Month: February 2021

The 1964 Asahi Pentax Spotmatic SP was the first commercially-available M42 SLR that combined auto-diaphragm lens operation with TTL light metering, but in a rather cumbersome two-step process. This third generation M42 technology would be employed by countless models by numerous manufacturers from the mid 1960s through the late 1980s. Like the Nikon F before it, the SP has generated quite a lore around itself where many folks believe it was the “best” or one of the best M42 bodies ever made. Given the wide range of later and better M42 camera body alternatives, is there an objective case for the SP? Let’s find out.

The M42 lens mount standard was developed before WW2 but did not come into general commercial use until the late 1940s. In 1949, East Germany’s Contax introduced the first of its “S” line of M42 SLR cameras. Other East German products such as the “Praktica” and “Praktina” line also appeared during the late 1940s and early 1950s. For its part, Pentax also entered the race, claiming that its 1952 Asahiflex I was the first Japanese-built M42 SLR to reach market.

Throughout the 1950s, M42 camera technology rapidly developed with the East German and Pentax models being competitive with each other. During 1956, Contax announced its “F” camera that introduced “auto-diaphragm” operation with M42 lenses that contained an extra “stop down” pin that permitted the camera body to hold the lens’ aperture wide open for focusing while automatically stopping down to the selected aperture upon taking the shot. Pentax’s ultimate response was the 1958 Pentax K, an auto-diaphragm-capable camera with an integrated pentaprism and a lever film advance. In 1961, Pentax introduced the S3, which could use an optional detachable coupled light meter.

When introduced in 1964, the SP’s primary innovation was a built-in TTL light meter with a match-needle exposure system. From the outset, the Spotmatic system had broad range of professionally-oriented accessories as well as a full-range of lenses from 17mm to 1000mm. Although the SP came standard with either a 50mm f/1.4 or a 55mm f/1.8, it could function equally well with any auto-diaphragm M42 lens. Pentax continued producing the Spotmatic series in various forms until about 1975.

In 1971, Pentax introduced the first of the fifth generation” of M42 SLRs with its “ES.” The ES was the first electronic-shutter, aperture-priority autoexposure M42 camera. For the system to function properly, however, Pentax required the use of proprietary lenses that contained the necessary linkages to communicate the lens aperture to the camera.

Specifications

Year Introduced	1964
Lens Mount	M42
Shutter	Metal Focal Plane
Shutter Speeds	B, 1 sec. – 1/1000
Viewfinder Magnification	0.88x (50mm); 1.00x (55mm)
Focusing Screen	Fresnel / Microprism
ASA Range	20-1600
Weight	621g
Flash X-Sync Speed	1/60
Battery	PX400; 387S (Modern Replacement)

Operation

Like many marquee 35mm camera bodies of the 1960s, there is little question that the SP exhibits exceptional build quality and attention to detail. There is a strong case that the SP is among the best of the third generation of M42 cameras.

Operation: In 1964, the primary draw of the SP would have been its ability to use any auto-diaphragm M42 lens with true built-in TTL light metering. Remember that even the Nikon F and F2 require the use of an optional external prism for TTL metering. The SP employed a two-step procedure for it to work. Essentially, when an auto-diaphragm M42 lens is mounted, the camera body holds the aperture wide open for the purposes of easy focusing. To meter at a selected aperture, you press the switch at the side of the lens mount to turn on the meter and to stop down the lens to the taking aperture. A needle will then begin moving in the viewfinder, and you would change the aperture and shutter speed combination until the needle falls between the + and – signs. You then switch off the meter, which returns the lens to wide-open aperture. When triggering the shutter, the body automatically stops down the lens to the selected aperture. The shutter noise is not particularly quiet.

Viewfinder: The only information displayed in the viewfinder is the match-needle information on the right side of the screen. The fixed, non-interchangeable focusing screen is a fresnel / matte microprism type with a .88x magnification with the 50mm lens and 1.00x magnification with the 55mm lens. The focusing screen is not exceptionally bright, even with a f/1.8 lens, and is mostly par for the course for a 1960s camera of this type.

Lack of Flash Shoe: The SP did not come standard with either an integrated cold or hot shoe for a flash. A cold shoe adapter that fit over the camera’s viewfinder was an optional accessory. The SP has two flash sync sockets on the front of the camera for “X” and “FP.”

No Motor Drive Capability: The original SP does not have the appropriate linkages for the Pentax’s later motor drive. However, Pentax later produced in 1967 a variation of the SP called the “Spotmatic Motor Drive.” With a bottom-mounted unit, the camera could achieve 2-3 frames per second at 1/1000. Read all about this motor drive and the optional 250 frame back here.

Batteries: The SP used a single V400PX 1.35 mercury battery to power the meter. The most common alternative today would be a zinc air MRB400 1.35V battery. Many SP users claim that, unlike other 1960s cameras, the 1.55V of modern alkaline batteries will not throw off the camera’s meter. The closest alkaline equivalent that works appears to be a 387S, which is just a 394 battery with a rubber ring.

Shutter Speed / ISO Range: Typical for the era, the SP had shutters speeds of “B” and 1 second to 1/1000. No SLR camera of the 1960s, save for 1960 Konica F, the 1960 Canonflex R2000, and the 1964 Leicaflex, offered a faster shutter speed than 1/1000. ISO range is 20 to 1600.

Self-Timer: The SP has the standard mechanical front self-timer.

Exposure Lock: The SP has no external exposure lock and no manual exposure compensation.

Conclusions

In my opinion, the SP suffers a bit from “conventional wisdom” syndrome. While no doubt a quality-made and innovative SLR from an age where manufacturers placed more of a priority on aesthetics and durability, the SP has been completely eclipsed by several subsequent generations of M42 cameras. The main drawbacks for me are the cumbersome metering process and the relatively dark viewfinder with any lens slower than f/1.8, with the obscure battery thing being a secondary concern. This may be heresy to some, but if looking for a native film platform for M42 lenses, there are plenty of better options.

Konica’s short-lived 1978-79 Autoreflex T4 was the last of its mechanical-shutter “Autoreflex” line of 35mm SLR cameras, which has started with 1968 “Autoreflex T” (or “FTA” in Japan). The Autoreflex platform was designed for a “shutter speed priority” autoexposure operation: where the user would select a shutter speed and the camera would select the appropriate aperture given the light meter reading. In this system, each AR lens has a moveable arm whose swing opens and closes the lens’ aperture. When the lens is set to “AE” (or “EE” on older lenses), the body holds the arm to keep the lens at its wide open aperture for focusing purposes. When the internal light meter gauges the appropriate aperture given the selected shutter speed, when the shutter is tripped, the body’s arm moves to stop down to the appropriate aperture. Although the T was certainly no professional tool, it was all-metal, durable, and completely mechanical. It would not be until 1972 that Nikon would introduce its first automatic “aperture priority” camera, the Nikkormat EL, and not until the 1980 F3 that it would incorporate aperture-priority autoexposure into one of its professional cameras.

The trend during the mid-1970s was the production of smaller-bodied SLRs. The 1972 Olympus OM-1 is probably the most famous of these. Following suit in 1976, in a major departure from its bulky T/T2/T3 series, Konica introduced the consumer-oriented “TC” (or “ACOM-1” in Japan). Although the specifications of the TC were not particularly impressive, it did sport one of the newest, most durable, reliable, if not the loudest, of the Copal mechanical shutters: the Square CCS-M. The TC sold very well for the time and was produced all the way into 1982. With Konica’s flagship T3 becoming a little long in the tooth, Konica introduced the T4, incorporating the essential features of a T-series camera into the general frame of a TC. Over the TC, the T4 had a variety of additional features, such as slow speeds down to 1 second, a depth-of-field preview lever, double exposure capability, the ability to use an external motor drive, a battery check light, a brass rather than plastic baseplate, and a slightly brighter focusing screen. Because the T4 was arguably uncompetitive in 1978 with the new generation of electronic-shutter SLRs, Konica quickly replaced it with the motor-driven, electronic-shutter FS-1 in 1979, and then the more basic electronic-shutter FC-1 in 1980. The T4 was Konica’s last mechanical-shutter camera until the 1985 TC-X.

During the late 1970s, Konica began outsourcing the production of some of its final generation of SLR lenses to Tokina. These later lenses are generally identifiable by a minimum aperture of f/22 rather than f/16. Konica’s standard kit lens for the T4 was a “new” version of its 50mm f/1.7, with the Tokina-sourced 40mm f/1.8 beginning to replace it in 1979. While the 50mm f/1.7 Hexanon is perhaps one of the great standard bundled lenses of the 1970s, the 40mm f/1.8 is fairly average.

Specifications

Lens Mount	Konica AR
Minimum Aperture	f/16
Shutter	Copal Square CCS-M
Shutter Speeds	B, 1 – 1/1000
Flash Sync	1/125
Viewfinder Coverage	90% / 0.89x
ASA Range	25 – 1600
Batteries	2 x PX625
Weight	530g

Operation

Viewfinder: Although the T4 viewfinder is a little brighter than TC, it is still somewhat dim even with lenses faster than f/2. The 90% viewfinder coverage and 0.89x magnification are average for the class of camera. The non-interchangeable focusing screen is a standard split-image type. On the right hand side of the viewfinder displays apertures from f/1.7 to f/16 with a black needle indicating the correct aperture given the selected shutter speed. What is rather disappointing is that although the camera will correctly meter and expose at all apertures in a particular lens’ range, the display itself does not include f/1.4 or f/22. The manual addresses this and states for f/1.4 lenses to use part of the “red underexposure area” for lenses with apertures wider than f/1.4. The FS-1 and FC-1 would introduce a new LED viewfinder that displayed apertures from f/1.4 to f/22, and that viewfinder would continue to be used through the FT-1 (but not the TC-X).

Shutter: The Copal CCS-M shutter was brand new in the mid-1970s and was one of the most robust, accurate, and loudest mechanical shutters of the era. The T4’s top shutter speed of 1/1000 was typical of most consumer cameras at the time.

Exposure Lock: The T4 continued in the Autoreflex tradition of being able to lock the exposure through a half-depress of the shutter release. Many other cameras of the era either did not have an exposure lock, used an external button for exposure lock, or had an external “backlighting” compensation button. Exposure lock was noticeably absent from the next three Konica bodies: the FC-1, the FP-1, and the FS-1. The feature would not return until the 1983 FT-1.

Motor Drive: The T4 was the first of three Konica bodies that could use an external autowinder, the others being the FC-1 and the FP-1. The T4’s proprietary winder can only advance the film (at a slow 1.8 fps) and also adds to the significant noise that the shutter generates.

Depth of Field Preview: The T4 retains the traditional capability to evaluate the depth of field via a switch on the right side of the lens.

On/Off Switch: The T4’s “on/off” switch is activated by slightly pulling the film advance lever backwards, which turns on the meter. To turn “off” the camera, press the large and prominent button on the back of the camera, which will push the advance lever forward. Nice and simple.

Manual Operation: Because the batteries only power the meter/autoexposure system, the camera will operate at all shutter speeds mechanically.

Battery Check: The T4 has a very prominent battery check button with a large red light on the back of the camera that will turn bright red if the batteries are still good. The light is a little overkill for its purpose, but it is better than not having it, I guess.

Flash-Sync: The T4 has a respectable X-sync flash speed of 1/125. The later electronic-shutter FC-1 and FT-1 have a maximum flash sync of only 1/60 with non-proprietary flashes.

Bad Leatherette: With the TC and T4, Konica used some sub-par leatherette that shrank throughout the decades. It looks really bad. Best bet is to scrape it all off and buy one the aftermarket covering for them.

Mercury Batteries: By 1978, most major manufacturers had already discontinued the use of mercury batteries for cameras. The T4, like the TC before it, requires two PX625 1.35V mercury batteries for accurate metering. Although there are multiple ways to substitute the PX625s (Wein cells, MR-9 adapter for silver oxide batteries, wiring in a diode, etc.), none of them are particularly pleasant.

Smallish: While the T4 is noticeably smaller and lighter than the T/T2/T3, the FC-1 and FT-1 are also around the same physical size.

Conclusions

As the swansong of the Autoreflex line, the short-lived T4 incorporates all of the most important features of the “T” line into the smaller frame of the TC. If you prefer smaller and lighter SLRs, or dig the TC but want more functionality, the T4 may suit your needs. Apart from the typical failings of any 1970s SLR, like the light meter, the T4’s robust mechanical shutter can last a long time. Otherwise, there is nothing particularly interesting or innovative about the T4 for the time period it was produced. For me and for those who do not mind electronic shutters, the 1983 Konica FT-1 remains the best Autoreflex-mount camera.