User:Jan von Erpecom

The smallest consumer SLR system camera, it is 56mm high:
The same hight as a 120-film frame. It was launched in 1979 and production ended in 1983.



A beautiful camera at fifty:

 * Possibly the tallest modern SLR system camera, 152mm high. Note the useful extra handgrip with accessory shoe!
 * Compare it to the Auto 110 above - this one uses 120-film and produces 56mm high negatives.

A capable DSLR camera with the DT 16-50mm f2.8 SSM lens:

 * Image Stabilisation working with every lens attached to the camera regardless of age or type.
 * No camera vibration with electronic 1. shutter and stationary mirror - DOF-preview button shows depth-of-field and optical corrections
 * Finder always shows exposure latitude and white-balance, not just a view of your subject - It also shows menus, no need for spectacles
 * Clear reflex free image review in finder with convenient focus check - Tripple exposure HDR JPG files aligned and combined in camera
 * It is an SLR camera by definition: Using the taking lens for the finder image, but now it is called Live View in stead of reflex view. The
 * redirecting of the image to the finder is accomplished electronically rather than optically; the focal plane CMOS sensor replaces the
 * ground glass focusing screen. The finder shows the actual exposure before pressing the button. No surprises when reviewing later.

The ultimate manual 35mm SLR film camera:

 * The result of 50 years of collective research and developement since the first small format Exakta camera of 1933 came on the market.
 * Multiple spot metering average exposure capability
 * Exposure reading off the film emulsion
 * LCD relevant information shown in the viewfinder
 * Takes all system accessories and focusing screens

Edixa Reflex - A forgotten High Quality camera?:

 * One of the earliest post-war universal 35mm SLRs; introduced in 1953 as the KOMET, renamed Edixa Reflex in 1954
 * Designed and manufactured by Gebr. Wirgin in Wiesbaden, West Germany
 * Very well designed camera with fine workmanship in every detail. Focal plane shutter, from 1s to 1/1000s
 * Modular design with M42 lensmount and a choice of finders
 * Deserves a high place among the classic SLR cameras.

Some articles about subjects that may be of interest:

 * The Alpa-Reflex Camera that Jacques Bolsey designed in 1939 before heading for the USA, making the Bolex cameras
 * The Calypso 35mm underwater camera of 1960 that later evolved into the Nikonos range
 * The Canon Pellix that was the first successful 35mm SLR with a stationary reflex mirror, enabling TTL exposure measurement
 * The Contaflex SLR was introduced in 1953 as one of the first 35mm SLR cameras equipped with a between-the-lens leaf shutter
 * The Periflex 35mm rangefinder camera made in England by Corfield and launched in 1953
 * The Kine Exakta is the earliest 35mm SLR camera, it was introduced at the Leipzig Trade Fair in March 1936.
 * The Kodak 35 Rangefinder, the first 35mm camera made by Eastman Kodak in Rochester, USA
 * The Leica Standard 35mm camera of 1932, the first Leica introduced with standardized lensmount
 * Leica copies emerged soon after the Leica itself, the first was the FED from Kharkov in Ukraine, USSR
 * The Mecaflex 35mm SLR camera using the Synchro-Compur shutter, predates the Contaflex type of cameras from the 1950s and 1960s
 * The Minolta-35 was Chiyoda Kogaku Seiko's first 35mm camera. The range was manufactured until their SLR cameras were established.
 * The Minolta SR-2 was introduced in 1958, a year before Canonflex and Nikont F.
 * The legendary Minolta SR-T 101 that provided convenient full aperture TTL exposure measurement
 * The Miranda T that was the first Japanese 35mm Single-lens reflex camera camera with pentaprism
 * The Nikon rangefinder camera that was introduced in 1948 was the first Nikon camera
 * The Pentax LX that was the first fully weatherised 35mm SLR camera
 * The Praktiflex that was the first 35mm SLR from Kamera-Werkstätten, Niedersedlitz (K.W.) in 1939
 * The wooden bellows Reisekamera from the Blackwood Forest area
 * The Sport 35mm SLR camera that is a tie-in with the Kine Exakta as the first 35mm SLR camera
 * The Zeiss Ikon Contarex introduced 1959 that has so bright finder you almost don't notice stopping the lens down
 * The Zeiss Ikon Tenax II 35mm rangefinder camera for 24×24mm negatives, only made a short time around 1940
 * The Topcon RE Super that pioneered TTL metering in 35mm SLR cameras, and even at full aperture.

Table of early series production 35mm SLRs, 1936 - 1960 (by first year generally available)
Removed Tokiwa Seiki Firstflex-35 1955 - hardly generally available, but kept Zunow due to the significant features. Dec. 14. 2021

Note: * - The thread diameter is measured on the lens. The 42mm is Pentax/Praktica, the 39mm is Leica lens mount.

Note 1 - ZI Contax type focusing bayonet lens mount. The development of the Sport took place from 1929 until at least 1936. Production was planned for 1937, according to contemporary news articles, in time for the celebration of the October Revolution (November 1917).

Note 2 - The post-war 1947 Praktiflex has the shutter release on the front and an improved internal mechanism like later Prakticas, but is externally similar to the original model.

Note 3 - The ALPA-Reflex production began at series C in 1944 (the 120 000 series). However, a prototype series A (the 10 000 series of Bolca/Teleflex/Viteflexes) began in 1939, and a pilot series B (the 11 000 series of Bolca/Bolsey Reflexes) began in 1942. Following the series C in late 1945, the series D reverted to five digits serial numbers (the 13 000 series).

Note 4 - The following year an improved shutter was incorporated with a single black shutter dial. Also came a new series of Petri Penta cameras with Petri breech-lock lens mount and a slightly redesigned body casting. First was the Petri Penta V with 1/1000-th second shutter speed, self timer and an internal automatic lens aperture coupling that was missing on the original model. (The "V" refers to German Vorlauf, - self timer, but it is usually recognized as 5).

The 42mm screw lens mount
The German Zeiss factories used the 42mm lens mount for two prototype lenses; the 58mm f2 Biotar in 1938, and two years later the 90mm f1.5 Sonnar. The existence of these two lenses is the extent of present verifiable knowledge of the earliest use of the 42mm universal screw mount. However, some ten years later, in 1949, two of the State Owned Enterprises in Dresden launched the 42mm lens mount on their cameras, the VEB* Zeiss Ikon Contax S and the VEB Kamera-Werkstätten Praktica. The 1939 Praktiflex using a 40mm lens mount, also reappeared under the state owned VEB organisation in 1947, and it too was fitted with the 42mm lens mount at that time.

Note: * - VEB is short for Volkseigener Betrieb (enterprise owned by the people, i.e. the state).

The 39mm screw lens mount
This is the original 1931 Ernst Leitz GmbH standard mount for the Leica cameras. The thread diameter on the lens is nominally 39mm and the pitch 26 threads per inch (0.9769 mm). Oskar Barnack used the machines that were readily available to him in the Leitz workshop. These were used by Leitz in the microscope manufacture, and built to the standards of the Royal Microscopical Society using Whitworth threads. - The Leica was widely copied in several countries, everyone assuming the lens mount pitch to be 1.0 mm since the camera was manufactured in Germany. All Leica copies presumably have the 1.0 mm lens mount pitch, except the pre-war Canon J-lens mount of 24TPI (1.0583 mm).

The perforated 35mm film and the 135 film cassette for the 24×36mm format
The 35mm perforated photographic film was invented at the Thomas A. Edison New Jersey Laboratory in c.1889 while working on "moving pictures" by splitting and punching 70mm roll film that was obtained from the Eastman Dry Plate and Film Company, in Rochester, NY. The cine film emulsion had at first very fin grain structure and slow speed, but when the studios began filming indoors, faster emulsions were required at the expense of the grain size, ironically making it less suitable for the new 35mm still camera concept.

The 35mm cine film that runs vertically through the movie camera, has a 18×24mm frame size. Each 18mm high frame occupies the length of four perforations. This area was considered too small for still photography enlargements. By using the film strip in the horizontal orientation the frame height increased to 24mm, and the width could be freely selected. Using an aspect ratio of 2:3 resulted in the 24×36mm size - the full frame "FF" format for the 35mm still camera, providing twice the emulsion area that occupies eight perforations on the film, including the interframe space.

The early 35mm still cameras used bulk film usually sufficient for about 50 frames, it was trimmed and loaded in a dark room. Soon special cassettes were devised by the camera manufacturers to enable daylight loading, limiting the capacity to about 36 or 40 frames. By the early 1930s film manufacturers also supplied film in disposable cassettes, and in 1936 Eastman Kodak made it an industry standard by introducing the Kodachrome 35mm film in daylight loading cassettes - identified as the 135 film format for their new German Retina cameras.

Image perspective
Recording an image.

It is well known fact that image perspective is perceived as dependent on the focal length of the lens used taking a photograph. Although this is strictly speaking not true, the fact remains that, looking at an image, one may recognise the effect of the focal length used; but this is because different focal lengths are often selected for different distances to the motive. However, the one and only factor determining the actual perspective in a scene is the viewpoint from which it is observed. If two photos using widely different focal lengths are taken from the same spot, the part of the motive that is found in both of them is rendered identically, save for any differences caused by optical imperfections in the lenses.

Viewing an image.

Hence, every image has its unique perspective. This becomes obvious inspecting images more closely. If the image perspective looks odd, it is because the viewer observes it too closely or too far away. This is particularly evident using extreme wide-angle or telephoto lenses. To avoid such effects the observer's distance to the photo should correspond relatively to the camera's distance to the motive in the first place. This fact is usually not observed, and the effect is instead attributed to the lens used rather than to the viewer's distance to the image.

Popular explanation:

Regard a telephoto image as a cut-out part of a wall sized wide-angle picture that normally would have been observed at a correspondingly much larger distance. Getting closer to look at the smaller cut-out part of it creates the imaginary telephoto effect. Conversely, an extreme wide-angle image covers a much wider angle of view at a short distance away from the motive - and this is most favourable observed close up, covering a large part of the observers field of view.

The Light-Value and Exposure-Value system.
Definitions

The light-value is defined on a logarithmic scale and denoted LV. Using a light meter, it tells how much light is coming from a subject, called its luminance. In photography, the measurement of brightness enables the illumination of a scene to be evaluated in absolute terms regardless of camera settings and film emulsion- or imaging sensor- light sensitivity. The everyday photographic useful light intensity range is from about LV 1 to LV 18, but it is a limitless scale, and may be expanded in ether direction as required, like darker: … 1, 0, -1, -2, -3 and brighter: 18, 19, 20, 21 etc. Each integer increment represents a doubling of the brightness and each integer decrement a halving of it. A spot meter may read brightness directly in LV values on a small surface area of particular importance to the photographer.

LV = brightness read off the subject

An exposure meter is a light meter calibrated, using an 18% middle grey reference, to show the actual combinations of shutter speeds and apertures available at the selected film speed for the current measurement. It may also show the corresponding exposure value, denoted EV, for that film. The relationship between LV and EV is defined as equal at the film speed ISO100. Increasing the film speed requires less amount of light for the same exposure settings on the camera, and vice versa for a slower film. Higher EV value means less exposure.

EV = LV × ISO / 100

On the camera

The EV-value indicates the required exposure for a given ISO sensitivity regardless of aperture and shutter speed combination. The shutter and aperture rings on cameras featuring this system are interlocked in such a way that moving them together doesn't change the exposure. Temporarily releasing the interlock allowes the determined exposure value to be set on an adjacent EV scale, often in red numerals. Within the limits of the available camera settings, several combinations give the same exposure, the widest selection of combinations being at moderate EV-values, like 9. On digital cameras, the whole process is programmed and performed automatically, if so desired (P, A, S, M).

EV value = camera settings giving the same exposure for a given ISO

Examples

0 EV is defined as setting the lens aperture at f/1, the shutter speed at 1 sec. and the sensitivity to ISO/ASA 100. Changing the settings to f/1.4 at 2 sec., f/2 at 4 sec., or f/2.8 at 8 sec. gives the same amount of exposure. A brightness increase of 1 EV requires half the amount of exposure, 2 EV a quarter, and 3 EV an eighth, and so on. Each full stop step up, either on the aperture scale (e.g. 2.8 - 4 - 5.6 - 8 - 11 etc.) or the shutter speed scale (e.g. 1/30 - 1/60 - 1 /125 - 1/250 etc.), halves the exposure. This reduction in exposure can be compensated by same amount of steps up on the ISO/ASA scale (e.g. 100 - 200 - 400 - 800 etc.).

Postscript

There is considerable confusion associated with measuring light, and there is a wide range of units expressing the related quantities. This is also the case with respect to the EV and LV logarithmic systems. The light value system actually tells how bright a subject is, while the EV system indicates the required camera settings for the chosen film to be properly exposed. A few cameras and lenses have EV scales with red numerals, like some late Rolleicord cameras and the Hasselblad 500C lenses. The very early Minolta SLR cameras have secondary yellow numerals on the aperture ring and the shutter speed dial, those next to the index marks must add up to the required LV value. It is noteworthy that Minolta actually uses the LV scale since no DIN/ASA (ISO) setting is provided, while Gossen altogether disregards the ISO/ASA dependency of the EV system for instance on the excellent Lunasix 3 exposure meter by uniting the LV and EV scale into one single scale, LV possibly referring to LW (Lichtwert as introduced by Friedrich Deckel in 1954 (DIN 19010)). Camera manufacturers give exposure meter sensitivity and autofocus low light performance in EVs at ISO 100, but sometimes forget to tell at what lens aperture, although it is usually assumed to be at f/1.4.

Reference

Preparing this report, I have relied heavily on the Manual of Photography by Ralph E. Jacobson, et al., Ninth Ed. (2000/2005).

The mirror effect
Looking at oneself in a large mirror you see a mirror image of yourself. Since mirrors are widely used in optics and hence in cameras, it is useful to understand how mirrors work, especially with respect to the SLR cameras.

The first task would be to understand the concept. So why is the image you see of your self in a mirror reversed sideways instead of upside down, even when using one eye only - or better still why not reversed both ways?

Everyone studying the SLR camera's finder know that for each mirror inserted in the finder's optical path the image is reversed one way only, so a certain number of mirrors is required to restore a correct image of the motive, and they would also know that the camera lens reverses the image both ways simultaneously. Both these facts are easily explained using simple geometric drawings: The reflex mirror is usually positioned at 45 degrees relative to the optical axis and it reflects the image such that up and down or left and right switches places, depending on the camera orientation. However, does this explain why you see yourself reversed in a mirror? No.

Looking in the mirror there is no reversal what so ever right and left, and - therefore, alternatively, no upside down reversal either; in this particular case the mirror is parallel to the viewer. If you lie down sideways in front of a mirror you see the same, the mirror does not change a thing. The light rays of your image are returned truthfully back to you without any reversal: Your right side is on the right and your head is on the top. — True or false? But if not true, why not up-down reversal in stead? — and at which angle does the reversal begin — 1, 2, 10, 20?

The reversal involved in this trivial matter is perhaps the way in which you are looked at: When someone turns round to face you, your rights and lefts becomes opposites - differing from what you see in the mirror - and that accomplishes the reversal.

Suggestions describing cameras
The following provides some terminology writing about cameras.

1. In General

Left-hand side and right-hand side describe those places on the camera, just as port and starboard are used onboard a boat, from the viewpoint of the photographer. Use singular form for removable camera lens, -finder or -back. A single unit can not be interchangeable unless more are at hand as part of the equipment as described.

The introduction or launch date may differ significantly from production start which seldom is published. End of production is relevant, since end of sale is difficult to establish in most circumstances.

Describing film frame sizes: 24×36mm, but 6×6 because the latter is 56×56mm. The same goes for most roll film formats.

A name on a camera or lens is preferably written exactly as seen on the equipment itself or in the manufacturer's literature: Asahi Pentax; Minolta-35; „Спорт“; Nikon F2; Canon F-1; Canon F-1n; Canon New F-1 (when introduced, later Canon F-1N, but always F-1 on the camera!); Industar И-10 1:3,5 f=5cm; Minolta MC Rokkor-PF 1:1.4 f=58mm; Angenieux Paris F. 50 1:1,8 (note comma, not dot). It is prudent to tell exactly what is written on lenses, manufacturer's specifications and relevant literature.[1] Dimensions related to optics and film sizes are normally written without a space, just as it appears on the equipment itself.

2. Terminology

Top plate, base plate and removable base plate - designates covers as found on many cameras. Lens screw mount, bayonet mount and breech lock lens mount - are ways to mount the lens on an interchangeable lens camera. Carrying strap lugs - usually situated on each side on the camera body. Tripod socket - a threaded hole somewhere on the camera for securing it to a tripod etc. Back door - opens for film changing, either loose or hinged. Film gate - the opening just in front of the film determining the image frame size. Sprocket wheel drum - the mechanism that engages in the film perforations and controls film advance. Bellows - made of either fine leather or calico reinforced cardboard on collapsible cameras. Take-up spool - the spool that the film is wound on to after exposure. Reflex mirror - redirects the light rays from the lens to a ground glass for focusing and image composing purposes. It is swung away during exposure, either manually or automatically and returns on winding on or instantly after exposure. Pellicle mirror - is stationary and semitransparent, it redirects part of the light ray to the finder. Focal plane shutter - is situated just in front of the film gate. Leaf shutter - is usually an integral part of the camera lens. [2] Wind-on lever (or knob) - winds on the film and increments the frame counter, and usually cocks the shutter. Rewind crank (or knob) - returns the film to its cassette for removal. Rewind release button (or lever) - it allows the film to be freely rewound into the cassette. Focusing ring - the collar on the lens to be rotated for focusing the image. Aperture ring - the collar on the lens to be rotated to set the desired aperture. Finder - either built-in or fixed in an accessory shoe on the camera top plate. Rangefinder - device to assist focusing the lens, it is often mechanically coupled to the lens focusing mechanism. Shutter speed dial - to set the required shutter speed. Synchronizing contact - closes the electrical circuit to activate the flash. Synchronizing socket - provides a place to connect the electrical lead from the flash. PC socket - a coaxial synchronizing socket introduced by Prontor-Compur (PC) for connecting flash to their shutters.[3]
 * Parts of the camera:
 * Controls on the camera or lens:

Canon R mount - Canonflex breech mount with a locking aluminium ring on the lens and unique automatic aperture function
 * Lens mounts [4]

Canon FL mount - Second Canon breech mount with a different automatic aperture function, R lenses mount but aperture stays open

Canon FD Mount - Third Canon bayonet mount without locking ring, the lens mounts by turning it, FL and FD interchangeable

L39 - the 39mm Leica lens mount with 26 threads per inch (26 / 25.4 = 1.023622 threads per mm)

M39 - the 39mm×1mm pitch lens mount that came into existence due to unawareness of the Germans using Imperial (British) threads

M40 - the lensmount used used by Kamera-Werkstãtten in Dresden on their Praktiflex cameras 1939 - c.1949

M42 - the 42mm Pentacon screw mount, first used on Contax S and Praktica in 1949, later also Asahi Pentax etc.

M44 - the lensmount used by Miranda on their early SLR cameras from 1955 (all mentioned measured on the lens)

Minolta SR mount - the Minolta SLR bayonet mount prior to autofocus, including the MC and MD meter couplings

Minolta A-mount - is a new AF lensmount for Minolta autofocos cameras. Continued by Sony Alpha Digital SLR/SLT cameras

Sony A-mount - continuation of the Minolta A-mount. All Minolta and Sony lenses benefit from Sony's in camera antivibration system. Sony DT lenses are exclusively intended for APS-C format Sony Alpha Digital SLR/SLT digital cameras.

Nikon F mount - the Nikon SLR camera lens mount is fundamentally unchanged since 1959, but lenses prior to the 1977 AI system do not mount on later cameras unless modified or the camera has a removable coupling (e.g. Nikon F4). Early Nikon AF lenses use in-camera AF motor, which is omitted on some Digital-SLR cameras (e.g. D3100 and D5100). Nikon G lenses have no aperture ring, expecting the camera to control the aperture setting. DX lenses do not cover the full frame of 24 x 36 mm cameras properly (e.g. all Nikon SLR film cameras, Nikon D700 etc.).

3 - References

1 - P-H. van Hasbroeck (1989). 150 Classic Cameras. Sotherby's Publications. ISBN 0856673633.

2 - J. Lipinski (1955,1956). Miniature and Precision Cameras. , Illife & Sons, Ltd London. ISBN n.a..

3 - Roger Hicks (1984). A history of the 35mm Still Camera. Focal Press, London. ISBN 0240512332.

4 - Rudolph Lea (1993). The Register of 35mm Single Lens Reflex Cameras Second Ed.. Wittig Books Hückelhoven. ISBN 3889841309

About Classical camera terms
Some terms have been assembled that might be useful to the prospective classic camera author. The classic period is not precisely defined, but it may encompass the period from the advent of the Rolleiflex and Leica cameras and last until the 1980s, at which point electronic circuits became a significant part of the camera. It is just a brief list not intended to be exhaustive in any way, just enough to illustrate the general practice of that period.

One aspect of some importance would be the way in which names and inscriptions on cameras, lenses and accessories, including manuals and marketing leaflets, are repeated in camera articles; preferably written exactly as they appear originally, possibly within quotation-marks. This practice might be of great value for future reference.

Some writing conventions describing cameras differ slightly from "correct" spelling, possibly influenced by the industry itself of this period. The most obvious one being the absence of a space between number and it's unit forming a noun - e.g. "35mm" as used for describing the film and camera type. This expression has become a noun in it's own right and does not follow common writing practice. The same appears to be the case for similar expressions like "24×36mm". Further to the same point, most engravings on lenses from Japan and Germany conform to this convention - e.g. "28mm f2.8", both on the lens itself, in the relevant literature and among photographers, although exceptions do exist.

Please note that when describing a camera, the convention as one holds the camera for taking pictures would most conveniently be implemented by referring to the right-hand and left-hand side of the camera, thus no need to explain the fact every time. In consequence, each camera side has its unique name irrespectively of the camera's orientation relative to the viewer, just as starboard and port on a boat.

The word 'glasses' is used in the optical industry dealing with a wide variety of optical glass melts to describe the selection of different qualities of glass available for constructing lenses, so the meaning of the word 'glasses' may have different meanings in different situations.

Finally, a caution regarding describing the surface finishes of cameras and lenses. It is best to stick to accurate descriptions. The usual practice to say chrome finish for bright metal surfaces is not satisfactory. That may be interpreted as chrome or nickel surface finish on brass or some other metal, plain or electro-oxidised aluminium or even steel. Black surfaces may be enamelled, painted, blackened, black chromed or again, electro-oxidised. If the actual finish is unknown, it is best to say so, or just say bright or black surface. Before 1940, most lens barrels were made of brass; later the use of aluminium gradually became the dominant material. Both these metals may have been given a surface finish. Brass was originally varnished or blackened, but from about 1900, nickel plating became an option until the much more difficult chrome plating became the preferred finish. Early aluminium barrels had no surface treatment, unless it was enamelled.

Wooden camera parts are usually made from well-seasoned polished or varnished mahogany, sometimes strengthened by brass fittings. Cameras intended for warm and humid tropical climate were usually built from teak. From about the beginning of the twentieth century it became common practice to cover the camera body in leather or leatherette (nitrocellulose or vinyl covered cloth with with a leather imitation surface structure). Wood was at the time considered a constructional material, just like the later metal parts of a camera, and should not be shown. The bellows on early cameras was also of leather and dyed black, red, brown, or some other colour. Large format camera bellows would often be made from calico reinforced cardboard, usually blue or green.

My literature
Camera Books:

Alpa: 50 Jahre anders als andere - Lothar Thewes - Lindemanns Verlag - Stuttgart 1990 // Asahiflex and pre-1959 Asahi Pentax Cameras - Frederick C. Sherfy - Harrisburg PA. 1994 // Argomania - A Look At Argus Cameras And The Company That Made Them - Henry J. Gambino - Aeone Communications, PA. 2005

The Camera: From the 11th Century to the present day - John Wade - Leicester 1990 // The Camera - By the editors of Time~Life - NY 1971 // 35mm Cameras - Brian Long - Wiltshire 2007 // Cameras. From Daguerreotypes to Instant Pictures - Brian Coe - 1979 // Cameras of the people's republic of China - Douglas St Denny - Leicester 1989 // Canon M39 Rangefinder Lenses, 1939-1971 - Peter Kitchingman - Perth, Western Australia 2008 // Canon Rangefinder Camera 1936~1965 (English summary) - Yoji Miyazaki - Tokyo 1995 // Canon Rangefinder Cameras - Peter Dechert - Hove 1985 // Canon Single Reflex Cameras, 1959~1991 - Peter Dechert - Washington 1992 // 150 Classic Cameras From 1839 to the present - P-H. van Haesbroeck - London 1989 // Collecting and Using Classic Cameras - Ivor Matanle - London 1986 // Collecting and Using Classic SLRs - Ivor Matanle - London 1996

The Dzerzhinsky Commune: Birth of the Soviet 35mm - Oscar Fricke - Louisiana 1977

Edixa Kameras & Objektive - Udo Afalter - Stuttgart 1994 // Exakta Cameras 1933~1978 - Clement Aguila and Michel Rouah - Hove 1987

The early Hasselblad Cameras (1600F, 1000F) - Richard N. Nordin - Washington 1991 // Hasselblad System Compendium - Richard Nordin - West Sussex 1998 // Historische Kameras aus Sammlungen der DDR - Kleffe, Langner - Leipzig 1989 // The Illustrated History of the Camera from 1839 to the present - Michel Auer - Hertfordshire 1975 (copy) // History of Photography, an int. quarterly - Volume 3 1979 (index) // A History of the 35mm Still Camera - Roger Hicks - London 1984

Made in Italy - M. Antonetto, M. Malavolti - Milano 1983

The History of Japanese Cameras - John Baird - Washington 1990

Kodak Cameras. The First Hundred Years - Brian Coe - Hove 1988 // A Century of Cameras - George Eastman House Collection - Eaton S. Lothorp jr. 1973 // Collectors guide to Kuribayashi-Petri Cameras - John R. Baird - Wisconsin 1991

Leica & Leicaflex Lenses - Gianni Rogliatti - Hove 1978 // Leica: The First 60 Years - Gianni Rogliatti - Hove 1985 // Leica: The First 70 Years - Gianni Rogliatti - Hove 1995 // Leica Accessory Guide, 2nd Edition - Dennis Laney - Hove 1996 // Leica Collectors Guide - Dennis Laney - Hove 1992 // Leica Copies - by H.P.R. - Classic Collection Publications - London 1994 // Leica International Price Guide, Seventh Edition - Hove 1997 // Leica Pocket Book, 6th Edition - Dennis Laney - Hove 1996 // Luttons List: The 35mm SLR camera 1935-1954 - Merseyside 1992

Miniature and Precision Cameras - J. Lipinski - London 1955, 1956 // Minolta: Von der Nifcalette bis zu Riva und Dynax - A.R. und J. Scheibel - München 1990 // Minolta SR Guide - W.D. Emanuel - Focal Press, London (9th ed.), May 1976 // Kleine Minox, Grosse Bilder - Rolf Kasemeier - Seebruck am Chiemsee 1970 // Kleine Minox, Grosse Bilder - Rolf Kasemeier - Seebruck am Chiemsee 1974 // Spy Camera. The MINOX story - Morris Moses - Hove 1990

Nikon DATA - Paul Common, Art Evans - Photo Data Research - Redondo Beach 1990 // Nikon / Nikkormat Handbook - Joseph D. Cooper - Amphoto, Garden City, NY 1974 // Nikon Pocket Book, 1st English ed.- Peter Braczko - Wittig Books - Hückekhoven 1994 // Nikon Rangefinder Cameras - Robert Rotoloni - Hove 1983 // Nikon - A Celebration - Brian Long - Wiltshire 2006 // Nikon F: The Camera - Uli Kock - Peter Coeln, Vienna 2003 // Nikon F: The Lenses - Uli Kock - Peter Coeln, Vienna 2003 // Nikon F: The Accessories - Uli Kock - Peter Coeln, Vienna 2003

Histoire de l'Olympus 1936~1983 - D & J-Paul Francesch - Dessain et Tolra - Paris '85 // The World of OM-Systems (OM-1/2) - Franz Pangerl - Olympus Opt.Co. Hamburg 1975

Asahi Pentax and Pentax SLR 35mm cameras 1952~1989 - D. Cecchi - Hove 1991 // Asahi Pentax S Models (Spotmatics!) - Clyde Reynolds - Focal Press, London, 1975 // The Ultimate Asahi Pentax Screw Mount Guide. 1952~1977 - Gerjan van Oosten - Uitgeverij Jansz, Zeist, NL 1999 // Test of the Pentax LX system - Geoffrey Crawley - British Journal of Photography 1981/2 // The Periflex story. It's by Corfield, it must be good - J. E. Lewis, Blofield Norwich 1985 // A Guide to the Value of Photographica - Ch. Klamkin/M. Isenberg - NY 1978 (copy) // The Polaroid Story. Edwin Land - Mark Olshaker - New York 1980

Rectaflex "La Reflex Magica" - Patrice-Hervé Pont - Brinon, France 1987 // Collectors guide to Rollei Cameras - Arthur Evans - Grantsburg Wisconsin 1986, 1990 // Rollei T.L.R. The history - Ian Parker - Jersey 1992

Spiegelreflexkameras aus Dresden - Richard Hummel - Ed. Reintzsch Leipzig 1995

The Thornton-Pickard Story - Douglas Rendell - Northumberland 1992 // Topcon Story ~ Enigma - Marco Antonetto / Claudio Russo - Lugano-Switzerland 1997

The Wrayflex story - John Wade - Welwyn Hertfordshire 2008

Zeiss Ikon Cameras 1926~39, D. B. Tubbs - Hove 1977/1993 // Zeiss Ikon, Catalogue for 1936 - Reprint by Hove Foto Books // Contax-Geschichte, II. Teil 1945~1982 - Hans-Jürgen Kuc - Hamburg 1982 // Contaflex, Contarex, Geshichte, Technik, Fakten - Hans Jürgen Kuc - Hamburg 1988 // 50 years SLR from Dresden. From Conception to world success - VEB Pentacon 1985 (reprint) // The Contax S Camera Family - Peter Dechert - Washington 1991 // The Coll. Checklist of Zeiss classic miniature cameras - Wright, Matanle - Sussex 1983 // Zeiss Contax II & III Repair Manual - Peter Tooke - Hove 1993 // Zeiss Compendium - East and West - 1940~1972 - Small & Barringer - West Sussex 1999 // Zorki Park, Coll. Soviet Cameras - Copy of article in Tutti Fotografi, no.7 1990

Users Guides and Manufacturer's Sales literature:

Canon - Lens Work - Taking Great Pictures with EF Lenses - Canon Inc., Tokyo 1992 // Canon - Complete user's guide to modern classics, F1- A1 - H. Francke - Hove 1991 // Canon - The New F-1 World, English edition - Canon Europa N.V. - Amsterdam 1983 // Hasselblad 50 years: 1941~1991 - Victor Hasselblad AB - Gøteborg 1991 // Hasselblad 30 years in space - Victor Hasselblad AB - Gøteborg 1992 // Hasselblad Forum 3/87 - Victor Hasselblad AB - Gøteborg 1987 // How to select & use Minolta SLR Cameras - C. Shipman - Tucson, Arizona 1980 // Leica - The Program (Fascination and Precision) - Leica Camera AG, Solms, 1999 // Leica Camera, Leitz catalogue for 1931 - Reprint by Hove Foto Books / Leica Camera Models c, f & g. instructions for the use of - Reprint by Hove Foto Books // Leica Camera Models M1, 2, 3 & 4, instructions for the use of - Reprint by Hove Foto Books // Leica General Catalogue for 1933 - Reprint by Hove Foto Books // Leica General Catalogue for 1936 - Reprint by Hove Foto Books // Leica General Catalogue for 1955/58 - Reprint by Hove Foto Books // Leitz General Catalogue for Leica Dealers 1961 - Reprint by Hove Foto Books // Leitz General Catalogue of Photographic Equipment 1975- Reprint by Hove Foto Books // Complete user's guide to Nikon Modern Classics - Harald Francke - Hove 1991 // Nikon - Nikkormat Handbook - Joseph Cooper - New York 1974 (extracts) // Nikon (Almanac) 1991 - (w/A history of Nikon cameras) - Nikon Corporation, Japan // Nikon Data - Paul Common and Art Evans - Redendo Beach ca. 1990 // Nikon F4 and F3 - Heiner Henninges - Hove 1989 // Nikon International Photo Contest 1988/89 - Nikon Corporation - Tokyo 1988 // Nikon Product Guide 1987/88 - Nikon AG - Küsnacht, March 1987 // Wryflex Guide - The Camera Guide, First Edition - Focal Press, London September 1954

Photo Books and Supporting Literature:

Amatørfotografen - C.W.Talén, siv.ing. 3. Utgave - J. L. Nerlien A/S - Kristiania 1901 // The Camera - Ansel Adams - Boston 1980, 1987 // The Negative - Ansel Adams - Boston 1981, 1991 // The Print - Ansel Adams - Boston 1983, 1991 // A History of the Photographic Lens - R. Kingslake - Academic Press, San Diego, 1989 // The Art of Photographic Lighting - Michael Busselle - Devon 1993 // Camera Maintenance & Repair - Thomas Tomosy - N.Y. 1993 // Camera Maintenance & Repair, Book 2 - Thomas Tomosy - N.Y. 1997 // Cameras and lenses - Michael Freeman - London 1988 // Collecting and preserving old photographs - Elizabeth Martin - Collins, London 1988 // Encyclopedia of Glass - Phoebe Phyllis - London 1981, 1987 // The Encyclopedia of new photography - Gus Wylie - NY 1989 // The Encyclopedia of practical Photography - Michael Freeman - London 1987 // Experimental photography - John Warren - Windsor, Berkshire 1984 // Photographic exposure in practice - Leonard Gaunt - London 1987 // Fotografiapparater og tilbehør .. - A/S Wernøe & Gulbrandsen - Bergen 1934 (copy) // Photography Fundamentals - Dr. C.E.K. Mees, D.Sc. - Rochester 1926 // Lichfield in Retrospect - Patric Lichfield and Charles Mosley - London 1988 // The Manual of Photography - Ralph E. Jacobson, et al., Ninth Ed. - Oxford 2000/2005 // Minolta Mirror - An International Magazine of Photography - Osaka 1982 // Minolta Mirror - An International Magazine of Photography - Osaka 1983 // Gode Billeder. En Bok for Amatører 2.den utgave - J. L. Nerlien A/S - Kristiania 1916 // Gode bilder. Boken for alle Amatørfotografer 8. utgave - A/S W. & Gulbrandsen 1956 // Sir John Hershels' Paper on Photography - Larry Schaaf - Hist. of Photography vol.3 no.1 p.47 ff // A Concise History of Photography - Helmut and Alison Gernsheim - London 1965, 1966 // The History of Photography from 1839 to the present - Beaumont Newhall - NY 1949 (part of) // How to control & use Photographic Lighting - David Brooks - Tucson, Arizona 1980 // How to Identify Prints - Bamber Gascoigne - London 1986 // Intoducing Japan - Donald Richie - Tokyo 1978. rev. ed.1981 // Leica M2 Repair / Military Repair Manual TM 11-6720-244-35 - (Ed) Romney - Drayton SC // The 35mm Photographer's Handbook - Julian Calder, John Garrett - Marshall Editions 1979, 1991 // Photographic lighting in practice - John Evans - London 1984 // Process and perception - Jerry N. Uelsmann - Gainesville - Florida 1985 // Restoring the Great Collectible Cameras 1945~1970 - Thomas Tomosy - Amherst Media, Inc. Buffalo, NY 1998 // Rolleiflex, Rolleicord Camera Repair - Ed Romney - Drayton 1978 (copy)

Periodicals:

Collectable List No.5 through No.31 - Andrews Cameras - Teddington 1994 // Fotografare - Almanacco Etate 1993 - Roma 1993 / Classic Catalogues - Jessop Classic Photographica - London 1992, 94, 95, 96 ... // Classic Collector - The catalogue of Classic Collection No.3 - London 1992 // Classic Collector - The catalogue of Classic Collection No.4 - London 1993 // Classic Collector - The Catalogue of Classic Collection No.5 - London 1993 // Classic Collector - The Catalogue of Classic Collection No.6 - London 1994 // Classic Collector - The Catalogue of Classic Collection No.7 - London 1994 // Classic Collector - The Catalogue of Classic Collection No.8 - London 1994 // Classic Collector - The Catalogue of Classic Collection No.9 - London 1995 // Classic Collector - The Catalogue of Classic Collection No.10 - London 1995 // Classic Collector - The Catalogue of Classic Collection No.11 - London 1995 // Classic Collector - The Catalogue of Classic Collection No.12 - London 1996 // Classic Collector - The Catalogue of Classic Collection No.13 - London 1996 // Classic Collector - The Catalogue of Classic Collection No.14 - London 1996 // Classic Collector - The Catalogue of Classic Collection No.15 - London 1997 // Classic Collector - The Catalogue of Classic Collection No.16 - London 1997 // Classic Collector - The Catalogue of Classic Collection No.18 - London 1999 // Classic Collection - The Latest stock from Classic Collection - London 1997 // Classic Collection Photo Books (Sales Lists) - Classic Collection - London 94, 95... // Color Foto Spezial - Spiegelreflex '83 - Stuttgart 1982 // Modern Photography - Photo '83 Buying Guide - New York 1982 // Modern Photography - Photo '84 Information Almanac - New York 1983 // Popular Photography - Photography Directory, 1955 Edition - USA 1955 (copy) // Popular Photography - Camera Directory (extracts) vol.59 no.5 - New York, Nov. 1966 // Rare Camera Company Ltd. Sales Catalogues, No. 1/94 .... - London 1994 // Photography periodicals from Europe and the USA from the 1970s onwards including Modern Photography, Popular Photography, Fotografare, Colorfoto etc.

Guides and Registers:

The Authentic Guide to Russian Cameras - Jean Loup Princelle - Hove 1995 // British Camera Makers - Norman Channing & Mike Dunn - Esher, Surry, 1996 // Les Chiffres Cles. Lens, Shutter & Camera Serial Nos - Neuilly, France 1992 // Les Chiffres Cles. Lens, Shutter & Camera Serial Nos. 2. improved ed. - Neuilly France 1994 // The Collectors Guide to Classic Cameras 1945~1985 - John Wade - Hove 1999 // The Collector's Guide to Japanese Cameras - Limited Edition - Sugiyama, Naoi, Bullock // The Blue Book 1990~1991 - Douglas St Denny - Leicester 1990 // The Blue Book 1992~1993 - Hove 1992 // The Blue Book 1994~1995 - Hove 1994 // Kadlubeks Kamera-Katalog - 5. Auflage, Neuss 2004 // The Guide to antique cameras - Michel Auer - Hermance CH, 1990 // Guide to antique cameras, index and prices - Michel Auer - Hermance CH, 1990 // Japanese 35mm SLR Cameras - (Data Guide) - Hansen & Dierdorff - Hove 1998 // Kennedy's Int. Camera Price Guide 1994~95 - Hove 1994 // McKeown's Price Guide to antique & Classic Cameras 1990~1991 - Grantsburg 1989 // McKeown's Price Guide to Antique & Classic Cameras 1992~1993 - Grantsburg 1992 // McKeown's Price Guide to Antique & Classic Cameras 1995~1996 - Grantsburg 1994 // McKeown's Price Guide to Antique & Classic Cameras 1997~1998 - Grantsburg 1996 // McKeown's Price Guide to Antique & Classic Cameras 2001~2002 - Grantsburg 2001 // McKeown's Price Guide to Antique & Classic Cameras 2005~2006 - Grantsburg 2005 // The Register of 35mm SLR, 2. ed. - Rudolph Lea - Hückelhoven 1993

User Manuals:

More than 450 original Classic Camera and Accessories instructions.