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This book is a must for every Topcon collector and recommended for users or any one interested in the history of the Japanese Camera Industry. It contains a wealth of information, both historical and technical, and obviously is the result of much research and investigation. The authors know their subject and present it in a logical and readable progression.
The 221 page book has ten chapters devoted to the history of Tokyo Optical Company's involvement in camera design and manufacture. It is well illustrated with crisp black and white photographs depicting the cameras, lenses and photography accessories. It is in hard cover and printed on high quality paper.
Messrs. Antonetto and Russo start with the early history of Tokyo Optical, describing the cameras produced from pre World War II through 1980. They describe the uncertainty of camera makers in both Germany and Japan concerning the future of the camera market. In the late 1950's Single Lens Reflex (SLR) cameras were beginning to gain ascendancy and Tokyo Optical began production of the R. Topcon, their first venture into this market. Topcon Story follows the progression of the R Topcon from the R model through the R II, the R=3 and finally to the RS.
In 1962, the makers of Topcon cameras redesigned the RS to incorporate a CdS cell behind the mirror and coupled this sensor to a meter, which in turn was mechanically coupled to the F-stop setting of the lens, the shutter speed and the ASA of the film. The end result was the first SLR camera with a fully coupled exposure system. This new camera became the RE Super / Super D. The book reports this history with anecdotes by the Japanese designers themselves and an insightful analysis of the technical problems encountered before the new Topcon could be presented to the world.
The chapters devoted to the RE Super / Super D describe the various modifications incorporated over the years and present ranges of serial numbers associated with each variation. This information is invaluable to collectors and alone would be worth the price of the book. The enhancements to the basic camera resulted in a 'new' camera the Super D followed by the Super DM, which is also cataloged in the book.
In the chapter on Topcor lenses, Topcon Story documents the complete range of lenses produced for the Topcon SLRs. Of special interest to me was the section on RE Auto Topcor and the Macro Topcor lenses designed for use with the RE Super / Super D. As with the camera bodies, all lenses are cataloged with variations identified by the range of serial numbers. Of special interest to collectors is the estimate of the number of each variation that was produced.
Another chapter is devoted to the camera accessories and identifies each accessory along with a description of purpose and use. The information on the accessories is less detailed than that for the bodies and lenses, but is nevertheless valuable data.
Topcon Story covers much more than the RE Super / Super D. Data is included for other Tokyo Optical cameras including the economical SLRs, starting with the PR through the IC-1, along with their lenses. Somewhat abbreviated information is presented for the R. Topcor series of lenses. The final chapters cover the history of the military use of Topcon cameras, medical cameras, and Topcor lenses built for other cameras systems. While not of particular value to RE Super / Super D collectors, these sections round out the overview of Tokyo Optical involvement in camera design and production.
As stated before, Topcon Story is essential for every Topcon collector. The information concerning serial numbers, variations and descriptions can be found nowhere else. Marco Antonetto and Claudio Russo must be congratulated for producing a much needed and very valuable book.
Of course Topcon Story is not without its faults. I discovered more than a few technical errors and discrepancies. However, these are minor; and, compared with the wealth of technical data, are inconsequential. I gather this book was originally written in Italian and then translated to English. The translation is somewhat awkward, at times amusing, at other times confusing. English syntax is often butchered and I had to re-read several parts before I understood what was being said. Reference to context is required. Also, photographic, optical and mechanical technical terms do not conform to standard American usage. Again, careful reading, with a little imagination, brings enlightenment. It is not my intention to criticize the authors or the translators. The story and the information are there. In a quaint way, the less than perfect translation from Italian to English, of a story about Japanese cameras, adds a genuine measure of charm.
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