Digital Camera Preview - Hands On With The Sony A55

My first impression is that Sony has created a very small form digital single lens camera. First glance had me thinking that the camera would be cramped to hold and that my fingers might accidentally activate buttons. Both of these concerns proved to be misplaced, the body fit well into my hands and the balance was excellent. Overall the A55 with the kit 18-55 lens mounted seemed very substantial and quite solid.

Before I dive into the unique features of this digital camera I want to comment on a few of Sony's nicer touches. The swiveling rear LCD combination viewfinder / monitor is really very sharp and offers a decent view even in moderate sunlight. The electronic eyelevel viewfinder may not be quite the same as the view through a direct view prism, but it was more than sufficient. I liked the eyelevel finder's artificial horizon display which helped me keep the camera level while handheld.

Powering up the camera was almost instantaneous. The rear LCD displayed relevant settings information as a border all the way around the live image view. The live image switches from the rear LCD to the eyelevel finder when the camera's sensors detect that you have raised the camera to your eye.

Operationally the A55 is much like any other single lens digital camera. Buttons and switches are marked with familiar icons and labels; the ubiquitous four-way controller is under the right thumb just as on any other camera, the command and mode dials are just where I would expect to find them. In short, when the camera is up to the eye a photographer familiar with a Nikon or Canon camera won't fumble very much when seeking out the controls.

And now let's review how the Sony A55 is very different. So far I have been referring to the A55 as a Digital Single Lens (DSL) camera, leaving off the "reflex" (R) part of the description applied to other more traditional models.

In a traditional camera there is a mirror that hangs down in the image path between the rear of the lens and the camera's shutter and image sensor. This mirror reflects the incoming image up into the eyelevel viewfinder and onto focus and exposure sensors. Each time the shutter button is tripped this mirror must pop up out of the way so that the image can pass though to the image sensor. After the shutter opens and closes the mirror resets into the image path and the eyelevel finder view is restored. This reflexive up and down action gives us the "R" in DSLR.

Sony's A55 does indeed have a mirror sitting in the image path between the lens and sensor. However this mirror doesn't move up and down to get out of the way when the shutter is tripped. The mirror of the A55 is a half mirror so images both reflect up from it and pass through it as well. Think of mirrored sunglasses or a two-way mirror as an example. But why did Sony think this was a better idea than a moving reflex mirror?

Reflex mirrors have a blackout moment each time the shutter button is tripped. For a split second not only is the photographer blind but so are the focus and exposure sensors. For still photography captured at a brisk five or six frames per second this isn't a huge issue. However if the manufacturer wants to offer a camera with up to 10 frames per second the blackout period would almost exceed the viewing period so focus and exposure are less certain. Plus there is an enormous amount of damping required to prevent internal vibrations that would lead to blurred images - part of what makes traditional cameras capable of 10 FPS so expensive.

The biggest plus of a non-reflex mirror design is found in the video mode. A traditional camera design requires that the mirror be up and out of the way for video capture. With the mirror up the focus and exposure sensors are blind and the camera must be manually focused or rely on not so good contrast-based autofocus. Since the Sony A55 mirror is always down and in play the focus and exposure sensors are always operational. This means that the Sony A55 can capture 1080p HD movies with fully automatic focus and exposure, something that no other DSL can do as well.

Digital Camera Preview - Hands On With The Sony A55

In operation I found that the A55 in movie mode does out perform most other DSLR's that I've used. The video isn't better quality (we'll see that in a moment) but the experience of capturing it was by far effortless.

I did have several concerns with the Sony A55. Many of my issues likely come from the short time I had with the camera and would likely go away with better familiarity:

The A55 offers in-camera HDR still image capture. The camera will take several fast exposures at a wide range of settings and then combine them into one with greater tonal range. The results were good about 40% of the time. I found that most often the camera's HDR results were too cartoon-like in color with blooming reds and warm colors. Niggling detail - once set to HDR the photographer has to manually turn it off even after power down and restart. Forgetting to do this will result in the camera taking an HDR image the next time it is turned on.

Video colors seemed to be strong too. It my be that I just like more realistic contrast and color, but the A55 seems to add some "pop" to warm colors in video just as it did in HDR. I didn't care for it but my wife actually liked it so it is a matter of personal taste.

For an advanced shooter Sony's heavy reliance on pictorial descriptions of shooting modes within the menu system only slow things down. I believe that even someone new to using exposure modes will soon tire of the two-beat delay before the pictorial screen moves on to the actual menu screen.

I have some pretty good video editing software from Nero and Adobe. However the Sony video output couldn't be opened with either brand. The AVCHD video format captured by the A55 seems to require a first pass through the included Sony software before my video suites could manage the movies.

Conclusion: The Sony A55 is right on target for two types of photographer. First is the photographer moving up from a compact digital camera that will appreciate the simple menu system with pictorial assistance. The second group is the family photographer who wants a highly reliable still camera with far easier than average video capture. The photographer who only needs video on few occasions and for short duration will likely be drawn to a Nikon or Canon models for their larger system of accessories and lower entry cost.

Kids Digital Cameras - 5 Tips to Buy the Right Digital Camera For Your Child

If you're child looks up at you while you use your camera, has ever asked to user yours, or you just know that you're raising an enthusiastic little shutterbug then perhaps it's time to buy them a new camera.

The big problem is that there are so many digital cameras to choose from. You can narrow it down because you're buying one for your child and you probably don't want to get them a fancy DSLR or high end point-and-click. But manufactures have caught on to the digital cameras for kids trend and have released numerous options for your young photo fanatic.

Kids Digital Cameras - 5 Tips to Buy the Right Digital Camera For Your Child

Picking out a camera for your kid is not the same as picking out one for yourself. They have different needs and will most certainly use them very differently. I mean, are you likely to throw yours on the ground and stamp on it? Or how about forget to turn it off while the batteries slowly die... over and over again...

Before you buy a kids digital camera read these 5 tips and discover what to look for:

1) Durability - Kids are rough with their toys. Just watching them 'play' with their favorite toys may prevent you from even thinking about buying them a new camera. Well don't let it. There are a few kids cameras designed for maximum durability. The camera you choose for your child needs to live up to the abuse they may put it under.

2) Easy to Use - Adult camera have tons of features that can make for great pictures in the right hands. But with all the features comes complications. Kids don't want or need anything complicated. They just want a camera that is easy to use. The right choice for your child's camera needs to be simple.

Kids Digital Cameras - 5 Tips to Buy the Right Digital Camera For Your Child

3) Good Battery Life - Kids are more likely to leave a camera on than you are. When choosing a camera make sure it either has rechargeable batteries or has a power off feature.

4) Entertaining - Kids expect a lot out of toys. And as a parent I'm sure you'll appreciate a toy that keeps them occupied once in a while. Some cameras for kids come with games or silly things that they can do with the pictures they take.

5) Designed for Little Hands - Most cameras have small switches and complicated buttons. A kids digital camera is designed differently. They have big buttons that are fun to press and oversized handles for slippery hands to hold on to.

Remember that kids cameras are not the same as adult cameras. Focus on what your child needs and what will keep you both happy.

Infrared Digital Camera Designed for Firefighters

An infrared digital camera or thermal imaging camera uses infrared radiation to enhance visibility in various situations. Thermal imagers have proven to play a vital role in firefighting since they allow firefighters to see through smoke, darkness or heat-permeable barriers. A large component of smoke is micron-sized carbon soot particles. This makes it absorbing to visible light. Since the particle size is considerably smaller that the wavelength of the light of the infrared digital camera, the reduced scattering enables firefighters to see through smoke.

Applications

This tool has substantially increased the effectiveness as well as safety of the firefighters. Infrared digital cameras assist in locating the victims, navigation through absolute dark smoke filed buildings, spotting indications of flash-overs, establishing the area were the fire started and attacking it, and detecting any impending hot spots after extinguishing the fire. Thermal imagers even identify temperature differences of objects which is extremely vital in cases where firefighters have to open doors or venture into unknown territory that often lead to fires.

Infrared Digital Camera Designed for Firefighters

Infrared digital cameras can be integrated with infrared software for the purpose of documentation in insurance claims as well as firefighting performance matrixes.

Design

Most thermal imaging cameras today are handheld or mounted on the helmets. They are designed to operate flawlessly in extreme environments where temperatures sore anywhere between 150 degrees Celsius to 500 degrees Celsius, and also built to sustain the harsh possibilities of being dragged, dropped, or scorched. Since firefighting involved using thermal imaging to navigate through dark areas and also arriving at the heart of a raging blaze within moments, the infrared digital cameras are highly sensitive to thermal contrast in fractions of a degree. The scene range demands exceptional image processing capabilities to capture and display effective information. A quintessential firefighter is approximately wearing 50 lbs of gear excluding the axe, hose and a possible injured victim. An ideal thermal imaging camera is designed ergonomically keeping in mind the size and weight of the equipment.

Reception

In spite of the fact that infrared digital cameras are a life saving equipment, thermal imaging is considered a luxury as against helmets, turnouts, hoses, vehicles and self contained breathing apparatuses. They were usually assigned only to the Rapid Intervention Teams that are responsible to reach and free trapped firefighters. This scenario changed tremendously after the September 11 attacks and the following issue of equipment grants for firefighters by the government.

Broken Doors, Busted Tabs and Frustrating Camera Design!

So your digital camera battery door broke off and is gone.

Or your battery door has broken tabs on it and no longer holds closed tightly so the batteries don't make contact and the camera won't turn on?

Maybe your battery door is removable on your SLR so you can add on a grip with extra batteries... and where exactly did you put it down?

I know; the tiny little piece of plastic on your CF (Compact Flash memory card) door broke off and your camera won't turn on!

Oh man... how many cameras out there will not turn on because your memory card door is open, or the battery door is open, even though there really seems to be no reason for it? It's frustrating... these flimsy little battery doors made from a tiny glob of plastic are ultra thin and snap like a dry twig, (Canon Powershot SD750 battery door.. don't get me started!) making your camera useless. What were they thinking when they designed this?? Did ANYBODY test this thing? Did anybody stop for one second and ask what the reason was behind it?

Broken Doors, Busted Tabs and Frustrating Camera Design!

I could work for ANY major digital camera company and tell them exactly what is wrong with the design of any new camera they release and save them hundreds of thousands of dollars in warranty repairs and upset customers! Think they would hire me? No way; I don't have an Engineering Degree or a PHd is Physics so what do I know, right?

But just look at the Sony Cyber-shot DSC-H2 shutter button, I would never have let them put the camera on the market if they had only asked!!

Well I know plenty having fixed THOUSANDS of cameras over the past 5+ years, I know what is wrong with your camera if it is a certain model before you even tell me.

Sony H2 or H5? Broken shutter button. Canon SD850? Jammed lens Canon SD750? Broken battery door... I'm not going to list dozens of cameras here, that's not what this is about.

What do you do with your camera when one small piece of plastic is broken or missing? You paid hundreds for it and once again the guy at the store tells you "Throw it in the trash, this one is better, it goes to 11." (A little movie humor there, hey it's 1:30am I'm entitled) Tell that guy at the store a resounding "NO!" and walk out. Go home, get on the computer and get surfing.

Broken Doors, Busted Tabs and Frustrating Camera Design!

Back we go to eBay... search for your model number and "door" or "parts" and voila, look at what you find!

---> As a side note here (I'm kinda proud of this so bear with me) I was the first and only digital camera parts store in the world on eBay. I bought cameras by the 100's and repaired what I could and then parted out the rest. I sold all those annoying little parts that you cannot buy anywhere for dirt cheap! $10 for a battery door and all you do to install it is twist it into place... and that "geek" at the store told you it would be $175 to send it in to Canon or Sony and have them do it for you...

So you don't find your door or part there, keep looking, don't give up yet. Don't want to repair it yourself, no problem, there are places that will do it for you. Hopefully you will find one with decent prices; don't pay anyone $50 to install a battery door for you... please.

(Google: "affordable digital camera repair" and you will find some help with your camera!)

Broken battery doors and memory card doors are very common. I think we would see a lot more customers asking for them if only they knew they could actually repair it and get their camera back working for less than $25-30! It really is that cheap, with many doors for only $15-20.

I hope this helps you get your camera up and running again for very little money!

Innovations in 35mm SLR Camera Design: 1980 to 2000

In 1980, the Nikon F3 was the first 35mm SLR with a viewfinder liquid crystal digital data display (LCD). This showed little more than shutter speed information, but it started a design trend that virtually all SLRs adopted in some form.

German company Rolleiflex was the first of several companies (including Yashica's Samurai, and Ricoh's Mirai later in the 1980s) that attempted - and failed - to introduce an alternative camera shape with their now forgotten SL 2000 F. Let's just say it didn't prove popular. In the same year (1981), Pentax marketed the ME F: a heavily modified ME Super that was the first 35mm SLR with built-in auto-focus. This used a passive contrast detection system, which worked poorly, and was a commercial flop.

Sigma was more successful, and produced a 21-35mm f/3.5-4 zoom lens: the first super-wide angle zoom lens for SLRs. I'm not going attempt to address the technicalities, other than to say that computer-aided design made possible something previously thought to be impossible.

Innovations in 35mm SLR Camera Design: 1980 to 2000

On to 1982, and Ricoh's XR-S was the first solar-powered SLR. It was another unsuccessful idea.

1983 proved to be a better year. The Pentax Super A was the first SLR with external LCD data display.

One of several leaps forward came in the shape of two new, and highly sophisticated metering systems. Nikon's FA was the first camera with multi-segmented metering (also know as matrix metering), which used an on-board microprocessor to analyze light levels in five different segments of the field of view, and determine the best compromise exposure. For the time, it was so advanced the buying public didn't take to the camera; they neither understood how it worked, not trusted its accuracy, but Matrix meters became standard in 35 mm SLRs by 1990, and digital cameras that followed - where this system is more commonly known as evaluative metering.

At the other end of the metering spectrum, Olympus produced the OM-4: the first camera with built-in multiple spot-meter, which could measure eight individual spots and average them for precise exposure in difficult lighting situations.

Still in 1983, Minolta scored the biggest hit when they launched the Alpha 7000, which became the first commercially successful auto-focus 35 mm SLR, and additionally introduced totally automated film handling (auto-load, wind, rewind and film speed setting). This camera was revolutionary, and its auto-focus innovations permanently changed 35mm SLR design. Other manufacturers were either forced to get on-board with auto-focus, or withdraw from the 35mm SLR arena (e.g. Mamiya, Fujica, Chinon). The Alpha 7000 started Minolta on the path to become (briefly) the number one camera manufacturer. However, as is often the way, before too long Minolta suffered a reversal of fortunes, were forced to merge with Konica, and finally stopped making cameras in 2006.

The next innovation came in 1987, when Pentax brought us the SFX, which was the first interchangeable lens SLR with a built-in electronic flash coupled with through-the-lens (TTL) auto-exposure. In a short space of time, built-in TTL auto-flashes became standard on all but the most expensive 35 mm SLR cameras.

Meanwhile Canon gave us the EOS 650 and 620, which used a new EF mount lens mount. This was the first all-electronic contact camera lens mount. Previously, camera-to-lens linkages had been mainly mechanical, but auto-focus required data exchange between camera and lens, and so the lens mount effectively became a computer data port.

Innovations in 35mm SLR Camera Design: 1980 to 2000

The next year (1988) Minolta's Maxxum 7000i featured the first multi-sensor auto-focus SLR. While first generation auto-focus SLRs had a single central focus sensor, the Maxxum 7000i used an H pattern array of sensors to cope with focusing on off-centre subjects. This set the trend of growing numbers of auto-focus sensors.

By the end of the 1980s, most commercially successful cameras bristled with technology, and did all the thinking for the photographer. Point and shoot photography had become the order of the day.

Come 1991, it was ironically the company who had given birth to the popularisation of film photography that began its demise. Kodak Digital Camera Systems heavily modified a Nikon F3 to produce the first digital SLR camera. It was ridiculously expensive (and stupidly large), but it marked the beginning of the next generation of cameras, and the move away from film photography.

1992 witnessed one radically new (as in different) 35mm SLR camera. The Nikonon RS was the first waterproof 35 mm SLR made for use in underwater diving. It had auto-focus, auto-exposure, TTL auto-flash, interchangeable lenses and good accessories; all the features we had come to expect in a camera. But the Nikonos RS wasn't about to change the face of film photography. The era was over, and more manufacturers either went to the wall (e.g. Yashica and Ricoh), or evolved to compete in the digital market.

Innovations in 35mm SLR Camera Design: 1960 to 1980

In 1960, the Konica F was the first SLR with a shutter speed of 1/2000th sec. This had previously been unachievable with horizontal travelling cloth focal plane shutters, which were unable to withstand the shock of such acceleration, along with other timing and image distortion related technical troubles. The Konica F pioneered the use of a vertical travelling metal blade shutter. This was not only more robust, but moved along the shortest side of the film, making faster speeds possible.

In 1963, the Topcon RE Super was the first SLR with through-the-lens (TTL) light metering using dedicated open aperture auto-diaphragm lenses. Cadmium sulphide (CdS) cells were mounted behind non-silvered slits in the reflex mirror, and coupled to a viewfinder centre-the-needle type exposure control. Other manufacturers quickly adopted TTL light measurement, but open aperture metering took longer to become establish. Rivals did not offer this feature until 1966, when Minolta launched their SRT101, followed by Nikon's Nikkormat FTN in 1967. It wasn't until 1973 that Pentax caught-up with their open aperture metering Spotmatic F.

In 1964, the Russian Zenit 5 was the first SLR with a built-in electric motor wind, which provided automatic single-frame film advance. In the same year, Kodak's Retina Reflex IV was the first SLR to offer a hot shoe for direct flash mounting and synchronization (which was first seen in 1938 on a non-SLR camera).

Innovations in 35mm SLR Camera Design: 1960 to 1980

In 1966, the Praktica Electronic was the first SLR with an electronically timed focal plane shutter in place of a mechanical control system.

In 1969, Yashica's TL Electro X was the first SLR with an all solid-state electronic light metering system. Prior to this, metering systems had been wholly or partly mechanical. Although still using a stop-down aperture metering, the light meter was linked via a circuit board to under and over exposure viewfinder lights, and correct metering was accomplished by a match-the-light system.

In 1970, the Minolta SRM was the first SLR with a built-in electric motor drive capable of continuous shooting.

In 1971, a new manufacturer entered the SLR market. Fujica introduced the ST701: the first SLR to use silicon photo-diode light meter sensors. Up until now CdS cells had been used, but they only responded to fairly bright light and suffered from a "memory" effect which could make them slow to react to light level changes. Silicon quickly became the standard light cell. Meanwhile Praktica's LLC became the first SLR with camera with electric lens mount contacts controlling the lens diaphragm stop-down electro-mechanically.

In 1972, Fujica launched their second camera; the Fujica ST801. This was the first SLR with viewfinder light emitting diodes (LEDs). It had a seven dot LED scale to indicate under, over and correct exposure - instead of a needle pointer. The design aim was the elimination of mechanical failure of meter components. Meanwhile, Olympus set a trend in miniaturisation with the Olympus OM-1: the first compact full-featured 35 mm SLR.

In 1974, Fujica were still pioneering, and developed the Fujica ST901, which was the first SLR with a "calculator-style" viewfinder LED digital display of meter selected shutter speeds.

In 1975, Olympus's OM-2 was the first SLR with TTL, off-the-film (OTF) flash auto-exposure. Rearward-facing silicon photo-diodes metered light reflecting off the film, and circuitry controlled any dedicated flashgun by detecting the point of sufficient exposure.

In 1976, it was Canon's turn to be in the spotlight, and they came up with the Canon AE-1: the first SLR with microprocessor electronics to control shutter-priority auto-exposure. This camera set the standard for all future camera design. Pentax responded with the ME: the first auto-exposure-only SLR. This featured an aperture-priority exposure system offering simple snapshot operation, and had absolutely no manually options.

In 1977, the Minolta XD7 was the first SLR with dual mode aperture-priority and shutter-priority auto-exposure. Previously one or the other had been available, but never both in one camera/

Innovations in 35mm SLR Camera Design: 1960 to 1980

In 1978, Canon's A-1 was the first SLR with an electronically programmed auto-exposure mode. The A-1 had a microprocessor programmed to automatically select a compromise exposure that balanced the need to freeze action and control the depth of field. A part of the art of photography was moved from the user to the camera.

In 1979, Konica, the company that kicked of the vicennial launched the Konica FS-1: the first SLR with built-in motorized film auto-loading (and auto-winding). In the same year, Pentax introduced the ME Super: the first SLR with electronic push button controls, which were used to select shutter speeds.

And finally, in 1980, the Nikon F3 was the first SLR with a viewfinder liquid crystal display (LCD) of digital data. It showed shutter speed information along with under and over exposure indicators.

Innovations in 35mm SLR Camera Design: 1940 to 1960

The first innovation of this 20-year period came in 1947, in the form of the ambitious but highly unreliable Hungarian Gamma Duflex. This was the earliest SLR camera to use an instant return mirror, and an internal semi-automatic lens diaphragm.

Previously, reflex mirrors had been coupled to the shutter release and were spring actuated so that they rose automatically when the shutter was tripped, but this meant the viewfinder remain blacked-out until the mirror was manually reset to its original position.

Similarly, lens diaphragms also had to be manually closed to the required f-stop before exposure, and opened afterward. The moment before and after exposure was often a period of dim visibility. The Duflex's semi-automatic diaphragm closed the lens diaphragm to a pre-set f-stop when the shutter was released, but it still needed to be manually re-opened after exposure.

Innovations in 35mm SLR Camera Design: 1940 to 1960

In 1948, the Italian Rectaflex introduced the world to the first Pentaprism SLR, although its eyepiece was angled upward at 45° (no doubt a concession to the way things had been done up until that time?).

Previously, SLRs employed "waist level" viewfinders, in which the photographer looked downward at a focusing screen to observe the reflex mirror's image. This system was difficult to use since the scene is viewed as a mirror image, resulting in directional movements being reversed. In other words, an object viewed on the left side of the frame was on the right in reality, so bringing that object more to the centre of the frame required the camera to be panned right rather that to the left. The Pentaprism re-reversed the viewfinder image, and was therefore a big step forward, facilitating far more intuitive shot framing. Objects physically on say the right were also on the right of the viewfinder.

A Pentaprism is actually an eight-sided chunk of glass, where only five of those sides are significant. Two sides are silvered and redirect and re-reverse the light from the mirror. Another two sides let light in and out. The fifth side is not used optically but is made flat for the sake of compactness. The three insignificant sides are simply cut off corners.

1949 was the year the Pentaprism started to become adopted by other manufacturers, who used it to offer the eye-level viewing that has become commonplace. The East German Contax S by Zeiss Ikon, was the second Pentaprism equipped camera, followed by the East German Praktica.

In 1950, the East German Ihagee company launched the Exakta Varex, which was the first SLR camera to have an interchangeable viewfinders, focusing screens, and a viewfinder condenser lens.

The first two items - viewfinders, and focusing screens - probably need no further explanation, since customisation and interchangeably of these components became a feature of the best SLRs. The condenser was a lens placed between the viewfinder's ground glass focusing screen and Pentaprism, which increased light intensity in the viewfinder.

Innovations in 35mm SLR Camera Design: 1940 to 1960

 Meanwhile, Germany was not the only Nation making advances. In France, Pierre Angenieux gave his name to the first "retrofocus" wide-angle lens made specifically for 35 mm SLRs.

Regular wide-angle lenses need to be mounted close to the film, but with SLRs, the space required to allow movement of the mirror prevents this, and so 40mm lenses were typically the shortest focal length possible. The retrofocus design (more correctly known as an inverted telephoto) uses a very large negative front element to force back-focus distances long enough to ensure mirror clearance.

1952, was the year the Soviet Union produced their first eye level viewing Pentaprism SLR camera - the Zenit, while Japan merely accomplished their first waist level finder SLR camera - the Asahiflex I.

The majority of technological innovation still arose in Germany, and in the East - in 1953 - Zeiss Ikon made the Contax E; the first SLR with a built-in light meter. This was quite simply mounted on the Pentaprism, above the lens, and had an external selenium photoelectric cell. The meter was uncoupled, so it's readings had to be manually set as a shutter speed/lens aperture combination.

Most SLRs had Focal Plane shutters, but in 1953 - in West Germany - Zeiss Ikon made the Contaflex I, which was the first leaf shutter 35 mm SLR. Other cameras used leaf shutters, until Focal Plane shutters improved, got faster, and finally dominated SLR design from about the mid-70s.

Still in West Germany, Metz's Mecaflex became the first and only square format 35 mm SLR, based on the design principles of the 1934 Robot camera.

Now the fact that it proved not to be an influential design innovation might exclude it from this list, but it was quite a sensible idea. 24×36 mm frames are somewhat inefficient, in so far that they require a 43mm lens diameter, and 59% of that lens' area is used to produce the image. A square 24×24 mm frame requires a smaller 40mm lens diameter, and uses 64% of that lens' area. Many years later, this idea has resurged in digital camera design.

In 1954, the Praktina FX, had the first spring powered motor drive accessory for an SLR, and first breech-lock lens mount.

1955, and the Miranda T was the first Japanese Pentaprism eye-level viewing 35 mm SLR, while West German manufacturer - Kilfitt - made the first close focusing "macro" lens for 35 mm SLRs.

1957 was the year in which the Asahi Pentax was the first SLR with a right-handed rapid-wind thumb lever, foldout film rewind crank, and micro-prism focusing aid, plus it adopted the M42 screw lens mount. This landmark camera set the standard for future control layout. Elsewhere in the land of the rising sun, the Zunow SLR offered first internal auto-diaphragm - a device coupled to the shutter release and which automatically stopped down the lens diaphragm when the mirror swung up, and reopen it when the mirror swung down to provide almost continuous fully open aperture viewing. Sadly, the Zunow Company sunk into bankrupt before they could benefit from this development.

1959 - the West German Zeiss Ikon Contarex (or Bullseye) was the first SLR with a built-in light meter coupled to a viewfinder needle pointer. But, from the East came the mighty Nikon F. This was not technically groundbreaking, other than being the first SLR with an electric motor drive accessory, but its impact sealed the fate of some alternative camera formats: it displaced 35mm rangefinder cameras, and dealt a deathblow to medium format TLRs. The 1960s were here!