Category: Camera reviews

Seeing the World Through 35mm: Street Photography with the Fujifilm X100F

Posted on Posted in Architecture, Bikes, Black and White Photography, Camera reviews, Nantes Photography, Photography Tutorials, Street PhotographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 10 Comments

Introduction

I have been writing for this blog for a while now and everytime I get a comment it feels wonderful. Especially when I get a thought provoking comment.  LIke this one from my friend Joe:

Excellent post Ian I admire your willingness to stay neutral on the merits of which focal length lens is better for street photography. I personally find the 23mm 2.0 Fuji lens fairly close to what my eyes are seeing before I take the image. Of course we are talking about lenses designed for the APS-C sized Fuji sensor so 35mm would be the equivalent field of view for my 23mm lens (23mm x 1.5 = 34.5mm). Undoubtedly some people will say the nifty fifty is a closer field of view to what the human eye sees but in my opinion I will leave that up to other people that may care to argue that point….
Sorry for my long winded response but I enjoy your articles so much I cannot resist replying even though once I get started you can’t shut me up

I am grateful for Joe’s thoughtful comment and I am still going to stay neutral, and just explain why I use the 35mm (equivalent) on my X100F, for street photography, and environmental portraits, despite having the teleconverter to convert that lens into a 50mm (equivalent) lens.  As a special bonus I will present my latest street photography from Nantes, which just goes to show the sun can shine on us…

The Appeal of the 35mm Lens

The 35mm offers a world view which is very similar to that of the human eye albeit with a very slight distortion that disappears at 50mm.  So, when on the street, we know that our image will have much the same view as what “we” see.  When I get really close for a close up of a subject, the possible distortion remains manageable and doesn’t distract from the subject.   

My Journey with the Fujifilm X100F

I have fanboyed and waxed lyrical about this camera in previous articles and will not do that here. However, I have had mine since 2018 and still use it on a very regular basis, which tells you an awful lot. I use it during travel and when doing street photography because it is light, takes up next to no space, and is subtle, unlike the huge DSLRs and their massive lenses. Moreover, I have enough self-confidence to not need to compensate for anything. It’s also a very sexy little camera, and over the years that we have been together, I have learned how to use it to its full capacity. I can use it intuitively without having to think, which is always a relief. According to camera manufacturers, six years is a long time to be with just one camera, but the costs of replacing it with the latest version are prohibitive, and not enough of them are being produced. The old argument about one in the hand still holds true.

The Versatility of the 35mm Lens on the X100F 

The versatility of the lens, as with any lens, depends on the person “behind” the camera. I use it for documenting a scene. It’s just wide enough to get a good view, but not to distort or have too “busy” a scene, as can happen with the 28mm. It’s great for portraits. Dear Reader, I know I have previously talked about the distortion when close up, but what it is great for is a portrait of a person in his environment. It gives us more context about the person and tells more about him, as we can see his surroundings. Because of the silent shutter, I can also get nearer to my subject without making a flapping mirror sound when I press the shutter button. At F2.0, I can either get massive depth of field or shoot in relatively low light. My basic setup is ISO 3200 and F2.0. But on a day like today, I will put it into ISO 400, and if things get really bright, then I can use the inbuilt ND filter.

Comparisons with Other Focal Lengths

I have already touched upon the differences between the 28mm, the 35mm, and the 50mm focal lengths, but let’s get real for a second.  The 28mm is great, but too much distortion and makes the image very busy because of the wider field of view.  This is fine when used with intent, but you have to be so much more careful with your composition.  The 50mm is the lens that I grew up, but after having used the slightly wider 35mm, I find myself backing up to get the same field of view, which leads to banging into things and apologising profusely to the bin that I have just reversed into.  It has happened!

Practical Tips for Street Photography with the 35mm

Just use it, go back and use it again, and if you have any doubts then just go out and use it once more to be sure.  Don’t overthink it.  Don’t worry about the distortion I have mentioned.  It only really happens when you get right up to your subject.  If you have only used the nifty fifty then you shouldn’t notice a huge difference, but physically you will.  You’ll be moving closer to things, but it’s just “one step up.”  It will seamlessly “grow” on you.  

Be the man in grey, or whatever colour you fancy, but know the environment in which you’ll be shooting.  You might want to avoid fuchsia if you’re going to be in the woods shooting, or in that beautifully tailored three piece suit if you’re going to be in the stands at a football match.  Think sore thumb and being out standing in a field.

Conclusion

If you so wish, you now have the arguments for and against the 35mm lens.  I don’t think that arguing about ti will get you anywhere though…  The lens, as the camera, is a tool at your disposal to create an image.  Just getting a new lens won’t change your life despite what the guy in the shop might tell you.  You “can” use a 50mm for street photography, and some even use the 85mm to go for more details, and more candid shots.  Use what you have already.  I have just talked about my experience since using the 35mm (equivalent) on the X100F.  The information is purely subjective.  If you want an X100, then by all means go out and buy one.  Maybe go for an older model like the X100F or even the X100T for the price difference.  Or if you can get your hands on one, the X100VI is wonderful.  At the moment however, I cannot justify buying a more expensive camera to my wife!

I’ll leave you the comments section to debate the various merits of each piece of kit.  And you can use the hashtag “#ijmphotography” to share your images with me on the gram.  Look forward to hearing from you.  Until next time…

A piece of timber

Posted on Posted in Camera reviews, Photography Tutorials, VideoTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 12 Comments

I have recently tried to start learning about making videos. Somebody said that if you have an eye for creating a decent image, then your eye should be OK for filmmaking. There are of course different styles of shots because we are talking about moving pictures. Shots that move, and not just static plans as we would use in photography. We have to set a scene with establishing shots. We can combine medium framed shots and close-ups to keep the narrative going and to show the wood moving through the different machines. I therefore had to understand the manufacturing process. The composition principles that I have talked about in the past are still relevant. So my mindset was, “Why not give it a try. You know about images and how to place subjects in images. Get on to YouTube and start learning about filming . This isn’t Instagram or Tiktok, so you have more time and scope to deliver your message. And if “they” can do it then there is no reason why I can’t!” Nothing left to do but get it done! Do, don’t think…

The Kit – Use what you already have

For the moment I’m using the Canon 6D Mark II with the 24-70mm F4.0 zoom lens. For the editing I’m using CapCut and am slowly getting used to it. It just goes to show that yes, yes indeed, you can teach an old dog new tricks… I can already hear you Dear Reader asking, “But why did you use that camera, and that editing software, Ian?”

The camera

I would say, firstly why not.. But I’ll set out my reasoning. I used the Canon 6D Mark II, because I have it. It has the flippy screen that allows me to see what I’m filming, and I’m only beginning, so no exterior monitors yet. I also know how to use it and like using it. Does it have 4K video, which “they” say is a must nowadays? No it doesn’t, but I’m not in the market for a new camera, so I’ll be using what I have already thank you very much. On a tripod I could do static shots, and panning shots. The idea was to have a series of shots showing the wood in motion going through the manufacturing process.

The lens

Why the 24-70mm lens? Well think back to the articles where I talk about lenses. I said that it was a workhorse and has me covered for “quite a few” situations, and it has image stabilisation. I used my tripod, but there were a couple of handheld shots. It is also a pretty fine lens in its own right. More important to invest in the good glass, than a camera body. What matters is what the client, or audience sees. They’re not doing a mental breakdown of your kit!

CapCut

And why CapCut? Again I would argue yet again, why not! Price of the software was a consideration. As was simplicity. I had tried using Adobe Express, as it is part of my subscription for Lightroom and Photoshop, but it didn’t seem to have the capacity to give me the result that I was after. It did however, introduce me to the concept of the timeline and linking up the various sequences that I had filmed. I had also seen a lot of people waxing lyrical about CapCut, and it just seemed more “accessible” to a newbie like me. There are of course more professional tools available but for the moment seem to have more than I need. I of course went back to Youtube for various tutorials to get me started.

The Brief

So here we go with the actual video. I was told to make a video that would be shown to new employees as part of their integration into the company. Showing the total process will give them a better idea of where they feature in the “bigger picture.” Something dynamic they said. Show the wood moving through the machine they said. So I tried… Then I looked back at my brief from my boss, and realised that I was way too long and had to go back to the drawing board. Ah well. The idea is to show the process of transformation from timber to a door frame that can go to the other plant for assembly.

When you’re doing personal work you have the freedom to do what you want, but work requires sticking to the plan. So stick I did! I showed my boss the first draft, and was told that maybe cut this out, change the speed of the footage, only speed things up for the machines, but leave the shots of people at normal speed. Such and such a shot adds nothing to the story so get rid of it. It felt very much like the process I have when I get back from a shoot. You have to do a first triage of everything, and only have the strict necessary to portray your message.

The creative Process

So I had my brief. I knew the kind of film I was after. Or at least I had a couple of ideas. The basic premise was to be able to follow a piece of timber from being unloaded from a truck, following the piece of timber as it is transformed into a door frame. I had in mind those films I saw as a child showing how something is made, and how we see cans of soup moving along a conveyor belt. For each sequence, I wanted a piece of wood going into a machine, going through the machine, and coming out the other end having been transformed. Starting with an establishing shot, and following more or less closely, with close-ups and medium shots to give an idea of movement…

A short extract from the full video…

Conclusion

So you have now seen the video. All this happened in a week. I went from know very little about making a video, to having a viewable result, and one that tell the story that was asked for. Am I happy with it? I’m certainly not unhappy, and it was interesting to see the thing evolve from a series of moving pictures into something that will be used in training for future employees. Would I have done things differently? Possibly. I might have used the 16-35 F4 lens too, for even wider shots. I know have a little more familiarity with my software and will be spending less time searching for the effects and tools I wish to use. It made me aware of what kit I may be lacking, like mics for sound, but here I didn’t need to record any more sound. I would have liked wheels for my tripod to have a different panel of shots. I maybe should have used my phone and the gimbal to get more variety in my shots. I could have done some time-lapse sequences. But the primordial question would be, “What does it add to my story?” and “Do I need to acquire any kit to do it?” Money talks, and if I can get what I need without spending any more then that has to be a good idea!

What did I take away

I was introduced into a new world of storytelling. I learnt about thinking in a more linear way. Not just thinking about the shot as I would in photography , but about using these shots to make a story. Maybe I already did this with my photo series, but here it became so much more relevant. This might be the main change in my outlook. I already knew about acquiring shots for stills, and doing the same for video seemed to be a natural progression.

What next?

Am I going to get further into this film making lark? By definition yes, because work wants more videos for training people on various machines, and the HR dept have noticed my work, and are getting ideas… Do I want to make videos for me? Yes. It is certainly something I want to look further into. And the more I watch on YouTube the more I am learning, and the more I believe that I can actually do this. Am I going to become a YouTuber? I honestly have no idea, but as in photography, I have to start doing something. People will usually give feedback, and comment sections on YouTube seem to be lees harsh than on Instagram or Twitter. I remember my father making home movies with a cine camera and I can now do the same thing, and edit my footage too. Learning something is never wasted, and it does the brain good to learn new things. Who knows where this can take me? I don’t, but isn’t it interesting to find out?

The Mamiya C220 Behemoth!

Posted on Posted in Black and White Photography, Camera reviews, Film Photography, Nantes Photography, Street Photography2 Comments

Medium format photography with the Mamiya C220 is a journey into a world that’s quite different from using “ordinary” film cameras. It’s an experience that opens up new possibilities and allows you to capture images with remarkable details and depth.

The Mamiya C220 is a beast of a camera. It’s big, heavy, and built like a tank. But it’s also a joy to use. The viewfinder is bright and clear, and the lenses are sharp. The camera is easy to use, even for beginners.

A Closer Look at the Lenses

One of the best things about the Mamiya C220 is the lenses. There are a variety of lenses available, including the 50mm f/2.8, 80mm f/2.8, 100mm f/2.8, and 135mm f/4. All of these lenses are sharp and produce beautiful images. The 80mm f/2.8 is my favorite lens for the C220, and it’s a great all-around lens for portraiture, landscape, and street photography.

Metering and Focusing

The Mamiya C220 doesn’t have a built-in light meter, so you’ll need to use an external meter if you want to meter your exposures. This can be a bit of a pain, but it’s not a deal-breaker. You can use a handheld light meter, or you can use a smartphone app.

The Mamiya C220 is a manual focus camera, so you’ll need to learn how to focus manually. This can be a bit tricky at first, but it’s not too difficult to learn. The viewfinder provides a unique 3D-like experience that helps you focus with precision.

In My Experience

Now, let me share some of my personal experiences with the Mamiya C220. I found that despite its bulk, the camera feels great in the hand. The viewfinder remains bright and clear, even in low light conditions. The lenses consistently deliver sharp and beautiful images. Plus, it’s easy to use, even if you’re new to film photography.

Sample Photos and Comparisons

To help you visualize the camera’s potential, I recommend checking out some sample photos taken with the Mamiya C220. They showcase the camera’s unique aesthetic and image quality. In comparison to other TLR cameras, the Mamiya C220 stands out in terms of its lens options and build quality. You will notice that this particular model takes square format pictures so bear that in mind when thing about acquiring one.

Enhancements and Care

If you’re looking to enhance your Mamiya C220 experience, consider exploring compatible accessories like different viewfinders, focusing screens, or other accessories to improve your shooting comfort.

While there are no alternative film backs for the Mamiya C220, it’s important to note that the camera is versatile when it comes to film formats. You can use both 120 and 220 format films by simply indicating your choice when loading the film. This flexibility allows you to adapt to different shooting situations with ease.

A Unique Statement Piece

The Mamiya C220 can be best described as a statement piece. When you’re out taking photographs with this camera, you’ll undoubtedly attract curious passersby who can’t resist approaching you to ask about it. They’ll often share nostalgic stories about how their grandparents had a camera just like it, igniting a sense of shared history and fascination.

The Mamiya C220 oozes vintage appeal, making it a conversation starter wherever you go. Despite its vintage charm, it’s a resolutely modern camera, dating back to the 1980s, which, in the world of classic film photography, is considered relatively recent. For many, including myself at aged 51, this era doesn’t feel old at all.

Medium Format Magic

Medium format photography, in particular, is a game-changer. The negatives produced are significantly larger than those from “ordinary” film cameras, resulting in breathtaking details and unparalleled depth in your images. This quality is what truly sets the Mamiya C220 apart and makes it a preferred choice for photographers seeking extraordinary clarity and definition in their work.

Community and Conclusion

Lastly, join the vibrant community of Mamiya C220 enthusiasts online. You can find forums, groups, and communities where you can share experiences and get valuable tips from fellow photographers. In conclusion, if you’re in search of a classic medium format TLR that consistently produces high-quality images, the Mamiya C220 is a strong contender. Just be prepared to embrace its substantial size and weight while enjoying the fantastic results it delivers.

Tech Specs and Pricing

Here are some technical specifications of the Mamiya C220:

  • Film format: 120 and 220
  • Image size: 6×6 cm
  • Lenses: Interchangeable, 50mm f/2.8, 80mm f/2.8, 100mm f/2.8, 135mm f/4
  • Shutter speed: 1-1/1000 sec
  • Metering: External
  • Focus: Manual
  • Weight: 1.3 kg
  • Price: $500-1000

So, there you have it, the Mamiya C220—a dependable companion for your medium format film photography exploits.

Canon AE-1 Program – A Classic Film Camera for Timeless Photography

Posted on Posted in Black and White Photography, Camera reviews, Film PhotographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 5 Comments

The Canon AE-1 Program is a timeless gem that continues to captivate photographers and film enthusiasts alike. As a classic film camera first introduced in 1981, it effortlessly combines automatic and manual features, making it an excellent choice for both beginners and experienced photographers.

Automatic and Manual Controls

One of the standout features of the Canon AE-1 Program is its versatility in handling exposure. For those new to film photography, the program mode automatically sets both the shutter speed and aperture, allowing them to focus solely on composition and creativity. It takes the technical complexities out of the equation, delivering stunning results with ease.

However, for those who crave creative control, the AE-1 Program offers manual settings as well. With the freedom to adjust shutter speed and aperture manually, photographers can explore their artistic vision and experiment with different effects. The inclusion of shutter priority mode and bulb mode for long exposure photography adds even more possibilities for artistic expression.

Build and Design

The camera’s solid metal body exudes durability and reliability, ensuring that it can withstand the test of time. Its sturdiness makes it a trustworthy companion on any photographic journey. Handling the AE-1 Program instills a sense of nostalgia and craftsmanship that modern digital cameras often struggle to replicate.

The bright and clear viewfinder with a split-image prism aids accurate focusing, enhancing the overall shooting experience. Moreover, the hot shoe for attaching external flashes and the self-timer feature further contribute to the camera’s versatility.

Technical Details

  • 35mm SLR film camera
  • Program mode, shutter priority mode, manual mode
  • Metal body for durability
  • Bright and clear viewfinder with split-image prism
  • Hot shoe for flash attachment
  • Self-timer for group shots and self-portraits
  • ISO range: 12-1600
  • Shutter speeds: 1/1000 to 30 seconds
  • Aperture range: f/1.2 to f/16 (depending on lens)

Pros

  1. User-Friendly Interface: Ideal for beginners and those new to film photography, the AE-1 Program’s program mode takes care of exposure details, allowing photographers to focus on creativity.
  2. Creative Freedom: With manual controls and additional shooting modes, experienced photographers can fully unleash their creativity and experiment with different photographic techniques.
  3. Timeless Design: The camera’s robust metal body exudes a sense of craftsmanship and nostalgia, making it a pleasure to handle and use.
  4. Bright Viewfinder: The clear and bright viewfinder with a split-image prism aids accurate focusing, ensuring sharp and well-composed shots.

Cons

  1. Iconic Status: As one of the most sought-after film cameras, the Canon AE-1 Program may come with a higher price tag due to its iconic status.

The Verdict

The Canon AE-1 Program stands as a testament to timeless design and reliable performance. Whether you’re new to film photography or a seasoned enthusiast, this classic camera offers a perfect balance between automatic convenience and manual creativity. Its sturdy build and user-friendly interface make it a delightful companion for any photography journey.

So, if you’re yearning to experience the charm of film photography or simply want to relive the golden era of analog cameras, the Canon AE-1 Program will undoubtedly leave you inspired and amazed by the magic of capturing moments on film.

Happy shooting!

My Personal Thoughts

Without any hesitation, I wholeheartedly recommend the AE-1 Program to all photography enthusiasts out there. Whether you’re new to the charm of film photography or an experienced shutterbug seeking a trustworthy and adaptable companion, this camera will surely delight you. “Just do it” as a certain shoemaker once said.

I’ve had the pleasure of using the AE-1 Program for quite some time now, and I must say it’s been an absolute joy. Not only does it beautifully capture those precious everyday moments, but it also allows for endless creative possibilities. One feature that I particularly appreciate is its seamless transition between automatic and manual controls, empowering me to effortlessly tailor my shooting experience.

The idea here is to give you a raw image from the film scans and show you what you can get with a minimum of fuss in Lightroom with some very basic edits. What do you think?

And here we go with a small selection of pictures from the last roll I developed, which are from 2022 and taken in the streets of Nantes. There will be more to come as I head back into the magical world of film photography!

The Pentax ME Super: A Classic 35mm SLR

Posted on Posted in Black and White Photography, Camera reviews, Film Photography, Nantes Photography, Street PhotographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 1 Comment

Dear Reader, if you’ve read my last post, you will understand my current state of photographic helplessness after my X100F was taken out of service. Before we proceed, I want to take a moment to reassure my dear mother that I’m doing fine, being a big brave boy during this challenging time, and not losing my mind. I’m still getting my photographic fix, and I thank you, Dear Reader, for your understanding.

Now, let’s dive into today’s topic. The Pentax ME Super, a camera gifted to me by a fellow musician and dear friend, Robert McMillan, holds a special place in my heart. Using it brings back fond memories, and I’m forever grateful for the thoughtful present.

Introduced in 1979, the Pentax ME Super is a 35mm SLR camera that offers reliability and ease of use, making it perfect for those seeking excellent image quality. However, it requires proper focus and composition to make the most of its capabilities. When I use it, I approach photography in a similar manner to how I would with my beloved X100F, albeit with a slight adjustment due to the 50mm lens, which changes from the 35mm lens on the Fuji.

Technical Specs:

  • Shutter speed range: 4 seconds to 1/2000 second, plus Bulb – allowing wide apertures and excellent depth of field.
  • ISO speed range: 12 to 1600
  • Exposure control: Aperture priority
  • Viewfinder: 0.9x magnification, 95% coverage
  • Other features: include a self-timer, a cable release socket, and exposure compensation.

Handling and Ergonomics:

The ME Super is a well-made and compact camera, making it easy to carry around; it is almost the same size and weight as the X100F. The controls are user-friendly and well-positioned. The large, bright viewfinder helps, especially for those of us with less-than-perfect vision.

While it may not surpass the joy I find in using the X100F, the ME Super is steadily gaining ground, and its satisfying shutter noise is a small comfort during this time of longing. Loading and unloading film is a breeze, and the shutter release is smooth and responsive. Additionally, the camera’s reliability is reassuring, offering solace in the absence of the X100F.

Image Quality:

The Pentax ME Super consistently delivers excellent image quality. Composing shots is a breeze with the sharp and bright viewfinder, and the aperture priority exposure control ensures proper exposure. For someone like me who cherishes depth of field, the 1/2000 of a second shutter speed is a delightful feature.

Moreover, the ME Super is compatible with a wide range of Pentax K-mount lenses, providing versatile options for image-making. With my collection of 24mm wide-angle, 50mm F1.7, and 24-80mm zoom lenses, I’m well-equipped for various shooting scenarios, and there is even a 15mm wide angle lens, but I nearly peed myself when I saw the price!

The Verdict:

In conclusion, the Pentax ME Super is an exceptional 35mm SLR camera. Its well-made design, ease of use, and ability to produce outstanding image quality make it an appealing choice. If you’re searching for a reliable and versatile camera that brings years of photographic enjoyment, the Pentax ME Super won’t disappoint.

Pros:

  • Excellent build quality
  • Sharp and bright viewfinder
  • Simple and straightforward operation
  • Wide range of compatible lenses
  • Capable of producing excellent image quality
  • Built-in exposure compensation
  • Self-timer
  • Cable release socket

Cons:

  • Flash sync limitations at faster shutter speeds (i.e., more than 1/125)
  • Not an X100F

Overall:

The Pentax ME Super is an excellent 35mm SLR camera, offering great build quality, ease of use, and superb image quality. It’s a dependable choice for any photography enthusiast seeking a delightful film shooting experience.

Additional Information:

The ME Super remains popular among collectors for its exceptional build and image quality. If you’re interested in acquiring one, you can explore used cameras online or at camera shops. Additionally, you’ll find manuals and other valuable information about the camera on the internet.

I hope this review proves helpful. If you have any questions, please feel free to ask in the comment section.

But, most importantly, let me stop talking and allow you to enjoy some photos taken with the Pentax ME Super, capturing moments in Clisson and Nantes.

The FED 5

Posted on Posted in Black and White Photography, Camera reviews, Film Photography, FranceTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , Leave a comment

Back in 2009 I had a camera that died on me.  It might only be a camera to you but to me it was everything.  It was my first camera.  I was heartbroken.  To those of you mocking me, just think back to your first car and to your first accident in that car.  Alright, you may not be shedding a tear you unemotive bastard, but you might just have the smallest of inklings about my loss.  It was my fist camera that had taught me the basics of photography, and since 1987 had been a relatively constant companion, and part of me.  My son now has it on a shelf looking pretty damn cool on one of his shelves.

It was at that time that I had come back to film from digital.  Why bother using filters that would emulate film photography when you could get the same thing straight out of camera without going through the rigmaroles of messing around in Photoshop to get that result?  At that time, although digital gave me a lot, there was something missing.  Like most of us I was looking for something authentic. 

I went to the camera shop to see if anything could be done to repair my camera and bring it back to life.  With hope I entered the shop that would become a familiar haunt, and had to face the brutal truth.  My Praktica MTL3 was dead.  It had passed on, this camera was no more. It had ceased to be. It had expired and gone to meet its maker.  It was a stiff.  Bereft of photographic life.  It was resting in peace.  It was pushing up daisies.  Its metabolic processes were now history.  It was off the twig.  It had kicked the bucket.  It had shuffled off its mortal coil, run down the curtain and joined the bloody choir invisible. IT WAS AN EX Praktica MTL 3!  Any similarity to a Norwegian Blue parrot pining for the Fjords is a mere coincidence!  So I asked him if I could buy the one in the display cabinet and he said of course I could and that yes it was a little expensive, it came with a 6 month guarantee, and here was a film for it, and no mention of Bolton or Ipswitch.  Although not exactly the same it was a purchase that set me off on a series of events that lead me to “collecting” a certain quantity of cameras.  It was either that or becoming a lumberjack. 

Through YouTube, articles on the net, and my own research, I learnt about some of the iconic cameras that I never had, and at that stage, the hipsters hadn’t bought up everything on EBay and you could still get something very decent for un £50, which now of course might set you back between £150 to £200!  So I was very fortunate to start collecting when I did.

On the famous YouTube, and its infamous photography videos that I still seem to watch on a regular basis, I went down the rabbit hole of specialising in film cameras.  There was one guy, called Matt Day, who waxed lyrical about his Leica M6, and how much he loved using it to take images from his everyday life.  I started thinking, could this be my next acquisition.  And then I started looking at the prices that these things cost.  Megabucks, which is something that I don’t have and even if I did, such a purchase would be grounds for divorce.  It’s cheaper to keep her, as the classic Rhythm and Blues (before it became R’nB) so wisely reminded us. 

Therefore, what is the difference between my new old Praktica MTL3 and a Leica M6 I hear you say. Well, both are German.  One is a classic camera from a West German manufacturer, and was the gold standard of 35mm cameras from pre war times right up to the modern day, and was a rangefinder, the other one being a relatively cheap and yet very solid SLR from the old East Germany.

So both were made by the Boche, one further to the left that the other.  They say a picture is worth a thousand words, so a video  must be worth two thousand words! Earlier I talked about a certain Matt Day, well here is a video of his from last year talking about the differences.  I’ll let you watch it, and then we will be both on the same page!  I can tell you’re impressed.

Soooooo, I wanted to learn about a rangefinder and see how they worked out in real life.  But, as I said earlier it’s cheaper to keep her, so I was going to have to find another way of doing things.  As many photographers on a budget but wanting to get some half decent materiel, I looked East, towards Mother Russia.  Communism is messed up, but it did leave some rather solid cameras, and to the rangefinder aficionados, the names Zorky, and FED will be familiar.  The Zorky looks very vintage, rather sexy and exclusive with its Cyrillic writing on the top of the body, but I was not comfortable about using a camera without a light meter.  The Sunny 16 rule should be easy enough to follow, and with the latitude that black and white film photography gives you, you shouldn’t go too far wrong, but I was being stubborn, which is so out of character for me. 

I moved on to looking at the FED 5, especially since I had found one for only 15€ imported directly from the Ukraine, which at the time was not at war or hadn’t been annexed either by Mother Russia.  Oh you naughty boy Vladimir!!

Let’s get the boring stuff out of the way first.  The FED 5 was produced in the Ukrainian city of Kharkov from 1977 until 1990.  It is a 35mm format rangefinder camera, with interchangeable lenses with a Leica M39 screw thread, (mine has a 35mm f2.8 lens, which is great for street photography).  It has a focal plane shutter, shutter speeds of 1 second to 1/500th of a second, bulb mode, and the flash sync speed is 1/30th of a second.  What more could you ask for.  The film loading is similar to the Leica where you remove the base of the camera, load your film etc. and then put that base back on.  Because you know that it’s about the bass, ‘bout that bass no treble…

To do the metering you have to put your faith in the selenium cell light meter, on the top right of the front of the camera.  This will give you a reading on an EV meter on top of the camera next to the “calculation wheel”.  One dial is for the speed of you your film.  Now don’t go looking for Din, ISO, or ASA, but look for GOCT, or GOST. 90 GOST is 100ASA, 180 being 200ASA etc.  For 400ASA I just turn the little dot to the S in GOCT.  It’s one of those Soviet things that is just a quirk of this camera. This will give me a reading on the outer dial with my shutter speeds and F Stops combinations to nail that exposure! 

As with other Soviet-era rangefinders, the shutter-speed selector rotates when the shutter is released, and this should not be changed “until after” the shutter has been cocked. If you change the shutter speed before you cock the shutter first, the setting pin can be broken when you advance the film and cock the shutter!  Don’t even bother trying.  I never have, and it still works today!

Focussing is easy which is always something that catches my eye, no zone focussing, and it’s slightly different to the SLR.  As you saw in the video, there is a ghost image in the middle of the viewfinder and as soon as that ghost image disappears, it means that you have focussed successfully. 

Anyway, I paid my 15 Euros and a Ukrainian camera arrived two weeks later in an original box which is still in a display cabinet in my hallway.  The leather case still smells of leather! So I tried the damn thing out.  Worked out how to load the film which as completely foreign to me but still doable and not too demanding even for me.  It is supposed to be the street photography camera par excellence for a few reasons.  Firstly it looks pretty sexy around my neck and the leather is top notch without necessarily having a leather fetish, but each to his own!  You can use zone focussing with the lens as you can see at such and such an F-stop, the part of your photo which will be in focus is shown on the lens.  There is no mirror that slaps up, and the camera is relatively silent, and can be used to close to your subject and get that trendy and yet timeless street portrait.  Shooting from the hip. 

I can hear you saying, well thank you Ian for all this information.  Really great, and almost useful.  But pray tell, is it any good?  What’s it like to shoot with?  Is it worth me looking into? Can I buy you a Leica M6 for your birthday? 

Well Dear Reader, let me address your interrogations.  Firstly is it any good?  It is definitely slightly sexy and certainly looks the part! I wasn’t used to the focussing of a rangefinder but found the focussing to be spot on.  I’ll let you have a look at the photos and let you judge!  What’s it like to shoot with?  Once you get used to the way a Soviet camera functions it’s actually pretty neat!  What I do like is being able to get my exposition without having to look through the viewfinder.  You know that you’re going to be spot on, and indeed I was.  That’s half the battle won, which is what we’re all about.  It works mate, it works!  You need to be able to get that sot that you want and I think that’s pretty simple to do.  Is it worth me looking into?  All depends on what you’re looking for.  If you can get one for a relatively cheap price then get one just to try out; you can always sell on.  I certainly have no regrets and it’s still in my collection which just goes to show you!  Can I buy you a Leica M6 for your birthday?  Who am I to refuse such generosity?

The photos in this article were taken in Montaigu, Vendée  in 2016 and feature my daughter.  The film is Illford XP, which is a black and white film that is developed with colour film chemicals and processes.  C41 for those in the know.  It’s always strange seeing photos from nearly 6 years ago and I remember that outing with my daughter as if it were yesterday.  It was one of the ways I used to cope with my depression.  I might not know what day it was but I remember taking each photo.  We all cope in our own individual ways I suppose…