PhotoMemo Photographer’s Memo Book

Mike Padua at has spent the last year creating unique vinyl stickers, patches, and lapel pins that honor traditional film photography. The latest release is the PhotoMemo Photographer’s Memo Book. The book is intended to give film photographers an easy-to-use and inexpensive way to record data. - PhotoMemo Photographer's Memo Book

The internal pages of the PhotoMemo is a two-page spread designed as a “roll journal,” with space for photographers to note: roll number, start & end dates, camera & lens used, film type, ISO, subject & location, push or pull x-number of stops, and where the photographer is at with the processing, scanning and archival process of the negatives. – PhotoMemo Photographer’s Memo Book

Each book is 48 pages with 22 two-page spreads, and measures 5.5” x 3.75” (13.9cm x 9.5cm). The cover is 100 lb Neenah Environment Desert Storm (30% post-consumer fiber). The book pages are 60 lb Finch Opaque Smooth Text that are acid-free and archival quality. - PhotoMemo Photographer's Memo Book

To give you an idea of the size, and usefulness of the PhotoMemo, let’s compare it to the high-end Galaxy Photo Planner & Handbook. I was an early backer of the Galaxy book on Kickstarter. I was also one of the majority that are somewhat disappointed.

Galaxy Photographer's Planner & Handbook Vs PhotoMemo Photographer's Memo Book

The PhotoMemo book costs $9.99 for two, the Galaxy was $37, now $35. The Galaxy is larger, and thicker than the PhotoMemo. The outer design of the Galaxy is a reproduction of a Moleskin notebook, very attractive. The outside design of the PhotoMemo is simple, like any notebook you might find at an office supply store. But really, it’s the inside that counts, right? Unfortunately, the creators of the Galaxy wasted several pages that could have been useful for noting photo data. Instead, they included names and website info for various online camera stores, photo galleries, agents, major photo suppliers, photography media – magazines and publishers. For me, the one main advantage of the PhotoMemo book is the two-page spread that allows you to write the width of the book. The Galaxy book requires you to turn the book ninety degrees to write the same type of data. Why did they do this? The PhotoMemo pages allow enough space for a photographer to record not only the details of the shots, but make additional notes for developing chemistry and darkroom data. The Galaxy book has grouped these pages together, i.e. x-number of pages for recording shot information, x-number of pages for recording darkroom and chemistry details, and even different pages for photographers recording data for large format photos. It makes no sense to me why the Galaxy book was formatted this way.

Galaxy Photographer's Planner & Handbook Vs PhotoMemo Photographer's Memo Book

Galaxy Photographer's Planner & Handbook Vs PhotoMemo Photographer's Memo Book

Fellow film photographer and host of the Classic Camera Revival Podcast, Alex Luijckx, asked me if the paper thickness would allow him to write with a fountain pen. Not having one of Alex’s fancy fountain pens, I decided to use different types of ink on the paper: a standard Bic pen, Write Dudes 0.7mm pen, Pioneer Albums CD pen with permanent ink, and a classic Sharpie. With the two permanent markers, there was some bleeding through and onto the next page. What you would expect. The 60 lb paper in the PhotoMemo held up better to my two standard pens than they did on the paper in the Galaxy book.

Galaxy Photographer's Planner & Handbook Vs PhotoMemo Photographer's Memo Book

Galaxy Photographer's Planner & Handbook Vs PhotoMemo Photographer's Memo Book

Overall, skip the fancy and expensive notebooks and get a two-pack of PhotoMemo notebooks. You won’t feel guilty about writing an email address on the cover or sketching something over the top of the pre-formatted pages in the PhotoMemo. For the price of a single Moleskin, you could buy eight PhotoMemo notebooks! - PhotoMemo Photographer's Memo Book

Use the discount code UTAHFILM and save 20% on your PhotoMemo order at While you’re there, get some cool vinyl stickers, camera bag patches, and pins. - PhotoMemo Photographer's Memo Book & Vinyl Stickers

Mike Padua at has been gracious enough to give one lucky Utah Film Photography reader a set of PhotoMemo notebooks. Simply leave a comment below and share what film and camera you would write in your PhotoMemo notebook. A random comment will be selected as the winner on October 31, 2016.


Pentax SP500

A few months ago I received an email that was sent from the donate page here on Utah Film Photography. It was a message from a local named Eric and he had a camera to donate. Fantastic! I sent him an enthusiastic message back and thanked him for his donation. After another round of email exchanges, we setup a day to meet in downtown Salt Lake City. A few days prior to our meeting, I was thinking about Eric and his last name. I haven’t included his last name in this post to keep him anonymous, here’s why. Eric has a unique last name, and it made me curious. I looked for him on Facebook, nope, not there. I looked for him on Google+, Instagram, Twitter and LinkedIn. Not there, or there, or there, or there. The last place, which should have been the first place to search, was Google. And Google knows everything. I found several online news articles that mentioned Eric and they all had the same detail in common, “Eric [last name], a Special Agent for the FBI in Salt Lake City.” This agent had received special awards and notoriety for a some very high profile cases. A few days later when I met Eric, sure enough, he stepped out of a black SUV with tinted windows. He handed me the camera and told me that his mother’s husband had recently passed away. Eric said the camera looked too nice to throw in the trash, so he decided to find someone local that would use it. I wasn’t sure if it was appropriate to ask him about his profession, but it was just too interesting to pass up. I asked him, “Are you a Special Agent with the FBI?” He responded, “How did you know?” I told him about my Google search and the newspaper articles I found. Again, Google knows everything. Before we went our separate ways, I thanked him again for the camera and told him it would be put to good use. Thanks Eric for the donation, and thank you for keeping the bad guys off the streets.

The Pentax SP500 was manufactured by Asahi Optical Corporation in 1971. It was made as a budget model after its predecessor, the Pentax SP1000. What’s the difference between the SP1000 and the SP500? Nothing. The shutter speed dial on the SP500 shows the maximum shutter speed as 1/500th of a second. However, if you turn the dial one-click beyond the 500 mark on the dial, you get 1/1000th of second, making it identical to the SP1000. The camera has a match-needle exposure system that is activated by moving the switch on the left side of the camera up. This activates the CdS TTL meter, stops the viewing lens to the set aperture, and gives you a depth of field preview. I tested the SP500 with Kodak Tri-X 400 during an outdoor car show at Peach Days in Brigham City, Utah. The majority of my images were shot with the shutter speed dial set on that extra click. I’ve been told by other photographers that it may not be accurate to 1/1000th like the SP1000, but closer to 1/750th of a second. Like the Spotmatic series, the SP500 uses screwmount M42 lenses. The Super-Takmur 50mm f/2 lens is tact sharp. Overall, a great SLR that’s easy to use.

Miranda G – Part Two

It’s rare that I get a camera, quickly shoot a roll a film, enjoy the camera so much that I immediately move to another roll of film. Again, the Miranda G is such a great camera. Don’t believe me, go read my post from last week. The second roll of film I shot with was some Film Photography Project Edu 200 Black & White. At $3.99, you can’t beat the price. The only drawback is it’s a thin plastic and can be difficult to scan.

The Annual VW “No Show” in Kaysville, Utah, is one of my favorite car shows. Not because I own a Volkswagen, or know much about cars. It’s the people at the show and the variety of photographic opportunities. The car owners are great to talk with. They love to share their knowledge about VW’s, often pointing out specific details of a particular year or model. The show usually consists of about 100+ cars. And it only takes a few hours to see everything and visit with people. Brian Thomson and his fellow VooDoo Kruizerz do an awesome job at hosting a fun show each year. Below are some photos from the VW show, make sure to click on the images and view the whole gallery. And if you follow me on Instagram, you’ll see some cars from another show.

Miranda G – Part 1

The Orion Camera Company in Japan, later renamed for marketing reasons to the Miranda Camera Company, primarily made SLR cameras between 1955 and 1978. Two unique items that made Miranda different from their competitors were: 1) almost every camera had an interchangeable pentaprism that could easily be changed by the photographer, 2) they never made their own lenses, relying on other manufacturers to produce them. Miranda was the first Japanese company to manufacture an SLR with a removable eye level prism, something that Nikon adapted in 1959 (Nikon F). According to the Miranda Historical Society online, it’s not uncommon to find a seller who has any of knowledge about Miranda cameras or lenses.

The Miranda G was manufactured and sold in 1965. It features an interchangeable pentaprism and focus screen. The interchangeable focus screen were made in 8 types and attracted photographers who were interested in photomicrography (photos taken through a microscope) to astronomical photography (photos taken with a telescope). The camera has shutter speeds of 1 through 1/1000 sec, and bulb mode. The standard lens that this model came with was a Soligor 50mm f/1.9. The Miranda G does not have an internal light meter.

Special thanks to Maurice Greeson for donating this camera. He not only gave me the camera and Soligor 50mm lens, but included: Soligor 28mm f/2.8 lens, Soligor 105mm f/2.8 macro lens, Soligor 80-200 f/2.8 telephoto lens, macro lens reversal ring, chest-level viewfinder, original leather case, and manual. All of these items are in mint condition! I was worried at first because the camera doesn’t have a light meter, but that also eliminates the issue of having the correct battery type. I used my Gossen Luna-Pro to meter about half of the environments I was shooting in. The best way for me to describe using this camera can be done in one word: enjoyable. This camera feels so comfortable in my hands. It has a nice balance with the 50mm lens. I did try the wide 28mm on a few images I’ll share next week, but kept going back to the 50. Maybe it’s more my style, but I found it easier to compose my images. For the roughly short lifespan of the Miranda G, it’s a basic SLR and fun camera to use. Note, the self-timer is permanently stuck in the down position, but an issue this small wouldn’t stop me from using this camera. I really don’t have anything negative say about this camera. The viewfinder, and chest-level viewfinder, are bright and clear. The additional shutter release on the front of the camera seemed odd at first, but somehow the slow squeeze on the front makes more sense than a downward pressing motion.

Ogden High School - Ogden, Utah

In July, my wife and I took a group of Chinese exchange students on a tour of Ogden High School in Ogden, Utah. The school was built in 1937 as part of President Roosevelt’s “New Deal,” a Works Progress Administration project that cost tax payers 1.2 million dollars. It was the first million-dollar school built in the U.S. The design style of the school is Art Deco and matches other Ogden City landmarks like the Ogden City Municipal Building and Peery’s Egyptian Theater. All three historic buildings were designed by the architectural firm Hodgson & McClenahan. In 2006, Ogden City residents voted to fund a $95.3-million-dollar bond to repair, renovate, and update the school. The high school has been the backdrop for several movies and television shows. These images were shot with the Miranda G on Kodak Tri-X 400, metered with a Goseen Luna-Pro S.

Agfa Isolette I

Agfa’s production of the Isolette series spans several decades. Multiple models were made from pre-WWII 1936 up to 1958. The Isolette I is a simple German-made 120 folder that was sold from 1952 to 1960. The camera features an 85mm coated f/4.5 – 32 Agnar lens and a synchronized Vario leaf shutter. Focus is scale-focusing, measured on the lens from 3 feet to infinity.

Agfa Isolette

I purchased the Isolette I for $20 after listening to Episode 143 of the Film Photography Project Podcast. Host Mark O’Brien details many of the features. He also describes the common issues with sticky, or dried lubricant. When I received the Isolette, sure enough, the lens would not focus because the original lubricant had cemented the focus in place. Utah Film Photography friend, Maurice Greeson, put the camera on his workbench, cleaned, lubricated and freed the focus.

My experience with the Isolette was just so-so. I like having a 120 folder that has such a small footprint. However, I found that ultimately I wanted better control over the focus. My ideal 120 folder would have a rangefinder focus. The Isolette I doesn’t have a light meter. For some photographers that might be a deal breaker, but for me it wasn’t an issue. Now that I’ve said that, the majority of my shots were under or over-exposed. I don’t believe this was my fault or the cameras. I think it was the expired Kodak T-Max 100 I was using. I’m not sure how it was stored before it was donated. Will I shoot with the Isolette again? Sure, but with some fresh Kodak Tri-X or Illford HP5.

Thank You

Utah Film Photography has been an interesting adventure. I started this blog 2 years ago to share my experience shooting film and using vintage cameras. To say that I’ve enjoyed myself would be an understatement. It’s introduced me to some fantastic people that have contributed film, gear and a lot of wisdom.

Maurice Greeson – his career on the retail side of the photography industry has given him a love for all things camera related. Maurice has donated film, cameras, advice, knowledge, and everything that has helped me move this blog forward. He’s become a great friend and I value each moment I get to hang out with him. If I ever have a camera or film question/problem, Maurice is my personal wiki.

Scott Smith – encouraged me to shoot film as he himself finished a film and darkroom course at the University of Utah. Scott has donated lenses and has spent several lunch hours with me going over blog ideas and planning our next photo quest. I like to go out shooting with Scott. I always learn something new to try with my own photography.

Mike Williams – my partner in crime. We’ve never actually spoken face-to-face, or on the phone. But we are in constant contact on Facebook and text messages. There’s not a day that goes by that we aren’t talking about cameras, film, and family. Mike has donated film, cameras, and lenses over the past year. He’s been a great source for ideas and projects.

Special thanks: Mars, Caleb, Connor, Big Red, Jacob at Acme Camera, the FPP podcast, the CCR podcast, the 223 Restoration Crew, Special Agent Eric, & Deseret Industries

Come On Barbie, Let’s Go Party

My 13-year old loves to tease me about using the Barbie camera. When I pull it out of my camera bag, his reaction is a combination of silliness and flamboyance, “Are you shooting with your [high pitched voice] Barbie camera today?”

Barbie Instant Camera (1998)
The Barbie Instant Camera was made in the United Kingdom by Polaroid in 1998. Next to the Tasmanian Devil and Spice Girls camera, it’s one of the more collectible Polaroid cameras made in the 1990’s. Originally, the Barbie Instant Camera came packaged with flower stickers so you could decorate the camera, or your photos. The camera features a pink, purple and lime green plastic body and uses Polaroid (Impossible Project) 600 film. At the time of the release, Polaroid manufactured a matching Barbie-framed instant film. The film matched the flowers on the camera and could be drawn on with a purple magic marker. The plastic lens is 116mm, f/11 single element. The camera also has a close-up lens for shots .6 – 1.2m (2 – 4 feet) that slides out in front the main lens and viewfinder. Exposure is automatic and the shutter speed is about ¼ – 1/200 of a second. Like other plastic body instant cameras made by Polaroid during this period, it has a built-in electronic flash than you can override with the shutter button.

A more difficult camera to write a serious review about than to actually use. Compared to some of the other Polaroid 600 Instant Film cameras I own, the Barbie camera works the best. Probably because it was manufactured more recently. To test the camera, I shot with Impossible Project Black & White, Black Framed, 600 Instant Film. This is some of IP’s first generation film, and had expired two years ago. Even though the film was refrigerated, this is what I expected from gen-1 film. Will I use this camera again? Of course, because it gives me an opportunity to embarrass my son in a crowd of people! When I open the camera, people can’t help but smile and laugh because it’s not often you see a 45-year old man packing around a pink and green Barbie camera.

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Zorki 4

I have to admit something that every photographer has done at least a dozen times. I coveted my friends Leica cameras. Maybe coveted is too strong of a word, but I’m a sucker for a good rangefinder camera, but also aware that my funds don’t allow me to possess a Leica. However, I can afford a Zorki!

The Zorki 4 was manufactured by KMZ, Krasnogorsky Mekhanichesky Zavod, from 1956 to 1973 near Moscow in the former USSR. This model was one of the most popular because it was exported from Russia to the western world. The Zorki 4 features a cloth focal plane shutter, with shutter speeds from 1s – 1/1000s. According to some research, there were at least 32 versions of the Zorki 4 released during its 17-year run. All of the changes were cosmetic, either by changing the way the camera name was printed (or engraved) along with anniversary models or commemorative editions. The model that I purchased was manufactured in 1963 (Zorki 4B), indicated by the first two-digits in the serial number. The Zorki 4 uses the old Leica M39 lens screw mount. The cameras were sold with either a Jupiter-8 50mm f/2 or Industar-50 50mm f/3.5 lens. I chose to purchase a model with the Jupiter lens because of the reviews I’ve read and comments from friends.

Overall, this camera is built like a tank, a Russian tank. The camera is easy to focus, and the viewfinder is bright. If I compared it to a pre-war Leica, like most photographers do, I would say that the sound of the shutter, and the feel of the camera are exactly what I’d expect. One disadvantage of the Zorki 4 is the viewfinder. It’s is so big that you don’t know where the edges of your framed shot are, or where they should be. Ideally, it should have been designed like other rangefinders at the time with faint boarder lines in the viewfinder. Image composition is difficult.

I love that this camera is all mechanical, no batteries, and no meter. The Jupiter lens is easy to focus and provides nice depth of field. One of the best pieces of advice I read online before pulling the trigger on eBay was; you get what you pay for with the Zorki. Most are shipped from sellers in Russia and normally the price indicates the condition and functionality of the camera. Of course you always want to check seller feedback, current sold and shipping prices. My test images were shot on Film Photography Project’s Edu 200 BW Film. Currently I have some Svema BW Super Positive ISO .8 BW Film from the Film Photography Project loaded in the Zorki. Russian camera, Russian film, отлично!

Petri 7s

The camera review this week was a donation from Mike Williams in Hickory, North Carolina. Mike found the 7s at a local yard sale for $5.00 (US) and shipped it out west. Make sure to check our Mike’s current project on Youtube, 12 Months/12 Cameras, where he shoots an entire month with a single camera and shares a video review.

Petri 7s (1963 - 1973)

The Petri 7s was manufactured by the Petri Camera Company from 1963 – 1976. Features: coupled rangefinder focus, around-the-lens selenium light meter, shutter speeds from 1 to 1/500 sec, and a 45mm f/2.8 – 16 lens. The Petri company called their rangefinder focus system the Green-O-Matic because the overall viewfinder is tinted green while the focusing area is yellow. The idea was that contrasting colors made it easier to focus.

After the Petri 7S arrived, I purchased a telephoto and wide angle diopter set from a user in a vintage camera group on Facebook for $12. The diopters are screwed in to the 52mm thread mount, and the viewfinder is attached to the camera cold/accessory shoe. My results with the diopter set are mixed. This is the first time I’ve used diopters with a rangefinder camera. In the digital world, my experience with adding more glass in front or behind a lens results in difficult focusing and poor image quality.

The selenium light meter on the Petri 7s circles the lens. This design was initially created to allow the meter to read the light behind an attached lens filter. The camera has two match-needle meters. One is visible in the viewfinder, and the other on the top of the camera body. In this particular 7s, the needles on both do not display the same reading. In some of my images, I tried to split the difference between the two with little success. I had much better results metering with my Gossen Luna Pro S handheld meter.

You can find the Petri 7s for as cheap as $8.00 (US) on eBay, and there are a lot of them. While I really enjoy a good rangefinder camera, this one ranks towards the bottom of the list. And not because of the meter issue. That’s almost expected with a selenium meter on a camera that’s a) this old and b) you don’t know how it was stored. My test images were shot on Film Photography Project’s Edu 200 BW Film. There was some scratching on the negatives in most of the images that I intend to investigate. If I had to pick a rangefinder from 60’s or 70’s, I’d consider a Yashica or Minolta over the Petri. However, for less than twenty bucks, it was worth the gamble. Do you have a any of the Petri rangefinders? I’d love to hear your thoughts in the comment section below.

Minolta Hi-Matic F

The Hi-Matic series was Minolta’s most popular line of consumer rangefinder cameras. The F was produced in 1972 as an economy model. Not only economic in price, but in size and weight. The Hi-Matic F weighs 350g and measures only 113 x 73 x 54mm.  With a small footprint, the camera does have a nice 38mm, f/2.7 Rokkor coated lens. The CdS meter on the camera automates the aperture and exposure for shutter speeds from 4 to 1/724 sec. On the lens itself, a flash guide number is printed so the photographer can select distance to the subject for flash photography.

While the camera is small enough to carry wherever you go, the absence of any manual controls make it feel like a point-and-shoot. The Hi-Matic F is a great all-purpose camera. It would make a nice addition to a street photographers kit because of its discreet size and shutter sound. My test shots were made with Kodak Tri-X 400, and scanned on an Epson Perfection V600 Photo.