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When it comes to fixed telephoto lenses, something is satisfying about these lenses, while they may not always be the ideal lens in a situation. When I first picked up that kit, the lenses that I got were a Soligor 200mm f/4, and it was the first lens I used when shooting my first roll of film. And for many years, I was happy with having only the 135mm f/2.8 in my manual focus Nikon kit. Then a chance at a 200mm f/4 brought me back to my first SLR, the Minolta SR-T 102. , That lens puts the Nikkor 200mm f/4 to shame inRead More →

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In the 1990s, a particular bread of camera was cheaply made, often in mass quantities and questionable quality. While many have been passed off these days as cheap and trash cameras, some achieved a bit of a cult following. One such camera was the Vivitar Ultra-Wide & Slim (VUWS). Vivitar never made the camera itself; instead, it was marketed and sold under the name. And actually, I don’t think Vivitar ever made anything of their own. What set the UWS apart from the other contemporary trashcams of the 1990s; it featured a simple 22mm f/11 ultra-wide lens, something that most well made point-and-shoot and toyRead More →

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I like a camera with history, something unique, a variant or a failed move forward. While I’m a Nikon shooter, Nikon cameras are fairly dull in the broader picture of photographic history. Sure, Nikon cameras often set the standard for photography and technology, but they often played it safe. On the flip side, Canon tried different things, they experimented, and sometimes it worked. Other times it was too early. The Canon Pellix is a fine example of the engineers at the company in the 1960s who wanted to try everything to improve photography. Sadly they were several decades ahead of the game. Thanks to OriRead More →

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While I’m not always a fan of third-party lenses, every so often, one comes along that impresses me as an alternative to an OEM lens. And the Osawa is one of those lenses that I probably would have used more if I had known what a sleeper I was sitting on. Unlike Vivitar, Osawa is a lens manufacturer in their own right and produced lenses starting in the 1970s when many SLRs were beginning to gain popularity in the consumer market, and many were clamouring for inexpensive alternatives. While working with this lens in an OM-Mount, they also produced for other major camera makers likeRead More →

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The KMZ ЗЕНИТ 3m (Zenit 3m) is a camera that is often bought for only a couple of reasons. The first is the desirable Helios 44 lens; the second is a collector’s item. In the overall history of Soviet cameras, the Zenit 3m marked the first popular SLR to come out of the Красногорский механический завод or Krasnogorskiy Mechanicheskiy Zavod (KMZ). Sadly, like many older Soviet cameras, they aren’t known for their longevity and often suffer shutter failure. But my good friend John Meadows uncovered his Zenit 3m, and it still works, so he loaded it out to me along with his Helios lens withRead More →

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Throughout these reviews, I have shied away from third-party lens makers. But I have a long history with third-party lenses and often with good results. My favourite lenses are from my first SLR system, the Minolta SR-T 102, a Kiron 70-150mm f/4 lens and a Vivitar 75-210mm f/3.5. Although that Vivitar is different from today, the Series 1 70-210mm f/3.5 in many ways. The biggest is the size and function; the Series 1 is a beast and a lens that surprised me that they even released the lens in an OM-Mount. Lens Specifications Make: Kiron Model: Vivitar Series 1 70-210mm 1:3.5 Macro Focusing Auto ZoomRead More →

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This won’t be the first time that I have a Nikon camera that is Nikon in name only. Remember the Nikkorex? While not the same idea, while the Nikkorex line was contracted out to another manufacturer, the Nikon FM10 is a straight-up rebrand (with some modifications) of an existing camera. The Nikon FM10 is one of many cameras built on the Cosina CT-1 Super/CT-1G chassis and dressed up to look like a Nikon. And I’ll give Nikon and Cosina one thing, the FM10 seems a lot like a Nikon right down to the red stripe. Camera Specifications Make: Cosina Model: Nikon FM10 Type: Single LensRead More →

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When it comes to a 50mm lens, they are often overshadowed by faster fifties, the f/1.4 and f/1.2 and even crazier f/0.95. But sometimes, all you need is something at f/1.8, and the Olympus F.Zuiko, 50mm f/1.8, is a spectacular choice for your OM-System. While the lens has gone through several changes since its inception, this chrome nose version fits in nicely next to my 50mm f/1.4 chrome nose and is a tack sharp option for the more budget-minded Olympus user. Lens Specifications Make: Olympus Model: OM-System Auto-S F.Zuiko 1:1,8 f=50mm Focal Length: 50mm Focal Range: ∞ – 0.45m Aperture: f/1.8 – f/16, 6 BladesRead More →

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I admit that I haven’t used many of them for Canon cameras because I’m primarily a Nikon shooter. But there’s something special about a unique camera within the overall history of a camera manufacturer, and when it comes to Canon, that camera is the EF. Not to be confused because these days, when you match Canon and EF, you’re talking about their line of Autofocus lenses for the EOS system in the EF-Mount. But before the name was applied to lenses, it was a model of Canon cameras. Often passed over in general history, the EF is unique for two reasons: it was the firstRead More →

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When it comes to metering for precision, there is nothing better than a spot meter, but most spot meters these days are expensive, both new and on the used market. The first and only spot meter I’ve used is the Pentax Spotmeter V. This analogue 1° spot meter has become the accessory that always gets thrown in my bag when I’m out with my Crown Graphic Hasselblad or Mamiya for precision tripod-based work. The meter served me through almost my entire War of 1812 project, Canadian Confederation and most recently, the Railway project. A simple easy to use device that allowed me to execute aRead More →