- Rangefinder Photography -

The allure of rangefinder cameras during the middle of the 20th Century was that they allowed the photographer quickly and accurately focus a camera lens without resorting to removing the back of the camera to view an upside down image on a glass plate.   Cameras which feature a coupled-rangefinder apparatus can be accurately focused within a couple of seconds.   Also, the RF camera was considerably more portable than the long respected view camera - which had allowed photograhers to view a screen place on the back of the camera in place of the film for the purpose of setting the focus.   The other available focusing alternative - which coincidentally came to market at the time of the first RF cameras - was the twin lens reflex camera.     The TLR was a good innovation, but the rangefinder camera made for a more modern package in regards to the following:

• First and foremost, the RF easily facilitated the use of interchangeable lenses as we know them today.
• RF cameras use eye-level viewfinders, which would become more popular than the older style look-down viewfinders.
• The RF design allowed for a much slimmer camera body that is better suited for hand-held photography.
• The coupled-rangefinder was a natural fit for the newly developed 35mm format, which was then in its infancy.

In a marked break from past hand-held cameras, small format rangefinder cameras gave birth to the first modern camera systems with interchangeable lenses.   In other words, RF cameras popularized the small 35mm film format and transformed the way photographers used their cameras in the field.   The TLR on the other hand filled a niche for a high-quality, fixed-lens, medium format film camera.

The information regarding rangefinder cameras on this web site - most of which is no longer available from the mainstream photographic media - is provided as an educational service.   Based on my 35 plus years of using rangefinder cameras, the site covers Leica screw mounts, compact 35mm RF cameras from Japan and rangefinder equipped medium format folders.   Please, feel free to click on the three links at the top of the page for more detailed descriptions of the few RF cameras that I've enjoyed using over the years.

A rangefinder camera is recognizable by having a viewfinder window built into the front of the top cover and a second smaller front facing window off to one side.

• The viewfinder window gathers the larger of two images that the photographer sees when looking through the viewfinder.
• The rangefnder window sits in front of a moveable mirror that reflects a second image to the viewfinder.
• The reflection passes moves across the camera's top cover towards a small lens before reaching a half-silvered mirror located within the viewfinder.
• This second image is sometimes referred to as the RF patch and is optically projected into the center portion of the viewfinder image.
• The twin images the intended subject in the viewfinder are what assists in setting the manual focus ring on the lens.
• On a couple-rangefinder each lens must be made to operate a small sensor arm in the camera body to pivot the moveable mirror as the focus is set.

When the photographer adjusts the focus ring on the imaging lens with a modern rangefinder camera, the image projected within the RF patch will appear to shift sideways in relation to the larger viewfinder image.   Once these two images of the intended subject appear to form a single image, the camera lens is in proper focus.

The main weakness of the rangefinder camera's design is that the optical path for its viewfinder -which is straight through the top cover rather than through the lens like on a modern SLR.   Whenever the photographer mounts a lens of a different focal length to an RF camera - the image magnification in the viewfinder does not change to suit the new lens.   This necessitates the use of one or more add-on viewfinders that show the proper framing necessary for a each single focal length lens.   The image above shows an example of a photographer using an add-on viewfinder with a wide-angle lens.

All of the first generation 35mm rangefinder designs from the 1930's required the use of a separate finder whenever a lens other than the standard 50mm focal length was mounted to the camera.   Both multi-focal length finders and single focal length finders were sold separately in order to accommodate each available focal length.   The finders fit into the top mounted accessory shoe, which in modern times has become the flash shoe.

A rare breed of photographers were able to make the auxiliary bright-line viewfinder into a strong point.   As they walked down a city sidewalk, they were able to artfully move their camera towards up towards their eye where for a brief instant, usually a mere second   The viewfinder was at their eye just long enough to compose and take the exposure.   Most people who they photographed didn't realize had actually taken a photo.   In the Winnograd's case, he was usually less than 10 feet of 3 meters from his subject when this occurred.

By the late 1950's, the standard solution to the viewfinder problem was to to add three sets of super-imposed framelines to the camera - which were either reflected or projected towards the viewfinder eye piece.   Each set of framelines provided a boundary that represents a cropped portion of the full viewfinder suited for a particluar focal length lens.   On modern rangefinder cameras these framelines automatically move to correct for parallax errors as well.   The framelines appear to be super imposed onto the image that one sees in the viewfinder along with the RF patch.

Notice how each set of framelines get progressive smaller as the focal length of the lens gets longer.   Here the rangefinder can have a second advantage over a SLR.   A rangefinder photographer is usually able to see a large area outside of the intended frame, hold the camera steady and let the action pass into the framelines to grab the shot.   On an SLR a photographer will usually pan on an action shot in order to keep the subject within the viewfinder.

Also, some but not all accessory bright-line finders allow the photographer to shoot with both eyes open by producing an image magnification that is identical to our normal vision.   Once again, such a wide field of view with a set frame lines superimposed in the center of your vision is quite useful for photographing street action.

35mm rangefinder cameras were immediately appreciated by professionals and high-income amateur photographers alike when during the 1930's.   Early 35mm RF cameras included the Leica II and the early Contax .   Both were priced well beyond the reach of most photographers at the time of their introduction in 1932.   By the mid 1930's the top end of any serious German camera firms line-up included a rangefinder camera or two, be it a 35mm or medium format folder.

The 35mm RF camera introduced speed and the ability to make repeated exposures rapidly to photography.   Once the film was loaded in a 35mm rangefinder camera - the camera was ready for action in seconds, because the rangefinder allowed for near instant focusing.   Unlike earlier formats, the film stopped winding automatically.   So, a second exposure could be made within two to three seconds of the taking the of the first.   At an event with continous action, one could wind and shoot repeatedly.

35mm RF photography also changed the way most people hold a camera when taking a photo.   Portable cameras from the early 1900's had a bulky feel and the photographer had use a look down viewfinder.   The 35mm camera on the other hand fit naturally in the cradle of one hand and featured an eye-level viewfinder, which is perfect for street photography.   Fitted with either a lens that was nearly flush to the front of the camera or a lens that could collapse into the camera body - early 35mm rangefinder cameras literally fit within a coat pocket when not in use.

A second more modern wave of rangefinder cameras were introduced in the 1950's as color film became popular.   Lens designs improved significantly and were available in a greater variety of focal lengths than had ever been the case before the war.   RF cameras developed during the 1950's were also far more ergonomic than the legacy designs of the 1930's - (some of which were still in production until late in the decade).   Thumb winders for the film advance replaced knob winders.   Viewfinders became larger and usually included framelines.   Film loading became easier, as well.

It was a golden era for rangefinder cameras.   Many of the cameras that were introduce during the 1950's were priced to tap into middle class budgets.   Thus, the bakelite bodied Argus C3 and its variants sold in the millions during this decade.   While on the increasingly more expensive top end of the spectrum - the landmark Leica M3 made its debut.

After the 1960's, rangefinder cameras were for the most part were produced for niche markets.   Some examples of more recent rangefinder camera designs are shown below.   The big RF camera shown below is for medium format film.

Every technology has its day in the sun.   As a result of the improvements to the SLR, which were in place by 1960, the popularity of rangefinder cameras began a steady decline.   By 1970 the bulk of rangefinder camera sales were to be mainly as the compact, fixed-lens, 35mm variety.   After 1980 even this intermediate market niche quickly gave way to the newly developed plastic bodied, electronic autofocusing, 35mm marvels which rarely were in service after 5 years.   The rangefinder designs that managed to soldier on into the 1990's were usually high-end models, to include the Leica M6 and some medium format RF cameras from Fuji.

The rangefinder camera's Achilles heal is its viewfinder.   The framelines work-around has an upper limit of showing a border for a 135mm focal length lens, most of us settle for 90mm.   As the focal length gets longer the framelines cover less area within the fixed magnification viewfinder and focus accuracy is diminished.   On the other hand, the SLR on utilizes which ever lens is mounted to gather its viewfinder image.   So, no matter which lens is attached the image that fills the entire viewfinder shows 95% of what will be captured on film.   Photographers are generally happier with this approach.

There are trade offs.   First, the SLR is much noisier due to the movement of the reflex mirror.   The mirror box on the SLR requires that wide-angle lenses have their nodal points behind the rear element, which is referred to as a retrofocus lens design.   As opposed to the SLR - rangefinder cameras on the other can use a symmetrical lens design - so the nodal point is centered within the lens, not behind it.   This symmetry places the rear element sits very close to the film plane - which is impossible in a SLR due to the space needed for the movement of the reflex mirror.   The twin advantages of the symmetrical wide angle lenses are that the design greatly reduces barrel distortion in periphery of the final image and secondly, it allows the wide-angle lens to be nearly flush with the body, - since the glass elements of the lens sits mostly within the camera body rather than in front.

In the days before autofocus cameras - longer focal length lenses could be focused more accurately on a SLR, while wide-angle lenses were undoubtedly more accurately focused with a rangefinder camera.   So, it was not uncommon for photographers to use both - keeping the RF camera around for use with wide angle lenses.

Rangefinder cameras today are mainly used by serious hobbyists and some old-school professionals.   Most of the classic RF cameras are restorable and are still capable of delivering stunning images.   Close tolerance lenses were a hallmark of rangefinder photography.   The craftsmanship and build quality are a head and shoulders above today's standards, but rangefinder camera use is very small niche, with probably less than 1% of all camera usage.

- Simplicity and Craftsmanship versus Electronic Menus -

A classic rangefinder camera allows the photographer to shoot unplugged, so to speak.   All of the camera's functions are mechanical rather than electronic.   Note that RF cameras made before 1960 are not battery dependent, which means that the rangefinder photographer only needs to be familiar with setting the aperture, shutter speed and the focus.   There is no menu surfing or mode dials to jog while simultaeously pushing a one of several buttons.   There are no motorized AF zoom lenses to hunt for a proper focus there by causing shutter lag or a shutter that stops working when the battery quits.   It's just good old-fashioned, mechanical spring driven shutters and the use of three manually-set controls - which stay exactly where the photographer sets them.

It should be noted that analog film-based photography is declining annually.   Film costs money and the photographer can't store a couple of hundred images as they do with single memory card.   Exposed film needs to be processed, which I feel is best done at home using traditional black and white films.   Next, film is also a hassle at airport security, because it really should be hand-inspected.   Last but not least, the processed film must be scanned and electronically printed or better yet printed directly through the negative onto photographic paper using a traditional enlarger.

While film-based photography is no longer a medium that most professional photographers can make money with, - the use of manual mode film cameras teaches an amateur photographers to think.   In other words, the use an old preautomation film SLR or RF camera get the photographer in the habit relying on software that resides within the human brain rather than letting the camera decide what is best.   Such a skill-set which will definitely be beneficial when the time comes to override/customize the automatic modes of a modern digital SLR.

With regards to the digital versus film debate, both are worth doing - so long as both are done well.   The dynamic range of film still gives it an edge or signature that is more conducive to B/W photography than digital.   Digital on the other hand is great with color.

A classic rangefinder camera as simply a different tool in a photographer's bag.   Like many other pursuits in life, when an instrument is viewed as different versus better, there can be room for more than one approach to getting the job done.

For example - if a photographer needed to shoot some candids discretely in an intimate indoor setting, a 35mm RF would offer the following advantages, if the photographer wishes to be non-intrusive.

• A RF camera would be much quieter than a SLR, due to the lack of a reflex mirror which must slap open and close.
• The RF camera's non-TTL viewfinder will not black out when slow shutter speeds are used, nor is there mirror shake.
• The lens focus will not hunt or continually shift in low light causing shutter lag - a hallmark of some AF systems.
• Use of a fast prime which is optimized for that single focal length as opposed to using a general-purpose zoom lens.
• The use of a fast prime lens often negates the use of a flash unit - subjects feel and appear more natural.

The quietness of a rangefinder camera maybe priceless for capture action unobtrussively in the interior of a church or on a city side walk, but it won't work very well for macro photography or have much reach at the long telephoto end of things.   For those two situations you'll want either film SLR or dSLR.   The good, bad and the ugly is that no camera will do everything well.   That last bit of advice goes for digital cameras as well where I've seen numerous photographer fumbling through menus at a decisive moment.

Thanks for reading this far. The links at the top or the bottom of this page contain much more detailed descriptions of particular classic rangefinder cameras and their use.   Interest in rangefinder photography may have peaked a half-century ago during the mid-1950's, but it is an old-school approach which still has much to offfer in providing a unique photographic experience.