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Another great detail about the SA 47 mm is an exceptionally short film-flange distance of 52.2 mm, meaning that the camera can be very compact. This would provide a 24 mm equivalent field of view - plenty wide for my taste.
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It so happened that I came into possession of a Super Angulon 47 mm f/5.6 MC lens - one of the widest available lenses that covers a 6 x 9 frame (a 6 x 9 negative has a 100 mm diagonal, which exceeds the diagonal of Instax Square, at 88 mm). Finally, the overall design feels "inefficient" (for lack of a better word) - the TLR body seems like a bizarre growth hanging off the front of the SQ6, and the space inside the camera is still occupied by the original control board, disused and parasitized by a tiny purple PCB, held in place by myriad flying wires.Īll this prompted me to start on a new design something in a more compact package, with a wider field of view, and a more complete, integral design. The 80 mm Mamiya lenses render scenes beautifully, but the 40 mm (35 mm equivalent) field of view can feel restrictive at times. It is a strange looking camera and attracts more than its fair share of odd looks and craned necks. Top- and front-heaviness present some ergonomic challenges as well.
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Firstly, it's huge! The two lenses, helicoid, and mirror box easily quadruple the bulk of the SQ6 and make it difficult to pack. The camera does its job well, but leaves me longing in a couple of areas. Since then, the Instax TLR has consumed countless film cassettes, and traveled overseas three times (breaking down only once, when the motor driver let out the magic smoke on a picturesque bridge in Hakone).
COMPLETE BYZANTINE UNIT ROSTER PROJECT UPDATE
It's hard to believe that it's been over two years since the last update to this project.