Traduction de Alphonse Khuu

Black variant of the Konica Jump Weatherproof
New, beautiful, all-weather-proof, the compact 24 x 36 "Jump" camera will be one of the stars of Konica stand of the next Salon de Paris. Designed for a young public, Konica went all out in terms of design. It won’t go unnoticed into the eye of photographers in search of fantasy, interested by the aspect of the objects that surround them. The "aesthetic" sensibility of the Konica marketing department has already proved oneself:
The success of the "Pop" is in large part linked to its multicoloured presentation. Why not repeat a recipe that lead a model to the top of sales? The second asset of the Jump is its seal against runoff. One feature that is spreading with good reason since the current photo practice is relaxed or not; Konica has created a camera that does not interfere with the action, but can participate without risk.
Finally, the simplicity of design that is sometimes very (too?) far will reassure beginners. These assets should be hitting for sales.
1. Camera, held in hand, conditions of using
Totally functional, the Konica Jump wants to be first and foremost a simple and pleasant camera to use. Its ergonomics was therefore particularly well made, and its soft round shapes and its compactedness make it fits quite naturally into the palm of your hand. No ruggedness disturbs, and the middle finger and the annular of the right hand are positioning themselves in the depression of the front lower right of the body while the thumb is naturally placed on the striations of back cover. The forefinger is put on the release button and the Konica Jump is perfectly held. The winding, manual, however requires a move of the thumb and is the only reason which makes the right hand useful for maintaining Konica Jump during this operation. It measures 128 x 74 x 49mm and weighs 220g without a battery. It is barely heavier with battery because it only uses one AA type battery!
The copy that we had in hand was in pearl gray and cream with yellow clear controls, which, combined with its shapes, makes it particularly elegant. It will also be available in pearl grey and blue, red and black.
Seeking to make a camera without problems of use, Konica engineers have built so it can be used in all circumstances; it is protected against runoff. The activities "with risks" don’t therefore frighten it: dusty places, damp, dirty ..., camping, winter sports, the beach, the pool (be careful, it is not waterproof!) or simply given to children with deliciously muddy hands or full of jam hands. The Konica Jump is equipped with seals wherever it is necessary: flat seals for the battery compartment and the rear cover; rubber gasket seals around controls (winding wheel, rewinding crank, sensitivity selector and lever controlling the flash). Nothing prevents therefore pass under the tap for cleaning. Although this protection well made, the Jump cannot be regarded as a submarine camera. It cannot be put in water so long without risk of serious harm. Don’t try therefore swimming with it, it is not made for that. It is well if it waits for you quietly on the beach at the water's edge .An advice, however, keep your eyes on it, this camera is so appealing...
Other essential advices, dry it before you open it and make sure that your hairs don’t drip, the inside mechanism would not really like...
At the moment of loading, before closing the rear cover, make sure the seal is in good condition and has no dirt, grains of sand, hair, pieces of film, and so on. ; The perfect sealing of the runoff could be questioned.
The Konica Jump underwent tests enabling it to meet the C0920 standard class 4 JIS rule (protection against splashes) and before describing the test conditions governed by the latter, it seems preferable to specify the benefits that its construction him.
• If it falls into the water to a depth of one meter at most, it is immediately removed and dried, it would suffer no harm insofar as the joints are perfect and that it has not previously suffered shock that could harm a proper closure.
• If it falls into deep snow or fresh (not frozen the snow!), it will suffer no harm provided they are recovered quickly and suffered.
• The cleaning of the Konica Jump can be made either under a tap (see Standard JIS further, do not use a fire hose nozzle) or by immersing it in a dozen of centimetres of clean water, without soap or detergent, by waggling it therein gently for a few seconds while taking care not to handle any controls. Take it out and dry then usual way.
• In case of difficulty opening back (sudden changes in temperature or pressure), begin by opening the battery housing, the sequence of operations will be facilitated.
The C0920 standard class 4 JIS rule states: "No harm as a result of spraying a rate of 10L per minute per square metre for a period of 5 minutes at least, in a spraying surface placed between 300 and 500mm of the object."
The Konica Jump comes in an elegant gift box that receives a colour negative film Konica SRV ISO 100 free provided, a wrist strap, a battery and a sponge cloth bracelet (like the one of a tennis player!) which is used as a flexible bag during transport and slips on the wrist of the operator during the shooting, and there is no risk of being lost. It was still thinking...
2. Batteries, setting up and testing
Particularly economic in use, the Konica Jump content itself with a single AA battery of 1.5 volt, LA 06 like or equivalent. It makes a change from the “batteryvorous” bodies - motorized - currently widespread, it is true that it may be modest in this area since it has a mechanical shutter, a rustic metering system and finally the battery is really only used (in addition to the LED indicating the need for the flash use) for supplying the built-in electronic flash.
The Konica Jump is therefore operational (apart the flash and the indicator for low light) when it is deprived of the battery. Besides it is enough to provide for autonomy of 200 lightning (more than 5 films if all shots are taken with flash).
The battery compartment, on the left of the back, is opened by pressing a button with a symbol of battery. Articulated, this cover is not likely to be lost. It includes on its inner surface indication for the way of the loading and a warning that reminds the forbidding on the use of Ni-Cd batteries, but not the kind of battery to use.
Put simply the battery and close the cover, to test the power, wind the Konica Jump, then lightly press the release button and widely hide in the same time the window of the meter laid beside the viewfinder. If the battery is in good condition, LED indicator for under-exposure must light up. Attention, because of minimal battery consumption with this LED, it is possible that the battery capacity, at the end of life, is insufficient to ensure a fast flash recycle. Whatever, the operator, tired of waiting, will change the battery. In any event, it will not take an under-exposed shot since the LED will have played its role. In any case, the battery to be used is the kind of the most widespread and can be trusted to replenish anywhere.
3. Loading, sensitivity display, identification of the film
The Konica Jump receives the standard 24x36 mm roll film (code 135) with a sensitivity of 100, 200 or 400 ISO. This camera is intended for the use of negative film since the very simplified exposure system turns the exposure latitude of these emulsions to good account. Do not therefore operate with positive films (exposure latitude is too low), the results would be more than disappointing...
The display of sensitivity must be done manually (shame!) with the rotation of the button on the front. This rotation adapts directly to the diaphragm of the lens to the sensitivity of the used film and by mechanical means, hence the firmness of the rotation (no risk of accidental setting out). The lack of device for DX coding for the sensitivity can not be criticised Konica, it would have necessitated a complete overhaul of the camera around electromechanical elements, which for Konica, seems incompatible with the cost matters of manufacturing for the aimed market.
The rear cover opens classically (200 ° approximately) after lifting the rewind knob. Place the roll film in its compartment (left) after having moved the fork for feed aside which must then be pushed back (it does not have a back-pulling spring). Extending the beginning on the slides of the line (classic and with maintains pin) before introducing its end into one of the 6 slots with hanging pin of the take-up spool. Winding / Shooting until total of winding up the start on the receiving coil. Close the back by simple pressure. The frames counter (window to the right edge of the body) moves from an S to two lines during the two handlings of winding/shooting and then stops at 1.
The back of Konica Jump includes the classic transparent window for the identification of the used film.
4. Winding, release, frame counter
The winding of the Konica Jump is totally manual, which currently is surprising, even when we keep in mind the deliberate willingness of Konica. It takes place on a rotation a little less than a lap of the wide knurled button projecting on top of the camera. This rotation can be done with two or three handlings with the fat thumb, which let us not remove the eye from the viewfinder.
The release button, pleasant, is next to the winding button. It is not worthy of attention but its functioning smoothness, is not likely to cause a blur movement while taking a shot: Konica Jump can not operate under 1/125 of a second (or beyond elsewhere).
Close to elements described above, the window of the frames counter is equipped with a device to facilitate reading. The frames counter automatically returns on S with the opening of the rear cover. When loading, it moves from the S position to two lines before stopping on the frame number 1. The engravings of the frames counter, very readable, are white on a black background, except the mark values as S, the two following lines, 12, 24, 36 and the two adjacent points, which are inverted (black on white background). The burning of the frame number 1 is more specific and makes impossible any equivocation: white in a black circle itself placed on a white background!
The frames counter is not running in the opposite direction when rewinding.
5. Viewfinder, lens
The Konica Jump is equipped with a clear viewfinder including frame lines defining the view of shooting and parallax marks for a short distance shooting (the French way or Italian way). The view is completely cleared of any information since the LED indicator of under-exposure and the signal of full power of electronic flash are placed on both sides of the eye.
The lens of the Konica Jump has 4 separated elements. It has a maximum aperture of f/4 for focal length of 35mm. The focal length of 35mm determines a very wide angle of view (60 ° approximately) perfectly suited to the kinds of shots taken by the customers to whom it is intended.
This lens does not include a focus device (fix-focus). Its original setting allows, according to Konica, to obtain sharp pictures from 1,10m to infinity. The aperture value is set manually when sensitivity display,
-- F/8 for ISO 100;
-- F/11 for ISO 200;
-- F/16 for 400 ISO.
These values are converted automatically on the use of electronic flash in:
-- F/4 for 100 ISO (f / 8 short distance);
-- F/6 for 200 ISO (f/11 short distance);
-- F/8 for 400 ISO (f/16 short distance).
6. Metering and exposure system, electronic flash
The metering and exposure system of the Konica Jump is a remarkable simplicity.
• The aperture is set manually when sensitivity display.
• The central shutter has only one speed, invariable, 1/125 of a second.
• The metering system consists of one metering element (presumably CdS) and an elementary circuit that merely meter a threshold of minimum luminance below which the current but providential and huge latitude range of exposure of the negative colour film can’t carry out any more a permissible exposure...
After displaying the sensitivity of the used film and winding the body (essential for making the metering), compose and lightly press the release button. If the brightness of the aimed scene and the exposure latitude range of the film are sufficient to carry out a correct exposure, nothing happens. Push the release button then totally to expose picture. The laboratory will do the rest ... Otherwise the red LED placed on the right of the ocular illuminates. Don’t insist we must release the pressure and actuate the electronic flash. From the end of left middle finger, rotate down the lever on the left forward Konica Jump. A few seconds later (recycling in 7 seconds with a new battery), the full load signal of the flash (orange) on the left of the ocular illuminates in its turn. Press the release button to take the cliché after careful to check that the subject is well within the area of efficiency of flash, between 1.10m to 3.50m. The turning on of the red LED is so unimportant because the flash is loaded. The activation of electronic flash modifies the aperture according to each sensitivity displayed film,
• f / 4 to ISO 100;
• f / 5.6 per ISO 200
• f / 8 to 400 ISO ...
And it is obvious that the depth of field is so much lower than shooting in natural light (f / 8, f/11 and f/16).
It is advisable to check the distance flash / subject.
The documentation indicates an efficiency area between 1.10 and 3.5m, this latter value was unfortunately not brought into the body while others limit values for shooting at short distance are therein: 1,10m to 1.60m. This position (not cranked) of the lever causes a new modification of the aperture which comes back to the original values of f/8 (100 ISO), f/11 (200 ISO) and f/16 (400 ISO).
The rule to be adopted for getting the best results both in regard to exposure with flash and in regard to sharpness (depth of field) is the following one, as will likely to be written in the manual instructions that we did not have in hand (Konica Jump tested being a sample).
-- For subjects placed between 1.60m and 3.50m, use the flash in the normal position;
-- For subjects placed within 1.60m, use the special position for photography quarters.
The flash of Konica Jump is not greedy: the simple AA battery provides a range of 200 lightings.
7. Unloading
At the end of the film, don’t force to prevent deterioration of perforations, especially as pieces of film could be harmful to seals. Press the button for the film disengage (under the body) identified by R and the standard symbol. It locks into place unless the film is at that moment too tight. In this case, rewind slightly with the crank and then push the button again. The frames counter is not running in the opposite direction when rewinding and automatically returns on S position at the opening of the rear cover.
The particularly successful aesthetics of this camera, its ergonomics, and its positioning prices (less than 800F) should enable it to climb high in the top of sales (despite technical rustic character). The reactions of the retailers and visitors during the coming salon Photo should confirm this first feeling.
(From Phot'Argus 1987, by Francis Brun)

History

1873 Establishment of the Konishi-ya company. Initial implementation of photographic and lithographic materials.
1876 Relocation to Tokyo. The company is renamed Konishi Honten.
1882 Three factories are established in Tokyo, producing photographic equipment, coated paper, and lithography equipment.
1897 Introduction of the first cinematographic cameras in Japan, enabling the production of Japanese films.
1902 Establishment of a new factory in Tokyo dedicated to the production of photographic plates and papers. This factory is considered the birthplace of the Japanese photographic industry.
1903 The first photosensitive paper produced in Japan, Sakura Hakkin type paper, and the Cherry camera are introduced to the market.
1909 Opening of the Osaka Agency. Introduction of the LiIy camera.
1919 Consolidation of factories in Tokyo, forming Japan's first modern photographic organization.
1921 This organization becomes the Konishiroku Honten Company (Honten = headquarters).
1925 Introduction of Pearlette cameras.
1929 Launch of Sakura films (Sakura = Japanese cherry blossom).
1933 Expansion of the headquarters.
1936 The company becomes Konishiroku Co., Ltd. Opening of an agency in Hino, and relocation of the Sensitive Materials Production Division.
1938 Introduction of the Semipearl camera.
1940 Announcement of the production of the first Japanese color film, Sakura Natural Color Film.
1943 The company adopts its current name, Konishiroku Photo Industry Co., Ltd., and the factories are renamed.
1944 Merger with Showa Photo Industries Co., Ltd., adding the Odawara and Koyama factories to the company.
1945 End of the war, leading to a chaotic economic situation. A major reorganization is undertaken to enable the company to survive this tumultuous period.
1948 Sale of the first KONICA-branded cameras and resumption of exports.
1963 Inauguration of the large factory for the production of photographic equipment.
1967 Introduction of the world's great innovation, the SAKURACOLOR N-100, along with the world's first automatic reflex, the KONICA AUTO-REFLEX.
1968 The first automatic reflex camera (EE) incorporates through-the-lens (TTL) metering: it becomes the KONICA AUTOREFLEX T. Production of the first Japanese 24 x 36 compact rangefinder camera, the KONICA C35, in the same year.
1969 Development by Konishiroku of the world's first compact holographic camera.
1970 Start of the sale of U-Bix electrostatic dry photocopying machines. Introduction of SAKURA High Resolution Plate, ultra-fine grain, high-resolution sensitive material essential for Integrated Circuit manufacturing.
1971 Introduction of the new SAKURACOLOR. Commencement of U-Bix MARK I export.
1973 Celebration of the 100th anniversary of the company. Adoption of the new logo. Departure for a new century with renewed enthusiasm.