Contents • • • • • • • • • • • • • History [ ] Before introduction of the first of what would become a dynasty of Zenza Bronica cameras in 1959, the Zenza Bronica name was already a popular Japanese brand of the Shinkodo Works (in Japanese: 新光堂製作所) since 1947, specialized in the production of intricate crafted and decorated personal accessories, such as metal cigarette and, cosmetic, and, of diverse styles and designs. The company's founder Zenzaburō Yoshino (in Japanese: 吉野善三郎, b. 25 January 1911 — d. 23 November 1988), wherefrom the Latinized Zenza Bronica brand name is derived, was the third son born into a Japanese merchant family. At an early age Yoshino showed deep reverence for the technical innovation and of world-renowned cameras produced by the likes of, and. Both fascinated and yet increasingly frustrated by the limitations of the cameras produced at that time period, where each camera's merits and demerits were not solved by just one camera, Yoshino visioned creating a high-precision interchangeable camera modular system of his own design.
Yoshino's ambition, however, would require substantial investment, which he gradually self-funded from his family business in transportation and his passion for cameras by the establishment of a small camera store in Tokyo's district. Yoshino's camera store and his immense familiarity with deluxe foreign cameras became a huge success with photography enthusiasts in Japan, buying and selling luxury Leica and Contax cameras, which also gained popularity with US Army soldiers stationed in Japan after World War II. This formed the funding basis for his founding in 1947 of the Shinkodo Works with a vision of camera production, which at first produced Bronica brand luxury accessories such as cigarette and including, and positioned Bronica as a luxury brand in Japanese department stores, with popularity thriving among US Army soldiers in Japan. The Shinkodo Works was Yoshino's precursor production base and funding source for what would later serve his Bronica camera and photographic equipment manufacturing; later consolidated under the Zenza Bronica Kogyo (Zenza Bronica Industries, Inc) company.
On 17 January 1952, the Shinkodo Works was directed by Yoshino to begin research and development of the Bronica prototype camera. Film camera production [ ] The was a modular camera named the 'Yoshino Flex'. In June 1956 the Shinkodo Works created its first handmade example camera, and on reaching perfection in October 1958 with Yoshino's eighth prototype camera, the development costs had reached a sum of 200 million, a huge sum at that time.
The final prototype bore the Latinized nameplate 'ZENZA BRONICA'—the Bronica Z ( -za) rollfilm camera—and first appeared at the Camera Show in March 1959, where it received ecstatic industry press coverage and left a deep lasting impression of being the world's dream camera. The Bronica Z modular camera system, shortly later with slight modifications renamed the Zenza Bronica D (Deluxe) and successor Bronicas, using large-coverage film format, high-quality lenses supplied by the then Japan Optical Industries Co., Ltd., () became instant successes in the deluxe camera market worldwide. The Bronica D was the Japanese answer and first serious challenger to the Swedish cameras, and in several technical ways outclassed the Swedish offerings. Such was the design success of Bronica, that in the United States it attracted influential figures from the industry such as who met with Yoshino. Bronica later introduced optics and lens units of its own manufacture incorporating shutters with its later camera designs and held a portfolio of international. Acquisition and product discontinuation [ ] Bronica was eventually acquired by the lens manufacturer in 1998 with emphasis on Bronica's optical lens manufacturing. In May 2000, Tamron introduced under the Bronica brand the RF645.
Tamron discontinued the brand's camera models (ETRSi, SQ-Ai, SQ-B and GS-1) between June 2002 and December 2004, sales having suffered from the lack of consideration to a and loss of market share to digital photography and (DSLR) cameras, particularly for the and business which had previously been a heavy user of medium-format but switched quickly to for its commercial workflow benefits. Bronica's last model, the RF645 rangefinder camera, was discontinued in September 2005, and marked the termination of the Bronica camera brand business. Bronicas were workhorse photographic film cameras used by for many years until the process of digital photography became widely adopted. Bronica cameras are, however, still widely used by —both professional and advanced —whilst the commercial production of photographic remains available, in no small part due to superior image quality of 6x4.5, 6x6 and 6x7cm photographic film formats over smaller film (35mm) and digital formats. JCII camera museum [ ] The Japan Camera and Optical Instruments Inspection and Testing Institute (JCII) at its camera museum located in district, central Tokyo, has a selection of Bronica camera models preserved among its museum display collections; as part of the museum's designation 'preserving cameras considered of historical significance'. Bronica models [ ] Bronica SLR system-cameras employed a modular design: The major components of the camera—lens, body, film-back and viewfinder were separate and interchangeable, providing options to match the specific or workflow needs of the photographer. Classic models [ ].
Classic Zenza Bronica S2 with Zenzanon 100mm f2.8 lens From its start, Bronica introduced a number of 6x6 cm medium-format SLR cameras with, which used lenses from, until this line was discontinued with the introduction of the successor Bronica SQ-series. ETRSi 40th anniversary edition in champaign metallic colour, with manual shutter-release handgrip and metered prism viewfinder attached, released 9 May 1999 • ETR: Introduced March 1976, production discontinued March 1980. Advanced, compact, modular electronic 6x4.5 cm medium-format SLR camera system with a vast array of finders, film-backs, and other accessories. ETR was an acronym for Electronic, TTL-metering, Reflex.
In 1969, the S2 was replaced with an internally modified version, identified as the S2A. Since there were almost no external changes, the model is identified by the designation S2A following the serial number. In 1973, a minor change was made in the neckstrap studs, altering so that they would accept the.
In 1977 the ETR received Japan's. Seventeen lenses with were made for the ETR-system from a fisheye, to four different zooms, to a 500mm super telephoto, to a unique 55mm tilt shift lens. • ETR-C and ETRC: Introduced November 1977 (ETR-C) and October 1978 (ETRC), production discontinued October 1980 (ETRC) and December 1980 (ETR-C).
Identical to the ETR model except film magazine cannot be removed from film-back. • ETRS: Introduced October 1978. Improved version of the ETR with an extra contact to support auto-exposure mode with the metered prism finder AE-II and later AE-III. • ETRS: A modification introduced July 1982, ETRS production discontinued September 1989. Unnamed change to original ETRS model.
Lens release sliding lever latch located to left side of camera side panel, film-backs released using two independent tabs. This version is reputedly referred to as the 'plastic' body ETRS and film-back, for the change in the side panels of the body and film-backs to. [ ] • ETRSi: Introduced December 1988, production discontinued December 2004. Improved version of the ETRS with mirror lock-up capability. Capable of through-the-lens off-the-filmplane (TTL-OTF) flash exposure.
Significantly improved film-back design (Si) with locking darkslide. SQ series [ ]. The Bronica SQ camera takes photographs on 120 and 220 roll-film, 135 cartridge-loaded film and, using exclusive film-backs for each film type. • SQ: Introduced August 1980 as replacement and successor to Bronica's classic and increasingly bulky Nikkor-lens based cameras, production discontinued September 1984.
Modular 6x6 cm traditional 'square film' medium-format SLR camera system with lenses. • SQ-A: Introduced January 1982, production discontinued December 1991. The SQ-A was a refinement of the SQ. The contact pin array for the viewfinder was increased from six to ten gold contacts, allowing for auto metering capability with the AE finder S. Also, a mirror lock-up lever was added. The film-backs were modified slightly, with the ISO dial for the original film-backs having white and orange numerals, and the new with silver.
The darkslide was changed to the locking style; to lock required both the new grey handle slide and the new silver numeral ISO dial back. All accessories for SQ cameras fit the SQ-A, however the AE finder cannot physically mount on the SQ; a safety defeat pin prevents attachment.
• SQ-Am: Introduced August 1982, production discontinued March 1991. Motorized film-advance only version of SQ-A body. Uses six additional AA batteries. • SQ-Ai: Introduced December 1990, production discontinued December 2003. Added the following functionality to the SQ-A. Ability to add the motor drive SQ-i and off the film (TTL-OTF) metering with select flash guns. These changes required the addition of a circuit board which also required the battery compartment to be 'flattened.'
The single 6v cell was replaced with four 1.5 volt 'button' cells. A bulb 'B' setting was added to the shutter speed selector.
The film-back was also modified again with the introduction of the SQ-Ai, relocating the ISO dial to the rear of the film-back (rather than on top) to allow the speed setting to be seen better with a prism attached. Exposure compensation control was also added to the new SQ-Ai film-back, with the ISO range extended to 6400. • SQ-B (Basic): Introduced April 1996, production discontinued December 2003. The SQ-B was a manually operating SLR evolved from the SQ-Ai, built to primarily satisfy the needs of professional 'studio' photographers who work with hand-held, studio or portable flash equipment and various other accessories. Thus, motorized film-advance and (TTL) functionality were not present, as well as and T (time exposure), as found on other SQ-series models. T (time exposure), however, was available when utilizing the appropriate SQ-series Zenzanon-S/PS lenses which incorporated the time (T) exposure lever function; by default the Zenzanon-PS/B 80mm f/2.8 lens which accompanied the SQ-B model did not include this feature.
All SQ-series accessories and lenses were interchangeable with the SQ-B with few exceptions. GS series [ ] • GS-1: Introduced April 1983, production discontinued June 2002. Lightweight, electronically controlled, modular 6x7 cm medium-format SLR camera system with leaf shutter lenses, four interchangeable viewfinders, speed grip, and optional film-backs for Polaroid Land pack film, 6x4.5 cm, 6x6 cm, and 6x7 cm rollfilm. 120 and 220 size film-backs available in 6x4.5, 6x6 and 6x7 cm. A 35mm film-back was listed in the camera's marketing materials, but never materialized. Dedicated Flash (G1). The GS-1 uses 'PG'-series lenses in a variety of focal lengths: 50mm, 65mm, 80mm, 100mm, 110mm macro, 150mm, 200mm, 250mm, and 500mm.
RF series [ ] • RF645: Introduced May 2000, production discontinued September 2005. Extremely light and compact 6x4.5 cm film format coupled system with four interchangeable leaf shutter lenses: 45mm, 65mm, 100mm and 135mm. The 135mm Tele Lens soon was discontinued due to calibration problems of the rangefinder-system. Dedicated flash (RF20) and special polarizer kit.
Further reading [ ] • [Bronica club newsletter] (in Japanese). No. 1 and 54. Tokyo, Japan: Bronica Industrial Co., Ltd.
1968 – via IST Technical Service Co., Ltd. (Tokyo, Japan). References [ ]. Erik Satie Early Piano Works Rar Download. • ^ [Bronica club newsletter] (in Japanese).
No. 1 and 54. Tokyo, Japan: Bronica Industrial Co., Ltd. Retrieved 2016-03-28 – via IST Technical Service Co., Ltd.
(Tokyo, Japan). Japan Exposures. Retrieved 2016-03-28. Retrieved 2016-03-28. Tokyo, Japan: Nikon Corporation. Retrieved 2016-03-27. In 1959, Nippon Kogaku sold Nikkor lenses to Shinkodo (Bronica Corporation, current Tamron Corporation) which made for Zenza Bronica medium-format SLR cameras.
• • ^ [Tamron: Bronica Camera List] (in Japanese). Tokyo, Japan: Tamron Co., Ltd. Retrieved 2016-03-31. • ^ (Press release). Tokyo, Japan: Tamron Co., Ltd. October 2005.
Retrieved 2016-03-24. Vol. 98 no. 1. New York: Hachette Magazines, Inc. Tokyo, Japan: Tamron Co., Ltd. Retrieved 2016-03-24. • (Press release).
Commack, New York: Tamron USA, Inc. 1 October 2004. Retrieved 2016-03-19. • • • Tamron Bronica Learning Center SQ Guide • ^ BRONICA SQ-B 6x6 Complete Camera - Instructions.
Tokyo: Bronica Co., Ltd. access-date= requires url= () External links [ ] Wikimedia Commons has media related to. •: Historical photograph of American actor pictured in 1966 using a Zenza Bronica S2 with magnifying hood on the set of American Western, taken by celebrity photographer Chester Maydole (the Bronica S2 was part of Chester Maydole's camera arsenal). •: Hotshoe magazine, 1979: Bronica advertisement with magazine Senior Vice President and Art Director Tom Staebler, Playboy magazine cover shots.
As a photographer who travels quite a lot, I spend a lot of time trying to sort out the perfect travel kit. There is certainly variation based on the destination and / or the purpose of the trip, so kit 'optimization' has variables that have to be considered each time you get ready to pack. The purpose often dictates format, a specific lens or set of lenses, and the camera choice as well. Mode of travel is a consideration too. Driving allows the most freedom of course, and I find that on road trips I will usually overpack terribly, but then who cares as long as you can squeeze in a few items of clothing; oh, and of course my travel companions and their gear. Most trips, though, have some level of size constraints, and so finding the right balance of format, choices, versatility etc. Is important.
As for format, anything is fair game, but large format is less often the 1st choice when size is an issue. It's rare that I wouldn't include a small format set up of some sort. Even so, small format gear isn't the best choice for many things I shoot so I generally have a medium format camera along as well.
There's size variation in all formats, but I'd say that within the rage of possible combinations medium format probably has the widest range of options. Yes, large format can range from big to huge, but like I said, not usually a consideration. Brauer Handbuch Der Prparativen Anorganischen Chemie Olympia. If I'm going LF, it's my Super Speed Graphic or maybe my Toyo.
For MF though, it could be anything from an old folder like my Mamiya Six (not the modern version 6, but the original Six) to a Hasselblad. Now my Hasselblads aren't necessarily the easiest to carry around, but I have taken one with a couple of lenses on hiking and biking trips before, so nothing is impossible. Still, as much as I like them, they're just not the most practical choice for most trips.
The lenses alone are back breakingly heavy even if the bodies are manageable. If you can get by with a single lens the Fuji GW670 is not a bad travel companion, but still a little bulky. My Rolleiflex is a good traveler but is also fixed lens so limits its usefulness. The Pentax 67 is a beast but I do drag it along on trips more often than you'd think (you can justifiably question my sanity for that last statement).
For a single kit that can provide a versatile companion, though, it was for many years the Mamiya 6. It's fairly light weight, not super large, the lens retracts to make it even thinner, the 3 available lenses are a decent fit for my style, and the 6X6 is my favorite 120 format. It was, you could say, my travel companion of choice. That is until I read a review of the Bronica rf645. I tried to convince myself that it wouldn't be a good fit of course, as many of us do when we get in that early stage of GAS. It's 645 which is my least favorite format, the 3 lenses aren't even quite as well suited as the 3 lens set for the Mamiya and on and on.which means that within a month or so I had one to try.
So how did the trial go? On to the review, but I will say that after 3 months of using the Bronica, I sold my Mamiya kit.okay, then I bought another one 6 months later but that's a different story for another review. The Bronica rf645 is a modern rangefinder that was made from 2000 to 2005. It is sometimes referred to as the 'camera everyone forgot.' If you think of the time range I just gave you, you can see why.
It had the unfortunate luck to be launched just in time for the world to switch to digital so it never really caught on. That doesn't mean, however, that it's not a very fine camera. The Bronica shoots 120 or 220, is in the 6X4.5 format, and held normally shoots in portrait orientation, which is, for some people, difficult or at least annoying. I had owned a Fuji previously that was also in that orientation so for me, it was / isn't an issue really. For a MF film camera the Bronica is innovative and advanced, and in the years following its release won many awards for design and innovation.
The camera has an exceptional viewfinder, very clear and easy to use (with one exception that I'll discuss later) with a large rangefinder patch. Like many MF cameras, the Bronica uses leaf shutters located in the lenses, but the shutter is electronically controlled and cocked automatically by a motor in the lens (no mechanical cocking by the body). With a leaf shutter flash syncs at all speeds, which goes up to 1/500. For camera control you can shoot in full manual, aperture priority and full program auto. The selected mode is displayed in the viewfinder and there is an AE lock and exposure compensation dial as well.
One of my favorite features is the multi-exposure button on the back of the camera. Doing ME shots is as simple as winding, releasing the shutter and then hitting the ME button - release sequence for each subsequent exposure. Changing lenses is easy, no fiddling with a dark slide or setting and retracting a curtain, that all happens automatically as the lens is released. Metering is center weighted averaging but not TTL, however it adjusts for each lens and the camera is powered by 2 CR2 type 3v lithium batteries. The camera was released with three Bronica Zenzanon lenses, a 45mm f/4, a 65mm f/4 and a 135mm f/4.5 and a dedicated flash unit, the RF20 (which is useful since it matches the camera’s portrait orientation).
The original cameras have automatic framelines for the 65 and 135, with the 45mm using an external finder for framing. Apparently the 135mm was very hard to focus (not surprising for a rangefinder with a fairly short rangefinder base) and was subsequently replaced with a 100mm f/4.5. Cameras with serial numbers that start with a '0' have the 135mm framelines and serial numbers that start with a '1' have 100mm framelines. The 100mm is hard to find, but not impossible (I have one), but the 135mm is near impossible, not that you'd want it since you can't really focus it anyway (I suppose it would be a good collectible conversation piece if you're into that sort of thing). The 45 and 65mm lenses focus to 1 meter and the 100mm at 1.2 meters (there is a warning in the manual to shoot the 100mm at f11 or smaller at 1.2M, the depth of field is very shallow).
In 35mm equivalents the lenses have a field of view that is basically 45mm=28mm, 65mm=40mm and 100mm=60mm. From a quality standpoint the lenses are really exceptional if somewhat slow (but not much different than the Mamiya 6 lenses to be fair). The 6X4.5 format has never been my favorite but after using it quite a lot over the last year or so it does have some advantages for travel.
The most obvious is the roll shot capacity, it's nice to have those extra 4 or 6 shots per roll (16 over 12 for 6X6, 10 for 6X7 and 8 for 6X9). The camera itself is a weight reducer at only 810 grams (body, which is about the same as a Nikon F100), 1110 grams with the 65mm lens, and getting a few more shots per roll helps in that department as well. Overall I'm much more comfortable with the 6X4.5 now after shooting with it for awhile, and it's a great compromise for a MF travel companion.
The camera really excels in ergonomics, with the 1 caveat that I have relatively large hands so your mileage may vary. There is a built in grip, all controls are well placed and easy to find / use and it has 3 strap lugs so it can be carried in 2 different orientations. Everything isn't perfect of course, there are always a few things that could be improved. I’ve read that the film transport system is prone to failure, although I don’t have any evidence to support that. While the camera has been out of production for quite a few years now, there are still parts and technicians available as Tamron supported the cameras until at least 2014.
The film speed dial only goes up to ISO1600, but I suppose that’s really only a slight annoyance. Probably my biggest issue with the camera is actually common to both the Mamiya 6 and the Bronica, although it won't likely bother most of you.
I shoot with my left eye, which is statistically a small population so I suppose it's not surprising that the design of the viewfinder puts all the information on the left edge. While that doesn't sound bad in principle, it is in practice because it is designed to be viewed at a slight angle, as in the right eye looking to the left.
When viewed with the left eye it's extremely difficult to see the settings. Many other cameras have this setup, but in my experience only the Mamiya and the Bronica have some physical angle or barrier that makes it very difficult to see the information.
Perhaps it's an issue for rangefinder viewfinder design, I'm not sure. My Nikon F6, for example, has the information in a similar location, but it is easy to see (the Pentax LX is the only camera that I own that has the information on the right side of the viewfinder, left eyed designer?). Like I said, it's probably not something for you to worry about, and I suppose if these are the only negatives I can come up with, this is an exceptional camera, which I'd say it is. The Bronica has become my most used medium format camera for travel involving airplanes. It is also my favorite MF camera for multiple exposures, which is a creative tool I often use so even if I'm taking another MF camera, the Bronica usually finds its way into the bag.
I use the 65mm 80% of the time, with the 100mm next as a portrait lens and then the 45mm. That's not surprising since I prefer 'normal” lens and tend to use them for most of my shots. As a travel camera the Bronica is excellent, and I’d say that for a general purpose MF camera it is a good balance of compromises, that is, if you like rangefinders.
Its size and well thought out design, as well as the quality of the lenses, make the Bronica rf645 a camera that definitely shouldn’t be forgotten.