Dari Lensa CM

AGFA was the abbreviation for Aktien-Gesellschaft für Anilin-Fabrikation, given in 1873 to a company that had been founded in Berlin in 1867. It produced chemicals for photography. Most famous is the film developer Rodinal, introduced in 1892 and continued for 115 years. When Agfa obtained the Rietzschel camera works in Munich from Bayer in 1925, it badged all Rietzschel products with its Agfa rhombus. In 1926 it introduced the first real Agfa camera, the Standard. In 1927 the name Rietzschel disappeared from the products. In that year the successful Billy camera series was introduced, and Agfa licensed Ansco to manufacture its products for the American market.

In 1930 the first Agfa Box camera for 6×9 cm exposures on roll film was produced. In the following year it popularized photography in Germany by dumping the Box 44 for 4 Reichsmark, easily recouping its losses afterwards by selling Agfa 120 roll films. In 1937 it brought out its first camera for 35mm film.

After WWII Agfa improved its prewar models and introduced the new 35mm Solinette. In 1954 it modernized its camera design with the Silette series; 1956 saw the introduction of the medium format Automatic 66. In 1959 a 35mm viewfinder camera with autoexposure button followed, the Optima. In 1964 Agfa introduced the Rapid system as an answer to Kodak's 126 film. The company debuted cameras accepting 126 film in 1967.

Silette is a name used by the German maker Agfa from 1953 to 1974 to designate successive generations of 35mm fixed-lens viewfinder cameras. The corresponding rangefinder models were called Super Silette. There was also an interchangeable lens rangefinder model called the Ambi Silette, which is discussed elsewhere. The first models were sold in the USA under the name Ansco Memar and Super Memar, and some of later ones were sold under the name Agfa Solina.

The first generation of Silette models was produced from 1953 to the early 1960s.

The original Silette appeared in 1953 and was a simple yet well built 35mm camera with a simple viewfinder, a leaf shutter, a lever wind advance and an accessory shoe. The range of shutters went from the simple Pronto (1/25-1/200) to the better Compur Rapid or Synchro Compur (1/500), with the Prontor (1/300) in between. The lenses was either a three element Agfa Color Apotar 3.5/45mm or 2.8/45mm, or a four element Agfa Color Solinar 2.8/50mm. In the USA, it was known as the Ansco Memar.

The original Super Silette was the same body with a coupled rangefinder. The lens range comprised the usual Color Apotar 45/3.5 and 45/2.8 and Color Solinar 50/2.8, but the top of the line was represented by the Agfa Color Solagon 2/50mm six element lens. Today the original Super Silette with the Color Solagon on the Synchro Compur is considered the most desirable model of the Silette fixed lens family. In the USA, the original Super Silette was known as the Ansco Super Memar.

The Silette L, introduced in 1956, was based on the same body as the viewfinder Silette with an uncoupled selenium meter in the top plate. There were three successive types of meter, with a bigger or smaller setting knob, and a larger or smaller cover flap. The shutter and lens combinations were the same as above, except the cheaper Pronto.

The Silette SL, made from 1957, was based on the last variant of the Silette L, but the exposure meter was coupled to the aperture and speed settings. The lens was the Color Solinar 2.8/50mm and the shutter was the Prontor SLK to 1/300.

In 1958, the Silette LK was a cheaper variant of the SL, with an Agfa Color Apotar 2.8/45mm lens and a Pronto LK 15-250 shutter. Launched the same year, the Silette Automatic (named Silette SLE at the beginning) was a better evolution with a collimated viewfinder and the meter reading visible inside. In 1958 the body of the basic Silette model was slightly modified, with an advance lever hidden in the top plate and a larger viewfinder. The cheaper models had a simple viewfinder and the better models had a collimated viewfinder, with a second window to illuminate the bright frame. The choice of lenses included the Agfa Agnar 3.5/45mm, Color Agnar 2.8/45mm, Color Apotar 2.8/45mm and Color Solinar 2.8/50mm. The shutters were the usual Pronto, Prontor and Compur Rapid, as well as the Vario B-25-50-200 on the cheapest model. Some of the simpler models were sold in the USA under the name Solina.

One variant of the 1958 basic Silette had a different elevated top plate that announced the style of the later models.

Prototypes of a Silette Stereo model have been mentioned.

The Nikon EM is a beginner’s level, interchangeable lens, 35 mm film, single lens reflex (SLR) camera. It was manufactured by Nippon Kogaku K. K. (today Nikon Corporation) in Japan from 1979 to 1982 (available new from dealer stock until circa 1984). The camera was originally designed and marketed to the growing market of new women photographers then entering the SLR buyer's market.[1] The EM uses a Seiko MFC-E focal plane shutter with a speed range of 1 to 1/1000 second plus Bulb and flash X-sync of 1/90 second. It is 86 mm (3.4 in) high, 135 mm (5.3 in) wide, 54 mm (2.1 in) deep and weighed 460 grams (16 oz). Unlike most Nikons of the time, it was available only in black. The EM has no full manual exposure mode capability, but instead was intended to be used by inexperienced photographers who could not easily master the intricacies of shutter speeds and f-stops. There were also significant changes over previous cameras in the internal mechanics and electronics of the EM, designed to lower costs. Gone were the tight tolerances, ball bearing film advance, and high-quality titanium shutter. The introductory US list price for the body plus normal lens was only $231 – note that SLRs usually sold for 30 to 40 percent below list price.

The EM accepts nearly all lenses with the Nikon F bayonet mount (introduced in 1959) supporting the Automatic Indexing (AI) feature (introduced in 1977). The contemporary Nikon made AI lenses were the Nikkor AI-S, Nikkor AI and Nikon Series E types. The AF-S Nikkor, AF-I Nikkor, AF Nikkor D and AF Nikkor autofocus lenses are also AI types. Nikon’s most recent 35 mm film SLR lenses, the AF Nikkor G type (introduced in 2000) lacking an aperture control ring; and the AF Nikkor DX type (2003) with image circles sized for Nikon's digital SLRs will mount but will not function properly. IX Nikkor lenses (1996), for Nikon's Advanced Photo System (APS) film SLRs, must not be mounted, as their rear elements will intrude far enough into the mirror box to cause damage.

Design History
Beginning in 1977 with the advanced amateur Nikon FM, there was a complete overhaul of the entire Nikon SLR line. The 1970s and 1980s were an era of intense competition between the major SLR brands: Nikon, Canon, Minolta, Pentax and Olympus. Between circa 1975 to 1985, there was a dramatic shift away from heavy all-metal manual mechanical camera bodies to much more compact bodies with integrated circuit (IC) electronic automation. In addition, because of rapid advances in electronics, the brands continually leap frogged each other with models having new or more automatic features. The industry was trying to expand out from the saturated high-end professional market and appeal to the large mass of low-end amateur photographers who were itching to move up from compact automatic leaf-shutter rangefinder (RF) cameras to an SLR, but were intimidated by the need to learn the details of operating a traditional SLR.

Although Nippon Kogaku enjoyed a sterling reputation among professional photographers with their Nikon F2 of 1971, the F2 was a slow seller to most amateurs and beginners, being fairly bulky, expensive, and complicated.[2] Although the Nikon midlevel Nikkormat FT (1965) and EL (1972) camera series were made almost as well as the Nikon F and F2, their relatively high price turned amateurs away from the brand, who instead flocked to cheaper models from other manufacturers.

Features
The Nikon EM formed the base of the new line. It was the smallest and cheapest SLR ever made by Nippon Kogaku. It was a battery-powered (two S76 or A76, or one 1/3N) electromechanically controlled manual focus SLR. The EM featured a lightweight and compact hybrid copper aluminum alloy body and fiberglass reinforced polycarbonate plastic top and bottom covers, plus aperture priority semiautomatic exposure control governed by a built-in 60/40 percent centerweighted, silicon photodiode light meter. A left side viewfinder galvanometer needle pointer indicated the exposure on a shutter speed scale. The viewfinder also had Nikon’s standard 3 mm split image rangefinder and 1 mm microprism collar focusing aids, but the focus screen was fixed. The viewfinder is dimmer than those in the semi-professional Nikons since the expensive prisms of the latter were not used. The camera is also fitted with a low-light exposure warning in the form of an audible 'beep'.

Accessories for the EM included a highly automated dedicated electronic flash unit, the Nikon SB-E (guide number 56/17 (feet/meters) at ASA 100) and a very small power winder, the Nikon MD-E (motorized film advance at 2 frames per second). However, the star of the E-system were a new brand of lenses – the Nikon Series E lenses (discontinued circa 1987). The Series E lens line up in 1980 were a 28 mm f/2.8 wide angle, a 35 mm f/2.5 semi-wide angle, a 50 mm f/1.8 normal, a 100 mm f/2.8 short telephoto and a 75–150 mm f/3.5 zoom, with the subsequent addition of a 70–210 mm f/4 zoom, and a 135 mm f/2.8 medium telephoto. These lenses were intended to enhance the EM’s appeal with new users, by being inexpensive but good quality alternatives to the pricey regular Nikkor branded lenses.

The EM also had one very rare feature for an electronically controlled camera. Nippon Kogaku’s philosophy that a camera must always work when called upon resulted in the EM’s backup ability to operate without batteries – albeit in a limited fashion: completely manual mechanical control with limited shutter speeds (1/90 second, marked M90, or Bulb) and without the light meter. (A little-known feature of the EM is that when the battery is removed, the "Auto" setting produces a shutter speed of approximately 1/1000 sec. This is documented in the factory repair manual.)

The EM and its attendant E-system accessories were Nippon Kogaku’s first attempt to reach the low end of the SLR market.[2] Called internally “the Nikon for women”, the EM was designed to provide style (exterior contours sculpted by Italian automobile stylist Giorgetto Giugiaro), convenience (a system of dedicated accessories), ease of use (as much automation as possible in 1979), low cost (simplified manufacturing process) and the prestige of the Nikon name (prominently displayed on the pentaprism housing) for initiates to SLR-dom.[1][2]

Unfortunately, the Nikon EM and its later offshoots (FG, FG-20) proved to be a sales and marketing failure for Nikon.[2] Older Nikon owners refused to countenance the cheap internal construction and lack of manual mode flexibility of the EM. The expected female beginner photography market also failed to appear, as tyro photographers (including women) rejected the implicit condescension of an aperture-priority only EM, and voted with their wallets in favor of higher-priced Nikons or the extra features of less-expensive Canon and Minolta cameras.

Despite its cheaper construction quality, the EM has proved to be as reliable over the years as its more expensive Nikon counterparts of the era.[3] A set of less expensive lenses marketed with the camera's introduction (Series E) also came in for heavy criticism, and Nikon soon dropped the entire line.[2] Although the Series E lenses were unpopular with Nikon buyers, several of the Series E lenses exhibited excellent performance, particularly the 50 mm f/1.8 (pancake), the 100 mm f/2.8, and the 75–150 mm constant f/3.5 zoom. The relatively low prices of the EM/FG family and the Series E lenses in the used equipment market make them good bargains in terms of price/performance.

The Pen series is a family of half-frame cameras made by Olympus from 1959 to the beginning of the 1980s. Aside from the Pen F series of half-frame SLRs, they are fixed-lens viewfinder cameras.

In 2009, Olympus introduced the PEN E-P1[1], a Micro Four Thirds system digital camera which the company touts as the next-generation Pen camera.

The Pen EE was introduced in 1961 and was the amateur model, with fully automatic exposure and fixed focusing. It is a true point and shoot camera, and has a 28mm f/3.5 lens. The Pen EE family is easily recognized by the selenium meter window around the lens.

The Pen EE.S, launched in 1962, is the same model with a 30mm f/2.8 and a focusing ring, made necessary by the wider aperture.

In 1966 the two cameras were slightly modified and became the Pen EE (EL) and Pen EE.S (EL) with a modification of the take-up spool to make film loading easier. EL stands for Easy Loading. You can only recognize them by a small label marked EL stuck on the front, or you can open them and look at the take-up spool.

The Pen EE.2, produced from 1968 to 1977, is nearly the same as the Pen EE with the addition of a hot shoe. The Pen EE.3, produced from 1973 to 1983, seems to be exactly the same camera.

The Pen EE.S2, produced from 1968 to 1971, is the same as the Pen EE.S with the addition of a hot shoe. EES-2's User Manual in English

The Pen EE.D, produced from 1967 to 1972, is a more expensive automated-exposure model, with a CdS meter, a 32mm f/1.7 lens and a hot shoe.

The Pen EF, launched in 1981, was the last Pen model. It is like the Pen EE.2 or Pen EE.3, but with a small built-in flash, and was only sold in black finish with white letterings.

Zenit (Russian: Зени́т) is a Russian (and formerly Soviet) camera brand manufactured by KMZ in the town of Krasnogorsk near Moscow since 1952 and by BelOMO in Belarus since the 1970s. The Zenit trademark is associated with 35mm SLR cameras. Among related brands are Zorki for 35mm rangefinder cameras, Moskva (Moscow) and Iskra for medium-format folding cameras and Horizon for panoramic cameras. In the 60s and 70s they were exported by Mashpriborintorg to 74 countries.[1]

The name is sometimes spelled Zenith in English, such as the manuals published by the UK Zenit-importer TOE. However, TOE's imported camera bodies as from 1963 retained the "Zenit" badges. The early Zorki-based models before that time were labelled "Zenith" in a handwritten style of script. While frail and a technical improvisation they were the cheapest Pentaprism-SLRs in the UK at the time and are highly desirable collector's items today. In a way, they show a logical development Leitz should have taken decades before, instead of promoting their expensive and clumsy "Visoflex" attachment as an SLR-substitute.

The Zenit TTL is a Russian 35mm SLR produced by KMZ (Kraznogorsk) and BeLOMO from around 1977 to 1985. It was an upgraded version of the Zenit EM, adding stop-down TTL metering and a rewind crank in place of the knob.

The viewfinder is blue-tinted and comparatively dim and small (cf. the 'brilliant'-type Zenit E). The central portion of the viewfinder screen has a micro prism in the middle surrounded by a clear matte area.

Kiev is a Soviet brand of photographic equipment including cameras manufactured by the Arsenal Factory in Kiev, Ukraine. The camera nameplates show the name "KIEV", with older cameras using "КИЕВ" (in Russian language) or "КИЇВ" (in Ukrainian language)[1] in the cyrillic alphabet.

At the end of November 2009 Gevorg Vartanyan of Arax, a Ukrainian distributor of reworked medium format Kiev cameras and lenses, wrote to tell customers that the Arsenal factory was closing after 245 years of operation. The email said that management had been turned over to the Special Construction Department (SKTB), all work had stopped and the workers laid off, and that the factory warehouse was empty. He thought that Arax had enough cameras and parts to remain in business for at least another 4-5 years.[2] The amount of stock remaining with other distributors around the world is unknown.

An almost direct clone of the original Hasselblad 1600F/1000F, sometimes jokingly referred to as a Hasselbladski.

Originally called "Salyut", it added a self-timer mechanism below the film advance knob to the original Hasselblad design. However, this add-on was abandoned and is only seen on very early or prototype cameras. The Salyut went into mass production around 1957. An automatic aperture mechanism was later added and the camera's designation was changed to "Salyut C". After "Salyut C" the camera model evolved into "Kiev 80". With the further addition of a hot shoe for electronic flashes, the camera's name became "Kiev 88". It was sometimes exported to the West as the "Zenith 80".

The Kiev 88 used a screw type lens mount similar to the original Hasselblad mount, however there are mixed reports on compatibility between the two. Most film backs are not compatible between Kievs and Hasselblads due to different gear mechanisms. However, Kiev 88 viewfinders are compatible with the Hasselblad 1600F and 1000F, and even current Hasselblad V-system models.

The Kiev 88 lens mount was modified to accept most Pentacon Six mount lenses around 1999 and designated the Kiev 88CM. Many of these cameras have found their way around the world, especially to the United States. They are considered inexpensive alternatives in the medium film format camera market (see below).

The Rolleicord was a popular medium-format twin lens reflex camera made by Franke & Heidecke (Rollei) between 1934 and 1976. It was a simpler, less expensive version of the high-end Rolleiflex TLR, aimed at amateur photographers who wanted a high-quality camera but could not afford the expensive Rolleiflex. Several models of Rolleicord were made; the later models generally had more advanced features and tend to be valued higher in today's market.

The first Rolleicord, introduced in November 1933, was the Rolleicord I. This camera was a simplified version of the Standard Rolleiflex, with a cheaper 75mm Zeiss Triotar lens and a simplified film advance mechanism using a knob instead of the crank found on the Rolleiflex. The Rolleicord I was available either with a plain leatherette covering or elaborately patterned metal faceplates. The latter variant is referred to as the "Art Deco" Rolleicord.

The models that has the letters DRP on the left and to the right DRGM on the front of the camera means that they were made befora the War, because DPR means 'Deutsches Reichs Patent' (German Reich Patent) and DRGM means 'Deutsches Reichs Geschmacks Muster' (basically a copyright for the name). In post WW2 models you will find DBP and DBGM. They switched from Reich to Bund (German Federal Patent). [1]

Later models incorporated improved designs for the taking lens, including the Carl Zeiss Tessar and Schneider Kreuznach Xenar, both of which appeared on the Rolleiflex. However, while the Rolleiflex was available with an f/2.8 lens, the Rolleicord was never offered with a larger aperture than f/3.5, thus ensuring its pedigree as an "amateur" camera.

An accessory, known as a Rolleikin kit, was available for the Rolleicord to enable it to accept 35mm film.

The Canonets were a series of rangefinder cameras made by Canon from the early 1960s to the early 1980s. They were aimed at enthusiasts on a budget and more discerning point and shoot photographers.

The later Canonet 28 35mm rangefinder camera is a cheaper consumer version of the famous Canonet QL17. The lens is a fixed 40mm f/2.8 Canon lens. It has fully programmed auto exposure with shutter speeds from 1/30 to 1/600 (shown by the meter's needle in the viewfinder), and manual control of f-stops for flash (f2.8-f16). The film speed range for auto exposure is from 25 to 400 ASA. It uses a Copal leaf shutter and has a coupled rangefinder. It was made in Taiwan.

This Canonet was marketed from 1971 to 1976, and was one of the latest heavyweight compact cameras. By the late '70s, camera construction had begun a rapid change from metals to plastics.

The Canon AE-1 is a 35 mm single-lens reflex (SLR) film camera for use with interchangeable lenses. It was manufactured by Canon Camera K. K. (today Canon Incorporated) in Japan from April 1976 to 1984. It uses an electronically-controlled, electromagnet horizontal cloth focal plane shutter, with a speed range of 2 to 1/1000 second plus Bulb and flash X-sync of 1/60th second. The camera body is 87 mm tall, 141 mm wide, and 48 mm deep; it weighs 590 g. Most are black with chrome trim, but some are all black.

The AE-1 is a historically significant SLR, though not necessarily because of any major technological firsts (although it was the first microprocessor CPU-equipped SLR). Its notability is based in its sales. Backed by a major advertising campaign, the AE-1 sold five million units, an unprecedented success in the SLR market.

Features
The AE-1 has a Canon FD breech-lock lens mount and accepts any FD or New FD (FDn) lens. It is not compatible with Canon's later Canon EF lens mount, though adapters made by independent manufacturers can be found. Original FD lenses, introduced in 1971, did not rotate in the mounting process; instead, a locking ring at the base was turned to attach the lens. This was often criticised as being slower and more awkward than the bayonet mounts of competing cameras.[citation needed] The counter argument, though, was that as the lens/body mating surfaces did not rotate, there was no wear that could affect the critical distance from lens to film plane. In 1976, in addition to the AE-1, Canon also introduced the New FD series of lenses that rotate the whole lens barrel to lock. During the late 1970s, there were approximately 40 Canon FD lenses available for purchase. They ranged from a Fisheye FD 15 mm f/2.8 SSC to a FD 800 mm f/5.6 SSC.

Accessories for the AE-1 included the Canon Winder A (motorized single frame film advance up to 2 frames per second), the Canon Databack A (sequential numbering or date stamping on the film), and the Canon Speedlight 155A (guide number 56/17 (feet/meters) at ASA 100) and Canon Speedlight 177A (guide number 83/25 (feet/meters) at ASA 100) electronic flashes.

The AE-1 was a battery powered (one 4LR44 or PX-28) microprocessor-controlled manual focus SLR. It supported either manual exposure control or shutter priority auto exposure. The exposure control system consisted of a needle pointing along a vertical f-stop scale on the right side of the viewfinder to indicate the readings of the built-in light meter (center-weighted with a silicon photocell). The viewfinder used by the AE-1 was Canon’s standard split image rangefinder with microprism collar focusing aids.

Design history
The AE-1 was the first in what became a complete overhaul of Canon's line of SLRs. The 70s and 80s were an era of intense competition between the major Japanese SLR brands: Canon, Nikon, Minolta, Pentax and Olympus. Between 1975 to 1985, there was a dramatic departure from heavy all-metal manual mechanical camera bodies to much more compact bodies with integrated circuit (IC) electronic automation. In addition, due to rapid advances in electronics, the brands leap-frogged each other with successively more automated models.

Although Canon Camera K. K. had been making quality 35 mm cameras for decades, it had always been overshadowed by their rival Nippon Kokagu K. K. and their Nikon cameras. While Canons easily led in the amateur compact fixed-lens RF market (where Nikons did not compete), Canon SLRs had far less cachet than Nikon SLRs. Nikon, with its solid reputation for quality of material and worksmanship, held a stranglehold on the prestigious professional SLR market that competitors could not break.

The AE-1 was the vanguard of the landmark Canon amateur level A-series SLRs and led Canon’s charge into the emerging electronically controlled SLR market. The other members of the A-series were the AT-1 (released 1977), A-1 (1978), AV-1 (1979), AE-1 Program (1981) and AL-1 (1982). They all used the same compact aluminum alloy chassis, but with different feature levels and outer cosmetic plastic panels. By sharing most major components, including an inexpensive horizontal cloth-curtain shutter, viewfinder information display, and autoflash control, Canon further reduced costs and could undercut the price of the more expensive SLRs then on the market.

In keeping with its cost-cutting philosophy, Canon designed the AE-1 to use a significant amount of structural plastic for a lighter and cheaper camera at the expense of being less impact resistant. Canon went to great effort to disguise the use of plastic - the injection-molded acrylonitrile-butadiene-styrene (ABS) top and bottom plates were copper-electroplated and then satin chrome finished (or black enameled) to give the look and feel of metal. Extensive use of electronics also allowed simpler modular internal construction instead of mechanical linkages. Five major and 25 minor internal modules reduced the individual parts count by over 300. Modular construction, in turn, allowed automated production lines in order to reduce cost. Unfortunately, cost concerns also resulted in the use of plastic in some of the moving/operating mechanisms.

The AE-1 was never designed to be a "pro" camera. However it was made to have relatively straightforward camera controls and automatic aperture for newcomers, with various manual controls and system accessories to appeal to more experienced photographers. The AE-1 was the first SLR purchased by millions of amateur photographers, persuaded by its feature list and low price.

In many ways, the AE-1 represented the confluence of two streams of Canon camera development. The first generation electronically controlled Canon 35 mm SLR EF (1973) merged with the final generation RF Canonet G-III QL-17 (1972). After decades of chasing Nikon for Japanese optical supremacy, Canon finally hit upon a formula for success: high technology for ease of use, cheaper internal parts and electronics for lower price, and heavy advertising to get the message out. Despite outcries from traditionalist photographers who complained about an “excess” of automation ruining the art of photography, automation proved to be the only way to entice the amateur photographer.

The AE-1 had only one pointer needle used to indicate the light meter recommended f-stop, and neither a follower needle to indicate the actual lens set f-stop, nor plus/minus indicators for over/underexposure. The shutter-priority system of the AE-1 was more suited to sports action than to preserving depth-of-field, yet the 1/1000 top speed of its horizontally-traveling shutter limited its use for such activities. The battery door design was subject to frequent breakage, and over time owners have reported instances of shutter and mechanical gremlins, including mirror linkage wear (the "Canon squeal"). Canon's eventual abandonment of the FD lens mount for the EOS autofocus design also had an effect on used prices for the AE-1 on the used market.

The Canon AV-1 is a 35mm single-lens reflex camera with a FD lens mount, introduced by Canon Inc. in 1979. The AV-1 was very similar to the 1976 AE-1 but provided aperture priority autoexposure rather than the AE-1's shutter speed priority AE.[1] The camera is not capable of fully manual exposure.[2]

Canon's international distributors, particularly in the United States, had clamored for such a camera because competing brands offered mostly aperture-priority cameras and some preferred it.[1] The AV in the name referred to the type of autoexposure; Av (Aperture Value) is a common abbreviation for aperture priority.

When this camera appeared, a new range of FD lenses was introduced, featuring instant mounting/unmounting of the lens.[1] This was called the New FD mount and did away with the older type of mounting ring which was fitted on to the rear of the lens and was awkward to use and needed two hands, to a newer, easier system whereby the user lined up the red dot on the lens, with the red dot on the camera and simply turned the whole lens clockwise until it clicked into place.

The Canon EOS 5 (sold as the EOS A2 and A2e in the USA) is a semi-professional autofocus, autoexposure 35 mm SLR film camera. It was sold from November 1992 onwards, and was replaced in late 1998 by the Canon EOS 3.[1] As part of the EOS line of cameras, the 5/A2/A2e utilized Canon's EF bayonet lens mount, first introduced in 1987.

The 5/A2/A2e featured a built-in zoom flash, fast motor drives and several pre-set autoexposure modes. Although marketed towards the "prosumer" user, the 5/A2/A2e were popular among professional photographers. The camera was powered by a 6 volt lithium 2CR5 battery, or, with the optional Canon BP-5 Battery Pack, could be powered by D batteries attached to the belt of the user. The Canon VG-10 Vertical Grip added a shutter release, control wheel, AE Lock button and Focus Point Selection button to the bottom of the camera for portrait orientation use, but did not add AA batteries as a power source.

The camera had many operational modes available, selected by the dial on the left-hand side of the camera. These modes selected whether the exposure settings were set automatically, semiautomatically or fully manually. This dial also doubled as an on/off switch.

The Canon EOS 5/A2/A2e had three built-in metering modes; Evaluative, center-weight average and spot. These were user-selectable by means of a button on the back of the camera and the command dial.

The EOS 5/A2e featured eye-controlled focusing, which allowed the user to select from one of five focus points by looking at it through the viewfinder. At the time, this feature was unique to Canon. The A2 had the same five focus points, but they could only be selected manually. Although the EOS 5 had an optional vertical grip, the VG-10, the eye-controlled focussing feature only worked when the camera was held in horizonal orientation.

Peculiar to the Canon EOS line of cameras is the tendency of the dials to change function based on user mode. The 5/A2/A2e has two dials to control exposure, one over the shutter button and one on the back of the camera. The dial above the shutter button will adjust the shutter speed in shutter priority Tv/Time Variance mode, but in aperture priority Av/Aperture Variance mode this same dial will adjust the lens aperture. In full manual mode, the dial above the shutter reverts to adjusting the shutter speed, and the back dial controls the aperture. This is in contrast to other camera manufacturers who keep dials down to a single function. Custom functions allow the photographer to change this behavior so that the shutter and aperture controls are always linked to the same dials no matter which mode the camera is in.

At the time of the camera's production, there was a U.S. patent on the use of a digital scale to show under- or over-exposure in a metered-manual SLR. Canon did not want to pay the patent holder, and therefore omitted the -2/+2 (in half-stops) scale in the A2/A2e, leaving just an over or under indication. The European/Japanese market EOS 5 had the scale and on account of this many American photographers preferred the imported model. This is a firmware difference only, and there is at least one third-party firm which will install EOS 5 firmware on an A2/A2e, thereby adding this scale.

The Canon EOS 50 (also known as the ELAN II in America and the EOS 55 in Japan) is an autofocus, autoexposure 35mm SLR camera. Three variants were produced. The E variant had the addition of eye-controlled autofocus, and partial metering, while the QD variant had a date and time imprint function on the film door.

The EOS 50E variant introduced an enhanced version of the 3-zone eye-controlled autofocus system that was first seen on the EOS 5 camera. The EOS 50 was also the first camera to implement Canon's E-TTL flash system. Canon's previous TTL system metered light reflected from the film onto a sensor during the actual exposure. E-TTL on the other hand fires a low-intensity pre-flash before exposure, and meters the reflected light through the camera's normal metering system.

The EOS 55 differs from the other versions in that it has a panorama option. Sliding the button at the bottom of the rear of the camera causes panels to move into position inside the camera, blocking all of the negative except for a 13 mm x 36mm strip in the middle. When print film is subsequently developed in a developing machine that is sensitive to Advanced Photo System (APS) negatives, the machine will automatically print a 4"x12" "panoramic" print instead of a regular 4"x6" print.

Sales of the EOS 50 began in September 1995, and ended after the introduction of the replacement model, the EOS 30 in October 2000.

Pagi tadi masuk ofis lewat sikit sebab nak pegi ambik parcel kat post office. Parcel tu dari U.S. for shipment utk camera Agfa Super Silette L yang ditunggu-tunggu tu. Hehe seronok je rasa...

Lepas ambik parcel dari pos opis, singgah balik rumah dulu. Terus bukak parcel tu nak tengok macamana rupa kamera Agfa Super Silette-L tahun 1955 tu. Surprisingly camera tu dibungkus dgn sangat baik, dan bila di bawa keluar dari kotaknya, wow.. I was sooo pleased dan teruja dgn keadaannya yg masih elok dan cantik. This beauty is definitely a new gem that I will treasure most from now onwards..