SLR

A simplified and cheaper version of the FT QL, this camera was for the overseas mass market. The maximum shutter speed was only 1/500 sec. The camera was without a self-timer and QL feature, but it retained stop-down TTL metering. Although most TL cameras did not have QL, some cameras did as shown in the photo.

To cut costs, the camera had a fixed, eye-level pentaprism viewfinder. This was the economy or “Populaire” version of the Canonflex.

The self-timer was operated by a simple lever, and the pentaprism cover was part of the single-piece top cover. Other features and performance were the same as the original Canonflex.

This camera had unusual features such as shutter speed-priority AE, maximum-aperture TTL metering and AE, a bright aerial image viewfinder, and focal-plane shutter. The front lens element was also interchangeable.

The camera had a built-in rear lens consisting of 3 elements in 2 groups. Besides the normal EX 50mm f/1.8 lens, two other interchangeable front lens elements were available: EX 35mm f/3.5 and EX 95mm f/3.5.

Centerweighted averaging metering was incorporated for easy operation. For lenses with different maximum apertures, the f-number could be adjusted manually to compensate.

After the Canonflex R-series, the Canon FX was the first in a new series having an aperture linkage on a new lens mount.

The model designation’s “flex” (for single-lens reflex) suffix was replaced with an “F.”

The new aperture linkage was designed to reduce the film advance torque and to integrate TTL light metering. After the shutter was released, the lens reverted to the maximum aperture regardless of the film advance state.

The built-in CdS exposure meter indicated the proper aperture for the selected shutter speed. A lever switched between the high (EV9 to 18) and low (EV1 to 10) metering sensitivity ranges.

Although this camera belongs to the Canonflex series, it was developed as an entirely different model.

Although it used the same body shell as the Canonflex, the pentaprism was set very low, giving the body a unique shape. The top cover looked high, and the film advance lever fitted stylishly into a slot on the top cover. Coupled to the large shutter speed dial was the built-in selenium exposure meter which indicated the proper aperture. Following the Konica F in 1960, the Canonflex RM was Japan’s second SLRcamera to feature a built-in exposure meter. The RM’s meter was based on the same concept as the Canon 7’s built-in meter. A built-in exposure meter was deemed as essential for taking good pictures.

The Canon T70 was a 35mm FD-mount single-lens reflex camera introduced in April 1984 as the second in Canon's T series. The T70 started with the concepts explored in 1983's T50, took them further, and applied them to a more sophisticated camera. While the Program AE-only T50 was intended as a beginner's camera, the T70 gave the photographer a lot more control over the camera's operation while keeping the T-series philosophy of simplicity in control and operation intact.

The large LCD panel and key-touch buttons had a major impact on 35mm SLR cameras that followed. The T70 features shutter speed-priority TTL AE, TTL multi-program AE, and preset aperture AE. The dual metering system gives a choice of centerweighted averaging metering and partial metering at the center. In 1984, the camera won the Good Design Award (from the Ministry of International Trade and Industry) and the European Camera of the Year Award.

When it was introduced, the Canon T70 was considered technologically advanced compared to other SLR cameras. Reviewing the camera in Popular Science, Everett Ortner said that the T70 "could be...too good for amateurs. It is certainly far removed from those other technological wonders designed for amateurs". He praised the high degree of control, coupled with automation, that the T70 allows photographers to use, reducing "the role of the camera from that of master to servant.

The battery tester is excellent! You might want to keep a T70 around just for testing pairs of AA batteries. Just press the BC button with the power on. You'll see four different levels on the top LCD. Two or three bars is fine. One blinking bar, or no bar, means change the batteries. Even with no bar, the T70 may still shoot. There are thus four battery levels displayed, more than most modern DSLRs.

In the early 1980s, the SLR still dominated. Metering systems diversified as camera makers competed fiercely to offer the better camera. The confusion may have turned off users as more people began to avoid SLRs.

In 1981, 35mm SLR production peaked at 7.67 million units. Two years later, this amount shrank by more than 30 percent to 5.37 million units.

Amid such market conditions, the Canon T50 was introduced as a wave-of-the-future 35mm SLR camera. It was the first T-series camera. The camera was designed to respond to the user automatically. It was easy to use and anybody could take pictures with it. It had a power winder (which was well received on the Autoboy) and TTL program AE. In 1983, the T50 won the Good Design Award from the Ministry of International Trade and Industry.

There is the limited model as T5 in only USA.

The Canon T50, introduced in March 1983 and discontinued in December 1989, was the first in Canon's new T series of 35mm single-lens reflex cameras compatible with Canon's FD lens mount. SLR sales were falling in 1983 from the market's 1981 peak, and Canon chose to try greater automation to revive sales and remain competitive. This approach had found favor in compact cameras such as the AF35M "Autoboy" (Japan) or "Sure Shot" (US). The T50 had a power winder built in giving a continuous shooting rate of 1.4 frames per second, as well as an advanced auto-exposure mode, although it was still a manual focus camera. Unlike those compact cameras and the higher-end models in the T series, the T50 did not have power rewind, relying on a manual crank. The camera's electric systems were powered by two AA batteries in the grip, which gave enough power to shoot 75 24-exposure rolls, or 50 36-exposure rolls.

The T50 used a new shutter design. Canon's previous A series cameras used a horizontally travelling cloth shutter, while the T50 (and subsequent T series models) used a vertically travelling metal blade shutter which allowed for faster shutter speeds and higher flash X-sync speeds. Only a modest increase was seen in the T50; more would be available in subsequent cameras.

Only Program AE (Auto Exposure) mode was available on the T50, in line with its role as a simple beginner's camera. A couple of years earlier, Konica had tried a similar approach with their FP-1.

Canon released a new flash unit for the T50, the Speedlite 244T. This simple-to-use flash used an infrared preflash to judge the distance to the subject, and only had two buttons; a power switch and a film speed setting which toggled between 100 and 400 ISO film speed.

Even though the camera would cost more, shutter speed-priority AE cameras were important to Canon since users could comprehend shutter speeds easier than aperture settings. However, in America and other overseas markets, aperture-priority AE 35mm cameras were in the majority.

Overseas distributors also clamored for an aperture-priority AE model. Canon responded with the AV-1.

When this camera appeared, a new type of FD lenses featuring instant mounting/demounting was also introduced. A low-cost FD 50mm f/2 lens was made available for the AV-1.

The Canon AT-1 is a 35mm FD-mount single-lens reflex camera manufactured by Canon of Japan from December 1977. It was produced purely for export and was never sold in the home Japanese market. It is a version of the popular AE-1 but without the shutter-speed priority auto-exposure mode of that camera. The AT-1 features manual exposure only. This made the camera cheaper, as some consumers did not desire or require autoexposure and did not want to pay for it.

A light meter is included, featuring TTL center-weighted average metering with a CdS photocell, and a match needle in the viewfinder.

Its viewfinder display is a simplified throwback to earlier match-needle SLRs: an analog needle floats to reflect a TTL reading of the scene brightness; and the user adjusts either aperture or shutter speed until the EV "lolipop" aligns with the needle position. There is no indication of either the selected aperture or shutter speed in the viewfinder.

Despite these appearances, the AT-1 is not a full-blown retro mechanical SLR: it is based on the innovative cost-cutting electronics of the AE-1. The shutter is electronically timed and entirely dependent on battery power. A 10 second self-timer with blinking LED indicator is activated by rotating a tab alongside the shutter release to its forward position. (Rather illogically, returning the tab to its normal position does not cancel the self-timer; instead it fires the shutter immediately.)

While never selling in the same numbers as the AE-1 or AE-1P, today an AT-1 offers photographers access to numerous inexpensive, used FD-mount lenses, in a body free from extraneous bells and whistles.

The accessories produced for the AE-1 also work with the AT-1, including motor drives.

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 1/60 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, both because it was the first microprocessor-equipped SLR and because of its sales: backed by a major advertising campaign, the AE-1 sold over one million units,[1]:66 which made it 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. The camera will also accept Canon's earlier FL-mount lenses through the use of stop-down metering.[2] Original FD lenses, introduced in 1971, do not rotate in the mounting process; instead, a locking ring at the base is turned to attach the lens. This was often criticized as being slower than the bayonet mounts of competing cameras.[1]:201 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 1979, Canon introduced the New FD series of lenses that rotate the whole outer lens barrel to lock. The inner lens barrel remains stationary, and thus the signal levers and pins still do not rotate. During the late 1970s, there were over 50 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, plus special purpose lenses such as a 7.5mm circular fisheye and a 35 mm tilt and shift lens.

Accessories for the AE-1 include 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 Speedlite 155A (guide number 56/17 (feet/meters) at ASA 100) and Canon Speedlite 177A (guide number 83/25 (feet/meters) at ASA 100) electronic flashes. The later Power winder A2 is also compatible, but the Motor Drive MA is not.

The AE-1 is a battery-powered (one 4LR44 or 4SR44) microprocessor-controlled manual focus SLR. It supports either manual exposure control or shutter priority auto exposure. The exposure control system consists 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 is 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 1970s and 1980s were an era of intense competition between the major Japanese SLR brands: Canon, Nikon, Minolta, Pentax and Olympus. Between 1975 and 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 since the late 1950s been overshadowed by their rival Nippon Kokagu K. K. and their Nikon cameras. While Canons easily led in the amateur compact fixed-lens market (where Nikons did not compete), Canon SLRs didn't have the professional features of the top-end Nikon SLRs. Nikon, with its solid reputation for quality of material and workmanship, 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 top panel. 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) for the top panel finished with either satin chrome (or black enameled) to give the look and feel of metal. The bottom plate were made of brass and then finished with satin chrome (or black enameled). 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 professional camera. However, it was made to have relatively straightforward 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 35 mm SLR Canon EF (1973) merged with the final generation rangefinder Canonet G-III QL17 (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 s 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 prices for the AE-1 on the used market.

Legacy

Apple sound designer Jim Reekes recorded the screen snapshot sound used on Macintosh computers and iPhones from the AE-1 he used as a high school student.