The Enduring Elegance of Vintage Cameras: A Personal Journey

I often find myself discussing the concept of “vintage” with my father during our phone calls. I live in France, while my parents are in Northumberland. The term means different things to different generations. For my 25-year-old son, vintage clothing is anything from the 90s, he even wears a few of my old sweaters from that era. At 52, I’m starting to think of myself as slightly vintage too. And to my 15-year-old daughter, my father, who grew up during the war, must seem positively ancient.

A camera from the 1990s feels relatively modern to me, while those from the 70s and 80s seem older but not quite ancient. Using these older cameras forces me to slow down and be more deliberate. Each shot becomes a considered act rather than a reflex, and there’s something satisfying about that slower pace, even if the cameras themselves aren’t the latest technology.

My own “vintage collection” began with an SLR from the 1980s: an East German Praktica MTL3 that served me faithfully until 2009. After it finally gave up, I quickly replaced it with another. From there, I explored more iconic cameras from the 1970s and 1980s, back when they were still relatively affordable, before the hipsters discovered film photography and the prices started rising.

My exploration didn’t stop there. I began to seek out cameras from the 1960s and even the 1950s. The oldest camera in my collection dates back to 1949! It’s quite vintage, even for me, though perhaps not so much for my father. Each piece is a link to a past era, a tactile connection to history that digital tools can’t replicate.

There was a time during the digital age when people tried to recapture the film aesthetic, and right on cue, apps like Hipstamatic, Instagram, and VSCO turned up. They embraced the nostalgic look of film, but it’s never quite matched the real thing.

Which led me to a simple thought: if I wanted that film aesthetic, why not use actual film and cameras from the eras I admire? I’ve always been drawn to old things, having loved exploring a special drawer at my grandmother’s house filled with genuine relics. My fascination with older technology, particularly when it’s still functional, has never gone away.

So just because something’s old doesn’t mean it doesn’t still work, and it might open up a whole world you didn’t know existed. It can be a bit quirky, but once you get past that, the world’s your oyster.

The Opening of the Film Archives—Clisson, September 2016

Welcome back, Dear Reader, to the film archives, still with the Canon AE1 and HP5 Plus from Ilford, but in Clisson this time.  You will remember Clisson from previous articles and will have seen the pictures, so it shouldn’t be a stranger to you.  Who knows, it could even feel like revisiting an old friend.  It certainly is for me. 

But why Clisson I hear you say.  Well, it’s not very far away from where I live.  It’s also one of those market towns that is renowned for the beauty of its architecture with an Italian slant.  It has the massive castle that towers above the river.  It has me taking photographs of it.  

Clisson, like most things, has options.  On a Friday the main option is the huge market, and wandering around the 14th-century Halles, which can keep you out of the sun, the rain, the heat or the cold, depending on the time of year.  I either go down to the river and wander along the river banks in the Garenne and Lemot park, or park at the top of town and stroll around the Halles and surrounding streets.  In the series of photos at the end, you will see some stone steps that join the two options, but I have dodgy knees, and those steps are like leg day at the gym.  You can avoid those steps by just following the road that wraps itself around the church, and going under the tree that just got tired and decided to rest on the house opposite.  

But this time I decided to break out of my habits and visit the Quartier St Jacques with its decommissioned chapel, and garden.  It’s yet another pretty place in a pretty town, and when I was sitting there in the sun, I felt that I didn’t have a care in the world.  Serenity flooded my mind and all was well with the world…

The Opening of the Film Archives—the Hangar à Bananes August 2016

In my last venture into the film archives, I talked about how there was a time that my daughter hadn’t yet seen me the way I see myself and how she actually still liked me, before turning into a teenager.  This is the second part of that special day.

We had explored the Jardin des Plantes and discovered what they had to offer.  This of course builds up an appetite in a young lady, and convinces her that she really needs to drink something Daddy.  And why couldn’t we go to the Altercafé (now the D3) at the Hangar à Bananes.

So what else was I to do but drive us to the Hangar à Bananes.  You will have seen the Hangar in this article, and you will now be completely up to date and know nearly everything there is to know.

Don’t forget that this is a girl who gets an idea into her head and then just goes through with it.  That idea is so rooted that it is nigh on impossible to change that idea.  I knew what was coming.  I would order a chocolate brownie, and Kate would have an Orangina.  I could have a beer.  How gracious of her.

She had been my model for most of the day and even a top model needs a rest, and just has nothing left to give a photographer.  You just know when enough is enough…

The Opening of the Film Archives—Jardin des Plantes August 2016

There was a time when my daughter wasn’t a teenager.  There was a time when she quite liked her Dad, and she would accompany me everywhere.  It was good being that child’s hero.  It was a more innocent time.  It was a time when she actively tried to spend time with me.  It was a time when she didn’t see me the way I see myself…

One of her favourite places in Nantes was the Jardin des Plantes, a huge botanical garden in the middle of Nantes just across the road from the station.  I could talk about the fact of it being a haven of peace in the bustling city.  I could talk about it being an oasis of green in a sea of concrete.  I could talk using clichés ‘til the cows come home…

These photographs are not clichés, but real attempts of capturing a specific moment in time allowing me to travel back through time.  And looking at these images, I’m definitely back in time.

Let me introduce you to my daughter from 2016.  She was a 7 year old that already knew what she wanted but was slightly more subtle about it.  She would suggest that we go into town.  That I could take my camera.  That we could go to such and such a place.  That we could do such and such a thing.  And all this as if it were completely natural.  And I was a very willing victim.   

This time she suggested going to the Jardin des Plantes.  She would take her camera (my old Sony bridge) and I would take my Olympus Trip 35.  I used the Olympus Trip quite a lot at that time and its ease of use, the zone focussing, and general lack of buttons to press, made it quite the fool proof piece of kit.    

As usual, I let her lead the way.  This was here outing after all, and kept a respectful distance, so I could photograph her and record her for posterity.  The Jardin des Plantes has not only plants, the clue is in the title, but also is the backdrop to the Voyage à Nantes, and certainly was that year.  

I think the images speak for themselves and I’ll let you peruse them at your leisure.  They were taken on Ilford HP5 Plus film shot at box speed.

The Opening of the Film Archives – Nantes November 2016

Following our last trip to Carnac, the film archive now has a look at Nantes in the autumn of 2016. These photos offer a glimpse into how I approached photographing a city back then, and if I’m being totally honest with you, still do. I treat the city much like a model on a photoshoot. The goal is to capture not just the physical landscape, but the essence and atmosphere of a place, allowing viewers to get a feel for the city simply by looking at the images. In this series of pictures, Nantes reveals herself and her architecture, resplendent in the autumnal sunshine.

Over time, I have come to know the city and appreciate her architecture. Buildings are not only a reflection of the architect but also of the people who live in them. They add character to the city, allowing her personality to shine through.  I enjoy looking at the lines, and the shapes of them.  They inspire me.  They tell the story of the people who, either work, or live in them.  They are not just mere edifices.  

You will notice as we go through the archives, I might not respect the timeline slavishly. My aim is to give you an aperçu of my world at the time through film. I know you will be able to take this affront in your stride and not hate me!

We’ll go from the bains douches municipales, through to the Sainte Croix church, to the Stalinian 1950’s architecture of the Social Security building, passing by the odd shop, Hausmanian architecture, and even a shot looking towards the Cathedral.

Canon AE-1 Program: Sample Photos & Long-Term Review

I picked up a Canon AE-1 Program a while back, mostly out of curiosity. It came out in 1981, it’s a 35mm SLR, and it’s probably the most common “serious” film camera you’ll find in a charity shop or on a French brocante table for silly money. Mine’s been through a lot of rolls since, and I still reach for it more than I expected to.

The thing that sold me was how it handles exposure. In Program mode it sets shutter speed and aperture itself, so if I just want to point it at something and not think, I can. That’s handy on days when I’ve got my hands full and don’t want to fuss with settings. But it’s not just an automatic box: switch it over and you get full manual control, plus shutter priority and a bulb mode for long exposures. I’ve used the bulb mode for a couple of night shots and it did exactly what I needed, nothing more complicated than holding the shutter open and counting.

Build-wise, it’s a metal body, and it feels like it. Solid, a bit heavy, no creak in the hinges. There’s something about handling an old metal camera after a run of plastic ones that just feels right, even if that’s pure nostalgia talking. The viewfinder is bright and clear with a split-image prism in the middle, so focusing manually is quick once you know what you’re looking for. There’s a hot shoe if you want to bolt on a flash, and a self-timer, which I mostly use for the odd self-portrait when there’s nobody around to hand the camera to.

For the record, here’s what you’re working with:

  • 35mm SLR film camera
  • Program, shutter priority, and manual modes
  • Metal body
  • Split-image prism viewfinder
  • Hot shoe for flash
  • Self-timer
  • ISO 12 to 1600
  • Shutter speeds from 1/1000 down to 30 seconds
  • Aperture range f/1.2 to f/16, depending on the lens

Only real gripe: because it’s so well known and well liked, prices have crept up over the years. It’s not the bargain it once was. That’s the price of being a favourite, I suppose.

Would I recommend it? Yes, easily, whether you’re starting out with film or you’ve been shooting for years and want something you can trust without thinking too hard about it. I’ve had mine for a good while now and it hasn’t let me down once. The way it moves between automatic and manual without any fuss means I can shoot however the moment demands, and that’s really all I want from a camera.

Here’s a straight scan next to a version with a few basic tweaks in Lightroom, nothing heavy. Curious what you make of the difference.

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 below is a small selection from the last roll I developed, shot in 2022 on the streets of Nantes. More to come, I’m sure, now that I’m back into film properly.