oxide cells

The Pentax ME was an aperture priority automatic camera, with an electronic focal plane shutter from 8 s to 1/1000 s, synchronized at 1/100 s. The shutter curtains were metal and had a vertical movement. There was no shutter dial, and the camera could not be used in manual mode, except for B and 1/100 exposures. The exposure meter was of the standard TTL open aperture center weighted type. It was activated by a slight pressure on the release button.

The Pentax ME had a 0.97× viewfinder, covering 92% of the field. The finder screen was fixed, with a split image and a microprism ring in the center. The shutter speed chosen by the camera was displayed in the finder, the aperture was not.

There was a hot shoe on the top of the prism and a self-timer. The selector around the release button had four positions: L (lock), Auto, 100X (1/100, X sync) and B. The Pentax ME could attach an external winder ME I (1.5 i/s) or the later ME II (2i/s). The Pentax ME could also mount a Dial Data ME databack, or the later Digital Data M databack via a cord adapter.

The lenses were interchangeable with the K bayonet mount. Together with the ME and MX was introduced the SMC Pentax-M series of compact lenses.

The Pentax ME existed in chrome or black finish, and a limited edition called ME SE had a brown leather covering with the chrome finish.

It was followed in 1979 by the more advanced Pentax ME Super and the simpler Pentax MV.