Category Archives: Lenses

Yashica Mat-124 G Close-Up Lenses No. 2

Since having my Yashica Mat-124 G CLA’d by Mark Hama, I’ve used it more often. And recently found another film photographer on Facebook that was selling a set of close-up lenses for Yashica TLR’s. The set of lenses includes one that goes on taking lens, and the other on the viewing lens. According to yashicatlr.com, Yashica made close-up lenses that were both slip-on and bayonet mount. And two separate sets of close-up lenses were made for the Mat-124 G: No. 1 allows focusing as close as 44-61cm, and No.2 allows focusing as close as 36-45cm.

The first attempt I made at using these lenses was back in the spring when my wife and I went to our local nursery to buy vegetable plants for the garden. I thought using these close-up lenses in the greenhouses would make some interesting photos. The photos were all taken at f/3.5, hand-held. I think I could have done better with a tripod.

Camera: Yashica Mat-124 G (1970 – 1986) with
Yashica No. 2 Close-up Lenses.
Film: Ultrafine Exteme 100
Process: CineStill Df96 Monobath 3 Mins @ 26° C
Scanned: Epson V600 Photo

 

 


M3 & P30 Alpha

About a year after I purchased the M3, a good friend jokingly chastised me that I needed a proper Leica lens for a Lecia body. My half-joking response to him was, “What do you have for sale?” And that’s when I purchased 50mm Summarit f/1.5 lens from him. While it’s not known as the best piece of Leica glass, I still stand by a quote from photographer Scott Bourne, “Ninety-nine percent of the lenses are better than 100% of photographers.” While it would be nice to have a Summicron f/2 Rigid that was made around the same period as the M3. I think my budget is going to stick with the Summarit for now.

Leica M3 (1959) single stroke with Leica Meter MR and 50mm Summarit f/1.5 lens

The following images were shot on my second roll of Ferrania P30 Alpha. This film that was created by Ferrania a few years back to fund new film and appease Kickstarter backers. You can read my original post about it here. Again, this film has a lot of contrast that can lend itself to specific subjects.

Camera: Leica M3 (1959) single stroke with Leica Meter MR and 50mm Summarit f/1.5 lens
Film: Ferrania P30 Alpha ISO 80
Process: Kodak HC-110 (1+31) 5 Min @ 68°
Scanned: Epson V700 Photo

 

 


Canon EOS 10S (1990)

Last May, Scott Smith was at the Utah Film Photography Worldwide Headquarters (my house) to develop some 4×5 sheets he’d shot with his newly acquired Graflex. We used a tank that would hold ten sheets and required over a half gallon of chemistry. I’m not doing that again. I’ll stick with 4 sheets in the Stearman Press SP445. Anyway, I digress. Scott showed me a Canon EOS 10S that he had purchased earlier that day. Both Scott and I have owned Canon digital gear over that past decade. He has sold most of his Canon gear but kept a Canon 24-105mm f/4 IS USM L-Series lens. Because the EF lens mounts were the same, he paired this lens with the 10S. While Scott developed film, I played with the camera. Autofocus and image stabilization worked as quickly as it would on my Canon 6D and I was impressed. The next day, I went hunting on eBay and bought a mint Canon 10S for $10, including shipping. In the last six months, the 10S has become one of my favorite cameras, and the closest I want my film and digital worlds to get to another.

Canon EOS 10s

Introduced in March 1990 by Canon, the 10S (10QD in Japan, 10 in Europe) is an autofocus 35mm SLR camera. The camera features a Multi-BASIS AF sensor. This sensor gives the photographer three autofocus viewpoints. Many of the design elements and features of the 10S still remain on Canon’s DSLR cameras. For example, the command dial is nearly the same: automatic and creative modes, P Program, TV Shutter Priority, AV Aperture Priority, M Manual. The LCD on the top displays your selection of focus modes like one shot, AI Servo, AI Focus. Shutter speeds are 30 sec to 1/4000th sec, bulb and flash sync up to 1/125th sec. Film speeds can range from ISO 6 to 6400. With the meter and exposure controls, the camera has 15 custom functions from autobracketing to multiple exposure. The automatic advance allows you to shoot 5 fps in One-Shot Autofocus and Manual modes, or 3 fps in AI Servo mode.

One thing I personally like is the camera design. Because I’ve owned 4 different Canon DSLR bodies over that last 11 years, the layout of the buttons and features are all familiar to me. When I want to change the f-stop, I quickly know where to place my finger. While three autofocus points don’t sound like a lot, the simplicity works. It makes the 61 selectable focal points on a Canon 5DMIV DSLR extreme overkill. I enjoy using Canon L-series lenses like the 24-105 f/4 and 70-200 f2.8. One thing I’ve learned over the last 4 years is I don’t like heavy SLR cameras. The 10S only weighs 625 g (1.4 lbs), but when you use a lens like the 70-200 f/2.8, you add another 1490 g (3.28 lbs). The 10S uses a single 6V 2CR5 lithium battery. Even though it’s a common battery, I paid more for the battery than the camera.

I’ve shot 4 rolls with this camera and will be posting the results over the next few weeks. Plus, next week I want to cover the most interesting part of the 10S, the Canon SLR Barcode Reader. Yes, think grocery-store-beeping-barcode reader.

Camera: Canon EOS 10S (1990)
Lens: Canon 24-105mm f/4 IS USM L-Series
Film: Kosmo Foto Mono 100
Process: Kodak D76 (1+1) 10:00 Min @ 20°
Scanner: Epson V600 Photo

 


Nikkor 35 – 200mm f/3.5 – 4.5s

Camera: Nikon F2 Photomic (1971). Lens: Nikkor 35 - 200mm f/3.5 - 22 - Macro.

I’ve really enjoyed shooting with the Nikon F2 Photomic (1971 – 1980), so I thought I’d like another lens. Since shooting film, I’ve gained a new appreciation for fixed prime lenses. The zoom lenses for older film cameras don’t appeal to me, but I wanted to give this one a shot (pun intended). Released in 1985, the Nikkor 35 – 200mm f/3.5 – 4.5s is a zoom lens with an Ai-S lens coupling, 17 glass elements in 13 groups, and apertures from f/3.5 to f/22. It also has a macro button that allows the lens to focus as close as 0.3m, about 12 inches.

These shots were taken at Red Butte Garden in Salt Lake City, Utah, on July 24th. Being a state holiday, the garden offered free admission for the day. My wife and I took advantage of the day off and headed up to the east bench of the valley to enjoy some colorful landscapes. Keep in mind, I’m not much of a landscape or macro flower photographer. My intent was to test the lens and see if it was something I liked. I found myself fumbling when composing shots. First, trying to zoom, and then focus, while checking the meter, etc. That says more about me as a photographer than issues with the lens. Maybe a larger learning curve than I thought, so not enjoyable at my first attempt. It’s like Scott Bourne says, “99% of the lenses are 100% better than the photographers.” Slightly off topic, next to Kodak Ektar, Agfa Vista is my favorite color film for saturated bright colors. It’s disappointing that Agfa Vista has been discontinued. I’m happy with the results from a technical standpoint. The images show some soft grain where I think it should be. When the lens is opened to f/3.5, it grabs a nice slice of focus. I think the ultimate test for this lens would be portraits, and that’s what I plan to try next.

Camera: Nikon F2 Photomic (1971)
Lens: Nikkor 35 – 200mm f/3.5 – 4.5s
Film: Agfa Vista 200