The top and bottom covers were plastic, but the camera had a solid feel, and it was compact and relatively light weight. The protruding grip makes one-hand shooting easy. The film advance and the zoom lens were smooth in operation. The shutter worked at all speeds. The Hikari is a great camera.
Let me explain.
At home with the camera I inserted some new batteries and the meter came to life and seemed to be working properly; exposure is set manually, and a green LED glows when you've got it right. I was pleased to discover when I looked up the camera on line that it accepts Pentax K-mount lenses. It also features a shutter speed range from 1 sec. to 1/2000, a self timer, a double-exposure selector and a depth of focus preview button (which was lacking in the Pentax K-1000). The Hikari was marketed under several names including the Vivitar V3800N, the Promaster 2500PK Super and the Phoenix DC303N. I shot a quick roll of Kentmere 100 to test the camera, and it performed flawlessly.
I'm withholding judgment on the Hikari macro-zoom lens. Most of the shots made with it looked ok, but a few were not sharp. That may just have been some focusing error by me; the max f3.5 aperture does not provide a very bright view. I' m looking forward now to using some of my excellent K-mount Pentax lenses with the camera. Perhaps due to my long experience with the Pentax Spotmatic I am most comfortable with cameras that let me have the final say about aperture and speed settings.
8 comments:
Ok, it's one thing when you find ancient cameras that I have never heard of, but when you find more modern ones...well that's just damn amazing!
The Hikari has prompted me to think a bit more about how photography and cameras have changed over the past couple decades. Tech innovations and globalization have more complicated trajectories than I think are often imagined. It was easy to assume that digital had taken over by the beginning of this century, but that is when the Hikari was introduced, and the camera and quite a few similar analog offerings remained on the market until very recently. Partly, I think, that was due to the fact that the analog camera makers were able to capitalize on innovations in materials and production techniques. In addition to that, globalization and electronic communications facilitated the creation and sustaining of niche markets for both old and new analog cameras and film. It all makes sense if you consider the fact that manufacturers can't simply dump vast investments in production and marketing capabilities because of shifts in consumer tastes. No doubt digital will rule the world one day, but I'm pretty sure analog will remain an available option for as long as I will need it.
And for as long as I will as well my friend. :-)
Fascinating. I've wanted to try the Vivitar version of this camera for some time. I had no idea this camera was marketed under so many names.
I've tended to ignore the analog late-comers because they mostly emphasized ever greater levels of automation in regard to focusing, exposure and motorized film advance. The Hitari family is interesting because it stuck with the essential manual functions while adding some enhancements such as higher mechanical shutter speeds. The compatibility with the Pentax lenses is also a big plus for me.
I believe all manufactured by Cosina because when I see Vivitar I see Cosina. Apparently some Vivitar stock left for sale as late as 2017.
That is likely correct. I've also seen one source say that the Hikari was manufactured in China by the same company that made the Seagull tlr. Could be that both are true. Pentax in its later stages started cutting costs by relegating production to countries other than Japan, as well as using more plastic and less metal. Would be helpful to find some information on serial numbers.
In browsing the web I see that the Hikari strongly resembles the Chinon CM-4.
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