Tag Archives: kodak

New York, New York

New York City, a place filled with photographic possibilities. And a city I didn’t think I’d be getting back to anytime soon after my last visit back in 2013. Sure it took five years, but I managed to get back, on my honeymoon no less! And my awesome wife Heather even let me bring some toys along. And by toys I mean cameras. I went loaded for bear, the trusty Nikon FA three AI-S lenses (35, 50, and 105) and lots of photographic film.

Greatly Inscribed

Dames & Dragons

Now usually when I go shooting buildings in a city I tend to capture the full view of the building, getting as wide as I possibly can. This time around I couldn’t do that for a couple of reasons. The first being that the streets in New York, especially in Manhattan, are packed with tall skyscrapers that just don’t allow for the full capture of their grandeur. That is unless you have an ultra-wide angle lens. The widest lens I had with me was my 35mm lens, which while good for some of the shorter buildings just wouldn’t cut it elsewhere. And for some of the stuff I was shooting I needed my 14-24mm lens and either the F5 and F90, neither of which makes for an excellent travel camera when you’re on your honeymoon.

Ornate

A U Properly Shapped

So I decided to take a different approach than what I usually do and got in closer. Because in New York, in the older buildings the details are just as important as the big picture. Having the 105mm and a roll of Japan Camera Hunter Streetpan 400, I went in for the shot while Heather and I made our way north on 5th Avenue towards the Metropolitan Museum of Art. And what a place to shoot buildings, from Sak’s Fifth Avenue to the Art Deco flagship store for Tiffany & Co. Guilded Age skyscrapers to cathedrals of worship. This was a part of New York I had not spent much time in the past.

St. Patrick Details

Remains of Things Past

Of course standing out like a sore thumb is Trump Tower, and I prided myself at not getting any sort of photo of the glass monstrocity. As the 80’s were a horrible decade for fashion, they were pretty terrible for architecture also. Give me gilded age or art deco, the classics. Heck, I even find beauty in the brutalist nature of the 1960s.

The Tiffany & Co. Clock

Rose Window

Nikon FA – AI-S Nikkor 105mm 1:2.5 – JCH Streetpan 400 @ ASA-400 – Kodak HC-110 Dil. B 5:00 @ 20C

It’s a TMAX Party – Part II

The April TMax party happened to fall right into the perfect schedule with the Spring 2017 Toronto Film Shooters Meetup falling right into the shoot week! After careful consideration and having moved many of my cameras over the condo where I’ll be living before the month is up (actually next week once Heather and I get back from the honeymoon). I settled on my trusty Hasselblad 500c; it has been seeing a little less use this year after getting a lot of love with the 52:500c project.

TFSM - Spring '17
Downtown Camera where the meet started and the best spot in downtown Toronto to pickup anything film releated!

TFSM - Spring '17
A slightly sad wall, needs something more than just grey and white paint.

All through downtown Toronto, we went, taking in the various sites and sounds of the city’s core with a solid group of photographers from the little group I gathered together. This meet was the brainchild of James McFarlane. A long-time friend and the man who is going to be the photographer at the wedding in a couple of days!

TFSM - Spring '17
The man himself!

TFSM - Spring '17
St. Lawrence Hall from the park. Back in 2016 I tried to get a night shot from this angle, but failed.

Despite being a day of mixed lighting conditions with the bright cloud cover, it was great to get out with a 400-speed film so that no matter what happened I could shoot handheld which is important on a photo walk. Tracing along Queen Street and into St. James Park there were plenty of things to shoot, and because I wasn’t leading the walk, I could settle back and enjoy just shooting. And for a TFS meetup, it’s an oddity.

TFSM - Spring '17
One of the side doors of the St. James Cathedral. I would have gone inside but I wasn’t equipped for indoor shooting on the day

TFSM - Spring '17
But there’s still lots of shoot on the outside of St. James

As always big thank you to Emulsive for organizing this little party (and I look forward to the next film party, maybe a Tri-X Shindig?) and to Downtown Camera for being a big supporter of the TFS group!

Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Kodak TMax 400 – Kodak HC-110 Dil. B 5:30 @ 20C

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

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

An Extra Special Gift

This was certainly a first for me. I’ve been doing the photography thing for many years, and while my favourite subjects are things that really can’t move around, I do find myself enjoying the few portrait and wedding gigs that I come across. But when it came to shooting maternity it was all new territory. And it can be a pretty creepy one also. You look at places like Pinterest, and you can get carried away by semi-nude women showing off their pregnant bodies. Now before you lay on the hate, I’m not saying that’s a bad thing or wrong. I just don’t like that style of shooting, and when my subjects are my soon-to-be brother & sister-in-law. That’s just not the direction I want to take.

Evan & Holly - Maternity Shoot
Sony a6000 + Konica Hexanon 1:2.8 f=35mm

Evan & Holly - Maternity Shoot
Sony a6000 + Konica Hexanon 1:2.8 f=35mm

The idea is Heather’s who came up with the idea to do a shoot with them once we found out they were expecting, and it became all the more special when the one baby was two. Yep, instant niece and nephew added in, and just before my wedding. It did take Holly a bit of time to warm up to the idea of having maternity photos done. And I can understand that she also does photography, and it’s difficult for a photographer to stand in front of the camera rather than behind.

Evan & Holly - Maternity Shoot
Sony a6000 + KMZ Helios 44-2 2/58

Evan & Holly - Maternity Shoot
Nikon F5 – AF Nikkor 50mm 1:1.4D – Kodak Tri-X 400 @ ASA-250 – SPUR HRX (1+17) 11:00 @ 20C

Thankfully we had just the right weather to be outside, well it was a little cold for Evan and Holly, I at least could keep my coat on. And for the backdrop, we took advantage of being in Hamilton the city of waterfalls and worked at Tiffany and Sherman Falls. What makes this whole thing extra special is that Evan and Holly had been waiting a long time to start a family, so it was an amazing idea from Heather to document it right from the beginning.

Evan & Holly - Maternity Shoot
Nikon F5 – AF Nikkor 50mm 1:1.4D – Kodak Tri-X 400 @ ASA-250 – SPUR HRX (1+17) 11:00 @ 20C

Evan & Holly - Maternity Shoot
Nikon F5 – AF Nikkor 50mm 1:1.4D – Kodak Tri-X 400 @ ASA-250 – SPUR HRX (1+17) 11:00 @ 20C

The great part was that once I got rolling with the photos it went really well, both Evan and Holly were great subjects, and the process moved along well. I found myself looking only once at a few saved images on Pinterest and then settled into my usual groove when shooting portraits. The only thing different was making sure to show off the baby bump! And no, I’m not getting into newborn photography, but I think I’d be okay doing another maternity shoot of the same style.

In the Flavour of Maple

A sure sign that spring is just around the corner is the start of the maple season here in Ontario, where the sugar bushes come alive with the sound of sap dripping into buckets and the sweet smoke pouring out of the many sugar shacks across the province.

Mountsburg Maple Festival 2017

Mountsburg Maple Festival 2017

For Heather and I that thankfully does not mean long hours working out in the bush, but rather a drive out to Mountsburg Conservation Area for their Maple Town event. You get all the sweet rewards but without any of the hard work attached to it. Despite the cold weather, which worked a bit in our favour, we headed out all bundled up. While the weather was cold, the sun was out and high in the sky.

Mountsburg Maple Festival 2017

Mountsburg Maple Festival 2017

The Maple industry is closely tied to the history and growth of this part of Canada. The sap once reduced down could be turned into a sweet syrup or reduced down further to sugar that could be eaten as a treat or a replacement for the refined white and brown sugar that isn’t grown in the area. So when supply ships could not get through, the early settlers learned of maple sugar from the first nations that had been gathering the sweet stuff for many years.

Mountsburg Maple Festival 2017

Mountsburg Maple Festival 2017

Of course for Heather and I, we just had to join the queue and had pancakes the size of dinner plates served up to us with the syrup made right there in Maple Town which we then enjoyed in the brisk winter air. The event is great fun for the family and is open through all of March and into April when the season ends. You can find out more at: www.conservationhalton.ca/maple-town.

Contax G2 – Carl Zeiss Planar 2/45 T* – Kodak Tri-X 400 @ ASA-250 – SPUR HRX (1+17) 11:00 @ 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 59 – Canon FTb

While I have shot only a handful of Canon products during my reviews, they’ve all given positive results in my books. The Canon FTb is not bucking this trend as a solid match needle, mechanical SLR it is certainly a top pick for me as a student camera. Simple in its operation, and yet provides a good solid introduction to 35mm film photography. Special thanks to Bill Smith for loaning out this black beauty!

CCR Review 59 - Canon FTb

The Dirt

  • Make: Canon
  • Model: FTb
  • Type: Single Lens Reflex
  • Format: 135 (35mm), 36×24
  • Len: Interchangeable, Canon FD Mount
  • Year of Manufacture: 1971

CCR Review 59 - Canon FTb

CCR Review 59 - Canon FTb

The Good
The number one thing I love about this camera is the Quick Load function. Often with older cameras it takes a bit of fiddling to get the film loaded up, some cameras are easier than others, and then there’s the Canon Quick Load. It seriously makes it easy like my Nikon F5, lay down the film, close the door, advance fire, advance, fire and you’re ready to rock and roll. Everything else is fairly well laid out and in a normal place. A power switch to save on battery power, a short throw on the film advance and a pleasing weight in hand. And finally, it’s a match needle metering system very similar to my first SLR, the Minolta SRT-102, put the hole over the needle, nice and easy!

CCR Review 59 - Canon FTb

CCR Review 59 - Canon FTb

The Bad
By this point, reader, you will probably realize that there are some cameras that I try hard to find a fault in, and I normally will go for something petty, well the FTb is one such camera. And that fault is, of course, the battery. The camera does need a mercury cell to work, a power source that isn’t exactly easy to find these days. Now there are some alternatives such as an adapter to step down the power out of a current battery or an air-zinc battery. Then again as the FTb is a mechanical camera all the battery powers is the internal meter, so it isn’t that big of a deal.

CCR Review 59 - Canon FTb

The Lowdown
If you don’t want to spend a fortune to get a solid learner camera, then the FTb is certainly for you. With or without a working meter you get the most bang for your buck, and both the camera bodies and lenses are plentiful online and in reputable used camera shops. If I didn’t already have an extensive selection of Nikon cameras and lenses, an FTb would certainly be a welcome addition to my camera bag. So if you don’t like the idea of grabbing a cliche K1000 or FM, then give the FTb another look, it won’t let you down.

All Photos Taken in Guelph, Ontario
Canon FTb – Canon Lens FD 50mm 1:1.8 – ORWO UN54 – Kodak HC-110 Dil. A 7:30 @ 20C

Expired Film Day – 2017

Two Stops Over and Straight On ‘Til Morning.

Expired Film Day 2017

Ah yes, the mantra of Expired Film Day. EFD is the brainchild of fellow film photographer Daniel J. Schneider. The day is a celebration of shooting and enjoying the wacky results you get from shooting expired film. I tend to shy away from colour films mostly because of having to send them away for processing. So this year I had a pile of the mid-1990s expired TMax 100 floating around to shoot. Most Kodak B&W films are fairly stable, and you could shoot them at box speed if you wanted and get good results. I know because I’ve been using the film to try out cameras for the Classic Camera Revival Review blogs.

Expired Film Day 2017

Expired Film Day 2017

To make matters a little more interesting, we recently got hit with a big winter storm which turned our near Spring area into a winter wonderland, and a cold snap forced me to make some different choices when it came to going out and shooting. Ditching the idea of taking out any camera or meter with a battery because I figured it would be at least an hour to walk and shoot in the awful weather I settled on an old war standby. The Contax IIIa and mounting a 1942 era Carl Zeiss Jena Tessar 50mm lens, as for a meter it was the Gossen Pilot.

Expired Film Day 2017

Expired Film Day 2017

There was a plus to all this, the overcast sky and bright sun behind the clouds made the light bright but even making metering fairly consistent no matter what I was shooting. As for the subject, I decided to take to my old stomping grounds, the campus of my former High School. This was where I started with serious photography, often taking time between classes to figure out my newest camera. I was pretty frozen by the time I made it back, but the camera had survived. The older lens gave everything a bit of a hazy look about it which only added to the strangeness of EFD. Maybe next year I’ll plan it out better to have a batch of colour negative waiting for developing and then shoot some expired slide film and Xpro it!

Expired Film Day 2017

Expired Film Day 2017

Contax IIIa – Carl Zeiss Jena Tessar 1:3,5 f=5cm – Kodak TMax 100 @ ASA-64 (TMX)
SPUR HRX (1+17) 11:30 @ 20C
Meter: Gossen Pilot
Scanner: Epson V700
Editor: Adobe Photoshop CC (2017)

CCR Review 58 – Graflex Pacemaker Crown Graphic

At the very beginning of these review blogs I had laid out some rules, and now I’m going to break one of them and review a large format, sheet film camera. The Crown Graphic is my 4×5 camera of choice these days; it’s reliable camera that can take a hit and keep on taking photos. I mean that is what it’s designed to do, it’s a press camera. And when it comes to large format, I’m glad that my first experiences with the format were on a press camera rather than a field or monorail because I don’t think I would have taken to the format in the same way.

CCR Review 58 - Graflex Pacemaker Crown Graphic

The Dirt

  • Make: Graflex
  • Model: Pacemaker Crown Graphic
  • Type: Press Camera, View/Rangefinder
  • Format: Multiple, Graflok Back (Roll film, or Sheet Film)
  • Len: Interchangeable, Crown Graphic Lens Boards
  • Year of Manufacture: 1955-1973 (This Model, 1968)

CCR Review 58 - Graflex Pacemaker Crown Graphic

CCR Review 58 - Graflex Pacemaker Crown Graphic

The Good
The number one thing I love about the Crown Graphic is that it’s versatile with a single camera I have both a handheld rangefinder based camera that I can just point, focus and shoot, at least when I’m using the Xenar 135mm lens, as I’ve calibrated the rangefinder for the lens. I much prefer to shoot the camera like a field camera, on a tripod, composing and focusing using the ground glass on the back. Using the glass gives me full creative control and use of some fantastic lenses, like the Symmar-S 210mm (which is the lens I use the most). Plus that’s the power of large format, your Crown will be able to use most lenses out there, and all the film holders and the Graflok back means you can attach all sorts of accessories such as roll film magazines and Polaroid Type 100 film holders. And finally, this camera has a nice fast setup, pop the front cover, drop the bed pull out the bellows. And if you’re using ‘pancake’ style lenses, you can keep the lens on the camera when you close the door.

CCR Review 58 - Graflex Pacemaker Crown Graphic

CCR Review 58 - Graflex Pacemaker Crown Graphic

The Bad
Like any large format camera, the biggest detractor to them is the size and the amount of stuff you need to bring to use the camera well. Tripod, multiple film holders, meter, and the lenses all mounted on their boards. It adds up after a while. But for me, it’s worth the effort. Another issue that only large format shooters will note with a press camera is the lack of movements, while the Crown Graphic gives more than the Speed Graphic, you are still only limited to movements on your front standard, and even then you’re relatively limited. But again this was a camera not designed for shooting that requires much in the way of movements. And finally there is starting to be a lack of spare parts for these cameras, so getting bits and pieces replaced or repaired is starting to become a problem, either you can grab ones that are already broken for spare parts or pray that you know someone who can machine the appropriate piece. Thankfully their rugged build means they are designed to last.

CCR Review 58 - Graflex Pacemaker Crown Graphic

CCR Review 58 - Graflex Pacemaker Crown Graphic

The Lowdown
If you’re like me and shoot on a mobile basis, then the press camera is certainly the best option, and often a Crown Graphic kit can be had for an inexpensive out of pocket cost. Being highly adaptable to multiple shooting situations and with a quick setup and tear down it’s a great camera for learning on. Of course, if you’re a technical shooter who needs movements then I would avoid press cameras altogether and go for something a little more expensive. Intrepid, Shen-Hao, Takahara, Linhoff, and Sinar are all excellent options. But for me, I’m sticking to the Crown.

All Photos Taken in Georgetown, Ontario
Graflex Pacemaker Crown Graphic – Schneider-Kreuznach Xenar 1:4,7/135 – Kodak Tri-X Pan @ ASA-200
Pyrocat-HD (1+1+100) 10:00 @ 20C