Tag Archives: 35mm Film

Tie Fighter Pinhole Camera

A co-worker recently came back from Disneyland and gave me a plastic Star Wars Tie Fighter popcorn bucket that she had purchased. With Worldwide Pinhole Day coming up on April 30th, I thought how cool it would it be to turn this Tie Fighter into a pinhole camera. Now, it’s not as much of a pinhole camera itself as it is a pinhole camera holder. Deep inside the Tie Fighter is a cardboard Sharan 35mm pinhole camera.

The Tie Fighter comes apart in four pieces. The wings come off the center Command Pod which is held together with 6 screws. After taking the Tie Fighter apart, I cut out the hexagon shape (Solar Ionizer Reactor) on the back for the pinhole. My initial plan was to cannibalize parts from a few other pinhole kits, but then decided it would be easier to mount a camera inside. This way I wouldn’t need to modify the Tie Fighter, but know that a camera from a kit worked.

I assembled a Sharan STD-35e pinhole camera that I had purchased a few years ago. The cardboard is pre-cut, sturdy, and the instructions are easy to follow. To make sure the pinhole of the Sharan lines up with the opening on the back of the Tie Fighter, I placed two round Velcro patches on the left and right-hand sides of the camera. And to make sure that the camera doesn’t move, or pop open, I placed a Velcro strap horizontally along the back of the camera. The Sharan fits snug and perfect inside the Tie Fighter, ready to take on any member of the Rebel fleet!

To trigger the shutter, I drilled a small hole in the top of the Tie Fighter and attached a paperclip to the cardboard shutter that covers the pinhole. With the top hatch of the pod closed, the paperclip can be pulled up to let the light pass through the pinhole and expose the film. Because the camera is slightly recessed inside the Tie Fighter, the hexagon shape should create the similar shape on the exposed images adding to the uniqueness.

Advancing the film is done by opening the top hatch of the pod and turning the take-up spool counterclockwise. Loading the film and camera into the pod is not easy. The six screws must be removed so the pod can be taken apart into two pieces. The camera can then be removed to load film, rewind film, remove film, etc.

“Oh, I’m afraid the Tie Fighter Pinhole will be quite operational for Worldwide Pinhole Day.”

Technical Specs:

  • First Order Special Forces Tie Fighter
  • Advance Hyperdrive Engine
  • 2 x Laser Cannons – Turret – Warhead Launcher
  • Two Seat – Pilot & Gunner
  • Pinhole – .16mm
  • Focal Length – 20mm
  • F-Stop – f/130
  • Film Type – 135 (35mm)

2016 Laundromat Project

In late 2015 I decided to do a small personal photographic project for the upcoming year. One subject, one camera, one roll of film. I selected the Pentax Spotmatic and a roll of Kodak Tri-X 400.

Pentax Spotmatic (1964 - 1973)

The subject was to photograph different laundromats in Northern Utah. The locations I selected were: Terrace Laundry in Washington Terrace, Wash Tub in North Ogden, 4th Street Laundromat in Salt Lake City and Hart’s in Roy. The purpose of a personal photographic project is to take you out of your element, try something different, and challenge yourself.

You get a lot of strange looks, questions and questionable looks when you show up at a laundromat with an old camera, not laundry. So, how was this experience? I follow photographers on Twitter that make entire books or zines out of this type of photography. To me, it just felt lazy. I discovered that this type of photography is not my style. If I were to do it again, I would photograph the people in the laundromat, not machines and signs. I learned something about myself, and used this roll to practice developing film at home. Process: D-76 (Stock) 6:45 Min @ 20° C, scanned with an Epson Perfection V600 Photo.

[2016_01_31] Terrace Laundry - Washington Terrace, Utah

[2016_01_31] Terrace Laundry – Washington Terrace, Utah

[2016_01_31] Terrace Laundry - Washington Terrace, Utah

[2016_01_31] Terrace Laundry – Washington Terrace, Utah

[2016_01_31] Terrace Laundry - Washington Terrace, Utah

[2016_01_31] Terrace Laundry – Washington Terrace, Utah

The idea was to photographic inside various laundromat's in Northern Utah.

[2016_01_31] Terrace Laundry – Washington Terrace, Utah

[2016_03_25] Wash Tub - North Ogden, Utah

[2016_03_25] Wash Tub – North Ogden, Utah

[2016_03_25] Wash Tub - North Ogden, Utah

[2016_03_25] Wash Tub – North Ogden, Utah

[2016_03_25] Wash Tub - North Ogden, Utah

[2016_03_25] Wash Tub – North Ogden, Utah

[2016_03_25] Wash Tub - North Ogden, Utah

[2016_03_25] Wash Tub – North Ogden, Utah

[2016_04_29] 4th Street Laundromat - Salt Lake City, Utah

[2016_04_29] 4th Street Laundromat – Salt Lake City, Utah

[2016_04_29] 4th Street Laundromat - Salt Lake City, Utah

[2016_04_29] 4th Street Laundromat – Salt Lake City, Utah

[2016_04_29] 4th Street Laundromat - Salt Lake City, Utah

[2016_04_29] 4th Street Laundromat – Salt Lake City, Utah

[2016_04_29] 4th Street Laundromat - Salt Lake City, Utah

[2016_04_29] 4th Street Laundromat – Salt Lake City, Utah

[2016_07_10] Hart's - Roy, Utah

[2016_07_10] Hart’s – Roy, Utah

[2016_07_10] Hart's - Roy, Utah

[2016_07_10] Hart’s – Roy, Utah

[2016_07_10] Hart's - Roy, Utah

[2016_07_10] Hart’s – Roy, Utah

[2016_07_10] Hart's - Roy, Utah

[2016_07_10] Hart’s – Roy, Utah


Canon New Sure Shot

The third version of Canon’s Sure Shot made in in 1983 ($150 USD) was sold as the New Sure Shot in the United States, AF35MII in Europe, and the Autoboy 2 in Japan. The New Sure Shot is a simple point and shoot 35mm camera featuring a 38mm f/2.8 – 16 lens. The camera focuses (near, medium, far) with a triangulation system using a near-infrared beam for autofocusing. Pressing the shutter button down halfway accomplishes prefocus. Powered by two AA batteries, the film advance is automatic and the exposure is controlled electronically. To test the camera, I used some expired Kodak Gold 200. The film really achieves that expired look in the blue tones.Canon New Sure Shot (AF35M II) (1983)


Nikon EM & Nikkor-S 50mm 1.4

Nikon EM (1979 - 1982) with Nikkor-S 50mm 1.4

Last year my film-photographer-partner-in-crime, Mike Williams, sent me a Nikon N2000 with Nikkor 50mm lens. Mike had wrapped the camera and lens in several layers of bubble wrap before placing in the box. That however didn’t stop USPS from damaging the contents. When I received the box, one side was damaged to the point that it looked like someone had taken an axe to it. The camera appeared to be fine, but the lens had a noticeable dent where you would thread on a filter. Fast forward eight months, Mike reminds me to test the camera. I hadn’t told him about the damage (because I knew he’d be pissed), but intended to use the camera and lens despite the damage. The N2000 body that appeared to be un-wounded, and working, was now dead. I still wanted to use the lens despite its new dimple, so I mounted it on my Nikon EM. I refer to this camera and lens combination as, “like putting an engine from a Mustang in a Pinto.” The images were shot on FPP High Speed Retrochrome 320 and processed E6. The resulting colorcast is very retro, warm, with medium grain.


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.


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!


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.


Expired, Retired, and Still Fired – Part 2

Camera: Yashica Electro 35 GS (1970 – 1973)
Film: Kodak Tri-X 400 (Expired 6/10) bought at Goodwill for $.99
Process: RepliColor, Salt Lake City, UT
Scanner: Epson Perfection V600 Photo

 

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TDC Stereo Vivid

I traveled to San Diego, California, back in June and came across a great little camera store in the University Heights area called Camera Exposure. They have a great selection of used vintage cameras. I went in looking for some negative hanging clips, and a lens cap for my Minolta SR-T202. I left with those items, plus a new camera. I had been looking to try something different and decided that I wanted to try a 3D or stereoscopic film camera. A quick email to my friend Maurice for some advice on prices, and I was sold on the TDC Stereo Vivid.

Three Dimension Company (TDC) of Chicago, IL, was a division of Bell & Howell. They produced roughly 20,000 TDC Stereo Vivid cameras from 1954 – 1960. Not as popular as Realists or Kodak stereo cameras, but well-built. The TDC Stereo Vivid features a 35mm, f/3.5 lens with shutter speeds of 1/10th – 1/100th, plus bulb. The camera is a rangefinder focus with the film advance knob on the top. A spirit level is located in front of the rangefinder window, with a recessed shutter release button on the front of the camera with a cable release port. The camera originally sold for $129.50 in the US.

The TDC Stereo Vivid has all of the camera controls on the top surface of the camera body. The Expo Sure display lets the photographer control f-stop and shutter speed. It’s also an exposure guide that assists with shooting conditions from dull cloudy to bright sunny conditions. Using the Expo Sure makes it much harder to incorrectly expose an image. Another great feature is the red dot on the camera below the clear rangefinder focus knob. It indicates the distance of focus. A red line on the focus knob itself indicates the focus distance out to infinity. Two red triangles indicate the closest and furthest points of focus for the f-stop set. Why is this important? It’s important because you’re creating a 3D image. I’ve quickly learned that composing a stereo image goes beyond a quick focus and snapshot. To create an effective 3D image, it has to have a foreground, middle ground, and background. Depth of field isn’t just about focusing on the subject in the photo, it’s about helping your viewer find that focus point while enjoying the depth.

Keeping in mind that this is my first attempt with this type of camera, I have two issues with the Stereo Vivid. The first is film loading. I think TDC knew that loading and rewinding film in this camera was going to be an issue for photographers, so much that they actually printed the instructions on the bottom metal plate of the camera. To load film, the winding knob on the right must be rotated to the left until it stops. Next, rotate the middle sprocket, located between the film gates, to the left until it stops. When threading the film from the cartridge to the take-up spool, the film must go under the sprocket mentioned in the previous step. I admit I wasted two rolls of film before figuring out what I was doing wrong. The other issue are the size of the film gates inside the camera. The film gates are the area where the film is exposed, left and right lenses. They are too wide, resulting in images overlapping each other on the negative. I’ve confirmed this with other websites, and the only solution is to perform a creative crop in post.

Below are some images from the annual Peach Days Car Show in Brigham City, Utah, along with some rural images from the small farming town of Freedom, Wyoming. All images were shot on Kentmere 400 Film, processed at RepliColor and scanned with an Epson Perfection V600 Photo. I created the images using the free software, StereoPhoto Maker. To view the images in 3D, sit back from your display, keep your head and eyes horizontally level, and slowly cross your eyes. As you cross your eyes, focus on the middle image. The more you focus, and lock the image focus with your eyes, the easier it will be for you to explore the details of the image. If you feel that this is causing too much stress on your eyes, move further away from your display. And despite what your mom said when you were a child, doing this will not cause your eyes to stay this way. Click each image to make larger.

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days Car Show, Brigham City, Utah

TDC Stereo Vivid - Peach Days, Brigham City, Utah

TDC Stereo Vivid - Peach Days, Brigham City, Utah

TDC Stereo Vivid - Freedom, Wyoming

TDC Stereo Vivid - Freedom, Wyoming

TDC Stereo Vivid - Freedom, Wyoming

TDC Stereo Vivid - Freedom, Wyoming

If crossing your eyes has given you a headache, and/or you prefer to view some additional film photos from the auto show, check out Scott Smith’s images.

 

 


Expired, Retired, Still Fired

A few months ago my friend Maurice gave me a Watson Model 100 Bulk Film Loader. The bulk loader still had 35mm film in it! Kodak Plus-X Pan (ASA 125) that expired in 1979. Not knowing how to load my own cartridges and shoot expired film, I turned to the interwebs for some guidance.

Watson Model 100 35mm Bulk Film Loader - Kodak Plus-X Pan (Expired 1979)

Learning to bulk load is a simple and straight forward process: use some art tape to attach the film to the 35mm spool, placing the spool inside the cartridge, close the bulk loader, open the film gate, then slowly crank and decide the number of exposures on the roll. Is the expired film still good? To test the film, I loaded a cartridges with 12 exposures into my Canon Canonet G-III QL17. My conclusion, the film is good! There’s no haze or fogging, but the film definitely needs light. The best images from my test exposures surprisingly came from shooting at box speed, ISO 125.

Would you like a roll to test for yourself? Leave a comment on this post and tell me what camera you’ll use. I’ll pick a random comment on December 1, 2015, and send you a roll.

The images below are some of my favorites from a trip to Wyoming with Scott Smith in September. Along with some others from Utah and a family trip to Wyoming, Montana and Idaho in October.

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