Photo thanks to John
[email protected]
The above photos shows the Yashica 24 twin lens reflex camera, which is
the progenitor of the last series of professional Yashica twin lens
reflex cameras. The unusual thing about this camera is its design to use
220 film, which provides 24 exposures of 6x6cm on that longer rollfilm -
versus the more usual 12 exposures on 120 film. The ability to use longer
rolls of film was primarily aimed at professional photographers,
particularly the wedding photographers who were a major market for
Yashica twin lens reflex cameras. The longer number of exposures between
reloading is a definite advantage in wedding photography!
The Yashinon lens is generally reported as a 4 element lens, usually
described as a Tessar derivative [see Tony
Zoccolillo's post]. A number of users have had positive comments
about the Yashinon lenses (versus the 3 element Yashikor on earlier models).
Yashicamat cameras are capable of taking excellent, sharp pictures which
will rival more expensive competitors (Mamiya TLRs, Rolleiflex TLRs...).
Many beginners started out with Yashicamat TLRs, and recommend them to
entering photographers. Unfortunately, such praise has led to an
inevitable price inflation, especially for the later Yashicamat 124G
models to prices in the $250 to $300 US and above range. By comparison,
these earlier Yashica cameras may offer similar optics and capabilities
at a much lower entry level cost.
Date: Mon, 20 Mar 2000
From: "David Foy" [email protected]
Newsgroups: rec.photo.equipment.medium-format
Subject: Re: 120 film in Yashica 24
This is very strange.
The Yashica 24 I am looking at right now has only one film starting mark,
a red triangle with a label that says "220 film start mark." It has a
label under the pressure plate saying "use 220 film only" and, unlike the
124 and 124-G, the pressure plate cannot be moved to accommodate the
thickness difference between 120 and 220. There is no mention anywhere,
and no symbol anywhere, having to do with 120 film.
Could it be (please don't be insulted) you're confusing the 12 and
124? The
only other explanation is that you've owned some very unusual specimens,
perhaps cameras that have had parts replaced.
--
Hitting "reply-to" won't get a reply past the spam blocker, so please
reply to: dfoy (at) marketactics (dot-com)
David Foy, Calgary
Date: Tue, 21 Mar 2000
From: "David Foy" [email protected]
Newsgroups: rec.photo.equipment.medium-format
Subject: WRONG! was Re: 120 film in Yashica 24
Since our friend the auction fan has never been known to be so totally
wrong, I looked more closely. Yes, he is right and I was wrong. There is a
mark for starting 120 film in the Yashica 24. It's in the same place as on
the 124-G et al.
Why it is there is anybody's guess. The 24 still behaves like 220 is the
only film it will accept (only one film plane position, for instance). But
Yashica's engineers most definitely did anticipate, and facilitate, 120
film in the Yashica-Mat 24.
[Ed. note: thanks! to Alan for sharing these tips and notes on film - 120 vs. 220...] Date: Thu, 24 May 2001 From: Alan Davenport [email protected] To: [email protected] Subject: Yashica 24 and 120 film There's a common conception, that TLR's such as the 124G, with an adjustable pressure plate, are moving the focal plane of the system to accommodate either 120 or 220 film, depending on the position chosen. This is wrong. The film's emulsion is positioned by the nicely machined guide rails on either side of the picture area. The guides are fixed, and so the position of the emulsion is fixed. By a remarkable coincidence, this location coincides with the groundglass in such a way that both lenses will be in perfect focus at the same time. The reason for the adjustable pressure plate, is to adjust the pressure (!) against the back of the film. This is to compensate for the different thickness of 120 film, which also includes a paper backing, vs. 220 film which has no backing but only paper leaders that tape to each end of the film. Presumably, changing the pressure ensures that the film will remain flatter, between the guide rails. Here's the reality: I own a Yashica 24, serial no. L5121415. I have owned this camera since 1973. It has start marks for BOTH 120 and 220 film. I have run many rolls of both 120 and 220 film through it, and never had a focus problem (at least not caused by the camera!) The Yashica-24 uses 120 film perfectly. Alan Davenport [email protected]
[Ed. note: thanks to Wayne Hansen for sharing these tips and notes!] Date: Thu, 28 Mar 2002 From: "Hansen, Wayne" [email protected] To: "'[email protected]'" [email protected] Subject: Yashica 24 Camera Hello: I recently purchased thru Ebay, one Yashica 12 for my art school graduate student son, and one Yashica 24 for myself after my interest was stimulated. I didn't know this before hand, but was delighted to find the viewing lens in both of these fine cameras, is the better Yashinon F2.8. When I was 15 years old, my parents gave me the "plain Jane" Yashica A for a birthday present. I foolishly sold it to a camera shop in about 1972 for $12.50 as I was doing stricly 35MM work by then. I have and still use the Minolta SRT-101 35MM series of bodies (I have had 7 of these and one X-370) and lenses. I like the heavier weight and larger size of these older, manual, "match-needle" exposure cameras. Now here is what I wanted to contribute to your webpage, unless it is already covered. Even before I received my Yashica 24, I had read on some webpage, that there could be a label attached on the inside of the camera, on the left of the supply film spool, that serves as an "index mark" when using 120 size file in these cameras. Well wouldn't you know, there was a glod label with red lerrering attached to mine A friend has recently advised me, to cover the taking lens and fire off about 4 more shots when using 120 film in the Yashica 24 camera, to move the remainder of film and paper onto the takeup spool. I don't know when Yashica started placing the "label" on the Yashica 24 camera, but it is probably not a well known or understood fact, which could discourage many interested people from pursuing one of these if they think it will only take 220 size film. I would be happy to provide a photo of this label (and the 24 camera) if you are interested. There are three other differences I observed between the 12 and 24: 1. The 12 has a shutter lock lever surrounding the shutter release button. The 24 does not. 2. The 12 takes the later, more conventional, externally threaded cable release. The 24 uses the older "bell coller", internally threaded cable release, which requires the removal of the knurled ring surrounding the shutter release button. 3. The 12 exposure meter system is activated by raising the waist-level hood. The 24 has an additional button, below the focusing knob, that must be held in to activate the meter system. Although it can be awkward to hold this in while viewing and composing a photo, I happen to like this feature, as it puts minimal drain on the battery in use, and is not activated at all if the hood happens to be left up or open accidently. My meter seems to work great, although I have also obtained on Ebay, a nice, used, Gossen Luna Pro light meter. I hope these contributions can be of interest and help to you and the others who visit your website. I am sending this from my work location, my personal email addesses are: [email protected] and [email protected]. N.Wayne Hansen Senior Electrical Engineer Professional Associate Parson Brinckerhoff Power, Inc. 75 Arlington Street - 4th Floor Boston, Ma 02116 Phone: (617) 960-4836 Fax: (617) 960-5460 Email: [email protected]