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Except for non-controversial dates, background information about the Company and general matters, I have tried not to rely on third party sources or existing narrative on websites, at least without testing it in some way.
My main sources for details about cameras have been user manuals, ads, brochures, catalogues and observing cameras displayed on the internet and offered at on-line auctions currently, there are over 5, cameras in my TLR databases with serial numbers and trim details listed and with photos of many more examples. For the Yashicaflexes and earlier models, I have come to rely heavily on Japanese brochures and websites. Plus I have a few representative examples starting with the Pigeonflex and other early models.
Throughout the site, I have tried to present evidence and explain my reasoning but inevitably, there will be some guesswork. I hope that I have made it clear when that occurs. When conflicting information turns up, I try not to assume that one view or the other is wrong.
Nevertheless, I have made some leaps of logic on the Pigeon Loft page and maybe a little on the Pentamatic page. That doesn't affect Yashima history or models but I do apologise in advance to those interested in the later Pigeonflex models - be prepared for my theories to be proved totally wrong!
This website is a team effort and along with a group of long-term collaborators, there is a steady stream of correspondents with interesting examples of cameras, stories etc.
I have focused on camera models and their development rather than camera operation which is all basically similar and is well documented in user manuals. PDFs of manuals for many models are available for download with donation from OrphanCameras. Emanuel is available for download from That will be explained elsewhere. My name is Paul Sokk. I am an Australian of Estonian descent.
Since , my photography, mainly amateur, has been pretty much digital. Before then, it was 35 mm. I first became interested in photography as a teenager in the s. In the early s, as well as weekend wedding work, I undertook two years of commercial photography training based around the 4"x5" view camera before deciding not to give up my day job.
Then in the early s, after not having had a darkroom for many years, I found the digital workflow liberating in terms of regaining control but I did miss the look and feel of metal, fully mechanical cameras from my earlier days. As therapy, I acquired a couple of early folders and some 35 mm cameras. Then I decided that I needed to try the 6x6 experience, something that had so far eluded me.
Since then, I have come to admire the Yashica TLR as an effective photographic tool available to almost anyone, both then and now, not to just those with deep pockets. Although, in my view, Yashica managed to get the balance between quality and mass market affordability more right than any other TLR maker, that hasn't made me a die-hard fanboy either.
Also, my interest in cameras extends to all types, brands, formats and media. In other words, I hope that my views are balanced. After becoming intrigued because I owned one, I saw the opportunity to fill in the gaps in the Yashica TLR story and to correct some of the misconceptions that have developed. Inevitably, it has also lately piqued my interest in some of the early Yashica 35 mm models. The site started small and it's grown, helped by the fact that I am a bit obsessive.
My 35 year career in government administration will probably not surprise anyone. As it is an Australian site, I try to conform to standard Australian i. Whatever the source, it seemed to be adopted by the whole of the Japanese photo industry. I can be contacted by email at paulsokk live. Any contributions used, e. I am also on the lookout for manuals, brochures, ads, books etc that refer to the Pigeonflex to Yashicaflex period or accessories generally and also to The Mystery Models.
These could be either original, paper copies or electronic copies. I am not a collector as such and am not familiar with sales on specialised auction sites. Most of my research is web based and any views I have about value, and please note that most of the time I am not thinking about value unless buying something for myself, are derived from on-line auctions. My principal response is to refer correspondents to the completed listings history of such auction sites.
And remember, a camera, or any item, is only worth what someone will pay for it at the time that it is offered for sale. McKeown says something similar but with a bit more authority.
If you have an interesting camera and are happy to share serial numbers and perhaps a photo, I will be pleased to try to help but I can tell you now that there will be no magic number at the end. Barry and I did not, and it seems still do not, agree on a number of historical aspects but nevertheless, he very generously encouraged me to develop my ideas and then hosted the result.
I am indebted to him for both the idea that has become Yashica TLR and the work he put into dealing with my dozen or so revisions which ended up as, I think, three distinct iterations of that original page.
I used a Yashica Mat in college classes back in the mid-eighties. I'm scouting around and realize that it's a crap shoot when getting an old used camera.
What are the differences in the Yashica models? Which are desireable and which should one stay away from? Any help would be greatly appreciated. James, I personally would choose the G, as it is the latest model and price seems good these days on this one. It has the build in metering but has to make sure that it's still work or accurate. Other than this one, look around on rolleiflex circa C,D, E and F. Good luck and happy shooting!. I would suggest the Yashica D.
The Yashica D doesn't have the crank advance. You have to use the red window on the back, but this system is much less likely to break. You can also find the Yashica D with the 4 element Tessar lens found in the The Mat and the Mat G are identical, except for cosmetic issues, such as gold plated trim and electrical contacts.
But there is one important point. The gearing for the film advance mechanism is less reliable in the Mat G. This is because the tooling for the parts that were used for both cameras wore out over the long production lifetime of these cameras.
So, the most recent Mat G models are the least reliable. In fact, this was the reason that the camera was discontinued, not declining sales. The cost to replace the tooling was not justified by the small market for TLRs. Get a Mat in excellent condition, and get it professionally CLA'd, and you'll have an excellent instrument to last you many years. If you don't want to spend that much, and also don't need a built-in meter which can be unreliable at this age anyways get the plain Yashica Mat.
James, get any model with the Yashinon 4 element Tessar lens; however, avoid the G, as it is not as rugged as the Forget about the meters; get the Yashica Mat, and buy a good incident meter for the difference. If you're going to shoot weddings with medium format, TLRs are the wrong cameras. You need either a or 6x6, with removable magazines. Not everyone would agree. The shutters are functionally equivalent, although I consider the Yashica's Copal better designed than the Rollei's Compur.
The Copal should stay more accurate longer — in theory. The brighter viewscreen makes the Yashicas easier for me to handle, and earns them the "better than" rating. I would feel differently if it was and I was a busy pro who might easily wear out the Yashica film wind, or needed the Rolleiflex's fast film reloading. But this is the 21st century, and neither I nor anyone reading this is likely to put film through a TLR by the mile, and none of us are using a TLR to shoot weddings.
I'm nearsighted, and for me, moving from the comparable Rollei products to a Yashica-Mat at more or less the same price is definitely an upgrade. The G is usually overpriced and a Rolleicord or older Rolleiflex in good condition may be a better financial deal, e. In that case, don't even think about the Yashica. Squint and bear it. Use the money you save to buy film. Late G's post approximately sometimes had rough film winding mechanisms that fail prematurely. I have been told of late G's with no-name "Yashica" lenses instead of the high-quality Yashinon.
However I have never seen one of these, and earlier specimens do not have these failings. The rough film-wind problems with the last of the Gs are not widely acknowledged. I have been unable to pinpoint the region in the serial number range which marks the onset of problem cameras. NonG Yashicas are undervalued. The best of them is undoubtedly the plain-vanilla Yashica-Mat, a Rolleiflex clone without the film-thickness sensor, unmetered and usually available in excellent condition for much less money than a comparable Rollei TLR.
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