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Ricoh XR-P Multi-Program

35mm MF film SLR camera

Ricoh XR-P Multi-Program

Specification

Production details
Announced:April 1984
System: Ricoh K (P) (1984)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Pentax K [45.5mm]
Imaging plane:36 × 24mm film
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:16 - 1/2000 + B
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:505g
Dimensions:136x88x51mm

Manufacturer description #1

Ricoh introduces the first SLR to offer program ease without program compromise, the new XR-P. Never before have you had so much automatic/manual program freedom in a full-system SLR. State-of-the-art Ricoh computer technology gives the XR-P an exclusive 4K ROM microprocessor brain that provides amazing multi-program flexibility to match any shooting situation.

You can select three basic exposure control programs, stop fast action cold with 1/2000-second shutter speed and enjoy full auto TTL flash shooting at any F-stop. The world's first TV Mode for automatic TV photography is built in, together with a brilliant full-information LCD viewfinder. Interchangeable viewfinder screens, a multi-function electronic self-timer/intervalometer, detachable release grip and wide choice of lenses/accessories make the Ricoh XR-P a serious photographic tool.


Manufacturer description #2

The Ricoh XR-P. It does what every other program camera doesn't.

If you're reading this magazine, you don't have to be told what separates program cameras from all other 35mms.

Instead, let's talk about what separates the Ricoh Multi-Program XR-P from all other program cameras.

The answer is in the name. Ricoh Multi-Program XR-P. The "Multi" means it gives you three different programs. 'PD' for close-ups and landscapes. 'PA' for high-speed shots. And 'P' for just about every other application.

All you do is dial the appropriate program. The XR-P takes care of everything else. Automatically. All the adjustments. All the f-stops and shutter speeds. All the necessary steps that differentiate close-up photography from action photography.

A camera you can't outgrow.

As you become a more advanced photographer, the XR-P reveals itself as a more advanced camera. It goes from fully programmed to fully manual with some very useful options along the way.

For example, the XR-P is equipped with shutter bias automation for ultra-fast speeds up to 1/2000 second. You select the speed. It creates 'customized' programs to accomodate your subject.

Or you might want to use the aperture priority automation which allow you to be creative with f-stop settings while the camera automatically sees to the speed. And when you're ready for total manual control, the XR-P is ready for you. This list of its features reads like a short course in advanced photographic techniques.

A TV mode for full-screen television or computer photographs without disfiguring scan-line washout.

A lens mount designed by Ricoh to totally eliminate program drift.

A TTL flash mode that automatically synchronizes with all programs and operating modes.

A 2:1 auto-fill flash mode that smooths out harsh shadows when you're shooting in bright sunlight.

Exposure compensation for tough lighting situations.

An exposure memory lock that invites you to meter flesh tones close up, then saunter back to your shooting position, confident that it "remembers" the reading.

A left-handed shutter release that leaves your working hand free.

A self-timer/intervalometer that performs so many functions automatically, it takes fifteen lines in our product brochure to list them all.

Complete system capability, including lenses, motor drive, databack, interchangeable focusing screens and companion strobes.

And a viewfinder that is hands-down, the brightest, most readable ever, with the focusing accuracy of ground glass and the viewing ease of a full screen micro-prism type.

How do we do it all?

By now, you may be wondering how the XR-P can offer so much more than other cameras in its category.

The answer is as simple as it is important.

Only Ricoh has the research and manufacturing capability to design and produce the solid-state electronic components that make these wonder-workers possible.

We don't have to buy LSI's and microprocessors from other companies. Or basic parts from other manufacturers. The XR-P is Ricoh through and through.

That's why it can think of everything. And that's why you should think of Ricoh before you buy your next camera.


Manufacturer description #3

TYPE: 35 mm SLR with focal plane shutter and automatic electronic exposure control.

PHOTOGRAPHIC MODES: Multi-program automatic exposure mode, aperture-priority automatic exposure mode, shutter bias automatic exposure mode, TV mode, TTL auto flash mode, and manual exposure mode.

FILM FORMAT AND FRAME SIZE: 35 mm film, J135, 24 x 36 mm

LENS MOUNT: RICOH system RK mount

SHUTTER: Electronically controlled, vertically moving metal focal plane shutter. Automatic: 16 sec. to 1/2000 sec. Manual: 4 sec. to 1/2000 sec. B and TV

SELF-TIMER: Operating time: 10 seconds. During operation, red lamp blinks and electronic sound is given. Operating time: 0 second. Shutter release with your left hand

INTERVAL TIMER: Operation time: 2 sec., 15 sec. or 60 sec. Photography at regular intervals is possible with the winder 2 or motor drive.

VIEWFINDER: Field of view covers 93% horizontally and vertically. Magnification: 0.88X (with 50 mm F1.4 standard lens) Displays in the viewfinder: Exposure adjustment, AE lock, manual, program mode, TV mode, overexposure mark, shutter speed indicator, long time exposure, underexposure mark, bulb, battery low warning signal, and programmed f-stop number. LED indicator: Flash ready indicator, correct auto flash indicator. Optical readout type: F-stop number

FOCUSING: Diagonal split-image spot in microprism band

EXPOSURE METER: TTL full open metering for center-weighted average light reading (Direct film metering when SPEEDLITE 300P is used.)

EXPOSURE COUPLING RANGE: EV0 to EV18 (with ASA 100 film, 50 mm F1.4 standard lens)

FILM SPEED RANGE: ISO/ASA 12 to 3200

FLASH TERMINAL: X synchro contact. Sychro socket provided.

EXPOSURE ADJUSTMENT: Exposure adjustment system (+2 to -2, in 1/3 steps), AE lock system

FILM ADVANCE: Single stroke film advance lever, 135° winding angle and 35° stand-off.

AUTOMATIC FILM ADVANCE: Possible with XR winder 2 or motor drive.

EXPOSURE COUNTER: Additive, automatic resetting.

FILM REWIND: Film rewind crank system.

MIRROR: Swing back type quick return mirror.

BACK COVER: Hinged type, opened by pulling up Film rewind knob.

OTHER FUNCTIONS: 2 position multiple exposure device, interchangeable grip and direct contact for data back.

POWER SOURCE: Four LR44 1.5V alkaline batteries, four SR44 1.55V silver oxide batteries or two CR-1/3N 3V lithium batteries.

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35mm full frame

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

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

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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

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),

where:

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

Mount

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.

Speed

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.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

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.

Weight

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.

Filters

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

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.