Happy Holidays!
Happy Holidays and best wishes for an amazing 2020!
Ten Years of Shadow Self-Portraits
After ten years of wandering around Northern California with one film camera or another, I’ve shot lots of shadow self portraits. It’s a goofy thing to do, I know. But I still do it.
Window Selfie Leica R4s, 60/2.8 Macro-Elmarit-R, Kodak Tmax 400
To be or not to be...social on social media.
Besides this blog, I have a Flickr account. I’m also on Instagram and Facebook.
My blog gives me a lot of satisfaction. It’s a place to ramble on about my old cameras and lenses and it gives me someplace to hang up the photographs I take. Despite an irregular schedule of posting new content, I have quite a few followers and site traffic increases year after year. The posted comments and emails I get are almost entirely positive and fun to read. I am grateful for the connections I have made here.
It’s much the same over at Flickr. I post the images I make that I am most proud of and that I think other people might like. I also put up tons of pictures of my gear—those tend to be the most popular and many have made it to Explore. Flickr comments are generally positive…people saying nice things about my work or my cameras or asking questions. I’ve made some nice online friends on Flickr.
My Instagram is a mix of my analog photography, some gear photos and occasionally some personal images. Instagram socialization seems to be limited to “likes” or short, mostly positive comments.
I joined Facebook years ago mostly to monitor the paid social campaigns I was working on for my clients and to manage Facebook’s paid ad programs. For years, I hardly posted anything personal to the site. Gradually, I joined some photography groups and as I did, my time on Facebook increased. I’ve had a lot of pleasant digital interactions on the platform, but I also notice it is a place where people can be very inconsiderate. It even seems to be okay to be cruel, unkind and thoughtless.
In one of the groups, a new member posted a photo of her just acquired Pentax ME and she commented about how excited she was to get her first “real camera.” What followed was a tirade of not so friendly comments…
“Real camera? Why do you think the ME is real camera? Simple, basic.”
(photo of Nikon F3) “This is a REAL camera!”
(photo of Canon AE-1 Program) “Real camera!”
“When you a ready for a real camera, I have some suggestions”
The member did not respond to any of the comments or post anything further. There were some positive comments and likes as well, but the negative ones probably made the budding film photographer feel bad and that is certainly not what this community should be doing to a new member.
I do think social media platforms are great places to share, meet and learn, but I also think that the relative obscurity of the technology allows people to be less sensitive to another human being’s feelings than they would if they were looking that person in the eye.
We seem to be living in a time when it’s ok to say whatever is on your mind without regard to how it might affect someone hearing or reading it. I certainly respect everyone’s freedom of expression. I just hope, in our little film photography corner of the social media world, we can all be kind, considerate, thoughtful and helpful. I know I am going to try harder.
Leicaflex SL2
Most everyone associates Leica with their famous M rangefinder cameras. And those Leica rangefinders are gorgeous cameras! But in the late 1950s, a revolution was beginning in 35mm cameras…from rangefinders to the SLR or single lens reflex. A number of different manufacturers began building 35mm SLR cameras but it was NIkon’s F camera that turned the world upside down when it was introduced in April of 1959. The F was an immediate success, with professional photographers putting aside their rangefinders and large format press cameras for the new Nikon system camera.
The folks at Leica took notice and began developing their own SLR camera. The first, the Leicaflex Standard, was introduced in 1963. The standard was a well made, professional caliber camera but was nearly outdated by the time it hit the market. The Standard offered on board metering, but not through the lens. Metering was done through a little eyeball on the front of the prism finder. Soon after, Pentax would introduce their Spotmatic with through the lens stop down metering and Nikon would offer a TTL Photomic metering head for their F. The photographic world was quickly embracing through the lens metering and Leica needed to catch up.
In 1968, Leica answered the call of critics with the introduction of the Leicaflex SL. SL stood for selective light, a through the lens system that was nearly spot metering . Second only to the Leica R4, the SL was Leica’s most popular SLR camera, selling 75,000 units before the SL2 was introduced in 1974. My first Leica SLR several years ago was the SL and I didn't warm to it then. Mostly because of the lack of a split image focus screen. My original SL also had a meter that sometimes worked but mostly didn’t. That early experience with the SL dulled my desire to try the SL2 or even one of the later R series cameras.
It wasn’t until some years later, after having some good experiences with Leica R cameras, that I read a very positive review on James Tocchio’s website that peaked my interest in trying the SL2. Wanting one to buy, I discovered, was far easier than finding one to buy.
Even the newest Leicaflex SL2 is over 40 years old and they weren’t made in the quantities of say, the Nikon F…so there were far fewer decent examples for sale. I finally found one that was very nice cosmetically, that the seller indicated had a meter that was still responding to light and a clean looking battery chamber, so I pulled the trigger.
I was pleased when the camera arrived. It was in great shape and the shutter sounded strong. Although not the correct voltage (the SL2 takes a now banned 1.35v mercury battery) I popped a 1.5v 625A battery into the chamber and the meter came alive. The only real disappointment was when I looked through the big and beautiful SL2 viewfinder…it had all sorts of brown spots inside! Fungus? Some other sort of crud?
My SL2 just before sending it to DAG Camera Repair. Out front, that’s the German-made E67 version of the 35-70 Vario-Elmar.
I had plans to send this camera off immediately for service with Don Goldberg at DAG Camera Repair, so I emailed Don and asked about the brown spots. He responded that the brown spots weren’t some creepy crawling fungus or even dirt. The spots I was seeing were from a de-silvering of the prism which is somewhat common in old reflex cameras. Luckily, Don had replacement prisms in stock and told me that would take care of the problem.
About a month later, my SL2 was back from Don’s shop with a full CLA, conversion to 1.5v battery and a bright and crystal clear viewfinder with no brown spots! While waiting for my camera to come back, I ordered a custom leather half case from Luigi Crescenzi. Luigi makes awesome cases and sumptuous straps.
SL2 with Luigi half case
I have only met a few film SLRs that I disliked, many I liked, some I liked a lot and just a few that I love. I LOVE the SL2! It might be the smoothest, sweetest sounding, most confidence-inspiring camera I have ever shot…period! There’s a story around the internet that Leica over built this camera and lost money on every copy sold. Their rationale was that people would buy lenses and that’s how they’d make money. I am not sure if this is true or just an urban legend, but I will tell you that the SL2 is over built. Every single part. The fit and finish on my SL2 is extraordinary. Every knob, lever and dial moves with perfection and authority. It’s a camera you want to shoot with and fiddle with when you’re not.
Everything you need. Nothing you don’t.
The SL2 is a mechanical, manual everything camera. The battery powers only the light meter, the shutter is totally independent of the battery throughout the range of speeds. The viewfinder is huge with analog meters for shutter speed and aperture settings along the bottom and a match needle for the meter on the right side. Adjust settings until the two needles overlay each other and you have perfect exposure. A little button lights up the viewfinder displays in dim light.
You load film in all Leica SLRs the opposite way you do most 35mm cameras. Slide the end of the film under the gray slots on the take up spool, pull the film cartridge across the film plane and drop the cartridge into the left side. Wind one shot onto the take up reel and close the back. Seemed strange at first, but it’s easy and always works flawlessly.
The SL2 is a heavy camera. It feels best with a big lens out front. My 35-70 Vario Elmar balanced nicely on the SL2. I also have a 50 Summicron and 28/2.8 Elmarit. Shooting the SL2 is pure joy. Unlike the SL, this camera has a split image focus screen and the viewfinder makes you feel as if are looking at an IMAX movie screen. With shutter speed and aperture displayed along the bottom and the meter reading along the side, you can literally make adjustments and shoot without taking the camera from your eye.
My first roll in the SL2 was some Fuji Acros. I shot out on Mare Island at the site of an old Navy ship and submarine building facility and around Yountville, CA.
First, Mare Island…
And in Yountville…
This Vespa scooter is on permanent display outside a little shop. It’s one of my favorite subjects.
There are better cameras for street photography, but the SL2 isn’t bad!
Inside a tasting room with available light through the window.
I’ve shot this market many times. It’s a great subject. Hardest part is waiting for a moment to get a shot with no cars on the street in front.
I’m glad that I didn’t dismiss Leicaflex cameras after my first experience with the SL. The SL2 is a delight and provided me with an enjoyable weekend of shooting! I have never been a zoom fan but I was surprised at how well the 35-70 Vario-Elmar performed too and am anxious to use it more.
If you’re a fan of simple mechanical cameras and don’t mind investing some time in the hunt and a few dollars on purchase and service cost, the SL2 is a great choice. And those Leica R lenses are very very nice.
PS: Just about the time I had sent this SL2 off to DAG, my buddies at Tamarkin Camera called me and asked “Hey, weren’t you looking for a Leicaflex SL2? We just got a minty one in.”
What can I say? Merry Christmas to me. :-)
Weston Master V
I love vintage light meters. Over the years, I have picked up a few old Gossen and Kodalux meters, but I think the Weston meters are my favorite.
The Weston Company was founded in 1888 by Edward Weston (not the famous photographer) and began designing and building electrical measuring devices. The earliest Weston light meters date back to 1932. The Weston Master series was made from 1939 to the early 1980s. My Weston Master V dates from around 1972. I also have an earlier Master III and IV. All of these meters use selenium photovoltaic cells—no battery required. And all of my old Westons still work and are pretty darn accurate when compared to my modern Sekonic meter or the on board meter in my Nikon F100. I found one of my Westons in an antique shop for $20 and paid about the same for the others on eBay.
When old photo gear survives years of use and still works, I enjoy pampering these devices a bit. Most of the cameras in my collection have been or are scheduled for service. I sent my handheld Pentax Spotmeter V to Richard Ritter for calibration some years ago and it came back like new. This Weston meter, from the looks of the sticker on the back of the case, was calibrated in 1996 by Quality Light Metric Company in Hollywood, CA.
A quick Google check shows that Quality Light Metric is still in business, still in Hollywood and still repairing and recalibrating light meters for still photographers and cinematographers. George Milton is the owner and even the phone number is still the same, albeit with a 323 area code rather than 213.
Since my old Weston was in George’s shop 23 years ago, it’ll be fun to send her back in for a check up. I’ll report back with the before and after numbers.
20 Best Film SLRs for 2020
I get more email comments on my blog posts about recommended cameras than anything else I write about here. Seems there are a lot of people searching the internet these days for suggestions about the best film cameras to buy and try. After ten years of success and failure, here are my top 20 single lens reflex film cameras for 2020:
Canon A-1
Multiple shooting modes available in this lightweight and affordable SLR. Plenty of Canon FD lenses available.
Tip: The Canon squeak is common with the A-1 and AE-1 models. It’s annoying but doesn’t affect operation. A CLA solves the issue.
Canon F-1 New
The final evolution of the F-1 series features a cool matte black finish, aperture-priority auto exposure and a sweet sounding shutter!
Contax RX
I have tried several Contax SLRs from this era and like the RX the best. Big viewfinder, electronic focus assist and wow…those Carl Zeiss lenses!
Tip: Shop carefully. Contax cameras are complicated electronic devices and the technology hasn't aged well.I bought my body from B&H Photo which offers returns if not satisfied.
Hasselblad 500cm
Beautiful medium format SLR that is completely modular allowing you to build a camera to fit your personal style.
Tip: The 500c is less expensive but doesn’t offer the option of changing out the focus screen. I upgraded to an Acute-Matte screen in my 500cm. It’s much brighter.
Leicaflex SL2
The cost of building this SLR nearly put Leica out of business. One of the nicest vintage cameras I have ever used.
Tip: Shop carefully…the prisms in these tend to de-silver with age but are easily repairable. DAG Camera Repair is the go to shop for Leicaflex.
Leica R4s
After fighting electronic gremlins in the R3, Leica got it right with the R4. The last version of the R4, the R4s MOD-P is the most dependable and nicest to shoot.
Leica R6
This is the SLR version of the M6 rangefinder. All mechanical, simple and accurate TTL metering and one of the most affordable ways to try Leica lenses.
Tip: The R6.2 is the same camera but with a top shutter speed of 1/2000th.
Minolta XD
I have tried lots of Minolta SLRs and I like the XD best. Also called the XD-7 and XD-11, this camera is a result of a Minolta/Leica collaboration.
Nikon F2
A wonderful mechanical professional level SLR! The interchangeable prisms on the F2 make it a F2 Photomic, F2S, F2SB, F2A or F2AS. The AS is the final version with the most accurate meter. It’s also the most expensive.
Tip: Every F2 I have bought needed new seals and mirror bumper foams. Most will benefit from a complete CLA. Sover Wong is the go to guy for that.
Nikon FM2n
All mechanical with built-in center weighted metering, the FM2 was the dependable back-up camera to whatever pro body working photographers were shooting at the time. You can’t go wrong buying one of these great Nikons and oh…those fabulous NIkkors!
Nikon FE2
The FE2 was the first film camera I bought when I got back into photography in late 2009. This camera is the electronic version of the FM2 with aperture priority auto exposure and one of the best viewfinder displays of any classic SLR!
Nikon F3HP
It took three tries before I finally warmed up to the Nikon F3. Some cameras are better appreciated with experience. I’m at peace with my F3 now…it is a joy to shoot!
Nikon F4
I know there are a lot of haters out there, but I just love my big, heavy Nikon F4. This was an expensive and revolutionary camera when it came out. Whenever I shoot my F4 someone will come up and say “Wow, what kind of camera is that?”
Nikon F100
The newest camera I own and one of film photography’s best values! These cameras are amazing and they sell for cheap! I remember when the F100 came out, there was a waiting list to buy one.
Tip: Nikon used a kind of rubber on the outside of this camera that gets sticky over time. I find that handling the camera often takes care of that issue. Not sure why, but it works!
Olympus OM-1 and OM-1n
Gorgeous, jewel-like little cameras with amazing lenses! These cameras used now banned mercury batteries but can be adjusted to use modern photo cells. Love this camera!
Tip: John Titterington sells serviced OM-1 cameras on eBay. I have purchased all my Olympus cameras from John.
Pentax Spotmatic
The Spotmatics are well made cameras that use amazing Pentax Takumar lenses. You’ll have to learn stop down metering to use a Spotmatic, but that’s easy. Buy a Spotmatic F and you’ll get open aperture metering.
Tip: You can find a nice Spotmatic for around $30. Then, immediately send it to Eric Hendrickson for CLA and battery upgrade. You’ll have around $100 total invested and own a great picture taking machine!
Pentax LX
Pentax’s professional grade SLR. The LX is a system camera with interchangeable prisms and loads of accessories. Perfect size, super accurate metering and a wide range of SMC lenses.
Tip: The LX is expensive to buy and own. A CLA on this camera is $200-$300, but when you shoot it, you don’t mind :-)
Pentax MX
Manual, mechanical and mighty small. The Pentax MX was the professional grade camera in the M line up.
Pentax ME
Wonderful and affordable platform for Pentax SMC lenses. Offers aperture-priority auto exposure only.
Pentax K2
Before the LX came out, the K2 was the flagship Pentax camera. Aperture-priority or manual exposure and a sexy sounding shutter!
Tip: Many K2 cameras came with plain matte focusing screens. I sent mine to Eric Hendrickson for upgrade to split image focusing.
Runners up: Pentax 645n, Nikon F, Olympus OM-2n, Minolta XE-7, Pentax ME Super, Nikon N90s, Pentax K1000, Nikon F5.
Sharing what I have learned over the years, here are some of my tips on buying old film cameras.
Buy from an established retailer if you can. Places like KEH Camera, B&H, Adorama, Tamarkin Camera, Blue Moon, The Leica Store, etc. stand behind their cameras and offer returns.
If you buy from eBay, try and buy from a seller that has 100% good feedback. When I have followed that rule I’ve not been burned. The few times I have not followed that rule, I’ve ended up with issues.
Expect that any vintage camera you buy will need a service at some point. These cameras are decades old and their history is mostly unknown. Try and find the best example you can afford and set aside some funds for service. There are very good service techs out there that work on most every kind of camera. After a good service, most vintage cameras will outlive their owners.
Watch out for fungus. Many old film cameras were stored improperly and fungus can grow on internal foams, metal and glass surfaces. Fungus is white or light grey colored, is difficult and expensive to remove and can spread from camera to lens. Look carefully at the photos of any old camera you are going to buy for signs of fungus.
If you buy camera and lens separately, make sure you do your research on lens compatibility. Many camera manufacturers changed lens mounts over time and just because you buy a Canon lens for a Canon camera, it may not fit. Google is your friend here.
Same is true for batteries. Some older cameras take batteries that are no longer available. Good news is that most of these cameras can be adapted to use modern batteries. Again, do your research.
Happy camera shopping!
Expired Plus-X
Over the years, whenever I have had the opportunity and the funds, I have tried to buy up rolls of Kodak’s now discontinued Plus-X 125 black and white film because I like shooting it. A roll here, a roll there. Even a cold-stored brick or two from photo stores clearing out inventory. My oldest rolls expired in 2008 and I have a few from the final batches that expired in 2016.
I decided to shoot a roll from a brick with a 2008 expiry date and see what developed. This particular batch came from a photographer who could not guarantee the film was stored properly its entire life. I loaded my Canon F-1 and shot it at the box speed. Even with unknown storage conditions, I think this film has held up nicely…certainly a credit to the folks in Rochester.
To my eye, Plus-X has a creamy vintage look that I have been unable to duplicate with any currently available film. It gives me pleasing results and I will be sorry when the last of my stock is gone.
In Search of Fall Color with the Pentax K2
I had my Pentax K2 loaded up with Kodak Portra 400 color film early in October with big plans to capture the spectacular colors of fall in the Wine Country. There are some excellent hiking trails not far from where I live and wanted to head out after the first frost, get some fresh air, a bit of exercise and capture the changing leaves.
Mother Nature had other plans though. The early part of the month was warmer than usual, that frost never came. Then, around the third week, the humidity dropped into single digits, an ominous Diablo wind blew hard out of the Sierras and an aging PG&E transmission line sparked a wildfire that would scorch nearly 78,000 acres before firefighters heroically beat it down.
My Pentax K2, ready for fall colors that never came.
It was early November before the fire was completely under control and things began to return to normal. The overnight lows barely kissed the freezing mark by the time I got a free weekend to hike some trails up near Mt. St. Helena. The ground was covered with leaves…muted browns and grays. Some of the trees hadn't even turned yet. I decided to make the most of the day, searching for color wherever I could find it.
Manzanita trees are plentiful in Arizona. I was surprised to find a grove of them along this trail. I love their red trunks against the blue sky.
I came across this barn on the trail. I think there may have been an old homestead on this site.
As I write this, the fire season is officially over in California. The rains have begun with earnest and what little color remained on the trees has been washed to the ground. The rain will mean lots of new growth…new fuel for fires. I used to welcome October. Now, I sort of fear it.
I’ve started a serious effort to reduce my collection of old film cameras, selling or giving away duplicates or cameras I don’t use often. The Pentax K2 will stay. Since I have had it serviced and modified with a split image focus screen, it’s a camera I really enjoy using.
Cameras As Therapy
I wouldn’t say my job is stressful. “Often frustrating” is a better way to describe it. I manage the marketing and communications department of a large company that owns and operates retail automotive dealerships and auto collision centers in the San Francisco Bay Area. Much of my time is spent overseeing the customer-facing digital infrastructure that we depend on. And almost on a daily basis, there are gremlins that get into the system and disrupt this function or that one. Many of them are easy to diagnose and resolve. Others leave my team, vendors and me scratching our heads.
After a day of high tech madness, I often find myself retreating deep into my world of old cameras, lenses and light meters for a bit of solace. Yesterday was one of those days. I spent much of the day on the phone with various vendor’s support teams, opening tickets, asking questions and not getting many answers. Pricing on our inventory of new vehicles was not showing correctly on our websites and no one knew how to fix it. Showing correct prices is a pretty big deal in retail, so the frustration level was running pretty high on my team. We finally put a band-aid on the problem and I headed home for the day.
On my front porch, I found a package from DAG Camera. It was my Leicaflex SL2 that had been in Don Goldberg’s capable hands for the past few weeks. I sent the SL2 in for a CLA as well as a new prism finder (the old one had begun to desilver), and recalibration of the TTL meter to work with modern batteries. Seeing the DAG label on the box immediately made me feel better. I changed into some comfortable clothes, poured myself a glass of wine and opened the box.
DAG refreshed Leicaflex SL2 with 50mm 3-Cam Summicron from Tamarkin Camera
Don has worked on several of my Leica SLRs. He is a master and his work on my Leicaflex was no exception. All of the controls now worked with buttery smoothness, the new prism made the viewfinder bright and clear and the metering system was now powered by an easy to find 625A battery. As I sat there running the Leica’s shutter through its range of speeds, hearing the sound of a 44 year old machine operating flawlessly without any dependance on battery power, I felt a calmness come over me.
Most of my photography takes place on the weekends, but I often find myself fiddling with one of my old cameras weeknights after dinner. There’s something about an old film camera that just settles me. Perhaps it’s a connection to my youth and simpler times. I’m not sure, but it is a satisfying part of the hobby for me.
I guess it’s the same reason I enjoy using my Hasselblad 500cm. Loading up a Hassey film back and going through the various steps involved in shooting a frame with one of these cameras is not something you can do quickly. The whole process slows you down, way down in a wonderfully analog calming way. I like it. It makes me feel good.
The Hasselblad 500cm…slow, simple and satisfying
There are so many advantages to all of the digital wonders that have made our life easier and more efficient in 2019, but it sure is nice to be able to escape the modern world when you want to and click the shutter on an old film camera, take a deep breath and relax a bit.
A Fall That Hasn't Been
As most of you might know, California has been under siege by wildfires this fall. The first responders have done an amazing job protecting life and property. The fires, power outages, air quality alerts…it’s been a time of stress and anxiety for all of us who live here.
Typically, I am out with my cameras and color film documenting the changing landscape as winter approaches, but there’s been little time for it this year. So, in the spirit of the season, I’ll share some of my favorite shots from falls gone by.
These first few were taken with my Mamiya 645Pro with a 110mm f/2.8 Mamiya-Sekor C lens and Kodak Portra 400 film.
And a few using my Nikon FM2n, 55mm f/2.8 Micro-Nikkor and again on Portra 400.
I love October. It’s my favorite month of the year. I hope we can soon get to a place here in the West where this time of year is a little less stressful, dangerous and life threatening.
Fuji Industrial in the Nikon FE2
A recent Sunday afternoon stroll with my Nikon FE2 reminded me why I love this camera so much. It’s light, compact and has just the best ever viewfinder display. While there’s something to be said for LED and LCD readouts in camera viewfinders, I really like the FE2’s analog needle display. Simple, clean, pure.
I am liking the results I am getting with Fujicolor 100 speed Industrial film too. I shot these with a Nikkor 50mm f/1.4 lens.
I wouldn’t mind having an old pickup truck. This one has just the right amount of patina.
This old Dodge Dart was parked on a side street. It didn’t appear as if it had been moved in a long time.
Many of the benches around town have little plaques that dedicate the bench “In Memory” of someone. This one just had a simple invitation.
I buy my Fuiicolor Industrial at The Shot On Film Store. I had my Nikon FE2 CLA’d at Blue Moon Camera & Machine.
Pelicans on Portra
I used to be able to walk to the beach. It takes me about an hour to drive there now.
I made some time a few Sundays ago and drove out to Sonoma Coast State Park. Found a nice quiet place and sat awhile, eating some sliced cheese and Italian dry salami. Some pelicans riding the thermals near lands end kept me company.
I shot these with my Leica R5 with a 60mm f/2.8 Macro-Elmarit R lens on expired Kodak Portra 400 film. My R5’s meter has been giving me some fits lately. I think a trip to DAG is in order.
Voigtlander Ultron 40mm f/2 Nikon F-Mount on Kodak Ektar 100
I am not always rational when it comes to feeding my photography hobby and once in a while, I buy a camera or lens for no good reason other than “I want one of those!” Such was the case with the Voigtlander Ultron 40mm f/2 lens for Nikon F-mount. This is a brand new lens made to look like the classic pre-Ai Nikkors. And that’s precisely why I bought it…I thought it looked cool. And I do think it looks mighty nice on my F3. It would probably look even better on one of my chrome body F2s.
I had a roll of Kodak Ektar 100 near the bottom of my film stash, so I loaded it into the F3 and fired off some test shots with the Voigtlander lens.
Yes, it really was over 100 degrees the day I shot these!
Not sure about the 40mm focal length, but this lens has nice fit and finish, clicky f/stops and very smooth focus. It’s a well made lens, renders colors nicely and is reasonably sharp. I’ll shoot it again on a day when it isn’t over 100 degrees.
1901 Eggleston Camera Straps
A bad camera strap can really foul an otherwise wonderful day of photography. There’s nothing worse than having your strap constantly sliding off of your shoulder or getting in the way of your film advance lever. Or straps that make your camera hang in some weird, out of balance way.
I have tried loads…and I mean loads…of different kinds of camera straps and there is one that I keep coming back to time and time again: The 1901 Eggleston camera strap from 1901 fotografi. Owner Mark Lewis is an award-winning portrait photographer based in the UK and for years he searched for a comfortable, long lasting and good looking camera strap. Unsatisfied with what he found on the market, he began to make his own out of top quality Italian leather and only the best metal hardware.
Unboxing a new Eggleseton leather strap is such joy!
Mark makes several different styles of straps, but I first discovered his simple fixed length Egglestons when I was looking for a nice leather strap for my Leica M2. I didn’t want a big, wide bulky strap on the graceful little Leica rangefinder and the Eggleston was perfect.
These straps are so nice and comfortable, so well made and good looking, that they quickly found their way onto my larger and heavier SLR bodies. Even with the size and weight of say…my Canon F-1, the Eggleston is just perfect!
And here is the best part of Mark’s great camera straps…the split rings. I don’t know about you, but sometimes I really struggle with camera strap split rings. Many are just so hard to pry open that after moving a strap from one camera to another, my finger tips end up hurting. Not with the 1901 straps. Mark told me he spent a lot of time searching for just the right ring and the time spent was worth it. These splits are so easy to open!
The 1901 Eggleston straps cost about $30 USD plus shipping. They come in a wide variety of colors. Mark makes these straps by hand, responds to email inquiries promptly and ships quickly. And unwrapping a new Eggleston and taking it out of its box and little pouch is a sublime experience. The leather is so soft and the smell is just fabulous!
I love supporting photographers who create products for other photographers. If you are looking for a high quality, reasonably priced strap for your camera, take a look at the wonderful leather straps from 1901 fotografi.
Analog on Analog
I love macro lenses, especially those that are close to the normal 50mm focal length. It’s great to have a walk around lens on your camera that has the added capability of allowing you to get in close if necessary. I have three macros I just adore; the Leica 60mm f/2.8 Macro-Elmarit-R, Pentax 50mm f/4 Super Macro Takumar and the 55mm f/2.8 Micro-Nikkor. I think every lens manufacturer offers some sort of macro/micro lens. They are a versatile and fun to use addition to any kit.
On a recent Sunday, I was organizing my photo man cave and got the grand idea to shoot some close ups of some of my gear. I exposed these shots hand held with available light using my Nikon FM2n, 55mm f/2.8 Micro-Nikkor and some Kodak T-Max 400 film. I could have gotten in tighter and increased sharpness if I had taken the time to use a tripod, but these are still satisfying.
I am not sure why, but my Nikon F4 body attracts dust even when stored in a Pelican case.
My end-of-roll self-portrait, which reminds me which camera and lens I was using. The 55 Micro-Nikkor is a great lens for everyday shooting. It’s fast, small and light. And if you want to blow an afternoon shooting close-ups of your camera gear—it’s the perfect co-conspirator!
Me, circa 1961. Shot by my Dad with his Kodak Retina IIc on unknown tungsten slide film. He used a light bar with three super bright and hot flood lamps. You can see the reflection of them in the TV screen. Apparently, there wasn’t much on TV that night.
Fogdog Blog Fall Preview
Back in the day, the three major television networks made a big deal about all of the new TV shows that debuted each Fall. There would be an official premier week, heavily promoted and much anticipated. I don’t think they do this anymore. In fact, I don’t even know where to find many of the new shows…Hulu? Netflix?
While certainly not as exciting as premier week used to be, here in my little corner of the internet, I present some of the things I’ve got coming up as the seasons change…my Fogdog Blog Fall Preview!
LEICAFLEX SL2: I’ve been on the lookout for a nice Leicaflex SL2 for years now and and finally found one at an affordable price. Affordable because, while cosmetically and mechanically near mint, the meter in this one is inoperative. Don Goldberg of DAG Camera Repair is going to service my SL2 and assures me that the meter will function as designed and with modern batteries. The Leica will get a good cleaning, lubrication and alignment as well.
Leicaflex SL2 with 35-70 f/3.5 Vario-Elmar-R
The SL2 was the last Leicaflex before Leica’s collaboration with Minolta and the R series of SLRs. Some people say the SL2 was the best mechanical SLR ever. “Best” is subjective, but as I played around with this camera before packing it up to send to DAG, I will say that it feels sublime, has a very sweet sounding shutter and an amazing viewfinder! Full review and pictures once Don works his magic.
OLYMPUS ZUIKO 100mm f/2.8: I came across this little OM lens in a camera shop for $25. Couldn’t resist. I don’t think I have ever shot the 100mm focal length before, but I love using my 85s, so this should be fun. All of my OM bodies are now serviced and good to go, so expect to see some shots from this lens soon.
ROLLEIFLEX SL35 E: Several years ago, I picked up a Rollei 50mm f/1.4 Planar QBM mount lens. This lens was designed to work on one of the Rolleiflex SL bodies. I know it’s weird to buy a lens when you don’t have a camera body to mount it on, but the Zeiss designed Rollei Planar is well reviewed and I got it for a steal. I figured eventually I’d find a decent SL body. Decent has been hard to come by. I’ve purchased two off of eBay and neither one worked right. I sold them for parts cameras and came out of both deals pretty good, but it’s kept the lens sitting on the shelf. Recently, I found a decent looking SL35 E on eBay from a trusted seller for under a hundred bucks. The ad says this camera works perfectly. Even if it doesn’t, I know enough camera repair techs now that someone can probably get it working good enough to take the Planar for a test drive.
Rolleiflex SL35 E from the eBay listing.
HASSLEBLAD 500C/M: I enjoy surfing You Tube for film camera experience reports. I came across this young lady with her Hasselblad and it has motivated me to get mine out and do some medium format shooting. I haven’t shot medium format since moving last last year, so it will be fun. I think I’ll shoot black and white.
LEICA R4S MOD-P: I’ve been so busy that I have not had a chance to shoot my Leica R4s MOD-P camera since Sherry Krauter serviced it for me. As I was getting ready to load some film into it awhile back, I noticed that whenever I pushed the shutter release halfway to activate the metering system, the little +/- warning LED would flash like crazy in the viewfinder. The Leica R3 and early production runs of the R4 were known for electronic gremlins. Was this the beginning of the end for my R4? And so soon after a competent CLA?
Leica R4s MOD-P with 50 Summicron
I set the camera aside for a few weeks, frustrated that I’d never be able to shoot the thing. Now, I’ve been fiddling around with old cameras long enough to hardly ever read an owner’s manual, but since this camera came with one, I figured I’d thumb through the pages and see if I could find out what the blinking LED was all about. DUH! If you use exposure compensation, either plus or minus, the +/- LED blinks like mad reminding you that it’s not set to zero! I feel like an idiot. Now, on to shooting this great old Leica!
My Fall preview certainly isn’t Must See TV, but it gives you an idea of what I’ll be up to photographically as the year winds down.
Self Portraits: Volume 2
I started taking mirror self portraits several years ago as a way of keeping track of which camera I was using when I received a roll of film back from the lab. I have never liked photographs of myself, but don’t mind hiding behind a classic film camera.
Olympus OM-2n
Nikon F3HP
Pentax Spotmatic SP
Nikon F100
Leica R6
Canon A-1
Nikon F3HP
Even though I can easily flip my images in post processing, I rarely do. Whenever I post one of these selfies to Facebook, someone will invariably flip the image for me.
Leica R5
Habits are hard to break…even when I shoot digital.
Everything You Need & Nothing You Don't
My collection of old film cameras has settled in at around 30 or 35 I think. Some of those are duplicates. I have at least a half dozen different Pentax Spotmatic cameras, two Pentax MX bodies, a black and chrome Olympus OM-2n and four or five Nikon F2s. My oldest cameras are from the early 1950s and my newest was built in early 2000. The technology represented in my collection ranges from a simple, fixed focus, pre-set aperture box Brownie to the auto-focus, matrix-metered Nikon F100. In between these two, there are cameras with aperture-priority auto exposure, LED readouts in the viewfinder and focus assist.
It’s fun having all of these different cameras on the shelf because I can grab whichever fits my mood for a day of shooting. Lately though, I find myself going back more often to my simple, mechanical cameras. Dials, levers, gears. Lots of metal and glass. And battery power only for the camera’s on board light meter, if there is one. As I look through my images from the past ten years, some of my most satisfying shots have been taken with these simple cameras.
There is something quite wonderful about the feel and sound of mechanical cameras. I think all of us analog shooters geek out over the sound of a nice shutter mechanism, and nothing sounds quite as sublime as the shutters on these old mechanical wonders. 125th of a second seems to resonate best for me—something only a true camera geek would say!
And while I have had several of my electronic film cameras hiccup on me out in the field, none of my mechanical bodies have ever let me down.
If you’re shooting a Canon AE-1 Program, Minolta X-700, Nikon FA or some other auto most everything film camera, you owe it to yourself to try one of these minimalist mechanical wonders. Here are some of my favorites.
Nikon F2
Built by hand and nearly indestructible, the Nikon F2 is a mechanical wonder. The camera offers several metering options by changing prism finders. If you really want to treat yourself, send your F2 over to Sover Wong in the UK for a service and it will come back just like new!
Pentax Spotmatic
The first SLR to offer through the lens metering. These Spotmatics require you to learn stop down metering unless you opt for the F models. And those Takumar lenses are to die for! I had all of my Spotmatics modified with split image focusing screens.
Leica M2
Leica introduced the M2 as a less expensive M3. I’ve owned both and I really prefer the M2’s clean, simple lines. Unless you buy a serviced M2, count on getting it CLA’d at some point. Once that is done, you can shoot this camera forever and ever! Every film photographer should shoot at least one roll in a Leica M.
Minolta SRT303
All of the SRT models are simple mechanical cameras that mount very nice and affordable Rokkor lenses.
Kodak Retina IIc
Besides Instamatics and Brownies, Kodak did make some very fine and very expensive 35mm rangefinders. Even though these Retinas are over 60 years old, they still make amazing pictures. And they feel so good in the hand!
Leica R6
Yes, Leica made SLR cameras too! The R6 and R6.2 were the only full mechanical ones though—think of the R6 as the big brother to the Leica M6TTL. The R system is a very affordable way to try Leica glass
Canon P
One of the biggest surprises in my film camera journey has been this Canon rangefinder. The P is well made, fun to shoot and the Canon screw mount lenses are just awesome! You’ll need a handheld light meter or learn Sunny 16.
Olympus OM-1
Olympus turned heads in 1972 when they introduced the little OM-1. Exceptional build quality and amazing Zuiko lenses make the OM-1 and 1979’s OM-1n must try mechanical cameras. Affordable adapters make batteries a non issue or have it CLA’d and converted to 1.5v.
Nikon FM2n
A mechanical camera with shutter speeds to 1/4000th of second! FM, FM2 and FM2n cameras were back-up bodies for many Nikon pro film photographers because they just keep on shooting no matter what! That’s my prized 85mm f/1.4 Nikkor out front!
Leica M6
Think if it as the M2 with a light meter. I sold this to buy a digital Leica. This is one camera I truly wish I didn't sell. I will have another someday.
Hasselblad 500/cm
Superb build quality and tack sharp Zeiss glass makes the Hassey a mechanical medium format camera you must try. Note: carrying one around all day is a workout! These are big, heavy cameras!
Canon F-1
Besides having one of the sweetest sounding shutters of any 35mm SLR I’ve tried, the Canon F-1’s analog meter display in the viewfinder is pretty cool. And those FD lenses!!
Pentax MX
The MX is the pro model of all of the little M series Pentax bodies (ME, ME Super). Huge viewfinder with a very logical analog display. Fun to shoot, bullet-proof camera with a great selection of K-mount lenses.
Those are my favorite mechanical film cameras. What are yours?
My First Roll of Ilford HP5 Plus
I love F Stop Camera’s Film of The Month Club, because it has pushed me out of my film comfort zone a few times since I’ve joined and also provided me with a bit of a creative nudge when I am in a rut. And so it was a few months ago when I received my monthly roll and discovered a film I have never tried: Ilford HP5 Plus.
With the abundant sunshine where I live, I’m usually shooting much slower black and white film, but I thought I’d give this 400 ISO film a try with a little photo walk around my new town. I loaded my Nikon F3HP, fitted the 50mm Nikkor f/1.4 and headed out.
I wish I could have backed up a bit more to get the entirety of this interesting sign in the shot, but the Napa River was right behind me. Next time, I’ll bring a wider lens.
There are quite a few interesting homes around the downtown area. I am going to devote a blog post to some of the more interesting ones soon.
A downtown tasting room, ready for Sunday wine pours.
You can see the railing behind me that kept me from backing up to get the restaurant sign shot. I think the 50mm worked well enough here though.
There are a number of interesting antique shops scattered around the downtown area. It’s nice to have 400 speed film when you find an interesting subject indoors.
And in the same antique shop, I found a good mirror to get my end of roll selfie.
HP5 Plus is less grainy than Kodak’s Tri-X I think. I like the way it renders the blacks and I need to experiment more to get the whites where I like them. It might be helpful to shoot this film with one of my Leica R bodies that offers spot metering or bring my handheld Pentax Spotmeter to summon up a little Ansel Adams.
Overall, I liked HP5 better than I thought I would and am going to include a roll or two in my next order from B&H.
A Day with the Olympus OM-1n
Throughout my “return to film photography” odessey, a properly functioning Olympus OM-1 has eluded me. I have purchased a couple off of eBay over the years with any number of issues—stuck shutter speed dials, grindy film advance levers and de-silvered prisms. And all of my previous OM-1 bodies still used the 1.35 volt and unavailable mercury batteries.
It would not be a complete journey for me if I didn’t try this legendary camera with everything functioning as Yoshihisa Maitani intended when he debuted the OM-1 in 1972. So I reached out to one of my favorite camera repair guys, John Titterington who often has refurbished OM-1 and OM-2 bodies for sale on his eBay page and asked him to keep his eyes open for a nice OM-1n for me. The OM-1n was released a few years after the original OM-1 and has a few refinements, including a redesigned film advance lever.
Within a week of my request, John emailed that he had received an Excellent++ body and if I wanted it, he would do a complete CLA and convert it for available 1.5 volt photo cells.
Olympus OM-1n fitted with the 50mm f/1.8 Zuiko kit lens
I am always amazed at how wonderful an old film camera can feel after a proper cleaning, lubrication and adjustment. I often read film camera reviews online where the photographer dismisses a camera because something was just not functioning as designed. I too had been guilty of that with the OM-1n, judging this camera only on the bad examples I’ve owned. The camera I received from John arrived clean and shiny with a bright and beautiful viewfinder, silky smooth film advance, calibrated shutter speeds and responsive light meter. And it uses 1.5 volt batteries!
While I was waiting for my OM-1n to arrive, I went looking for a period correct chrome-nosed 50mm f/1.4 Zuiko lens to round out the shooting experience. I found one from a seller in Japan.
Camera and lens in hand, I loaded up some Portra 400 film and headed out for a day of fun.
Grapes on the vine at Castello di Amorosa in Calistoga, CA
Castello di Amorosa castle detail.
The Bale Grist Mill in Napa Valley
The water wheel at the Bale Grist Mill
Another shot of the water wheel at Bale Grist Mill. The Mill is a historic site, but they grind every day!
I stopped by one of my favorite wineries…Markham Vineyards
It was over 100 outside, but 65 in the cellar!
I stopped by Darioush Vineyards to photograph the Water Lilies.
And once back home, my roses.
I am discovering that the more I shoot these old film cameras, the more I appreciate simple, minimalist, mechanical ones. The OM-1n is one of the purest of all the mechanical SLRs. The meter is very accurate and it’s quite easy to frame, meter, adjust and shoot. These little Olympus cameras are so well built, almost jewel-like or similar to a fine watch. They feel so good in the hand and you can carry one around all day, like I did on this wonderful Northern California day, and hardly notice it.
I am glad I didn't judge the OM-1n on my earlier experiences with unserviced examples. This camera is an absolute joy!
To make my OM-1n even more of a pleasure to use, I picked up a nice leather half case.
