Tag Archives: Black and White Film

A First Time for Everything

I came to know Bailey when my wife and I took a trip last summer with a group to Europe. Bailey is a senior in high school and enjoys playing the piano, Harry Potter, boys, and photography. After returning from Europe, I emailed Bailey and asked if she wanted a film camera to try. She quickly replied with an enthusiastic, “Yes!” I gave Bailey the Olympus OM-1 MD that I took to Europe, provided a short tutorial, presented her with a manual, and a roll of Ilford HP5+ black and white film. A few weeks later, we met and shot the Kulture Krash Car Show in Clearfield, Utah. After the car show, I asked Bailey if she would be interested in developing her roll of film. Again, she gave me another enthusiastic, “Yes!” A few weeks passed, and she came over to the UTFP Worldwide Headquarters (my house). I showed her how to load a Patterson reel, and explained the chemistry we would be using. Since I needed my roll of film from the car show developed, I had Bailey develop mine at the same time. After the final rinse, she took her negatives off the reel to hang up, and her first response was, “Oh cool!” She experienced that feeling film photographers get when they see the final results of something physical they’ve created. Overall, she did fantastic and had a positive experience. Through a Q and A, I asked Bailey if she would share some of her thoughts.

What camera and film did you use?

My first ever film camera and the one I used on this shoot was the Olympus OM-1, with 400 ISO film.

While you were shooting, did anyone ask you about the camera?

This sweet little old man sparked up a conversation about my film camera, asking me what kind of camera it was and telling me about one of his old film cameras.

What did you take photos of?

All of the photos I took were of different cars at the car show in Clearfield, most of them focusing on the cars, but a few with people in them.

What did you like about taking photos with a film camera?

I loved being able to adjust the settings manually and seeing how it affected the photo; I know you can do this on DSLR cameras when put on the manual setting, but most of the time before shooting with my film camera, I just set my DSLR on automatic. Shooting with a film camera makes you adjust the settings and really get familiar with the mechanics of photography.

What did you dislike about taking photos with a film camera?

You really have to take your time with a film camera, making sure you get the exact shot you want, which can be a good thing and a bad thing. It makes you better at composing your photos, but there are also times when I like to take lots of photos of the same thing, from slightly different angles or different composures, and then just choose the one I liked later on the computer. Obviously, with a film camera, taking lots of photos of the same thing isn’t very practical as the film does cost a bit and you don’t want to have a roll of film all of the same thing.

What was the easiest part about using this camera?

The easiest part of using the Olympus OM-1 was probably the accessibility of all the settings. Anything I needed to adjust, I could do so with my left hand on the lens, twisting and turning as needed. Another thing that was very helpful was the light meter; I could see how I needed to adjust the settings in order to have optimal lighting.

What was the hardest part about using this camera?

The hardest part of using this camera was getting used to adjusting all the settings by hand and not just having it done for me automatically, but it was, as I said earlier a very rewarding experience to now know how to do that.

What did you learn by taking photos with a film camera?

I learned a lot about lighting, aperture, and how to adjust certain things to make my photos better.

What did you think of the development process?

The development process was actually a lot easier than I expected! I was able to load the film much quicker than I thought I would, and developing the photos themselves is really just a lot of pouring in chemicals and waiting. It was really cool to actually develop the photos, though, rather than just have them printed off. I loved doing it.

Did you think anything was particularly hard or easy about the development process?

The easiest part was definitely just pouring in the chemicals and dumping them out. Once I got the film loaded into the tank, it’s a super simple process from there on out.

What advice would you give other teens about shooting and developing film?

1. Learning about aperture, shutter speed, ISO, and all that in my photography class at first seemed confusing, but actually applying while taking my photos made a lot more sense. Don’t be afraid to play around with the settings and try new things out, it really helps you understand how everything works more.
2. Try loading film in the light before you do the actual thing in the dark (obviously with a roll of film you aren’t going to use). It helps.
3. Find someone in the field of film photography to help you out with everything. Ask them questions, have them show you how to do things, etc. Learning things for yourself online is good, but having someone in person to teach you is all the better.

You can see more of Bailey’s photography on her new website. With graduation and moving away to college, I hope Bailey continues to be creative whether it’s through her photography or music. Here are some of Bailey’s favorites from her first roll.

Camera: Olympus OM-1 MD (1974 – 1979)
Film: Ilford HP5 Plus 400
Process: Kodak D-76 (Stock) 7:30 @ 20c
Scanner: Epson Perfection V600 Photo

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Nikomat FTn

I found this Nikomat FTn at a local thrift store in October. After purchasing the camera, I searched through the bag it came in, and found that it was purchased in the Tokyo Airport in 1971 by a Mormon (The Church of Jesus Christ of Latter-day Saint) missionary returning home to Utah. The camera and lens are in excellent condition, and based on the film that was also in the bag, it likely hasn’t been used since the late 1980’s.

The Nikomat FTn was manufactured and sold by Nikon from 1967 to 1975 in Japan. The FTn was part of the Nikon F and F2 family and was based on the original Nikkomat FT that was commonly used by professional photographers. Nikon marketed the FTn to the consumer and prosumer markets as a cost-effective alternative. The camera came with a card that reads: On the “Nikomat” camera name… The brand name of this camera “NIKOMAT” Is used for the cameras being sold in Japan, while “NIKKORMAT” for the export model only. There is, however, no difference at all between the two in specifications, functions and performance.”

It’s a fantastic camera with all the features and specs you might expect: ISO 12 – 1600, metal focal plane shutter with speeds from 1 sec to 1/1000th, bulb, TTL metering center-weighted average with a CdS cell powered by a 1.3v battery, visible meter in the viewfinder and the top of the camera body. The camera came with a Nikkor SC Auto f/1.4 50mm lens. While the FTn is built like a tank, it’s not as heavy as the Nikon F with FTn Viewfinder.

This is probably the first film camera I’ve reviewed on UTFP that I will be sharing almost the entire test roll. I’m not a “car guy,” but I do enjoy photographing car shows to mainly shoot the details. These images are from the annual Kulture Krash Car Show in Clearfield, Utah. I was accompanied by my friend, Baily, who was shooting film for the very first time. I’ll save that story for another day. For a review of the exported Nikkormat FTn, head over to Jim Grey’s site.

Camera: Nikon Nikomat FTn (1967 – 1975)
Film: Ilford HP5 Plus 400
Process: Kodak D-76 (Stock) 7:30 @ 20c
Scanner: Epson Perfection V600 Photo

 


Ferrania P30 Alpha

Olympus OM-1N MD (1979) & Ferrania P30 Alpha

The resurrection of Italy’s Film Ferrania from 2014 is an ongoing process. While preparing for full scale production of their 100 ASA color reversal film products, they’ve released an 80 ISO panchromatic black & white motion picture film for still photography. P30 is based on Ferrania’s high silver content film from the 1960’s. The film was released as an Alpha product in limited quantities, giving Kickstarter backers the option to change their backing to P30 film, wait for the color film, or keep the color film and purchase P30 early at a discount.

I kept my original backing, purchased the max limit of 5 rolls, and decided to develop the film myself. While placing the film on a Patterson reel, the edges of the film at the sprockets cracked, twice. This is what I expect from old film, not new. And though Ferrania has published and updated a data sheet of best practices for developing this film, there still seems to be a bit of guesswork involved. I developed mine in Kodak D-76 with a dilution of 1:1 for 13 minutes at 20° C. After developing, I found that this film scratches very easy. And it’s almost impossible to determine which side of the film is the emulsion side, making scanning difficult. My resulting images are high contrast, like I’ve seen online from other photographers. Keeping that in mind, I knew what I was getting into with an alpha product. These are the best that came from my 36-exposure roll.

 

Massive Dev Chart App - P30 Developing Time

Camera: Olympus OM-1N MD (1979)
Film: Ferrania P30 Alpha
Process: Kodak D-76 (1+1) 13:00 @ 20 C
Scanner: Epson Perfection V600 Photo


Nikon F (1959 – 1973) and FTn Viewfinder

Up to this point, I’ve only ever used one other Nikon film camera, the Nikon EM. After spending a few weeks talking with friends, I decided it was time to get a proper Nikon SLR. Something a little older. A classic Nikon. That’s when I learned that I really didn’t know a lot about Nikon SLR’s. My friend Maurice Greeson suggested I start with the Nikon F. Before I continue, I’m sure a seasoned Nikonian will correct me if I describe something inaccurately. Please do, no offense taken.

Maurice gave me a Nikon FTn viewfinder/exposure meter with a 50mm Nikkor-S f/1.4 lens. All I had to do was find a Nikon F body, which isn’t hard to do. What is slightly hard to do is find one on eBay in acceptable condition. As I was searching, I’d send Maurice an email and ask, “What about this one? Or, this one? This one?” What I didn’t understand is the F was originally sold with a standard prism viewfinder. The eye-level penta-prism can be interchanged with a waist-level viewfinder, as well as the FTn. The FTn is essentially a viewfinder with a built-in light meter. When changing the lens on the camera, the meter coupling pins must be indexed with the lens. To summarize, the FTn needs to know what aperture values are available on the lens you are mounting. This was something entirely new to me, but it makes sense.

The Nikon F was manufactured from March 1959 to October 1973. The F was known in the 1960’s as the camera used by photo journalists, capturing images from Vietnam, the US exploration of Mt. Everest, and the Mercury, Gemini, and Apollo space programs. There were eight types of viewfinder screens available, as well as interchangeable high capacity backs and motor drives. Originally priced at $186 USD (camera and 50mm f/2 lens), that’s about $498 today, the camera attracted both professional and amateur photographers.

According to the serial number on my Nikon F, it was produced between April – July 1970. This camera is a tank! According to kenrockwell.com, the camera and FTn viewfinder alone weigh 1.92 lbs. When you add the lens, it’s easily over 2 pounds. If I were a photojournalist in Vietnam and found myself in a dangerous situation, I think I would have used this camera as a weapon.

The FTn viewfinder and photographic screen both have 100% coverage, giving the photographer a bright viewing area. The camera has a split-image focal screen and a titanium foil focal-plane shutter. The FTn has an ASA range from 6 to 6400, shutter speeds are 1 sec – 1/1000th sec and bulb.

The Nikon F is a classic camera. This camera set the bar for SLR cameras and showed the world that Nikon, and Japanese camera manufactures, were capable of producing exceptional photographic equipment. Special thanks to Maurice Greeson for donating the FTn, lens, and book Nikon F Handbook of Photography (1971 Edition) by Joseph D. Cooper and Joseph C. Abbott.

Camera: Nikon F (with FTn Viewfinder) (1959 – 1984)
Film: Kodak BW400CN
Process: RepliColor SLC
Scanner: Epson Perfection V600 Photo


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.


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.

 

 


Kodak Brownie Hawkeye Flash

One of the most recognizable cameras in history is the Kodak Brownie. They made several models of the Brownie, but the Hawkeye Flash stands out because of its simple square bakelite body. The Kodak Brownie Hawkeye Flash was designed by Arthur H. Crapsey, and manufactured from May 1949 to July 1961. The cost, $5.00 USD for the camera, $7.00 USD with the flash.

This camera is easy to disassemble, clean, and reassemble. Even for a guy like me that barely knows which end of a screwdriver to use. Two screws on the top and two on the front of the camera can be removed to clean the viewfinder and front glass element. Two screws inside remove the entire film chamber giving you access to the shutter mechanism.

Over the course of the production, Kodak made some minor changes to the Brownie Hawkeye Flash. My version has a glass lens, but later models had plastic. The camera has an aperture of f/14.5 – f/16. Shutter speed is about 1/30 sec, along with a bulb mode. Focal length is approximately 75mm and the focal distance is about 5 feet to infinity.

The Brownie Hawkeye Flash uses 620 film. The only difference between 620 and 120 film are the size of the film spools. There are many methods for using 120 film in 620 film cameras depending on the make and model. Instead of re-spooling 120 film, or grinding down plastic 120 spools, I chose to modify the camera. I took a Drummel tool and ground out just enough of the bakelite so a loaded 120 spool would fit. Unfortunately, there’s not enough room in the camera to modify it to use a 120 take-up spool.

I wasn’t sure what to expect, but I have to admit I’m happy with the results. The images below were shot on Ilford Pan F Plus 50 BW Film, processed by RepliColor in Salt Lake City, and scanned on an Epson Perfection V600 Photo. It’s not very often that I share an entire roll of images, but I’m going to this time so you can see the accidental double-exposures. The Brownie Hawkeye Flash has a spring loaded shutter, so it’s always cocked and ready to go. My mistakes took place when forgetting to advance the film. Overall, the images are sharp. There’s some slight curving in the images, something I would expect, so it doesn’t surprise me.

You can find various Brownie Hawkeye Flash cameras on eBay. Some are in better condition than others. Some come with the flash attachment and others are a complete boxed kit. I wouldn’t pay more than $15 for this camera. It’s not a rare gem, but certainly fun to use. This camera and its limitations push you to slow down, compose the image, and think. Another benefit of the Brownie Hawkeye Flash is the number of resources available online. Check out the Brownie Camera Page, or Kurt Munger’s site for a detailed breakdown and cleaning guide.

 

 


Yashica Electro 35 GS

The Electro 35 GS was the third generation of Electro automatic rangefinder cameras made by Yashica from 1970 -1972. The Electro GS features a sharp Yashinon f/1.7 – 16, 45mm lens. A CdS cell on the front-left of the camera detects the amount of light and alerts you on the top of the camera and in the viewfinder. The yellow light on top of the camera, yellow left-arrow in the viewfinder, indicates the image will be under-exposed and requires a slow shutter speed. The red light, red right-arrow in the viewfinder, indicates the image will be over-exposed and requires a faster shutter speed. The camera sensing the light will automatically set the shutter speed, allowing the photographer to set the aperture. Overall, a super easy-to-use aperture priority camera.

The Electro 35 GS was given to me as a gift from my good friend, Mike Williams, in North Carolina. Mike discovered the Electro series and raved about them, so much that he bought himself a second and sent me this camera. I replaced the seals and was anxious to give it a try. Mike was also nice enough to send along a roll of Ilford Delta 100 film. We have an unofficial wager as to what’s the better rangefinder: Minolta Hi-Matic 7S (1966), Yashica Electro 35 GS (1970), or the Canon Canonet G-III QL17 (1972).

To test the Electro, I spent a Saturday morning at the Vee-Dub Club of Northern Utah Air Cooled Volkswagen No Show in Kaysville. It’s the non-show of summer car shows showcasing some of the best, and worst, air cooled Beetle’s, buses, and buggies. I’ve never owned a VW, but it’s a fun show.

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Pentax Spotmatic

One of my favorite looking classic cameras is the original 1964 Pentax Spotmatic made in Japan by Asahi. The Spotmatic was the first 35mm SLR camera to use TTL (Through the Lens) metering. The meter originally required a 1.35v mercury cell battery and is the only non-mechanical function on the camera. I found this camera at a local pawn shop for $10 and figured I would take a chance. After some research, I found the meter in my Spotmatic works great with a 1.5v silver oxide battery. I like the match-needle meters in the old Pentax cameras (i.e. K-1000 and ME Super) better than LED lights. There’s nothing simpler than matching up your aperture or shutter speed to a needle in the viewfinder. During early production of the Spotmatic, the TTL meter was designed to be a spot meter, hence the name Spotmatic. However, because it was difficult to use, the meter was changed to average. Averagematic? It’s a good thing they kept the original name.

The Spotmatic takes Pentax M42 screw-mount lenses. Many of these lenses can be found at thrift stores, flea markets, and eBay. They’re plentiful, solid, and relatively cheap. Shutter speeds on the Spotmatic are 1 – 1000 and bulb. Camera ISO settings are 20 – 1600.

To test my Spotmatic, I shot a roll of Ilford HP5 Plus 400 BW film and developed the negatives in New55 R3 Monobath Developer. The negatives were scanned with an Epson V600 and finished in Photoshop CC. The results were better than I expected. They’re sharp, and the Ilford film has very fine grain. If I were a college student in a film photography class, it would be difficult to choose between the Spotmatic and the K-1000. The decision would really come down to price because these two cameras have a lot of features in common. Since my initial purchase, I bought another Spotmatic body on eBay, knowing the meter didn’t work. To accompany the camera, I also purchased a pinhole lens cap to do some simple 35mm pinhole photography.

Note: Because the film had been in the camera for a few months, I forgot and cracked the back of the camera open. This created some exposed spacing above and below the film sprockets. Several frames were exposed, but I salvaged what I could. This was before I started using Film Rolls on my iPhone.