Bodies & Lenses
Contents
(Scroll down or click on Links)
Model Classifications
Trim Changes - 66 Models
Feature & Trim Changes Timeline
Locking Levers
Locking Knobs
Focusing Hoods & Logos (Finder Marks)
Film Winding Knobs
Focusing Knobs
Spool Knobs (Spool Supports)
Control Wheels (Dial Knobs)
Red Windows (Film Windows)
Coloured 66 Cameras
Lenses
Bokeh
Shutters
Flash Sync (WARNING!)
Crank Wind (WARNING!)
Fresnel Lens Focusing Screens
Internal Light Baffles
Bodies
Evidence is that the development of the Yashica TLR range is one of evolution rather than revolution. The Yashica TLRs have aluminium die cast bodies. Observation of photos and examination of my own cameras suggests that there are really only two basic body style castings for 66 cameras (ignoring any changes required purely by the introduction of the crank wind mechanism of the Mat) between the Yashima made Pigeonflex of 1953 and the last Yashica Mat-124G of 1986 and even these changes were cosmetic. The Pigeonflex, Yashima Flex and first of the Yashica Flexes/ Yashicaflexes had short hinge plates or “strap holders” in Yashica speak and a different front panel design surrounding the focusing lens board panel. The full width strap holders and new front panel were introduced probably early in 1955 and basically remained unchanged.
Photographic confirmation of the close link to Rolleicord design and the dominant Pigeonflex DNA throughout the Yashica range can be found in Design Heritage.
The Yashica 66 assembly diagrams (“assembling charts”) for models from the Yashica A onward (only available from this model on) confirm that the basic carcasses and most parts changed little over time or between models, except for the added complications of crank wind. Below are assembly diagrams for the the Yashica A and D bodies and the Yashica-Mat and Yashica Mat-124G bodies. There is not much difference within each of the knob wind and crank wind categories and it is obvious how the crank wind developed from the knob wind:
(Assembling charts courtesy of Tom Heckhaus)
(Click on images to view full size)
Hoods and their mechanisms, apart from the lack of the sports finder on the Pigeonflex, appear near identical across the range, except for minor trim details, as do backs, except for minor pressure plate details; red window or not and the loss of the two screws around 1960. Lenses and shutters are fitted in their own assembly which is separately attached to the focusing panel. Changes here don’t affect the rest of the body.
The first three cameras below represent the period 1953 to 1955. The second three represent the period 1956 to 1966. The two Yashicaflex cameras are both “S” models, the first with the early style body, the second with the later style. The Yashica D is from approximately 1965, however, the first version was released in 1958. The Yashica Mat-EM is from near the end of that model run.
(Pigeonflex & Yashimaflex images courtesy of Tom Heckhaus)
The 44 models (44A and 44LM assembling charts below) followed similar design parameters to their bigger and older siblings. The carcass of the 44 (not shown) is very similar to the 44A but the 44LM carcass underwent considerable detail redesign, including the way the back fitted to the body.
(Assembling charts courtesy of Tom Heckhaus)
(Click on images to view full size)
Start Marks & Film Counters
This section covers all models. The Yashica 24 and later cameras have a slightly different arrangement with start mark positioning. More details are in the Yashica 24, Yashica 12 & Yashica Mat-124 entry in “66 Models”.
Models with red windows do not make use of camera start marks - they simply make use of the numbers printed on the film backing. Models with auto-stop winding and a film counter need to correctly position the film before the back is closed, hence the need for a start mark. The early pre-War Rolleiflex and Rolleicord models used a red window on the bottom for this, a system later revived by the Yashica-44 and other Japanese 4x4 TLRs - see below. The need for any start positioning was eliminated by the fully automatic system on the Rolleiflex “Automat” model first introduced in 1937 but the Rolleicord models received a simpler system, I'm not sure when but it is in the user manual for the Rolleicord III model introduced in 1950. This uses two red dots low down either side of the main chamber to position the start marks on 120 roll film.
In 1954, the Yashica Flex S introduced a similar system for Yashima 66 models using cast triangles instead of dots. Initially, the Yashima system was simpler and the counter had to be manually reset to the start position with the counter reset button. This is also the system commonly found on Yashica-44 and most Yashica 44LM examples. However, around early 1957, the reset button on 66 models was replaced by a rod that was pushed down by the back and effectively tripped the reset automatically, somewhat similar to the Rolleicord system. The primary start mark in all models with the marks is a cast triangle located at each side of the film path, except in late Mat-124s and all 124Gs and 124Bs which only have a left side mark. In models before the Yashica 24, the cast triangles are at the mid-point of the back of the camera, in the 24 and later models, low down:
Yashica Flex S left image and centre with film counter and reset button. Right image is of Yashica 24 with low set red triangle primary mark for 220 film (120 mark in the film chamber). Note protruding rod, far right bottom corner, which performs the reset function when the back is closed. The actual frame counting is done by a toothed wheel on a spring loaded shaft in the film take up chamber.
Once start marks appeared, they were present in all bodies, including in cameras with red windows. That is because cameras with either type of film advance used the same carcass. In models which didn't make use of the start mark, the triangles were left black, otherwise they were painted red to make them visible and indicate that they were active.
The 44 models are a little different. The Yashica-44 has a start mark which is inactive and left black. Its red window is used to set the first frame but then the process is automatic as with 66 models with film counter. The Yashica 44A is a fully manual camera without film counter that operates like a Yashica A. It also has an inactive start mark because it inherited this from the Yashica-44 (the carcass is the same). All export Yashica 44LMs appear to operate the same way as the Yashica-44 but at least some Japanese domestic market 44LMs do not have a red window and have the start marks painted red. They also don't have a manual counter reset button. I believe that the reason for the red window on the Yashica-44 and export 44LM models was related to problems with the way 127 films were marked at the time making them unsuitable for using with the provided start marks. Indeed, the red windows on these models would have been an extra complication and cost rather than a simplification as has been implied on some sites. See also 44 Models.
The really interesting thing about start marks is that they first appeared in the Yashica Flex B (three cameras in my database have their backs open, all have the marks, inactive of course and Tom Heckhaus has confirmed that his camera has the marks as well). The Pigeonflex didn't have them, I have seen no internal photos of a Yashima Flex but doubt that these would have them, a fact confirmed for his example by Tom Heckhaus. None of the first three models needed them or used them so why does the Yashica Flex B have the marks? The first model to need a start mark was the Yashica Flex S. The evidence is that the Yashica Flex B was still in production when the Yashica Flex S was released so perhaps both cameras inherited the revised body casting at the same time? The problem is that at least one of the Bs seems to be an early example and Tom's camera is in the middle of the range. It is also possible that Yashima knew that they were going to release a more advanced model and prepared for it. The third possibility is that the Yashica Flex B and Yashica Flex S coexisted for a far longer period than many have believed (discussed further in 66 Models).
Film Path
On 66 models, film is loaded into the bottom chamber, after which it turns 90 degrees before being exposed and pulled up into the top film chamber by either knob directly connected to the film spool or by gears on crank wind models.
On 44 models, film is loaded into the top chamber so that it travels flat down past the exposure chamber before turning 90 degrees towards the lower film chamber. This reduces possible problems with film flatness at the time of exposure. Unlike the knob wind 66 models, the winding knob on the basic 44A connects to the bottom spool via gears (as does the winding knob on the 44LM but this has more in common with the crank on the Yashica-44).
Dimensions
The following table shows approximate typical dimensions and weights of both 66 and 44 series cameras. It is a guide only and makes no pretence at being accurate.
Series |
Height to Top of Hood |
Hood Size |
Width Across Back |
Body Only Depth |
Typical Depth incl. Lens |
Weight |
66 |
145 mm |
70x70 mm |
77 mm |
72mm |
100mm |
900 - 1,100 g |
44 |
125 mm |
55x55 mm |
64 mm |
58mm |
80mm |
680 - 710 g |
44LM |
125 mm |
55x55 mm |
68.5 mm |
58mm |
82mm |
820g |
The basic core body dimensions of each series is constant, except for the following qualifications:
- Height is to the top of the closed hood, e.g., meter protuberances are not included. Meters add little if any height except for the Yashica 44LM which is 5 mm taller at 130 mm.
- Height of older Yashicaflex and earlier cameras with Pigeonflex-like locking knob is approximately 2 mm less because of shorter leg height.
- The Yashica 44LM uses the same size back as the 44 and 44A but the back closes inside the carcass which is wider at 68.5 mm.
- Basic depth measurement does not include the focusing lens board which was measured at 12 mm on a Yashicaflex S and 13 mm on a Yashica Mat-EM and 9 mm on a Yashica 44.
- Depth of camera with lens is average. Some with Bay 1 can be up to 4 mm more, models with plain mounts are around 97 mm. 44A is approximately 78 mm.
- Buttons and knobs are not included in measurements. However, for example, a crank wind Yashica Mat-EM was measured at 103 mm and a Yashicaflex S with its meter and knobs was 109 mm. Other knob wind 66 models with button release (film counter versions) are typically around 98 mm wide and red window models are 1-2 mm less. The Yashica 44 is approximately 86 mm wide and the 44A and 44LM are both 90 mm.
- The weight range is from basic Yashicaflex to Yashica Mat-124G and Yashica 44A to Yashica-44.
Model Classifications
Where the name is on the nameplate, it is easy e.g. “Yashima Flex”, “Yashica D” and “Yashica-Mat” (with its various flavours). However, there are at least 11 Yashicaflexes plus variations and the only clues to model are feature sets. The Yashicaflex C is an exception in that it has both a unique hood logo and “Model C” inside near the feed spool at the bottom. Care needs to be taken as sometimes both shutters and lenses can change in a model run e.g. the shutter on the Yashicaflex S changed from NKS-FB to Copal, the lenses on Yashica Ds and 635s changed from Yashikor to Yashinon.
Having said that, lenses, shutters, winding method and exposure meters are the main determinants of model type. The Yashica Flex S of 1954 is famous for being the first Japanese camera fitted with a built in (uncoupled) exposure meter. It also introduced Bay 1 filter mounts and auto-stop winding with a film counter (initially with reset button, then full auto from mid Yashica C & LM model runs) to Yashicaflex cameras. Subsequent fully featured premium cameras had the Bay 1 mounts and film counter. Budget models, culminating in the long running Yashica A, retained both the plain filter mounts and the rear red window for frame counting. To make things more interesting, there were in-between models with a mix of these features.
Trim Changes – 66 Models
(for 44 models, see individual model entries)
There was a constant change of relatively minor trim details. In the mid 50s, these “improvements” usually appeared across the model range at a similar time without being saved up for a new model e.g. many models started with a “bent strap” locking lever but later received the more substantial “moulded” type (there was an earlier type introduced by the Pigeonflex and a later basic variant seen on Yashicaflex A, A-II, Rookie and Yashica A models). This change occurred with the very late Yashicaflex S model, middle of the Yashica LM run and very early Mat. The Yashica LM had the accessory shoe move from low set to high position, hood redesign, locking lever redesign, change from semi to fully auto film counter reset, new style spool knobs and move of serial number to the nameplate light meter flap all at different times in the model run.
Feature & Trim Change Timeline
This table and the Yashica TLRs & Specs Table in the “Models & Specs” section together provide a multi-dimensional view of the Yashica model hierarchy and spread at any given time. (Note, this table does not include the Yashicaflex AS-I or Yashicaflex AS-III as not enough is known about their features and trim.)
(Click on table for full screen view)
Notes
The introduction of the new style body with the long strap holders probably occurred in the first half of 1955. A photo of a Yashicaflex A-I or A-II, still with short strap holders, appears on the cover of the influential Japanese magazine Shashin Kōgyō (Photographic Industry) No. 34 of April 1955 (see Camera-wiki.org). It is believed that the Yashicaflex C was released in September 1955. It was the first model without the earlier body version.
I have referred to “premium” and “budget” models. Some models such as Yashicaflex AS-II and A2 are middle of the road with some features from each category. The dark blue cells represent the models that were in production at the time that a change was introduced but to put this into perspective, the change in spool knobs, for example, occurred at the very end of the Yashicaflex S model run and at the very beginning of the Yashica A. In between models were affected at different points in their model runs.
Some dates in particular are problematic in that although changes still occurred in the middle of model runs, sometimes they appear to have occurred 12 months or more apart between different models. Only a theory but perhaps production was done in batches and stock warehoused for later sale. One example that supports this theory is the Yashica LM. Some net sources suggest a model run of 1956 to 1957, although there is one source that suggests 1961. In terms of trim details etc, 1958 looks about right (e.g., it never received the new narrow “Y” hood logo that other black models did in 1959) but the LM appears in surprisingly large numbers on eBay. It also still appeared in the 1958 Central Camera Catalog and the 1960 Olden Camera Catalog suggesting that it was available for much longer.
Locking Levers
The change from “bent strap” to “moulded” locking levers in 1957 was a simple but key event that helps with dating cameras from that period. However, there are other subtleties as well, mainly affecting earlier models.
What is a “locking lever”? It is the strap on the camera base that moves in and out to secure the hinged back to the front panel of the camera. On the early cameras, it was two piece with a hinge in the middle and on later cameras, it was one piece. In assembling charts, Yashica called it “locking lever” up to and including the Yashica Mat-LM/EM and “locking arm” after that. In user manuals, they also referred to “back cover locking bar” (Yashica 24) and "back cover latch" (Yashica Mat-124G).
The linear in-out movement is caused by the transfer of rotational motion from the central, circular mechanism which incorporates the tripod socket. In other sections, I have already called this the “locking knob” even though on early models it is more of a lever itself and it is a term that as far as I am aware, Yashica never used. In assembling charts (commencing with the Yashica D), the knob is simply called the “eccentric ring”. In the Yashica D user manual, Yashica asks you to turn the “tripod socket” to lock or unlock the back. The Yashica Mat-124G user manual refers to the “back cover locking ring”.
Rollei-like Pigeonflex locking lever shown closed and open.
Except for knob trim, these continued unchanged on the Yashima Flex, Yashica Flex B and on the new budget Yashicaflex A-I and A-II models until the cable shutter release was replaced on the Yashicaflex A series by the press button release on the later, long strap holder bodies.
Illustrated below is what I mean by “bent strap” locking lever and “moulded” type (introduced in 1957), for want of better descriptions. These levers were fitted to all higher and mid spec models from the late Yashicaflex S forward but also to some lower spec models.
The bent strap first appeared on the Yashicaflex S and Yashicaflex AS-II models but initially, the bent strap was used with the Pigeonflex locking mechanism in a hybrid arrangement – see far left (Yashicaflex S Copal shutter version shown with two ring knob). Later cameras are identical to the later Yashicaflex S and early Yashica LM second and third from the left. The right hand cameras with moulded levers are a Yashica Mat-LM and EM but this style already appeared on the last of the Yashicaflex S cameras.
The moulded levers changed to black on the Yashica Mat-124G and Mat-124B.
With the replacement of the Pigeonflex style locking lever on later Yashicaflex A-I and A-II production, they and the subsequent Yashica A and Rookie models, received the new locking mechanism and knob but the bent strap which acted as a steadying foot was replaced by a marginally simpler, hook-like arrangement seen here on a late Yashicaflex A-II.
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This carried through to the end of Yashica A production in the late 1960s.
Locking Knobs
Whilst the early flat lever remained the same until replaced by the “bent strap” or Yashicaflex A/ Yashica A type, the knob detail and arrow graphics did change. The Pigeonflex started with two rings. Of two Yashima Flex cameras, the later one appears to be the same as the Pigeonflex whilst what appears to be the earlier camera, is the same as early Yashica Flex B examples which came with four thin equally spaced rings (this is back to front from what I would expect but with only 2 examples, there is nothing definitive, one may have a replacement back). Later Yashica Flex B cameras had two thinner outer rings and a thicker inner ring. The three ring version carried over to the very first of the Yashicaflex A-I examples and also appears in the Yashicaflex A user manual. First the four and then three ring knobs are found on early Yashica Flex S examples with NKS-FB shutters before the new two ring style appeared. The four ring knobs on the Yashima Flex (2nd from left 1st row below) and Yashica Flex B (not shown) have an arrow with the three little strokes for tail feather like the earlier Pigeonflex and Yashima Flex but the first four ring Yashica Flex S (2nd from left 2nd row below) has an outline of a long double sided feather. The three ring Yashica Flex S knob has an arrow with single, long feather like later cameras with the new two ring knob style (on the Yashicaflex S and A series, first in outline, then filled in).
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(Images 1, 2, 3, 4, 5, 6, and 12 courtesy of Tom Heckhaus, image 10 courtesy of Göran Årelind)
The locking knobs above are, left to right:
1st row:
Pigeonflex; Yashimaflex; Yashica Flex B (first found with four rings and then three)
2nd row:
Yashicaflex A-II Y.S.K. shutter (although very early, it already has the new two ring style but there are early A-I examples, including the A-I, or more likely A-II, in the user manual, with three rings); Yashica Flex S NKS-FB shutter 1st type; Yashica Flex S NKS-FB shutter 2nd type
3rd row:
Yashicaflex S Copal shutter early body; Yashicaflex S Copal shutter late body; Yashicaflex A-II late type (same as A-I late and Yashica Rookie and Yashica A)
4th row:
Yashica A without “Made in Japan”; Yashica Mat-EM; Yashica 635 with black plastic knob from Yashica Mat-124G
There were fewer changes to the new style locking knob (images 8 to 12 above). Of course the leatherette insert changed to match the camera covering's colour and texture. Although originally without text, “Made in Japan” was soon added during Yashicaflex S production (my fairly late example with serial number 71513, shown above, has it already as does my Yashicaflex A-II with highest serial number in the database, 214617). However, there was a period, or periods, in about 1957 to 1958 or 1959 when “Made in Japan” was again absent from the knobs. With the Yashica A, it seemed to coincide with the period that either “Made in Japan” or “Japan” was engraved in the accessory shoe. With the Yashica-Mat, it was there for the 75 mm Lumaxar lens versions which had a blank cover plate under the crank. The versions with 80 mm Lumaxars and all later ones with Yashinons had a cover plate with “Made in Japan” so at first, “Made in Japan” disappeared from the locking knob but it returned just before prefixed serial numbers were introduced. Although this seemed to affect all models, I am not aware of “Made in Japan” appearing elsewhere on the camera apart from the Yashica A and Yashica-Mat. The Yashica C example below has it in the film feed chamber but I don't know if it also appeared on its locking knob or not (most Yashica Cs, but not all, do have it on the locking knob) or how widespread the practice was or which models were affected:
(Detail from larger web image)
Initially, “Made in Japan”, was engraved and the letters filled in with black but on later chrome knobs, like the Yashica Mat-EM above, it looks stamped or some such coarser process. With the introduction of the Yashica Mat-124G in 1970, the locking knob on cameras remaining in production changed to black and material of the outer ring changed from metal to plastic. The last four of five Yashica Ds have “Hong Kong” instead of “Made in Japan”:
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(Image courtesy of Leigh Harris)
The fifth camera, the last in the series, has a Hong Kong serial number prefix but the locking knob simply has “Japan” with the engraving filled in with white paint. There is also a meterless Yashica Mat-124G called the Yashica Mat-124B which was assembled in Brazil. This has “Brasil” in white on what looks like a metallic ring insert (see the appropriate entry in “66 Models”).
(Image courtesy of Sandu Baciu)
Focusing Hoods & Logos (Finder Marks)
What Yashica call “finder mark” in their assembling charts, I call “hood logo”. Some of the logos also appear on cases and other items and the term itself is also confusing, at least to me. This, plus a couple of others further down, are my few conscious departures from Yashica practice.
(Fourth image top row courtesy of Jean-Marie Bussiere, all other images courtesy of Tom Heckhaus)
Apart from models without logos (e.g. Yashica Rookie, third from left top row with pins for 6 x 4.5 viewfinder mask), four basic styles were used from Yashima Flex to Mat-124G. I refer to these as the “stylised Y”, the “Yashicaflex C oval” (short lived but now known to be found on the Yashica Hi-Mec also), the “narrow Y” and the “wide Y”. The first style logo was in place from the 1953 Yashima Flex through to the early Yashica-Mats and Yashica 635 around 1959 and perhaps Yashica D of 1958 (only one early black D in my database). The outer silver square on the hood of the Yashica LM and other earlier camera models in production at the time disappeared in the early part of its model run (probably early 1957). Coloured cameras received the “narrow Y” first (see below). The fourth style logo was introduced around 1965.
There were variations in logo colour and size. The first logo had a minor variation around early 1955 when the outer ring became more prominent (Yashica LM, 1st from left, middle row). The logo itself is a black stylised “Y” on a black triangle on a black background, the graphics outlined in silver. In 1957, the colour of the triangle was changed to white and the thick enamel changed to paint on a textured background. This affected all models in production at the time plus the new Mat received a gold “Y” in place of black to signify its superior status.
The Yashicaflex C oval is silver with red writing. On the Yashica Hi-Mec, it has black writing. The Hi-Mec turned into the Yashica LM and the logo reverted to the stylised “Y”.
The first narrow “Y” was on a gold background and was used only in 1958 to 1959. On the Yashica A and D, I have only found it on the coloured examples. It appears from my database that whilst the coloured versions of these cameras were in production, no, or virtually no black versions, i.e., with black leatherette, were available. The gold version does appear on both grey and black Yashica B and Auto examples, I think because both grey and black versions of these two were in production at the same time. Other models only available in black such as the Yashica-Mat, Yashicaflex B and Yashica 635 retained their earlier logos. Although these cameras may have been considered more serious, it may simply have been the case that the gold logo was introduced to work better with light coloured leatherette. The logo soon changed to a blue background on both coloured and black cameras including the Yashica-Mat and Yashica 635 (except for the Yashica Auto with its gold logo and the Yashicaflex B and Yashica C and LM with their earlier logos which may have all ended their production runs by this time). Earlier Yashica Mat-EMs from 1964 had a unique silver background before all cameras still in production in 1965 changed to the “wide Y” (half of the Yashica EMs in my database have the earlier type and half the later type).
The earliest Yashica 44A and 44LM examples also had the gold background logos before changing to blue. It was probably at about the same time that the last of the earlier Yashica-44 models also received the blue background focusing hood logos, their first of any type.
There were variations of the “wide Y” as well. They were initially silver but some look “warm” and some look “cool”, even for the same model - a trick of the eye? I reckon that I have two of each! The Yashica Mat-124G has a gold logo.
Below are some rear views of hoods. The change from three reinforcing panels to two and the splitting of parallel bars occurred at the same time as the silver squares on the front changed from two to one (early 1957 or thereabouts):
(First pair of images courtesy of Tom Heckhaus)
Yashima Pigeonflex on left with no bars on the rear of the focusing hood, standard with the earlier “Yashima Seiki Co., Ltd.” on the nameplate and the first half of cameras with “Yashima Kōgaku Seiki Co., Ltd.” The second hood with short, black parallel bars belongs to a Yashima Kōgaku Seiki Pigeonflex but there is only a couple of these. Note that unlike the earlier type , there is no hood rest bar. There is at least one late example without parallel bars that doesn't have the hood rest as well as the the Pigeonflex with highest serial number which adds a small silver knob to provide a finger grip for raising the focusing hood:
(Image courtesy of Sandu Baciu)
The reinforcing on the rear panels on all Pigeonflex types is almost identical to the early Yashica LM next to it (third hood from the left) except that there is no cut-out for the sports finder. The fact that the square shape was there in the right place - was that planning for the future, or copying a model with cut-out already, or perhaps just coincidence? Although the first third of Yashima Flex examples in my database are quite different to anything else, see below, the later Yashima Flex cameras already looked identical to the Yashica LM including the continuous parallel bars. Late Yashica Mat-EM shown on right but the split bars and two panel reinforcement on the rear of the hood can be already found on late Yashica Cs and LMs and all Yashica-Mats and Yashica Ds for example. In about 1968, the parallel bars and silver hood rest bar changed to black on all models still in production.
The first Yashima Flexes, with NKS shutter still, are unique. These have a split top bar and continuous bottom bar on the rear of the hood. They also have a completely different blind, or rear panel (left pair of photos below), which resembles the Rollei style and the complete assembly, including the silver bars, looks very similar to the Shinano Pigeonflex Model IA (middle pair of photos). Coincidence? The first camera with NKS-TB shutter received the later style blind based on the earlier Yashima Pigeonflex but it also has the short bars of the Pigeonflex (its not a Pigeonflex hood because it has a sports finder) before the next camera introduces the pair of long parallel bars which became standard (end pair of photos). Incidentally, unlike the Pigeonflex above, the bars are silver because they have had their face rather coarsely filed by either Yashima or a subsequent owner.
(Image 1 detail from larger web image, images 2, 4 and 5 courtesy Sandu Baciu, images 3 and 6 courtesy of Tom Heckhaus)
Film Winding Knobs
Film winding knobs are relatively simple affairs. On the Yashima/ Yashica made TLRs, they are characterised by a film type and/or film speed reminder function which is set by turning the dial, with the aid of two pins for grip, to the reference mark. The style of reminder scale developed over time and variations appeared at much the same time across all models. In around 1958, the film winding knobs on “Yashica” named models changed to a half silver, sometimes referred to as white, (for DIN scale), half black (for ASA scale) face with complimentary text colour. Late Yashicaflexes perhaps didn't change because they had no need of the dual DIN/ASA scales for the domestic Japanese market. Earlier scales were very similar in appearance to each other with film type or film speed displayed on what I will call “flags”, usually on a black background.
First Models
The Pigeonflex debuted with 6 film type reminders in white flags on a black background. It remained unchanged on the Yashima Flex and Yashica Flex B except that the knurling on the film winding knob was finer on the later models (see focusing knobs below). The chrome centre of the knob is a screw-in cover for the retaining nut.
(Click on image for larger size)
Premium Models with Auto-stop Function
The Yashicaflex S had a film counter and auto-stop function so it received a film release button in the centre of the knob. Initially, it had a hybrid arrangement with 6 inner, flatter, flags with the same type of film reminder as before but now also an outer ASA film speed scale. Later Yashicaflex S and other models received a simplified knob face with ASA film speed reminder only in 8 silver flags with speeds 10, 16, 25, 32, 50, 100 and 200 (plus “ASA”) with 10, 16 and 32 in red type. Very shortly after, the number of flags increased to 9 with the addition of ASA 80. Speeds 10 to 32 are now all in red type. There was also a very minor simplification of the flag graphics. The last type has the dual DIN/ASA scales.
Here they all are:
(Click on image for larger size)
(Second image courtesy of Tom Heckhaus)
There are three Yashica C and eight Yashica LM cameras in my database with 10 flags each. These have film speed reminder scales in the German DIN scale used in Europe and metre focus distance scales whilst all the rest of the cameras in the respective model series have feet scales with film speed reminders in ASA. This suggests that these two were export only models - USA for feet focusing scales and Europe for metres. Three Yashicaflex AS-II cameras with a metre focus scale also have the 10 flag DIN film speed reminder. These are mixed in with examples of this model with ASA reminders and both metre and feet focusing scales suggesting that this model was intended for both the domestic market and export.
(Detail is from larger image on the web)
Budget Models
The budget models were different. There were two basic categories. The Yashicaflex A-II had film counter and auto-stop function so it needed a release button in the centre like the premium models but in place of the flags was a ring of black leatherette on early models. The last iteration of the Yashicaflex A-II received the fully featured film winding knob from the Yashicaflex S, Yashicaflex AS-II and by then, Yashicaflex C.
(Click on image for larger size)
(Image courtesy of Tom Heckhaus)
The early Yashicaflex A-I had a plain black leatherette, full diameter insert in place of the chrome centre and flags of the first models. With red window instead of counter and auto-stop film winding, it didn't need a release button in the centre. The most recent Yashicaflex A-I cameras received the outer flags of the premium models but with a black leatherette disc in the centre in place of the chrome button or the earlier cover plate. This arrangement continued with the Yashica A with both its 9 flag and black and white film winding knobs (seen here in light grey leatherette instead of black). The Rookie was unique with both a black leatherette centre and a plain leatherette outer ring separated by a chrome trim ring (Yashica A knob with flags replaced by leatherette).
(Click on image for larger size)
(Images courtesy of Tom Heckhaus)
As with the Yashicaflex AS-II and Yashica C and LM, there are also three early Yashica As with a 10 flag DIN film speed reminder scale (and metric focus scale) almost certainly destined for European export.
(Click on image for larger size)
(Image
courtesy of Göran Årelind)
The earlier cameras have coarser knurling on the film winding knob but all, except the early Yashicaflex A-I and the very first examples of the A-II and AS-II, have knurling on the outside half only (see photos below in “Focusing Knobs”). The early Yashicaflex A-I, with the full leatherette covering, has full width knurling with a centre groove (the other two have the outer leatherette with centre release button which continued for some time but the inside knurling disappeared very quickly). This is reminiscent of Rolleicord II models up to 1950.
Other Variations
Whereas other models have silver flags on a black background, Yashicaflex A2 (leatherette centre) and Yashicaflex A3 (release button centre) have white flags on a white background with the outline of the flags in black and red. Yashicaflex A3 shown:
(Detail from seller's image of Leigh Harris’ camera)
Focusing Knobs
Although the knurling on the Pigeonflex was coarser, the Pigeonflex, Yashima Flex, Yashica Flex B and Yashica Flex S with NKS-FB shutter had similar focusing knobs that I have found with metre scales only. The fixed aperture scale for depth of field became more vertical, or flatter, with the advent of the Yashicaflex S with Copal shutter. From this point, scales could either be in metres or feet. A new style knob and aperture scale arrived in early 1956. This changed to dual metre/feet scales in around 1959.
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(Second image from left courtesy of Tom Heckhaus)
Shown here are Pigeonflex, Yashima Flex, early Yashicaflex S with Copal shutter, late Yashicaflex S and Yashica D with dual scales from about 1965.
Spool Knobs (Spool Supports)
First called “film spool locking springs” in user manuals with first the “film” dropped and then the Yashica 24 introduced the name “spool locking knob”. The Yashica description in “assembling charts” is “spool support”.
Early spool knobs were full width and the backing plates were fixed with 3 screws. First the screws disappeared (middle photo, the backing plate now screws in), then very shortly after (probably less than 12 months) the knobs changed to an edge ridge design in 1956. The examples below also highlight the difference between early (first photo) and late body castings. (Note - the 3 screws also still appeared in the first of the later bodies)
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(Second image courtesy of Göran Årelind)
Control Wheels (Dial Knobs)
Most user manuals refer to “control wheel” although, later manuals starting with the Yashica 12 refer to “control dial”. However, the Yashica description in all “assembling charts” is “dial knob”.
(Except for the dull and shiny plain silver wheels, images courtesy of Tom Heckhaus)
The double gold rings are found only on the first 1957 Yashica-Mats with Lumaxar lenses (both 75mm and 80mm). The black leatherette disc is only found on the Yashicaflex AS. The black leatherette ring insert appeared on Mats whilst Lumaxar 80s were still in production. These were also the first type of control wheel on the Yashicaflex B, Yashica 635 and the Yashica D but on the Yashica D, the inserts matched the camera leatherette, i.e., black, grey or cream. Next were the black radials found on Yashica-Mats, Yashica Autos, early Yashica Mat-LMs and Yashica Ds from about 1959. I have found only one Yashica 635 with the black radials and that dates from when the name between the lenses changed to the block style, the same as on the Yashica-Mat and Yashica D but unlike those two, subsequent cameras reverted to the black ring. The first black radials found on Yashica Ds have red centres with a white ring (only found on coloured cameras). I have not found any on other models. The dull or dome shaped silver wheels appeared in 1960 and the shiny wheels in about 1965. The silver with the black and white rings was standard on the Yashica 24, Yashica 12 and Yashica Mat-124 and the all black belong to the all black Yashica Mat-124G.
Red Windows (Film Windows)
The correct Yashica description is “film window”.
Models that do not have auto-stop film winding and a film counter are fitted on the back with a red window with sliding metal cover. The film is advanced manually until the number of the next frame appears in the window. It is important to immediately slide the cover closed again to stop light affecting the film over time. Red windows were originally designed for orthochromatic (red insensitive) B&W film but by the mid-fifties, panchromatic emulsions (sensitive to the full spectrum) became popular and of course, colour film is also red sensitive.
Below are the three types of red windows found on Yashima/ Yashica models.
(Image on right, courtesy of Tom Heckhaus)
The window (in closed position) on the left belongs to a Yashima made Pigeonflex. It retained this style on the Yashima Flex and Yashica Flex B. The 1954 Yashicaflex A-I introduced the style in the second image which was used on all but one of the 66 models with red windows until the end of Yashica A production in the late '60s. The similarly styled, but horizontal, third window belongs to a Yashica Rookie which was designed to use 120 film in either 6 cm x 6 cm format or 6 cm x 4.5 cm format (120 film is marked with frame numbers for both formats).
Coloured 66 Cameras
Some cameras were available in coloured leatherette and/or metal work for a brief period between 1958 and 1960. These camera models are Yashica A, B, D and Auto. There are also Yashica A examples with grey leatherette and grey or black metal work without hood logos which evidence suggests are called Yashica AIII in the domestic Japanese market but are otherwise identical to the Yashica A. Light grey leatherette and black metal work is the most common and is the only combination found for the coloured Yashica B and Auto examples. Both the Yashica A and D are also found with light grey leatherette and grey metal work (rare) and cream leatherette and brown metal work (extremely rare).
Model |
Colours Found |
|
Metal |
Leatherette |
|
| Yashica A | Black | Black |
| Black | Grey | |
| Grey | Grey | |
| Brown | Cream | |
| Yashica AIII | Black | Grey |
| Grey | Grey | |
| Yashica B | Black | Black |
| Black | Grey | |
| Yashica D | Black | Black |
| Black | Grey | |
| Grey | Grey | |
| Brown | Cream | |
| Yashica Auto | Black | Grey |
| Black | Black | |
I have found few black versions of the Yashica A and D in the period that colour versions were being produced (1958 to maybe 1960). The exceptions so far are that the first grey Yashica A/AIII is followed by two black Yashica As (there were a lot of black Yashica As from 1956 and 1957 before the coloured ones started) and perhaps one black Yashica D follows the first three coloured examples (not definite but it is the only black Yashica D until the coloured ones ceased). It seems that both black and grey versions of the Yashica B and Auto were available at the same time. They are also the only black cameras found with the narrow “Y” on gold background hood logo (the Yashica B also received the updated blue background logo on later examples).
Lenses
Lenses |
Focal Length |
No of Elements |
Viewing Lens Aperture |
Models Fitted To: |
| Tri-Lausar | 80 mm |
3 |
f/3.5 |
First models, Yashica Flex S |
| Heliotar | 80 mm |
3 |
f/3.5 |
Yashicaflex S, Yashica Hi-Mec |
| Yashimar | 80 mm |
3 |
f/3.5 |
Flexes, Rookie, Yashica A |
| Yashikor | 80 mm |
3 |
f/3.5 |
Flexes, knob wind Yashicas |
| Lumaxar | 75 mm |
4 |
f/3.2 |
Yashica-Mat |
| Lumaxar | 80 mm |
4 |
f/3.2 |
Yashica-Mat |
| Yashinon | 80 mm |
4 |
f/3.5, 3.2, 2.8 |
Crank models, E, late D & 635 |
| Yashikor | 60 mm |
3 |
f/3.5 |
44, 44A |
| Yashinon | 60 mm |
4 |
f/3.5 |
44LM |
Note: All taking lens apertures are f/3.5
66 Models
As far as it is known, all triplet lenses (three elements in three groups, more correctly known as Cooke Triplet lenses after the inventor) were sourced from the independent Japanese lens manufacturer Tomioka, later to be absorbed by Yashica (1968) and renamed Tomioka Optical Co., Ltd. in 1969 (Camera-wiki.org). The original version was called the Tri-Lausar (also supplied to many other makers) followed by Heliotar, Yashimar and Yashikor. All, including viewing lenses, were 80 mm f/3.5 lenses. The Yashikor was certainly reputed to be an improvement over the Yashimar but the real differences are unknown and perhaps it was only related to coatings? It has to be remembered too that many of the cameras fitted with Tri-Lausars and Yashimars were basic cameras that have been unloved by subsequent owners. Given poor storage, some will no doubt be troubled by fungus, haze and other ailments. People looking for a cheap entry into medium format are likely to be harsh critics without sympathy for circumstances.
The Yashimars seemed to be designed as budget alternatives from the outset. Following the Yashica Flex B, the Yashica Flex S started with Tri-Lausars and went to Heliotars followed by Yashikors for subsequent top spec models. The Yashicaflex A series started with Yashimars and these remained into the early Yashica A model run.
A new 4 element 3 group Tessar design with cemented rear pair was introduced with the first Yashica-Mat in 1957. These were f/3.5 75 mm lenses (f/3.2 viewing lenses) called Lumaxar and were shortly replaced by 80 mm versions, perhaps later in 1957 already. There was a name change to Yashinon in 1958. The main advantage over the best of the triplet lenses was greater edge sharpness, particularly when used wide open.
The sourcing of the Lumaxar lenses is controversial. There are two distinct views with references. There are also many “experts” expressing “facts” but really just falling into one camp or the other. There have long been rumours of the Lumaxars being sourced from Germany before Tomioka took over the production and called them Yashinons. The only reputable claim I am aware of in support of this proposition is, according to net sources (including Camera-wiki.org), by Mark Hama, the renowned Yashica technician who actually worked in the Nagano, Japan factory. On the other hand, “The Evolution of the Japanese Camera” by Condax and others (NY 1984) claims that all Lumaxars were made by Tomioka and that the change of name to Yashinon was caused by a conflict with a similar registered name in the UK when Yashica was allowed to commence exports.
A little research reveals that Tomioka's first lens, launched in 1932, was a four element Tessar type called Lausar (Camera-wiki.org). In 35 mm guise, it appeared before the War in a Leitz Elmar-like collapsible mount and as a fixed mount on a number of post-War 35 mm cameras. In larger sizes, they existed also as enlarger lenses. There are certainly Lausars which appeared on at least some post-War 6x6 Elmoflex TLR cameras. These were f/3.5 75 mm lenses, just like the first Lumaxars. The three element Tri-Lausars were introduced by Tomioka in the austere post-War period to fill the needs of the budget level mass market. When Yashica began looking for something better, why not use the available higher spec Lausar? Why go to Germany for the same design (Tessar)? It has to be considered that Yashica based its success on outstanding value, not quality at any price. However, remember also that the opposing views are put by a credible and reputable source and therefore the best thing to do is to keep an open mind. Choosing what seems like the more logical answer does not necessarily make it correct. Incidentally, I have attempted to do the obvious thing and write to Mark Hama but have received no response.
The viewing Lumaxars are all f/3.2 as are the earlier Yashinons except the viewing Yashinons on the Yashica E and Yashica Auto which are, unusually and uniquely, f/3.5 (the Japanese site TLR66.com seems to suggest that the Yashinons on these two cameras were rebadged triplets and so does Japanese Wikipedia regarding the Yashica Auto - I have seen absolutely no confirmation of this and my understanding of the Google translation may be incorrect). However, “Yashinon” is a brand name, not a formula like “Tessar” and the 35 mm range encompassed many different varieties and formulas under the “Yashinon” brand. The very last viewing Yashinons, including those where Yashinons were fitted to Yashica Ds and 635s from the late 1960s, are f/2.8.
One final reflection on lenses. From Tri-Lausar on the Pigeonflex to Yashinon on the Mat was around 5 years. Tomioka had many customers for various formats and in the beginning, Yashima would have been a small time player. Before computers, it took years to compute, develop and perfect new lens designs and even then they were usually based on what had gone before. Unless Tomioka had new designs sitting in the wings ready to go, I wouldn’t expect big variations amongst the triplets, more a tweaking and as mentioned previously, maybe coatings (which can have a big impact) or, maybe some of the changes were simply branding exercises. Tougodo continued to use Tri-Lausar branded lenses on its various brands of TLR. If better Tomioka triplets were available, it is reasonable to expect that maybe one of the more advanced models may have been so endowed. If anyone has done any comparative testing, I would love to hear.
44 Models
Lenses are f/3.5 60 mm Yashikors on the Yashica-44 and 44A and Yashinon on the 44LM. The mythical Auto 44 is reputed to have an f/2.8 lens (presumably viewing only). I can only assume that the lenses are of the same construction as their longer counterparts. However, this section would not be complete without noting that at least two websites claim that some 60 mm Yashikors had four elements. I find that very hard to believe. These cameras are well engineered, and it has to be said, pretty, but they were built to a price in a competitive market.
The argument is based on the number of reflections that can be seen, two for each element so that three elements would display six reflections and a four element lens would display eight reflections. The viewing lenses are meant to be the same formula but to be sure, the test is best conducted on the taking lens with aperture wide open and shutter open on bulb. I tested a very early Yashica-44A with Yashikor lenses, a Yashica 44A with Yashikor lenses, a late Yashica 44LM with Yashinon lenses and as a control, a Yashica 12 with Yashinon lenses. In each case, I could only find six reflections! That is simply because the test does work but four element Tessar types have a cemented rear pair still offering only two glass to air surfaces, not four so the reflections are the same as for three element lenses.
Rick Oleson (http://rick_oleson.tripod.com/tessar.pdf) will tell you that it is possible to see a faint extra single reflection from the cemented surfaces (that would make a total of seven, not eight) but that the only way to see that is to isolate the rear pair by removing the group from the camera or, second best, by leaving the shutter closed and looking from the rear of the camera. On the Yashica 12 with its bigger lenses, using fluorescent tube, halogen spot and incandescent light sources alternatively, I am fairly certain that I can see the third reflection but there is also interference from light reflecting from the aperture and/or shutter blades so that is still a bit inconclusive. I am fairly confident that the Yashica-44 with Yashikors only has two reflections. The Yashica 44LM is a dilemma, for a moment I thought that I really was seeing three reflections but I can't reproduce that scenario. This camera was also the worst affected by reflections from shutter and aperture blades (I tried various combinations). Others with better eyesight and technique may have more success.
On the other hand, Camera-wiki.org has details of the 1959 Yashica Future 127 prototype camera which is said to have a three element 60 mm “Yashinon” lens (the reference is respected Japanese magazine Shashin Kōgyō). Does that have implications for the Yashica 44LM? I'm not saying that is the case but it is a question worth asking. As noted in 66 Models above, a lot of assumptions have been made about what “Yashinon” stands for. Apart from a single US Yashica brochure from about 1959 which mentions “four element” for the Yashica-Mat lenses, I have not seen any official Yashica documentation quote the number of lens elements for any Yashinons in the 1959 to 1965 period. That brochure also confirms that Yashica 44A Yashikors “are the same as Yashica-44” Yashikors.
Bokeh
Bokeh is a complete subject in itself and to a large extent it is very subjective and depends on what is pleasing to the individual. I don't intend to discuss it other than to mention certain features of Yashica TLR models that affect it one way or another. I might add that I have seen few complaints with regard to Yashica TLR bokeh but neither have I seen raving praise. I take that to mean that the bokeh can generally be considered pleasant but not something to die for.
Sometimes bokeh is taken to mean how the out of focus highlights are rendered, largely determined by the shape of the lens aperture which in turn is affected by the number of aperture blades. For example, some Yashica models have 5 bladed apertures, which can result in pentagonal shaped out of focus highlights, and others have 10 blades which result in more circular highlight rendering. The following section on shutters has more detail. It should be noted however, that shooting wide open when the out of focus highlights have the greatest impact (at the shallowest depth of field), the aperture blades are withdrawn from the light path and the aperture is effectively circular. Also, both 5 and 10 bladed apertures in Yashica TLRs have curved blades, although as the aperture size decreases, the pentagon formed by the 5 blades becomes more accentuated.
Most definitions of bokeh are more complex but in some respects, also more subtle. As well as highlight rendering, whether the bokeh is pleasing or not can be affected by the particular foreground and background detail, lighting and colour. The traditional Japanese appreciation of bokeh is also very much related to tonal gradation. Apparent sharpness and resolution of a lens do not necessarily contribute positively to bokeh, in fact in some circumstances, they can be detrimental. It also depends on the priorities of the lens designer.
One form of bokeh which seems to be sought by some for some subjects is often called “swirly bokeh”. The reality is that this effect is the by-product of less than perfectly corrected lenses. It is commonly found in triplet type lenses but not in Tessar type. Therefore if swirly bokeh is important, avoid Lumaxar and Yashinon lenses.
Shutters
As lenses with leaf shutters form a discreet unit with the shutter fitted between lens elements, it is often said that “x lens is in a y shutter”, e.g., “Yashikor lens in a Copal MX shutter”. In Yashica TLRs with triplet lenses, the shutter is between the second and third (inner-most) lens element. With the Tessar types it is between the second and third element also, the third and fourth elements being a cemented pair or group.
At different times, Yashima/ Yashica used different models from (or branded) NKS, Y.S.K., Copal, Citizen and Seikosha. The last three companies are relatively well known and Copal is particularly highly regarded and continues to manufacture shutters today. Copal shutters were first used by Yashima at the end of 1954 and exclusively in models released from 1958 on. NKS shutters, said to be a copy of a Prontor II, were made by Nippon Kōsokki Kōgyō, maker of Taron cameras (Camera-wiki.org). Until Tom Heckhaus sent me a picture of his early Yashicaflex A-II (first in my database), I was blissfully unaware of the Y.S.K. brand. More examples have come to light and it is now clear that it was also used on the first Yashicaflex A-I examples. The only other camera that it has been seen on is the Semi Renky made by Rengō Kōki. Examples and the little that I have found out can be found in the “Yashicaflex A-II” entry on the 66 Models page.
Available shutter speed ranges depend on the shutter type fitted to particular models and are covered in “Models & Specs”. Some models have click stops for speed, others don't but there are no "in-between speeds", the speed set is the closest marking. There was a change in the speed progression from the “old” range which with Copal shutters includes 1/2, 1/5, 1/10, 1/25, 1/50, 1/100 and 1/300, or 1/250 plus 1/500 (the basic A series cameras, Rookie and Yashica B had a more limited range) to the “modern” range which substitutes 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250 and 1/500. Across the model range, this started occurring from 1958. The first Yashica-Mats, Yashica 635s and Ds still had the earlier range. The first Yashica-44s (including my 22647) released in 1958 already had the new speeds. I have two earlyish Yashica D user manuals and these show the new speeds already but correspondent Jim Hurtle notes that his long owned Yashica D, D 1020xxx, still has the old speeds. I date this camera to about 1961. The first Yashica Mat-LM user manual from 1959 shows the old speeds but my MTL 2011357 has the new speeds (1961 to 1962). Note that the Yashica A (and later Yashica 44A) with its more basic Copal shutter and limited speeds starting at 1/25, did not change.
The Yashica E has a unique single speed (1/60 sec) shutter which I know very little about.
Apertures
The shutter assembly also contains the aperture mechanism which is located behind the shutter blades, except in the Yashica E, and therefore can only be viewed from the rear of the lens or with the shutter open on bulb. The maximum aperture of the taking lens is determined by the lens design but with common leaf shutter arrangements, the narrower apertures (bigger numbers) are determined by the shutter design. All shutters on Yashica TLRs have apertures marked with the “modern” progression f/3.5, f/4, f/5.6, f/8, f/11, f/16 and f/22. Copal SV shutters on 66 Models add f/32. Note that the apertures are continually variable and there are no click stops so that the markings are nominal only.
5 and 10 Bladed Apertures
The one variation with apertures is whether they have 5 or 10 blades. In either case, the blades are curved. All the early Yashica TLRs have 10 blades regardless of shutter make or type. All models fitted with Copal SV shutters have apertures with 5 blades. These include the Yashica-44 and Yashica 44LM introduced in 1958 and 1959 respectively and the following cameras introduced from 1965 on; Yashica 24, Yashica 12, Yashica Mat-124 and Yashica Mat124G. The Yashica E also has a 5 bladed aperture. Earlier Yashica TLRs fitted with Copal MXV shutters definitely have 10 blades. These certainly include Yashica-Mats, Yashica Ds and Yashica 635s made until at least the mid-1960s and all Yashica Mat-LMs and EMs. There are suggestions that the more recent Yashica production of models with Copal MXV shutters, including all those fitted with f/2.8 Yashinon viewing lenses and some still with f/3.5 Yashikor lenses, also have apertures with 5 blades. Photographs seem to confirm that.
Copal MXV vs SV
That raises some interesting questions given the apparent similarities between the MXV and SV shutters, the main difference being the number of aperture blades. Did Yashica move to the simpler design as a cost-cutting measure without changing the shutter name on the camera? That way, new faceplates were not required and manuals, brochures and other advertising material did not have to be updated. The Copal SV was probably designed as a cheaper version of the MXV from the outset. The MXV first appeared on the Yashica-Mat in 1957. The SV first appeared on the Yashica-44 in 1958 but wasn't used on 66 models until the Yashica 24 in 1965. An example of the different positioning of the two shutters is the 1958 Beauty Super II 35 mm rangefinder camera. It was available with a f/1.9 lens and Copal MXV shutter or, in cheaper f/2 and f/2.8 versions with Copal SV shutter (camera-wiki.org). Of course, in 1965, the issue may simply have been the availability of f/32 on the SV.
Flash Sync (WARNING!)
Generally, on the various Yashica TLR models, shutter sync is commonly referred to “X” or “M/X” where the “X” usually means electronic flash and the flash fires at the peak of the shutter opening and “M” means long duration flash bulbs which require the burn to start 20 to 25 milliseconds before the shutter is fully open (sync is usually set at 20 milliseconds). Shutters with combined “M/X” capability have a sliding lever to change flash settings from one to the other. The features sheet that came with my earliest Yashicaflex S explains that the NKS-FB shutter has synchronisation for “F Class”. F Class are short duration flash bulbs requiring a 5 milliseconds delay (information based on Wikipedia). Note that no sync speed is quoted.
The manual for the Yashicaflex AS states that its early Copal shutter is fitted with “X” type sync and that any European type flash bulbs can be used at sync speeds to 1/100 sec. Some other manuals quote that “M” class bulbs can be used at any speed, “Short Peak” bulbs (F Class) can be used on X sync at either 1/50 sec or 1/60 sec (depending on shutter progression) and “Medium Peak” bulbs can be used on X sync at either 1/25 sec or 1/30 sec. The Yashica Mat-124G manual explains that electronic flash and “M” class bulbs can be used at any speed but “F Class” bulbs are limited to 1/30 sec. or slower. The late Yashica D manual with “66” on the cover is similar. If in doubt, read the relevant manual but later cameras with X sync should be OK at any speed with electronic flash. Flash bulbs are trickier.
Even though Copal shutters have a lock-out to prevent using the self-timer on the “M” sync setting, this often either seems to fail or photographers are cleverer than Copal engineers. DO NOT USE “M” SYNC TOGETHER WITH THE SELF-TIMER see also the “Ownership” section.
Early examples have the sync low down on the spool knob side. From late 1955 or early 1956, the sync moved to the front of the camera to the right hand side of the focusing panel when looking at the camera, near the top corner for most models (top left for the “early” Yashica E) and near the bottom corner for the Yashicaflex A series (A-I, A-II, AS-I and AS-II), MolfoReflex, Yashica Rookie, Yashica A and the rare “late” version of the Yashica E.
Crank Wind (WARNING!)
Crank wind Yashicas have a reputation for jamming caused by the frame spacing and shutter interlock. The warning below to not operate the crank with an empty take-up spool should be taken very seriously:
(Crop of scan of reverse of “Supplementary Instructions for use of 120 Roll Films in Yashica 24 Camera” provided by correspondent Alan Williams. This was with the user manual of his father's Yashica 24.)
This danger is not so well known as the self-timer issue and I will repeat it in the “Ownership” section.
Fresnel Lens Focusing Screens
Fresnel lens focusing screens are flat plastic screens with raised concentric ridges (prisms) which together act as a lens to concentrate bright, even light across the focusing screen. These fit under the glass in the viewfinder. Without the fresnel screen, there is very noticeable light fall-off from centre to edge. It is a very real benefit for a user camera.
Apart from the view through the viewfinder, the other tell tale signs for identifying the existence of a screen is a distinct plain circular area in the middle without the rings (ground glass screens are usually uniformly plain) and looking through the viewing lens back towards the focusing screen, the rings are clearly visible. Earlier screens seem to be finer.
Yashica brochures confirm that they are fitted to the crank wind models, Yashica 635, Yashica D, Yashica E, Yashica 44, Yashica 44A and Yashica 44LM. The brochures also confirm that the screen is not fitted to the Yashica A.
There are claims that the Yashica C, LM and B also have one. I can confirm that my early Yashica LM (Yashica C with meter) does and photos of the other two also seem to confirm that.
Information on the net suggests that of the Yashicaflex models, only the Yashicaflex B has the screen. I can confirm that my Yashicaflex AS with Citizen MXV shutter does indeed have one. Photos seem to suggest that the Yashicaflex A3 also does, which makes sense as with a different nameplate, it is the Yashica B.
I have also checked my Yashicaflex A series and S cameras, including a late Yashicaflex S and can confirm that these are definitely not fitted with the fresnel focusing screen. Photos seem to confirm the same for the Yashicaflex C as well. Earlier cameras will definitely not have one.
Internal Light Baffles
It is commonly thought that the Yashica Mat-124G is the only model fitted with internal light baffling to cut light reflections and help reduce flare:
(Detail from larger web image)
Of the more recent, post-1960 66 cameras, that is correct as far as I know. However, both the Yashicaflex AS with Citizen MXV shutter (shown below left) and close relative, the Yashicaflex B with Copal MXV shutter, (Japanese domestic market forerunners of the Yashica D) were all fitted with more complex triple baffles than the later version in the Yashica Mat-124G. The Yashica Mat-124G version may in fact have first appeared on the Yashica D (explained further below)! Also, the Yashica 44LM has vestigial versions top and bottom but not on the sides - the light path in there doesn't allow much space (bottom baffle shown in right image).
.jpg)
(Left, detail from larger web image)
It seems that at least some of the early Yashica-Mats were fitted with the same baffles as the two Yashicaflexes. This is what I have found so far:
- The only early Yashica-Mats with gold rings trim on the control wheels with their backs open and with the rare metre focusing scale are seven cameras with Lumaxar 80 mm lenses. All are fitted with the same baffles as shown in the Yashicaflex AS photo (above left).
- A slightly later Yashica-Mat with Lumaxar 80s and metre scale focusing but with black leatherette inserts on the control wheels does not have the baffles. This camera was sourced in Europe.
- No Yashica-Mat examples with feet focusing scale have been found with baffles. So far, the examples found with their backs open and checked are two with Lumaxar 75 mm lenses, a fairly early one and the last example with 75 mm Lumaxars; twelve with Lumaxar 80 mm lenses and seven with Yashinon lenses.
- There are no Yashica-Mats with Yashinon Lenses in my database which have metre focusing scales.
- Thirteen Yashica-Mats with dual focusing scales have been checked and no baffles found.
Whilst an early Japanese ad confirms the availability of the Yashica 635 in Japan, I have not yet found any with metre focusing scales and it follows, none with baffles.
The Yashica D is interesting. It was released some 12 months after the Yashica-Mat. I have clear photos of an early one (serial numbers not visible) from a Japanese site with brown metalwork and it has the same baffles as the Yashicaflexes and Yashica-Mat. Two grey cameras which are probably a little more recent, with one sourced from Europe, have the more abbreviated baffles that look very similar to those fitted to the Yashica Mat-124G 10 years later. One of the grey cameras is owned by contributor, Leigh Harris. All three have metre focusing scales.
In summary, the first implementation of baffles for 66 models looks like an early Japanese domestic market feature for models with control wheels from around 1957 to 1958, although with combined DIN/ASA film speed reminder scales, some Yashica-Mats and Yashica Ds with metre focusing scales were probably exported to Europe. It should be noted that whilst the common denominator is the metre focusing scale, it seems that the small number of Yashicaflex Bs with feet scales also have the baffles. However, the evidence suggests that these cameras were not intended for export (see “Yashicaflex B”).