TAMRON AF 17-50mm F/2.8 [IF] 67 A16

Using my TAMRON AF 17-50mm F/2.8 [IF] 67 A16 – my favorite producer – has become increasingly painful. This forced me to look for the reason to remove it. This is not a problem for me.
Even after the bayonet was over, I experienced the unpleasant sensation of something cheaply built. The screws are made of some soft alloy, wound in polycarbonate directly, “I continued with caution. When I pulled down the rear optical block and the aperture block I found the problem – the company had given me a bonus one spring for the bayonet contactor stuck in the slit of the zoom mechanism!
I will share an opinion on the mechanics and the quality of workmanship.
First of all I want to say that all companies have been targeting the production of lenses with a small resource of life but at great prices. There is no way Tamron can compete on this background without sacrificing quality! But my word is about this particular lens.
Optically, this lens is very good – sharp, with nice colors and acceptable distortion. In this class it is difficult to find competition, and its price to others is lower.
Built from a combination of carbon and metal. The metal elements are covered with teflon to reduce friction and to avoid lubrication. But because of the weight of the first optical block and the strange constructive solution, when the block is pushed forward, leaving it bound only 3mm. the whole construction is loaded and the desire to shorten the lens has led to a loss of fluidity and a great load on the whole system. This difficult movement in turn puts bayonets on the camera itself. I used a B21 lubricant that was appropriate for the case, and I managed to achieve a very decent moving effort.
In addition, I lubricated the focusing mechanism – Carbon itself is used for bearing, so I used silicone grease for slow-running gears. Now there is simply no tension in the mechanism.
I noticed that some strange lubricant has been placed at the factory which has significantly changed its viscosity and has become sticky.
In conclusion, if you decide to disassemble this lens, keep in mind the following – a relatively complex construction, the screws are wound directly into the carbon fiber – and it is sturdy but relatively brittle, so you do not exercise your physical strength, you can not use liquid oils.


Pentax are my other favorites. The more time I get, the more they deserve my respect. It’s true they are not contact, which may seem like unfriendly, but they do not go to – let’s get stuck in the next model we’ll fix it. They step carefully without much noise and advertising, but their devices are extremely well built, especially those from the digital era. Their objectives are also of excellent quality, even those that are whimsical.

The first digital camera I got from this Pentax ist DS is already 200,000 frames and continues to work tirelessly, only had the rubber on the handle gripped. But here we are talking about their film bodies.

Pentax is a small company that, in the struggle with big players, also relies on innovation and high quality of its production at the same or lower prices. One of their most reasonable moves is their bayonet, which today allows to use all the lenses produced in the era of their new digital bodies, and all the lenses produced on the 42/1 universal thread.

Pentax produces the first autofocus body Pentax ME F. The first autofocus model of Pentax with a motor in the lens. It is no strange that they later abandon this concept and so far the lenses in the lenses are far from the security they need to have to ensure long-lasting and trouble-free operation. Of course, the camera also works with ordinary lenses, keeping the opportunity to communicate for proper focusing.

One of the most popular models is Pentax ME – 1976.

Mounting a lens

Pentax K.


92% coverage, 0.97x magnification (50 mm lens), -0.5 dioptres.

Moving the movie

Single-stroke lever. Option 1.5 FPS external winding.


Type: Electronic Seiko Vertical Metal Focused Plane.

Indicator: Yes, red or black dot, just under the key mode.

Shutter speeds: 1/1, 000 ~ 8 seconds of AUTO (actually works much longer if needed at night), Bulb, 1/100 mechanical X-sync.

Sync speed: 1/100.

Self-timer: Variable 4 ~ 10 seconds delay.


Type: TTL Galli photo diode.

Measurement method: Central-weighted.

ISO: 12-1600.

Power supply and mechanics

Battery: two standard A76, S76, LR44, G13 or other cells.

Battery life: 1 year or 10,000 photos (250 reels). In practice, battery life usually lasts for years.

Size: 5.16 x 3.25 x 1.95 “(131 x 82.5 x 49.5 mm).

Weight: 16 – ¼ ounces (460 grams).

Mechanics and problems with Pentax bodies

The pentax bodies of this time have no difference in mechanics. This of course is typical of most electro-mechanical constructions. From the photos below, you will find that repairing such a body is extremely labor-intensive, especially when this repair imposes ” grip “of the body to reach the required node. In the illustration you observe a body that is subjected to such manipulation. For joy, such a thing is not often required.

What are the weaknesses of Pentax and how to avoid damage to your instrument?

The pentax bodies are well constructed and well constructed. In order to reduce their construction, they retain the logic of mechanics, and especially their lever loading system, by trying to shift the support points to achieve the same strength at a thin metal structure. is the weakest place in the body of Pentax. They expect, relying on purely human psychological factors – which at that time are justified, breaking the film at a sudden charge – that the device will charge smoothly. But the films also develop fast and for for a short time, they reach 4 times more tensile strength – practically they can not be torn at 2 frames per second.

If you value your camera, do not charge it abruptly! If you do not observe this condition, sooner or later you will hide the lever system and the apparatus will cease to function. The boulders should be removed and standing!

The second weak point in the pentax bodies is the drop and accumulation of dust under the top cover of the camera. This results in the contacting of the contacting groups. You will prolong the life of your body considerably if after the shooting day you purge and wipe it with a cleaner glass.

Do not try to lubricate the apparatus in any way. The fine mechanics grinder is specialized and is not sold in the ironworks due to its very high price, and in order to crush this machine we use 4 different types of lubricant Every such experience will end with the death of your body!

The other very dangerous enemy for your device is condensation or increased humidity. If you have worked under such conditions, make sure your device is dry. Remove the lens and leave it near the steam or for half an hour in the sun, turned upside down .

These are the things that depend on you, keeping them, you can rely on many more years of your favorite body.



Special thanks to Mr. Petko Stoychev (, a really hearty person who kindly gave me pictures and materials from his personal collection of instruments!
And that helped me get two new Chinona in perfect condition, hot for me!

A few words, like an introduction.

More and more photographers, especially among those growing up in the digital age, discover the magic of analog photography. It’s a strange feeling when you’re holding a movie body made in the 1970s, whose heart continues to faithfully measure pieces of time as it did when it came out of the factory and fell into the hands of the first your owner. Perhaps because at that time the apparatus was constructed by people with love!

For me, analog photography is a distinctly different vision of the world and time seamed on the film strip, other than the vision of digital photography.

I love the film and the digital file and I can not give up either the analogue or the digital photography!

So, having a lot of experience with the film bodies both inside and outside, I decided to share it with those who started taking pictures on a digital body but are attracted to the analog ones and want to get acquainted with the image they can achieved on the film strip. My goal is the technical side.

My attention will be mainly on Pentax bionics. It is no accident, for this bayonet are fully functional all lenses produced for it, as well as those with 42/1 thread, both for SLR and DSLR with the help of I think this system is the most open and democratic.

CHINON is my favorite film maker and some incredibly quality lenses.

The company was established in 1948 and, as all companies producing quality equipment, was shut down and was acquired by Kodak in 1997.

Extreme influence on the company is the purchase of Chinon by Alpa Switar. I do not know any other company with more sophisticated mechanics and exceptionally good optics. And given that the prison that Chinon uses is Seiko MFC. Undeniable is Chinon’s contribution, which has managed to preserve and build on what has been done to create perhaps the best 20 Century mirror film cameras. Each one is a technical jewel produced with uncompromising materials and quality.

Chinon’s first mirror chambers are in the carousel. These are the Chinon CS, CX CM1, 2, 3, and my favorite Chinon CM-3. All of them are made entirely of metal with extremely precise mechanics, working even today without any problems. It should be borne in mind that some of the bodies for its measuring mechanism use the discontinued from production for environmental reasons 1.35 V batteries, which would lead to replacement errors and new 1.5 V batteries, which can be overcome with the corresponding repairs.

In Japan at that time Chinon CM-1 was preferred to the Pentaks K-1000, knowing how well the Pentaks was made, you can imagine what it is all about.

Subsequently, Chinon passes to K-type bayonet, and with extensive experience, they make a whole family of cameras and gadgets working to this day, as well as serious innovations that you can shoot accurately today.

Manufacturer – Cinon / Japan
Type – Chinon CE-4
Camera Type – Reflex Camera
Type – Film 24 x 36 mm, 135 mm film
Year 1979
Optics – Interchangeable lenses
Prison – Seiko MFC-846 (8 “- 1/1000 and” B “)
In addition, self-timer (5/10 sec)
CDS-controlled TTL measurement – Automatic timer with pointer display and LED in viewfinder
Focusing – Manual, 0.6 m – ∞
Flash Connection – Hot shoe with contact center and additional control Lichem, plus PC junction to the left

Multiple exposure on one frame
Manual mode
Synchronous Flash Speed 1/60
Manual loading
Manually rewind the movie

CHINON CE-II Memotron is a 35mm film SLR electronics camera, launched in 1977.

This is one of the few cameras with mounting screws, allowing automatic aperture priority with any M42 lens that has an auto diaphragm.
The CE-3 is the next model. It offers the same features as the CE II Memotron on a more compact body, although it does not have a maximum shutter speed of 1/2000.
CE-3 is also sold under the name of Revueflex AC1 and some other brands.

The lens should not be changed when the camera is turned on.

Shutter: Seiko MFC-ES, stepless electromagnetic. Shutter speeds: Auto: 4 to 1/2000. Management: B, X 4 to 1/2000. Mechanical: 1 / 100s (for flash sync).
Works only with batteries except X and B modes.

Self-timer: 7.12 seconds.
Viewfinder: Pentaprism SLR, speeds and indicator are visible in it. There is a lid to cover the eyepiece at long exposures that close with a small lever.

TTL CdS, two-cell, Center Weighted, aperture priority, ISO 25-3200 automatic exposure control.
Auto exposure range: EV 1-18 at 100 ASA.
1 / 2x to 2 x EV, 1/3 F-step.
Measurement is possible in automatic and manual mode

AE Memory Button (Memotron): to store the measured exposure in memory.
Battery: 3V, 2x 1.5v, G13 / S76, (accepts lithium Kodak K58L or two alkaline, for example LR44)
Battery check: green LED on the eyepiece frame, in automatic mode switches on, half trigger if the batteries are OK
Motor drive: at the bottom of the unit.
Chinon Winder is a sophisticated device that uses a dedicated memory chip on a computer and has many features: single and continuous modes, preset exposure (up to 24 frames), interval timer (up to 30 second intervals between exposures), on / off and LEDs .

Chinon M-1, 1972

(Also Prinzflex M-1 in Japan, GAF L17 in USA)
Shutter: vertical metal mechanical 1-1 / 1000, B
Flash: Standard X and F sync at 1/125.
TTL measurement.
Microprism and ground glass Fresnel screen.
Battery: PX625
Automatic diaphragm.
Special opportunity for double exposure.
Shutter speeds and inspection visible in the viewfinder.

Chinon CX, 1974

(Also GAF L-CX and Argus CR-2 in the US)
Like Chinon M-1, but with a depth-of-field review.



Chinon CS, 1977

Shutter: Vertical Metal Mechanical 1-1 / 1000, B
Flash: Standard X and F sync at 1/125, Hot Shoe
Microprism and ground glass Fresnel screen
Automatic diaphragm

Chinon CM-3, 1979

Shutter: vertical metal 1-1 / 1000, B
Flash: Standard X and F sync at 1/125 (Or 1/100), Hot Shoe
Measurement: open aperture TTL measurement
Microprism and ground glass Fresnel screen
Battery: 2xMS76
Automatic diaphragm
Depth Field View

Chinon CM-4 (1980)

TTL, LED type light measurement system.
Bayonet: (K-bayonet).
Shutter: Vertical Seiko MFC. Shutter speeds of 1 sec. up to 1/1000 sec. “B” and “X” / 1/90 sec.).
Synchronization: X type of contact for electronic flash in “B” and “X” (1 / 60sec.) And 4sec. Hot Shoe.
TTL, center weighted full aperture system, a silicon photocell, an exposure indicator with 3 LEDs is used.
The measurement is activated when the shutter release button is pressed halfway for a few seconds after the finger is raised from the button remains on.
Exposure range: +2 EV (F / 1.9, 1 sec.) Up to +18 EV (f / 16, 1/1000 sec.) – ASA 100 F / 1.9 lens.
ASA: 25-1600 (DIN 15-33) with safety lock.
Manual exposure: from one to 1/1000 sec.
Mirror: Large, quick return, shockless system.
Viewfinder: Pentaprism, central image separation with microprism and polished glass.
Viewer Zoom: 0.87 x ((ID: 50 mm, 00).
Viewfinder Visibility: 92%.
Film Counter: Automatically displays the number of exposures and returns to “S” when the camera is open.
Crank type rewind
Self-Timer: Built-in.
Power Source: Two 1.5V alkaline batteries (LR44, A76) or two 1.5V silver oxide batteries (SR44)
Test battery: Integrated with LED indicator.
Dimensions: 135.5 (W) x 86.0 (H) x 50.5 (D) mm.
Weight; 455g (16.05 ounces)

Chinon CP-6 1984

The CP-6 is an automatic, 35mm, SLR, film camera, It is the first SLR camera in the world, including the AE Metering program and the DX Auto Indexing of the movie. Also selectable TTL aperture, multi-mode metering and manual exposure system.
It is equipped with an electromagnetic shutter with electronically controlled speeds of 8 to 1/1000 plus B; X flash with sync 1/100-sec. Pentaprism viewfinder with a central split microprint. The camera is powered by three 1.5V AAA (AM-4) batteries. Or directly from the motorbike.
This is the last of this kind of cameras produced by Chinon, with so many innovations that there is no competition. Like all Chinon cameras, it has a perfect light measurement that no manufacturer can reach.

Chinon CP-7м

One of the amazing cameras of the magnificent CHINON manufacturer.
They have never been the biggest players in photography, this brand is not so well known as Canon, Nikon, Pentax. But they made cameras superior to those of their eminent rivals. All their cameras have some nice features and something that makes them special – the ability to work in program mode with all K-bayonet lenses.
What immediately impressed me is the ability of this motorized device to be powered by 4 AA batteries or accumulators or a 2CR5 lithium battery to guarantee the capture of 120 movies.
It has 4 A-mode aperture-priority modes, a P-program that includes 3 programs – normal, fast and slow, M-manual with metering, and multi-exposure single frame, and most models instantly return from any program in -order. One-frame capture or continuous shooting with 2kg per second. You can set maximum exposure time up to 99 minutes. Set a shooting interval and exposure time at the same time interval mode.This mode also works with the multi-exposure function on e yn same frame.
Normal speeds are 8 sec. to 1/2000 and the flash sync is at 1/125 or lower speed of your choice.
Tripod and bayonet threads are metallic. There is automatic DX reading and manually by (32-5000 ISO. There is an EV ± correction, keeping a constant warning for anything other than 0.
So soft a mirror, that even with 1/15 without a tripod the pictures do not blur.
The measurement is centrally weighted and on the left is the exposure lock button.
In one of the forums, I read a statement that CHINON is the Volvoto of the movie era! I would say that is exactly the case.


Some thoughts

One of the most foolish allegations that has taken legitimacy among photographers is that it is great to protect your costly lens with a protective filter, and even better with UV. It is even better if it is a multilayer illumination made of the highest quality optical glass.
Many people are submitting to the “reasonableness” of such “convenient” allegations by the manufacturing companies without considering whether this is not another commercial number ?!
The truth is that each filter affects the optical qualities of each optical system – a lens.

1. The lens is considered from the first to the last optical surface, without any number of bills changing the number of optical surfaces of refraction. Any such change causes serious damage to optical quality. And it inevitably leads to a worse end result.

2. The optical surface of your front lens is specially designed to last for a long time without mechanical damage. Modern low and medium-grade lenses have a short life of the materials they are made of. A lot earlier than the time at which the front optical component would be affected, they would be out of order. Each chemist will explain you extensively, how and why, how long – polymers lose their elasticity and strength and when deformities begin. And the ads will affect you, buy a new, much better and better quality lens – though from 1949. optical circuits have not undergone any significant development.

3. The filter is enclosed in its own housing, and in the case of the best manufacturers, the parallelism is distorted by more than 3 microns, and as we know that the maximum error between the system, the camera lens should not exceed the limit of 5 microns. You should know that this is not the case with very expensive modern lenses. A mistake above this limit starts to affect image quality. Moving from one end to the other with 10 microns is already a problem. And if you have a medium-sized lens, it can make a very serious mistake.

4. High quality filters cost a lot of money … and the others are very dangerous for your pictures in any way.
Finally, filters should be used only when the benefits of these filters outweigh their damage or when there is no other possibility, as is the case with the polarization filter.