The Downsized 35mm SLR Revoltion: Disruption Rocks
It began 50 years ago with the Olympus OM-1 and its effects still echo
When the Olympus unveiled the world’s most compact full-frame 35mm SLR at the cavernous Photokina exposition in Cologne, Germany in 1972 it created an instant worldwide sensation. But Leica was miffed that it was dubbed the Olympus M-1, which they felt treaded on the exclusivity its elite Leica M-series rangefinder 35s. So they prevailed upon Olympus to change it, which they did, by adding an “O.” The Olympus OM-1 thus became the first camera to incorporate the sanskrit chant “OM” in its title, which no doubt pleased the gods on mount Olympus when they heard it reverberating through the universe.
The original Olympus M-1 of 1972, shown here with 50mm f/1.4 G. Zuiko lens, created a sensation at Photokina, but they had to an an "O" to satisfy Leica!
The diminuitve OM-1 was designed under the direction of the late, great Yoshihisa Maitani, the camera engineering genius who created the original pocket-sized Olympus Pen scale focusiing half-frame 35 of 1959 as well as the Pen F and Pen FT half-frame SLRs. His goal was to configure a robust, functional full frame (24 x 36mm format ) SLR roughly the same size as a Barnack (screw mount) Leica. He felt that the leading SLRs of the day, like the Nikon F, Canon F1, and Topcon Super D, had grown far too large and heavy, and he wanted to get back tio the original concept of a precision miniature 35mm camera that Leica had pioneered back in 1925.
Doing so entailed thinking outside the mirror box, and reconfigurinhg nearly every ecomponent of traditional 35mm SLRs to save every last millimieter of space. Maitani nearly succeeeded—the OM-1’s body measures only 5-3/8 x 3-1/4 x 2.0 inches (W x H x D) and it weighs a mere 18 ounces. Howver there were no collapsible lenses in OM mount so its depth increases to 3-3/16 inches and its weight goes up to 24 ounces when you add a compact 50mm f/1.8 F. Zuiko lens.
Minimalist finder of OM-1 had "center the needle" metering index, a central split-image rangefinder surrounded by a microprism collar, and a matte outer area.
The jewel-like OM-1 is a handsome, beautifully made, through-lens-metering, match-needle camera generally conceded to be the first full-featured, full-frame (24x36mm) ultra-compact SLR. Its features include a cloth focal-plane shutter with speeds from 1-1/1000 sec plus B set “Nikkormat style” via a ring around the lens, a two-CdS cell metering system, a fixed pentaprism with viewing screens interchangeable via the open lens mount, a single-stroke wind lever, a mirror lock-up, and (after the very first iteration) motor/winder compatibility. Standard lenses in OM bayonet mount are a 50mm f/1.4 G. Zuiko or 50mm f/1.8 F. Zuiko, and an extensive system of lenses (8mm to 1000mm), winders, motors, flashes, and accessories were available.
Olympus OM-1 MD of 1974 added motor drive compatibility via a drive coupling on the bottom, and a nice MD identification plate on the front.
The bottom plate of the original OM-1 needed to be modified to accept a motor drive, and in 1974, Olympus launched the OM-1MD ( Motor Drive), that accepted motor drive directly without modification. This new version is identifiable by a small plate marked 'MD' on the front, and a small slot with a circular cover on the underside that covers the motor drive coupling. The next iteration, the OM-1n of 1979, was similar to the OM-1MD, but it had a redesigned film advance lever, a flash ready/sufficient flash LED in the viewfinder, and automatic X-sync, regardless of the position of the FP/X switch when it was used with a T-series flash mounted on a Flash Shoe 4.
Top view if Olympus OM-1n of 1979. It had a redesigned film advance lever, a flash ready/flash OK LED in the finder, and "auto X sync" with Olympus flashes.
The OM system was expanded over the years to include a range of ultra-compact Olympus OM SLRs with increasingly sophisticated features including TTL autoflash, autoexposure modes, and exposure memory capabilities. We can’t detail all of them here, but suffice it to say that all single digit numbered Olympus OM-series SLRs from the original OM-1 through the last Olympus OM-4Ti of 2002 are excellent, rteliable user-collectibles that hold their value quite well. Despite its lack of advanced automation and its “old fashioned” CdS match-needle metering system, an original OM-1 (any iteration) is a straightfrward elemental machine that has a special charm, and thanks to the overall excellence of OM Zuiko lenses, it can take great pictures. The downside: CdS meters are subject to the dreaded “memory effect” and take time to recover once they’ve been used in high ambient light situations. The solution: go for an Olympus OM-2 or later model OM, all of which use SBC meter cells and provide varioius types of autoexposure and other metering options. An original OM-1MD or OM-1n with 50mm f/1.8 or f/1.4 in pristine shape currently fetches about $150-$200. Early examples with M-1 markings are rarer (52,000 were reportedly made) and more collectible, A clean M-1 currently commands about $300.
Olympus OM-1 data sheet
The Pentax MX, essentially a smaller, lighter, version of the Pentax KX, was the company’s first ultra-compact 35mm SLR aimed at pros and serious photographers. Its form factor was certainly inspired by the phenomenal success of the Olympus OM-1, but also by the remarkably robust sales of the diminutive Pentax ME, a tiny, electronically controlled, aperture-priority AE model with no manual shutter speed dial that was aimed at advanced amateurs. The MX, also introduced in 1976, was Pentax’s flagship professional SLR until they launched the LX in 1980 to compete with the Nikon F3 and Canon F-1.
Pentax MX in chrome with 50mm f/2 SMC Pentax M lens, Note Asahi Optical Co. logo on the pentaprism housing.
The MX is a solidly built, metal-bodied, all mechanical, all manual camera with a horizontal cloth focal plane shutter providing speeds from 1-1/1000 sec plus B. It takes K-mount lenses and requires two 1.5v silver oxide button batteries only to power its TTL center-weighted, 5 diode, in-finder exposure readout system (there are no AE modes). It has a fixed 0.97x pentaprism viewfinder that covers 95% of the image field, in-finder optical aperture and shutter speed readouts, and a choice of 8 finder screens, interchangeable through the bayonet mount like the Olympus OM-1. Other features: ISO (ASA) settings 25-1600, fixed hot shoe, depth of field preview, mechanical self-timer, accepts Winder MX (2 fps) and Motor MX 5 fps), Dial Data MX data back, and bulk film back. The MX was available in black or chrome finish and ceased production in 1985. It measures 138.5 x 82.5 x 49.3 mm (W x H x D, body only), a teensy bit smaller than the Olympus OM-1, and at 495g it’s 15 g lighter too.
Pentax MX in black with excellent 50mm f/1.7 SMC Pentax-M lens. Pentax lenses are outstanding, but were never aggressively marketed.
The Pentax MX is a gorgeous, very well-made camera that has a bright, snappy finder, is a pleasure to hold and shoot with, and its Pentax SMC lenses (all focal lengths) are generally outstanding. On the downside, its metering system isn’t as super-reliable as the rest of the camera but it’s usually repairable, and it employs GPD (Gallium Photo Diode) cells that are very sensitive and not subject to the “memory effect.” Personally, I prefer ye olde analog match needle (as in the Olympus OM-1) to LED readouts even though the latter are more rugged, but at least the MX has 5 LEDs so you can fine tune the exposure. The Pentax MX is readily available used in chrome or black finish, and pristine examples currently run about $175-$250 with SMC Pentax 50mm f/1.7 or f/2 lens, slightly higher with SMC 50mm f/1.4 Pentax lens.
Chrome Pentax MX with excellent 50mm f/1.7 SMC Pentax-M lens, image courtesy perntaxforums.com.
The Nikon FM
The new compact Nikon FM was introduced in 1977 as a replacement for the larger, heavier Nikkormat FT3 that had debuted only a few months earlier, a clear indication that the 35mm SLR downsizing movement was gaining steam. It was based on an entirely new rugged copper-aluminum (duralumin) chassis that became the platform for Nikon’s very successful range of compact enthusiast-aimed 35mm SLRs. Indeed, the Nikon FM was used by many pros and photojournalists because it is a solid, reliable field camera with an easy-to-hold form factor, and inexpensive enough to be considered expendable. Despite its relatively low price it upheld Nikon’s reputation for robust construction, durability, and conservative innovation, and its basic design concept was used in such notable successors as the autoexposure Nikon FE, the FM2, FE2, FA, and limited production FM3A of 2001. However, while the Nikon FM was certainly more compact than a Nikon F or F2, it’s noticeably larger than the Olympus OM-1 or Pentax MX, measuring 142mm x 89.5mm x 60.5mm (W x H x D, body only), and weighing in at 590g, nearly 100g more than a Pentax MX.
Nikon FM in chrome, shown her with compact 50mm f/1.8 Nikon Series E lens, was surprisingly popular with pros, especially as a backup.
The Nikon FM uses a Copal Square shutter, a vertically moving, titanium-bladed focal plane with speeds of 1-1/1000 sec plus B and X sync at 1/125 sec. It also provides intermediate settings at all timed speeds, a feature that appealed to photographer shooting on narrow latitude slide film. Since the FM is mechanical, it only needs two 1.5 volt 357, 76A, or LR44 batteries to operate the light meter, a “center the LED” system using 3 vertically arrayed LEDs next to +, -, and O (correct exposure) markers on the right side of the viewfinder. The meter provides readings at full aperture using Nikon’s time honored 60/40% center-weighted system. The succeeding Nikon FM2 uses an improved version of the same system. The FM accepts the entire extensive range of Nikkor lenses except for IX series lenses APS Nikons and very old Fisheye lenses which could damage the mirror. Full metering compatibility requires lenses with Automatic Maximum Aperture Indexing (AI) specification.
Nikon FM in black with 50mm f/1.8 Nikon Series E lens. The FM's success inspired a generation of more compact Nikons, culminating in the FM3A
In addition to metering LEDs the FM’s viewfinder displays the set shutter speed and lens aperture, and its fixed K-type screen has a 3mm central split image rangefinder surrounded with a 1mm wide microprism collar. The FM accepts Nikon MD-11 and MD-12 motor drives enabling a fast-framing rate of 3.5 fps, the Data Back MF-12 that imprints time and date data on the film, and the SB-8E electronic flash. Note: The original FM had a rotary switch around the shutter button to activate the light meter, or switch to motor drive operation with the MD-11 motor, but after 1979 the switch was omitted, and the MD-12 motor drive was activated automatically. The later FM is also said to have more robust internal construction than earlier models. The Nikon FM sold very well compared to the competing compact SLRs from Olympus and Pentax, and was a popular backup camera among pros that was phased out in 1982 with the introduction of the FM2.
Special Nikon 60th Anniversary Gold Edition of the Nikon FM with matching 50mm f/1.4 Nikkor is a rare and pricey collectible. Image courtesy Peter Coeln.
The Nikon FM is a pleasure to shoot with and it fits my smallish hands very comfortably. Its viewfinder is bright and uncluttered, its shutter release is smooth and predictable, and it provides access to a stupendous array of Nikkor and F-mount lenses. On the minus side its nicely contoured single-stroke wind lever isn’t ratcheted so you must wind it in one longish stroke top advance the film, and its minimalist LED array makes it tough to meter precisely if you want to set a slight under- or overexposure. However, the meter in the example I shot with was commendably accurate and the ability to set intermediate shutter speeds is useful. Today this basic, simple, well-engineered camera that’s useable without batteries is considered a timeless classic, and it’s a superb user collectible available in silver with black trim or all black finish. The Nikon FM is a bargain at the current used price of about $100-$200 for a pristine, fully functional body in silver or black.
Yashica FX-3 Super 2000 is an ultra-compact AE SLR made fir Kyocera by Cosina. It takes Yashica/Contax mount lenses
Plastic Fantastic: Konica TC-X is compact and lightweight all right but it's all plastic and feels toylike--a whimpering end to the innovative Konica SLR line.
There were other ultra-compact 35mm SLRs, such as the Cosina CT-1 Super (a nice full-featured camera that was also marketed in revised form as the Yashica FX-3 Super 2000) and the Konica TC-X, the world’s first all-plastic-bodied SLR made by Cosina for Konica. The entry level TC-X was the last Konica branded 35mm SLR ever, and its only metal parts are the lens mount and tripod socket! It has a rather dim viewfinder and a very loud 1/-8-1/1000 sec plus B vertical metal focal plane shutter, but once you mount Konica’s superb pancake 40mm f/1.8 AR lens it’s fetchingly compact and the body weighs in at a mere 13.2 ounces sans battery!
It began 50 years ago with the Olympus OM-1 and its effects still echo
When the Olympus unveiled the world’s most compact full-frame 35mm SLR at the cavernous Photokina exposition in Cologne, Germany in 1972 it created an instant worldwide sensation. But Leica was miffed that it was dubbed the Olympus M-1, which they felt treaded on the exclusivity its elite Leica M-series rangefinder 35s. So they prevailed upon Olympus to change it, which they did, by adding an “O.” The Olympus OM-1 thus became the first camera to incorporate the sanskrit chant “OM” in its title, which no doubt pleased the gods on mount Olympus when they heard it reverberating through the universe.
The original Olympus M-1 of 1972, shown here with 50mm f/1.4 G. Zuiko lens, created a sensation at Photokina, but they had to an an "O" to satisfy Leica!
The diminuitve OM-1 was designed under the direction of the late, great Yoshihisa Maitani, the camera engineering genius who created the original pocket-sized Olympus Pen scale focusiing half-frame 35 of 1959 as well as the Pen F and Pen FT half-frame SLRs. His goal was to configure a robust, functional full frame (24 x 36mm format ) SLR roughly the same size as a Barnack (screw mount) Leica. He felt that the leading SLRs of the day, like the Nikon F, Canon F1, and Topcon Super D, had grown far too large and heavy, and he wanted to get back tio the original concept of a precision miniature 35mm camera that Leica had pioneered back in 1925.
Doing so entailed thinking outside the mirror box, and reconfigurinhg nearly every ecomponent of traditional 35mm SLRs to save every last millimieter of space. Maitani nearly succeeeded—the OM-1’s body measures only 5-3/8 x 3-1/4 x 2.0 inches (W x H x D) and it weighs a mere 18 ounces. Howver there were no collapsible lenses in OM mount so its depth increases to 3-3/16 inches and its weight goes up to 24 ounces when you add a compact 50mm f/1.8 F. Zuiko lens.
Minimalist finder of OM-1 had "center the needle" metering index, a central split-image rangefinder surrounded by a microprism collar, and a matte outer area.
The jewel-like OM-1 is a handsome, beautifully made, through-lens-metering, match-needle camera generally conceded to be the first full-featured, full-frame (24x36mm) ultra-compact SLR. Its features include a cloth focal-plane shutter with speeds from 1-1/1000 sec plus B set “Nikkormat style” via a ring around the lens, a two-CdS cell metering system, a fixed pentaprism with viewing screens interchangeable via the open lens mount, a single-stroke wind lever, a mirror lock-up, and (after the very first iteration) motor/winder compatibility. Standard lenses in OM bayonet mount are a 50mm f/1.4 G. Zuiko or 50mm f/1.8 F. Zuiko, and an extensive system of lenses (8mm to 1000mm), winders, motors, flashes, and accessories were available.
Olympus OM-1 MD of 1974 added motor drive compatibility via a drive coupling on the bottom, and a nice MD identification plate on the front.
The bottom plate of the original OM-1 needed to be modified to accept a motor drive, and in 1974, Olympus launched the OM-1MD ( Motor Drive), that accepted motor drive directly without modification. This new version is identifiable by a small plate marked 'MD' on the front, and a small slot with a circular cover on the underside that covers the motor drive coupling. The next iteration, the OM-1n of 1979, was similar to the OM-1MD, but it had a redesigned film advance lever, a flash ready/sufficient flash LED in the viewfinder, and automatic X-sync, regardless of the position of the FP/X switch when it was used with a T-series flash mounted on a Flash Shoe 4.
Top view if Olympus OM-1n of 1979. It had a redesigned film advance lever, a flash ready/flash OK LED in the finder, and "auto X sync" with Olympus flashes.
The OM system was expanded over the years to include a range of ultra-compact Olympus OM SLRs with increasingly sophisticated features including TTL autoflash, autoexposure modes, and exposure memory capabilities. We can’t detail all of them here, but suffice it to say that all single digit numbered Olympus OM-series SLRs from the original OM-1 through the last Olympus OM-4Ti of 2002 are excellent, rteliable user-collectibles that hold their value quite well. Despite its lack of advanced automation and its “old fashioned” CdS match-needle metering system, an original OM-1 (any iteration) is a straightfrward elemental machine that has a special charm, and thanks to the overall excellence of OM Zuiko lenses, it can take great pictures. The downside: CdS meters are subject to the dreaded “memory effect” and take time to recover once they’ve been used in high ambient light situations. The solution: go for an Olympus OM-2 or later model OM, all of which use SBC meter cells and provide varioius types of autoexposure and other metering options. An original OM-1MD or OM-1n with 50mm f/1.8 or f/1.4 in pristine shape currently fetches about $150-$200. Early examples with M-1 markings are rarer (52,000 were reportedly made) and more collectible, A clean M-1 currently commands about $300.
Olympus OM-1 data sheet
- First introduced in July 1972.
- Camera type: 35mm focal-plane shutter TTL SLR camera
- Image format: 24 x 36mm
- Lens mount: OM bayonet mount
- Shutter: horizontal-travel focal-plane shutter
- Shutter speeds: B, 1 - 1/1000 sec.
- Flash sync contact: FP, X
- Viewfinder: Fixed pentaprism finder
- Finder coverage: 97 %
- Metering: Center-weighted light metering
- Film speed range: ISO (ASA) 25 to 1600
- Film winding: Top-mounted, ratcheted, single stroke lever
- Rewinding: Folding rewind crank on camera top
- Body dimensions: 136mm x 83mm x 86mm (W x H x D)
- Body weight (with 50mmm f/1.4 lens lens), 740 g.
The Pentax MX, essentially a smaller, lighter, version of the Pentax KX, was the company’s first ultra-compact 35mm SLR aimed at pros and serious photographers. Its form factor was certainly inspired by the phenomenal success of the Olympus OM-1, but also by the remarkably robust sales of the diminutive Pentax ME, a tiny, electronically controlled, aperture-priority AE model with no manual shutter speed dial that was aimed at advanced amateurs. The MX, also introduced in 1976, was Pentax’s flagship professional SLR until they launched the LX in 1980 to compete with the Nikon F3 and Canon F-1.
Pentax MX in chrome with 50mm f/2 SMC Pentax M lens, Note Asahi Optical Co. logo on the pentaprism housing.
The MX is a solidly built, metal-bodied, all mechanical, all manual camera with a horizontal cloth focal plane shutter providing speeds from 1-1/1000 sec plus B. It takes K-mount lenses and requires two 1.5v silver oxide button batteries only to power its TTL center-weighted, 5 diode, in-finder exposure readout system (there are no AE modes). It has a fixed 0.97x pentaprism viewfinder that covers 95% of the image field, in-finder optical aperture and shutter speed readouts, and a choice of 8 finder screens, interchangeable through the bayonet mount like the Olympus OM-1. Other features: ISO (ASA) settings 25-1600, fixed hot shoe, depth of field preview, mechanical self-timer, accepts Winder MX (2 fps) and Motor MX 5 fps), Dial Data MX data back, and bulk film back. The MX was available in black or chrome finish and ceased production in 1985. It measures 138.5 x 82.5 x 49.3 mm (W x H x D, body only), a teensy bit smaller than the Olympus OM-1, and at 495g it’s 15 g lighter too.
Pentax MX in black with excellent 50mm f/1.7 SMC Pentax-M lens. Pentax lenses are outstanding, but were never aggressively marketed.
The Pentax MX is a gorgeous, very well-made camera that has a bright, snappy finder, is a pleasure to hold and shoot with, and its Pentax SMC lenses (all focal lengths) are generally outstanding. On the downside, its metering system isn’t as super-reliable as the rest of the camera but it’s usually repairable, and it employs GPD (Gallium Photo Diode) cells that are very sensitive and not subject to the “memory effect.” Personally, I prefer ye olde analog match needle (as in the Olympus OM-1) to LED readouts even though the latter are more rugged, but at least the MX has 5 LEDs so you can fine tune the exposure. The Pentax MX is readily available used in chrome or black finish, and pristine examples currently run about $175-$250 with SMC Pentax 50mm f/1.7 or f/2 lens, slightly higher with SMC 50mm f/1.4 Pentax lens.
Chrome Pentax MX with excellent 50mm f/1.7 SMC Pentax-M lens, image courtesy perntaxforums.com.
The Nikon FM
The new compact Nikon FM was introduced in 1977 as a replacement for the larger, heavier Nikkormat FT3 that had debuted only a few months earlier, a clear indication that the 35mm SLR downsizing movement was gaining steam. It was based on an entirely new rugged copper-aluminum (duralumin) chassis that became the platform for Nikon’s very successful range of compact enthusiast-aimed 35mm SLRs. Indeed, the Nikon FM was used by many pros and photojournalists because it is a solid, reliable field camera with an easy-to-hold form factor, and inexpensive enough to be considered expendable. Despite its relatively low price it upheld Nikon’s reputation for robust construction, durability, and conservative innovation, and its basic design concept was used in such notable successors as the autoexposure Nikon FE, the FM2, FE2, FA, and limited production FM3A of 2001. However, while the Nikon FM was certainly more compact than a Nikon F or F2, it’s noticeably larger than the Olympus OM-1 or Pentax MX, measuring 142mm x 89.5mm x 60.5mm (W x H x D, body only), and weighing in at 590g, nearly 100g more than a Pentax MX.
Nikon FM in chrome, shown her with compact 50mm f/1.8 Nikon Series E lens, was surprisingly popular with pros, especially as a backup.
The Nikon FM uses a Copal Square shutter, a vertically moving, titanium-bladed focal plane with speeds of 1-1/1000 sec plus B and X sync at 1/125 sec. It also provides intermediate settings at all timed speeds, a feature that appealed to photographer shooting on narrow latitude slide film. Since the FM is mechanical, it only needs two 1.5 volt 357, 76A, or LR44 batteries to operate the light meter, a “center the LED” system using 3 vertically arrayed LEDs next to +, -, and O (correct exposure) markers on the right side of the viewfinder. The meter provides readings at full aperture using Nikon’s time honored 60/40% center-weighted system. The succeeding Nikon FM2 uses an improved version of the same system. The FM accepts the entire extensive range of Nikkor lenses except for IX series lenses APS Nikons and very old Fisheye lenses which could damage the mirror. Full metering compatibility requires lenses with Automatic Maximum Aperture Indexing (AI) specification.
Nikon FM in black with 50mm f/1.8 Nikon Series E lens. The FM's success inspired a generation of more compact Nikons, culminating in the FM3A
In addition to metering LEDs the FM’s viewfinder displays the set shutter speed and lens aperture, and its fixed K-type screen has a 3mm central split image rangefinder surrounded with a 1mm wide microprism collar. The FM accepts Nikon MD-11 and MD-12 motor drives enabling a fast-framing rate of 3.5 fps, the Data Back MF-12 that imprints time and date data on the film, and the SB-8E electronic flash. Note: The original FM had a rotary switch around the shutter button to activate the light meter, or switch to motor drive operation with the MD-11 motor, but after 1979 the switch was omitted, and the MD-12 motor drive was activated automatically. The later FM is also said to have more robust internal construction than earlier models. The Nikon FM sold very well compared to the competing compact SLRs from Olympus and Pentax, and was a popular backup camera among pros that was phased out in 1982 with the introduction of the FM2.
Special Nikon 60th Anniversary Gold Edition of the Nikon FM with matching 50mm f/1.4 Nikkor is a rare and pricey collectible. Image courtesy Peter Coeln.
The Nikon FM is a pleasure to shoot with and it fits my smallish hands very comfortably. Its viewfinder is bright and uncluttered, its shutter release is smooth and predictable, and it provides access to a stupendous array of Nikkor and F-mount lenses. On the minus side its nicely contoured single-stroke wind lever isn’t ratcheted so you must wind it in one longish stroke top advance the film, and its minimalist LED array makes it tough to meter precisely if you want to set a slight under- or overexposure. However, the meter in the example I shot with was commendably accurate and the ability to set intermediate shutter speeds is useful. Today this basic, simple, well-engineered camera that’s useable without batteries is considered a timeless classic, and it’s a superb user collectible available in silver with black trim or all black finish. The Nikon FM is a bargain at the current used price of about $100-$200 for a pristine, fully functional body in silver or black.
Yashica FX-3 Super 2000 is an ultra-compact AE SLR made fir Kyocera by Cosina. It takes Yashica/Contax mount lenses
Plastic Fantastic: Konica TC-X is compact and lightweight all right but it's all plastic and feels toylike--a whimpering end to the innovative Konica SLR line.
There were other ultra-compact 35mm SLRs, such as the Cosina CT-1 Super (a nice full-featured camera that was also marketed in revised form as the Yashica FX-3 Super 2000) and the Konica TC-X, the world’s first all-plastic-bodied SLR made by Cosina for Konica. The entry level TC-X was the last Konica branded 35mm SLR ever, and its only metal parts are the lens mount and tripod socket! It has a rather dim viewfinder and a very loud 1/-8-1/1000 sec plus B vertical metal focal plane shutter, but once you mount Konica’s superb pancake 40mm f/1.8 AR lens it’s fetchingly compact and the body weighs in at a mere 13.2 ounces sans battery!
