Jason Schneider
the Camera Collector
The Downsized SLR Revolution of the ‘70s and ‘80s
And the Japanese genius at Olympus who “fired the first shot!”
By Jason Schneider
The great 35mm SLR downsizing frenzy that took place over the 1970s and extended into the mid ‘80s, is generally attributed to the outsize influence of one exquisitely compact camera, the Olympus OM-1. Released in 1972 as the Olympus M-1, the name was quickly (within a year) changed to OM-1 in deference to Leica’s concerns that Olympus was horning in on their coveted letter M, the hallmark of Leica M rangefinder cameras and M-mount lenses that had debuted in 1954. Leica’s claim that people might confuse the Olympus M-1 with their rangefinder-less Leica M1 (a low-production model aimed at scientists, government departments and the military) was a stretch, but its real motivation was to preserve the prestige and exclusivity of the M-system. Since only a small number of Olympus M-1 bodies (52,000 according to Olympus) were made before the “OM-1 transition” Olympus M-1 bodies generally sell at a $100 collectors’ premium ($200-$250) compared to standard OM-1 bodies.
Yoshihisa Maitani in a thoughtful pose that captures his visionary spirit. He was one of the great camera designers of the 20th century.
The Genius Behind the Olympus OM-series 35mm SLRs
Yoshihisa Maitani (1933-2009) longtime chief camera designer for Olympus, was surely one of the greatest camera designers of the 20th century, a man whose creative vision and dedication enabled Olympus Corporation to become one of the world’s leading manufacturers of cameras and lenses for well over half a century. Maitani joined Olympus in 1956 at the age of 23 and eventually led the team that designed a series of innovative, highly successful, and influential cameras. These include the spartan minimalist half-frame Olympus Pen of 1959 which sired a generation of scale focusing Pen half-framers with more elaborate metering systems and faster lenses; the ingenious half frame Olympus Pen F SLR system that included the original Pen “Gothic F”, the FT and the Fv; the sleek, sophisticated self-contained XA and Stylus point and shoots, and his crowning achievement, the Olympus OM series of ultra-compact analog SLRs that began with the Olympus OM-1 (née M-1) of 1972. But before we jump into the saga of the OM-1, its many imitators, and glorious successors, let’s look back at what inspired Maitani to create an SLR with a form factor and feel that were inspired by his beloved Leica IIIf, the camera he carried with him when wandering the streets of Tokyo in his college days.
The original Olympus M-1 of 1972. The name was quickly changed to OM-1 at the behest of Leica, but both models are otherwise identical.
Ultracompact 35mm SLRs of the past
Many knowledgeable camera buffs believe that Y. Maitani created the first ultracompact, full frame SLR when his team at Olympus designed, developed, and perfected the Olympus M-1, soon renamed the OM-1. While designing a modern pro/enthusiast SLR body with a built-in TTL metering system that measures a mere 5.35 x 3.26 x 1.97 inches (W x H x D) and weighs only 17.99 ounces was and is a stunning achievement, but the OM-1 was by no means the first ultracompact SLR. Its diminutive size created a sensation only because it was considerably smaller, lighter, and handier than the top pro 35mm SLRs of the day, the Nikon F Photomic (any version), the Canon F-1, the Topcon Super D, and (heaven forefend) the humongous Zeiss “Bull’s Eye” Contarex. Even a “compact” SLR like the Pentax Spotmatic F of 1973 is noticeably larger and heavier than the OM-1, measuring 5.6 x 3.6 x 1.9 inches (W x H x D) and weighing in at 22 ounces, body only.
Classic compact and ultracompact SLRs
Asahiflex I of 1952 was Japan's first 35mm SLR. It's a spartan camera with very basic features, but it definitely qualifies as an ultracompact.
The Exakta I of 1936 was the first widely distributed 35mm SLR. It's somewhat larger than the OM-1 but more compact than most '60s SLRs..
Some vintage SLRs were also surprisingly compact. Indeed, the very first Japanese SLR of 1952 was literally smaller and lighter than the OM-1! Examples: The original Exakta of 1936, the world’s first internationally successful 35mm SLR, was bigger than the OM-1, but still (with waist level finder folded) its body is quite compact measuring 5.9 x 3.2 x 1.96 inches (W x H x D). However, it was noticeably heavier than the OM-1, weighing in at 25.4 ounces (body only). The original Praktiflex of 1939 (grandfather of the screw-mount Practicas) measures a reasonably compact 6.1 x 3.4 x 1.7 inches (W x H x D, body only), but its body weighs in at a hefty 23.8 ounces.
The Asahiflex IIB of 1954 pioneered the instant return mirror. It's a pre OM-1ultracompact like all Asahiflex predecessors of the 1957 Pentax.
Perhaps the most amazing examples of pre-OM-1 ultracompact SLRs are the Asahiflexes made by Asahi Optical Co. (the name was later changed to Pentax in honor of their stupendously successful Pentax SLRs). The original Asahiflex I of 1952 was a spartan SLR with a non-interchangeable waist-level finder, shutter speeds of 1/20-1.500 sec plus B (just like a Leica I, Model A!) a 50mm f/3.5 Takumar lens with a manual diaphragm, and a built-in small optical finder. However, its mirror was coupled to the shutter button—it went up when you pressed the release and came back down when finger pressure was relaxed; not exactly an instant return mirror, but according to Camera-Wiki, a rather cool feature for an SLR in 1952. The Asahiflex IIB of 1954 was the first widely distributed SLR with a spring-actuated instant return mirror (the brilliantly idiosyncratic but unreliable Gamma Duflex from Hungary had one in 1947!) However, all Asahiflexes from the model I of 1952 to the last model IIA of 1955-57 (which gained slow speeds) have one thing in common—they’re tiny, measuring 5.6 x 2.9 x 1.9 inches and weighing in at 17.8 ounces (body only) despite their robust construction. Though very well made, they had a small 37mm lens mount and lacked auto-diaphragm lenses, but they paved the way for the mighty Pentax of 1957, cleverly named for its built-in pentaprism.
Praktiflex I of 1939: It sired a generation of postwar screw mount Practicas and was more compact than most SLRs of the '60s.
Big Cahunas: 3 Top SLRs of the pre-OM-1 era
To give you a clearer picture of why the Olympus OM-1 made such a huge impact on the SLR market when it was released in 1972, here are some basic dimensional specs for three 35mm SLRS then very popular among pros and serious enthusiasts:
Nikon F 1959. The legendary Nikon F was the first truly professional caliber SLR, and was conceived, from its inception, as the basis for a high quality professional SLR system. The Nikon F remained in production, with relatively minor changes, for nearly 14 years, and during that time it established Nikon as the leading professional 35mm camera, a position not seriously challenged (by Canon) until the autofocus era. A handsome, rugged, and reliable camera of modular design, its removable pentaprism and external meter-coupling system allowed the Nikon F to be retrofitted with the latest advances in metering technology by upgrading the meter prism, and its F mount has endured, with some operational changes, even until the present digital era—a remarkable example of non-obsolescence. Though the Nikon F is not really a landmark in terms of technology, it is the camera that really marked the coming of age of the 35mm SLR.
While the basic Nikon F body with non-metered pentaprism isn’t huge, when you mount a Photomic meter prism (any version) it’s assuredly a big camera, measuring 5.75 x 4.1 x 1.94 inches (W x H x D), and weighing in at a hefty 30.8 ounces (body only) with Tn or FTn finder.
The Canon F-1 1971. Smaller than its predecessors (the beautifully made but ponderous Canonflexes) the Canon F-1 isn’t gigantic, but it is substantial, measuring 5.8 x 3.9 x 1.7 inches (W x H x D), and heavy, weighing in at 29.3 ounces (body only). Produced until 1981 in various models, Canon F-1s are great cameras (especially the Canon F-1 NEW of 1981, but they never overcame the dominance of the Nikon F and F2, which were the mainstays of most pro photographers of the era.
Topcon RE Super 1963. The first 35mm SLR with through-the-lens match-needle metering, it was manufactured by Tokyo Optical Company, Ltd. and initiated the basic trend that all other SLR makers were destined to follow. The RE Super, known as the Beseler Topcon Super D in the U.S., was unique in having its CdS meter cell built into the mirror, behind light-admitting slits, permitting the use of simple interchangeable optical finders, but this system, designed in a joint project with Toshiba Electric Co., proved complex and expensive to produce. The RE was eclipsed one year later by the Pentax Spotmatic, which took TTL readings off the viewing screen, a simpler system adopted by virtually every other maker. Large, robust, and nicely finished, the Topcon RE Super features include; Interchangeable eye-level pentaprism and finder screens, single-stroke wind lever, full-aperture metering, cloth focal-plane shutter with speeds from 1-1/1000 sec plus B, winder/motor compatibility, and Exakta-compatible bayonet mount. Standard lens is the superb 58mm f/1.4 Auto Topcor. The RE Super was produced in four versions and provided the basis for the Topcon D-1 and Super DM that remained in production to the ‘80s. The RE Super/Topcon Super D body is large for a 35mm SLR, measuring 6.2 x 3.9 x 1.97 inches (W x H x D), and weighs in at 28.7 ounces.
Conversations with Yoshihisa Maitani
As the onetime Editor in Chief of Modern Photography and later Popular Photography (from 1987-2003), I traveled to Japan 24 times to visit the leading Japanese camera manufacturers, confer on technical an marketing matters, and observe their production facilities. In the course of these visits I had the great honor and privilege of meeting Mr. Maitini about half a dozen times, having a few 5-10-minute conversations, and one hourlong meeting with him, during which time we discussed some of his most audacious camera designs, the thinking behind them, and his general approach to designing cameras. He was friendly and forthcoming, and while clearly proud of his achievements, he continually pointed out that it was the team, not just him, that desrved the lion’s share of the credit. Since Y. Maitani was not a great English speaker I am indebted to the translators who let us converse so freely and seemlessly.
Classic Olympus ad positions Y. Maitan, shown here with 3 Olympus OM models, the genius behind the OM series, but in real life he was much more reserved about his accomplishments, and inclined to be self-critical.
Thoughts on the original Olympus Pen and the OM-1
As a serious photo enthusiast and inveterate street shooter, Maitani was very much focused on the form factor and ergonomics of any camera he designed. Above all, a camera should fit the hands comfortably and securely, and all the major controls—particularly theshutter release, film advance,and focusing—should, as the Brits say, “fall readily to hand.” The handy size and shape of Maitani’s ortiginal half frame Olympus Pen of 1959, its thumb wheel fim advance, and its esay to see focusing scale atop the front lens ring clearly embody that philosophy. The aperture scale on the front of the lens is less conveniently located, but with such a tiny camera there was nowhere else to put it.
Olympus MDN Prototype of 1969: Maitani's brilliant creation was a Hasselblad style modular 35mm SLR, but they went with the OM-1 instead.
Maitani recalled that the inspration for Olympus OM-1’s minuscule but supremely ergonomic form factor was his beloved Leca IIIf, and the domensions of both these cameras are remarkably similar. His goal was to priduce a pro-spec camera that was 20% smaller and 50% lighter tha the Nikon F Photomic, and he succeeded. He also mentioned that in the course of the OM-1’s development he had his team disassembled and analyzed existng SLRs to see where “the empty spaces were” so he could find places to fit various components and shrink the external dimensions of the camera body by a few millimeters here and there. That’s one reason the OM-1’s shutter dial is located around the lens rather than atop the body. It is therefore entirely fitting that the camera was initially released as the M-1, the “M” in honor of Maitani, its principal creator. He took the same approach when designing the sleek ultracomoact Olympus XA, a sophsticated self contained point and shoot with an elegant sliding protective cover.
Cross section of the OM-1 shows Maitani's ingenuity in integrating components into small spaces to produce a functional masterpiece.
Maitani was by nature an innovator, much more inclined to start with a clean sheet of paper than to emulate existing designs. Good examples of this approach are the Pen F series of half frame SLRs, all “Barnack Leica sized” cameras with the mirror box turned on its side so the reflex mirror flipped horizontally, ingenious rotaring disc shutters made of titanium, and a porroprism finder to enable a sleeker body. Technically, and in the marketplace, the Olympus F series of half frame SLRs was a great success, but Maitani, always his own harshest critic, called the project “a huge failure.” Why? “Because we took all the patents, no other company could manufacture this type of camera, and there was no half frame SLR boom.” He was right of course—all other half frame 35mm SLRs (such as the Konica FT-1 Pro Half) were based on full frame models. Once Maitani had the ability to use the latest in micro-electronics, he came up with the hugely successful Olympus mju, a tiny all-weather point-and shoot sold as the Stylus in the U.S. And even back in 1969, 3 years before he developed the OM-1, he was working on the Olympus MDN, a gorgeous modular 35mm SLR that resembled a scaled-down Hasselblad 500C, with interchangeable film backs, viewfinders, lenses and a handgrip. It took Rolleiflex 13 years to come up with something similar, the Rolleiflex SL2000F, in 1982.
A young looking Yoshihisa Maitani holding the original Olympus M-1 named in his honor. Name was quickly to OM-1 to accommodate Leitz.
Yoshihisa Maitani was able to design great cameras not only because of his prodigious technical knowledge and his uncanny ability to think outside the box, but because he was a passionate photographer himself, and had a deep understanding of camera design from the end-user’s perspective. That was the ultimate impression I was left with after conversing with him at length. In all these respects he was very much like his hero, the great Oskar Barnack, the father of the Leica.
Downsized SLRs: 5 Post-Olympus OM-series cameras of the ‘70s &‘80s
The Pentax MX 1976-1985. Essentially a smaller, lighter, version of the Pentax KX, it 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 (5.16 x 3.25 x 1.95-inch (W x H x D), 16/1/4 ounce, body only) electronically controlled, aperture-priority AE model of 1976 with no manual shutter speed dial that was aimed at sophisticated 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. The Pentax MX, available in black or chrome, ceased production in 1985. It measures 5.45 x 3.25 x 1.94-inches (W x H x D, body only), a teensy bit smaller than the Olympus OM-1, and at 17.46 ounces it’s also 0.53 ounces lighter!
The Pentax MX in chrome with 50mm f/1.7 SMC Pentax-M lens. It was the top-of-the-line model before the LX and tad smaller than the OM-1.
The Nikon FM. Introduced in 1977 as a replacement for the larger, heavier Nikkormat FT3 that had debuted only a few months earlier, it was a clear indication that the 35mm SLR downsizing movement was gaining steam. 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, the Nikon FM was used by many pros and photojournalists because it’s a solid, reliable field camera with an easy-to-hold form factor, and inexpensive enough to be considered expendable. 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 is certainly more compact than a Nikon F or F2, it’s noticeably larger than the Olympus OM-1 or Pentax MX, measuring 5.6 x 3.5 x 2.5 inches (W x H x D, body only), and weighing in at 20.8 ounces, about 3-1/2 ounces more than a Pentax MX.
Nikon FM with compact 50mm f/1.8 Nikon Series E lens. It's larger than the OM-1, but a lot more compact than Nikon's pro-aimed SLRs.
Yashica FX-3 Super 2000 1986. An ultra-compact AE SLR made for Kyocera by Cosina (that marketed its own slightly different version as the CT-1) it’s a variant of the very popular Yashica FX-3 which was introduced in 1979. With its mostly plastic body weighing in at only one pound on the nose, many photographers favored the FX-3 Super 2000 for its lightweight, compact design coupled with its ability to mount a wide range of exceptional optics including a superb lineup of legendary Carl Zeiss T* lenses, but some complained about its “plasticky” feel. It measures a petite 5.4 x 3.4 1.97 inches and weighs in at 16 ounces (body only)
Yashica FX-3 Super 2000 ultracompact is very light thanks to its mostly plastic body. It took Zeiss lenses in Contax SLR mount, a big plus.
Konica TC-X 1985-1988. A very compact lightweight, SLR made for Konica by Cosina its all plastic body feels toylike—a whimpering end to the innovative and once dominant Konica Autoreflex SLR line—but if you cam get beyond the “plastic fantastic” it’s actually quite a nice camera. 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 competent. The body measures 5.11 x 3.11x 1.73 inches (W x H x D) and weighs in at a mere 13.2 ounces sans battery!
Konica TC-X made by Cosina was the last Konica branded SLR ever. It's body is almost all plastic but this entry-level SLR has its charms.
Minolta XD-11 in black with 50mm f/1.7 MD Rokkor-X lens was a top-of-the-line ultracompact with multi metering modes and a thin skin.
Minolta XD-11 1977-1984. Sold as the XD-7 in Japan, it was Minolta's first SLR camera to feature both shutter priority and aperture priority AE modes It also enables fully metered manual exposure as well as depth of field preview and includes an eyepiece shutter. The XD-11 also provides fully mechanical operation at 1/100 sec and B which allows it to operate without a battery. The XD-11 was the top-of-the-line Minolta camera when it was in production and retains a reputation for quality. It was Minolta's last metal bodied 35mm SLR design before the company switched to (mostly) plastic with the X-700. The only downside: its plastic covering tends to shrink and separate at the edges. The XD-11 measures a diminutive 5.35 x 3.39 x 2.00 inches (W x H x D) and weighs in at a very portable 19.8 ounces (body only).
And the Japanese genius at Olympus who “fired the first shot!”
By Jason Schneider
The great 35mm SLR downsizing frenzy that took place over the 1970s and extended into the mid ‘80s, is generally attributed to the outsize influence of one exquisitely compact camera, the Olympus OM-1. Released in 1972 as the Olympus M-1, the name was quickly (within a year) changed to OM-1 in deference to Leica’s concerns that Olympus was horning in on their coveted letter M, the hallmark of Leica M rangefinder cameras and M-mount lenses that had debuted in 1954. Leica’s claim that people might confuse the Olympus M-1 with their rangefinder-less Leica M1 (a low-production model aimed at scientists, government departments and the military) was a stretch, but its real motivation was to preserve the prestige and exclusivity of the M-system. Since only a small number of Olympus M-1 bodies (52,000 according to Olympus) were made before the “OM-1 transition” Olympus M-1 bodies generally sell at a $100 collectors’ premium ($200-$250) compared to standard OM-1 bodies.
Yoshihisa Maitani in a thoughtful pose that captures his visionary spirit. He was one of the great camera designers of the 20th century.
The Genius Behind the Olympus OM-series 35mm SLRs
Yoshihisa Maitani (1933-2009) longtime chief camera designer for Olympus, was surely one of the greatest camera designers of the 20th century, a man whose creative vision and dedication enabled Olympus Corporation to become one of the world’s leading manufacturers of cameras and lenses for well over half a century. Maitani joined Olympus in 1956 at the age of 23 and eventually led the team that designed a series of innovative, highly successful, and influential cameras. These include the spartan minimalist half-frame Olympus Pen of 1959 which sired a generation of scale focusing Pen half-framers with more elaborate metering systems and faster lenses; the ingenious half frame Olympus Pen F SLR system that included the original Pen “Gothic F”, the FT and the Fv; the sleek, sophisticated self-contained XA and Stylus point and shoots, and his crowning achievement, the Olympus OM series of ultra-compact analog SLRs that began with the Olympus OM-1 (née M-1) of 1972. But before we jump into the saga of the OM-1, its many imitators, and glorious successors, let’s look back at what inspired Maitani to create an SLR with a form factor and feel that were inspired by his beloved Leica IIIf, the camera he carried with him when wandering the streets of Tokyo in his college days.
The original Olympus M-1 of 1972. The name was quickly changed to OM-1 at the behest of Leica, but both models are otherwise identical.
Ultracompact 35mm SLRs of the past
Many knowledgeable camera buffs believe that Y. Maitani created the first ultracompact, full frame SLR when his team at Olympus designed, developed, and perfected the Olympus M-1, soon renamed the OM-1. While designing a modern pro/enthusiast SLR body with a built-in TTL metering system that measures a mere 5.35 x 3.26 x 1.97 inches (W x H x D) and weighs only 17.99 ounces was and is a stunning achievement, but the OM-1 was by no means the first ultracompact SLR. Its diminutive size created a sensation only because it was considerably smaller, lighter, and handier than the top pro 35mm SLRs of the day, the Nikon F Photomic (any version), the Canon F-1, the Topcon Super D, and (heaven forefend) the humongous Zeiss “Bull’s Eye” Contarex. Even a “compact” SLR like the Pentax Spotmatic F of 1973 is noticeably larger and heavier than the OM-1, measuring 5.6 x 3.6 x 1.9 inches (W x H x D) and weighing in at 22 ounces, body only.
Classic compact and ultracompact SLRs
Asahiflex I of 1952 was Japan's first 35mm SLR. It's a spartan camera with very basic features, but it definitely qualifies as an ultracompact.
The Exakta I of 1936 was the first widely distributed 35mm SLR. It's somewhat larger than the OM-1 but more compact than most '60s SLRs..
Some vintage SLRs were also surprisingly compact. Indeed, the very first Japanese SLR of 1952 was literally smaller and lighter than the OM-1! Examples: The original Exakta of 1936, the world’s first internationally successful 35mm SLR, was bigger than the OM-1, but still (with waist level finder folded) its body is quite compact measuring 5.9 x 3.2 x 1.96 inches (W x H x D). However, it was noticeably heavier than the OM-1, weighing in at 25.4 ounces (body only). The original Praktiflex of 1939 (grandfather of the screw-mount Practicas) measures a reasonably compact 6.1 x 3.4 x 1.7 inches (W x H x D, body only), but its body weighs in at a hefty 23.8 ounces.
The Asahiflex IIB of 1954 pioneered the instant return mirror. It's a pre OM-1ultracompact like all Asahiflex predecessors of the 1957 Pentax.
Perhaps the most amazing examples of pre-OM-1 ultracompact SLRs are the Asahiflexes made by Asahi Optical Co. (the name was later changed to Pentax in honor of their stupendously successful Pentax SLRs). The original Asahiflex I of 1952 was a spartan SLR with a non-interchangeable waist-level finder, shutter speeds of 1/20-1.500 sec plus B (just like a Leica I, Model A!) a 50mm f/3.5 Takumar lens with a manual diaphragm, and a built-in small optical finder. However, its mirror was coupled to the shutter button—it went up when you pressed the release and came back down when finger pressure was relaxed; not exactly an instant return mirror, but according to Camera-Wiki, a rather cool feature for an SLR in 1952. The Asahiflex IIB of 1954 was the first widely distributed SLR with a spring-actuated instant return mirror (the brilliantly idiosyncratic but unreliable Gamma Duflex from Hungary had one in 1947!) However, all Asahiflexes from the model I of 1952 to the last model IIA of 1955-57 (which gained slow speeds) have one thing in common—they’re tiny, measuring 5.6 x 2.9 x 1.9 inches and weighing in at 17.8 ounces (body only) despite their robust construction. Though very well made, they had a small 37mm lens mount and lacked auto-diaphragm lenses, but they paved the way for the mighty Pentax of 1957, cleverly named for its built-in pentaprism.
Praktiflex I of 1939: It sired a generation of postwar screw mount Practicas and was more compact than most SLRs of the '60s.
Big Cahunas: 3 Top SLRs of the pre-OM-1 era
To give you a clearer picture of why the Olympus OM-1 made such a huge impact on the SLR market when it was released in 1972, here are some basic dimensional specs for three 35mm SLRS then very popular among pros and serious enthusiasts:
Nikon F 1959. The legendary Nikon F was the first truly professional caliber SLR, and was conceived, from its inception, as the basis for a high quality professional SLR system. The Nikon F remained in production, with relatively minor changes, for nearly 14 years, and during that time it established Nikon as the leading professional 35mm camera, a position not seriously challenged (by Canon) until the autofocus era. A handsome, rugged, and reliable camera of modular design, its removable pentaprism and external meter-coupling system allowed the Nikon F to be retrofitted with the latest advances in metering technology by upgrading the meter prism, and its F mount has endured, with some operational changes, even until the present digital era—a remarkable example of non-obsolescence. Though the Nikon F is not really a landmark in terms of technology, it is the camera that really marked the coming of age of the 35mm SLR.
While the basic Nikon F body with non-metered pentaprism isn’t huge, when you mount a Photomic meter prism (any version) it’s assuredly a big camera, measuring 5.75 x 4.1 x 1.94 inches (W x H x D), and weighing in at a hefty 30.8 ounces (body only) with Tn or FTn finder.
The Canon F-1 1971. Smaller than its predecessors (the beautifully made but ponderous Canonflexes) the Canon F-1 isn’t gigantic, but it is substantial, measuring 5.8 x 3.9 x 1.7 inches (W x H x D), and heavy, weighing in at 29.3 ounces (body only). Produced until 1981 in various models, Canon F-1s are great cameras (especially the Canon F-1 NEW of 1981, but they never overcame the dominance of the Nikon F and F2, which were the mainstays of most pro photographers of the era.
Topcon RE Super 1963. The first 35mm SLR with through-the-lens match-needle metering, it was manufactured by Tokyo Optical Company, Ltd. and initiated the basic trend that all other SLR makers were destined to follow. The RE Super, known as the Beseler Topcon Super D in the U.S., was unique in having its CdS meter cell built into the mirror, behind light-admitting slits, permitting the use of simple interchangeable optical finders, but this system, designed in a joint project with Toshiba Electric Co., proved complex and expensive to produce. The RE was eclipsed one year later by the Pentax Spotmatic, which took TTL readings off the viewing screen, a simpler system adopted by virtually every other maker. Large, robust, and nicely finished, the Topcon RE Super features include; Interchangeable eye-level pentaprism and finder screens, single-stroke wind lever, full-aperture metering, cloth focal-plane shutter with speeds from 1-1/1000 sec plus B, winder/motor compatibility, and Exakta-compatible bayonet mount. Standard lens is the superb 58mm f/1.4 Auto Topcor. The RE Super was produced in four versions and provided the basis for the Topcon D-1 and Super DM that remained in production to the ‘80s. The RE Super/Topcon Super D body is large for a 35mm SLR, measuring 6.2 x 3.9 x 1.97 inches (W x H x D), and weighs in at 28.7 ounces.
Conversations with Yoshihisa Maitani
As the onetime Editor in Chief of Modern Photography and later Popular Photography (from 1987-2003), I traveled to Japan 24 times to visit the leading Japanese camera manufacturers, confer on technical an marketing matters, and observe their production facilities. In the course of these visits I had the great honor and privilege of meeting Mr. Maitini about half a dozen times, having a few 5-10-minute conversations, and one hourlong meeting with him, during which time we discussed some of his most audacious camera designs, the thinking behind them, and his general approach to designing cameras. He was friendly and forthcoming, and while clearly proud of his achievements, he continually pointed out that it was the team, not just him, that desrved the lion’s share of the credit. Since Y. Maitani was not a great English speaker I am indebted to the translators who let us converse so freely and seemlessly.
Classic Olympus ad positions Y. Maitan, shown here with 3 Olympus OM models, the genius behind the OM series, but in real life he was much more reserved about his accomplishments, and inclined to be self-critical.
Thoughts on the original Olympus Pen and the OM-1
As a serious photo enthusiast and inveterate street shooter, Maitani was very much focused on the form factor and ergonomics of any camera he designed. Above all, a camera should fit the hands comfortably and securely, and all the major controls—particularly theshutter release, film advance,and focusing—should, as the Brits say, “fall readily to hand.” The handy size and shape of Maitani’s ortiginal half frame Olympus Pen of 1959, its thumb wheel fim advance, and its esay to see focusing scale atop the front lens ring clearly embody that philosophy. The aperture scale on the front of the lens is less conveniently located, but with such a tiny camera there was nowhere else to put it.
Olympus MDN Prototype of 1969: Maitani's brilliant creation was a Hasselblad style modular 35mm SLR, but they went with the OM-1 instead.
Maitani recalled that the inspration for Olympus OM-1’s minuscule but supremely ergonomic form factor was his beloved Leca IIIf, and the domensions of both these cameras are remarkably similar. His goal was to priduce a pro-spec camera that was 20% smaller and 50% lighter tha the Nikon F Photomic, and he succeeded. He also mentioned that in the course of the OM-1’s development he had his team disassembled and analyzed existng SLRs to see where “the empty spaces were” so he could find places to fit various components and shrink the external dimensions of the camera body by a few millimeters here and there. That’s one reason the OM-1’s shutter dial is located around the lens rather than atop the body. It is therefore entirely fitting that the camera was initially released as the M-1, the “M” in honor of Maitani, its principal creator. He took the same approach when designing the sleek ultracomoact Olympus XA, a sophsticated self contained point and shoot with an elegant sliding protective cover.
Cross section of the OM-1 shows Maitani's ingenuity in integrating components into small spaces to produce a functional masterpiece.
Maitani was by nature an innovator, much more inclined to start with a clean sheet of paper than to emulate existing designs. Good examples of this approach are the Pen F series of half frame SLRs, all “Barnack Leica sized” cameras with the mirror box turned on its side so the reflex mirror flipped horizontally, ingenious rotaring disc shutters made of titanium, and a porroprism finder to enable a sleeker body. Technically, and in the marketplace, the Olympus F series of half frame SLRs was a great success, but Maitani, always his own harshest critic, called the project “a huge failure.” Why? “Because we took all the patents, no other company could manufacture this type of camera, and there was no half frame SLR boom.” He was right of course—all other half frame 35mm SLRs (such as the Konica FT-1 Pro Half) were based on full frame models. Once Maitani had the ability to use the latest in micro-electronics, he came up with the hugely successful Olympus mju, a tiny all-weather point-and shoot sold as the Stylus in the U.S. And even back in 1969, 3 years before he developed the OM-1, he was working on the Olympus MDN, a gorgeous modular 35mm SLR that resembled a scaled-down Hasselblad 500C, with interchangeable film backs, viewfinders, lenses and a handgrip. It took Rolleiflex 13 years to come up with something similar, the Rolleiflex SL2000F, in 1982.
A young looking Yoshihisa Maitani holding the original Olympus M-1 named in his honor. Name was quickly to OM-1 to accommodate Leitz.
Yoshihisa Maitani was able to design great cameras not only because of his prodigious technical knowledge and his uncanny ability to think outside the box, but because he was a passionate photographer himself, and had a deep understanding of camera design from the end-user’s perspective. That was the ultimate impression I was left with after conversing with him at length. In all these respects he was very much like his hero, the great Oskar Barnack, the father of the Leica.
Downsized SLRs: 5 Post-Olympus OM-series cameras of the ‘70s &‘80s
The Pentax MX 1976-1985. Essentially a smaller, lighter, version of the Pentax KX, it 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 (5.16 x 3.25 x 1.95-inch (W x H x D), 16/1/4 ounce, body only) electronically controlled, aperture-priority AE model of 1976 with no manual shutter speed dial that was aimed at sophisticated 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. The Pentax MX, available in black or chrome, ceased production in 1985. It measures 5.45 x 3.25 x 1.94-inches (W x H x D, body only), a teensy bit smaller than the Olympus OM-1, and at 17.46 ounces it’s also 0.53 ounces lighter!
The Pentax MX in chrome with 50mm f/1.7 SMC Pentax-M lens. It was the top-of-the-line model before the LX and tad smaller than the OM-1.
The Nikon FM. Introduced in 1977 as a replacement for the larger, heavier Nikkormat FT3 that had debuted only a few months earlier, it was a clear indication that the 35mm SLR downsizing movement was gaining steam. 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, the Nikon FM was used by many pros and photojournalists because it’s a solid, reliable field camera with an easy-to-hold form factor, and inexpensive enough to be considered expendable. 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 is certainly more compact than a Nikon F or F2, it’s noticeably larger than the Olympus OM-1 or Pentax MX, measuring 5.6 x 3.5 x 2.5 inches (W x H x D, body only), and weighing in at 20.8 ounces, about 3-1/2 ounces more than a Pentax MX.
Nikon FM with compact 50mm f/1.8 Nikon Series E lens. It's larger than the OM-1, but a lot more compact than Nikon's pro-aimed SLRs.
Yashica FX-3 Super 2000 1986. An ultra-compact AE SLR made for Kyocera by Cosina (that marketed its own slightly different version as the CT-1) it’s a variant of the very popular Yashica FX-3 which was introduced in 1979. With its mostly plastic body weighing in at only one pound on the nose, many photographers favored the FX-3 Super 2000 for its lightweight, compact design coupled with its ability to mount a wide range of exceptional optics including a superb lineup of legendary Carl Zeiss T* lenses, but some complained about its “plasticky” feel. It measures a petite 5.4 x 3.4 1.97 inches and weighs in at 16 ounces (body only)
Yashica FX-3 Super 2000 ultracompact is very light thanks to its mostly plastic body. It took Zeiss lenses in Contax SLR mount, a big plus.
Konica TC-X 1985-1988. A very compact lightweight, SLR made for Konica by Cosina its all plastic body feels toylike—a whimpering end to the innovative and once dominant Konica Autoreflex SLR line—but if you cam get beyond the “plastic fantastic” it’s actually quite a nice camera. 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 competent. The body measures 5.11 x 3.11x 1.73 inches (W x H x D) and weighs in at a mere 13.2 ounces sans battery!
Konica TC-X made by Cosina was the last Konica branded SLR ever. It's body is almost all plastic but this entry-level SLR has its charms.
Minolta XD-11 in black with 50mm f/1.7 MD Rokkor-X lens was a top-of-the-line ultracompact with multi metering modes and a thin skin.
Minolta XD-11 1977-1984. Sold as the XD-7 in Japan, it was Minolta's first SLR camera to feature both shutter priority and aperture priority AE modes It also enables fully metered manual exposure as well as depth of field preview and includes an eyepiece shutter. The XD-11 also provides fully mechanical operation at 1/100 sec and B which allows it to operate without a battery. The XD-11 was the top-of-the-line Minolta camera when it was in production and retains a reputation for quality. It was Minolta's last metal bodied 35mm SLR design before the company switched to (mostly) plastic with the X-700. The only downside: its plastic covering tends to shrink and separate at the edges. The XD-11 measures a diminutive 5.35 x 3.39 x 2.00 inches (W x H x D) and weighs in at a very portable 19.8 ounces (body only).
Last edited:
wlewisiii
Just another hotel clerk
I remember buying an OM1 in the early 00's and finding it too small in some ways as well as intensely disliking the shutter speed on the lens. At that point I stuck to Canon FD for SLRs and even then was contrarian preferring the quite large T90 Tank that was, essentially, the manual focus prototype for the EOS system.
Gotta admit, if I were to buy a new to film SLR now, the old Yashica FX series would be highly tempting for those tasty CZ lenses
Gotta admit, if I were to buy a new to film SLR now, the old Yashica FX series would be highly tempting for those tasty CZ lenses
So cool you were able to meet Maitani-san! He certainly did spark a revolution. My local newspaper eventually switched their entire photo department to the smaller Olympus gear, although not without grumbling from some photogs.
Contax also had a small SLR, the 139 Quartz and soon after the 137 MD, smallest at the time with built-in motor.
Contax also had a small SLR, the 139 Quartz and soon after the 137 MD, smallest at the time with built-in motor.
Zuiko-logist
Well-known
I also disliked the OM shutter dial on the lens mount, but I think it is a matter of what you are used to.
Pentax MX and Contax 139 are amongst my favorite cameras. Also a soft spot for the ME which is surprisingly nice to use.
Pentax MX and Contax 139 are amongst my favorite cameras. Also a soft spot for the ME which is surprisingly nice to use.
KoNickon
Nick Merritt
The OM's remain to my mind probably the handsomest of all SLRs -- beautiful in every detail and clearly the result of a "clean slate" approach. One thing I initially didn't like was the aperture ring being at the front of the lenses -- why? But that was before I realized that this was a nod to Leica and Contax lenses. No doubt Maitani was influenced by the older rangefinder designs. The XA series are brilliant cameras, but the mind boggles at what sort of interchangeable lens RF camera he could have come up with.
Ko.Fe.
Lenses 35/21 Gears 46/20
Is first Zenit discrimination going here?
Retro-Grouch
Veteran
Oh, if only that Olympus MDN had seen production! Yes, Rollei actually tried the same thing, but it was a bowser.
Thanks again, Jason, for a great and informative article.
Thanks again, Jason, for a great and informative article.
wes loder
Photographer/Historian
Do you mean 1.75 inches for the Nikon F camera body depth? 3.75 seems a bit of a stretch unless you include a lens.
D
Deleted member 82967
Guest
Good article!
My first camera was a used Praktica MTL3 with a Zeiss Pancolor 50mm f/1.8 on it, long, long ago.
p.giannakis
Pan Giannakis
I like the original ME (not Super) much more than the MX. If it didn't have some annoying features (I.e. pull the lever to activate meter), I would almost like it as much as my favourite Om-2. I never bonded with the MX, both I had developed issues with the mirror. The old ME just keeps going. The Super version is very unreliable.
Jason stated this was with the Photomic Finder. With the Tube on the Photomic finder to restrict angle of view, from front to back of the eyepiece- ~3.5".
I've had mine for 45 years now. A favorite. The Photomic FTn is "only" 2.5".
>Photomic meter prism (any version) it’s assuredly a big camera, measuring 5.75 x 4.1 x 3.75
Last edited:
p.giannakis
Pan Giannakis
By the way, looking at the picture with the 3 OMs above - I don't think Maitani was involved with the OM10. I remember reading that he was unhappy with the decision to use plastic rails where the shutter moves. Indeed, a lot of the OM10s which used motordrives were sent for repairs due to heat from friction (a "told-you-so" moment).
Last edited:
ranger9
Well-known
"...surely one of the greatest camera designers of the 20th century..."
Fair enough. Now, who wants to nominate some others?
There's Oskar, of course... although by rights we ought to start with Alfred Huger Moses Jr., the pioneering cinematographer who also pioneered the 36x24mm format on 35mm cine film for still cameras with his Simplex, commercially marketed in 1914 while Oskar was still slaving away on prototypes in his workshop. (Besides, how many other camera designers also have motion picture production credits in IMDb?)
Beyond that it gets complicated, partly because cameras were usually designed by teams and partly because credits often aren't readily available. Also, how much weight should we give to design ingenuity vs. how much to commercial success? Two people who I would say definitely qualify as great designers would be Zenzaburō Yoshino and Seiichi Mamiya, creators of genuinely original, practical, and mechanically ingenious medium-format cameras, but both their companies (Bronica and Mamiya) have faded into the mists of time.
Any nominees from the floor?
Fair enough. Now, who wants to nominate some others?
There's Oskar, of course... although by rights we ought to start with Alfred Huger Moses Jr., the pioneering cinematographer who also pioneered the 36x24mm format on 35mm cine film for still cameras with his Simplex, commercially marketed in 1914 while Oskar was still slaving away on prototypes in his workshop. (Besides, how many other camera designers also have motion picture production credits in IMDb?)
Beyond that it gets complicated, partly because cameras were usually designed by teams and partly because credits often aren't readily available. Also, how much weight should we give to design ingenuity vs. how much to commercial success? Two people who I would say definitely qualify as great designers would be Zenzaburō Yoshino and Seiichi Mamiya, creators of genuinely original, practical, and mechanically ingenious medium-format cameras, but both their companies (Bronica and Mamiya) have faded into the mists of time.
Any nominees from the floor?
KoNickon
Nick Merritt
Funny you mention this -- the MX doesn't quite do it for me, though I really should give it more of a chance -- setting the exposure is just not intuitive for me. And it feels almost too small. The ME just feels better.
KoNickon
Nick Merritt
Heinz Waaske, who designed the Rollei 35. He designed the Wirgin Edixa SLR before that.
p.giannakis
Pan Giannakis
I just gave an ME Super with 50/1.4 away- Teen-age girl that has been shooting a lot of pictures with it. I sold a lot of them working through college. Great to see young people appreciating them and shooting film. Somehow over the last few years, I've been Given 5 Nikon F bodies- including two mirror-up modified.
wlewisiii
Just another hotel clerk
One can make an argument for Luigi Colani. His industrial design work with Canon on the T90 has had a profound influence on all cameras since.
wlewisiii
Just another hotel clerk
Last K1000 I owned I gave to a teenaged girl who was learning photography and wanted to try film. Last I heard she was still using it for about a roll a month with the 50 it came with
p.giannakis
Pan Giannakis
Just for reference, a couple of pictures of the OM1 next to a IIc
And one more in terms of height
And one more in terms of height