The Voigtlander Vito CL

I had purchased, well more traded, for a Voigtlander Vito CL 35mm Scale Focusing camera for some Polypan F film.  And not just a few rolls, but a lot of rolls..

I traded more than 30 rolls of film of the stuff for a few cameras, and honestly, it was very much worth it!

One of those cameras I traded for was the Voigtlander Vito CL which had a stuck shutter (oil) and fungus on the lens..  Plus, a little bit of corrosion in the chrome.  Honestly, nothing that can't easily be fixed.  So I fixed it as best as I could.  Needless to say, the camera is working perfectly and the glass looks crystal clear now, minus some dust.  The corrosion is something of a different story, though.  That is a little beyond my skills and capabilities.  Not like it matters, to be perfectly honest.

Nonetheless, I have used this camera a number of times, but I don't quite feel it is often enough.  I really like the results I get using it, but much prefer my Kalimar A for different reasons entirely.

The VITO is a great camera, honestly it really is.  And works really well, has a super sharp lens, and not difficult to use at all.



The images that I have taken with this camera are quite nice, in my eye, and exceptionally sharp, excellent contrast, and really well exposed while using the on-camera light meter.

Whether I have shot B&W or C-41 (Colour Print) film, the images always come out well exposed, and sharp.
Can't always say I can nail the focus on every image, considering that it uses a scale focus where you set the range and distance of the focus to the subject, and hope it's right, or measure it out.
I'm pretty good at guessing when gauging in feet, but I'm not quite there in meters.  Not yet!

Go figure, since I use the metric system in Canada, yet guessing the distance with feet is easier than in meters for me.

And of course, a sample image from the Vito;




A full in depth review of the Voigtlander Vito shall follow soon.

Until them, keep those shutters firing!

Bronica ETRs

The Bronica ETRs Medium Format Single-Lens Reflex 120 roll film photographic system.

About 2 years ago I purchased a Bronica ETRs 120 SLR from a professional wedding photographer who was hanging up his gear, and moving on to just hobbyist type of photography instead.
Well, knowing it was well cared for, and would be in excellent shape, I bit and bought it.  One of my biggest camera purchases, as it was solely intended on being used for my portrait work instead of my hobbyist work.  Needless to say, it migrated out of studio and into the field for just shooting whatever with.
As I have come to know this camera, I have learned that there are many advantages to it, and some disadvantages.  The biggest disadvantage with this camera, aside from the bulky design, is the viewfinder blackout, and lack of mirror return.  As I'm used to the Exakta and Contaflex SLR cameras, this is not an issue for me, but was rather disconcerting the first time I had used this camera, and wasn't used to a non-returning mirror.
The other disadvantage is the location of the shutter release button.  I'm not quite sure why it is in the location that it is, but it's a little out of the way, and honestly, it's also very easy to accidentally press when you pick it up.
And lastly, the shutter is a 1/500s leaf shutter.  It does have other speeds, like 8s to 1/500s +T, nope.  No BULB mode!  The T is a real PITA to use, as you have to slide a little lever on the lens to set it.  As with such, you also have to have a battery for the shutter to operate at any other speed but 1/500s.  This draw back is easily noticed in cold weather, as the cold will cause the battery to seemingly drain rapidly as it gets colder, and colder.
But those are all issues that are easily over come.  The advantages to this camera are many!  Larger negatives/transparencies.  Beautiful clean, sharp, and easy to see viewfinder, whether you are using the PRISM or the WLF it is very easy to focus with.  The 645 frame size is wonderful for landscapes or portraits!
Although I haven't used it much for landscape work, it has proven itself to be a very versatile camera! Spending most of its time on a shelf or being used in studio, I intend on taking it out for outdoor work, and on location shoots.  The camera spent much of its life as a Wedding Camera, so I don't see why it can't spend its time as another portrait camera.
15 frames per roll make it the right amount of frames for a portrait session.  Not too many, and not too few.  Don't get me wrong, there's nothing wrong with 6x6 or 6x7 (or even 6x9), but 645 is a great size and gives you just the right amount of frames.

Having said that, of course, I don't quite understand what happened to frame #16 with this camera, as a 120 roll of film using the 645 frame size should get 16 frames, but Mamiya and Zenza both only let you shoot 15 frames, which is very odd.  Nonetheless, the quality of the lenses, and the camera, truly make up for the loss of a single frame, in spades!
With only a couple of lenses, the 75mm PE and 150mm MC, I have the two main focal lengths covered.  Thing is I would love to get more than just these two lenses.  I want to be able to do better, wider, landscapes, and would love to one day get my hands on the 40mm, but just isn't feasible at the moment.  The other lens is the 100-200mm zoom, which is a beautiful lens.
But unfortunately, it'll have to wait.

For me, the Bronica was a camera I wanted.  I definitely wanted this camera, and had been looking for one for a while. Originally it was a Bronica SQ-AI that I was looking for, but changed my mind quickly when I saw this one.
Sure, the SQ is a great system, and 6x6 frame size would be perfect, plus the Nikkor lenses.  But I was after a system that was a little different.  Not a Mamiya, or a Pentax, so I went with Zenza.
The 645 frame size is the size I also wanted to go with so I could squeeze in a couple more frames per roll, and I am very happy I went with this system.

So if you're in the market for a Medium Format camera, want something economical, yet still classified as a professional camera that has been used, and is still being used, by wedding and portrait photographers around the world?
You can't go wrong with a Bronica ETRs system.

Zenza Bronica ETRs Single-Lens Reflex
8s - 1/500s Seiko leaf shutter (1/500s only without battery PX28)
15 frames on 120 film (60mm x 45mm)
Double Exposure Protection w/Over-ride
PC-Sync Port X-Synced at all speeds

Accessories you can get (some of)
Non-AE Prism
Waist Level Finder
AE-Prism
Speed Grip
Power Grip with Motor Drive
MACRO Bellows
120 Back/220 Back
Polaroid Back

And probably more.

Until next time, keep those shutters firing!

Argus - The C3 Brick!

Manufactured in 1939 after the Argus C (a non-coupled rangefinder camera), and well into the 60's when sales slumped dramatically with the dated and clumsy design, and not to mention the introduction to cheaper and high quality Japanese rangefinders, like the Yashica Electro variety of Rangefinders.
The C3 had a typical era rangefinder, which was a military style split rangefinder instead of the usual image on image type found on other Rangefinders, like Leica, Canon, Nikon, etc.
But it also had the same thing that Leica and Canon had to offer.  Interchangeable lenses.  The lens could be unscrewed (although this was a four step process).
The lenses on the Argus, though, are very good.  The 50mm ƒ/3.5 Coated Cintar is a basic triplet design, but is remarkably sharp.  The aperture blades are circular and give some excellent out of focus distortion, and a smooth transition    Not to mention some decent Bokeh.
The design of the C3 gave it its nickname.  The Brick.
The "brick-like" shape not only defined the camera, but was one of its many charms.  The camera was durable, robust, but ultimately, it was heavy!  Weighing in at almost 760g it is a very heavy camera, and becomes tougher to hold after long periods of time.  In fact, it's the same weight as my Canon FTb.  That's almost 2lbs of camera!
The simple design, and simple ergonomics of this camera lead it to be one of the most popular cameras of the time, and considering it ran for almost 3 decades as one of the top selling rangefinders, that made it one very successful camera.
The lens on this camera, the 50mm ƒ/3.5 Coated Cintar is a very sharp and quite contrasty triplet lens.  The lens is very easy to clean, and even comes apart exceptionally easy.

The camera itself, although heavy in hand, is actually not too difficult to use.  Just focus using one viewfinder (the Rangefinder) window, then a quick move of the eye, and you can compose and take the photo.  Sure, it's not the easiest method to shooting, but it works.  It makes shooting action scenes a little difficult, especially if you are using a wide-open aperture on the lens.

Film advancing is fairly painless, unless you forget to release the frame advance lock.  Then you can turn the WIND knob all you'd like.  It won't budge!  (or at least it isn't supposed to)..
Loading the film is easily accomplished, and taking photos is really straight forward.  Just remember to move your finger off and away from the cocking lever.  I've had the shutter get stuck open a few times because I forget to move my finger away from the lever.

But, for sample images, this camera doesn't disappoint!

Basic Quick Specs;

• Argys C3 35mm Rangefinder
• Split-image style Rangefinder in difference viewfinder
• Interchangeable lens
  Standard 50mm ƒ.3.5 Coated Cintar is attached
• 1/10s to 1/300s +Bulb
• 41mm slip-on filter size
• M/F synced at all shutter speeds
• Three Bladed manually set Leaf-Shutter
• 759g with 50mm ƒ/3.5 Coated Cintar & no film.

Until next time, keep those shutters firing!

Kalimar A In Depth Look

In the early 50's, Tasei Koki Corporation released this funky little 35mm Viewfinder camera known as the Kalimar A.  Under multiple badges, like the Welmy M2, and the Westomat 35.
Using a triplet 45mm ƒ/3.5 lens, single coated, and called a Terionon lens.



The focusing system is done by scale and guess focusing.  For those that aren't familiar with Scale Focusing, it is a great system that will teach you how depth of field works in  conjunction with focus and aperture.  I would highly recommend beginning photographers to get their hands on a camera similar to this to learn how to understand the relationship to the lens ƒ/stop and getting more, or less, depth into their photographs. Scale focusing is a very good way to learning some simple basics in photography, whether digital, or on film.
The weakest point of the lens on this camera is that it vignettes a fair bit.  But in truth, I more feel that it's a charm of this little camera more than anything else.  I don't mind the vignette at all, and find it really gives the photos a different dynamic.  Of course, it could, per chance, just be my particular model.
The shutter is a very simple 4-speed shutter, ranging from (using the old school of shutter speeds) 1/25s, 1/50s, 1/100s, and 1/200s + Bulb.  It uses a 5-bladed shutter which is X-synced at all speeds, and yes, the Sync does work with an electronic flash, as I have done. I have also used flash bulbs at 1/25s.  The shutter release is threaded for a cable release for BULB exposures.  There is no self timer on this camera, so use of a long cable release, or an accessory self-timer will be required.
The cold-shoe allows the attachment of a flash, or accessory shoe rangefinder.
The frame counter is a simple dial type that clicks down frame by frame telling you how many frames you have left.

I have used this camera with B&W, C-41, and E6 films with excellent results.  In fact, I honestly don't think there is any film type you couldn't use in this camera, including Kodachrome.  Err, of course, that would mean you could get it properly processed still, but of course, you can't.
It is a great camera to use, is compact, light weight, and is a great treat to use.

If you happen to come across one of these cameras, pick it up.  You won't be sorry, and it'll make a very lovely addition to your collection, even if you happen to just keep it on the shelf.

A quick gallery on photos taken on the Kalimar A;

Until next time, keep those shutters firing!

Kodak Pony 135 Model C

This little gem of a camera I got when I picked up a box of Kodak cameras. From a 126 Instamatic, to Brownies, and other various folders. I actually got two of these little babies. The thing is, only one works. The other camera only seems to work at 1/300s, while all the other speeds are frozen, which is too bad.
This is a fun camera to use, and goes by "Scale Focusing" where you set the focus distance on the front element ring, set your Aperture, shutter speed, cock the shutter, and release. Very simple operation, and very light in hand.

The simple design means that they could mass produce these cameras with very little cost involved. The Anaston 3-element coated lens is actually very sharp, and provides good colour rendering, and contrast. Wide-open it is quite soft, but is fairly sharp toward the center of the lens. At ƒ/8 the lens really comes into its element, pardon the pun, and is very sharp. The shutter operation is very simple, and is set by turning the ring behind the front lens element which sets the shutter speed from 1/25, 1/50, 1/100, 1/300, or Bulb.  The flash connection is a Kodak off-camera SYNC connection with an adapter for a standard PC-connector, which is shown in these photos.  The left side of the camera holds the film cartridge, as well as the re-wind knob.  Beside the rewind is the Film Identification wheel, but the films listed on the wheel are long since discontinued, but have Kodachrome, Royal Pan-X, etc.  Located on the right side of the camera is the take up spool, film advance knob, film frame counter and indicator, and shutter release button.  When you take a photo, you cock the shutter, which is a lever located on the left side of the lens, above the flash sync connector, then press the shutter release when you have your photo composed and focused.  After taking the photo, you still cannot advance the film until, like on the Argus cameras, you press a lever, located on the back left, which allows you to advance to the next frame on the film.  This is not double exposure prevention, but prevents you from accidentally winding passed the next frame.  If you decide to, you can take as many photos as you'd like on the same frame just by re-cocking the shutter, and releasing it.

Once the film is finished, there is a tab beside the film advance switch, which you must hold in, and believe me it really sucks to hold it in, and rewind the film back into the canister.

Once the film is rewound, you slide down the locking lever on the right side of the camera, and the entire back comes off so you can remove the film canister or load a new one.

The camera itself is lightweight, and made almost entirely of Bakelite plastic, with some metal around the lens mount for stability.
The camera does have a very lovely Ever-Ready (I say Never-Ready) leather case, which is quite attractive, and gives the camera an even more "timey" feel to it.

"Chain Monkies" - Kodak Pony 135 C
Kodak Anaston 44mm ƒ/3.5
ORWO UN54+ 100ASA Film
Kodak HC-110 (B) - 11:00

Nonetheless, this is also a similar camera to the one they have talked about multiple times on the Film Photography Project, now cue Pony sound-byte.

So check them out! 


Quick Tech Specs;

Kodak Pony 135 Model C
Kodak Anaston 44mm ƒ/3.5 Triplet Lens
35mm Film Camera (Frame size 24x36mm)
Kodak Flash-300 Shutter.  1/25s - 1/300s +B
Scale Focusing Camera w/focusing as close as 2.5'

If you have one of these cameras, or another film camera, check out the Film Photography Project anyway, as they have film for that camera for sale, and have some of the best prices for Kodak Film! 
Heck, you can even buy a camera from them.

Whether it's 35mm, 110, 120, or even Instant!  They sell both the camera, and the film!
Check them out today!

Until next time, keep those shutters firing!

Canon Digital Rebel XS

"Canon Digital Rebel XS dSLR" w/17-85mm ƒ/4-5.6 USM IS
Taken on Canon A-1 35mm SLR - 50mm ƒ/1.8 FD - Polypan F 50ASA @ ASA 6
Developed in HC-110 Dil. H 9:30 @ 20°C

The one camera I have doesn't get the same recognition as my film cameras, nor my dSLRs.  The Canon Digital Rebel XS is a very impressive entry level dSLR.  Using the same digital sensor as the Canon EOS 40D (a professional series dSLR) it has remarkably clean, clear, sharp, and detailed images.
I really enjoy using the Rebel XS because of its small size, and ease of use.  There are some aspects to the camera I'm not a fan of.  The pop-up flash, well, I've never been a fan of pop up flashes, or on-camera flashes in general.  The body also feels unbalanced when using larger lenses, such as the 17-85mm ƒ/4-5.6 USM IS lens, as seen attached in above photo, or the 75-300mm ƒ/4-5.6 USM II lens that I also have.  It feels very unbalanced, and cumbersome.  Perhaps if it had a battery grip, it might be a bit easier to handle.

"Canon Digital Rebel XS dSLR" w/50mm ƒ/1.8 EF II
Taken on Canon A-1 35mm SLR - 35-70mm ƒ/3.5-5.6 MACRO FD - Polypan F 50ASA @ 6ASA
Developed in HC-110 Dil. H 9:30 @ 20°C

Other things it's missing is a PC port, although it's consumer dSLR, it's not important.
The buttons are also not in the greatest of locations.  The ISO button, located behind the quick jog wheel, is hard to remember where it is located, and the AE-LOCK and AUTOFOCUS POINT SELECT buttons are easy to confuse with each other.
One of the nicest things about this is the built in Diopter correction, which is amusing, as I have one other camera with a Diopter correction built in, but it's more than 60 years old.  My Fed2.
Sure, the 40D has it, but most dSLRs today have it, whether it's Nikon, Pentax, Canon, Sony, etc.

Other than that, it's a very nice camera to use, and even the starter lens it comes with (EF-S 18-55mm ƒ/3.5-5.6 IS) is a decent lens.  It's quite sharp, contrasty, and has nice coatings to reduce flare.  A well constructed lens considering the cost of the lens.

Originally I purchased this camera in hopes of eventually moving on and opening up a portrait studio, but now I'm  starting to look more toward the side of doing Realty Photography.

Until next time, keep those shutters firing!

Canon A-1

Canon's A-1 semi-professional camera is a solid, robust, and weighty Advanced Amateur/Semi-Professional entry into the camera world.  With shutters speeds from 30s to 1/1000s it out distances itself from the AE-1, and AE-1P (which has the same metering system).
The body is only available in Black, so don't expect to see any silver or brushed aluminum cladding on this camera.

The camera has a presence to it. The shape, the design, and especially the solid black body with the white accents of the lettering.  When paired up with the Motordrive MA, it makes quite the site to behold.  A Canon Speedlite 199a, Motordrive MA, and 50mm ƒ/1.4 (or 85mm ƒ/1.8 or even the ƒ/1.2) is just an amazing site to see.
Some of the weirder aspects to this camera is the ASA dial.  With speeds from ASA6 to ASA12800, it seems a bit extreme.  I do not know of any film that was ever up to ASA12800, and would hate to see the grain in 35mm for a film that fast.
It's also a bit tricky to adjust.  There's a little metal lever on the side of the dial to help lock it so you can't accidentally turn it from one ASA to another mid-roll.  This lever is a pain to work with because it is in a very difficult to access location.
There's also an exposure compensation dial on the ASA dial, with a lock button located at the rear top of the camera beside the Pentaprism hump, and located almost directly in front of the film-plane mark.
There is also a switch that turns the red LEDs inside the viewfinder on and off.
Also located on the Pentaprism hump, on the back of the camera, is a switch to black out the viewfinder to prevent fogging of the film during long exposures.
In the middle of the ASA dial is the rewind crank which also doubles as a level to pop open the back of the camera, or the film-chamber door.

Opposite side we have the On(A)/Off(L) and self timer (2/10) switch which, does exactly what you'd expect.  Turns the camera on, or off, or sets the exposure timer.
There is also the switch to adjust from Av (aperture Priority) to Tv (Shutter Priority) along with a switch to guard against accidentally changing the settings.
Depending on what setting you have the camera set to, you will see a window because the Av/Tv switch that has shutter speeds, or Aperture values depending on the priority mode you have the camera set to.

Looking on the left side of the camera at the front you a few more buttons and a slider switch.  The slider is the DOF preview switch, which stops down the lens, which is good if you are using an older FL lens which requires stop down metering.
Above that switch is a Meter preview button, which will display the settings the camera's meter reads according to the preset shutter speed or aperture value.
Above that button, there is third button, which is nothing more than the exposure compensation button. As on the AE-1 and AE-1P, it'll open the lens 2 full stops, which is very useful when metering for backlit scenes.
On the right side of the camera is the battery door.  When opened it houses a PX28 battery, or 4 LR44 batteries in sequence.
Once the film is used, it is then rewound back into the canister using the film rewind crank.  But before you can rewind the film, you have to press a button which is located on the bottom of the camera.

Although I've yet to finish a roll of film in this camera, the half-dozen photos I have already taken with it, I already know I'm going to have a hard time putting this camera down.

Until next time, keep those shutters firing!