But what’s different about this Exploded View?

Instead of laying out every component of the camera and taking a single photo of the lot (as in our previous efforts) I’ve gone through the excruciating process of photographing every single component with a macro lens, and compiling the hundreds of massive images into one gargantuan file. The detail is just unbelievable, and it allows me to make prints that are truly impressive.

But enough yammering. This project has taken too long to keep squawking about it. If you want to see every single part of a Nikon F3 laid out in a gorgeous display, read on.

As stated, I’m going to just sit back and let the work do the talking for this one. But some quick background on the project- longtime readers will surely know of the previous CP Exploded Views. This ongoing feature lays out the components of different classic cameras so we can all see the amazing machinery that’s working to help us make an image.

I’ve wanted to explode an F3 for a long time now, but doing the same old project just seemed a bit lazy.

A few weeks ago I came across a factory service manual for the F3, and in it I found a beautiful schematic of the camera. Some online searching shows this schematic has been uploaded in various places online, most famously by Bellamy of Japan Camera Hunter fame.

It got me thinking. The drawing is charming and detailed, but what if we could actually see every component as it exists in reality. With this in mind, I set out to make it happen. Here then is the final result, as well as some detail shots.

The resolution of these uploads has been significantly reduced for posting on the web- the full size image that we’ll use for prints is over 15,000 x 9,000 pixels. I can’t stress enough how detailed the full sized image is, and it allows us to make truly amazing wall-sized prints.

Prints of this series have proven to be extremely popular, and I love the idea that these pieces are hanging proudly under glass in homes all over the world. The Nikon F3 print has now joined the others in my shop and on Etsy, so if you love what you’re seeing and would like to own a print of this project pay us a visit.

This task was truly laborious, and I hope at least a few of you enjoy it.

Buy the print at F-Stop Cameras

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

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When we reviewed the OM-2 we were impressed by its diminutive size, its ease of use, and the incredible accuracy of its exposure meter. Now that we’ve seen how all these gizmos are put together, we’re even more impressed.

The camera’s compact construction made disassembly more difficult than some other machines we’ve tackled, but though we suffered many cuts and blisters we’re still super-stoked to lay this gorgeous camera out for all of you to admire.

For a close inspection and high-resolution images, read on.

We’re not going to rehash all the reasons why the OM-2 is so amazing in this feature. For those who want to know more about the history of the machine, the way it shoots, and why we love it, read our review. For now, let’s just enjoy the view and examine a few details.

Even though we’ve taken apart a lot of cameras, we’re always impressed by the impossible size of some of the components. We may be simpletons, but we just can’t help it. Everything’s so amazingly miniscule.

In the shot above we can see the incredibly detailed viewfinder information display. When looking through the OM2’s viewfinder, this delightfully analog display slides in and out of the photographer’s field of view. Dependent on the selected shooting mode (Auto, Manual, or Aperture Priority), it displays either the selected shutter speed, or a meter needle to indicate over- or under-exposure.

Speaking of the light meter, in the shot below we can see the meter’s indicator needle protruding from the base of the gold-colored housing. We’re not sure exactly what kind of wizardry happens inside that housing, but we’re confident it involves lightning, magnets, a motorcycle-riding-mouse, and the Aurora Borealis.

Next, let’s take a look at the technology that endows the OM-2 with its greatest strength; its phenomenal metering system.

In the photo below we can see where the magic happens. The first of the camera’s two shutter curtains is imprinted with a computer-generated pattern of alternating white blocks, shown in the near-foreground. This distribution of white and black mimics the composition of an average photograph. When the camera’s mirror hinges up, twin metering cells (centrally framed in the photo below) measure the light reflected from the subject as it bounces off of this pattern of blocks.

Using this information, the camera times the release of the second curtain, allowing realtime and step-less adjustments to exposure times. This all effectively occurs instantaneously, and it works incredibly well. While the OM-2 was the very first camera to use this kind of technology, it certainly wouldn’t be the last. The system provided such consistent results that companies as diverse as Minolta, Leica, and Pentax would later copy it.

But the shutter-centric fun doesn’t stop there. One of the more whimsical discoveries we made when dissembling the OM-2 came when we saw the way in which the shutter loads and actuates.

In the shot above we can see a series of pulleys and mildly elastic fibers. Though they look fragile, they’re actually extremely resilient. These mechanisms are responsible for tensioning the shutter into position. We’ve seen similar systems in other cameras, but none have been so well-designed. It’s another indicator of just how exceptional Olympus machines can be.

They can also be a bit funky. In the shot below we see the concentric ring that surrounds the lens mount. This ring is turned to adjust the camera’s shutter speed in Manual shooting mode, which is a bit different from the top-plate-mounted selector knob used on most cameras. While other manufacturers occasionally used a similar control method, it’s uncommon enough to be one of the charming quirks we enjoy about using Olympus’ OM machines.

And without delaying any longer, let’s take a look at the OM-2’s guts splayed out on a cold, white slab. Here we can clearly see the mind-bending number of precisely manufactured parts that must work in perfect concert for us to make an image.

It’s easy to click a shutter and snap a picture. In time, we begin to take it for granted. Many people have no idea how a camera works. They just know that if they press the shutter it will magically make an image. And that’s fine; there’s nothing wrong with a little magic. But sometimes to really appreciate the magic, it’s important to know how the trick is done.

When we take these machines apart, we see them the way their designers saw them. We see the care and attention that went into designing every fastener, every lever, every nuanced detail of every component. With a little studying, we can see the way these countless mechanisms work in concert with the photographer to create an image, and we begin to understand the true magic of taking a picture.

If we didn’t know it before, it reminds us that these machines are worth using, worth appreciating, and worth cherishing.

We hope you’ve enjoyed this look into the inner workings of another vintage camera. If there’s a specific machine you’d like us to peer into, let us know about it in the comments. Maybe we’ll break it down for you in our next Exploded View.

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

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Yes, the past few weeks have brought lot of Canon love here at CASUAL PHOTOPHILE, and we’ll get back to our usual brand diversity soon enough. But before we do, let’s give Canon the spotlight one more time.

In this, our latest Exploded View, we take a look at one of the most important point-and-shoot cameras ever. It’s Canon’s AF35M, also known as the Autoboy and Sure Shot, and when it was released in 1979 it sold in record numbers and blazed trails in innovation and technology.

But how’s all this automatic focus, exposure, and film advance nonsense work? Let’s see if we can’t break this thing open and find out!

The first thing we notice when we break into the AF35M is that this is one seriously compact bit of kit. While it’s true that many vintage cameras are case studies in space management, the AF35M takes it even further being from a period in which camera development centered on intense miniaturization and automation. Everything necessary to take a great photo needed to fit into one palm, and that’s just what we get with the AF35M.

But more than just a compact machine, the AF35M’s also pretty great at taking photos. We reviewed the camera back in the snowy days of winter, and it impressed with its ability to manage fast moving subjects with its accurate autofocus, albeit with a few caveats. One such caveat being the fact that the camera always focuses on the center dot upon full press of the shutter release. That means off center framing is severely hampered unless one uses the “Pre-Focus” lever (which is really just a self timer). We found it to be clumsy, but no camera’s perfect.

In the gallery shots we can see the center focusing dot that’s carved into a transparent film within the viewfinder. Just put this circle on your subject and press the shutter. The camera does the rest! And in another of the shots we can see the infamous pre-focus lever. Also included are various other parts, such as the viewfinder prism and holder, film safe load indicator, and frame counter.

Looking deeper into the AF35M we discover that this camera is more reliant on electronics than any other machine we’ve exploded. This camera’s got wires snaking through every crack and crevice, and massive ribbon cables enwrap the machine like the linen of a mummy.

We can see the wires responsible for routing power from two AA batteries to the various powered components of the camera. These wires provide the force of life that drives everything from film advance and rewind, to the previously mentioned exposure calculator, to the automatic flash.

As a charming aside that’s totally irrelevant to anything but our simple-minded fancies, we can also see a random retaining plate that looks exceptionally similar to a white whale. Thar she blows in the center of the frame.

And now the only component left to explore is arguably the most important part of any camera- the lens. This little packet of gears, glass, and levers is delightfully compact, reliably built, and perfectly capable. In our optics testing the lens performed excellently for a point-and-shoot of this era, and we couldn’t resist a little free-lensing with the Sony A7.

What’s free-lensing, you ask? More on that later. For now let’s take a look at the assembled lens group.

The AF35M uses a 38mm lens which is comprised of four elements in three groups and features a relatively quick(ish) maximum aperture of ƒ/2.8.

The autofocus system uses a near-infrared beam to triangulate the distance to the subject. The gears and levers within this assembly then whirr to life, adjusting accordingly to achieve proper focus. It’s quick, quiet, and capable in most situations (although shooting through glass gives it some trouble).

The amount of light splashed onto the film is controlled by actuation of two metal blades that work as a combined shutter and aperture. These operate in conjunction with the CdS photocell light meter, which determines available light levels and calculates an aperture and shutter speed that will result in a properly exposed shot.

Dependent on conditions, the blades open to a certain aperture for a certain amount of time. It works amazingly well, and in our test shots we found it very difficult to make a bad exposure. Here we can see the gizmos that make all this happen.

And now back to that free-lensing we touched on briefly. Using the AF35Ms lens packet we were able to loosely mount the lens on our Sony A7 and get some free-lens shots.

This technique is accomplished by shooting a camera without securely attaching a lens. By manipulating the lens in front of the image sensor or film plane it’s possible to get tilty/shifty effects, to selectively focus, to warp perspectives, or introduce spontaneous light leaks that would be otherwise impossible with a normally mounted lens.

This technique is certainly not for shooters who’d be overly concerned with errant dust particles alighting on their sensor, but for the free-spirited among us it’s a fantastic way to add a little spontaneity to everyday shooting.

It can be done with any lens and any camera, and shooting this way often yields pleasing results. Spend some time on a little post-processing and you may be pleasantly surprised to find you’ve transformed an ordinary vision into an artistic interpretation fit for framing.

You’ll also find some quick shots taken using the A7 / AF35M lens combination. Even without leaving the studio we’ve made some shots that are as sexy as any camera-porn we’ve come across.

The gallery also shows our Exploded View in a completely different light, both figuratively and literally. With selective focus in droves, a beautiful light leak pouring in from the right, and a soft glow that’s been emphasized with post-processing, this shot is a more artistic vision of our necessarily sterile autopsy.

In some of the shots we’ve brought the lens in closer for a more densely packed image. Here the Canon and AF35M logos are featured prominently, hopefully creating an image that fans of this machine will appreciate. The white balance was shifted in post-processing which helps to imbue the frame with a beautifully diffusive warmth. The out-of-focus areas benefit especially.

Manipulating the lens further we’re able to create a kind of peephole effect, focusing closely on the AF35M typeface. This shot borders on macro, and we love the organic feel it gives the otherwise rigid plastic. The foreground bokeh helps to add some depth and visual interest, while the small diameter of the lens group creates a natural vignetting that draw attention to the center of the frame.

While these types of shots won’t appeal to everyone, we like them well enough and we’ll be saving this lens for future moments of boredom. If you’d like more info on free-lensing let us hear about it in the comments.

We hope you’ve enjoyed this look into the heart and soul of the AF35M.  If there’s a camera you’ve been dying to see exploded let us know about it and we’ll put it on the list.

As with our other Exploded Views, shots from this series will be available for purchase at our F-Stop Cameras online print shop.

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

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It’s Minolta’s MC Rokkor 50mm ƒ/2, and while it’s not the sexiest lens in the world it’s still a perfectly respectable and fiscally practical choice. It also happens to be pretty interesting to look at when disassembled and splayed across a white slab.

To see the guts of this piece of glass, read on.

Sure, this exploded view isn’t as complicated or visually impactful as the AE-1 we disassembled last week, but it’s still worth a look, especially for those who may have never seen an aperture blade separated from its housing.

Here above and below we can see the disassembled iris assembly, with its aperture blades, blade holder, and actuating arm. Also visible is the essential red dot used to align the lens for mounting on the body. Hi-tech stuff.

In the following shot we can see the exceedingly fine threads of the outer ring of the focusing helicoid. These beautiful brass threads mesh with a mating set of corresponding threads on the inner lens barrel, and rotate when the photographer spins the focus ring. This rotational movement is converted by these threads into linear movement, which increases or decreases the distance of the lens groups relative to one another and allows resolution of objects at different distances from the lens.

Sounds boring, but without this rather simple looking invention all cameras and lenses would still use expanding bellows mounted on a system of tracks to focus. Be thankful.

Next we can see two similarly simple components that combine to endow many lenses with their most useful feature. These are the distance scale seen on the left and the focus scale seen on the right. While these simple markings may not look very important, their inclusion or exclusion means quite a lot to the functional practicality of any given lens.

Zone focusing is one of the most useful techniques in many photographers’ creative arsenals. For street photographers, action shooters, and anyone else who needs to focus in a hurry, these little dabs of paint on the lens barrel are among the most crucial components of a lens.

By using these scales it’s possible for a photographer to quickly and easily achieve tack-sharp focus, even in situations in which looking through the viewfinder is a practical impossibility. We discussed the technique in this article. Give it a read.

You’d think such a useful feature would be standard equipment on every lens, but that’s not the case. For some people, lack of a focus scale is a deal-breaker (understandably so).

Last but not least are, of course, the lens elements and groups. Six elements in five groups combine to make one of the best performing lenses for the money. This modestly priced lens offers outstanding sharpness to rival any lens on the market while often costing less than $30. Pretty amazing.

Here they’re casually used for some fun perspective control.

Fun stuff. Nothing too complicated, but that’s what makes this a great lens. It costs next to nothing and gives amazing value for money. It’s simple to take apart if there’s ever a problem, and if you drop it, hey, what’s the big deal?

If you want a super-sharp lens that won’t break the bank, give it a try. You’re not risking much, and we’ll bet you’ll love it.

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

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I’m always looking for new ways to bring unique content to my readers, and today I’m starting a new segment that delves into the nuts and bolts of vintage cameras – literally. I’m calling it Exploded Views, and every few weeks I’ll show you every spring, gear, lever, and screw that make up a particular camera. For my first exploded view, I’ve torn apart one of the most iconic classic cameras, the Canon AE-1.

Check it out.

Many blisters were formed taking this little camera down to its individual pieces. Let’s look at some of the interesting mechanisms I found along the way. The first thing one will notice is the sheer number of components. This thing has an unbelievable number of springs, gears, screws, etc., and they’re all incredibly tiny.

That’s the tripod mount seen below and to the right. Somewhat of a course casting, if I’m being honest. The internal gears, however, are very finely tuned. It’s interesting to see such a mix of materials for use in gears. Though it should be expected; many publications at the time of this camera’s release bemoaned Canon’s decision to opt for plastic internals.

Material aside, seeing the camera broken down into its individual components really helps us appreciate the remarkable miracle of engineering that’s springing to life in our hands every time we shoot a photo.

The springs visible in the above shot are exceedingly fine, small, and delicate. Some of them are virtually weightless, and it’s difficult to imagine the process that created them. But even though they seem insignificant, they’re used universally throughout the camera for a vast number of operations, most notably in the mirror-box assembly.

Below I’ve placed the same springs next to a U.S. Penny to give a sense of scale.

Similarly numerous are the many varieties of retaining clips used to secure gears, levers, and actuators. Some of these cir-clips and retainers, again seen below, are no larger than a pin-head. Amazing.

Even further along we find an assortment of parts responsible for the many mechanical actions that take place in the AE-1. Notable among these is an assembly in the upper right of a following shot is a riveted assembly of gears and levers. This assembly is housed on the side of the mirror-box and, with some hand-actuation, it’s pretty clear that this is the major offender in cases of the infamous “Canon Squeel”.

Some of the electronic circuitry is pictured above. This was arguably the most important component of the AE-1, and essentially launched an entirely new generation of electronically controlled cameras. One of the first cameras to use this type of technology, the AE-1 propelled the industry forward on a wave of progressive computerization that would continue for decades.

We can also see the camera’s top plate, electro-plated plastic as opposed to metal. This was just one of many cost-saving measures that helped Canon become one of the most fiscally successful camera-makers of the era.

Below we have a veritable forest of screws and bolts. Merely one segment of the whole collection, this makes up roughly one-third the entire count of fasteners. Notice the different materials used for different applications, including brass, chromed machine screws, and hardened steel.

Further below I’ve shown the lens-mount bezel and nameplate, and a detail shot of the internal viewfinder surround. Notice the aperture display in all its analog glory. Exceedingly minute. And further on we see the pentaprism.

Finally, one of the most astounding discoveries made while dissembling the Canon AE-1, within a certain gear there rested a vast number of the smallest steel ball bearings I’ve ever seen. So tiny were they that I had to display them in relation to something similarly small. A few of the bearings rest on a U.S. Penny, which lies next to an engraving on the bottom plate of the AE-1.

And that’s what a Canon AE-1 looks like after three nights of disassembly. I hope you’ve enjoyed checking out the guts of one of the most iconic vintage cameras ever made. If you want to see more, let me know in the comments. And if you’re in love with a certain camera and want to know what it looks like on the inside, let me know about it.

Prints of this entire series, including the amazing F3 Exploded View print, are available to purchase through my camera shop and via Etsy.

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

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