OLYMPUS | This is the Olympus History History of Cameras
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| Launched in 1952, the Olympus Flex I was the first twin-lens reflex camera manufactured by Olympus. It was developed in response to a sudden rise in the popularity of twin-lens reflex cameras in postwar Japan. Though Olympus modeled the Flex I on the Rollei Flex, it targeted an even higher level of performance, and the camera incorporated numerous unique Olympus features. A typical starting wage at this time was ¥7,000 yen a month, so the ¥47,000 yen price tag was equivalent to over six months’ income for an average worker. |
via OLYMPUS | This is the Olympus History History of Cameras.
With a long history starting in 1919, Olympus was a relatively strong manufacturer in postwar Japan and by the start of the 1950s, when it turned its hand to a TLR, the product was not just the common rather basic copy of the Rolleicord. It had several new features, notably a spectacular six-element lens (for the Type I and B models). However, its strength was not only in innovation, but in an exceptionally high build quality.
There aren’t many around. I was lucky to pick up my original rare Type I up from a US webstore. I sourced another direct from Japan in 2005. The A-II came up via eBay in Honolulu and is also one of only a couple I’ve seen outside captivity (and very nice too).
Olympus Flexes aren’t exactly common in public collections either – the British National Museum of Photography, Film and Television (in Bradford) doesn’t even possess one in its stored collection, although there is an example of each of the Types B and A in the French camera museum in Bievres (the town where the famous annual camera fair is held). I don’t think they are in quite such a good condition as mine, but there you are…
Below the camera details is a table derived from the research of Mr E Suzuki, which sets out the typology of Olympus Flex models in detail. One useful piece of information: Olympus named their Zuiko lens types by a letter of the alphabet corresponding to the number of elements used. Thus a “D Zuiko” is a four-element one, and an “F Zuiko” has six. I know, incidentally that the SLR lens range went up to the extreme wide-angle “L Zuiko” – you work it out!
The Olympus website catalogues the main Olympusflex dates as:
1952 Olympus Flex – Top Japanese-made twin-lens reflex camera, fitted with F2.8 lens
1953 Olympus Flex BII – Synchro contacts on Olympus Flex B updated from F to X type contacts with German-type plug
1954 Olympus Flex A3.5 – Entry-level twin-lens reflex camera with F3.5 lens
Exposure Index
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Exposure Index
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Exposure index (EI) is the measure of the amount of exposure received by the image receptor (IR). It is dependent on mAs, total detector area irradiated, and beam attenuation. The exposure index is indicative of the image quality. Equipment manufacturers provide a recommended EI range for optimal image quality (Bontrager & Lampignano, 2005, p. 52).EI in digital radiography can be compared to film speed and blackening in film-screen. When film was used, the accuracy of the exposure was obvious based on the appearance of the image. Digital systems post-process images and display adequate contrast and brightness at a much wider range. Therefore, adequate exposure can only be assessed through image noise or burn-out. Secondary workstations such as those used by technologists for image review, are often of lower resolution and brightness than those used for diagnosis. Because of this, it is often difficult to assess whether an image is noisy or not. The exposure index is meant to be an indication of whether the noise levels are acceptable (AAPM, 2009).
Errors in the calculation can occur resulting in an inaccurate EI. This can arise when the software fails in determining which part of the image is the patient anatomy, for example, in the presence of gonadal shielding or prosthesis. EI cannot be solely relied on, therefore the technologist must remain critical of the appearance of the image and the accuracy of the EI (AAPM, 2009). EI is derived from the mean detector entrance exposure which is derived from the mean pixel value of the image. Most systems use a histogram analysis in order to calculate the mean pixel value (Neitzel, 2004, p. S231). This is a histogram created from an AP pelvis radiograph. The x-axis represents the pixel value while the y-axis represents the number of pixels with that value. The mean pixel value here is 104.381.
Although EI is always derived from the IR exposure, equipment manufacturers calculate the numeric value differently, resulting in different ranges and definitions (Carlton & Adler, 2006, p. 367; Neitzel, 2004, p. S231). Also, there is variation between units purchased from the same manufacturer based on different IRs and software (Carlton & Adler, 2006, p. 367). Different IRs have different detective quantum efficiency (DQE). A high DQE results in lower noise levels (AAPM, 2009, p. 3). Therefore, all systems have a different index and are difficult to compare across systems. Fuji CR Fuji uses a sensitivity number (S) that is related to the amount of amplification required by the photomultiplier tube to adjust the digital image. S is inversely proportional to exposure. Properly exposed images should have an S between 150-250 (Carlton & Adler, 2006, p. 367). Kodak CR Kodak uses the term Exposure Index, which is directly proportional to exposure. Properly exposed images should have an EI between 1,800-2,200 (Carlton & Adler, 2006, p. 367). A change of 300 in the EI indicates a change of a factor of 2 in the exposure to the IR. Agfa CR Agfa uses log median exposure (LgM). This system compares the exposure level of the image to a baseline established for the department. Since it is based on a log system, an increase of 0.3 means the dose was doubled (Carlton & Adler, 2006, p. 367). An optimal exposure lies between 1.9 and 2.5.
Imaging Dynamics uses f#. The f# compares the exposure to an established target exposure. Negative values represent underexposure, while positive values indicate overexposure (AAPM, 2009). Canon DR Canon uses a reached exposure value (REX). REX is a function of the brightness and contrast as selected by the operator (AAPM, 2009). GE DR GE uses the detector exposure index (DEI) which compares the detector exposure to the expected exposure value (AAPM, 2009). Siemens Future Developments In 2008, the International Electrotechnical Commission (IEC) developed and published the International Standard IEC 62494-1 on the definition and scaling of the exposure index for digital radiography. According to the standard the EI shall be proportional to the exposure (air kerma) and shall be scaled as EI = 100 * X, where X is the air kerma at the detector, at the calibration beam quality. It is expected that this standard definition will be implemented in future digital radiography systems. The American Association of Physicists in Medicine (2009), published a document in July, 2009 with the purpose of identifying a standard index which reflects the adequacy of the exposure received by the IR. References American Association of Physicists in Medicine. (2009). An Exposure Indicator for Digital Radiography. Retrieved from http://www.aapm.org/pubs/reports/rpt_116.pdf Bontrager, K. L., & Lampignano, J. P. (2005). Textbook of radiographic positioning and related anatomy (6th ed.). Elsevier Science. Carlton, R. R. & Adler, A. M. (2005). Principles of radiographic imaging: An art and a science. Delmar Learning. International Electrotechnical Commission (2008). IEC 62494-1 ed. 1 Medical electrical equipment – Exposure index of digital x-ray imaging systems – Part 1: Definitions and requirements for general radiography Neitzel, U. (2004). Management of pediatric radiation dose using Philips digital radiography. Pediatric Radiology, 34(Suppl 3), S227-S233. |
Exposure Index
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The exposure index (EI) of a film speed is the rating of a particular film that varies from the recommended ISO film speed. For instance, 100 film speed may actually be used as a 400 film speed in what is called pushing film. Conversely, a 400 speed film may be used as a 100 speed film in what is called pulling film. By changing the ISO film speed to the EI speed, the photographer is speeding up, or slowing down, a particular film. When pushing film, the photographer can gain an extra one or two stops to obtain good negatives in low-light or motion conditions. For instance, if a photographer rates an ISO 100 film at EI 200, they gain one stop in exposure. Read more about this in pushing or pulling film.
The EI film speed setting may also be used in cases where the shutter of a camera is off timing and always overexposes or underexposes the film. There may also be instance where the light meter is inaccurately reading. In these cases, the photographer may adjust the EI rating to compensate for these errors. By forcing the EI rating faster than the ISO speed (pushing film) the photographer is underexposing the film. Forcing the EI rating slower than the ISO speeding (pulling film) causes the film to be overexposed. It should also be noted that when a photographer changes the EI rating, the film will require a different development time to properly develop the negatives. In addition, you cannot change the ISO speed midway through a role or you will under/overexpose half the roll and will have no way of fixing this.
Why Adjust the EI Film Speed?
Accidents happen. If by chance you load 100 ISO film into your film camera and forget to adjust the ISO setting and leave it set to 400, you can still continue to shoot film and save it.
Don’t have the right film. There may be many cases where you need a faster film but are only equipped with slower films. You can push the slow film to a faster EI speed to improve exposures indoors or help with motion photography. There may also be instances where you want to slow the film to capture blur motion or other effects.
Contrast. In high contrast areas where there is an abundance of shade and bright light, lowering the film speed can help to reduce the dramatic difference in contrast. Conversely, increasing the film speed can add contrast.
Grain. This is not for everyone, but pushing film will help achieve grain that is associated with faster films. Some photographers like the look.
You must also understand that pushing or pulling film with different EI film speeds will require you to compensate when developing the film. Pushing the speed will require over-developing the film while pulling the speed will require under-developing it. Read more about EI processing in the push and pull processing page under the film processing section.
via Exposure Index – EI Film Rating | Gudie to Film Photography.






