Apr 19 2019

Konica MT11 nude

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The MT11 should have been a good camera but this one failed to rewind the film at the end of the roll. This forced me to extract the film in my film loading bag.  I did recover some shots from the expired film but because of this rewind faux pas it was also the last roll I put through my already mostly depleted chemistry.  Let that be a lessen to my other cameras that don’t behave. Not only will I disassemble you for your little innards I will treat your film with the same level of care.

Its a shame because the MT-11 was the best of the three levels of cameras Konica made in this line.  The MT-7 had a 36mm F4 lens, the MT-9 had a 35mm F3.5 and the MT-11 sported a 35mm F2.8 4 element lens.  You can’t really evaluate its performance from the image gallery but it did seem to focus well and if I ever come across another one I will give the model another go after I show it this picture.

 

 

 

 


Apr 6 2019

Canon Z180u

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With the Canon Z180u reaching all the way out to an 180mm focal length its imperative that you use a faster film.  In this case I chose to use a good roll of Portra 400 which I usually reserve for cameras I deem to be more deserving but seeing as it was my first and possibly only trip to a sub zero Celsius Alberta I thought I would splurge.  It was worth it, the Z180u is not that bad all things considered especially compared to the Pentax IQzoom 200 . However I think the Olympus Superzoom 160G has slightly better optics. I’ve used this camera a few times now and while the results have never been stellar they haven’t made me want to recycle it either.

The lens on the Z180u is a 38-180mm f5.6 to f12.9 and that’s all I have to say about that.


The images that I didn’t include in the gallery are a good indication of where this cameras weakness lies. Long zoom and low light.

Lightroom (CanonZ180u_Portra400_2018_002.jpg and 8 others)


Mar 30 2019

Cinestill 800 T

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Just some random pictures from a roll of Cinestill 800 T I ran through my Pentax MZ6.  Some other posts with Cinestill 800 can be seen here SeattleCanon A1 , 2015, Nocturnes, Niagara, Industrial, Gatineau

 


Mar 24 2019

Minolta 28-85 on the Maxxum 5

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A recent addition to my autofocus Minolta collection is the 28-85 f3.5 to 4.5 zoom with macro.  Without any real pre conceived notions I wanted to give it a good try.  So I opted to shoot an entire roll of film with just the one lens.  I loaded a roll of Fuji 200 in my Minolta Maxxum 5 and took it with me during an outing.  The first thing to be considered is the focal length which is a very usable range from wide angle to telephoto enough for portraits.  The aperture while not fast is serviceable.  It suffers from colour fringing particularly away from the center but beyond that its actually a good performing lens.  Physically its very compact not much larger than some prime lenses.Maxxum5_zoom_Fuji200_022-detail It also provides close focusing but only at the wide 28mm setting which can be used for interesting wide-angle shots that include a close element as well as a lot of background but less so the isolation of an individual element against an obscured background which is a more familiar use of ‘macro’.

Its probably a good thing that I’m using this lens with film as I don’t think its quite up to the more demanding task of a high resolution digital sensor.   For a film kit though its a keeper.

 

 

 


Mar 16 2019

Two lenses are better than one?

DualLens1

If one lens is good two must be better right?  That’s what I thought when I came across the Kodak Tele Disc.  The camera has two separate lenses of different focal lengths that it used one at a time. KodakTeleDisc But why not use them both I thought.  Heading the warning not to disassemble the camera I tore it apart instead. KodakTeleDiscDestruction

 

Then it was a matter of how to do it.  I needed some form of shutter that could work for both.  Fortunately I have the “Konicazilla” which is a Konica Autoreflex TC SLR that I removed the mirror box and a few other normally necessary bits from.  As this was a proof of inanity I didn’t worry too much about how secure or parallel the lenses were (that became a problem by the end of the roll).  Using some black foam and some hockey tape I “secured” the lenses in a somewhat focused manner and was off.   The lenses are a 12.5mm f4 and a 22mm f5.6.  I allowed the light  to fall where it might on the 35mm frame which was uneven given my rough cut holes for the lenses.  This silliness is all possible because I was able to place the lenses at the same distance from the film that they would have had in the Tele Disc camera.  And here are some of the results.

And then things got a little more fuzzy, it was either from bumping into things in a camera bag or excessive poking of the foam to see if it was still secure.

Konica_DiscLenses_2018_010

Many of the new cell phones coming out now sport multiple lenses of different focal lengths so I may need to step up my game if I want to stay at the leading edge of antiquated technology.

 


Mar 9 2019

Canon Z90W with Portra 400

CanonZ90W

The Canon Z90W is the end of the line for wide-angle film point and shoots from Canon and certainly one of the best they made. I’ve written about it a few times now Canon Z90W 

and your welcome to go down that rabbit hole of links or you could just look at the pictures below.

One thing about one camera:  The calendar in the camera only goes to 2029 which may dovetail nicely with pictures of rising sea levels.  After 2029 I guess all bets are off.


Mar 2 2019

Fuji Q1 and Expired APS film

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The Fuji Q1 is a very different camera with a strap that positions it more like a pendant on the end of a necklace and with its variety of colours its as much a 1990’s fashion accessory as it is a camera.  Here is some marketing copy from Fuji that may explain their intentions.

When you’re ready for some stylish fun on the move, the Nexia Q1 is the perfect choice. Wherever you go, the smooth, compact body makes the Q1 the ideal accessory for go-anywhere, point-and-shoot photo enjoyment. Don’t miss out on the good times, and be sure to capture them on film as they happen. With the high-styling Nexia Q1.

NexiaQ1Brochure

Looking at the lens its hard to believe that it can cover an entire frame but it does, even the full 16.7mm x 30.2mm APS-H frame.  As for autofocus it has it covering from 2ft to infinity but it may be a limited amount of  zones and at what distance they are I am not sure.  The lens is only 2 elements so there isn’t much correction going on and the aperture is f8 so its not letting much light in either. As for exposure its is actually a fixed value because the shutter speed is 1/100 second.  You have to rely instead on the exposure latitude of the film or the automatic flash to provide some extra lighting.  It may seem quaint now in a world of smart phone cameras but Fuji took the always ready always with you camera as far as anyone ever did with the Q1.


Feb 24 2019

Fuji Drive Half Frame

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I was half way through this roll of Ultrafine Colouruption (ORWO NC-3) in my Konica Auto S3 when it stopped working.  So I thought I would finish it in this camera with the idea that if it ended up being a grainy film that it would be accentuated by the half frame capture.  However despite the strange colours the film is not particularly grainy.  Nothing like the graininess of  Adox Color Implosion although the colour shifts are even more extreme with this emulsion.

Here is a comparison shot taken with my Pentax Q7 digital camera and the Fuji Drive with Colouruption.

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Ultrafine_Colouruption_FujiDrive_2018_rescan_022

Now about the Fuji Drive.  It has a 28mm f2.8 5 element lens which is surprisingly good but the cameras unique feature has to be that it uses a clockwork mechanism to advance the film.  This is of course where it gets the name “Drive” from.  The camera has a selenium meter that can be used for fully automatic exposure but you can also manually select shutter and aperture for more control.  Also the meter system was made at a time when 100 ASA film was considered fast so it only goes to a maximum of 200 ASA.  I’m also not really a fan of zone focus with most cameras so that’s a strike against it but if you pay attention to focus and set exposure manually you have a nice photography tool that is fun to use.

Another camera in my collection that has a clockwork film advance is the Ricoh Auto Shot.


Feb 17 2019

Konica 400 VX Super film RUN!!!

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Some films age gracefully, some just fade away but Konica 400 VX does neither it turns everything magenta in a fit of rage.  I know what your thinking ‘why don’t you just colour correct it?’  Well there is no colour correction on earth that can handle what ever this is. Yes I could adjust it but that would just give me a new set of weird colours.

KonicaWB

I think I owe an apology and a roll of some decent film to my Yashica T3 now like this Agfa Vista 200 I used in it last time.  Yashica T3 With Agfa Vista 200


Feb 9 2019

Samsung Impax 300i APS camera

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Not one to waste film I finished a half complete roll of film in a Samsung APS film camera.  APS film does not age well but that’s okay the internet is forgiving.

Here is one of the images that was already on the roll. untitled-4600

I imagine it was probably taken by a family member and original owner of the camera who then put the camera away until the battery was flat and couldn’t be bothered to buy another one so just donated, it I wish them all well.

The champagne colour Samsung Impax 300i sports a 28-80mm  8 element lens.  On the front it is silkscreened with an aperture range of  f4.2-11 but Samsung’s own advertising at the time claimed a 4.6 – 10.6 range not a huge difference but its odd that the claims vary.

Shooting what film was already in the camera was a gamble and in no way is indicative of what the camera probably can do with a decent roll but it is APS film after all.  A film format that started bad and over time gets worse, enjoy.  It’s interesting that the previously exposed images took on a pee soup colour while my fresh exposures have a washed out cyan look all contained on the same roll.  I suppose that the earlier images taken when the film had greater sensitivity were able to remain stored in their latent form better than the unexposed film was able to survive the loss of sensitivity over time.