Fujica AZ-1

35mm MF film SLR camera



Production details
Announced:June 1977
System: Fujica M42 (1970)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:M42 [45.5mm]
Imaging plane:36 × 24mm film
Model:Electronically controlled
Speeds:1/2 - 1/1000 + B
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Aperture-priority Auto
Physical characteristics

Manufacturer description #1

Our new fully automatic Fujica AZ-1. Comes with a zoom, goes with a winder.

Since the days of Daguerre, the image of the photographer at work has not changed: moving in, moving back, adjusting exposure, cocking the shutter, switching lenses.

Now there's a camera that frees you from all that fancy foot-and-finger work.

The Fujica AZ-1 is the first, fully automatic Zoom Lens Reflex. Add to it the auto winder and you've got the perfect combination of creative tools. The aperture-preferred automatic exposure, the variable-focal length zoom lens, and the quick-mount auto winder all function smoothly and effortlessly together. The best part of all, the price for the whole package is less than you'd expect.

The zoom way to change lenses. An automatic body with a winder running it can give you the same picture shot after shot. And that can get pretty redundant.

Then imagine a Fujica AZ-1 Zoom Lens Reflex. You zoom in, zoom out. You compose, and recompose. Winder and body take care of the frame-to-frame mechanics. You never have to look away from the viewfinder.

Result? Each exposure is perfect, each picture is different. Yet the whole event is there, start to finish, without interruptive lens changes. (Not that you can't change lenses if you wish.)

The zoom range than makes sense. Most pictures today are taken in the normal neighborhood. Which is why our Fujinon f3.5-4.5 zoom lens stays within the 43 to 75mm range. There are other advantages in keeping the zoom short.

Take compactness. When fully compressed, our zoom lens is hard to tell apart from our standard 50mm lens. (Price-wise, they're not far apart either.)

Consider weight. Shortness cuts us down to a mere 10.5 oz.

Finally, sharpness. The shorter the lens, the less compromises there are between optical glass surfaces. So our short zoom is super-sharp, corner-to-corner.

The winder for weight watchers. At just 9.7 oz., the Fujica Auto Winder practically blends into the camera. You fire up to two frames every second. It only takes four penlights to power up to twenty 36 exposure rolls. And when it's time to rewind, or change film or batteries, the winder stays right on the camera.

Set for Auto-Exposure, set yourself free. The Fujica AZ-1 gives you the exact fractional shutter speed for correct exposure electronically, automatically. Shutter speeds range from 1/2 second to 1/1000th second, plus B.

Instant acting silicon cells take a center-weighted reading. Vibration-free LED's signal the speed back to you in the viewfinder, even in the lowest light. If you're too wide open or too stopped down, or batteries need changing, you get a blinking warning.

Two technological advances make this instant accuracy possible. Digital controlled. Large Scale Integrated (LSI) circuitry. Plus replacement of mechanical switches by electronic relays. With the Fujica AZ-1, you experience and enjoy aperture-preferred automation at its finest.

In practical photographic terms, you open wide for fast shutter speeds. Or stop down for longer exposure times. Or stop down and zoom simultaneously for streaks and blurs you will not believe.

Memory metering. A special AE locking system lets you "store" any reading you want. Even from backlit subjects.

Just move in close, press the button half-way to hold the reading, return to your original composition, and shoot.

Or you can override the automation either way by up to two stops. And outwit subjects like pure white snowmen or jet black limousines.

Manual operation? Of course. You can turn off the automation whenever you want. Or even choose a Fujinon 55mm f1.8 or 50mm f1.4 lens as standard equipment. But that doesn't mean you're back to an ordinary SLR.

The Fujica AZ-1 has silver-coated prism surfaces to brighten your view. You focus three ways. By ground glass, micro-prism, or split-image.

400 ASA Flash Photography is here! You've seen the results of our Fujicolor FII 400 ASA fine grain film. Now see what our film and the Fujica Auto Strobo AZ can do for your flash photography.

Rather than close down the lens to adjust for the higher speed ratings of 400 ASA film, the Auto Strobo extends the flash range. Actually doubles the distance you get as ASA 100. That's using 400 to its fullest potential!

Another flash feature: the energy-saving Auto Strobo lets you forget all about synch speed. When fully charged, it automatically sets the camera at 1/60th second. If you fire before the go-ahead signal, the camera returns to aperture-preferred automation. So you never end up with a complete black-out.

The system go back up your zoom. From EBC multi-coated Fujinon lenses that range from fisheye to super-telephoto, from macros to zooms, from bellows attachments to macro cinecopiers, your Fujica AZ-1 belongs to one of the world's most sophisticated 35mm photographic systems. A system that includes beautiful Fuji film. So you know just how professional the standards are.

Fujica AZ-1. Reaching in, pulling back, clicking ahead.

Manufacturer description #2

The camera's electronically controlled automatic exposure (AE) system provides instant exposure determination by fast-reacting silicon photocells which measure the exposing light through a fully open lens and an LSI circuit which simultaneously converts the measurement into the correct shutter speed. The shutter speed selected by the AE system is displayed in the viewfinder by means of light-emiting diodes.

Pressing the shutter release buttin halfway down activates the AE lock which "remembers" and holds the correct shutter speed for as long as the button is depressed so that you can just step back and immediately shoot backlighted pictures without fussing over exposure compensation.

Three-way focusing by means of a split-image center spot and microprism and groundglass collar lets you bring any subject into sharp focus quickly and easily.

High quality Fujinon lens of proven sharpness and color reproduction lets you take high quality, color-perfect pictures every time.

Accessory motorized winder (Fujica Auto Winder) automatically winds the film to let you shoot at a rate of about 2 frames a second.

New type flash (Fujica Auto Strobo AZ) speeds up camera operation and heralds in a new system. It automatically sets the camera's shutter speed to 1/60-second.


Type: Through-the-lens single-lens reflex 35mm automatic exposure camera with focal plane shutter.

Film: Cartridge-packed 35mm roll film.

Picture Size: 24x36mm

Standard Lens: Fujinon 1:1.4 f=50mm; 6 components, 7 elements.

Options: Fujinon 1:1.8 f=55mm; 4 components, 6 elements, Fujinon-Z 1:3.5-4.5 f=43-75mm; 7 components, 7 elements. Full aperture light metering; rectilinear helicoid mount; 49mm dia. screw-in filter; fully automatic diaphragm with multiple system f-stop scale and click stops.

Lens Mount: Praktica screw mount with lens lock; 45.5 flange back.

Shutter: Cloth focal plane; 1/2-1/1,000 sec. electronic (automatic) shutter speed control; B, 1/60, 1/250 and 1/1,000-sec. mechanical (manual) shutter speed setting; self-cocking; combination shutter release button/electronic circuit switch (pressing the shutter release button activates the AE lock); provided with safety lock.

Flash Synchronization: Hotshoe with X-contact (provides automatic exposure with Fujica Auto Strobo AZ) (optional); X-contact terminal; 1/60-sec. flash synchronization.

Self-Timer: 8-sec. interval; activated by depressing start button.

Viewfinder: Pentaprism, eye-level, silver-coated; 0.96x magnification; 90% vertical 92% horizontal field of view (with 1:1.8 f=55mm lens); LED and scale shutter speed indication, quick-return mirror.

Focusing: Three-way (split-image, microprism, groundglass).

Exposure Control: TTL Center-weighted averaging-type metering system; silicon photodiode light receptor; aperture-preferred automatic exposure control; provided with AE lock, and fractional exposure control for +1 and +2 and -1 and -2 stops; three 1.5V silver oxide batteries (Mallory MS-76 or Eveready S-76).

Meter Range: EV2 to 18 with 1:1.4 f=50mm lens and ASA 100 film; operates with ASA film speeds 25 to 3,200.

Film Advance: Single-stroke lever; 140 deg. winding angle.

Automatic Film Advance: Motorized film winder (Fujica Auto Winder, optional) advances film and cocks shutter each time shutter is released.

Exposure Counter: Automatic reset additive type.

Film Rewind: Rewind button and crank.

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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.