My Bodacious Bout with Bronicas:
One man’s adventures in the mysterious Land of Zenza
By Jason Schneider.
It all started back in 1967 when my dear friend, the late great Dr. Richard DuBou, lusted after my “like new” Nikon FTn with 50mm f/1.4 Nikkor. Then a relatively impecunious medical student at Downstate Medical Center in Brooklyn, NY, he didn’t have the cash on hand to acquire it, so he proposed a straight across trade. If I would relinquish my precious new Nikon he would give me the complete, virtually unused, 1960 Bronica DeLuxe outfit his father had passed down to him after losing interest in it. It was in a handsome original leather case and included the camera, 3 film backs, 3 lenses, 2 viewfinders, and assorted accessories. It was so gorgeous that I made the switch on the spot, even though I’d heard that the exquisitely made, beautifully finished gray 2-tone Bronica DeLuxe was a complex, delicate, unreliable beast, and was so prone to jamming it was fitted with an un-jamming screw!
The one that got away: This is a Bronica D (DeLuxe) like the one I sold to my buddy Mike for a pittance to help establish his career. It worked.
Despite all the horror stories, I ran at least 100 rolls of film through my Bronica DeLuxe without experiencing any problem whatsoever, other than minor frame spacing issues on a couple of rolls—and its Nikkor lenses delivered exceptional on-film performance. Of course, I handled it very gently, especially when advancing the film, being cognizant of its proclivities for packing up, and I never had to employ the de-jamming screw! I’d probably still have that camera today were it not for my compassion for another friend, Mike (last name withheld for reasons that will soon be obvious), a brilliant and innovative photographer who specialized in creating line drawing cartoons from images shot on film and shooting alluring glamour portraits of attractive young women.
Well, Mike had the good fortune of landing an assignment with a major New York ad agency, he needed a medium format camera to execute it to their professional requirements, and he implored me to sell him my Bronica outfit at a “friendly” price. We both knew it was a moment that could make or break his career, so I reluctantly parted with my beautiful Bronica outfit for (if memory serves) somewhere between $200 and $250. The transaction had the desired effect, at least in the short term, and over the next few years Mike was a reasonably successful commercial photographer. About 6 months after I sold him the camera, he invited me down to his small spartan studio in lower Manhattan where he was shooting portraits of a lovely young woman with alabaster skin and long auburn hair using his signature hot lights and umbrellas (he hated strobes). He composed the first shot, fired the shutter, then trotted back to the tripod-mounted Bronica, and gave it a fearful whack with the flat of his palm. Horrified, I shouted, “What the hell are you doing, Mike!” He calmly replied, “Oh, I’ve to do that to get the mirror back to viewing position—the instant return doesn’t work anymore, and none of the repairman around here knows how to fix it.” That was enough to scare me off Bronicas for about 5 years, but I eventually succumbed to their charms, and I’m glad I did.
The Bronica S of 1961: A simplified, more reliable successor to the Bronica Z and D it used the same focusing system, added glitzy styling.
My next foray into the Land of Zenza was acquiring a 1961 Bronica S, touted to me by my friend Charlie Pelish, then the top salesman at Fotoshop on 32nd St. in New York City. It’s basically a dumbed down, more reliable version of the original Bronica Z of 1959 (that had film magazines providing auto first frame positioning!) and the very similar Bronica D (aka DeLuxe) that had semi-auto “wind to the start mark” film loading. Major differences: the S has a simplified cloth focal-plane shutter with speeds on 1/1000 sec, plus B (down from 1/125O sec on the Z and D), the shutter speed dial was moved to the left side of the body and now covers all speeds, and neither the backs nor the finders are compatible with previous models. The Bronica S retains the “geared extendable tube” focusing system, and the coaxial right-hand film wind and focusing controls of its immediate predecessors, but film winding is now handled by a more convenient folding crank. It’s worth noting that the mirror in the Bronica S slides back and down in an arc before flipping up when you fire the shutter, which allows a larger mirror to be used, improving corner brightness of the viewing image, a system similar to the one later used by Hasselblad in its V-system models including the 503 and ELX. It also has a mirror lock on the bottom of the camera, just below the front-mounted shutter release, a useful feature that’s absent on the S2/S2A.
Bobbi-Jo: I shot this compelling portrait with my Bronica S and 75mm f/2.8 Nikkor-P on Ilford HP5 Plus handheld at 1/60 sec and f/4.
The Bronica S is far from a perfect camera, but it has its charms. The standard fine-Fresnel-pattern focusing screen with central fine focus circle is bright and easy to focus (though not designed to be user interchangeable) and the camera focuses down to an impressive 19 inches with the standard 75mm f/2.8 Nikkor-P lens, a classic 5-element, 4-group design that delivers outstanding on-film performance even by modern standards. Contrary to some online scuttlebutt, I have not found the Bronica S to be an unreliable camera. I currently own three, which I’ve shot with for over 20 years and (save for one balky film magazine that needed repair) they’ve never let me down. As for looks, I concede that they’re not drop dead gorgeous like the earlier Bronica Z and D, but their stainless-steel bodies are quite attractive—yes, the striated brightwork at the bottom sides of the body and magazines is a tad glitzy, but the Bronica S is not, as some have opined, the Cadillac Eldorado of 2-1/4 SLRs.
There are a few downsides to the Bronica S, which I think of as lovable quirks but might be deal breakers for some. For one thing, like all focal plane shutter Bronicas, it’s loud. Press the shutter release and it responds with a “thwack” loud enough to attract the attention of passersby, so this in not the camera for taking “candid” pictures. In my opinion, most of the noise is caused by the action of the mirror, not the shutter, but in any case, the camera ranks high on the decibel level list compared to other cameras of its type. Then there’s the gearing on the film wind mechanism which is “low and slow,” meaning that you must turn the crank almost 4 full turns to move the frame counter from zero to 1, and nearly 2 full turns to advance the film from frame to frame. According to one camera design expert I spoke with, the “long slow wind” may have been a deliberate engineering decision on Bronica’s part to lower the torque and stress on the film wind gears. Since I’ve never experienced film wind problems with a Bronica S, it may have been an effective strategy, but it sure can be annoying when you’re trying to shoot rapidly. By the way I don’t agree with some reviewers who say that the film wind action of the Bronica S is rough and noisy. I think it’s about average in both respects, just interminably long. Ultimately the best proof of the worthiness and mettle of the humble 60-year-old Bronica S is the quality of the pictures it can take. so I’ve included a few of mine here for your perusal.
The Bronica S2: Helical focusing, a huge lens mount and film wind woes
The Bronica S2 unveiled in 1965 incorporates several new features, but the primary change was ditching the extending focusing tube and switching to a removable helical type focusing mount controlled by a large black knurled focusing ring on the front of each mounted lens. The entire helical mounts to the body via a huge 3-claw bayonet mount, and it can be removed to attach, for example, a focusing bellows for macro work. It accommodates lenses from 40-200mm—longer lenses have their own separate or integrated helicoids. The film back was improved and accepts 220 or 120 film, the number of frames selectable with a small 12/24-exposure control on the side of the magazine. With the demise of 220 it’s now a vestigial feature, but you’d better make sure the back is set for 120 or the frame counter won’t work correctly. Other changes: adding a small button for releasing the helical on the front of the body, moving the PC contact to the left side of the body, and sadly, deleting the mirror lock. Finally, the Bronica S2 body was the first of the breed offered in a choice of black or chrome finish. It’s readily available used at camera dealers and online auction sites, at prices ranging from $300-$450 with 75mm f/2.8 Nikkor-P lens.
Portrait of a fellow photographer:Tech data: Bronica S2A with 75mm f/2.8 Nikkor-P.C, handheld at f/4 and 1/125 sec on Ilford HP5 Plus.
Like the Bronica S, the S2 and S2A require 3-4 turns of the film wind knob or crank to advance the film to the first frame, and 2 full turns to advance the film to subsequent frames, at which point it feels like it stops, but you’ve got to turn it a little bit farther until the shutter cocks with a crunch. It sounds like the camera might be broken, but it’s just one of the charming quirks of older Bronicas that was improved on the Bronica S2A and effectively eliminated on the EC series. One thing Bronica never fully resolved, at least on the focal plane shutter models, is the loud “thwack” of the mirror/shutter mechanism when you press the shutter release. These are great cameras for many things but shooting unobtrusively isn’t one of them.
The Bronica C and C2: What, no interchangeable film backs?
For the record, in 1964 Bronica released the Bronica C a less expensive, simplified model based primarily on the Bronica S, but lacking interchangeable film backs, incompatible with 220 film, and with a top shutter speed of only 1/500 sec, but including a multiple exposure dial above the frame counter. However, the rarish Bronica C was the model that pioneered the removable helical focusing mount that was used on the S2 and all subsequent focal plane shutter Bronica SLRs. In 1965 they unveiled an improved version called the C2 that incorporated the S2’s mechanical improvements, added a 120/220 film selector lever and (on most examples) a marked 1/1000 sec top shutter speed. I’ve never owned or used either version of the Bronica C, but they’re a good choice for casual shooters and either one is currently available used at about $300-400 with 75mm f/2.8 Nikkor-P.
The Bronica S2A, Improved winding gears and a smaller wind knob
In 1969, Bronica released the successor to the S2, the S2A which is a dead ringer for the S2. Most early production S2A models have an “S2A” after the serial number on the body (it’s on top, directly in front of a mounted film back). If yours doesn’t, check the serial number; if it’s 150037 or higher, it’s an S2A. The main upgrade in the S2A is improved gearing in the film advance mechanism (revised gear profiles and upgraded metallurgy). The modifications are said to improve reliability and result in fewer jams, an occasional problem with the S2, especially when advanced too roughly. The film advance knob/crank was also made slightly smaller in diameter to help minimize the torque on the gears, and in 1973 the neck strap lugs were changed to the same configuration used on the Bronica EC. The S2A was the most successful of the all-mechanical focal plane shutter Bronicas and was in production until 1977 when it was overshadowed by the Bronica EC with an electronically controlled focal plane shutter. All prisms, hoods, backs, grips, etc. that fit the S2A also fit the S2 and the S, but regrettably none of these models has easily interchangeable finder screens. A clean, functional chrome- or black-finished Bronica S2A with 75mm f/2.8 Nikkor P lens currently fetches about $300-$500 at online auction sites or from used camera specialists.
The Bronica S2A looks impressive in black, especially when fitted with the large diameter 100mm f/2.8 Zenzanon lens. It's reliable too.
In my experience, both the Bronica S2 and S2A are well made, worthy, dependable, high-performance cameras, and not the unreliable clunkers they’re sometimes made out to be. They’re well balanced, reasonably ergonomic, have film magazines and inserts that are straightforward and easy to use, and bright, contrasty standard viewing screens. Their wide bayonet mounts also accept a much larger range of high-quality Nikkor, Zenzanon, and Komura lenses than the Bronica S. However, most of these cameras are now over 50 years old, and in the interest of long-term reliability, and considering the cost and availability of repairs, you’re probably better off with the S2A than an S2.
The dirty little secret is that all mechanical medium format SLRs are complicated beasts, and their moving parts are larger and have greater mass than those in, say, a 35mm SLR. As a result, they’re more likely to give trouble, and require more frequent servicing than their smaller format counterparts. Based on my personal hands-on experience over many years, I believe Bronica SLRs (all of them) are roughly as reliable as comparable Hasselblads, Rolleis, and Contaxes, and more reliable than the wonderful but challenging Pentacon Six. As the saying goes, take care of them, use them with respect, and they’ll reward you with images of excellent technical quality like those I’ve included here.
The Bronica EC: My personal favorite, but mind that battery check!
The Bronica EC (which stands for “electronic control”) was released in March 1972 as the successor to the Bronica S2A and it represents a new generation of Bronica design. Its signature feature is a stepped, electronically controlled, vertical run, cloth focal plane shutter with speeds from 4 sec to 1/1000 sec plus B that’s powered by a 6-volt silver-oxide or alkaline battery in the base of the camera. The battery check button and adjacent green “check light” (a grain-of-wheat bulb not an LED!) is on the left side of the body. The viewfinder and user interchangeable (at long last!) finder screens, and 120/220 film magazines are not compatible with those of S-series Bronicas, and EC film backs have a handy dark slide storage slot. The optional TTL exposure meter finder uses a CdS cell, the body has ¼-inch and 3/8-inch tripod sockets, and the camera provides a depth of field preview button, a mirror lock, and a locking PC terminal.
The Bronica EC in beautiful black finish with my favorite lens, the superb 75mm f/2.8 Nikkor-H.C, a 6-element, 4-group double Gauss design.
Unlike previous Bronicas the EC features a 2-piece instant return mirror, and the smaller bottom section moves downwards while the larger top section moves inward and upward when you fire the shutter. This “opposed movement” is said to reduce camera induced vibration and to provide better coverage for wide-angle lenses. It may also be a bit quieter, but the camera still makes and impressive “thwack” when you press the shutter release. The EC focuses down to 18 inches with the standard 75mm f/2.8 Nikkor-P lens or the multicoated Nikkor-P.C, a lot closer than a typical leaf shutter medium format SLR.
Woman with a hat: Tech data: Bronica EC with 75mm f/2.8 Nikkor-H.C, handheld at 1/30 sec at f/2.8 on Ilford HP5 Plus.
The Bronica EC body, which is clad in chrome- or black-finished alloy, is handsome enough but it looks boxier and less “sculpted” than earlier models and it’s bigger and heavier, measuring 139 x 117 x 170mm (W x H x D) and weighing in at 1.980 kg with back and waist level finder. In comparison, the S2A body measures 100 x 100 x 140mm and weighs in at 1,780 kg. However, while the EC feels and is larger and heavier than an S2 or S2A, it’s so well balanced and its controls are so well placed that it’s very pleasant to shoot with, seems to have less mirror-induced vibration (as proven by some remarkably sharp pictures I’ve shot handheld at 1/30 sec), and is a superior camera overall.
Downsides? Well, it’s not really any fault of the EC, but if you try to mount the otherwise excellent 100mm f/2.8 Zenzanon lens on the camera without first setting it to minimum focusing distance its rearmost section will smash into the smaller bottom part of the two-piece mirror and crack it. Miraculously, once the lens is mounted correctly, it will focus to infinity without causing any damage, but as a precaution I strongly suggest you set the lens to closest focusing distance before mounting or removing it from the camera—don’t ask me how I know. By the way, none of this nonsense is necessary when mounting or removing the Lens from an S-series Bronica. Another solution: acquire a (hard to find) 100mm f/2.8 Komura lens in Bronica mount, a fine performing lens that doesn’t extend quite as far into the body and mounts and dismounts without a hitch. Or you could search for the exceedingly rare “Holy Grail” of Bronica mount lenses, the 100mm f/2 Komura, which I’ve never seen but has reportedly been sold on Japanese eBay for around 5 grand.
Beware the zombie battery!
To my dismay, I recently discovered another lurking Bronica EC foible that I’d been blissfully unaware of for nearly 20 years. A few months ago I ran 3 rolls of 120 black-and-white film through my favorite EC fitted with my favorite lens (the magnificent 75mm f/2.8 Nikkor-H.C, a 6-element 4-group double Gauss design) and when I developed the film (in Kodak D-76 1:1) all 3 rolls were completely blank, except for one frame in the middle of one that looked sharp, but was 2-3 stops underexposed. Here’s what happened: The battery check light on that specific camera hasn’t worked for years (probably due to a burned-out bulb or a loose connection) and I didn’t check that the shutter was working using my standard workaround method (firing it at different shutter speeds with the film back removed). So, when the battery reached the point that it had just enough juice to fire the shutter, but not enough to power the timing circuit, the camera soundedlike it was working just fine, but the both shutter curtains fired one right after the other without opening the slit between them—except once when it opened a too-narrow slit to properly expose that one frame! Moral: If you’ve got a Bronica EC or EC-TL with a duff battery check, have it fixed. And while you’re at it, use a longer lasting 6v silver oxide battery (4SR44 or S28PX) that has a steeper drop-off curve than the alkaline alternative.
You can snag a clean functional Bronica EC with 75mm Nikkor-P lens for $350-500 in black or chrome with 75mm f/2,8 Nikkor-P lens, slightly higher with multicoated 75mm f/2.8 Nikkor-P.C lens that provides slightly higher contrast.
The Bronica EC-TL: A built-in meter that’s hard to get repaired
The Bronica EC-TL introduced in 1975 was a technological tour de force. Built on the proven EC chassis it was the world’s first 6 x 6 cm-format camera with built-in TTL metering and the first to provide aperture priority autoexposure mode, beating out Hasselblad by nearly 17 years! The EC-TL features an ingenuous metering system employing 2 silicon cells behind the mirror that read the exposure through the lens at working aperture with a third silicon cell that compensates for ambient light coming though the improved light excluding waist level finder. At the top of the finder screen a digital LED-illuminated shutter speed scale is displayed along with over and underexposure warnings. The system provides instant stop down measurements, eliminating discrepancies due to aperture variations, but it works so quickly that the camera functions like an open-aperture-metering camera.
Bronica EC-TL, in chrome with multicoated 75mm f/2.8 Nikkor-P.C, was first medium format SLR with TTL metering and aperture priority Auto.
Readings can be checked by pressing the depth of field preview button with the meter turned on, Auto and Manual exposure operations are clearly indicated by steadily illuminated numerals in Auto mode and a flickering display in manual mode. The focal plane shutter can operate at a mechanical speed of 1/40 sec without battery power, shutter speeds from 2 sec to 1/1000 sec (plus B) are stepless in auto mode, intermediate settings are possible in manual mode, and X sync is at 1/60 sec. Setting the shutter dial to the red A or Auto lets you shoot in aperture priority mode and setting the multi-exposure control to D lets you shoot an unlimited number of exposure on one frame. All other specs, including size and weight, closely parallel those of the Bronica EC.
Even today the great handling Bronica EC-TL is an excellent choice for sophisticated film shooters, but fair warning— electronic replacement parts, dedicated screens, and repairs are very hard to come by, so make sure you obtain one in perfect working order from a reputable dealer or seller that accepts returns. Despite its technological brilliance I have personally avoided the Bronica EC-TL because I can’t bear the thought having a camera with certain features that don’t work and can’t be repaired, a description that sadly fits too large a percentage of EC-TLs for my taste. I soldier on with my meter-less EC and my trusty Gossen Luna-Pro SBC meter.
You can currently acquire a clean functional Bronica EC-TL with 75mm f/2.8 Nikkor-P lens for about $400-600 at online auction sites or from camera specialty dealers.
The Bronica EC-TL II: Last of the focal plane shutter Bronicas
Introduced in October 1978 and discontinued less than 2 years later in March 1980, the very last focal plane shutter Bronica has revised electronic circuit boards said to be simpler and more robust than those in the Bronica EC-TL. As a result, the camera no longer provides shutter speeds slower than 1 sec, 1/30 sec is the slowest speed displayed in the finder (which means different finder screens are required) and the metering system no longer provides manual metering mode (there’s just an M indicator light in the finder). However, it does provide aperture priority auto exposure ay the A setting on the shutter dial and reads out the camera selected shutter speed when you press the depth of field preview button—just like the EC-TL. The metering system is said to be more reliable and robust than the one in its predecessor, but parts and repairs are hard to come by so caveat emptor. Clean functional examples of the Bronica EC-TL II are readily available at online auction sites and camera specialty dealers at prices ranging from $600-900 in black of chrome with 75mm f/2.8 Nikkor-P or Nikkor-P.C lens.
The Bronica SQ, SQ-A, SQ-Am, SQ-Ai, SQ-B: My work in progress
In 1980 Bronica brought forth the SQ (for “square”?) as a replacement for the Bronica EC. All members if this series cited above use a new series of Zenzanon lenses incompatible with previous Bronicas, each with a built-in electronically controlled Seiko leaf shutter with speeds of 8 -1/500 sec plus T and helicoid focusing. A new system of 120/220 film magazines with ISO input dials, and a new series of top-mounted accessories rounded out the system. In 1982 the Bronica SQ-A was released; it added a mirror lock-up, and a new viewfinder system, not compatible with the SQ, that included electronic contacts for an auto-exposure prism. In 1983 a motorized version of the SQ-A, the SQ-Am with an integral motor drive powered by 6 AA cells was announced, and in 1991 the SQ-Ai with removable motor drive and OTF (off the film) TTL metering, and SCA-compatible auto flash capability made its debut. The SQ-B (for “basic”), a simplified version of the SQ-A, came out in 1996. The Bronica SQ system is a thoughtfully, designed, well-made, reliable 6x6 cm SLR system designed as a less expensive alternative to the premium priced leaf shutter Hasselblads, and its full line of Zenzanon lenses are all of excellent quality. Bottom line: I just acquired a near mint Bronica SQ-A outfit with 3 lenses, 2 backs, a plain and an AE prism, and a Winder Grip and I will provide my hands on user report in a future article. It seems to be a very nice camera, and my only complaint so far is that the 80mm f/2.8 Zenzanon-PS lens only focuses down to 0.8m, not quite close enough for my signature “head shot” close-up portraits. Another small gripe: my outfit did not include either a waist-level finder (my favorite) or a wind crank, and the prices being asked ($200+ and $100 respectively) are a little too high for my (impecunious) pocketbook. I hope someone out there can come to my rescue.
Lenses for focal plane shutter Bronicas:
While a detailed analysis if this extensive and complex subject is beyond the scope of this article, herewith a few brief thoughts on the “normal” lenses I’ve used on my Bronicas.
The original non-multicoated version of the 75mm f/2.8 Nikkor-P (for “penta”) is a classic 5-element, 4-group design that delivers outstanding sharpness and beautiful rendition across the field at all apertures, and has a 9-bladed diaphragm that enhances its beautiful bokeh. It’s a superb lens and its only downsides are slight softness in the corners at f/2.8, and an average tendency to flare when shooting against the light. The later multicoated version, the 75mm f/2.8 Nikkor-P.C is the same lens, just multicoated and it has slightly higher contrast than the older lens and less of a tendency to flare in adverse lighting conditions.
My all-time favorite lens for focal plane shutter Bronicas is the 75mm f/2.8 Nikkor-H.C that was offered as a “premium” normal lens alternative. It uses a 6-element, 4-group double Gauss formula, has a 7-bladed diaphragm and is sharp to the corners even wide open at f/2.8, and IMHO has a slight “vintage feel” in its rendition.
I also love the 100mm f/2.8 Zenzanon, a great focal length for portraiture, though I am now extra careful when mounting it on my Bronica EC! Providing a slightly longer than normal focal length, this classic 6-element, 4-group, double Gauss formula lens is a favorite of portrait photographers and it’s acclaimed for its beautiful rendition and crisp imaging—it’s very sharp wide open and improves on stopping down. Dominated by its large front element, it’s prone to flare, weighs in at a hefty 12.7 ounces, and focuses down to a longish 38.6 inches, not quite close enough for frame filling head shots. It’s a highly desirable lens that’s readily available at the rather wide price range of $150-$350, largely depending on condition. The 100mm Zenzanon was apparently not produced in an MC or Multicoated version.
Zenzanon MC 80mm f2.8 Carl Zeiss Jena DDR: The regular 80mm f/2.8 Zenzanon is basically a slightly longer version of the 75mm f/2.8 Nikkor-P (which is not a bad thing) but this beauty by Zeiss Jena is based on the famous design Biometar and is said to be even better. This multicoated beauty will set you back about $500.
Komura lenses in Bronica mount
The Komura brand name was used by Sankyo Koki Co., Ltd of Tokyo, the company that was turning out Komuras and Super-Komura lenses for focal plane shutter Broniucas by the mid ‘60s. It specialized in lenses with distinctive specs, high speed, and outstanding performance. Komura lenses delivered good value fir the money and their long teles like the 300mm f/5, 400mm f/6,3, and 500mm f/7.0 Komuras handily outsold their more ponderous and much costlier Nikkor alternatives by a wide margin.
The 150mm f/3.5 Komura: Regrettably It's the only Komura lens I own, but it's a beauty--very sharp with lovely bokeh.
Regrettably I have only one Komura lens for my Bronicas, the 150mm f/3.5 but it’s a beauty. A classic 4-element, 3-group Tessar type it provides excellent central sharpness and detail at all apertures, with the corners coming in by f/5.6, and despite its longish 6 foot minimum focusing distance it’s a great portrait lens, has smooth natural bokeh, and captures a pleasantly realistic perspective. Best of all it measures only 3.54 inches in length, weighs in at a portable 19 ounces, and you can snag one for $100-200 at the major online auction sites.
The 100mm f/2.8 Komura was lighter and more compact than the 100mmm f/2.8 Zenzanon, and it didn't snag the EC's mirror. It's pricey.
The one Komura lens I’d really love to own is the 100mm f/2.8 Komura, a 5-element, 3-group Heliar type that delivers a combination of excellent definition, classic rendition, and beautiful bokeh. It’s also lighter and more compact than the equivalent Zenzanon, measuring a mere 2.7 inches in length and weighing in at a featherweight 13 ounces. The downside: These lenses typically fetch about $500, presuming you can even find one for sale.
The Komura 2x Bronica Teleconverter is also worth having – as there is no Nikkor or Zenzanon 2x Teleconverter! You can often snag one of these jewels for around 100 bucks but make sure it fits your model because Komura also made them for SQ- and ETR- series Bronicas as well as the S & EC series.
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One man’s adventures in the mysterious Land of Zenza
By Jason Schneider.
It all started back in 1967 when my dear friend, the late great Dr. Richard DuBou, lusted after my “like new” Nikon FTn with 50mm f/1.4 Nikkor. Then a relatively impecunious medical student at Downstate Medical Center in Brooklyn, NY, he didn’t have the cash on hand to acquire it, so he proposed a straight across trade. If I would relinquish my precious new Nikon he would give me the complete, virtually unused, 1960 Bronica DeLuxe outfit his father had passed down to him after losing interest in it. It was in a handsome original leather case and included the camera, 3 film backs, 3 lenses, 2 viewfinders, and assorted accessories. It was so gorgeous that I made the switch on the spot, even though I’d heard that the exquisitely made, beautifully finished gray 2-tone Bronica DeLuxe was a complex, delicate, unreliable beast, and was so prone to jamming it was fitted with an un-jamming screw!
The one that got away: This is a Bronica D (DeLuxe) like the one I sold to my buddy Mike for a pittance to help establish his career. It worked.
Despite all the horror stories, I ran at least 100 rolls of film through my Bronica DeLuxe without experiencing any problem whatsoever, other than minor frame spacing issues on a couple of rolls—and its Nikkor lenses delivered exceptional on-film performance. Of course, I handled it very gently, especially when advancing the film, being cognizant of its proclivities for packing up, and I never had to employ the de-jamming screw! I’d probably still have that camera today were it not for my compassion for another friend, Mike (last name withheld for reasons that will soon be obvious), a brilliant and innovative photographer who specialized in creating line drawing cartoons from images shot on film and shooting alluring glamour portraits of attractive young women.
Well, Mike had the good fortune of landing an assignment with a major New York ad agency, he needed a medium format camera to execute it to their professional requirements, and he implored me to sell him my Bronica outfit at a “friendly” price. We both knew it was a moment that could make or break his career, so I reluctantly parted with my beautiful Bronica outfit for (if memory serves) somewhere between $200 and $250. The transaction had the desired effect, at least in the short term, and over the next few years Mike was a reasonably successful commercial photographer. About 6 months after I sold him the camera, he invited me down to his small spartan studio in lower Manhattan where he was shooting portraits of a lovely young woman with alabaster skin and long auburn hair using his signature hot lights and umbrellas (he hated strobes). He composed the first shot, fired the shutter, then trotted back to the tripod-mounted Bronica, and gave it a fearful whack with the flat of his palm. Horrified, I shouted, “What the hell are you doing, Mike!” He calmly replied, “Oh, I’ve to do that to get the mirror back to viewing position—the instant return doesn’t work anymore, and none of the repairman around here knows how to fix it.” That was enough to scare me off Bronicas for about 5 years, but I eventually succumbed to their charms, and I’m glad I did.
The Bronica S of 1961: A simplified, more reliable successor to the Bronica Z and D it used the same focusing system, added glitzy styling.
My next foray into the Land of Zenza was acquiring a 1961 Bronica S, touted to me by my friend Charlie Pelish, then the top salesman at Fotoshop on 32nd St. in New York City. It’s basically a dumbed down, more reliable version of the original Bronica Z of 1959 (that had film magazines providing auto first frame positioning!) and the very similar Bronica D (aka DeLuxe) that had semi-auto “wind to the start mark” film loading. Major differences: the S has a simplified cloth focal-plane shutter with speeds on 1/1000 sec, plus B (down from 1/125O sec on the Z and D), the shutter speed dial was moved to the left side of the body and now covers all speeds, and neither the backs nor the finders are compatible with previous models. The Bronica S retains the “geared extendable tube” focusing system, and the coaxial right-hand film wind and focusing controls of its immediate predecessors, but film winding is now handled by a more convenient folding crank. It’s worth noting that the mirror in the Bronica S slides back and down in an arc before flipping up when you fire the shutter, which allows a larger mirror to be used, improving corner brightness of the viewing image, a system similar to the one later used by Hasselblad in its V-system models including the 503 and ELX. It also has a mirror lock on the bottom of the camera, just below the front-mounted shutter release, a useful feature that’s absent on the S2/S2A.
Bobbi-Jo: I shot this compelling portrait with my Bronica S and 75mm f/2.8 Nikkor-P on Ilford HP5 Plus handheld at 1/60 sec and f/4.
The Bronica S is far from a perfect camera, but it has its charms. The standard fine-Fresnel-pattern focusing screen with central fine focus circle is bright and easy to focus (though not designed to be user interchangeable) and the camera focuses down to an impressive 19 inches with the standard 75mm f/2.8 Nikkor-P lens, a classic 5-element, 4-group design that delivers outstanding on-film performance even by modern standards. Contrary to some online scuttlebutt, I have not found the Bronica S to be an unreliable camera. I currently own three, which I’ve shot with for over 20 years and (save for one balky film magazine that needed repair) they’ve never let me down. As for looks, I concede that they’re not drop dead gorgeous like the earlier Bronica Z and D, but their stainless-steel bodies are quite attractive—yes, the striated brightwork at the bottom sides of the body and magazines is a tad glitzy, but the Bronica S is not, as some have opined, the Cadillac Eldorado of 2-1/4 SLRs.
There are a few downsides to the Bronica S, which I think of as lovable quirks but might be deal breakers for some. For one thing, like all focal plane shutter Bronicas, it’s loud. Press the shutter release and it responds with a “thwack” loud enough to attract the attention of passersby, so this in not the camera for taking “candid” pictures. In my opinion, most of the noise is caused by the action of the mirror, not the shutter, but in any case, the camera ranks high on the decibel level list compared to other cameras of its type. Then there’s the gearing on the film wind mechanism which is “low and slow,” meaning that you must turn the crank almost 4 full turns to move the frame counter from zero to 1, and nearly 2 full turns to advance the film from frame to frame. According to one camera design expert I spoke with, the “long slow wind” may have been a deliberate engineering decision on Bronica’s part to lower the torque and stress on the film wind gears. Since I’ve never experienced film wind problems with a Bronica S, it may have been an effective strategy, but it sure can be annoying when you’re trying to shoot rapidly. By the way I don’t agree with some reviewers who say that the film wind action of the Bronica S is rough and noisy. I think it’s about average in both respects, just interminably long. Ultimately the best proof of the worthiness and mettle of the humble 60-year-old Bronica S is the quality of the pictures it can take. so I’ve included a few of mine here for your perusal.
The Bronica S2: Helical focusing, a huge lens mount and film wind woes
The Bronica S2 unveiled in 1965 incorporates several new features, but the primary change was ditching the extending focusing tube and switching to a removable helical type focusing mount controlled by a large black knurled focusing ring on the front of each mounted lens. The entire helical mounts to the body via a huge 3-claw bayonet mount, and it can be removed to attach, for example, a focusing bellows for macro work. It accommodates lenses from 40-200mm—longer lenses have their own separate or integrated helicoids. The film back was improved and accepts 220 or 120 film, the number of frames selectable with a small 12/24-exposure control on the side of the magazine. With the demise of 220 it’s now a vestigial feature, but you’d better make sure the back is set for 120 or the frame counter won’t work correctly. Other changes: adding a small button for releasing the helical on the front of the body, moving the PC contact to the left side of the body, and sadly, deleting the mirror lock. Finally, the Bronica S2 body was the first of the breed offered in a choice of black or chrome finish. It’s readily available used at camera dealers and online auction sites, at prices ranging from $300-$450 with 75mm f/2.8 Nikkor-P lens.
Portrait of a fellow photographer:Tech data: Bronica S2A with 75mm f/2.8 Nikkor-P.C, handheld at f/4 and 1/125 sec on Ilford HP5 Plus.
Like the Bronica S, the S2 and S2A require 3-4 turns of the film wind knob or crank to advance the film to the first frame, and 2 full turns to advance the film to subsequent frames, at which point it feels like it stops, but you’ve got to turn it a little bit farther until the shutter cocks with a crunch. It sounds like the camera might be broken, but it’s just one of the charming quirks of older Bronicas that was improved on the Bronica S2A and effectively eliminated on the EC series. One thing Bronica never fully resolved, at least on the focal plane shutter models, is the loud “thwack” of the mirror/shutter mechanism when you press the shutter release. These are great cameras for many things but shooting unobtrusively isn’t one of them.
The Bronica C and C2: What, no interchangeable film backs?
For the record, in 1964 Bronica released the Bronica C a less expensive, simplified model based primarily on the Bronica S, but lacking interchangeable film backs, incompatible with 220 film, and with a top shutter speed of only 1/500 sec, but including a multiple exposure dial above the frame counter. However, the rarish Bronica C was the model that pioneered the removable helical focusing mount that was used on the S2 and all subsequent focal plane shutter Bronica SLRs. In 1965 they unveiled an improved version called the C2 that incorporated the S2’s mechanical improvements, added a 120/220 film selector lever and (on most examples) a marked 1/1000 sec top shutter speed. I’ve never owned or used either version of the Bronica C, but they’re a good choice for casual shooters and either one is currently available used at about $300-400 with 75mm f/2.8 Nikkor-P.
The Bronica S2A, Improved winding gears and a smaller wind knob
In 1969, Bronica released the successor to the S2, the S2A which is a dead ringer for the S2. Most early production S2A models have an “S2A” after the serial number on the body (it’s on top, directly in front of a mounted film back). If yours doesn’t, check the serial number; if it’s 150037 or higher, it’s an S2A. The main upgrade in the S2A is improved gearing in the film advance mechanism (revised gear profiles and upgraded metallurgy). The modifications are said to improve reliability and result in fewer jams, an occasional problem with the S2, especially when advanced too roughly. The film advance knob/crank was also made slightly smaller in diameter to help minimize the torque on the gears, and in 1973 the neck strap lugs were changed to the same configuration used on the Bronica EC. The S2A was the most successful of the all-mechanical focal plane shutter Bronicas and was in production until 1977 when it was overshadowed by the Bronica EC with an electronically controlled focal plane shutter. All prisms, hoods, backs, grips, etc. that fit the S2A also fit the S2 and the S, but regrettably none of these models has easily interchangeable finder screens. A clean, functional chrome- or black-finished Bronica S2A with 75mm f/2.8 Nikkor P lens currently fetches about $300-$500 at online auction sites or from used camera specialists.
The Bronica S2A looks impressive in black, especially when fitted with the large diameter 100mm f/2.8 Zenzanon lens. It's reliable too.
In my experience, both the Bronica S2 and S2A are well made, worthy, dependable, high-performance cameras, and not the unreliable clunkers they’re sometimes made out to be. They’re well balanced, reasonably ergonomic, have film magazines and inserts that are straightforward and easy to use, and bright, contrasty standard viewing screens. Their wide bayonet mounts also accept a much larger range of high-quality Nikkor, Zenzanon, and Komura lenses than the Bronica S. However, most of these cameras are now over 50 years old, and in the interest of long-term reliability, and considering the cost and availability of repairs, you’re probably better off with the S2A than an S2.
The dirty little secret is that all mechanical medium format SLRs are complicated beasts, and their moving parts are larger and have greater mass than those in, say, a 35mm SLR. As a result, they’re more likely to give trouble, and require more frequent servicing than their smaller format counterparts. Based on my personal hands-on experience over many years, I believe Bronica SLRs (all of them) are roughly as reliable as comparable Hasselblads, Rolleis, and Contaxes, and more reliable than the wonderful but challenging Pentacon Six. As the saying goes, take care of them, use them with respect, and they’ll reward you with images of excellent technical quality like those I’ve included here.
The Bronica EC: My personal favorite, but mind that battery check!
The Bronica EC (which stands for “electronic control”) was released in March 1972 as the successor to the Bronica S2A and it represents a new generation of Bronica design. Its signature feature is a stepped, electronically controlled, vertical run, cloth focal plane shutter with speeds from 4 sec to 1/1000 sec plus B that’s powered by a 6-volt silver-oxide or alkaline battery in the base of the camera. The battery check button and adjacent green “check light” (a grain-of-wheat bulb not an LED!) is on the left side of the body. The viewfinder and user interchangeable (at long last!) finder screens, and 120/220 film magazines are not compatible with those of S-series Bronicas, and EC film backs have a handy dark slide storage slot. The optional TTL exposure meter finder uses a CdS cell, the body has ¼-inch and 3/8-inch tripod sockets, and the camera provides a depth of field preview button, a mirror lock, and a locking PC terminal.
The Bronica EC in beautiful black finish with my favorite lens, the superb 75mm f/2.8 Nikkor-H.C, a 6-element, 4-group double Gauss design.
Unlike previous Bronicas the EC features a 2-piece instant return mirror, and the smaller bottom section moves downwards while the larger top section moves inward and upward when you fire the shutter. This “opposed movement” is said to reduce camera induced vibration and to provide better coverage for wide-angle lenses. It may also be a bit quieter, but the camera still makes and impressive “thwack” when you press the shutter release. The EC focuses down to 18 inches with the standard 75mm f/2.8 Nikkor-P lens or the multicoated Nikkor-P.C, a lot closer than a typical leaf shutter medium format SLR.
Woman with a hat: Tech data: Bronica EC with 75mm f/2.8 Nikkor-H.C, handheld at 1/30 sec at f/2.8 on Ilford HP5 Plus.
The Bronica EC body, which is clad in chrome- or black-finished alloy, is handsome enough but it looks boxier and less “sculpted” than earlier models and it’s bigger and heavier, measuring 139 x 117 x 170mm (W x H x D) and weighing in at 1.980 kg with back and waist level finder. In comparison, the S2A body measures 100 x 100 x 140mm and weighs in at 1,780 kg. However, while the EC feels and is larger and heavier than an S2 or S2A, it’s so well balanced and its controls are so well placed that it’s very pleasant to shoot with, seems to have less mirror-induced vibration (as proven by some remarkably sharp pictures I’ve shot handheld at 1/30 sec), and is a superior camera overall.
Downsides? Well, it’s not really any fault of the EC, but if you try to mount the otherwise excellent 100mm f/2.8 Zenzanon lens on the camera without first setting it to minimum focusing distance its rearmost section will smash into the smaller bottom part of the two-piece mirror and crack it. Miraculously, once the lens is mounted correctly, it will focus to infinity without causing any damage, but as a precaution I strongly suggest you set the lens to closest focusing distance before mounting or removing it from the camera—don’t ask me how I know. By the way, none of this nonsense is necessary when mounting or removing the Lens from an S-series Bronica. Another solution: acquire a (hard to find) 100mm f/2.8 Komura lens in Bronica mount, a fine performing lens that doesn’t extend quite as far into the body and mounts and dismounts without a hitch. Or you could search for the exceedingly rare “Holy Grail” of Bronica mount lenses, the 100mm f/2 Komura, which I’ve never seen but has reportedly been sold on Japanese eBay for around 5 grand.
Beware the zombie battery!
To my dismay, I recently discovered another lurking Bronica EC foible that I’d been blissfully unaware of for nearly 20 years. A few months ago I ran 3 rolls of 120 black-and-white film through my favorite EC fitted with my favorite lens (the magnificent 75mm f/2.8 Nikkor-H.C, a 6-element 4-group double Gauss design) and when I developed the film (in Kodak D-76 1:1) all 3 rolls were completely blank, except for one frame in the middle of one that looked sharp, but was 2-3 stops underexposed. Here’s what happened: The battery check light on that specific camera hasn’t worked for years (probably due to a burned-out bulb or a loose connection) and I didn’t check that the shutter was working using my standard workaround method (firing it at different shutter speeds with the film back removed). So, when the battery reached the point that it had just enough juice to fire the shutter, but not enough to power the timing circuit, the camera soundedlike it was working just fine, but the both shutter curtains fired one right after the other without opening the slit between them—except once when it opened a too-narrow slit to properly expose that one frame! Moral: If you’ve got a Bronica EC or EC-TL with a duff battery check, have it fixed. And while you’re at it, use a longer lasting 6v silver oxide battery (4SR44 or S28PX) that has a steeper drop-off curve than the alkaline alternative.
You can snag a clean functional Bronica EC with 75mm Nikkor-P lens for $350-500 in black or chrome with 75mm f/2,8 Nikkor-P lens, slightly higher with multicoated 75mm f/2.8 Nikkor-P.C lens that provides slightly higher contrast.
The Bronica EC-TL: A built-in meter that’s hard to get repaired
The Bronica EC-TL introduced in 1975 was a technological tour de force. Built on the proven EC chassis it was the world’s first 6 x 6 cm-format camera with built-in TTL metering and the first to provide aperture priority autoexposure mode, beating out Hasselblad by nearly 17 years! The EC-TL features an ingenuous metering system employing 2 silicon cells behind the mirror that read the exposure through the lens at working aperture with a third silicon cell that compensates for ambient light coming though the improved light excluding waist level finder. At the top of the finder screen a digital LED-illuminated shutter speed scale is displayed along with over and underexposure warnings. The system provides instant stop down measurements, eliminating discrepancies due to aperture variations, but it works so quickly that the camera functions like an open-aperture-metering camera.
Bronica EC-TL, in chrome with multicoated 75mm f/2.8 Nikkor-P.C, was first medium format SLR with TTL metering and aperture priority Auto.
Readings can be checked by pressing the depth of field preview button with the meter turned on, Auto and Manual exposure operations are clearly indicated by steadily illuminated numerals in Auto mode and a flickering display in manual mode. The focal plane shutter can operate at a mechanical speed of 1/40 sec without battery power, shutter speeds from 2 sec to 1/1000 sec (plus B) are stepless in auto mode, intermediate settings are possible in manual mode, and X sync is at 1/60 sec. Setting the shutter dial to the red A or Auto lets you shoot in aperture priority mode and setting the multi-exposure control to D lets you shoot an unlimited number of exposure on one frame. All other specs, including size and weight, closely parallel those of the Bronica EC.
Even today the great handling Bronica EC-TL is an excellent choice for sophisticated film shooters, but fair warning— electronic replacement parts, dedicated screens, and repairs are very hard to come by, so make sure you obtain one in perfect working order from a reputable dealer or seller that accepts returns. Despite its technological brilliance I have personally avoided the Bronica EC-TL because I can’t bear the thought having a camera with certain features that don’t work and can’t be repaired, a description that sadly fits too large a percentage of EC-TLs for my taste. I soldier on with my meter-less EC and my trusty Gossen Luna-Pro SBC meter.
You can currently acquire a clean functional Bronica EC-TL with 75mm f/2.8 Nikkor-P lens for about $400-600 at online auction sites or from camera specialty dealers.
The Bronica EC-TL II: Last of the focal plane shutter Bronicas
Introduced in October 1978 and discontinued less than 2 years later in March 1980, the very last focal plane shutter Bronica has revised electronic circuit boards said to be simpler and more robust than those in the Bronica EC-TL. As a result, the camera no longer provides shutter speeds slower than 1 sec, 1/30 sec is the slowest speed displayed in the finder (which means different finder screens are required) and the metering system no longer provides manual metering mode (there’s just an M indicator light in the finder). However, it does provide aperture priority auto exposure ay the A setting on the shutter dial and reads out the camera selected shutter speed when you press the depth of field preview button—just like the EC-TL. The metering system is said to be more reliable and robust than the one in its predecessor, but parts and repairs are hard to come by so caveat emptor. Clean functional examples of the Bronica EC-TL II are readily available at online auction sites and camera specialty dealers at prices ranging from $600-900 in black of chrome with 75mm f/2.8 Nikkor-P or Nikkor-P.C lens.
The Bronica SQ, SQ-A, SQ-Am, SQ-Ai, SQ-B: My work in progress
In 1980 Bronica brought forth the SQ (for “square”?) as a replacement for the Bronica EC. All members if this series cited above use a new series of Zenzanon lenses incompatible with previous Bronicas, each with a built-in electronically controlled Seiko leaf shutter with speeds of 8 -1/500 sec plus T and helicoid focusing. A new system of 120/220 film magazines with ISO input dials, and a new series of top-mounted accessories rounded out the system. In 1982 the Bronica SQ-A was released; it added a mirror lock-up, and a new viewfinder system, not compatible with the SQ, that included electronic contacts for an auto-exposure prism. In 1983 a motorized version of the SQ-A, the SQ-Am with an integral motor drive powered by 6 AA cells was announced, and in 1991 the SQ-Ai with removable motor drive and OTF (off the film) TTL metering, and SCA-compatible auto flash capability made its debut. The SQ-B (for “basic”), a simplified version of the SQ-A, came out in 1996. The Bronica SQ system is a thoughtfully, designed, well-made, reliable 6x6 cm SLR system designed as a less expensive alternative to the premium priced leaf shutter Hasselblads, and its full line of Zenzanon lenses are all of excellent quality. Bottom line: I just acquired a near mint Bronica SQ-A outfit with 3 lenses, 2 backs, a plain and an AE prism, and a Winder Grip and I will provide my hands on user report in a future article. It seems to be a very nice camera, and my only complaint so far is that the 80mm f/2.8 Zenzanon-PS lens only focuses down to 0.8m, not quite close enough for my signature “head shot” close-up portraits. Another small gripe: my outfit did not include either a waist-level finder (my favorite) or a wind crank, and the prices being asked ($200+ and $100 respectively) are a little too high for my (impecunious) pocketbook. I hope someone out there can come to my rescue.
Lenses for focal plane shutter Bronicas:
While a detailed analysis if this extensive and complex subject is beyond the scope of this article, herewith a few brief thoughts on the “normal” lenses I’ve used on my Bronicas.
The original non-multicoated version of the 75mm f/2.8 Nikkor-P (for “penta”) is a classic 5-element, 4-group design that delivers outstanding sharpness and beautiful rendition across the field at all apertures, and has a 9-bladed diaphragm that enhances its beautiful bokeh. It’s a superb lens and its only downsides are slight softness in the corners at f/2.8, and an average tendency to flare when shooting against the light. The later multicoated version, the 75mm f/2.8 Nikkor-P.C is the same lens, just multicoated and it has slightly higher contrast than the older lens and less of a tendency to flare in adverse lighting conditions.
My all-time favorite lens for focal plane shutter Bronicas is the 75mm f/2.8 Nikkor-H.C that was offered as a “premium” normal lens alternative. It uses a 6-element, 4-group double Gauss formula, has a 7-bladed diaphragm and is sharp to the corners even wide open at f/2.8, and IMHO has a slight “vintage feel” in its rendition.
I also love the 100mm f/2.8 Zenzanon, a great focal length for portraiture, though I am now extra careful when mounting it on my Bronica EC! Providing a slightly longer than normal focal length, this classic 6-element, 4-group, double Gauss formula lens is a favorite of portrait photographers and it’s acclaimed for its beautiful rendition and crisp imaging—it’s very sharp wide open and improves on stopping down. Dominated by its large front element, it’s prone to flare, weighs in at a hefty 12.7 ounces, and focuses down to a longish 38.6 inches, not quite close enough for frame filling head shots. It’s a highly desirable lens that’s readily available at the rather wide price range of $150-$350, largely depending on condition. The 100mm Zenzanon was apparently not produced in an MC or Multicoated version.
Zenzanon MC 80mm f2.8 Carl Zeiss Jena DDR: The regular 80mm f/2.8 Zenzanon is basically a slightly longer version of the 75mm f/2.8 Nikkor-P (which is not a bad thing) but this beauty by Zeiss Jena is based on the famous design Biometar and is said to be even better. This multicoated beauty will set you back about $500.
Komura lenses in Bronica mount
The Komura brand name was used by Sankyo Koki Co., Ltd of Tokyo, the company that was turning out Komuras and Super-Komura lenses for focal plane shutter Broniucas by the mid ‘60s. It specialized in lenses with distinctive specs, high speed, and outstanding performance. Komura lenses delivered good value fir the money and their long teles like the 300mm f/5, 400mm f/6,3, and 500mm f/7.0 Komuras handily outsold their more ponderous and much costlier Nikkor alternatives by a wide margin.
The 150mm f/3.5 Komura: Regrettably It's the only Komura lens I own, but it's a beauty--very sharp with lovely bokeh.
Regrettably I have only one Komura lens for my Bronicas, the 150mm f/3.5 but it’s a beauty. A classic 4-element, 3-group Tessar type it provides excellent central sharpness and detail at all apertures, with the corners coming in by f/5.6, and despite its longish 6 foot minimum focusing distance it’s a great portrait lens, has smooth natural bokeh, and captures a pleasantly realistic perspective. Best of all it measures only 3.54 inches in length, weighs in at a portable 19 ounces, and you can snag one for $100-200 at the major online auction sites.
The 100mm f/2.8 Komura was lighter and more compact than the 100mmm f/2.8 Zenzanon, and it didn't snag the EC's mirror. It's pricey.
The one Komura lens I’d really love to own is the 100mm f/2.8 Komura, a 5-element, 3-group Heliar type that delivers a combination of excellent definition, classic rendition, and beautiful bokeh. It’s also lighter and more compact than the equivalent Zenzanon, measuring a mere 2.7 inches in length and weighing in at a featherweight 13 ounces. The downside: These lenses typically fetch about $500, presuming you can even find one for sale.
The Komura 2x Bronica Teleconverter is also worth having – as there is no Nikkor or Zenzanon 2x Teleconverter! You can often snag one of these jewels for around 100 bucks but make sure it fits your model because Komura also made them for SQ- and ETR- series Bronicas as well as the S & EC series.
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