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Topcon: Staying on Top is Harder Than Getting There

4/23/2020

50 Comments

 
Picture
US-market Beseler Topcon Super D (aka Topcon RE Super) w/ the famed 58/1.4 RE Auto-Topcor lens

  Updated Jan. 20, 2023

    1957. A year of events that would reverberate for years to come. Sputnik. The debut of cable TV in the USA. "I Love Lucy" ended production. The Cat in the Hat was published. And a musical duo that would be as influential as anyone on the next two decades' of popular music (the Beach Boys, Beatles, and Bee Gees were only a few among the many that would cite themselves as being significantly impacted by them) had their first #1 hit:

    1957 would also see the introduction of the first 35mm SLR from a relatively small Japanese manufacturer that was to have an outsized influence on the industry that would continue for over thirty years. In that year, TOPCON (Tokyo Kogaku) would find themselves at the leading edge of 35mm SLR technology and they would remain there for the next decade. The 1960s would see them emerge as Nikon's (Nippon Kogaku) most serious competitor in the professional 35mm SLR market. By 1977, however, Topcon's photography division would be a shell of its former self, outsourcing its remaining SLR production and diving right to the bottom of the market. By 1981 (with Nikon owning over 75% of the pro market), Topcon was out of the 35mm business completely, even though they live on to this day in the industrial and medical optics arenas. So, what happened? How did Topcon go from industry leader to also-ran in the space of a generation?  

    Big 4 and Big 5 are terms used ad nauseum in this blog. If you happen to be visiting for the first time, these terms are used out of sheer laziness to label the major Japanese 35mm film SLR manufacturers from the 1960s through 1980s. Initially they were: Asahi Pentax, Canon, Minolta, and Nikon (Big 4) - joined by Olympus in the early 1970's (making 5, according to my sick math skills). Ad nauseum, indeed ;-). This conglomerate dominated sales and played the leading role in the advancement of the SLR as the 35mm camera of choice among serious photographic enthusiasts (and later, even consumers) during the last half of the 20th century. It is thus very easy to fall into the trap of overlooking the contributions of the many bit players in the industry when it came to the evolution of 35mm cameras, including SLRs. Companies such as Chinon, Fujifilm (which became the largest producer of film and paper in Japan), Konica (the original producer of photographic supplies in Japan), Kowa, Mayima, Miranda, Petri, Yashica, and Zunow, among others, made up this group. But we are going to key in on Topcon...the Everly Brothers of the SLR world...    ​

  Where It All Began

    The Tokyo Kogaku Kikai K.K. (Tokyo Optical Company, Ltd.) was founded in 1932 (five and seven years, respectively, before Don and Phil Everly were born) based from the surveying instruments division of K.Hattori & Co., Ltd. and quickly became a favored supplier of optical equipment (primarily surveying optics, binoculars, and cameras) to the Imperial Japanese Army while the older Nippon Kogaku Kogyo K.K. (Japan Optical Industries Company, Ltd., founded in 1917) was aligned with the Imperial Japanese Navy. Naturally, the competitive spirit between the branches of the armed forces spilled over to their suppliers, and for the next four+ decades, the two companies (which would become familiarly-known in Western markets as Topcon and Nikon) engaged in a spirited battle for photographic supremacy. While both did dip their toes into the civilian market pre-WWII, it would be during the post-war era, with both companies having to turn to civilian production entirely during the American occupation of Japan and beyond, that their rivalry would reach its peak. The 35mm SLR would become the primary point of contention between the two. Topcon also diversified into medical optical instruments starting in 1947, decades before Nikon would do so. They beat Nikon by two years to market with their first SLR and each would continue introducing technical advances over the next few years, culminating with the brilliant RE Super (sold as the Beseler Topcon Super D in the USA; Beseler was the U.S. distributor for Topcon until the early 1970s) of 1963 being chosen by the U.S. Navy as its official 35mm SLR over the Nikon F. The RE Super would be the primary standard that Nikon would measure its F-system against for the next decade-and-a-half, and they would even adopt features found on the RE Super as late as their fourth-generation F4 (1988) a quarter-century later. Before we dig into that delicious comparison, let's review the evolution of the true top-flight Topcon SLRs (using the original Exakta-based R/RE mount) from 1957-77 (we will briefly get into the lower-tier UV Topcor mount later in this article). 

Topcon (Exakta-style Mount) SLR Chronology
  • 1957 - Topcon R aka Beseler Topcon B in the USA. Introduced in the same year as Asahi's original Pentax model and Miranda's second-generation A, the R was a very advanced SLR for its time and was the second Japanese pentaprism SLR to feature interchangeable viewfinders (the Orion/Miranda T being the first in 1955). Topcon decided, like Asahi, to adopt a modified version of an existing lens mount (in this case the Exakta bayonet mount introduced by Ihagee of Dresden in 1936) rather than introducing a proprietary mount as Canon, Minolta, and Nikon would within the next couple of years when introducing their first SLRs. The professional and enthusiast (prosumer) Topcons would use this mount for the next two decades. Most Exakta lenses could be used on a Topcon body (with limitations), but most Topcors (Topcon's lens designation; very similar to Nikon's use of Nikkor for their lenses :-)) could not be used with Exakta SLRs due to subtle mount or operational differences. The R, like the Pentax, had an instant-return mirror and separate high- and slow-speed shutter dials (although the R's were both located on the top plate concentric to each other, rather than the high-speed-on-top/low-speed-on-the-front locations with the Pentax). But the R went one-better than the Pentax when it came to: 1) aperture actuation with Auto Topcor lenses, 2) top shutter speed (1/1000 sec. vs. 1/500 sec.), and 3) a ratcheting versus single-stroke 180-degree film advance lever. With the Pentax the user had to manually pre-set the aperture before exposure and then re-open it following the exposure. The Topcon R made this process semi-automatic with Auto Topcor lenses (the "Auto" referred to aperture operation) by utilizing Exakta's Pressure Automatic Diaphragm (basically a button that closed down the aperture and then actuated the shutter release button right behind it in one motion. The Miranda A (the second-generation version of the original Miranda T of 1955) also used this same system, and had a 1/1000 sec. top speed, but it lacked the instant return mirror of the R and the Pentax, so when it came to being the most advanced Japanese SLR in 1957, the Topcon R's combination of all of the above features, along with a split-image rangefinder focusing aid, gave it not just the technological edge, but also made it the most convenient of the three to use. Eight Topcor lenses were available covering focal lengths from 35 - 300mm (three were Auto-Topcors and five were standard pre-set R Topcors).
  • 1960 - Topcon RII aka Beseler Topcon C in the USA. This was basically an R updated to internally-coupled, fully automatic aperture actuation versus the semi-automatic, externally-coupled Pressure Automatic Diaphragm system used previously. The lens line grew to nine, with a 200/4 R. Topcor being added. A self-timer was also added, and a Fresnel lens integrated into the focusing screen for improved focusing "snap". This allowed Topcon to keep pace with Nikon's F model introduced in 1959 which also had fully-automatic aperture with Nikkor Auto lenses. The F would also push Topcon to further improvements with their next model...
  • 1960 - Topcon RIII aka Beseler Topcon C (Version 2) in the USA. Next on the list for Topcon was to modernize their shutter speed controls. The Nikon F had a single dial with all speeds listed on it and Topcon saw the need to keep up. They also took the opportunity to add a front accessory shoe to enable mounting of an accessory, externally-coupled selenium exposure meter. And that gave an indication of the next big advance that the Japanese SLR makers were targeting: Built-in metering. And it would be there that Topcon would achieve their greatest triumph...
  • 1962 - ...which was not the Topcon RS ;-). For those die-hard hand-held meter aficionados, Topcon provided a meterless version of the RE Super to follow. That's all the RS was, no more, no less. The RS was rarely seen in its day and is even more scarce today.
  • 1963 - Now we come to the revolutionary Topcon RE Super aka Beseler Topcon Super D in the USA. The internal model code was 46A and thus serial #s began at 4600001. The RE Super was Topcon's top dog SLR from the time of its debut to the demise of the photographic division in 1977. It was so advanced upon its introduction that Topcon only saw fit to give it small updates (with slight name changes) in 1972 & '73. And there is our first inkling of trouble for Topcon...but let's not get ahead of ourselves :-). So what made the RE Super such a gamechanger? To put it succinctly: Internally-coupled, full-aperture, Through-The-Lens (TTL) metering (how's that for a mouthful? ;-)). Translation: The camera took meter readings directly from the light path to the film through the lens and with a nice bright viewfinder for easy focusing because it did so at full (or the maximum) aperture opening of the lens. What this meant in the real world was greater accuracy and speed of metering compared to the then-extant clumsy clip-on external meters that really were, at best, a stop-gap measure. On top (no pun intended) of that, the new RE Topcor lenses automatically indexed the lens aperture to the internal metering system when one was mounted. This was something Nikon wouldn't offer until 1977 (hmm, that year is cropping up a bit ;-)) although they had the full-aperture TTL part down pat by 1965. That was still over two years behind Topcon. It would take until 1966, and Minolta's SRT-101, for another manufacturer to offer the same package of full-aperture TTL metering with fully automatic aperture-indexing. Canon and Pentax would make do with stop-down TTL metering (meaning you had to physically close or stop down the aperture to take a meter reading and then re-open it for focusing, or vice-versa) until 1970 & 1973, respectively. We will dig into what made the RE Super one of the most influential SLRs of all time a little further down the line, but for now let's just say it was the apogee of Topcon's orbit (this was during the Space Race '60s, after all ;-)). In a case of eerie foreshadowing, the Everlys had their final top 10 hit in America that year. 
  • 1965 - Topcon RE-2 aka Beseler Topcon D-1 in USA. Model code was 56A and serial #s began at 5600001. Topcon found itself in the same boat as Nikon in the early-'60s when it came to serving SLR enthusiasts other than professionals or those with pudgy pocketbooks: They were a one-pony show. Notwithstanding Nikon's first failed attempt at an enthusiast-targeted body (the ill-fated Nikkorex F of 1962, which was actually a collaboration with Mamiya), by 1965 both companies had a brand-new SLR model that was intended for the advanced amateur or as a less-expensive backup for professionals. This would broaden their market, not only for camera sales, but more importantly - lenses and accessories - which were the bigger profit-makers. Coincidentally or not, the Topcon RE-2 and Nikkormat/Nikomat FT both ended up sporting remarkably similar overall specifications and feature-deletions from their big brothers. To lower production costs from the RE Super, the RE-2 lacked the interchangeable viewfinders and focusing screens, the DOF (depth-of-field) preview lever, the motor-drive compatibility, the top-deck exterior meter display, and the automatic FP/X-sync flash switching capability (instead, it utilized the common twin X and M PC contacts used by most of its competitors) of the RE Super. The viewfinder area coverage dropped from 97% to 93%, and the film winding system dropped the ratcheting multi-stroke advance of the RE Super for a single, 180-degree stroke. Conversely, the RE-2 adopted a vertical-travel Copal Square S shutter (similar to the Nikkormat FT, although the controls differed), which allowed for a 1/125 sec. top x-sync shutter speed versus the 1/60 sec. of the RE Super, and a more convenient OFF/ON switch location on the side of the lens mount versus the bottom of the camera. The shutter speed dial and shutter release locations were also reversed from the RE Super due to the change in configuration from a horizontal- to a vertical-travel shutter. The full-aperture metering system and ISO film-speed range were otherwise-identical to the Super's. Aside from the lack of DOF-preview and its longer film advance stroke, the RE-2 was a clear match for the Nikkormat FT in capability, if not in sales. Lenses for the REs now numbered 14 with nine being RE Auto Topcors. While the Nikkormat quickly boosted Nikon's profile and had a 15-year lifespan in four iterations, the hapless RE-2 was a relatively poor seller and was gone within five years with maybe 50,000 produced. The reasons for its unfortunate demise would be inextricably tied to Topcon's eventual exit from the 35mm SLR market. 1965 also saw the Everly Brothers last top 10 hit in the UK, and there was still further to fall, unfortunately.
  • 1972 - Topcon Super D. After a decade on the market, the RE Super was still one of the most capable SLRs on the planet. But with Nikon F sales exploding in the late-'60s (reaching over 100,000 in 1970 alone at their peak) and the brand-new Nikon F2 being introduced in late-1971, Topcon embarked on some long-overdue upgrades to the RE Super. A shutter release lock, mirror lock-up (MLU), a reduction in the winding stroke to 135 degrees, and a more-comfortable, plastic-tipped, winding lever were the biggest changes. Styling was updated as well: The baseplate previously located under the shutter release and self-timer was eliminated, the shutter speed dial and shutter release bezel were both now black (even on chrome models), and there was now a leatherette insert on the back of the standard finder. Somewhat confusingly, Topcon dropped the RE Super tag for the Super D designation heretofore used only in the USA on the Beseler Topcon-branded bodies. The engraving changed from a small-script "SUPER" over a large "D" that could be previously found on either front panel (depending on the year of manufacture) to an in-line "SUPER D" on the shutter release-side front panel. The internal model code changed to 71A and serial #s thus began with 7100001.
  • 1973 - Topcon Super DM (aka Supreme). The ultimate incarnation of the original RE Super. The Super DM was the final kick at the can for Topcon. A redesign of the prism housing allowed for the lens aperture setting to be displayed in the viewfinder, the MLU mechanism was refined into a lever-actuated system rather than the less-ergonomic toothed wheel of the Super D of the prior year. And an auto winder joined the Motor Drive as an option for powered film advance. So basically, a refined Super D...which was a refined RE Super. The internal model designation was again changed; now to 72A and so serial #s began with 7200001. Aside from a few ergonomic and functional tweaks, there wasn't much to delineate a '63 from a '73. Lens count had reached 20 of which 16 were RE Auto Topcors. And there we have the best of Topcon. It was all downhill from then on...and oh, the Everlys broke up that year, too.
  • 1977 - Topcon RE200/RE300. The end of the line for the RE-mount Topcons, and an inglorious one at that. The RE200/RE300 duo (they were identical but for the RE300's ability to mount an auto winder and its inclusion of a split-image rangefinder focusing aid), was a far cry from the Super DM. Gone were: the Mirror-Meter, MLU, the interchangeable finders and focusing screens, and DOF preview. Viewfinder area coverage dropped from 97% to 91%. Build-quality was an order of magnitude lower as Topcon was desperate to reduce production costs in the AE-1-era. In December 1980, they would shutter their 35mm photography division entirely, as they decided to focus on the far more profitable industrial and medical optics sectors. The RE200 & RE300 were produced by sub-contractor Shima Optical (aka Chimko Kogaku), and would spawn a series of badge-engineered offspring (mostly made with the Pentax K-mount), which sold in very small numbers and faded away by the mid-'80s. Ironically, the RE200/300 only served to emphasize just how good its predecessors were, and on that note, let's take a closer look at the features and foibles of the toast of the Topcons, the true innovator...

  ...the Redoubtable RE Super (...and Super D...and Super DM :-))

​    The RE Super was a revelation in February 1963. It not only took all of the incremental advances (instant-return mirror, fully-automatic aperture, interchangeable viewfinders, to name a few) of the previous decade and put them in a single package, but simultaneously pushed the technological bar farther forward than any other SLR of the 1960s. Think about this for a moment: Out of the Big 4 (Canon, Minolta, Nikon, and Pentax), only Minolta (widely regarded as the most innovative of the group) would close out the decade with an automatic-indexing, full-aperture TTL-metered SLR, and it took them three years longer to get to that point than it did Topcon (not to mention, with considerable "borrowing" from the RE Super's internal meter-coupling design ;-)). And all of this from a company with minuscule sales, comparatively speaking. And while the others would eventually catch up and surpass Topcon, the engineering of RE Super's meter is still impressive to behold.       
PictureRE Super metering cell & mirror

    By the time Topcon introduced the RE Super, it was widely accepted that cadmium sulfide (CdS) cells were the way to go when it came to camera meters. Although they did require a power source (aka battery) for operation, they were far more compact, responsive, and had much greater low-light sensitivity that the selenium cells then-extant. CdS would remain top-of-the-line until the early-'70s and Fujica's introduction of the Silicon Photo Diode (SPD), and would survive well into the 1980s in lower-specced models from many SLR makers. There would be a variety of configurations selected by different manufacturers (some consisting of two or even three cells to improve exposure accuracy), but none were as ambitious as Topcon's. While most CdS cells were of a button-type and around 6mm (1/4") in diameter, Topcon, in collaboration with Toshiba (with whom Topcon had become affiliated in March 1960), developed a single CdS cell that was the nearly the size (26mm x 34mm) of the 35mm film frame and then was sandwiched between the mirror and the mirror backing plate. Not content with just size, they went for sophistication as well. Now, Minolta's two-cell CLC (Contrast Light Compensating) meter (introduced in the SR-T 101 in 1966) is sometimes referred to as the earliest example of a rudimentary "matrix" meter, having two segments that were intended to balance exposures by emphasizing the fore ground versus the (brighter) sky in landscape orientation. However, the Topcon RE Super's metering cell was divided into five basic segments, with four being termed "combs" divided by a central "cross". Last time I checked five is more than two, and Topcon was over three years ahead of Minolta, to boot :-). Topcon's method of compensating for brighter skies in landscape orientation was to make the two upper combs smaller in size than the lower combs which would automatically bias exposure towards the non-sky area. Not content with that, they also made the comb areas with a higher sensitivity to light by concentrating the etched lines in the mirror in a fine diamond pattern over each segment. They balanced this by using a far coarser diamond grid over the central cross segment of the meter for situations where light levels were higher. The internal resistance of the CdS circuits was thus varied and automatically balanced depending on light levels, with camera shifting more towards the central cross as they rose higher. Safe to say, in 1963 (and well into the 1970's, for that matter), there was nothing that came even close to the technical level of the RE Super's meter. There would be a (literal) price to pay for such technical achievement, however, as we will see. ​

Picture
Illustration of the Mirror Meter from Sept. 1963 Topcon brochure

    ​While somewhat less technologically revolutionary than the metering cell, the method of coupling the meter to the lens and shutter of the RE Super was ingenious. Forgoing all of the previous external levers, arms, or whatever other appendages were used to connect lenses and shutter speed dials to add-on meters, Topcon came up with a clever internal system of gears, pulleys and miniature chains connecting the lens aperture lever, shutter speed/ISO dial, and the meter for a seamless transfer of exposure information between the meter, lens, and shutter. Completely out of sight (except in cutaways in Topcon's marketing materials :-)), this system contributed as much as the TTL meter to the ease and speed of operation of the RE Super. No futzing with twisting aperture rings back-and-forth or pushing levers into slots, etc. Just install the lens and go. The RE super was the easiest SLR to use in 1963 and wouldn't have any serious competition in this segment until the SR-T 101 came along. But, there were other features of the RE Super that the Minolta still couldn't match.
​
​    It is one thing to put all manner of technical sophistication into an SLR (as Minolta proved a few times over the years), but it is quite another to marry that to sturdy reliability with very good overall ergonomics, and top build quality. And here again Topcon excelled with the RE Super (it had one of the smoothest film advances of any SLR of the era, outdoing the Nikon F handily). It was no coincidence that the RE Super was selected in the mid-'60s by the US Navy and many law-enforcement agencies for its combination of ease of use and rugged build. Upon its introduction, no other SLR offered the total package of the RE Super and its RE Topcor lenses. The 58/1.4 and 100/2.8 were some of the finest examples of their ilk ever made (Cosina would go so far as to recreate the 58/1.4 in the early 2000s, available in Nikon F-mount, ironically :-)). A professional would, at least, have to take a good hard look at the Topcon before selecting the Nikon F over it during that time (Nikon still dominated Topcon when it came to overall sales, but we'll get to that soon enough ;-)).

  The RE Super and the Nikon F: Head-to-Head in 1965
​
Specifications

Shutter:


Flash sync:

Viewfinder Area:

Viewfinder Magnification:


​Focusing Screens:


Meter Type:


​
Meter Display:


​
Exposure Range:


ISO Range:

​Aperture Indexing:


Film Winding Stroke:

Film Back:


Motor Drive:


​
Mirror Lock-Up:

DOF Preview:

Self-Timer:

Dimensions (mm LxH): 

Weight (grams):

Topcon RE Super

1 - 1/1000 sec. + Bulb; Rubberized-Silk

1/60 sec. 

97%

0.86x w/ 50mm lens @ infinity

Interchangeable; 6 types

CdS cell located in body; 1.3V 625 battery


Internal/External w/ all Finders
​
EV 2 - 16 @ ISO 100 & f/1.4

25 - 1600

Automatic

180-degree ratcheting

Hinged & removable; 250-frame bulk back available

Yes; up to 3 frames/sec.; 12V Ni-cad; 750 frames per charge
​
No

Yes

5 - 10 sec.

157x99

​​​815g
Nikon Photomic FTn

1 - 1/1000 sec. + Bulb; Titanium

1/60 sec.

virtually 100%

​0.8x w/ 50mm lens @ infinity

Interchangeable; 8 types

CdS cell located in detachable finder; 2 - 1.3V 625 batteries

Internal/External w/ Photomic Viewfinder

EV 2 - 17 @ ISO 100 & F/1.4

6 - 6400

​Manual

135-degree ratcheting

Slide-off removable; 250-frame bulk back available 

Yes; up to 4 frames/sec.; 12V w/ 8 - AA alkalines 


Yes

Yes

3 - 10 sec.

147x102

860g
   
​    Now, for a few things that the specs don't tell us. Just like every other SLR ever created, the RE Super had its drawbacks, which could be categorized from minor nuisances to dealbreakers depending on your perspective. The location of the OFF/ON switch for the meter on the bottom of the camera was probably the most noticeable, particularly if you wanted to mount a motor drive, which impaired access to the switch considerably. This was not an issue for the Nikon F, which had its meter switch integrated with its Photomic viewfinders. Conversely, the Nikon couldn't meter with any of its other interchangeable finders aside from the Photomics, while that was a huge benefit of the in-body meter of the Topcon. Another niggle for the RE Super was the metering display, which lacked clear markings to indicate over or underexposure. Now, this was something that the user would come to understand clearly upon study of the manual, but the catch was that the top deck meter readout displayed the meter reading in reverse of that in the viewfinder. While this was great if you had your RE Super mounted on a microscope or copy stand (and you were thus looking at the top of the camera from the front and pointed down), it made for some cognitive dissonance if you had it at waist-level. There was also a price to be paid for that smooth winding stroke: less torque meant a longer throw (180 degrees) versus the higher-effort, but snappier 135-degree stroke of the Nikon. A side-effect of the etched mirror was that the pattern of lines would become visible in the viewfinder as the aperture was stopped down past f/8 and DOF preview was engaged, which had no effect on the image, obviously, but could be distracting for some users. One other issue that was never addressed by Topcon was the lack of a shutter speed setting display in the viewfinder, which almost all of its competitors had some form of by 1970. 

  The Effect of the RE Super on an Industry

​    A good argument could be made for the RE Super as the most influential Japanese 35mm SLR ever, full-stop. Just how influential? Well, Minolta's very successful SR-T lineup (which also lasted for 15 years on the market, from 1966-81) pinched the line-and-pulley meter-coupling system (substituting nylon strings for the over-built miniature chains of the RE Super). Miranda and Nikon both adopted the behind-the-mirror location of the metering cell in their Sensorex (1966) and F3 (1980) models, respectively. Miranda utilized the etched-lines approach of Topcon, albeit in a different configuration to avoid violating Topcon's patents, and Nikon developed a method for using 50,000 oval-shaped "pinholes" to allow 8% of the incoming light to pass through to the F3's metering cell, which was verrrry close to the Topcon's 7% transmission ;-). Nikon even went further 25 years after the RE Super debuted, when the F4 became the first professional Nikon with a proper slide-in rail system for its interchangeable viewfinders, which Topcon had had from the beginning on its original R model, and which was more secure than the press-in clip latch used on the first three F-generations. But beyond all of the specific instances of competitors "borrowing" features from Topcon, was the general proliferation of TTL meters, and full-aperture ones at that. Now, it's obvious that many of the Japanese SLR manufacturers were busily working on TTL metering as early as 1960 (when Asahi-Pentax revealed the Spot-Matic prototype at Photokina). But once the the RE Super hit the market, there was no going back...it was TTL or go home for any company wanting to be successful long-term in the 35mm SLR market, and the rush was on to get a TTL model on the market from all of the major players. The fact that it took at least two or three years longer for Canon, Minolta, and Nikon to get TTL metering up and running, and eight years more for Canon to get to the full-aperture stage, demonstrated the level of engineering that Topcon was capable of in 1963. Pentax' failure to quickly move to full-aperture TTL did not impact Spotmatic sales in the least during the 1960's (they sold more Spotties within the first few months of release than Topcon would sell of all three iterations of the RE Super in 15 years), but would prove costly to them by the time the '70s rolled around. The technological break, before and after the RE Super, is unmistakable. Even with all of the advances that have been made into the digital era, full-aperture TTL metering is still the standard for interchangeable lens cameras and has even survived the transition to smartphones. How many other features introduced by SLRs nearly six decades ago are still viable or necessary today? Thinking... 

 Oh...The Irony

   For all of that, it's been over four decades since a Topcon 35mm SLR has been sold new, and even longer since a model worthy of the name was available. So what the heck happened? How do you go from being the technological leader of an industry to abandoning the entire enterprise in the space of less than two decades?? Well, here are seven reasons for Topcon's topple:
  1. Resting on Their Laurels - Similar to Asahi-Pentax with the Spotmatic, but on a more accelerated scale, Topcon was so far ahead with the RE Super that they failed to push forward with any sort of urgency, letting their rivals reel them in. It took them 10 years to update the RE Super to the Super D and another year into Super DM form, and that was just too long. Now, Nikon hadn't exactly been updating the F, other than the metered finders, on anywhere near a breakneck pace, either. But the Super D's improvements came in areas where the F was already ahead: the shorter winding stroke, MLU (even if the F's mechanism wasted a frame of film, it was still a usable feature), and a shutter release lock. The plastic-tipped wind lever was a response to the brand-new F2, which had pressed Nikon's advantage further with an improved MLU, an even shorter winding stroke of 120 degrees, a new shutter with 1/2000 sec. top speed and 1/80 sec. flash sync., and metered finders that showed both shutter and aperture settings along with the meter reading. In reality, the F2 was much more than a warmed-over F; at its heart it was a new camera, one that Nikon had been developing since 1965. The Super DM, on the other hand, was the opposite, a mild update of an excellent SLR, but providing no further innovation and merely catching up to features introduced by its competitors during the previous decade. 
  2. Lenses - Lenses are the greatest single determinant of the overall health and prospects of an interchangeable lens camera ecosystem. Over the lifespan of the RE-series, Topcon expanded their complete Topcor (including non-Auto) lens lineup from 12 (covering 25 - 300mm) to 21 (covering 20 - 500mm) optics. That doesn't sound too bad in isolation...but here's the rub: Over the same time period (1962-77), Minolta introduced two generations of lenses (Auto Rokkor & MC Rokkor), and went from 13 Auto (aperture) Rokkor lenses (covering 28 - 500mm) to 32 MC Rokkors (covering 7.5 - 1600mm). Canon had only six automatic aperture lenses in 1962 (covering 35 - 135 mm), but by 1977, also having introduced two new generations of lenses (FL & FD), they now had 44 lenses (covering 7.5  - 1200mm). Pentax had eight automatic aperture Super Takumars (covering (28 - 135mm) in 1962, which grew to 28 (covering 15 - 1000mm) by the end of M42 production in 1976. They then immediately started with 26 lenses (covering the same range ) in their new bayonet K-mount in 1975). I gave Topcon the benefit of including their non-Auto Topcors while restricting their competitors to Auto-aperture-only, non-MLU (as the original RE lacked MLU) and the discrepancy still stands. And we haven't even gotten to Topcon's chief rival, Nikon, yet. In 1962, Nikon had 15 Auto-Nikkors on tap covering 28 - 1000mm, which was a definite edge, but the Topcor line was still competitive and sported the only 300/2.8 lens on the market. As far as optical quality, the Topcors gave up nothing to the Nikkors (or any other lenses at the time, for that matter). But fast forward only 15 years, and it was no contest...there were 56 Nikkors available (covering 6 - 2000mm). Moreover, it wasn't just the sheer number of lenses and focal lengths available, but the multiple options within focal lengths, that made Nikon (and Canon to a lesser extent) the choice for the majority of pros by 1977. Those multiple options also included wider maximum apertures (by up to 2-stops) in most focal lengths than the equivalent focal length Topcors, which leads us to a third problem for Topcon...
  3. The Lens Mount - During the great Japanese SLR boom of the late-1950s, at least a dozen serious manufacturers sprung up. A major decision facing them individually was whether to adopt an existing lens mount from one of the established German manufacturers, or to go ahead with brand-new proprietary mounts. in 1957, Topcon chose the latter, choosing to modify the oldest SLR mount then available: the Exakta. Topcon would cleverly tweak this mount (integrating full-aperture meter coupling without disturbing backwards compatibility with their own lenses) over the next five years into its final iteration in the RE Super, and would run with it until the end of production in 1981. Up until the late-60's, the limitations of Topcon's version of the Exakta mount were largely unnoticeable. But with the push for ever-wider angles of view and ever-larger maximum apertures, advancements in lens design were now pushing beyond the capabilities of a mount that had debuted before WWII. The biggest problem was the diameter of the orifice, 38mm, which resulted in an area that was only 75% of Nikon's newer F-mount (44mm diameter). That placed some serious constraints on the lens designers at Topcon, who were restricted from going any wider than 20mm and only reached f/1.4 with their normal (50 - 58mm) lenses. Nikon was able to stretch their non-fisheye focal length down to 13mm, their maximum aperture down to f/1.2 with the 58mm Noct, and had at least an f/2 option for all of their standard wide angles (24 - 35mm), whereas Topcon couldn't get faster than f/2.8 with theirs. In the days when Kodachrome 64 was viewed as a fast film, every stop of aperture was treasured by pros and enthusiasts alike. In the long run, the choice to modify the Exakta mount served to handicap Topcon's ability to keep pace with Nikon during the pivotal late-'60s to early-'70s period, even though its optical engineers were just as talented. 
  4. Cost - Topcon's "no-compromise" approach to the engineering and manufacturing of the RE Super and its accessories engender respect and nostalgia in many a 35mm-lover. But that came at a literal cost...one that severely limited the market for Topcon even during the boom-years of the '60s. The Mirror-Meter is perhaps the greatest example of this: for all of its advantages over its competitors, it cost considerably more to manufacture and assemble. Fully kitted-out with a motor-drive and set of lenses, an RE Super cost more than a comparable Nikon F (which was itself no wilting violet in the price department). Basically, you had to be a pro or sufficiently affluent (cue the doctor and lawyer epithets of those less monetarily-endowed ;-)) to own either camera, back in the day. Sales reflected that reality: While Minolta and Asahi-Pentax sold 3/4s of a million SRT-101s and Spotmatics combined in 1967, the combined sales of Nikon and Topcon of their top four models (the F & Nikkormats, and the RE Super & RE-2) would have been fortunate to crack 200,000 units, with Nikon accounting for at least 80% of that total. That's half-a-million fewer standard lenses to sell...half-a-million fewer wide-angles...you get my drift? The sales ceiling was always going to be lower for the top-end Topcons, which was not the end of the world in itself, but there was another area involving marketing that spelled the end for Topcon as the figurehead of the Japanese 35mm SLR manufacturers...
  5. No Joseph E. Ehrenreich - No one individual was more responsible for creating (in his own words) "the Nikon myth" in the United States and globally, than the founder of Ehrenreich Photo-Optical Industries (aka EPOI, the forerunner of Nikon USA), the US distributor for Nikon from 1954-81. Ehrenreich was a marketing genius and made it his mission to create an aura around the Nikon F as the SLR to have or at least covet, by putting it into the hands of the most influential photographers of the mid-20th century: photojournalists. Today, with the overabundance of visual media available and the massive falloff of print media, it can be difficult to appreciate the enormous influence that the photojournalist had in the middle of the 20th century. Television was just entering its teenage years, video was still over a decade away, and the twenty-four hour news cycle was just a twinkle in Walter Cronkite's eye. There was no greater cachet for a photographer, either among one's peers or the ranks of amateurs, than to risk life and limb to bring newsworthy images to the rest of the world. This had begun to take real hold during the Second World War, with photographers being embedded with troops and often seeking out the most dangerous areas of the battlefield in order to capture history (real, perceived, or invented, which is a discussion for another day ;-)). Nevertheless, the ultimate result was the deification of the photojournalist, and as always in a consumer society, what was good for the professional must be even better for the enthusiast that would never feel the whizz of a shell going by. Ehrenreich knew this as well as anyone (and better than most), so he pushed the Nikon F system as the ultimate kit for the photojournalist. He was also not slow about grasping the enormous publicity machine being built around the US space program. Nikon F's were soon, not just recording history in space and Vietnam, but being seen doing so. F sales climbed steadily throughout the '60s, peaking in 1970, with well over 100,000 sold in that year, alone. Unfortunately for Topcon, they did not have anyone of good ol' Uncle Joe's vision and drive to promote the RE Super, even though it was clearly a match for the F-series, at least until the F2 came along. An excellent product + decent marketing versus an excellent product + great marketing is no contest, and so it became with Topcon and Nikon. Beseler, while well-known for their enlargers and other developing equipment, simply could not muster the marketing savvy that Nikon had with EPOI running the show. 
  6. Spreading Oneself Too Thin - While Nikon contented themselves for the first two decades of the F-mount with catering to the professional and serious 35mm enthusiast, Topcon wanted to cash in on the middle-to-lower-end SLR market as well. In doing so, they diluted their brand identity by offering a line of lens-shutter SLRs and their accompanying UV Topcor lenses (using a completely different mount than the RE Topcors) which, while decent, were nowhere near the quality of the RE Topcors, and mostly consisted of basic f/3.5 or f/4 designs. The fact that both lines were physically incompatible (Topcon did have adapters, but they only allowed for UV lenses to be mounted on RE bodies, or the RE macro lens to be used on a UV body, neither of which were likely scenarios) also meant that it was harder for the shine of the RE-series to reflect onto the lower-end UV-line. Topcon's low-end line definitely siphoned off resources that could have been used to greater effect for modernizing and expanding the RE SLR & lens lineup.
  7. The Oil Crises of 1973-74 & '79 - Japan has been heavily-dependent on oil imports for its modern economic history. Its economy is therefore vulnerable when global shortages occur. The photographic sector was not immune, and in fact, was one of the first to feel the pinch in '73-'74 as a recession quickly set in and inflation, well...inflated. And when a recession comes, the first thing to go is spending on non-essentials (as photography is for most of its practitioners :-)). The whole Japanese camera industry felt the pain and not a few of the non-Big 5 manufacturers succumbed. Canon began a crash program to develop a lower-cost SLR (which turned out to be the AE-1) aimed at consumers. The other Big-5 members quickly followed suit. Topcon's leadership began to lose their enthusiasm for the photographic market, which was also becoming more competitive among the manufacturers themselves. The race to the bottom had begun in earnest. With lower profit margins staring them directly in the face, and unwilling to neither invest more into, nor cheapen the Super DM itself, they simply pulled the plug on the model and made a token stab at the lower end of the market with the RE-200/-300 for a few years. Remember, Topcon had originally started out in the surveying sector and had expanded into medical in 1947. Those two industries were both more stable and lucrative than photography in the aftermath of the first Oil Shock. And with the second Oil Shock (due to the Iranian Revolution) in 1979, it shouldn't come as a surprise that the brass at Topcon simply decided that enough was enough. They couldn't match Nikon's marketing or market-share in professional SLRs, and they couldn't compete with Canon's manufacturing automation and efficiency in the consumer market. And it so it was bye, bye for Topcon's SLR business, less than 25 years from its inception. 

  Legacy

    Outside of a few 35mm enthusiasts, the only recognition of the name Topcon today will come from those in the medical or industrial sectors. The RE Super has cult status in Japan and often lists for anywhere from $350 - $1,000 USD with a lens. But in North America, where brand-recognition for Topcon is somewhat lower, you can sometimes score one for less than $300 USD, particularly if it is badged as a Beseler-Topcon. The typical solutions for dealing with mercury-battery-powered SLR meters all are in play and the usual caveats for buying any vintage SLR apply:
  • Be very careful on the big auction site, and I personally recommend buying from someone reputable with a warranty policy.
  • Verify that all shutter speeds, the meter, and all other functions are working properly before buying.
  • Any mention or visibility of a little fungus or mold is a sign of much worse to come. Run, don't walk, away.
  • Be prepared to have a CLA (Clean, Lube, Adjust) done to get your purchase in proper working condition. It may take some doing to find a good technician in your area and remember that your only sources of parts will be other bodies as spare parts are long gone.

   The later Super D and SUPER DM bodies are preferable to some people due to their refinements over the RE Super, but the original is nothing to be sneezed at if you happen to come across one, especially with a 58/1.4 RE Topcor attached. The film winding of the original model (180-degree) is more reliable, with the late bodies (135-degree) requiring more frequent lubrication of their geartrains to prevent excessive wear. The RE-2/D-1 bodies are more of a bargain due to their even greater obscurity than their illustrious forebears and they compare favorably to a Nikkormat FT or FTn .

    If you are looking for something a little less mainstream but just as capable as a Nikon F, and with a larger impact on SLR development, you will be hard pressed to beat the top-flight Topcons. They are truly classics in every sense of the word. The tragic part, as we have seen before, is that being first and/or the best is no guarantee of overall success. Sales of the Nikon F totalled over 862,000 by June 1974. F2 production in just nine years reached 816,000 in June 1980. In December of 1980, the Nikon F3 was just nine months old when Topcon pulled the plug. They exited 35mm camera market and the RE Super/Super D(M)s slid further into obscurity. By September 1992, Nikon had produced 751,000 F3s (which also proved to the longest-lived F-model, lasting until 2001). A bitter pill for Topcon, as the F3 was the first (and, as it turned out, the only) F-Series body to adopt the RE Super's meter-in-the-body configuration. By the time the F3 was discontinued, Nikon had sold close to 2.5 million of the first three F-models. Total production figures for the Topcon RE Super/Super D(M) are not readily available, but Modern Photography noted that the US Navy had ordered several thousand Super Ds by 1974. Serial number analysis (caveat: this is fraught with supposition and thus should never be taken as gospel ;-)) supposes that around 90,000 RE Super/Beseler Super D bodies were produced from 1962-71, maybe 10,000 Super Ds from 1972, and not much more than 25,000 Super DMs from 1973 to the discontinuation of 35mm camera sales in December 1980. Total production, therefore, was very likely south of 150,000 from 1962-77. So yeah...Nikon won the sales competition in a walk, but as far as influence on SLR design, Topcon's contributions with the RE Super belied their small market presence. 
Picture
Beautiful exploded view of the RE Super from Phot Argus magazine Nov. 1969 issue

   As irony would have it, only three years after Topcon put the lights out on their camera division, the Everly Brothers reunited and gave us a beautiful rendition of the perfect song to express the feelings of any lover of Topcons. Oh, and it just happened to be originally released in 1962...just a bit more of that foreshadowing thing ;-). 

  References:

    Captain Jack's Early Topcon SLR Pages @ Captain Jack's Exakta Pages
    Various Topcon & Nikon Brochures & Manuals @ Pacific Rim Camera
    Phot Argus Topcon Super D Test, Nov. 1969 @ Pacific Rim Camera
    Modern Photography's Test Report: Topcon Super DM, Mar. 1974 @ PRC
    Various Topcon Manuals @ https://www.butkus.org/chinon/beseler.htm
    The Casual Collector - Super Topcon
    History - TOPCON
@ 
https://global.topcon.com/about/history/
    TOPCON CLUB @ http://www.topgabacho.jp/Topconclub/index.htm
    Debut of Nikon F2 @ https://imaging.nikon.com/history/chronicle/history-f2
    Debut of Nikon F3 @ https://imaging.nikon.com/history/chronicle/history-f3
50 Comments
Mel Jones
4/28/2020 06:04:11 am

Thanks for a good read. As an obsessive about the golden age of Japanese SLRs it was really interesting. I missed Topcon by a few years. Your almost certainly right about the influence of photojournos. I went to a lecture given by Tim Page and it seemed the most glamorous of professions - I don't expect it seemed that way to Tim when he was busy getting blown up on a battlefield. But the 'glam' definitely rubbed off onto the products and from the time I started shooting (when I was about 10) I wanted a Nikon F as it was 'the one' to have, be seen with, it screamed at people 'I am a serious sort of pro'.

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C.J. Odenbach
4/28/2020 10:53:08 pm

Glad you enjoyed it, Mel. And thanks for the personal anecdote. It’s always interesting to hear from someone who has “been there”. It helps to broaden our perspective. Best regards.

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Barry Wooldrage link
9/26/2020 07:11:32 am

Hi, Thank you for the in depth article on two of my favourite SLR brands. Topcon & Nikon. Oh! and the running commentary on the Everly’s, another favourite of mine. One of the current advantages of buying Nikon is the availability of affordable lenses. The Topcor lenses are not only harder to find, but are becoming prohibitively expensive.

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C.J. Odenbach
9/26/2020 09:48:35 am

Thanks for the kind words, Barry. And you make an excellent point about the disparity in cost between Nikkors and RE Topcors. That is a major reason for Nikon’s continued popularity as far as the MF-era goes...bodies and glass are still readily available and relatively accessible for most film enthusiasts. Not so much for Topcon.

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Selma
2/10/2021 02:01:51 am

That was a comprehensive, informative, and fun read. Amazing history. Thank you! Wanted to know more about a camera I REALLY enjoy using. Up until 3 months ago when I first saw a local listing for this camera, I hadn't even heard of it. What's this Topcon RE Super? Lol. Incidentally, the previous owner was a doctor. Recently, an entire set popped up for sale locally. What are the chances? Topcon RE Super with both pentaprism and WL viewfinders, 3 lenses (35mm, 50mm f1.8 - sadly no f1.4,135mm), Topcon macro tubes, 2 focusing screens, original case and lens caps, plus other accessories and filters. Almost mint, no fungus. For under US$400. Broke now, but this sparks joy every time I look its way. Have a good day! Stay safe.

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Selma
2/10/2021 03:16:53 am

I keep saying 50mm 🤦🏻‍♀️ when I know it's 58mm...

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C.J. Odenbach
2/10/2021 09:49:41 am

Glad you enjoyed the article, Selma, and congratulations on a super (pun intended ;-)) find. Even with just the three lenses, it would have been a steal, but all those other goodies make it an absolute bargain! I know $400 USD is a fair chunk of change, but you have gotten yourself a lifetime system. By the way, if you bought this kit new in 1970, dealer net cost would be about $3,500 in today's shrunken dollars. MSRP would be over $5,200. Actual retail would have been somewhere in the middle, so we would probably be talking at least $4,000 to take it home. 90% depreciation doesn't sound too bad, especially for the condition it is in ;-). The 58/1.8, while not as spectacular as the 1.4, is still a very good lens. Happy Topconning! Best regards.

Donald DiNaro
11/22/2021 08:29:18 am

Topcor RE auto lenses that are amazing are the 5.8/1.8, 3.5/2.8, 10/2.8. by amazing I mean 80 L/mm resolution! The 1.4 is not in that league.

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C.J. Odenbach
11/22/2021 12:46:52 pm

Interesting observation, Donald. In the very limited experience I have had with both 58s (a copy of each), they were both very close in the center, but the 1.4 was noticeably better in the corners until f/5.6 or 8 where things evened out. Of course, that is only the eye test as I don't shoot test charts. And sample variation could very well be responsible for the differences. The 1.8 is an underrated lens for sure, and may very well beat the 1.4 in central resolution, but I will still take the 1.4 when overall performance is my objective. YMMV :-).

Donald DiNaro
10/9/2021 10:18:54 am

Is it possible to have a RE Super US Navy etched baseplate, with a DIN speed dial, and a Besler Topcon Prism? Or did someone change the parts? Thanks, Don

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C.J. Odenbach
10/9/2021 01:18:21 pm

I have yet to come across such a combination, Donald. By no means does that mean that it couldn't have come from the factory that way. But a DIN dial definitely seems out of place on a USN Beseler Topcon, as does the RE Super designation instead of the Super D one would expect. I am no expert, but I suspect that it has had some parts replaced. I hope that helps. Best regards.

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Donald DiNaro
11/22/2021 02:08:46 pm

Thanks, I kept the baseplate and the Beseler Prism, I agree someone moved parts around. I put the base plate on a Super D. My beautiful black Naval lens is out of the listed sequence RE auto 5.8/1.8 #11686012. Am I correct that Naval red N lenses do NOT come in 5.8/1.4? Thanks, Don

Donald DiNaro
11/22/2021 08:24:50 am

Really well written. Would have made a great magazine article for sure. Having taken the RE-2 apart, I can confer the build quality and design engineering was a marvel for the mid 1960's.

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C.J. Odenbach
11/22/2021 12:49:55 pm

Thank you, Donald. I have yet to find a Japanese SLR contemporary to the Topcons that betters their combination of workmanship and materials. They are jewels.

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C.J. Odenbach
11/22/2021 03:02:45 pm

I can neither confirm nor deny that one, Don ;-). I have yet to come across a red "N" 58/1.4, which leads me to believe that the US Navy specified most, if not all, of their bodies with the 58/1.8 as the standard lens. I also haven't be able to find any documentation on Navy 58/1.4s, so that also leads me to agree with your assessment. Until proven otherwise :-).

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Donald DiNaro
11/23/2021 06:25:55 am

Do we have a list of US Navy marked Besler Super D serial No's or it ranges of serial #'s?

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C.J. Odenbach
11/23/2021 10:17:20 am

I haven't been able to find one to date.

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Donald DiNaro
11/23/2021 10:52:34 am

C.J..
Here's what I researched on all internet wide based on sales: Naval super D

Sequence: 46A bodies = 463xxxx & 468xxxx
71A bodies = 7108xxx
72A bodies = NO data yet
This is a work in progress, I need more serial #,s in my sampling, Don

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C.J. Odenbach
11/23/2021 11:11:50 am

Thanks for sharing that info, Don.

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Donald DiNaro
1/30/2022 10:21:37 am

Facebook fans, I created a Group on Facebook for : Beseler Super D & Topcon Super RE cameras. Go to Groups > search> Topcon> it will pop up. Join the Group please. Many articles I wrote and repair info, trade secrets, Regards, Don@ Eastwestphoto

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Mark O’Brien link
6/14/2022 08:16:57 am

I just found your site yesterday researching the Topcon Uni. This is one of the best reads that I have seen online about any camera system. Being a long-time Nikon nut, I appreciate the comparisons between Topcon and Nikon. Somewhere, in the cosmos, Miranda is yelling "what about us?" :) On top of all that, the Japanese SLRs left Zeiss Ikon and other German SLRs in the dust.

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C.J. Odenbach
6/14/2022 11:43:54 am

Glad to hear you enjoyed the article, Mark. Poor Miranda...they just couldn't quite keep up with the rest of the pack from the mid-'60s onward ;-). Having been amongst the industry leaders in the late-'50s (they had the first interchangeable viewfinders, if I'm not mistaken), and even with copying Topcon's Mirror Meter premise, it wasn't enough. I had a Sensorex for a while, and while it functioned well enough, it didn't have the fit and finish of the contemporary Big 4 competition, to say nothing of the Topcons.

Best regards.

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Eastwestphoto link
6/16/2022 09:06:06 pm

Build 46A- Beseler Vs. RE Super

1. Shutter speed dial - Beseler red 30 & 60 , rest black
2. RE Super " " = B-15 black, 30-60 red, 125-1000 green
3. Beseler prism window in camera body is larger size
In the 46A build.
That's it, the rest is identical. So why was the speed dials different? Anyone have a answer? Regards, Don

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C.J. Odenbach
6/16/2022 10:43:37 pm

Hi Don,

Sorry I don't have an answer. I have yet to come across black numbering for the higher shutter speeds on either version. Very puzzling. Have you encountered this on multiple Beselers? And if so, which serial numbers? Best regards.

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Eastwestphoto link
9/12/2022 12:26:01 pm

Hi, any chance you have a schematic breakdown of a Topcor GN 50/1.4 lens. My helicoil focus is frozen? Thanks Don

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C.J. Odenbach
9/12/2022 04:18:59 pm

Hi Don,

Sad to say that I do not. I'm not sure how much it differs from the old 58/1.4 or 58/1.8. I found both of those to be fairly straightforward, but have never had a 50/1.4 in my hands. Sorry that I am not much help here. Best regards.

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Eastwestphoto link
9/20/2022 01:10:32 pm

Ran into a bad Topcor GN 50mm f:1.4 M lens, with frozen helicoil focus. Since it's a unique build to topcon, I was unable to figure out how to get into this lens and it's tricks to open it. It's in great shape, does your Topcon friend still do repairs? Regards, Don

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C.J. Odenbach
9/20/2022 09:28:21 pm

Hi Don,

Unfortunately not. But I would be willing to have a look at it, if you would like. Feel free to use the Contact Us page. Best regards.

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Andrew Rothman
11/7/2022 04:00:06 pm

Great, interesting article. I lucked into two RE Supers, both of which are waiting to be refurbished. One if them cost me all of $10, with the 58mm 1.8 attached. Not only are they impressive from an operational standpoint, in my opinion they are drop dead gorgeous.

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C.J. Odenbach
11/7/2022 04:47:35 pm

Congratulations on the steal of the year, Andrew :-). The 58/1.8 is a great lens, even if it is not as celebrated as the 58/1.4. And two bodies as well? You are off to a great start as a Topconner. Enjoy, and thanks for commenting. Best regards.

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Eastwestphoto
1/19/2023 04:43:07 pm

Erenreich , EPOI NIKON, was a very aggressive advertiser s in 1973. That year, the Nikon F2 was strong in sales, and ironically; Paul Simon's "Kodachrome" song was a hit song. Sadly, camera buyers were running to photo stores buying Nikon cameras. The Topcon Dm sales against the Nikon F & F2 models were not doing well. Nikon to Topcon sales were 10:1 ratio. Topcon regrouped it,s RE 200 & 300 models with latest electronics, subcontracted to Chimko Kogaku.

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C.J Odenbach
1/20/2023 08:22:11 am

Interesting point about Chimko Kogaku, Don. I have never come across them. Do you have more information on them?

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Eastwestphoto
1/20/2023 08:47:31 am

Yes Chimko made the Re 200, re300 and all the optics re 55/1.7, etc. They were uv style lenses , MC lenses, far from Topcor quality. Later was a focal plane shutter and the IC series. When Topcon left the photo field, Chimko made lenses in other mounts after that.

C.J. Odenbach
1/20/2023 08:51:23 am

Thank you very much for providing that additional info, Don. Best regards.

Jaime abarca link
1/21/2023 01:02:00 am

Hi, i bought this camera at a estate auction. I was wondering, what you think i could get for it. Everything works I've shot a couple roles of film. Please and thank you. I'm confused as to why some sold for 600, for just body and some for 200 with a lens.

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C.J. Odenbach
1/21/2023 09:26:43 am

Hello Jaime,

Values for any vintage item are highly dependent on a few factors:

1. Rarity. Top dollar will always come from collectors, who are very conscientious about the minutest details. They are willing to parse serial numbers and other markings as points of greater or lesser desirability. Topcons marked "U.S. NAVY" are often more sought-after, bumping up their value. The late Super D and Super DM versions are simply less common and that boosts their value over the RE Supers. Certain lenses (such as the 58/1.4 R.E. Auto Topcor are considered better performers and thus have higher value placed on them than other glass) Serious collectors are also very particular about the functionality of the camera and lenses, even if they are destined to be shelf queens.

2. Location. As noted in the article, values are often regionally-dependent. Topcon is far better know in Japan and so overall values are higher there than other countries where Topcon is virtually unknown. Of course, Topcon enthusiasts are to be found worldwide, but they can be an infinitesimal part of the population where you live. So it usually makes sense to use an international platform to sell any collectible model to maximize its exposure to those who will value it more highly.

3. Condition. You have mentioned that your Topcon is working normally. That is a point in your favor when evaluating it. But there is more to condition than just basic function. Are the meter and shutter speeds accurate? Are film winding and rewinding smooth and positive? Do the aperture and focusing rings on the lens move smoothly? Are the aperture blades free of oil and to they snap open and closed quickly? Are the optics free of scratches, fungus, mold, and/or heavy dust or dirt? What is the cosmetic condition (ding, dents, scratches, brassing, etc)? Most vintage SLRs listed for sale on major sites (including Topcons) in working condition have not been recently CLAd (Cleaned, Lubricated, Adjusted), and many have not been given more than a very rudimentary check for function. Often, if it winds and fires, up it goes in a posting ;-). Being as specific as possible about the operation of the camera will stand out more to serious buyers who are willing to pay than just saying it works :-).

A clean camera will always sell for more than a dirty one in otherwise equivalent condition. A few cotton swabs, some 99% alcohol or naptha, a microfiber cloth, and a bit of elbow grease can net you a considerable improvement in the exterior appearance of your camera and, therefore, a bump in value. A full CLA is not necessary if your camera is fully functional and clean, but it can push the value up to a hard-core collector, provided that it is done properly by a qualified technician (not necessarily the easiest thing to find in many places, nowadays) .

It is not really possible for me to give you a firm valuation of your camera without a hands-on inspection. Here is another tip to maximize your return: 1) Lots of in-focus, close-up pictures of the clean camera and lens and any other accessories from all angles, including any cosmetic imperfections. Mention any imperfections in your description of the camera. Serious collectors and savvy buyers will spot them anyways and will have more confidence in your reliability (and thus be willing to pay) as a seller if you are up front with them. Nothing is a bigger turn-off for a knowledgeable prospective buyer (the type you want) than one or two (or ten ;-)) blurry, far-away pictures of an item that screams to them "I don't know what I have and don't care", or worse "I am trying to hide something".

If you can provide some pictures of the whole kit and more details about its operation, I can try to give you a better idea of where to start on price. Please feel free to use the Contact Us page to do so.

Best regards.


Reply
Eastwestphoto
1/21/2023 08:26:20 am

Depends on the body build, ie. 46A,71A,72A, body color and serial #, all very important. Next is the condition. Tested shutter speeds, tested lightmeter.

Reply
david
4/8/2023 03:55:36 pm

Hi,
a co-worker gifted me a pair of Super Dm bodies, a pair of auto winders (one not-working, one corroded from battery leaks) and a handful of lenses. 300mm f5.6, 87-205mm f4.7, 85mm f1.8, 50mm f1.4, and 35mm f2.8. then there are scads of Topcon boxed filters and Topcon focusing screens, a couple of accessory shoes, four cartridges for bulk film backs? a variable extension tube, an automatic extension tube and a slide copying attachment. all of the accessory parts are in their original Topcon boxes and in the case of the tubes and slide copy attachment are in their leather cases, with paperwork, in the original boxes. the two bodies are 6 units apart one being serial number 7202209 the other 7202215.

theyve been used and have the usual dust and dirt on in the nooks and crevices and im waiting for the ambition to go out and shoot with them!

i also got an almost new AE-1/50mm f1.8 kit, a Yashica Mat 124 and a Yashica Autoron miniature (spy) camera kit with flash.

hes trying to find his hasselblad 500 with the Topcon Lens adapter but that keeps eluding him in his 3 offices...

Reply
C.J. Odenbach
4/9/2023 04:38:10 pm

Great score, David. Enjoy :-)

Reply
eastwestphoto link
4/11/2023 09:40:47 am

The Topcon line, UV of Cameras and lenses, was to offer a consumer a much cheaper line. Most all of the UV mount cameras are very defective, eBay sellers are retarded and liars and the optics based on my lens resolution test are much poorer in resolution than the superior RE Auto Topcor lenses. Watch out! Regards, Don

Reply
andrew walker
9/7/2023 09:14:13 pm

hi - i just discovered these topcon cameras. i bought a re super with the f1.4 lens. i sent it to dave easterwood of dave's camera repair in michigan. for cla. he used to sell these and services them as well. i then found another re super and a super d in nice condition with the f/1,8 lenses, both of these will also be sent in for cla. they are beautiful cameras with the smoothest film wind i have encountered. the meters work on all my cameras - not sure how accurate - i asked my repair person if he can calibrate them. i know they slowly die off with time so i may have to use a handheld meter. thank you for the informative article. andrew

Reply
C.J. Odenbach
9/7/2023 09:28:40 pm

Hi Andrew. Thanks for sharing your experiences and especially for mentioning Dave's Camera Repair in Michigan. Finding a good tech to keep any vintage SLR, and Topcons in particular, in good repair, is getting to be more and more of a challenge. Glad to hear that you enjoyed the article and Happy Topconning :-).

Reply
Eastwestphoto link
9/13/2023 08:01:53 am

Anyone have actual dates for the three usa importers of Topcon cameras? Beseler, Hervic, Paillard , 1957-1981 period?

Reply
Eastwestphoto link
9/13/2023 09:22:56 am

This is a tough research project; the USA importers of Topcon SLR cameras. Finding dates of importing start/finish is very hard. So I have : Beseler, Hervic, Paillard, PAC Photo America Corp. I need help to get dates and models correct as, online data is wrong.
Just a warning after Beseler 1973 left, it gets messy to 1983 Cima Cimko LS-1 model ( Topcon AM-1 never released)

Reply
Al
11/2/2023 11:49:02 am

really interesting history. thanks.

in As a teenagerm un the UK, when the ove to SLRs' wasunderway, Topcon, aas a brand, had no profile at sll. maybe Beledeler efforts in the USA - their key market target, was better, i notgood enough.
Topc
n photo magazines, xou never saw images made with Topcon gear, b< anyone. hoq sfferent to the brand ambassadors - influencers in the inzrtnet. U thing the front panel shutter release, was unfortunate. a carry over from Exacta, whose brand was un decline.
Wven the conservative Leica realized sponsorship(in realitx) of top photogtaphers, made good marketing sense. witness the many German photographer'd photos appearing in Leica photography magazine, using Leica, film minly Agfa, some Perutzm Multiblitz glash. in UK ZIESS Contarey, Adox film would regularly be seen in 35mm Photogrsphy magazine.- Kecin McDonnells super high contrast portraits included.the Japanese had not yet swung into high gear, of Japan's makers, Asahi )Pentax) probably had the best distributor - got a profile in the UK; their(?) innovation .instant.return mirrorm was notable- outpaced Kodak, Ptsktina/Ptaktics, Exakta, other Jspanese brands.Keica's Vsoflex attachment.
I am not sure of this, but I seem to remember reading that Topcon's lenses were adopted by the Japanese standards agency, as a benchmark for testing all lenses. like today, JDM - Japanese Domestic Market products have to meet stricter standatds, than examplwa of the same product for export - sometimes. - the reverse of most countrird; ehere the best is exported.

I'd like to read about users of the lTopcor eenses has been, on film ot digital, if sdspters exsist. videographers, as well as stills shooters.


Reply
C.J. Odenbach
11/2/2023 12:23:34 pm

Glad to hear that you enjoyed it, Al.

Marketing was the biggest issue with Topcon. It was only as good as their local distributor's in their respective regions. Even Beseler managed to undersell what was arguably the finest SLR of the '60s. They needed to go straight after the Nikon F and they never came close to the marketing prowess of Ehrenreich. Nikon also really started building their lens line out in the late-'60s, while Topcon was going in the opposite direction by that time.

While the Exacta-based lensmount was definitely antiquated and also was a major factor in the failure of the RE-mount Topcons, I find that the shutter button location is actually more ergonomic and contributes less to camera shake than the "traditional top plate location favored by most other manufacturers.

The other big issue for Topcon (aside from marketing) versus, say, Pentax, was simply the cost. Your average Spotmatic buyer was not in the same financial ballpark as a potential RE Super or even a Nikon F customer, so the price alone would have put the majority of potential buyers off before even picking up the camera in a store.

I believe that it was Konica whose lenses were used for the JCII standards enforcement, but Topcon's glass was certainly competitive with anyone's, until the maximum aperture limitations imposed by the small diameter of the lensmount kicked in. There are adapters for mirrorless available today and people are using their Topcon glass to good effect :-).

Thanks for taking the time to comment and best regards.

Reply
eastwestphoto
11/2/2023 01:10:43 pm

All True, the effect of Paul Simon"s, "Kodachrome Song", was the greatest negative impact on, Topcon camera sales in 73-75.

Reply
Eastwestphoto
1/11/2024 09:23:58 am

Of all the body failures in 46A, 71A, 72A, the most commonly found non working Topcon body would be the 72A, or Dm model. It seems to be the lubrication grease, that locks them up?

Reply
C.J. Odenbach
1/11/2024 09:55:15 am

I'm sure it plays a role. Whenever a system relies upon a lubricant to be the primary means of smooth operation, it is just a matter of time before that smooth operation degrades with the lubricant. More frequent servicing is the only real solution. For that reason, along with the inherent smoothness of the original advance mechanism, I personally prefer the 46A :-).

Reply
Eastwestphoto
3/17/2024 01:53:42 pm

Agree, model 46A re super in black body and lens is my passion. I use a strange black topcor 58/1.4 in 94B design with a #94xxxx serial #. Now it has kidney Grove, but the lens is suppose to be Silver chrome? It could be I'd ring switch from the 112B series, the grub screws do not show any wear? I also have a black topcor 5.8/1.8 in series 98B # 9900xxx. Both are not in Topcon Story book?
A CLA,D Topcon Dm would be most welcome! Unfornately the GN lens design used cam follower focus and worse they used a aluminum thick machined tube, lubed on its outsides, inside a machined brass tube. The electrolytic galvanic current turns that lube to greenish glue.this makes servicing a nightmare.


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    C.J. Odenbach

    Suffers from a quarter-century and counting film and manual focus SLR addiction. Has recently expanded into 1980's AF point and shoots, and (gack!) '90s SLRs. He even mixes in some digital. Definitely a sick man.

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