allancobb

Wow, quite the remarkable similarity to the Asahiflex! Yet another dimension in the early SLR development saga, of which so many coinciding designs sprang forth nearly simultaneously.

Watt's Branch, Maryland Pentax AP, 35mm f/4 Takumar

I've been fortunate to have recently acquired a fine example of the Pentax AP SLR, the first modern Pentax SLR after the Asahiflex series, that established the basic design for all Pentax SLR models that followed. From PentaxForums.com: "The Asahi Optical Company released the 'Asahi Pentax' (AP) in 1957 as the replacement for their Asahiflex line of cameras. While not the first Pentaprism camera to be produced, the AP is considered by many to be the start of the modern 35mm SLR format still used today. The camera incorporated a number of features which were not typically found during this era. This was the first camera to combine eye level through the lens focusing (through a pentaprism viewfinder), an instant return mirror and a right-hand film advance/shutter cocking wind lever. The camera was so successful that the company eventually changed its name from Asahi Optical to Pentax. The camera had no engraved model designation but was later referred to as 'AP' (for 'Asahi Pentax'). The camera had two shutter speed dials. The one on the top plate sets the fast speeds: 1/500, 1/200, 1/100, and 1/50s, the one on the front the slow speeds (controlled by a timer): 1/25, 1/10, 1/5, 1/2, and 1s." Amazingly, I acquired the particular body (from an excellent seller in Japan), despite a few minor cosmetic flaws, in perfect working order, all functions performing marvelously. There are a few noteworthy points concerning everyday use: the slow speed dial has priority over the fast speed dial; one must remember to set the slow speed dial to 1/25, else it will fire at the set slow speed, regardless of the fast speed dial setting. Also, there are no accessory grooves in the eyepiece, so a flash mush be mounted from the bottom. There is no mechanical interface with lenses, so diaphragm operation would be completely manual. But the operation is smooth and precise with a surprisingly quiet shutter, much quieter than a Spotmatic or K/M-Series body, but more like the H2 shutter and maybe even slightly more so. In all, this camera reflects a high degree of quality and craftmanship that set the stage for Pentax's future worldwide success. I was also fortunate to obtain a lens from the same time period (in beautiful condition from the same seller), the 35mm f/4 Takumar, Pentax's first 35mm lens that preceded their legendary 35/3.5 (whose optical formula remained unchanged from 1959 to 1977). It is also claimed to be Japan's first wide-angle SLR lens. As expected, it is completely manual with no lens to body interface that later began with the Auto-Takumars. Its compactness is remarkable and especially considering its early design, performs comparatively well to its successors. It's the perfect period match for the AP. A couple examples from a recent stroll through the woods with the AP 35/4 combination (Kodak 100TMX, HC-110B): In all, I'm very impressed with the AP, a great camera, pleasurable to use, whose legacy made it possible for Pentax to attain its future status. Cheers, Allan

Winter sun, Pittsburgh MX, 40mm f/2.8 SMC-M "Pancake" 400TMY, HC-110B

Cancun Beach Mist M240, 35/2.5 Voigtlander Color-Skopar PII

The Devil’s Golf Course, Death Valley

Thank you, much appreciated!

Grabbing a quick lunch in downtown Louisville Leica Standard Model E, 50/3.5 Elmar, TMY2, HC-110B

Congrats on your M4-2 acquisition! I once had a "beater" M4-2 that worked perfectly, that I regrettably sold a little over a year ago since I also have an M6 Classic and didn't see the need to have 2 M-film bodies (it seemed redundant at the time, but now I feel the seller's remorse). Anyway, as you may already know, the M4-2 was regarded as the redheaded stepchild of the M film line, although the issues that were the cause of complaints in the past are pretty much gone now as they have either been serviced or were later examples in its production run that had those problems resolved. Here's a great summary of the history; in essence, the M4-2 "saved" the M line that continues its legacy through the digital models of today. I always found it interesting that there were complaints of the M4-2's lack of smoothness in its steel gear advance mechanism compared to that of the original M4, even though that same design carried through to the M4-P and M6, both highly regarded Leica bodies in general. Again congrats, many years of enjoyment and hold on to it. The way Leica film bodies are priced now, I would have to pay double to replace the M4-2 I used to have. EDIT: P.S., the 35/2.5 Color-Skopar is an outstanding lens, superb sharpness and contrast... I also used to keep it on my M4-2, but now it pretty much "lives" on my M8.

Mesquite Sand Dunes Textures and Form, Death Valley National Park Pentax 6x7 (early non-MLU version), SMC 6x7 55mm f/4, 320TXP, HC-110B

Sand Dunes Form and Shadow

I've actually downsized to all of this: For Leica and rangefinders: M240, M8, M6 Titanium, IIIg, II, Canon 7 Elmarit-M 21/2.8, 28/2.8 (Ver III), 135/2.8 (Ver III), Summitar 50/2, Summicron 50/2 (Ver I), Elmar-m 50/2.8, Summarit-M 75/2.5 and 90/2.5M CV 15/4.5 Super-Wide Heliar, 35/2.5 Color-Skopar PII Canon 50/1.4 LTM, 50/1.2 LTM, 100/3.5 LTM (late version), 135/3.5 Serenar (US Army Signal Corps), 135/3.5 LTM 35mm SLRs Pentax ME-Super, MX, MV-1, H2, AP 18/11 Fisheye-Takumar, 35/4 Takumar, 35/3.5 Auto-Tak, 35/3.5 SMC-K, 40/2.8 SMC-M, 50/1.4 SMC-M, 50/1.2 SMC-K, 55/2 Auto-Tak, 80-200/4.5 SMC-M Yashica TL-Electro, TL-E 50/1.9 Auto-Yashinon DS, 50/1.7 Auto-Yashinon DX, 60/2.8 Tomioka Macro, 135/2.8 Yashinon DX, 35/2.8 Auto-Chinon Nikon F Photomic-T, 50/1.4 Nikkor-S, 105/2.5 Pentax Digital K-3ii, K-7 HD DA 10-17mm Fisheye ED, 18-55 AL WR, 18-135 ED DC WR, 55-300 PLM WR, SMC-DA 35/2.8 Macro Limited, DA 40/2.8 Limited Medium Format Pentax 6x7 (early Non-MLU), 6x7 35/4.5 Fisheye, 55/4 6x7, 90/2.8 LS, 135/4 6x7 SMC Macro, 200/4 67 Bronica ETR, ETRS, 40/4 Zenzanon MC, 75/2.8 Zenzanon MC, 75/2.8 Zenzanon PE, 45-90 Zenzanon PE Zoom, 150/4 Zenzanon MC Bronica S, S2, 50/2.8 Nikkor O-C, 75/2.8 Nikkor-P, 200/4 Nikkor-P Yashica D, E, Mat-124G 5x7 Eastman View No. 2, Caltar S-II 210/5.6 I should downsize more, but I've stalled at this point!

Bert, nice with the Canon 7, 50/0.95 combo. I've been shooting some test rolls then processed in Diafine to see how it works with various situations/films. How do you like it and what do you mean by "modified?" Was it just the presoak? Thanks and cheers, Allan

From a few years ago, Dingxi Station, Taipei M6, 15/4.5 CV Super-Wide Heliar, TMax 100

From some years ago, a street in downtown Catania, Sicily Pentax ME Super, 28/2.8 Gemini MC, Kodachrome 64

Badwater Basin, Death Valley

Chiang Kai Shek Memorial Square, Taipei

Pittsburgh Alley

And finally, some 18mm Takumar-Fisheye shots the next day... Radio City Music Hall E. 44th St. at 3rd Avenue The Rink at Rockefeller Center

Some late night shots from 2018... E. 49th Street Atlas at Rockefeller Center 99 Cents Fresh Pizza on E. 43rd Street

I was able to visit Manhattan on a few occasions up until last March. Hudson Yards The Mall in Central Park The SNAFU Bar Bethesda Terrace, Central Park Strolling Down W. 50th Street and looking down on E. 48th Street

From 2018, and not much has changed! But I never get tired of visiting.

Mesquite Dunes, Death Valley

From last March, the Mall in Central Park, NY Bronica RF645, 65mm f/4 Zenzanon-RF, 400TMY, HC-110B

Glenn... WOW!!