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Viewing screen, or just “screen”: This is the piece of plastic between an SLR’s mirror-box and prism, on which the lens’s aerial image is cast. Also sometimes referred to as ground glass, since that’s what screens used to be made of (and still are, on some view cameras). Think of a slide projector. When the pprojected image is in the air, you can’t see it; but when it hits the projection screen and reflects back at you, then you can see it. If the slide projection screen were semi-transparent, then you could get behind it instead of in front of it and still see the image through it. This is what a camera’s viewing screen does. The viewing screen is where the camera maker puts things like focusing aids (split-image circles and microprism collars, if you’re old enough to remember such things), grid lines, and the little marks that show you what the camera is autofocusing on. Better cameras may have “interchangeable screens,” meaning that you can take out the one with the split-image circle on it and put in one that has grid-lines on it, or whatever.
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Focusing “snap”, a.k.a. ground-glass coarseness: this not only can’t be measured objectively, it’s also usually not remarked upon in camera tests. Rather, it’s assumed that the brighter the screen is, the easier it is to focus. This is sometimes, but not always, true. More about this later.
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Similarly, “focusing snap” and viewfinder brightness don’t exactly go hand in hand. The super-bright screens are essentially bundles of very small fiberoptic cables, sliced crosswise, or miniature fresnel (flattened) simple lenses. While they transmit a ton of light, they can be very difficult to focus on. Everything looks pretty sharp; it’s not very obvious what’s in focus and what’s not. (The effect is worse with wide-angle lenses, which have more depth-of-field.) Old-fashioned ground-glass screens had better focusing snap the coarser the grind (surface texture) was. But, the coarser the surface, the dimmer the finder.
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One reason bright screens are so widely used today is that many SLRs are now autofocus, and focus isn’t dependent on your eye, so focusing snap no longer matters. If you want to see what a really bright viewfinder looks like, take a gander through Minolta’s Maxxum 7 next time you’re in a camera store. It’s an example of a finder with very good brightness, but it doesn’t have very good focusing snap. The Maxxum 7’s magnification is excellent as well, at least by AF-camera standards. Although manual focusing with this finder may be tough, it’s an incredibly bright, contrasty, crisp and clean AF viewfinder. Frankly, compared to most cameras these days, the Maxxum 7 is a pleasure to shoot with because it’s such a pleasure to look at the world through. But I digress.
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Now take a look for a moment at the comparative specs for the two Contaxes, the RTSIII and Aria. Contax gives its users the best of both worlds: those who want 100% coverage can choose the RTSIII. With the Aria, which, like most Contaxes, has a particularly excellent viewfinder, the coverage goes down slightly to 95% (still very good), but the magnification goes up, to .82X. This, plus the Aria’s excellent “focusing snap,” makes manual focusing easy. Combined with the Aria’s outstanding eye relief (more than one inch, better than both the Nikon F5 and Canon EOS-1V!), it makes for a very good viewfinder indeed.
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