Tag Archives: D-23

CCR Review 61 – Exakta VX IIa

You don’t have to break a leg to get a kick out of using the Exakta VX IIa, but if you’re not careful if you drop it on your leg, it just may break the bone. I was a little wary of this camera at first. All the controls are on the left side. Thankfully it didn’t take much to get used to the odd layout, and luckily it didn’t take me 39 steps to get used to the machine. And I found it fairly intuitive after a while; there was no throwing this camera out the rear window, I’d by a psycho for doing such a thing.

CCR Review 61 - Exakta VX IIa

The Dirt

  • Make: Exakta
  • Model: VX IIa
  • Type: Single Lens Reflex
  • Format: 135 (35mm), 36×24
  • Len: Interchangeable, Exakta Bayonet
  • Year of Manufacture: 1956-1963

CCR Review 61 - Exakta VX IIa

CCR Review 61 - Exakta VX IIa

The Good
There are a few things that the genuinely awkward Exakta has going for it. The first item is the optics, beautiful sharp Carl Zeiss lenses, like the iconic Biotar makes this a camera worthwhile for the simple reason of image quality. Along the same line as the lens is the aperture opening lever. On the bottom of the lens barrel, there’s a pull lever that will open up the aperture as the camera doesn’t have an automatic aperture or TTL metering. So having the ability to set the aperture, open it up for focusing, then with a half push on the shutter release the lens stops down before tripping the shutter, gives the VX IIa somewhat of an easier operation. Then there’s the wonderful option of using a waist-level finder. Yes, you read that correctly, you can put a waist-level finder onto the Exakta. It does make for a different shooting experience with the camera and certainly makes using the left-handed controls a bit easier in the long run.

CCR Review 61 - Exakta VX IIa

CCR Review 61 - Exakta VX IIa

The Bad
Throw out everything you know about shooting SLRs; when you pick up an Exakta. I’m not sure of the reason behind this radical departure from the norm, but it certainly makes for a unique shooting experience. And it doesn’t stop there, nothing on this camera is quick and easy. You have to cut down the film leader to load the camera, and there’s little to no feedback on if you’ve loaded the film correctly. The film advance pulls down the meter and cocks the shutter, so it has the longest pull in any camera I’ve reviewed, it’s almost a full 180 degrees. Even rewinding the film, what should be the easiest task of them all is awkward, I lost about five or six frames because when I though I had rewound the film, I hadn’t and opened the back…twice. And finally, the shutter release takes a bit of an effort to push down. All these points combine to a rather awkward shooting experience, even more so than the Leica R3.

CCR Review 61 - Exakta VX IIa

CCR Review 61 - Exakta VX IIa

The Lowdown
If you want a serious challenge, with some great results, the Exakta VX IIa is the camera for you. Everything is mirrored, everything takes a lot more of an effort to operate and use. This isn’t a camera for quick and dirty operation. So I can see why a wheelchair-bound photographer would use the camera for spying on his neighbors in Alfred Hitchcock’s Rear Window. But if you do run with the camera, you won’t be disappointed in the images you get out of it.

All Photos Taken at Westfield Heritage Village, Rockton, Ontario
Exakta VX IIa – Carl Zeiss Jena Biotar 2/58 – Kodak TMax 100 @ ASA-100 – Kodak D-23 (Stock) 9:30 @ 20C

Film Review – Fomapan 100

With my film photography, I have had limited experience with the Fomapan products. I’ve shot Fomapan 200 with okay results and the surveillance variant of Fomapan 200 available through the Film Photography Project with much better results. I’ve tried Fomapan 400 in sheet film and got no results. But after seeing some amazing work with Fomapan 100, I decided to pick up four rolls in 120 from Argentix.ca to give it a try. I certainly found the film pleasing to work with, a classic response with the four different developers I worked with over the course of shooting the film in several different situations.

Product Highlights

  • Type: Panchromatic Black & White Film
  • Base: Format Dependent (120/4×5 – Clear Polyester (PE), 135 – Cellilous Triacetate)
  • Film Speed: ASA-100, with a latitude between ASA-50 to ASA-400
  • Formats Avaliable: 135, 120, and Large Format

Rusted Out
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Fomapan 100 @ ASA-100 – Blazinal (1+50) 9:00 @ 20C

Opposing Doors
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Fomapan 100 @ ASA-100 – Blazinal (1+50) 9:00 @ 20C

The number one good thing about Fomapan films is the cost; these are very inexpensive films to shoot which makes them a great film to start with if you’re learning to develop your own black & white film. But if you want the best bang for your buck, Fomapan 100 is the film of choice. And don’t think you’re getting a cheap film, Foma 100 is one of the nicest mid-speed films I’ve ever used. It has almost a classic look and film, like the films of the mid-twentieth century, great if you want to shoot World War Two reenactments on film.

Summit
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Pyrocat-HD (1+1+100) 12:00 @ 20C

Grab a Pint?
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Pyrocat-HD (1+1+100) 12:00 @ 20C

The developers I used for the review are as follows, Rodinal, Kodak D-23, Pyrocat-HD, and Kodak HC-110. It was Rodinal that brought out that classic look and feel, while slightly more grain than you’d expect in an ASA-100 film, but nothing too serious. I saw a reduction in grain using Pyrocat-HD, but I felt that the film came out of the tank slightly under-developed, so it either needs about thirty seconds more in the developer or slightly warmer water, maybe 1-2 degrees hotter. Kodak D-23 is another winner, a bit grainer but brought out the tonality of the film and continues that same classic look that you get with Rodinal. I was also fairly pleased with the results of HC-110 Dilution H, kept the contrast on mark, and surprisingly the grain was hardly noticeable. My final say is that Rodinal is the best developer for this film as it gives you the shortest standard developing times with the best results and can easily be done in the field as you can just use water for your stop bath. I say standard developing times as Dilution B and A of HC-110 has shorter developing times but requires constant agitation.

TFSM - Spring '17
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak D-23 (Stock) 10:00 @ 20C

TFSM - Spring '17
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak D-23 (Stock) 10:00 @ 20C

Of course, no film is without fault. While many may target the film’s polyester base, it is not much of an issue. In Medium format, the PE base handles well and easily mounted onto the plastic reels of the Patterson system and will probably handle just as well on steel. No the biggest issue I have with Foma 100 is the long developing time. Most times are around the 10-minute mark, while not much of a slight against the product just a minor annoyance. Thankfully the Rodinal time is under the 10-minute mark. I mostly say this because often we do marathon developing sessions and working late into the night is tough because as you get tired, you’re more likely to make a mistake.

A Walk In the Park
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak HC-110 Dil. H 10:00 @ 20C

A Walk In the Park
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak HC-110 Dil. H 10:00 @ 20C

My final word on the film, it’s certainly worth a shot if you’re on a budget or just learning. You can pick this up for under six dollars a roll (Canadian). And if you’re shooting the film in 4×5, you’re looking at a buck a sheet, only Arista.EDU and X-Ray film is cheaper. It’s also good if you want that classic look-and-feel that you often saw with Adox and Efke films, it works well in daylight and shadow and just sings in the right developer. I hope to pick up some of the 35mm version and see if there’s any difference between the two formats.

CCR Review 60 – KMZ Zenit E

Soviet cameras and I have had a rocky relationship. There’s only a handful out there that I like, and then there’s the Zenit E. This is a beautiful camera that is probably the pick of the litter from the Zenit line. One of my first SLRs was a Zenit B, the non-metered version of the E. And despite never getting a single frame from the camera. Because I had no clue what I was doing at the time, finding myself instantly familiar with the workings of the Zenit E and it certainly makes for a much better Soviet SLR than the other’s I’ve worked with in the past. Special thanks to James Lee for loaning out this camera for a review.

CCR Review 60 - KMZ Zenit E

The Dirt

  • Make: KMZ
  • Model: Zenit E
  • Type: Single Lens Reflex
  • Format: 135 (35mm), 36×24
  • Len: Interchangeable, M42 Screw Mount
  • Year of Manufacture: 1965-1968

CCR Review 60 - KMZ Zenit E

CCR Review 60 - KMZ Zenit E

The Good
There is nothing complicated about this camera. The operation, layout and general use of the camera make it easy for anyone to pickup and use. The only feature that this camera has is the uncoupled light meter, but more on that later. Despite the weight of the camera, it doesn’t detract from its use, although a nice heavy duty padded strap would be a good idea. A carbine style cross strap would be best. The M42 mount gives you a wide range of lenses to use on the camera both German and Soviet optics can easily mount on the camera. And as a bonus, most Soviet optics are direct copies of their German counterparts and often have their unique features that you don’t find in other lenses. Even though there is no automatic aperture on the camera that doesn’t detract from the operation, as you can easily set the aperture then open and close it with a simple twist ring that will stop at the correct aperture. The one thing to watch out for is the shutter speed dial; you can only set your shutter speed once the film has been advanced and shutter cocked, much like the rangefinders from the FED and Zorki line. Finally, there’s the sound of the camera, the noise the shutter and mirror make when in operation is substantial and pleasing, there’s no mistaking when you’ve fired a shot.

CCR Review 60 - KMZ Zenit E

CCR Review 60 - KMZ Zenit E

The Bad
Usually, if a camera has a selenium meter that tends to be a positive feature to a camera, no batteries needed, and usually still operates. In this case, however, the meter isn’t a handy thing to have on this camera. First, off the meter is uncoupled, this means that no matter how you adjust the camera settings the meter doesn’t react, there’s a second dial that you set to give you the camera settings based on the meter reading. Add to that the meter read out is on the top of the camera body only. It would be better to stick with Sunny-16 or an external meter. In addition to this, you’ll have a hard time ensure the correct film speed setting as the camera is calibrated more towards the old GOST scale with corresponding DIN numbers. Sadly these film speeds do not line up with most modern films, you do have options like GOST-130, but I’ve never seen that sort of film. There is also the matter of the long film advance crank, while a minor nuisance does make it difficult to fire off several shots in succession. And finally, I would be remiss if I didn’t mention that the Soviet Bloc did not have the best quality control so there is a chance that these cameras can break easily or purchased in a broken state. At least there’s a high chance with the right tools and manual you can do the repair yourself.

CCR Review 60 - KMZ Zenit E

CCR Review 60 - KMZ Zenit E

The Lowdown
Out of all the Soviet cameras I’ve reviewed to date, the Zenit E is only one of two that I would recommend picking up, but I would lean someone more towards a Zenit B, the non-metered version. Both are strong mechanical cameras that have a nice look and feel to take out on International Communist Camera day and are better than most of the later model Zenit cameras. But there is one thing that you should look for if you are thinking of getting one and that’s the lens. Most of these cameras shipped with and still come with a Helios 44-2 lens, this 58mm f/2 is a copy of the Carl Zeiss Biotar. It has also become somewhat of a cult lens in the portrait market even I have one that I use with my Sony a6000. The reason is that when you shoot a subject at about 5 feet away with the lens opened to f/2 you get a classic Petzval style swirl. So even if you get a broken Zenit, you still get an amazing lens to add to your collection.

All Photos Taken in Hamilton, Ontario
KMZ Zenit E – KMZ Helios 44-2 2/58 – Kodak TMax 100 @ ASA-100 – Kodak D-23 (Stock) 9:30 @ 20C

It’s a TMAX Party – Part I

The fine folks behind the film photography promotion website Emulsive have done it again! In the footsteps of last year’s FP4Party, they have started to run a couple of different monthly participation events for film photographers around the globe through the use of Twitter. Sadly I didn’t participate much in the FP4Party mostly because of time conflicts; I decided to make a point to join in on this year’s film parties. Being free of most projects it freed my hand to keep up this time around. This year’s first party is a celebration of Kodak TMax. Tmax a modern film emulsion that was released in the late 20th-Century and use a tabular grain rather than a traditional grain like Tri-X or Plus-X.

While I figured the easiest way to jump into the TMaxParty was to dig into my box of 4×5 TMax 100. While TMax isn’t always my first choice, I’m more of a classic grain shooter. But hey sometimes it’s good to jump a little bit outside of your comfort zone. So into Hamilton, I went, and while I had planned to shoot all eight loaded sheets that day but the cold weather told me otherwise.

HMCS Haida
Pacemaker Crown Graphic – Fuji Fujinon-W 1:5.6/125 – Kodak TMax 100 @ ASA-100 – Blazinal (1+50) 12:00 @ 20C

Craft Beers
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Kodak TMax 100 @ ASA-100 – Blazinal (1+50) 12:00 @ 20C

Whitehern
Pacemaker Crown Graphic – Fuji Fujinon-W 1:5.6/125 – Kodak TMax 100 @ ASA-100 – Blazinal (1+50) 12:00 @ 20C

Well in Canada, March can be a bit of a hit and miss, and while the weather kept me from shooting outside, my shutters tend to get laggy in sub-zero weather I again had to dive outside of my comfort zone. Usually, when I’m shooting large format I stick to deep depth-of-field, we’re talking f/32 and up on my aperture. Sure it makes for longer shutter times, but it gives the images incredible sharpness. Well, the temperatures stuck below zero so open up the lens I did.

Retention
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Kodak TMax 100 @ ASA-100 – Kodak D-23 (Stock) 9:30 @ 20C

Take Flight
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Kodak TMax 100 @ ASA-100 – Kodak D-23 (Stock) 9:30 @ 20C

The Lights Above
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Kodak TMax 100 @ ASA-100 – Kodak D-23 (Stock) 9:30 @ 20C

While I’m pretty happy with my results for this month, I hope next month’s TMax Party I’ll have some more outdoor shots. Of course, the big question is what format will I shoot, and in what camera! Current runners are my Contax IIIa, Rolleiflex 2.8F, or Hasselblad 500c. So we’ll see next month!

CCR Review 56 – Leica R3

It’s the red dot special, but not the red dot you were probably expecting. While Leica is best known for their rangefinder cameras, both the older Barnack and the iconic M-Series Leica produces a line of single lens reflex cameras in response to the cameras coming out of Japan. While the early cameras were strictly manufactured by Leica, by the mid-1970s, they had teamed up with Minolta. The agreement produced the Leica CL/Minolta CLE both rangefinder cameras, and the Leica R3/Minolta XE! The first time I picked up this camera, having never used a Leica SLR before I was hoping for something special, but I soon found out there’s a reason these cameras aren’t that popular. Special thanks to James Lee for loaning out this beauty for review.

CCR Review 56 - Leica R3

The Dirt

  • Make: Leica Camera AG
  • Model: R3
  • Type: Single Lens Reflex
  • Format: 135 (35mm), 36x24mm
  • Len: Interchangeable, Leica R-Mount
  • Year of Manufacture: 1976-1979

CCR Review 56 - Leica R3

CCR Review 56 - Leica R3

The Good
There are two good points about the R3, first and foremost it’s a tank, but it’s a tank with balance, it just feels right to shoot, short throw on the film advance, and all the knobs and that thrice-damned stop down lever. The viewfinder is big and bright, and the needle-on-shutter-speed metering system is clear and visible. And of course, there’s the optical quality which is what we’ve come to expect from Leica. And this is despite the lenses being much larger than their M-Mount cousins.

CCR Review 56 - Leica R3

CCR Review 56 - Leica R3

The Bad
The R3 is not an easy camera to operate; it took me about three rolls of film to finally get the hang of it. And it all has to come down to how the camera meters. Despite having a decent TTL meter, you need to manually stop down the lens to get it to pick up on the correct shutter speed, then half-press the shutter button, release the lever then press the shutter release down the rest of the way. I gave up by the third roll and switched to metering with my Gossen Lunasix F and running the camera in full manual. And finally there’s the weight, this is a well-balanced camera, but heavy. It’s not one that I would enjoy carrying around all day and shooting with, especially with the 135mm lens on mounted, even the shorter 50mm is still a pain.

CCR Review 56 - Leica R3

CCR Review 56 - Leica R3

The Lowdown
The R3 is not a Minolta, it may be Minolta on the inside, but it certainly isn’t on the outside. And while you can purchase the bodies for a reasonable price, don’t expect the lenses to be on the inexpensive side. The R3 is not a camera for the beginner, or for someone who is unfamiliar with the operation of Leica SLRs, there’s a steep learning curve, and it takes away from the decent “feel” of the camera. Despite the image quality and certain cache that comes with shooting a Leica, my honest opinion, do yourself a favour and get a Minolta XE-7. You’ll get an easier camera to operate, with comparable optics and you won’t break the bank building a lens system.

All Photos Taken in Oakville, Ontario
Leica R3 Electronic – Leitz Canada Elmarit-R 1:2.8/135 – Kodak Tri-X 400 @ ASA-400 – Kodak D-23 (Stock) 7:30 @ 20C

CCR Review 54 – Zenza Bronica ETRS

I have a love/hate relationship with Bronica cameras. If you listen to the Classic Camera Revival Podcast, I railed against the Bronica SQ-Am in episode 22, and I gave away my SQ-Ai because of ergonomic issues I had with the camera. But putting all that aside I went into shooting the ETRS with an open mind and discovered a rather fun camera. When it comes to 645 cameras, the ETRS is the real underdog while the Mamiya m645 and to a lesser extent the Pentax 645 get most of the glory. Which to people looking to crack into medium format the ETR line of cameras offers you the most bang for your buck if you’re just getting started. Big thanks to Mike Bitaxi for loaning out this beauty for review.

CCR Review 55 - Zenza Bronica ETRS

The Dirt

  • Make: Zenza Bronica
  • Model: ETRS
  • Type: Single Lens Reflex
  • Format: Multiple (Back Dependent), 6cm x 4.5cm
  • Lens: Interchangable, Bronica ETR Mount
  • Year of Manufacture: 1979

CCR Review 55 - Zenza Bronica ETRS

CCR Review 55 - Zenza Bronica ETRS

The Good
The strongest aspect of this camera is that it is a system camera, you can change, adapt, and modify the camera into whatever configuration is most comfortable for you and your shooting style. Another plus to it being a system camera if a part breaks, you just have to buy that one section and put all your parts back on it. The configuration I was shooting in was one that was most familiar to me, with an eye-level finder and grip. Of course, the camera operates just as well with no grip and a waist level finder if you’re used to shooting with the SQ-A or Hasselblad cameras. And for volume shooting the camera is great, you get 15 shots per roll, and interchangeable magazines allow you to load up a handful of magazines in the morning and go out shooting without needing to sit down and reload after each roll. And don’t sneeze at the optical quality either the ETR line of lenses are beautiful. Combine all these with being an often unnoticed camera line means you can build up a decent kit without having to break the bank.

CCR Review 55 - Zenza Bronica ETRS

CCR Review 55 - Zenza Bronica ETRS

The Bad
The trouble with being an underdog system is getting the system repaired. When Roger (may he rest in peace) was operating his storefront in Hamilton, you couldn’t even darken his doorstep with a Bronica. These cameras are hard to get fixed and do rely on electronics to operate and battery power. At least in the case of the ETRS the battery door is better designed that the SQ line of cameras, but the battery is not a common one. Best bet is to carry some spares if you’re out on a big trip in an area where there aren’t any specialty stores.

CCR Review 55 - Zenza Bronica ETRS

CCR Review 55 - Zenza Bronica ETRS

The Lowdown
While Bronica does not remain my first choice overall, I can see the draw of the ETR line of cameras. These are inexpensive cameras and if all you want is to shoot in the 6×4.5 format go for it. Just make sure like any electronic based vintage camera that you know it works before you pay for it. Just know that with the ETR line you will be stuck with the 6×4.5 format, if you want more image versatility, pick up an SQ-A body. You get the same quality of optics, and with appropriate backs, you can shoot 6×6 and 6×4.5 with ease. If you do go with the ETR line of cameras, make sure that you get a kit that is setup the way you like it. System cameras are unique creatures, they are amazing with no grip and a waist level finder or eye-level finder and a grip, but start swapping stuff out and you’ll run into ergonomic problems.

All Photos taken in Downtown Milton, Ontario, Canada
Zenza Bronica ETRS – Zenanon-PE 1:2.8 f=75mm – Kodak TMax 100 @ ASA-100 – Kodak D-23 (stock) 9:30 @ 20C

Classic Camera Revival – Episode 24 – Something New

ccr-logo-leaf

So we’ve come to the end of another year and another season of the Classic Camera Revival Podcast! So why not look back at the year that was and check out what new things the gang has discovered!

Cameras Featured on Today’s Episode…

Zeiss Ikon Contaflex Super B – While not a new camera for Mike, what’s new for him is finding a Working example of this fine SLR from Cold War Germany! With Carl Zeiss Optics and Semi-Automatic Exposure it’s a great little camera that feels good in the hand.

CCR Review 48 - Zeiss Ikon Contaflex Super B

The Dirt

  • Make: Zeiss Ikon
  • Model: Contaflex Super B
  • Type: Single Lens Reflex
  • Format: 135, 35x24mm
  • Year of Manufacture: 1963

Tasty Treats
Zeiss Ikon Contaflex Super B – Carl Zeiss Tessar 35mm ƒ/3.2 – Fujifilm Reala 100

Missing A Bar
Contaflex Super B – Carl Zeiss Tessar 50mm ƒ/2.8 – Fujicolor 100 @ ASA-50

Positioning
Zeiss Ikon Contaflex Super B – Carl Zeiss Tessar 50mm ƒ/2.8 – Fuji NPS160

Cambo Legend 8×10 – Donna’s trip to the large side saw her pick up a wonderful 8×10 monorail, easy to use and a cheap way to get started on the very expensive side of large format photography!

The Dirt

  • Make: Cambo
  • Model: Legend
  • Type: View Camera, Monorail
  • Format: Sheet, 8×10
  • Year of Manufacture: 1990s

Film Featured on Today’s Episode…

Japan Camera Hunter Streetpan 400 – A brand new, redeveloped film stock from Bellamy, the gentleman behind the popular Japan Camera Hunter site and supplier of rare and odd cameras to the North American market from Japan. He decided to bring back a reformulated version of an Agfa Surveillance film. Remember, it’s not dead stock, it’s fresh! You can buy it directly from Japan Camera Hunter at his site, or pick up a roll or two from Downtown Camera in Toronto, Ontario!

TFSM - Summer '16
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Kodak HC-110 Dil. B 5:00 @ @ 20C

TFSM - Fall '16
Nikon F5 – AF DC-Nikkor 105mm 1:2D – JCH Streetpan 400 @ ASA-400 – Ilford Perceptol (1+1) 10:00 @ 20C

Ending the Day
Nikon F5 – AF-S Nikkor 14-24mm 1:2.8G – JCH Streetpan 400 @ ASA-400 – Ilford Ilfosol 3 (1+3) 5:00 @ 20C

ORWO UN54+ – Another old/new discovery. ORWO is another film from the former Soviet Block that has continued being manufactured. There are two flavours that have made it to the North American Market, an ASA-100 UN54 and ASA-400 N74. These are wonderful films and can be purchased through ORWO North America.

Getting Ready at the Rink
Nikkormat FT2 – AI-S Nikkor 105mm 1:2.5 – Orwo UN54 @ ASA-100 – Rodinal (1+100) 60:00 (Semi-Stand)

Texting and Walking
Nikkormat FT2 – AI-S Nikkor 105mm 1:2.5 – Orwo UN54 @ ASA-100 – Rodinal (1+100) 60:00 (Semi-Stand)

CCR Review 50 - Olympus OM-1
Olympus OM-1 – Olympus F.Zuiko 1:1.8 f=50mm – ORWO UN54+ @ ASA-100 – Kodak HC-110 Dil. A 7:30 @ 20C

CCR Review 48 - Zeiss Ikon Contaflex Super B
Zeiss Ikon Contaflex Super B – Carl Zeiss Tessar 2,8/50 – ORWO UN54+ @ ASA-100 – Kodak Xtol (1+1) 8:00 @ 20C

Developers Featured on Today’s Episode…

Kodak D-23 – An old developer in the photographic world, but a new one from Alex. He discovered it after looking at developers that he hadn’t tried and could be easily made. He was pretty impressed with the first roll he pulled! You can pick up a kit from Photographer’s Formulary!

Project:1812 - The Forts of Prairie Du Chien
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Ilford FP4+ @ ASA-100 – Kodak D-23 (Stock) 6:00 @ 20C

Munsing Falls
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Ilford Pan F+ @ ASA-50 – Kodak D-23 (1+1) 8:30 @ 20C

Project:1812 - The Battle of Baltimore
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Kodak Tri-X 400 @ ASA-400 – Kodak D-23 (Stock) 7:30 @ 20C

Fine Art Photo Supply FA-1027 – FA-1027 came across Alex’s Radar after hearing it mentioned on an episode of the Film Photography project and after hearing it described he wanted to give it a shot. This is a liquid developer that seems to give good results in most films developed in it. Good tone, fine grain! You can pick it up through the Photographer’s Formulary!

52:500c - Week 26 - Close to Home
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100 – FA-1027 (1+14) 9:30 @ 20C

Astrolab
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Ilford Delta 100 @ ASA-100 – FA-1027 (1+14) 9:00 @ 20C

CCR Review 49 - Minolta Maxxum 700si
Minolta Maxxum 700si – Maxxum Zoom AF 35-70mm 1:4 – Eastman Double-X (5222) @ ASA-200 – FA-1027 (1+19) 10:00 @ 20C

Fur Trade Museum
Intrepid – Fuji Fujinon-W 1:5.6/125 (Orange) – Kodak TMax 100 @ ASA-100 – FA-1027 (1+14) 9:30 @ 20C

LegacyPro Eco Developer – The Eco developer is part of a line of photo chemistry from LegacyPro, the Eco Ascorbic Acid developer is a clone to Kodak Xtol, you can even use the Xtol times for film with this developer. It’s cheaper than it’s Kodak cousin and is actually more environmentally friendly! You can pick up a kit through Argentix.ca!

LegacyPro Mic-X – A recreation of Kodak Microdol-X a well loved developer that Kodak stopped producing. So the folks at LegacyPro took a chance and recreated the legendary developer and now sell it as Mic-X! You can pick up a kit through Argentix.ca!

That’s it for 2016, it’s been a wild year for film and there’s still a lot more for us to cover, so we’ll be getting back to recording in the new year to bring you a third season! That’s right, bigger shows, more guests, and of course lots of filmtastic fun! Maybe even another meet ‘n greet somewhere in this great province!

Looking for a good spot to get your gear and material fix…check out Burlington Camera, Downtown Camera, Film Plus, Belle Arte Camera and Camtech, if you’re in the GTA region of Ontario. In Guelph there’s Pond’s FotoSource For those further north you can visit Foto Art Camera in Owen Sound. On the West Coast (British Columbia) check out Beau Photo Supply. Additionally you can order online at Argentix (Quebec), the Film Photography Project or Freestyle Photographic.

Also you can connect with us through email: classiccamerarevivial[at]gmail[dot]com or by Facebook, we’re at Classic Camera Revival or even Twitter @ccamerarevival

CCR Review 52 – Agfa Ventura Deluxe

If there is one type of cameras that I have little experience with its folders. Back in the summer, I did have a chance to review one; nothing could prepare me for the Ventura. It’s a camera with a bit of an identity issue, in addition to the Ventura Deluxe it could also be the Ventura 66 or the Isolette II, and while this camera did not perform how I thought it would it did give me a pleasant surprise. The history nerd in me also digs the fact that the camera was made in the “US Zone” part of the occupation of Germany after World War II.

CCR Review 52 - Agfa Ventura 66

The Dirt
Make: Agfa Camerawerk
Model: Ventura 66/Ventura Deluxe/Isolette II
Type: Point & Shoot
Format: 120, 6×6
Lens: Fixed, Agfa Apotar 1:4,5 F=8,5cm
Year of Manufacture: 1952-1955

CCR Review 52 - Agfa Ventura Deluxe

CCR Review 52 - Agfa Ventura Deluxe

The Good
There are two things the Ventura Deluxe has going for it if you’re looking for a toy camera that isn’t anything that is more common on the market. You have a glass lens, the Apotar is sharp in the middle and has some fall off at the edges with the vignette. And you have a lens that can stop all the way down to f/32 so if your focus is seized at the top end or near the middle of the focus scale you can still pull out images that has most of the scene in focus.

CCR Review 52 - Agfa Ventura Deluxe

CCR Review 52 - Agfa Ventura Deluxe

The Bad
The Ventura is an old camera and such there will be a lot of age related issues with them. The first and the biggest is that the focus helical can seize and in the case of mine it already has. It can be fixed, but not without a lot of blood, sweat, and tears on my part. Thankfully for my camera, it is set at the infinity focus point so I just make sure to stop it down to get the depth of field. Another problem that could plague this camera are the bellows. When looking at these cameras get out a flashlight to check for pinpricks both outside and inside. But then again if you’re buying one to rock them as a toy camera some light leaks might be a welcome!

CCR Review 52 - Agfa Ventura Deluxe

CCR Review 52 - Agfa Ventura Deluxe

The Lowdown
While the Holga system is no longer being produced finding a decent 6×6 toy camera can be an expensive proposal, but the Ventura 66 certainly fits that bill at least for me. You have a fixed focus camera, with exposure control, a decent lens that while glass gives a nice soft low-contrast look and vignettes your edges. While the camera wasn’t built like a toy camera, age has certainly made it that way, and I’m okay with that.

All Photos Taken in Oakville, Ontario
Agfa Ventura Deluxe – Agfa Apotar 1:4,5 f=8,5cm – Kodak Tri-X 400 @ ASA-400 – Kodak D-23 (Stock) 7:30 @ 20C

CCR Review 46 – Nikon Nikkormat FT3

To be perfectly honest, I’m a sucker for mechanical match needle SLRs. They’re simple, elegant and great to learn on and even now still a joy to shoot. The FT3 is just that, an easy to use, fun camera that can if needed double as a self-defense weapon. The sad part is that the FT3 only was made for a few months before being superseded by the Nikon FM. A unique creature among the more consumer oriented Nikkormat lines the FT3 can use AI and AI-S lenses even if they don’t have the coupling claw. Sadly you won’t be able to use the Non-AI glass that many Nikkormat shooters love.

CCR Review 46 - Nikon Nikkormat FT3

The Dirt
Make: Nikon
Model: Nikkormat FT3
Type: Single Lens Reflex
Format: 35mm, 24×35
Lens: Interchangeable, Nikon F Mount (AI)
Year of Manufacture: 1977-1979

CCR Review 46 - Nikon Nikkormat FT3

CCR Review 46 - Nikon Nikkormat FT3

The Good
The FT3 is a strong camera, hands down. The best part about it is that it can take AI/AI-S lenses, unlike previous Nikkormat models. Which means you have a solid lineup of glass available to you as well as inexpensive Nikon Series E which you shouldn’t dismiss out of hand. And while this is a slightly more modern camera it feels like one made in the 1950s or 1960s, but it still feels great in the hand. And as an added touch, I like the round film counter window adds a nice retro look to it. Combine the look, feel, and weight with a short throw on the film advance you have a comfortable camera to use. The FT3 is also built like a brick so you can easily take it into almost any situation and it will come out on top. And finally, there’s battery power, while not needed (thankfully) it takes a normal silver oxide cell, so you don’t have to worry about keeping the meter running.

CCR Review 46 - Nikon Nikkormat FT3

CCR Review 46 - Nikon Nikkormat FT3

The Bad
Sadly the FT3 will not accept the Non-AI lenses; the coupling pin is missing from the camera body. While not a big issue for me as I have all AI/AI-S glass, it could be for someone who is using it to replace an older Nikkormat body. There are a few usability issues that I have with the camera that could be just because of age and my unfamiliarity with them. The first is the shutter speed control. The shutter speed dial is located on the lens mount, and while there is a nice handle, it is still not visible in the viewfinder which makes it a little difficult to operate the camera. Additionally, the slider for setting the film speed is a bit awkward to use as it is connected to a locking section of the shutter control handle. And last is a jumpy meter which could mean the camera just needs a good Clean, Lube, Adjust, but I have gotten good at catching a right meter reading before it jumps around. But since the FT3 is mechanical I can always fall back on Sunny-16.

CCR Review 46 - Nikon Nikkormat FT3

CCR Review 46 - Nikon Nikkormat FT3

The Lowdown
The FT3 is the perfect camera if you want a solid mechanical camera that won’t break the bank, and already have a collection of AI/AI-S glass. And even though they don’t say ‘Nikon’ on the front doesn’t mean they don’t have the same quality. And if the older Nikkormats are just as good as the FT3 the whole series of cameras gets my blessing. Just watch out and get one that can use the lenses you have on the model as older Nikkormats require you to have the coupling claws present on the lens.

Photos taken in Toronto, Ontario
Nikon Nikkormat FT3 – AI-S Nikkor 50mm 1:1.4 – Ilford FP4+ @ ASA-100 – Kodak D-23 (Stock) 6:00 @ 20C

CCR Review 45 – Minolta Minoltina-P

If you have ever used the Olympus Trip 35 then, you’ll be right at home with the Minoltina-P. The camera is a fixed lens, semi-automatic point and shoot from the 1960s and honestly before I saw it on the shelf at Burlington Camera I had never even known this camera existed. But don’t let that scare you, Minolta produced a lot of underdog cameras through the 1960s that often were as good as their competitors. The Hi-Matic went up against the Olympus 35 and Cannonet Series, and the Minoltina, well it’s an Olympus Trip 35.

CCR Review 45 - Minolta Minoltina-P

The Dirt
Make: Minolta
Model: Minoltina-P
Type: Point and Shoot
Format: 35mm, 24×35
Lens: Fixed, Minolta Rokkor 1:2.8 f=38mm
Year of Manufacture: 1963

CCR Review 45 - Minolta Minoltina-P

CCR Review 45 - Minolta Minoltina-P

The Good
I’ve always been a fan of semi-automatic cameras, and the Minoltina is no different and what a great camera to use. The Minoltina is a nice compact camera that easily slides into a pocket or a haversack. You can adjust the settings with a simple lens mounted dial then adjust to the match needle system on the top of the camera, and that will adjust the aperture and the shutter speed based on the readings taken by the front mounted selenium meter. Additionally, there’s a window on the lens barrel which shows an EV number so if you use an external meter should the selenium cell give up, you can set an EV number for exposure, and since it’s a selenium based camera, so no batteries required. The lens on the camera is a 38mm f/2.8 Rokkor, so the images it produces are sharp, and the fast lens means it works well in low light situations. And best of all it’s quiet so that it would make an excellent street photography camera.

CCR Review 45 - Minolta Minoltina-P

CCR Review 45 - Minolta Minoltina-P

The Bad
The first thing I dislike about the camera is the focusing. Unlike the nice icons that you get with the Trip 35, there’s no such luck here. The focus is done by a click dial on the lens barrel (probably to prevent you from adjusting the wrong dial, each has a different feel). The focus is marked in distances only, meters on the top, feet on the bottom. So you do have to guess the distance. I only missed focus on two images which is not bad, but I was also shooting in bright light and was affording a wide depth of field. An external rangefinder would certainly be a useful accessory to carry around. Or just be able to guess the distance, stop down, and pray. As for flash photography, you won’t be mounting a flash on a shoe as there’s none on the camera you’ll want a flash bracket and a PC Sync cord. I’ve always been a fan of match needle metering, so I’m not ragging on this camera for having the system, it’s more a placement issue. Having the needle on the top of the camera makes it hard to meter on the fly with an eye level finder. It did not cause me too many problems but in mixed light or changing light or waiting for a shot where the exposure may change having to lower the camera to see the meter reading may bring about some issues. Also the placement of sensor cell means that I often would block it with my hands. You will also have to look out for ones with dead meters, but with a light meter that gives EV readings you can manually set the camera without trouble.

CCR Review 45 - Minolta Minoltina-P

CCR Review 45 - Minolta Minoltina-P

The Lowdown
The Minoltina is not a bad camera, although rare. As I mentioned in the introduction, I had never heard of the Minoltina line of cameras until I had seen one. But after using it I am pretty impressed with the results. The best part is that if you do find one they’re likely to be cheaper than your average Trip 35 as they don’t hold the same cult following. But don’t let the fact that this isn’t a Trip scare you away, it is a solid camera despite having a couple of what I would call design flaws. And I could even go as far as saying that I prefer the Minoltina over the Trip 35 because it does offer a much better manual functionality through being able to adjust the aperture/shutter speed via the control dial on the lens.

Photos take at Old Fort Niagara, Youngstown, New York
Minolta Minoltina-P – Minolta Rokkor 1:2.8 f=38mm – Ilford FP4+ @ ASA-100 – Kodak D-23 (Stock)