Bronica ETRS

Medium format MF film SLR camera



Production details
Announced:October 1978
System: Bronica ETR (1976)
Imaging plane
Maximum format:Medium format 6x4.5
Mount and Flange focal distance:Bronica ETR [69mm]
Imaging plane:55.1 × 42.5mm film
Type:In-lens leaf shutter
Exposure metering:None
Exposure modes:Manual
Physical characteristics

Manufacturer description #1

Type: 4.5cm x 6cm format lens shutter single-lens reflex camera, with interchangeable lens, film back, finder and focusing screen systems

Frame size: 42.5mm x 55.1mm (side/length ratio of 1:1.29 closely matches standard paper and reproduction sizes)

Film: 120 roll film (15 exposures)

Lens mount: Exclusive four claw Bronica bayonet mount

Lens diaphragm: Fully automatic instant reopening lens diaphragm action; equal-distant aperture scale graduations; depth of field previewing

Shutter: Electronic control SEIKO #0 between-lens leaf shutter; shutter speeds 8 sec. to 1/500 sec. plus T (time exposures); mechanical control setting 1/500 sec.

Multiple exposure: Multiple exposures possible with lever on body

Film back: Daylight loading interchangeable backs, exclusive backs for 120/220 roll films, 70mm film and Polarod film pack (Supplied with 120 roll film back)

Finder: Interchangeable finder system, with choice of five optional finders, or waist-level finder, AE (automatic exposure)-II finder, rotary viewfinder, prism finder and sports finder. (No standard finder is supplied and therefore a suitable one must be ordered separately)

Focusing screen: Interchangeable type. Standard screen has diagonally-oriented split-image rangefinder spot surrounded by microprism ring and full-area matte screen

Flash synchronization: X-setting (up to 1/500 sec.)

Battery checking: Red-colored LED light lights up within screen area when battery check button is depressed, if there is sufficient power

Battery: Single 6-volt silver oxide battery (Eveready 544, UCAR 544 or Mallory PX-28); also powers AE-II finder, when attached

Manufacturer description #2

The ETRS is compact "system" camera with the handling speed of the 35mm camera. This means that it has managed to combine the merits of "mobility and portability" (which are not the usual merits of the large format camera) with the advantage of the large frame size. The ETRS is based on a design concept of advanced micro-electronics, with greater miniaturization and more electronics in its various parts. The ETRS also incorporates a newly-developed lens shutter which has made possible a more compact and lightweight camera, with increased precision by incorporating electronics in various camera functions. A complete "system" effect was also one of its principal objective and, therefore, the camera also has highly advanced interchangeability of its parts. In other words, lenses, finders, film backs and focusing screens can be exchanged quite freely, with various optional accessories available for different kinds of photographic work. This means that highly individualized camera"systems" are possible, including a choice of automatic exposure, automatic winding, remote control operations, close-ups, motorized operations, etc.

The ETRS also has the operational ease of the medium format camera, with simple lever operation for changing to multiple exposures. This means that one image can be placed on top of others very easily for building up a new photographic image or used as a form of expression. Such forms of expression can result in very unique images, for producing original pictures or simply used for one's own pleasure.

The high image quality of the medium format plus superior operating ease and greater handling speed has been made possible because of a basic design for a lightweight, compact main camera body, to which various parts are added to match the user's need in the medium format. The ETRS, in other words, is the result of Bronica's constant effort to give the medium format user the handling speed and operating ease of the 35mm camera.

The specially-designed Zenzanon-E lenses are noted for their high image depiction characteristics and superior color balance. The very compact lens design incorporates a Seiko #0 between-lens shutter, with the electronic control mechanism in the main camera body, which also provides full flash synchronization at all shutter speeds. Lenses from 40mm to 500mm, plus 2x teleconverter and close-up accessories are available.

Finder interchangeability means there's a choice of waist-level or eye-level view-focusing, and even low-angle shooting. The AE-II Finder is popular because it is not only suitable for horizontal and vertical formats but also increases handling speed and can be used for both aperture-priority AE or manual exposure controls. And, a Rotary Finder for reflex viewing of a laterally-correct upright image is also available.

The ETRS has a very simple film back changing system, for using 120 and 220 roll films (6 x 4.5cm), 135 roll film (24 x 36mm and 24 x 54mm) and Polaroid Land pack film. Film backs can be changed any time, even in mid-rolls and in daylight, when conditions change or there are changes in working plans.

There is a choice of three winding systems; single rotating film winding crank on the main camera body, two stroke lever winding on the Speed Grip and simple Motor Drive operation, with choice of single frame or continuous shooting, as well as remote control operations. And, hot shoes on the optional accessories accept electronics flash units.

The use of electronic flash for taking pictures is very popular because the photographic range is greatly increased with the short flash illumination and fast recycling which makes continuous use possible. However, because of the very short high-speed flash, the focal plane shutter can only be used at top speeds of 1/60 - 1/125 sec., whereas the Bronica lens shutter system opens up fully, even at the top speed of 1/500 second, and makes flash synch possible at all shutter speeds. Daylight fill-in flash for shooting against the light and studio work with high-speed flash illumination are the strong points of the lens shutter system. And, shutter speed and lens opening can be freely adjusted, even with electronic flash, which opens up new photographic fields.

From the editor

The weight and dimensions are indicated for the camera body with the Zenzanon-EII 75mm F/2.8 lens mounted.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.


Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),


CF – crop-factor of a sensor,
FL – focal length of a lens.


A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.


The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.


Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.


Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.


Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.