Schneider Posted: May 29, The Yashica-Mat is a fashionable addition to any sidewalk cafe table, and has many times more street cred than most hipsters. The only things missing are a fedora and pack of Gauloises. Daniel J. It was an impulsive bet on a single feature, but I think it worked out.

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No guarantee. I looked down at the Yashica Mat in my hand and it looked in good condition. The shutter speeds and aperture worked and it had a nice leather case, albeit a bit worn. I already had a hand-held light meter so I figured it was worth the gamble and I handed over my money.

That was in the summer of and in the intervening twenty years my love affair with this fantastic camera has never waned. A twin lens reflex camera has, wait for it…two lenses!

One sits vertically one on top of the other. You compose your picture by looking through the top viewing lens which reflects hence reflex an image onto a ground glass screen where you focus, and it is the bottom taking lens that incorporates the shutter and actually exposes the film.

This does lead to some parallax error but only at very close distances to the subject. Learn to leave a bit of spare room at the top of your frame when composing and you should be fine. Both viewing and taking lenses have a bayonet surround that allow you to attach bayonet filters, which can easily be found on eBay more on that later. Now, a TLR is certainly not a camera for all occasions — and it is rarely the camera I go to first — but it is most definitely the camera I wish I could use more.

Sports photographer? Birds in flight? Fast action? But if you are minded towards a more contemplative style of photography, the sort of photography that in an earlier age might have led you to a couple of sucks on your pipe before you clicked the shutter, then this camera might well be up your street. Why Medium Format? No, the reason for using the is the size of the negative.

A 35mm negative is 36x24mm. This equates to 57x57mm, but that still means that its negatives are nearly four times the area of a 35mm negative. You see, when it comes to negatives, bigger is definitely better. You get more detail and more tonality. You get shallower depth of field because you are generally using longer lenses to get the same field of view from a 35 mm camera. Most significantly, you can make much bigger prints before you start to see the grain. I even got a few posters printed and the quality of those was amazing too.

Any photographer getting into film photography owes it to themselves to have a go at medium format at some point, just to see the results for themselves. Most medium format cameras will deliver in the area of quality. I say most, but definitely not all. For me, medium format is about high quality. Bronicas are clearly a durable and capable camera, and the prices are reasonable, so when I saw an ETRS for sale in a camera shop recently I went in and had a look. So who is right? Both of us, or neither of us, it depends on your point of view.

Of course, your mileage will vary, but I think it shows that there is no one-size-fits-all with medium format. You flip the top up to reveal the ground glass screen and you push the front of the camera in to operate the magnifier and you can now compose your shot.

If you move left the image moves right! Yep, the image is inverted left to right, so composition will take a bit of getting used to, a bit like using the rudder on a boat, you move right to go left.


Yashica-Mat: The simple, elegant essence of a TLR

The earliest models are equipped with a mm 3. According to some authorities most notably Mark Hama, who formerly worked in a Yashica factory , the Lumaxar was manufactured for Yashica in West Germany; according to others, it was made in Japan by Tomioka. The lens, a four-element design said to be of the Tessar type, was later re-named Yashinon. Note: the cable release is of the "Leica nipple" style which is also used on subsequent models. The Yashica-Mat LM is a solidly made, easy-to-use camera.


Camera review: the Yashica Mat 124 – by Malcolm Myers

Dimensioni: mm. Si determini ora un avanzamento della pellicola continuo, fino a veder collimare le due frecce di riferimento — sulla pellicola, - con la tacca di riferimento sulla fotocamera: triangolo verde per film 12 pose — triangolo rosso per film 24 pose. A questo punto non vi resta che proseguire a ruotare la manovella di trascinamento fino a che tutta la pellicola sia stata portata sulla bobina ricevente. Su questa, subito dopo la cifra 24 compare un punto di riferimento. Continuate anche qui a ruotare lentamente la manovella di trascinamento fino a che la pellicola non si sia totalmente portata sulla bobina ricevente. Estrarre il dispositivo superiore di bloccaggio della bobina e allontanare dalla sua sede la bobina con la pellicola esposta.

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