This year will always remain memorable because my wife and I celebrated our 25th wedding anniversary by taking a 3-week trip to Europe. We went with a small group and visited Italy, Switzerland, and France. I took three cameras: Canon 6D, Pentax K1000, and Olypus OM-1MD. I spent most days taking digital shots, but used the two film cameras for early morning walks and evening adventures. Trying not to pack around too much gear each day, I’d swap one of the two film cameras in and out of my bag. Many people have asked us, “What was your favorite place to visit?” There’s no way possible to answer that question. From day-to-day we kept thinking, “Wow, today was fantastic! It can’t get any better than this.” Only to be surprised by the sights and experiences we’d have the very next day.
Tag Archives: Ilford
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
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
The Kodak Instamatic is a camera that I recall from my childhood. My parents and grandparents had them before moving to Kodak 110 cameras in the 1970’s. Kodak’s 126 film was introduced in 1963 and was marketed as an easy-load film cartridge. The film itself is 35mm film, paper backed, with a single sprocket hole per frame to allow each 28 x 28mm shot to advance through the camera. It wasn’t until 1987 that Kodak discontinued the format.
Camerhack in Italy has designed and 3-D prints a 135 (35mm) to 126 film adapter kit. The cartridge allows you to load standard 35mm film into a reusable cartridge so it can be used in a classic Kodak Instamatic, or any other camera that used 126 film. Claudio from Camerhack includes a detailed instruction booklet that guides you through the process. And even better, he’s also created a YouTube video that walks you step-by-step through loading, shooting and re-spooling.
Here are my tips for using the Camerhack 135 to 126 FAK:
- Plan to sacrifice a roll of 35mm film. This will help you practice loading the cartridge in the light. When you’re ready to load your favorite film in the adapter, you’ll be ready to do it in the dark.
- With your sacrificed roll of film, practice advancing the film in the camera. Instamatic cameras have a needle inside that is tripped by a sprocket hole when the film is advanced. You’ll find that each camera does this a little different. For example, my Kodak Instamatic 300 and Kodak Hawkeye Instamatic advanced very differently. Which leads me to the most important tip.
- Listen for the click. With my Kodak Instamatic 300, I had to press the shutter, take the shot, press the shutter button down (doesn’t actually open the shutter), advance the film until the shutter advance would CLICK. The key for me was holding the camera up to my ear and listening for that click to know that the film had advanced. The click is the key to success!
- Following Claudio’s instructions, if you decided to roll the film (in the dark) back into a 35mm cartridge to have it processed at a lab, know that the sprocket holes will get a little chewed up by the camera. This is caused by the needle inside that I mentioned earlier. When you roll the film back into the cartridge, wind it slowly.
- Only use a 24-exposure roll of 35mm film. Keep in mind that the original number of exposures on 126 film cartridges was 12 to 20. Using a 24-exposure roll should give you 16 to 20 images depending on the spacing between each shot. Using a smaller roll will also prevent the film from scratching when you load the film adapter.
Camera: Kodak Instamatic 300 (1963 – 1966)
Film: Ilford HP5 Plus 400
Process: D-76 (Stock) 7:30 @ 20c
Scanner: Epson Perfection V600 Photo
Back in the Spring, Mike Williams and I were thinking about something new to shoot, and decided to try a double exposure roll exchange. A tag team roll of Ilford HP5 Plus that each of us would shoot on. Mike was first to shoot on the roll with one of his new favorite cameras, the Minolta X-700 (1981). After he was done, he rewound the roll and shipped it from North Carolina to me in Utah. I wanted to shoot the roll with some sprockets, so I used the FPP Plastic Filmtastic Debonair (1988). After I had finished the roll, it was developed by RepliColor in Salt Lake City, and scanned on my Epson V600. The results are interesting. Should Mike and I try another double exposure roll? What do you think? Leave a comment and tell me what film and cameras we should use.
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.
Back in March when I won a Minolta Hi-Matic 7S at the Film Photography Project Walking Workshop, I had been looking to get a 35mm rangefinder camera. Shortly after that, my friend Mike Williams sent me a Yashica Electro 35 GS, another great rangefinder. And now, the Canon Canonet G-III QL17 rangefinder. I actually found the Canonet at a local thrift store for $35 USD. In the past seven months, I’ve had the chance to own and test three of the best consumer rangefinders. This version of the Canonet is the top-end of the series that was manufactured during the 1960’s and 1970’s. My friend Maurice, being a Canon reseller tells me this story from his camera store experience. The President of Canon at the time went to his engineers and asked them to make him a camera. His first requirement, it had to be the smallest rangefinder they could produce, 120 x 75 x 60 mm, 620 g. The second, it had to have the best glass lens that Canon had to offer at the time, 40mm f/1.7 (6 elements in 4 groups). The result was the G-III QL17, selling more than 1.2 million units from 1972 to 1982.
The Canon Canonet G-III QL17 was manufactured from 1972 to 1982, features a 40mm f/1.7 lens, Copal leaf shutter, speeds from 1/4 to 1/500, and flash sync at all speeds. The G-III fit into a new group of high-end rangefinder cameras with lenses faster than f/2. The “QL” part of this model was Canon’s new Quick Loading film feature, making the process of threading 35mm film on to the take-up spool easy and very advanced for the time. The camera has a CdS cell meter that is mounted above the lens and provides shutter-priority, and unmetered manual mode. The location of the CdS cell above the front lens element allows it to take lens filters into account when metering. The exposure indicator needle can be seen in the viewfinder, indicating over/under exposure.
Out of the three 35mm rangefinders I currently own, the Canonet is my favorite. It has the sharpest lens, has the smallest footprint, and has more features that I want compared to the Minolta Hi-Matic 7S and Yashica Electro 35 GS. They’re all great cameras. At one point this past summer, I had all three in my walk around camera bag at the same time. My biggest complaint about all three cameras is they have what I would call a mushy shutter. There’s no solid click. I’ve found when I compose a shot, focus, check exposure, and press the shutter down, down, down some more, down, down, and then there’s a soft click. The images below were shot on Ilford Pan F Plus 50 B&W Film, processed by RepliColor in Salt Lake City, and scanned on an Epson Perfection V600 Photo Scanner.
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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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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.
This week we’re featuring a guest post from Mike Williams, a film photographer from Hickory, North Carolina. While writing this, Mike confided in me that he was afraid his comments about the Nikon FE would be perceived as negative. Before you jump to that conclusion, read the entire post. I think at some point we’ve all owned a piece of gear that we wanted to love, but just couldn’t get beyond something that simply wasn’t working for us. I appreciate Mike’s honesty and I’m glad he found another Nikon that was a better fit for his photography.
So there I was, looking at the scans from my 5th or 6th roll of film through my Nikon FE. The FE is a super cool looking machine. It’s black and chrome and it just has that “look” of an awesome vintage camera. But as much as I wanted to love this camera and everything about it, I hated it.
Why you ask? Two reasons: First, about 1/3 (at least) of the shots I had taken with it were out of focus. I am still not sure if it was the camera’s focusing screen or maybe my 45 year old eyes, but focusing at f/1.4 just was not happening for me. The second reason was the shutter speeds maxed out at 1/1000. I like the look of Tri-X pushed up a couple of stops, so there was another reason I couldn’t shoot with the lens wide open.
So I decided to find a camera with auto focus and capable of higher shutter speeds. It was eBay time, of course. I didn’t have a specific camera in mind. It just needed to be a Nikon (only because I have a ton of Nikon glass) and I wasn’t looking to spend a lot of cash. I came across a Nikon N8008. I honestly had no clue about this model, so I turned to the expert, Google. I quickly learned that this late 1980’s SLR had the things I wanted; auto focus and shutter speeds up to 1/8000. I bid on it. Turned out I was the only bidder and got it for $10 plus $8 shipping. When I received the camera, it appeared to be in pretty good shape, actually a little better than I had expected. I put in the AA batteries, popped on a 50mm f/1.8 lens, grabbed a roll of Ilford Delta 100, and made my kids model for the test roll. I shot that roll in my favorite little alley downtown Hickory, North Carolina.
The very next day, that roll of Delta 100 was on its way to San Clemente, California, for the guys at TheDarkroom.com to process and scan. It was only a few days but it seemed like an eternity before I got the email that my scans were ready. I logged on, checked them out, and I was thrilled! The auto focus was perfect and the meter was dead on. The only bad images were the ones that I screwed up with poor composition.
Now my Nikon N8008 is one of my favorite cameras to shoot. And I was able to overcome wanting to shoot the “cool” camera and realize all that matters to me is the end product. I love the images I have been getting from the N8008. Images that I personally just wasn’t capable of getting from the FE.
Here are a few images from my first roll with the Nikon N8008.
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