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Canon Pellix |
 Version française |
Manufactured or assembled in Japan from 1965 to (After) 1966.
Index of rarity in France: Infrequent (among non-specialized garage sales)
Inventory number: 1415
See the complete technical specifications
Chronology of cameras Canon
Starting from the late 1950s, Canon expanded its range of rangefinder cameras by manufacturing a new type of camera, the single-lens reflex (SLR), which had previously been overlooked by the brand. Demand grew worldwide, whether from professionals or amateurs. However, Canon had to produce multiple models before offering one that could compete with the leading professional market model, the Nikon F.
| Year | Mount | Exposure | Shutter | ||
| Canonflex |  |
1959 | R | Manual | 1 to 1/1000, B, T |
| Canonflex RP |  |
1960 | |||
| Canonflex R2000 |  |
1960 | 1 to 1/2000, B, T | ||
| Canonflex RM |  |
1962 | Built-in selenium photocell meter coupled to the shutter speed dial | 1 to 1/1000, B | |
| Canonex | 1963 | Fixed lens | Selenium photocell for comb-controlled shutter speed-priority EE | 1/15 to 1/500, B | |
| FX |  |
1964 | FL | CdS element for aperture readings | 1/2 to 1/1000, B |
| FP |  |
1964 | Manual | ||
| Pellix |  |
1965 | stopped-down match needle | ||
| FT QL |  |
1966 | |||
| Pellix QL |  |
1966 | 1/2 to 1/1000, T | ||
| TL |  |
1968 | 1/2 to 1/500, B | ||
| EXEE |  |
1969 | EX | shutter speed-priority | 1/8 to 1/500, B |
| F-1 |  |
1971 | FD | stopped-down match needle | 1/2 to 1/2000, B |
| FTb |  |
1971 | 1 to 1/1000, B | ||
| EX Auto |  |
1972 | EX | shutter speed-priority | 1/8 to 1/500, B |
| FTb-N |  |
1973 | FD | stopped-down match needle | 1 to 1/1000, B |
| EF |  |
1973 | shutter speed-priority | 30 to 1/1000, B | |
| TLb |  |
1974 | stopped-down match needle | 1 to 1/500, B | |
| TX |  |
1975 | stopped-down match needle | 1 to 1/500, B | |
| AE-1 |  |
1976 | shutter speed-priority | 2 to 1/1000, B | |
| F-1 |  |
1976 | stopped-down match needle | 1 to 1/2000, B | |
| AT-1 |  |
1976 | stopped-down match needle | 2 to 1/1000, B | |
| A-1 |  |
1978 | multi-modes | 30 to 1/1000, B | |
| AV-1 |  |
1979 | shutter aperture-priority | 2 to 1/1000, B | |
| AE-1 Program |  |
1981 | shutter speed-priority,, Program | 2 to 1/1000, B | |
| New F-1 |  |
1981 | stopped-down match needle | 8 to 1/2000, B | |
| AL-1 |  |
1982 | shutter aperture-priority | 2 to 1/1000, B | |
| T50 |  |
1983 | Program | 2 to 1/1000, B | |
| T70 |  |
1984 | shutter speed-priority, Program | 2 to 1/1000, B | |
| T80 |  |
1985 | Multi-program | 2 to 1/1000, B | |
| T90 |  |
1986 | multi-mode | 30 to 1/4000, B | |
| T60 |  |
1990 | shutter aperture-priority,stopped-down match needle | 8 to 1/1000, B | |
... To be continued with the EOS series.
__________The idea, promising in the engineers' blueprints and enticing in catalog pages, turned into an almost commercial failure. The technical originality of this SLR camera is that the mirror reflecting the image into the viewfinder is fixed. Usually, in this type of single-lens reflex camera, the mirror flips up at the moment of the shot to allow the light to pass through the shutter to the film plane.
The advantage of not flipping the mirror up at the moment of the shot is to avoid generating mechanical vibrations and therefore blur. On the other hand, the light still needs to reach the film plane directly at the moment of the shot. The engineers developed a semi-transparent mirror that allows the image to be sent simultaneously to the viewfinder prism and to the back of the camera.
A CdS light meter is placed behind the mirror, allowing for precise measurement of the light reaching the film. The lack of mirror movement allowed Canon engineers to develop specific lenses for the Pellix. These retrofocus lenses extend deeply into the camera body. At least two of these FLP lenses were made: a 19mm f/3.5 and a 38mm f/2.8. Other FL lenses could be mounted on the Pellix.
All of this seems very positive, but in practice, users complained about the overall lack of brightness.
Interesting links or bibliography :
| Sur Camera-wiki.org, suggested by Sylvain Halgand |
 Photo Ciné Revue de 1965 |
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