Kyocera Contax RX and Aria

Believe that photography enthusiasts who own more than one camera and lens equipment will encounter the same problem when going out, which is what equipment to bring. It's ideal to bring all your gear to avoid any regrets, but sometimes, for the sake of convenience or quick mobility, choosing equipment to bring based on the anticipated photography needs of the day is the thought of most people. Here, I have organized past experiences and, using my equipment as an example, listed some outdoor shooting combinations for reference.

相信擁有一機一鏡以上器材的攝影同好一並會碰到相同的問題，就是出門該帶什麼器材。未免有遺珠之憾，將所有家當都帶出門當然是最好不過了。但有時會了方便或行動迅速，預測當日拍照的需求來選擇外帶的器材，應該是大部分人的想法。這裡把過去的經驗整理了一下，以我的器材為例，列出一些外拍組合供大將參考。

Travel Photography A
旅遊攝影A(28mm ~ 135mm)

Contax Aria
Carl Zeiss Distagon 2.8/28 T*
Carl Zeiss Vario-Sonnar 3.4/35-70T*
Carl Zeiss Sonnar 2.8/135 T*
Total weight 總重: 1800

For general travel photography, the principle is lightweight equipment. For wide-angle and telephoto, D28 and S135 should be the preferred choices. As for the standard lens, I prefer using VS35-70 instead of P50. Although it sacrifices opportunities for low-light shooting, in the efficient setting of travel, a fixed-aperture standard zoom lens covering wide-angle to mid-telephoto can fulfill the need for multiple lenses. And for a lightweight body, nothing beats the Aria.

一般旅遊攝影，器材以輕便為原則，以廣角端和望遠端而言，D28 與 S135 應該是首選。至於標準鏡頭方面我習慣以 VS35-70 來代替 P50，雖然犧牲了弱光下的拍攝 機會，但是在講求效率的旅遊途中，一顆涵蓋廣角與中望遠端的定光圈標準變焦鏡頭的確能攜帶多個 鏡頭的需要。至於輕便的機身，當然非 Aria 莫屬了。

Travel Photography B
旅遊攝影B(21mm ~ 135mm)

Contax Aria
Carl Zeiss Distagon 2.8/21 T*
Carl Zeiss Vario-Sonnar 3.4/35-70T*
Carl Zeiss Sonnar 2.8/135 T*
Total weight 總重: 2035

For architectural or historical site travel photography, D21 provides a satisfying ultra-wide-angle view with minimal distortion. Places like Italy and Kyoto, Japan, are ideal for showcasing this lens, especially for capturing the facades of churches. Before purchasing the Aria, I used to pair it with RX, a combination weighing nearly 2.4kg with three lenses, tripod, and backpack, something to consider for those with a petite stature.

建築或古蹟類的旅遊攝影，D21 可提供滿意的視角(超廣角)與 最低變形率。義大利和日本京都應該是最適合這顆鏡頭發揮的地方，尤其是一些教堂立面的拍攝， 可同時將來往人潮與主題一併納入構圖之中。在購入 Aria 之前，我都是搭配 RX 出勤，一機三鏡近 2.4KG，加上腳架和背包，少說也有 5KG，身材嬌小的人要考慮一下。

Scenic Photography A
風景攝影A(16mm ~ 200mm)

Contax RX
Zenitar Fish-Eye 16/2.8 MC
Carl Zeiss Distagon 2.8/28 T*
Carl Zeiss Planar 1.4/50 T*
Carl Zeiss Vario-Sonnar 4/80-200T*
Total weight 總重: 2355g

A lightweight scenic photography combination, the fisheye lens provides a unique wide-angle effect for natural landscapes. The wide-angle and standard ranges are covered by the acclaimed D28 and P50, ensuring vivid scenery. For telephoto, the VS80-200 is used for techniques involving partial framing commonly used in scenic photography, easily extracting distinctive subjects from chaotic landscapes, and its macro feature (1:4) comes in handy when needed.

輕便的風景攝影組合，魚眼鏡頭所造成的超廣角效果讓自然 風景呈現不同風貌，廣角端和標準端則分別由受好評的 D28 與 P50 負責，絕對能讓景色徐徐如生。 在望遠端則利用 VS80-200 來負責風景攝影中常用到的局部取景的技巧，可以很容易的將具特色的 主題從一片雜亂無章的風景中萃取出來，而所提供的微距功能(1:4)也能適時派上用場。

 

Scenic Photography B
風景攝影B(28mm ~ 180mm)

Contax RX
Carl Zeiss Distagon 2.8/28 T*
Carl Zeiss Planar 1.4/50 T*
Carl Zeiss Makro-Planar 2.8/100 T*
Carl Zeiss Sonnar 2.8/180 T*
Total weight 總重: 2915g

This combination caters to high-quality scenic photography needs, with D28, P50, MP100, and S180 all being lenses known for excellent resolution and color performance. However, it comes with a greater physical cost. After purchasing VS35-70 and S135, I started opting for the "Travel Photography A" combination, as MP100 in this setup offers the possibility of macro photography, making capturing insects or close-ups of flowers a breeze.

這個組合可提供高品質的風景攝影需求，D28、P50、MP100 和 S180 均是解像力與色彩表現極佳的鏡頭，相對的也必須付出較多的體力代價。曾經帶著這樣的組合走過陽明山國家公園的幾個山頭，但是自從購入 VS35-70 和 S135 後，就開始偷懶，改帶「旅遊攝影A」。這個組合的特點在於 MP100 這鏡頭提供了微距攝影的可能性，因此昆蟲或小花小草的特寫(1:1)可說是輕而易舉。

Macro Photography
微距攝影(35mm ~ 100mm)

Contax RX
Carl Zeiss Vario-Sonnar 3.4/35-70T*
Carl Zeiss Makro-Planar 2.8/100 T*
Total weight 總重: 2025g

The macro feature of VS35-70 is designed at the 35mm wide-angle end, providing a magnification ratio of 1:2.5. MP100, on the other hand, achieves a 1:1 ratio at the mid-telephoto end. Both complement each other in macro photography due to their different perspectives. As MP100 weighs 740g and the lens barrel extends approximately twice its length at maximum magnification, it requires a more stable body. Hence, I usually pair it with an RX body and a Gitzo 2 tripod.

VS35-70的Macro功能設計在35mm廣角端，可提供放大率1:2.5。MP100中望遠端放大率則達 1:1。兩者因視角不同，可拍出不同透視感的微距攝影作品，在生態攝影上相輔相成。由於 MP100 重達 740g，且使用最大放大率時鏡筒伸長約一倍，必須使用底盤較穩固的機身，因此我通常搭配 RX 機身與 Gitzo 2 號腳架使用。

Telephoto Photography
遠距攝影(50mm ~ 360mm)

Contax RX
Carl Zeiss Planar 1.4/50 T*
Carl Zeiss Vario-Sonnar 4/80-200T*
Carl Zeiss Sonnar 2.8/135 T*
Carl Zeiss Sonnar 2.8/180 T*
Carl Zeiss Mutar II T*
Total weight 總重: 3460g

Ideal for distant nature photography subjects such as animals and birds in the zoo, distant lotus flowers in ponds, and close-ups of sunsets. The main use of MII teleconverter extends the focal lengths to 270/5.6 and 360/5.6. Although I used TT300 before, after comparing its results with S180+MII, I found no significant advantage in color saturation and resolution for TT300. Therefore, I sold it, as there was limited opportunity to use the 300mm focal length.

適合遠距離自然攝影主題，如動物園中的動物和鳥類，水池中無法接近的荷花，以及夕陽的特寫等。主要利用 MII 加倍鏡的特性，將鏡頭焦距延伸到 270/5.6 與 360/5.6。雖然以前曾用過 TT300，但是在與 S180+MII 的拍攝結果比較後，覺得在色彩飽和度和解析度上 TT300 並無明顯勝出，因此在考慮 300mm 焦距使用的機會不大後將其脫手。

Zeiss Ikon Contax IIa snd D

1932 marked the introduction of the interchangeable lens rangefinder (RF) camera Contax I by Carl Zeiss's camera factory Zeiss Ikon, setting the stage for the Contax brand. In 1936, the Contax II and Contax III (the Contax II version equipped with a light meter) were released, offering an ultra-fast shutter speed of 1/1250 seconds, a 100mm longest baseline, a metal focal-plane shutter widely adopted in modern cameras (note: this is a metal vertical-travel shutter similar in construction to the traditional double-curtain horizontal-travel cloth shutter, differing significantly from the multi-curtain metal shutters used in modern cameras), a convenient single low-speed and high-speed shutter dial, a combined rangefinder and viewfinder, and a three-lug lens quick-detach mount. These features positioned Carl Zeiss as a leader in rangefinder camera technology in its contemporary industry. Around 1937, Carl Zeiss engineers, not content with their achievements, began developing a new generation of cameras, a prototype for modern single-lens reflex (SLR) cameras. However, due to the approaching war, the full realization of this endeavor would have to wait until after World War II.

1932 年，Carl Zeiss 的相機工廠 Zeiss Ikon 推出了一台可交換鏡頭的測距式 (RF) 相機 Contax I，為 Contax 這個品牌揭開了序幕。後續在 1936 年又推出了 Contax II 和 Contax III (附有測光表的 Contax II 版本)，這一系列的相機提供了超快速的快門 1/1250 秒，100mm 的最長基線，現代相機廣為採用的金屬縱走式簾幕快門 (註: 此一類似鐵捲門的金屬縱走式簾幕快門，在構造上仍類式於傳統雙簾式的橫走式布幕快門，與現代相機採用的多簾式金屬簾幕快門差異甚大。)，方便的單一低速與高速快門旋鈕，合而為一的測距窗與觀景窗，以及 三插刀式的鏡頭快拆接環，使得 Carl Zeiss 在測距式相機技術上的領先當代同業甚多。然 Carl Zeiss 的工程師並不以此為滿足，約莫於1937 年，又開始研發新一代的相機，也就是現代單眼相機的雛型，但是隨著戰事的的逼近，真正的開花結果則要等到二次世界大戰結束之後。

Left: Contax IIa, Right: Contax D

戰後重生 

Post-war Resurgence

1945 was a tragic year for Carl Zeiss. The main production facilities for cameras and lenses, Dresden and Jena, were nearly obliterated by Allied bombings. After the war, the division of Germany into East and West following the Soviet-American rift also divided the path to rebirth for Carl Zeiss.

Under Soviet control in East Germany, Carl Zeiss quickly utilized the surviving equipment and parts in Dresden and Jena to produce some versions of the Contax II/III cameras under the Carl Zeiss Jena name. They also trained Soviet technicians, eventually moving the entire production line to the Soviet Union, where the Kiev 2/3/4 cameras and lenses, mimicking the Contax II/III, were manufactured. With this foundation, East Germany's Carl Zeiss had the opportunity to continue researching pre-war SLR cameras and introduced the world to the first reflex SLR camera with a pentaprism viewfinder in 1949, the Contax S. This was a significant milestone in the history of modern cameras. Later, during the Zeiss Ikon VEB and Pentacon periods, they released cameras such as the Contax D (introduced in 1952, further details below), E (Contax D with a light meter), F, FB, FBM, and more.

1945 年，對 Carl Zeiss 而言是悲慘的一年，主要的相機與鏡頭的生產工廠 -- Dresden 與 Jena，因盟軍的轟炸而幾乎蕩然無存。戰後則由於蘇俄與美國的決裂導致德國的分裂，Carl Zeiss 的重生之路也被一分為二。

在蘇俄控制下的東德 Carl Zeiss 很快的利用 Dresden 與 Jena 僅存設備與零件生產了一些 Carl Zeiss Jena 版本的 Contax II/III相機，同時並訓練蘇俄技師，最後讓蘇俄將整個生產線移至蘇俄，開始生產仿 Contax II/III 的 Kiev 2/3/4 相機與鏡頭。就在這樣的基礎下，東德 Carl Zeiss 有機會繼續戰前單眼相機的研究，並在 1949 年向世界介紹了第一台具有五稜鏡觀景窗的反射式單眼相機 Contax S (註: 戰後除了Contax S，還有匈牙利 Duflex、義大利 Rectaflex、瑞士 Alpa Prisma Reflex 都在發展這項技術，其中應該是Duflex最早1947年少量生產。)，打開了現代相機史上的重要一頁。後續更在 Zeiss Ikon VEB 與 Pentacon 時期 推出了 Contax D (1952年發售，下文將介紹的相機)、E(附測光表的Contax D)、F、FB、FBM 等單眼相機。

In West Germany, Carl Zeiss faced more challenges. Engineers and executives, including members of the board, who left the Soviet-occupied zone with the withdrawal of American forces, established the Carl Zeiss company in Stuttgart. With no blueprints, they managed to build the tools for manufacturing cameras and established a complete production line, finally releasing their post-war masterpiece, the Contax IIa, in 1950, followed by the IIIa. While these cameras retained the lens mount and a similar exterior appearance to the Contax II/III, all parts were redesigned and re-manufactured, resulting in improved stability and durability compared to pre-war models.

在西德的 Carl Zeiss 則沒有那麼順利，隨美軍撤離蘇俄佔領區的一批工程師(包含董事會)在 Stuttgart 重新成立了 Carl Zeiss 公司，在連藍圖都沒有的條件下，從生廠相機的工具製作到完整生產線的建立，終於在 1950 年推出了戰後 的大作 Contax IIa (下文將介紹的相機) 和 IIIa，除了與 Contax II、III 有著相同的鏡頭接環與相似的機身外觀外，所有的零件均經過重新設計和生產，穩定性與耐用度均較戰前機型提升許多。

西德 Zeiss Ikon Stuttgart 的商標

東德 Zeiss Ikon VEB 的商標

鏡頭接環

Lens Mount 

Although the Contax IIa was a post-war redesign and production, it retained the lens mount of the pre-war Contax RF series, making almost all pre-war lenses compatible with the Contax IIa (except for the pre-war Biagon 35/2.8). In comparison to the contemporaneous Leica RF cameras with the M39 screw mount, the bayonet mount's convenience is unquestionable. Even the post-war Japanese Nikon S series RF cameras directly adopted the Contax mount. Due to the post-war division of East and West Germany, Contax RF camera lenses came from three sources: West Germany's Zeiss-Opton/Carl Zeiss, East Germany's Carl Zeiss Jena, and the Soviet Union's Kiev series.

The Contax D continued with the M42 screw mount introduced by the Contax S (note: the M42 screw mount originated from Kamerawerke Niedersedlitz's Praktiflex with the original 40.5mm, later changed to 42mm after the war, so it was not first introduced by the Contax S). This mount, due to its ease of production, quickly became the target of imitation in the flourishing post-war Japanese camera industry (SLR), notably by PENTAX (PENtaprism conTAX). In North America, the M42 screw mount is sometimes even referred to as the Pentax screw mount. Thus, apart from the high-quality Carl Zeiss Jena lenses, Contax D had many Japanese lenses to choose from.

Contax IIa 雖是戰後重新設計與生產的相機，但是卻沿用了戰前 Contax RF 系列的鏡頭接環，使得戰前所生產的鏡頭幾乎都可用在 Contax IIa 上 (除了戰前的 Biagon 35/2.8 以外)。相較於同時期 Leica RF 相機的 M39 螺紋接環，插刀式接環的方便性無庸置疑，就連戰後日本 Nikon 研發的 S 系列 RF 相機也是直接採用 Contax 接環。由於戰後東西德的分裂，使得 Contax RF 相機的鏡頭來源分成 3 個地方：西德 Zeiss-Opton/Carl Zeiss、東德 Carl Zeiss Jena 與 蘇聯 Kiev 系列。

Contax D 則是沿用 Contax S 所開創的 M42 螺紋接環 (註:M42螺紋接環是來自於Kamerawerke Niedersedlitz的 Praktiflex原始40.5mm，戰後改為成42mm的螺紋接環，所以並非是Contax S首創)，由於生產技術容易，因此很快的成為戰後蓬勃發戰的日本相機工業 (SLR) 的模仿對象，其中以 PENTAX (PENtaprism conTAX) 最為有名，在北美地區甚至以 Pentax 螺紋接環來稱呼 M42 螺紋接環，因此，Contax D 可使用的鏡頭除品質極佳的 Carl Zeiss Jena 鏡頭外，尚有許多日系鏡頭可供選擇。

Contax IIa 插刀式接環

Contax D 螺紋式M42接環

快門結構 

Shutter Mechanism

The Contax IIa used a modern vertically-traveling shutter widely adopted in contemporary cameras. Its mechanical structure is similar to the traditional horizontally-traveling cloth shutter, with the shutter curtain's movement direction changed to top-down. The material was switched to aluminum, and the shutter curtain was composed of dozens of thin aluminum strips (somewhat like the design of a rolling shutter), producing a distinctive shutter sound when released.

The Contax D, on the other hand, used a traditional horizontally-traveling fabric shutter mechanism, which remained the mainstream curtain shutter mechanism until the 1970s.

Contax IIa 採用現代相機廣泛使用的縱走式快門，其機械結構與傳統橫走式快門簾幕類似，只是快門簾幕的行徑方向改為由上而下，材質改為鋁金屬，為使其如布幕快門般捲動，快門由數十片條狀鋁片所組成 (有點像鐵捲門的設計)，釋放時有其特有的快門聲響。

Contax D 的快門簾幕則採傳統橫走式移動的布質快門，一直到 70 年代都是簾幕快門機構的主流。

Contax IIa 縱走式金屬快門
 

Contax D 橫走式簾幕快門

速度轉盤

Shutter Speed Dial 

The Contax IIa's groundbreaking 1/1250 sec shutter speed, though modest by today's standards, was revolutionary for the 1950s technology. Another seemingly ordinary feature was the ability to choose low-speed and high-speed shutters on the same dial. This differed from contemporary cameras that had separate dials for low and high speeds.

The design of Contax D's shutter speed dial was considerably different from modern cameras. The shutter speed indicator, shutter dial, and shutter speed dial were separate. Rotating the shutter speed dial (the lower arrowed dial) caused the shutter speed dial (distinguishing low and high-speed shutters with red and black numbers) to move to the indicated speed. Behind the camera, there was a switch to select the indicator pointing to slow or high-speed shutters. It was a complex design and a vulnerable part of the Contax D.

Contax IIa 的 1/1250 sec 快門速度算是劃時代的創舉，雖然從現在的標準來看 1/1000 sec 也只能算是最低需求，但是對 50 年代的技術而言，已經算是高不可攀了。另一項看似普通的特點則是在同一轉盤上可選擇低速快門與高速快門，有別於當代其他採用低速轉盤與高速轉盤獨立分開的相機，後者的設計在 Contax D 上仍保有一些痕跡。

Contax D 的快門轉盤設計與現代相機有很大的不同，快門速度指標、快門轉盤與快門旋鈕都是分開的，轉動快門旋鈕 (下方有箭頭的旋鈕)可令快門轉盤 (以紅色和黑色數字區分低速與高速快門) 轉動到速度指標所指向的快門速度，在機身後方則有一個選擇開關，用以切換指標指向慢速快門或高速快門，是一項很複雜的設計，也是 Contax D 很容易壞的部分。

Contax IIa 整合式快門與底片計數盤 

Contax D 分離式快門盤與底片計數盤

機身規格

Camera Specifications 

詳細機身 規格比較 機身 Contax IIa Contax D 生產者 西德 Zeiss Ikon Stuttgart 東德 Zeiss Ikon VEB 發售年 約 1950 年 約 1952 年 底片型式 24mm x 36mm 24mm x 36mm 鏡頭接環 Contax RF 插刀式接環 Contax M42 螺紋式接環 快門型式 縱走式金屬簾幕 橫向式布質簾幕 快門速度 T-B-1-2-5-10-25-50-100-250-500-1250 慢速 B-1-2-5-10-20-50 快速 100-200-500-1000 對焦方式 重疊式測距觀景窗 反射式磨砂對焦屏+菱鏡觀景窗 自拍器 有，機械式 有，機械式 閃燈接點 有，特殊接頭 有，PC接頭 機身高度 78mm 84mm 機身寬度 134mm 149mm 機身深度 44mm 52mm 重量 520g 560g

標準鏡頭Standard Lenses

The Contax IIa is paired with the early post-war version of the West German-made single-layer T-coated Sonnar 50/2 lens. This lens has specifications for both pre-war and post-war versions. The pre-war version further divides into cylindrical and non-cylindrical designs, all manufactured by Carl Zeiss Jena with lenses lacking coatings. After the war, East Germany's Zeiss continued to produce T-coated lenses under the Carl Zeiss Jena brand, and they were marketed alongside Contax IIa and IIIa cameras. West Germany's Zeiss only produced the non-cylindrical version, initially under the Zeiss-Opton trademark, also featuring T-coating. Later, it switched to the Carl Zeiss trademark, making it the top-tier lens for the Contax RF system.

On the other hand, the Contax D is paired with the East German-made Tessar 50/2.8 from Zeiss, featuring T-coating and considered an affordable standard lens of its time. Similar to the Tessar 50/3.5 paired with the first-generation Contax S, both are standard lenses with small apertures. With the development of the M42 mount, automatic aperture versions were also introduced later.

Contax IIa 所搭配的是西德製具單層 T 鍍膜 Sonnar 50/2 戰後初期版。這鏡頭規格有戰前版與戰後版，戰前版又分沉筒式與非沉筒式設計，均為 Carl Zeiss Jena製造，鏡片均無鍍膜﹔戰後東德蔡司仍繼續以 Carl Zeiss Jena 商標製造 T 鍍膜鏡頭，並搭配 Contax IIa、IIIa 行銷。西德蔡司僅生產非沉筒式版本，初期以 Zeiss-Opton 為商標，亦有 T 鍍膜，後期則以 Carl Zeiss 為商標，可說是 Contax RF 系最高級的鏡頭。

Contax D 所搭配的是東德蔡司具T 鍍膜的 Tessar 50/2.8，是當時的平價標準鏡。與第一代 Contax S 所搭配的 Tessar 50/3.5，都是屬於小光圈的標準鏡。後期隨 M42 接環的發展，也出了自動光圈的版本。

Left: Zeiss-Opton Sonnar 50/2.0, Right: Carl Zeiss Jena Tessar 50/2.8

鏡頭規格
Lenses Secifications

詳細鏡頭 規格比較
鏡頭	Zeiss-Opton Sonnar 50/2.0	Carl Zeiss Jena Tessar 50/2.8
生產者	西德 Carl Zeiss	東德 Carl Zeiss Jena
生產年	約 1951 年	約 1951 年
接環	Contax RF 插刀式接環	Contax M42 螺紋式接環
鏡組	3 群 6 枚	3 群 4 枚
光圈	2-2.8-4-5.6-8-11-16-22	2.8-4-5.6-8-11-16
光圈葉片	9 片	12 片
對焦距離	0.9 m ~ 無限遠	0.5 m ~ 無限遠
濾鏡口徑	40.5 mm	40.5 mm
鏡身外徑	46.5 mm	51 mm
鏡身長度	41.5 mm	45 mm
重量	135 g	115 g

參考文獻

1. Charles M. Barringer and Marc James Small,

"ZEISS COMPENDIUM East and West -- 1940-1972",

Hove Collectors Books, 1995.

2. Ivor Matanle,
Standard Lenses
"COLLECTING AND USING Classic Cameras",

Thames and Hudson, 1986.


相關網站

1. The Zeiss Historica Society

2. CameraQuest's Classic Camera Profiles

3. The Zeiss Ikon Contax home

4. Mike's Praktica Home

5. The Contax Classic Supply Store WWRepair

YASHICA FX2 and FX7

When using a CONTAX/YASHICA SLR, a common question often arises: 'Which mechanical cameras can use C/Y lenses?' The answer is quite simple: CONTAX S2/S2b, YASHICA FX2, and FX3 series. Among them, the CONTAX S2 is considered the top-tier model with its titanium body indicating its excellent pedigree. However, its price is exorbitant, comparable to the CONTAX ST, around NT$29,000 at the original selling price. Due to the discontinuation of CONTAX bodies, the second-hand prices have surged, starting at around NT$25,000, with the rarer black titanium CONTAX S2b even reaching over NT$40,000. Is it out of reach for the average person? Not necessarily. YASHICA has provided us with some alternatives, namely the YASHICA FX2 and FX7 cameras.

使用CONTAX/YASHICA SLR時常常會問一個問題「有哪些機械相機可用C/Y鏡頭？」 答案很簡單CONTAX S2/S2b、YASHICA FX2與FX3系列，其中CONTAX S2算是最頂級 的機種了，鈦金屬機身說明了她的優良血統，但價位也高不可攀，原始售價 與CONTAX ST同級，約台幣29,000。近來因CONTAX機身陸續停產，二手價也 水漲船高，約莫台幣25,000起跳，較稀有的黑鈦CONTAX S2b甚至飆到台幣40,000 以上。那一般的平民百姓就無緣分享了嗎？倒不竟然。YASHICA還是留給了我們 一些選擇，那就是以下要介紹的 YASHICA FX2與FX7相機。

Left: YASHICA FX-7, Right: YASHICA FX-2

YASHICA FX2

In the second year of the CONTAX/YASHICA SLR release, the YASHICA FX2, a purely mechanical camera, emerged as the only one of its kind. It shares a similar appearance with its sister model, the YASHICA FX1 (an electronically controlled aperture-priority camera). Despite nearly thirty years passing, after a bit of refurbishment by a camera technician, the weight in your hands and the sound of the shutter, along with the damping of the film advance, tell you that this is a sturdy camera – a tool for creative photography that will remain so even after another thirty years. The YASHICA FX2 features a horizontally-traveling cloth focal-plane shutter, and one of its drawbacks is that the rubber material on the shutter curtain is prone to hardening (if left unused for an extended period) or deteriorating in high temperatures. Therefore, a moisture-resistant box and a dark storage environment are crucial. If the shutter curtain is damaged, repair is nearly impossible.

在CONTAX/YASHICA SLR上市的第二年 YASHICA FX2 是唯一的一台機械相機，與 姐妹機 YASHICA FX1 (電子式光圈優先)有著類似的外觀，拿在手上沉甸甸的， 雖然經過了近三十年，經過相機師傅稍許的整理後，那快門聲響與過片的阻尼 告訴你這是一台扎實的相機，再過三十年，仍然是攝影創作的利器。 YASHICA FX2 採用橫向布質簾幕快門，她的缺點是簾幕上的橡膠材質容易硬化(長期未使用) 或高溫變質，因此防潮箱與陰暗的儲存環境非常重要，如果快門簾幕損壞， 維修幾乎是不可能的了。

YASHICA FX2 的上視圖

YASHICA FX7

Derived from the YASHICA FX3 mechanical camera, the YASHICA FX7 is positioned as a simplified version of the FX2. In terms of camera functions, it lacks the depth of field preview button. Regarding the camera structure, the shutter curtain is changed to a vertically-traveling metal focal-plane shutter, and the body extensively uses plastic, significantly reducing the size and weight by 15%-30%. In the 1980s, the YASHICA FX3/7 became one of the most affordable C/Y Mount bodies. The FX3/7 was redesigned in 1985 as the FX3/7 Super, with the main difference being a small grip added to the right side of the body to enhance handheld stability, and the integration of the metering button with the shutter button. The FX3 Super 2000 further increased the maximum shutter speed to 1/2000 seconds. Later versions of the FX3 Super 2000 moved production to China due to cost considerations, and not long after, the production of the YASHICA FX3/7 series was discontinued for almost 20 years.

源自YASHICA FX3的機械相機，定位是FX2的精簡版，就相機功能而言，少了預觀景深紐。 就相機結構而言，快門簾幕則改為縱向金屬簾幕快門，機身則大量採用塑料，使得機身 大小與重量大幅縮減15%-30%。80年代後，YASHICA FX3/7 算是最便宜的C/Y Mount機身了。 FX3/7在1985年改款成為FX3/7 Super，最大的差異在於機身右邊多了一個小握把以加強手持 穩定性，測光鈕整合於快門鈕上。FX3 Super 2000 則進一步將最快快門速度提升到 1/2000秒。後期的FX3 Super 2000則因成本考量移往中國生廠，之後不久, 近20年的 YASHICAFX3/7系列的生產也中止了。

YASHICA FX7 的上視圖

YASHICA 機械式相機 發售年 YASHICA FX2 (Chrome/Black) 1976 YASHICA FX3 (Black) 1979 YASHICA FX7 (Chrome) 1979 YASHICA FX3 Super (Black) 1985 YASHICA FX7 Super (Chrome) 1985 YASHICA FX3 Super 2000 (Black/Chrome) 1993

機身規格 規格比較 機身 YASHICA FX-2 YASHICA FX-7 生產者 Yashica Japan Yashica Japan 發售年 1976 年 1979 年 底片型式 24mm x 36mm 24mm x 36mm 鏡頭接環 Contax/Yashica 插刀式接環 Contax/Yashica 插刀式接環 快門型式 橫走式布質簾幕 縱走式金屬簾幕 快門速度 B-1-2-4-8-15-30-60-125-250-500-1000 B-1-2-4-8-15-30-60-125-250-500-1000 對焦方式 反射式+磨砂/微菱鏡對焦屏 反射式+磨砂/微菱鏡/裂像式對焦屏 自拍器 有，機械式 有，機械式 閃燈同步 1/60秒 1/125秒 閃燈接點 有，X接點 有，X接點 機身高度 94mm 84.5mm 機身寬度 144.5mm 135mm 機身深度 51mm 50mm 重量 690g 450g 　 相關網站  1. Okie's Camera List 提供YASHICA單眼相機個人收藏展示(含規格與照片)。 2. YASHICA SLR FAQ 提供YASHICA單眼相機與鏡頭基本資訊介紹。

Hasselblad 500c + Polaroid Magazine 100, Instant Film 拍立得底片

2013.5.5

Today is the second time I'm using Fuji's instant peel-apart film. The first time was with the FP-3000b black and white instant peel-apart film, and I didn't keep records then, only a few captured photos. The feeling at that time was that the accuracy of metering was as crucial as with positive film; precise control was needed to capture the desired atmosphere.

今天是第二次使用富士的拍立得撕拉片，第一次使用是FP-3000b的黑白拍立得撕拉片，當時沒有做記錄，只留下幾張拍攝的相片。當時拍攝的感覺是測光的準確度跟正片一樣重要，精確的掌控才能拍出想要的氣氛。

Let me introduce the equipment I'm using: Hasselblad 500c + Polaroid Magazine 100. Traditionally, medium-format cameras with interchangeable film backs in the 90s had original or third-party instant peel-apart film backs. In the era of traditional film photography, to confirm aperture, shutter speed, and lighting (flash) effects during shooting, professional photographers often took instant photos to adjust photographic parameters. This practice is considered outdated in the digital photography era. Many enthusiasts of medium and large-format film cameras have switched to digital cameras to achieve the same purpose.

先介紹一下我用的器材 Hasselblad 500c + Polaroid Magazine 100，傳統上可換底片機背的中型相機在90年代都有出原廠或副廠的拍立得撕拉片機背。在傳統底片攝影的時代，為了在拍攝當下確認光圈、快門、光線(閃光燈)等的拍攝效果，職業攝影師們常常會拍攝拍立得相片來調整攝影參數，這在數位攝影的時代已經是很落伍的做法了。很多中大型底片相機的攝影愛好者都已應改用數位相機來達到相同的目的。




Hasselblad 500c, Carl Zeisss Planar 2.8/80, Polariod Magazine 100

The Polaroid Magazine 100 can use two types of film: Fuji FP-100c (color ISO100) and FP-3000b (black and white ISO3200). The film size is 3.2" x 4.2", resulting in images with a 0.2" wide white border. As Hasselblad's film imaging size is 2.2" x 2.2", the captured result will only cover a part of the entire film, and the unexposed parts will appear black.

Polaroid Magazine 100可以用富士FP-100c(彩色ISO100)和FP-3000b(黑白ISO3200)兩種相紙，相紙的大小是 3.2" x 4.2"，成像是如下留0.2"寬的白邊的相片。因為哈蘇的底片成像大小是 2.2" x 2.2"，所以拍攝結果只會是整個相紙中的一部分，其他部分因為沒有曝光，所以呈現黑色。


Carl Zeiss Distagon 4/50 C,
Fujifilm FP-100c instant photo 拍立得相片

After developing the instant peel-apart film, there's a chance to obtain a negative like the one below. This negative is the black film originally attached to the instant film. The black part can be washed away with a bleaching solution, revealing a film similar to a negative. The side with the black coating is smooth, while the side attached to the instant film has an imaging layer.

拍立得撕拉片顯影成像後，其實有機會取得一張如下的負片，這張負片就是原來蓋在相紙上的黑色膠片，黑色部份其實是可用漂白水洗掉的漆料，當黑色漆料洗掉時，類似負片的膠片就出現了，原來黑色漆料那一面是光滑的，與相紙接合的這一面則有一層成像地藥膜。


Fujifilm FP-100c instant film negative 拍立得負片

Scanning the mentioned instant film negative requires a flatbed scanner with an appropriate light hood due to the large film size. Using a regular negative scanning mode, the negative image can be converted to a positive one. I didn't spend time adjusting colors, and the result has a distinctive LOMO atmosphere, which I find even more appealing.

將上述的拍立得負片用掃瞄器掃描，因為底片很大張，所以應該只有附光罩的平台式掃描器才能勝任，用一般負片的掃瞄模式即可，可將負片影像轉呈正向。我沒有再花時間去調顏色，出來的結果很有 LOMO的氣氛，讓我更喜歡。


Scanned image of Fujifilm FP-100c instant film negative.
Fujifilm FP-100c 拍立得負片掃瞄後成像