Yashica FX-D Quartz

35mm MF film SLR camera


Production details
System: Contax/Yashica (1975)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Contax/Yashica [45.5mm]
Imaging plane:36 × 24mm film
Model:Electronically controlled
Speeds:11 - 1/1000 + B
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Aperture-priority Auto
Physical characteristics

Manufacturer description #1

Type: 35 mm single-lens reflex with aperture-preferred automatic exposure.

Image size: 24 x 36 mm.

Lens mount: Contax/Yashica large-diameter bayonet mount.

Shutter: Electronically controlled vertical-running, all-metal focal plane shutter.

Shutter speeds: Quartz-timed electronically-controlled shutter with speeds semi-continuously variable on AUTO from 1/1000 to 11 seconds. Manual shutter speeds from 1/1000 sec. to 1 sec., plus X (1/100 sec.) and "B".

Synchro contact: X contact (1/100 sec.).

Auto flash control: When used with CS-201 Auto Flash Unit, shutter speed automatically set at 1/100 sec. upon full charging of the flash unit.

Self-timer: Quartz-timed electronic self-timer with 10 sec. delay. LED flashes and audible warning device sounds during operation, simultaneously accelerating 2 sec. before shutter release.

Shutter release: Electromagnetic release system; auxiliary remote via "Release socket".

Exposure control: Through-the-lens (TTL), center-weighted metering at full aperture using SPD (Silicon Photo Diode) cell. Aperture-preferred automatic exposure (LED matching type on Manual). EV 1 to EV 18 sensitivity range at ASA 100 with f/1.4 lens. ASA range 25-1600.

Exposure check button: Pressing button actovates LED indicators for ten sec.

AE lock: Setting AE lock lever locks in shutter speed in effect at time of setting.

Exposure compensation: +/- 2 EV (Doubles as film speed dial).

Viewfinder: Fixed eye-level pentaprism type; field shows 95% of picture area; 0.86 magnification (with 50 mm lens).

Focusing screen: Horizontal split-image spot, surrounded by a microprism collar and an outer matte field.

Viewfinder display: Shutter speeds indicated by 16-indicator LEDs (correct exposure on AUTO; exposure selected on Manual); over- and under-exposure indications; special mark shows when flash is fully charged; battery check warning.

Film advance: With rapid advance lever; 130 deg. setting angle; 20 deg. standoff position.

Winder: Accepts Contax 139 Winder II

Film Rewind: Film rewind crank and film rewind release button (automatic resetting type).

Exposure counter: Automatic resetting type.

Accessory shoe: Direct X contact, and terminal for coupling CS-201 Auto Flash Unit.

Camera back: Opens by lifting film rewind knob; with memo holder.

Power source: Two 1.5 V silver-oxide batteries (Eveready S76, Ucar S76, Mallory MS-76 or equivalent); or alkaline-manganese batteries (LR44 or equivalent).

Battery check: Indicated via lighting or flashing of LEDs inside the viewfinder.

Manufacturer description #2

With the introduction of the FX-D Quartz, Yashica has taken a giant step into full utilization of the most advanced new technology available for the single-lens reflex camera. This exciting new "full system" camera body provides for the first time all the advantages of lightweight, compact cameras favored by modern, action-oriented photographers, with the revolutionary advances being made in photographic technology and the amazing, unequalled precision timing offered by the use of quartz crystal elements.

The elegant, simplified body design makes the FX-D an extremely easy camera to handle and operate, with perfect balance for maximum steadiness during shooting. Every control function is positioned perfectly for natural use during photography, and designed to let the photographer handle the camera with full confidence. The FX-D need never be taken away from the eye to search for a particular feature, or discover operating factors. All such information is available surely and immediately through the viewfinder data display or the "feel" of the controls.

In operation, the FX-D delivers maximum performance under any conditions. Exposure calculation is performed by a rapid-response Silicon Photo Diode cell capable of measuring even the slightest, fastest changes in ambient Iighting. And that data can be used to operated the camera in either an aperture-priority AE (automated exposure) mode or completely manually. Shutter timing is precisely controlled by the FX-D's quartz crystal element, as is the operating sequence for every factor involved in the taking of a photograph. This insures not only perfect exposure results, but vast improvements in the working of every camera function.

Concerning the camera body itself, three major factors deserve particular stress in describing the new FX-D Quartz: the superb precision of its advanced shutter system, the sensitivity and response of its exposure control system and the enormous advantages it offers in accessibility to a full range of system accessories.

The shutter mechanism of the FX-D is basically a vertical, metal focal-plane system. Shutter operation is electronically controlled for smoother, more precise results. But the major feature of the shutter mechanism is, of course, the fact that shutter speed timing is performed by the quartz crystal element for accuracy never before possible. Mechanical shutters cannot be regulated to a degree which even approaches quartz timing, since this system depends on the absolute regularity of the 32,768 pulses emitted by quartz crystal every second. By employing these pulses to time shutter operation, the FX-D brings unheard of precision to shutter speeds, and thus complete consistency to all time values involved in exposure. In the AE operating mode, the shutter operates at speeds from LT (11 secs.) to 1/ 1000 sec. Manually set shutter speeds (with the shutter still electronically controlled and Quartz-timed) range from 1 to 1/ 1000 sec. In addition, X (flash synchronization) and B (bulb) settings can be employed.

Exposure control with the FX-D starts with through-the-lens metering at full aperture. Light values are read by the SPD cell which measures a center-weighted pattern within a sensitivity range from EV 1 to EV 18 (at ASA 100 with a f/1.4 lens). The light values metered are transferred to microprocessing units which determine shutter speed in accordance with the working aperture. In the AE mode, the proper shutter speed is automatically set by the camera. In the manual mode, an indication of the precise shutter speed required for perfect exposure is given in the viewfinder LED array. The SPD cell which meters light values is capable of responding instantly to even the sublest changes in lighting, and this, combined with the amazing precision of the quartz-timed shutter allows the FX-D to give fully accurate and consistent exposure results under any circumstances.

System capability is provided for the FX-D through the use of the same electromagnetic shutter release system and the rugged, three-claw Contax/Yashica bayonet lens mount employed in the Contax camera line. This allows the FX-D to be equipped with almost any of the wide range of Contax Real Time Photography accessories, including both Zeiss T* and Yashica ML lenses, all optical path accessories and the full range of off-camera control equipment available for the Contax system. For automatic, sequential photography, the FX-D Quartz accepts the New FX-Winder which provides two frames-per-second automatic film advance.

Viewfinder information is displayed via an arrangement of 15 dot LEDs plus a special LED flash. The system is extremely visible as well as simple to use, and conserves battery power by remaining off until the photographer requires it.

To light up the LED display, simply press the exposure check button located on the front right side of the camera body. This turns the display on for ten seconds, or until the shutter is released. In addition, the display can be lit by pressing the shutter release button if the film advance mechanism has not been cocked.

In the AE mode, the LED display signals the approximate working shutter speed that will be set by the camera for a perfect exposure. Should two LEDs light, the shutter speed will be somewhere between the two speeds indicated (eg. LEDs at both 1/60 & 1/30 sec lit, working speed will be between 1/31 & 1/59 sec.).

When used in the manual mode, the FX-D provides a fast, simple and highly accurate exposure indication system. Pressing the exposure check button to light the LED display, the photographer will see two LEDs lit up, one lit steadily and the other flickering. The flickering LED indicates the manually set shutter speed, while the steady LED indicates the speed required for perfect exposure at the aperture in use. By changing either shutter speed or aperture setting, the photographer can bring the two LEDs together until only one is flickering; at that point, aperture and shutter speed factors are set perfectly for proper exposure of the scene. (NOTE: In manual mode, shutter speeds as slow as 1 sec. can be set. However, if slower speed is required for proper exposure, the shutter dial can be set on B (bulb) and exposure manually timed or set on AE for proper exposure timing by the FX-D's quartz system. Should extremely dark scenes be beyond the metering capability of the FX-D in AE mode, the lowest 'B' LED will light. In this case, exposure must be determined by the photographer and timed manually with the shutter dial set in the B position. [eg. f/1.4 at 6 minutes] In all standard situations, the FX-D will meter and set exposure accurately within the 11-second capability of the LT indication in AE mode.)

Should there be too bright a scene for proper exposure even at the 1/1000 sec. shutter speed, the viewfinder display will light the "OVER" LED, and at the same time an audible warning tone will sound. The photographer must adjust to a smaller aperture setting to bring shutter speed requirement down to 1/1000 sec. or lower. In extremely rare cases of particularly brilliant scenes, it may be necessary to switch to a film with a lower ASA rating. A special feature of the FX-D Quartz is the incorporation of an AE Lock function. The switch for setting the camera in AE Lock mode is located around the exposure check button. This same switch also is used to set the FX-D's self-timer. By using the AE Lock switch, the photographer can "freeze" the shutter speed setting while in AE mode. Aperture can then be varied, but the FX-D will remain set at the same shutter speed as long as the AE Lock switch remains on. This is extremely useful as a tool for more creative exposure techniques while retaining the advantages of AE control. Additional exposure compensation is afforded by use of the exposure compensation indication marks next to the ASA setting dial. These marks indicate ±2 EV compensation of normal AE exposure for overcoming strong back-lighting or other unusual lighting effects. Care should be taken to return the ASA dial to the (X1) setting, or turn off the AE Lock switch, after using exposure compensation techniques.

The quartz-controlled Self-Timer of the FX-D is put into effect by shifting the AE Lock switch to the S-T position. Then, when the shutter release is pressed, the camera provides a precise, quartz-timed 10-second delay before shutter operation. Indication that the Self-Timer is working is provided by a flickering red LED on the front of the camera and an audible warning tone, both of which accelerate during the final two seconds before shutter release. At any time up until the moment of shutter release, the Self-Timer can be reset for a full 10-second delay (by pressing the shutter release button) or turned off (by returning the AE Lock switch to AE-L or (0) normal position.

Another special feature of the FX-D Quartz is its full electronic flash dedication when used with the CS-201 Auto flash unit. With the CS-201 attached to the accessory hot-shoe, the FX-D provides "fail-safe" performance. Shutter speed is automatically set at the proper X synchronization (1/100 sec.) when the unit is fully charged and the FX-D is in AE mode. When the camera is in manual mode, X speed is automatically set when the manual shutter speed is 1/125 or faster. This means that every flash shot is properly synchronized, no matter what mode or setting the camera is in. Shutter speed reverts to proper AE setting (or set manual speed) whenever the CS-201 is not fully charged, or is turned off. Within the viewfinder, the "FLASH" LED lights to indicate that the CS-201 is fully charged, and at the same time, the LED display will also show proper X speed.

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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.