Yashica Electro 35 GSN rangefinder: It’s just okay

Yashica Electro 35 GSN front view
A front view of the Yashica Electro 35 GSN rangefinder camera and its sharp Yashinon 45mm f/1.7 lens. (Daniel J. Schneider)

The Yashica Electro 35 series rangefinder cameras are very highly regarded among street photographers, and perhaps with good reason. But I’m just not that impressed.

In the interest of transparency, I should disclose that my expectations were high based on all I’d heard about the Electro 35. It appears regularly on lists of affordable rangefinders, and frequently tops them.

Often discussed in the company of other inexpensive rangefinders that I know and love, such as the Konica Auto S2, the Canon Canonet III QL-17 and the Olympus 35SP, I guess I just got my hopes up too high.

It’s not that I can’t see plenty that’s right with the Yashica, but it just doesn’t do it for me the way those others do.

Brown Palace woman
A woman walks up 17th Street outside the corner of the Brown Palace Hotel on Broadway in downtown Denver. (Daniel J. Schneider)


The Electro 35 series began in 1966 and went through several iterations over the years. My GSN model was produced from 1973 to 1977. Yashica reportedly sold over eight million Electro 35s over about 15 years.

Yashica Electro 35 exposure indicator
Two indicator lights on the top plate of the Electro 35 indicate under- or over-exposure. There are indicators in the viewfinder, too. (Daniel j. Schneider)

It sports a sharp 45mm f/1.7 Yashinon (labeled “Color-Yashinon” after 1968 as color film became more popular) lens with a 5-bladed aperture that stops down to f/16 and accept 55mm threaded filters. The leaf shutter is infinitely-variable (“stepless”) and controlled by the auto-exposure system unless you switch to flash mode, which syncs at 1/30 sec. There is a self-timer lever behind the aperture ring.

The longest exposure is limited by the aperture — at f/1.7 it won’t go longer than 3 seconds, but at smaller apertures it can extend all the way to 30 seconds. If the battery is dead or removed, the camera reverts to its fastest shutter speed, around 1/500 sec. It also has Bulb mode.

On the top plate is a film speed dial with speeds from ASA 25 to ASA 1000 (earlier models went from ASA 12 to ASA 500). The meter doesn’t see through filters, so you may have to use the film speed dial to compensate for your filter factor. The accessory shoe on the GSN (and black GST) models is hot, and the models retain the PC-sync socket on the left end of the top plate that was more necessary on the earlier, cold shoe-equipped models.

Yashica Electro 35 lens controls
A detail shot of the controls on the lens housing of the Yashica Electro 35 GSN camera. Note there is no shutter speed setting. (Daniel J. Schneider)

Rewind knob on the top left, spool release on the bottom right, and battery check in the center of the back of the top plate. On the top center are the electronic exposure indicators. The yellow Slow LED indicates shutter speed of 1/30 sec. or slower, and the red Over LED warns you that the exposure is at 1/500 sec. and needs to go faster.

The two LEDs are also visible as arrows in the viewfinder with the same color coding. Using either set of indicators, the arrows indicate the direction the aperture needs to move to compensate for either the slow shutter speed or the overexposure.

Also in the viewfinder are brightline framing indicators that adjust automatically to correct parallax error and a diamond-shaped bright patch for the rangefinder.

Yashica Electr 35 GSN viewfinder
Looking through the Yashica Electro 35 GSN viewfinder. The brightline frame is highly visible, but the bright spot is small and dim. (Daniel J. Schneider)

The Electro 35 is designed to use a 5.6-volt mercury battery that is no longer available anywhere in the world, but there are a number of alternatives and adapters that can get you up and running with a 4SR44 battery or similar. When I mentioned the Electro 35 in an In My Bag post in February, I mentioned an adapter from Yashica-guy.com that worked quite well for me.

The shutter release button is tall and travels a long way before tripping the shutter itself, first activating the meter in two stages — one for the Slow indicator, and another for the Over indicator. It is surrounded by a locking collar that will save your batteries by preventing the tall button from being partially depressed in your bag. The button is threaded for a cable release.


I think I may have been suffering a bit of rangefinder fatigue by the time I got around to testing the Electro 35, but I really wasn’t that impressed overall. I think that has more to do with the competitors I’ve already tested, though, than the Yashica itself.

Brown Palace Hotel
The historic Brown Palace Hotel at the corner of Broadway and 17th Street in downtown Denver. (Daniel J. Schneider)

Visually, it’s a massive camera compared to other rangefinders of its day. It features a ton of metal in the construction, so it feels both stout and solid. However, it also feels quite heavy — even heavier than the hefty Olympus 35SP.

The rounded corners and shiny details are almost comically space age — like a prop from Woody Allen’s Sleeper or the set of the original Star Trek series. Of course this means that the Electro 35 is still fairly comfortable in the hand despite its size and weight.

The lens on mine wobbles a bit — not uncommon on Japanese rangefinders of its era, and particularly the Electro 35 — but stills seems able to take sharp pictures. Most of my examples were made at f/8 or f/11 and the Electro’s reputation for sharpness is, I think, well-deserved. I don’t see any noticeable distortion or chromatic aberration, either.

The aperture and shutter control rings, and the focus ring, are well-spaced for my thick fingers and have comfortable, grippy knurls. They turn evenly and easily.

Alley off 16th Street Mall
The Paramount Cafe sits on a narrow alley between two tall (at least, they were once consider tall) buildings along the 16th Street Mall in Denver. (Daniel J. Schneider)

The battery test button on the back of the top plate has a green LED next to it on some models. On those without the LED, the frame counter (almost hidden to the right of the film advance lever) is supposed to light up green. Mine apparently doesn’t work, because it does nothing despite the auto-exposure functioning correctly and the shutter firing.

A lot of the Electro 35’s controls, such as the spool release button, rewind knob, PC-sync socket and hot shoe, are placed in common locations and function as you’d expect. The film speed dial just turns to align a red mark with the speed on the indicator plate. Things get more interesting on the top right, though.

The shutter release’s long travel was harder to get used to than I expected. Pushing it down all the way seemed to take more determination than I thought, every time. The distance was like plunging a clogged toilet, over and over. Of course it’s going through the two stages of metering detection each time, telling you whether you’ll need to stabilize the camera for a slow shutter or stop down to avoid over-exposure, but it’s an action that requires a lot of intent.

The locking collar on mine, too. Is so easy to move, that simply brushing it with my knuckles flipped it around a few times and cost me a shot or a little frustration.

Oliver Row Crop 70
An Oliver Row Crop 70 tractor in the middle of Mile High Flea Market. Several classic tractors and trucks adorn the 80-acre site. (Daniel J. Schneider)

And there is something about the film advance lever, too, that is just a little bit off. Its plastic tip is curved and smooth on the vertical face your thumb touches, but the corners where it meets the horizontal top and bottom faces are fairly sharp and dug into my thumb.

Additionally, the advance lever is very short, which makes for an unusual arc of travel that felt almost unnatural in the way my thumb moved. The slippery plastic tip is easy to lose grip on at the end of the travel, and the return spring is strong enough that the lever really whips back. It’s loud.

Flea market waterfall
A waterfall in the middle of Mile High Flea Market, and a bit of solar flare from the morning sun. (Daniel J. Schneider)

The shutter, too, is louder than those on a lot of the Electro 35’s contemporaries. It’s not as loud as an SLR mirror or anything, just louder than its direct competitors. And then there’s the clunk.

Just as you begin to advance the film you should hear a loud clunk as the shutter cocks. I say should because that’s not always the case.

As the Electro 35 ages, there is a small rubber pad in the shutter tensioner mechanism which can degrade and crumble, preventing the shutter from cocking and reportedly messing up the accuracy of the light meter. Unfortunately, this problem is somewhat common on used Electro 35s, and repairing it requires a near-complete teardown of the camera — a repair that will almost certainly cost more than the camera is worth. Unless you’re brave enough to try it yourself, you probably want to pass or find a working replacement camera.

So if you’re in the market for an Electro 35, watch out for the “Pad of Death” problem and make sure you hear that clunk. Remember: If it don’t clunk, then it’s just junk!

Most of the rest of my complaints with the Electro 35 have to do with the viewfinder.

Precarious icicles
Clusters of precarious icicles hang from a pine tree bough after several straight days of snow and freezing rain storms in Denver in the spring of 2015. (Daniel J. Schneider)

While the finder is seemingly big and bright, the framing lines indicate that the image area only occupies about 50 or 60 percent of the scene you see. This may be due to the automatic parallax correction — which is actually pretty cool. The brightline framing indicators move from being fairly close to the center of the viewfinder down toward the lower-right corner as you move the focus point closer. They stay nice and bright the whole time, too.

Also visible in the viewfinder are the arrow-shaped Slow and Over indicators from the light meter. The arrows point in the direction you’ll need to turn the aperture ring in order to compensate. Since the Slow arrow indicates a shutter speed of 1/30 sec. or below, you’ll want to either open up the aperture a little or stabilize the camera to avoid shake. Over is just over-exposed — the shutter can only handle 1/500 sec., so you’ll need to stop down or add a neutral density filter in order to compensate.

Looking through the viewfinder also feels a bit like looking through a toilet paper tube (two bathroom references in one review, that’s got to be a record!). It’s not as bad as the tunnel-vision finders on some old Bakelite box cameras like the Imperial Herco 620 Snapshot, but there are a lot of reflections that make it a bit annoying.

Lastly, the rangefinder patch is a bit meh. It feels almost like an afterthought in some ways. Sure, it works. But it’s not very bright or very big, and it’s an odd little squished diamond shape that looks like maybe a bigger camera sat on it during recess.

17th Avenue at Broadway
Looking east on 17th Avenue at Broadway. Pedestrians from all walks of life fill the sidewalks in the afternoon. (Daniel J. Schneider)

So that’s it. As I said, my experiences with some of its competitors — and the era was rife with solid, inexpensive rangefinders, particularly from Japan — may have colored my opinion, but I really wasn’t that impressed by the Electro 35.

If you have a chance to get one cheap, by all means give it a try — it would be a great introduction to this class of vintage camera. But if you have a choice between the Yashica and an Olympus or Canonet, maybe pick the other guy instead.

My test rolls were Ilford FP4 Plus and some expired Kodak 200 color negative that must’ve been cooked a bit in its life, as you can see from the grain and color-shift. The autoexposure seems to have been really spot-on, though.

Denver sign redux
The giant Denver sign at the Denver Pavilions Shopping Center off 16th Street Mall in downtown Denver. (Daniel J. Schneider)
Review Summary
Review Date
Reviewed Item
yashica Electro 35 GSN rangefinder camera
Author Rating
  • Joshua Fast

    I realize your original post is going on a year old, but i had to comment. I can’t agree more. I had one that was gifted to me and it had POD issues. It was a nice camera so i paid for a CLA and new light seals. The pictures were “OK” but nothing to write home about so i resold the camera. About two weeks ago i got the itch for a big 70s rangefinder. I found a “working” GSN for peanuts and snagged it, however the meter has no intention of working without serious maintenance. I’m done with electros, I still haven’t had the magical experience everyone raves about.

    • I’m starting to wonder if they weren’t a fad for a while there. I’ve been hearing more and more rumblings like ours. I love Yashica’s TLRs, but their SLRs and RFs, in general, have not impressed me. Serviceable cameras, yes, but surpassed relatively easily by many competitors. If you want this kind of experience, I recommend picking up an Olympus 35SP, or maybe a Konica EE-Matic. I’ve been recently introduced to the Olympus Trip 35, too, and I can see why It’s got the ‘cult’ reputation. As long as you don’t mind zone focusing, it’s a great little camera. But for a true RF with auto-exposure, I think my EE-Matic Deluxe is my very favorite. And no batteries required!

      • Joshua Fast

        I have a plain jane early 60s Yashica Mat and it’s my second most used MF camera. I love it. I borrowed a Rollei a few years back and maybe i was just used to the Mat, but i wouldn’t have traded them even if asked. Yashinon lenses are stellar. I keep hearing about the 35sp, i might start looking into getting one. It will look good in my Olympus stable. How does it stack up to your Konica S2 in IQ?

        I used to have a Trip 35, i say used to because my wife stole it. Zone focus and auto exposure, right up her alley.

        • My plain-ol’ Yashica-Mat is my No. 2 MF, too (after the P6x7, of course). I love the big 2.8 focusing lens. I think a Rollei 2.8B/C/D (crank winder, no meter) would probably work just fine for me since it’s functionally the same. I’d love that big 2.8 taking lens! But I don’t know till I try.

          I think the 35SP and the Auto S2 are pretty comparable, quality wise. There are some example photos in my review (http://schneidan.com/2014/01/15/review-photos-olympus-35sp-35mm-rangefinder-camera/), though they were taken with expired film and the grain belies the sharpness a bit. But really, very comparably. 35SP is a bit heavier, but very usable. The spotmeter switch is a really handy option, though.

          I don’t know if I could let mine go now that I’ve developed an affinity for it. It’s the first zone focus camera I’ve ever used that I’ve really enjoyed — and gotten sharp pictures out of. I suck at zone focusing (mostly in the remembering-to-actually-do-it dept.).

          • Joshua Fast

            I do envy the 2.8 viewing/taking lens although i find myself using it mostly for street photography where i’m prefocused and at F8+ anyway. My main MF is a 500cm which is a whole different beast. I keep playing around with the idea of 6×7 but i haven’t quite taken the plunge.

            Zone focus is an acquired taste I think. I really like Olympus’s take on it. 4 zones and your done. Can you touch it, kick it, throw something at it, or infinity. I actually use the original Oly Pen S more than the F since the depth of field is enormous and the ZF is almost foolproof.

            It seemed that olympus just couldn’t fail in this era, i think i’m leaning towards the SP.

          • Don’t all Yashica-Mats have the 2.8 viewing lens, though? You’re so right about being at f/8 most of the time… I’m an f/5.6 guy, but the principle is the same. I really prefer a TLR for WLF use, although I’ve barely touched Hasselblads. I’ve used an RB67 quite a bit, though, and I think I prefer it on a tripod. :P

            Between a Hassy and the P6x7 there’s a lot more than just format difference … it’s a whole other world. P6x7 is functionally the same as using a Nikon F2, which is a big plus for me. Oh, except for the battery issues which kind of suck, but … are worth it for the images the thing can make.

            I love your descriptions of the zones! And yeah, Olympus really did capture that market effectively. Much more so than the SLR market. OM-System is good, but really not so great, IMO.

            I’m reasonably confident you won’t be disappointed with a 35SP.

          • Joshua Fast

            Not all do, that’s how i know mine is an early 60s model. Somewhere around 64-65 they switched from 3.5/3.5 to 2.8/3.5. I prefer a TLR for quick and quiet shooting but a Hasselblad shines when you have time to really compose. Zeiss glass, especially the 80mm F/2.8 Planar just blows me away with the detail and mood it captures. The downside is it’s very very loud since there is a shutter in the lens and body, people do notice.

            I have a Pentax M645 but i barely use it, i almost look at smaller MF negs to be a waste of film. At that point you may as well shoot 35mm and gain portability. That’s why i was entertaining the idea of a 6×7 for non square MF. That camera looks simply ginormous though, do you find you lose shots due to the “Lazy” factor? IE “Meh i’ll never get the camera out of my bag in time…”

          • Ah, I learned something today. Mine is a 2.8/3.5 version and it makes a difference. The mirror and screen on my Yashica D are the same, but the 3.5 viewing lens makes a noticeable difference when focusing.

            The P6x7 is loud. LOUD. People pop up like prairie dogs from blocks away.

            I can see the usefulness of a 645 … it’s a same aspect ratio as 35mm, but greater detail. But I’m not drawn to it. Give me a 6×9!

            I’m not lazy enough to miss a shot for not lifting the camera to my eye. And I don’t shoot ‘action’ really ever, so that’s rarely a concern. I’m also a very large human and I don’t think the P6x7 is as massive for me, relatively speaking, as it is for a lot of smaller folks.

          • Joshua Fast

            I love the mental picture of prairie dogs, very true!

            I’m guilty of doing it with a bagged camera. That’s why i started using Black Rapid straps for walks vs just carrying a bag.

            BTW great site. I see a lot of similarities in how you process thrift store finds. My wife loves to search thrift/antique stores and i used to hate life until i discovered that you can find cameras there. Keep up the great work!

          • I had a Black Rapid strap when I had a DSLR and I liked it, but as I’ve gotten more serious about the photo than the gear I’ve found that the act of taking the camera out is never a bar to making a picture. Also, I often just carry a camera in my hand if I’m actively working.

            Thanks much! I’m trying to stop buying cameras (and will soon be selling some!), but I do so much enjoy the ‘thrill of the hunt.’

  • R Madrid

    It is just a solid RF when you get a fully working one. They highly regard the lens on this one.

    • It is rather a cult camera, but I just wasn’t impressed. So many Olympus, Konica, Minolta, and Petri options I’d much rather have.

  • Peter Ferenczi
  • Jan Bergström

    Seems you got a sample that is not in a good condition. I think a QL17 or SP in similar condition would not impress you either. The accurate aperture-priority exposure mode and step-less shutter are two killer features that took other camera makers a decade to catch up with, (and they still hold well today.), thats why Yashica Electro 35 was more expensive than many of the shutter-priority (trap-needle based “fake” automation) RFs from the same era if you compare the prices back then. The only down side of the camera to me is the big size, however there are smaller models like Yashica Electro 35 GX and CC to choose from. And I can’t resist to mention the viewfinder version 35 MC, it rivals Rollei 35 as a shooter rather than tick-tack toy with inhuman ergonomics, in my humble opinion.

    • Yeah, I knew mine was only in so-so condition, and it’s definitely got a sharp lens. As I try to make clear on here, this is more about how I liked the camera than an exhaustive review of it in comparison to anything in particular. But for a Japanese RF camera from that era, I’ll still stick with a Petri 7 or Minolta Auto S2 (or maybe a Hi-Matic). I haven’t ever put my hands on a QL17, but I know they’re well-liked. Personally, I’d prefer to expose manually to most of the ‘automatic’ systems available in the 60s and 70s. I think I was pretty fair when I said in the headline, “It’s just okay” — there’s nothing horribly wrong with the Electro 35, it just didn’t impress me that much considering what else is out there.