Tag Archives: Ogden

Leica M3 (1959) – Part 2

While using the borrowed 50mm 5cm Summicron-M f/2.0 (Rigid/2nd version) (1956), I decided that I really needed to purchase my own lens. Having just spent what I think is a considerable amount on the M3 body, I wanted to limit my lens purchase to something more affordable. Searching for an M-Mount lens on eBay led me to this lens, followed by some research, and a week of careful consideration.

The 7artisans f/1.1 50mm is a new lens made in China. According to the 7artisans website, a group of seven Chinese camera enthusiasts, having various professional backgrounds, came together to create this new lens. The 50mm lens is a Leica M-Mount and has an aperture range from f/1.1 to f/16. It has 12 aperture blades, and 7 elements in 6 groups. The lens itself is a heavy piece of glass and aluminum, with a copper core. It weighs nearly 14 ounces, so slightly less than 1 lb.

As I was doing some research on this lens, I wanted to see actual images taken with a Leica camera. However, all I could find were digital photos taken with Sony cameras. I determined that Sony users are the perfect market for an affordable prime 50mm f/1.1 lens. I found this review by Hamish Gill on 35mmc.com, where he used the lens on a Sony body. And then found this review by Emulsive, where he used the f2 version of the lens on a Leica film camera. Note/opinion: the f/2 50mm has a better review because the f/1.1 tested was a pre-production model.

The shots below are my initial results with the Leica M3. Being a Leica newbie, I must have done something very wrong because the first half of this roll did not come out. Overall, this is a solid lens. The build quality is good. The aperture and focus are smooth and easy to use. Unfortunately, a focus tab is not built on to this lens. They ship a rubber tab that you can stick to the lens barrel if you want, not ideal. The optical quality is what I would expect for the price. I expected the lens to be soft when it’s open at f/1.1, but was surprised by a few shots. The thin slice of focus is nice, but hard to achieve. And really, how often do you need something at f/1.1? This lens is also shipped with a focus sheet and some instructions on how to adjust the focus. Something I don’t think I’d attempt to mess with.

I spent a week in New York with the M3 and the 7artisan 50mm f/1.1. After a while, my biggest complaint became the weight. The 50mm Summicron-M would have been a better choice. Or anything smaller and lighter for that matter. Walking 7 to 14 miles in and around the city made me reconsider the choice I’d made. There were three days I left the camera behind. I’ll be sharing some photos of New York in the coming weeks.

Camera: Leica M3 (1959)
Film: Kosmo Foto Mono 100
Process: Kodak D-76 (1+1) 10:00 @ 20c
Scanned: Epson V600 Photo

 

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The Official Girl Scouts of America Camera

The Official Girls Scouts of America Camera was made in Chicago by The Herbert George Company in 1956. The camera is an Imperial Mark XII Flash camera that’s been re-branded. These plastic-bodied cameras were the first to be manufactured in several colors, and various face plates were installed. They also made the Official Boy Scouts of America Camera and the Official Brownie Scouts of America Camera. I found this camera at a thrift store, in the original box, with the original flash unit, original flash bulbs, original batteries, and one roll of exposed 620 color film.

The Official Girls Scouts of America Camera

The camera features a green plastic body, a fixed focus (about 6 feet – infinity), one shutter speed (about 1/30 – 1/60 sec) and a single aperture (about f/11). Composition is done with an eye-level viewfinder, creating a 6×6 image on 620 film. In a film changing bag, I re-rolled some expired Kodak T-Max 100 120 black & white film onto a 620 spool to test the camera. I developed the film in New55 R5 Monobath. The images make me think the lens is not lined up with the film plane inside the camera because they are blurry on the left side, but in focus on the right. It might be worth investigating and trying another roll of film. If you have some thoughts, please make sure to leave me a comment.


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.


Mamiya m645 Super

My real interest in medium format began during my visit to San Clemente, California, in March for the Film Photography Project Walking Workshop 2015. On the second day of the workshop, Mat Marrash covered medium and large format film and cameras. Up to this point, my experience with medium format, 120 film, was with my Holga, Debonair, and Yashica-A. After seeing some of the medium format cameras at the workshop, I added a few to my wish list, like the Pentax 645, Mamiya 645, and of course a Hasselblad. My heart wanted the Pentax, my eyes wanted the Hasselblad, but my wallet led me to the Mamiya.

Mamiya m645 Super
The Mamiya m645 Super is a medium format SLR camera made in 1985 by Mamiya in Tokyo, Japan. It features a Mamiya-Sekor 80mm f/2.8 lens, and shutter speeds are bulb, 4 through 1/1000 second. Like other medium format cameras, it’s a modular system, meaning you can add different components like a waist-level viewfinder, prism viewfinder, manual winding crank, powered winding grip, 120, 220, or Polaroid film back. One of the great features about using a medium format camera like the Mamiya is the ability to change the film back at any time using a metal dark slide to block the light from exposing the film.

These are some photos I captured on Kodak Tri-X 400 Black & White 120 Film, developed at home with New55 R3 Monobath, and scanned the negatives with an Epson Perfection V600 Photo scanner. The photos were taken at the Ogden Union Station Restoration Shop in Ogden, Utah. For more information about the shop and the restoration of the Denver & Rio Grande Western Railway locomotive No. 223, read my guest post at IndieOgden.com.

I really enjoy shooting with the m645 Super. The camera and grip feel good, solid in my hands. What don’t I like about it? The shutter on this camera is loud. The mirror slap and powered film advance make a sound loud enough to set off car alarms and register on a seismograph at Utah State. Yes, I’m exaggerating, a little, but this camera is loud. And while the lens is sharp, stopping down makes it very dark in the viewfinder. On a roll of color film where I was shooting outdoors (100 ISO), I found the best solution was to focus, stop down (f/16 or f/22), check the meter, set the shutter speed, and then take the shot. Even outdoors in bright sunlight, f/22 is very dark through the viewfinder. Most of my images at the restoration shop were done at f/2.8. The 80mm lens is a great choice for portraits, which was my intent for this purchase.

There’s something very satisfying about shooting medium format film in an SLR. To me, I like knowing that my image is going to yield a large negative. I actually surprised myself, being new to souping my own film at home, the larger negative was easier for me to position and feed on to a Paterson spool than 35mm film. I’ll be sharing some additional photos from this camera in the near future.


Canon A-1 & Robots

Working in secret, my wife bought me this camera with the help of my friend Scott Smith. Being a Canon digital photographer for the past eight years, I knew I wanted a 35mm film SLR and at some point mentioned it to my wife. I was very surprised when I opened this gift on Christmas morning in 2013. To ensure the camera worked properly, my wife had Scott buy one from KEH.com. I’ve never purchased anything from KEH Camera, but it’s a great source for used gear because they inspect, test and rate every item in their used inventory so that buyers are aware of cosmetic condition and back it up with a 180-day warranty.

The Canon A-1 was manufactured from 1978 – 1985. It was typically sold with a 28mm or 50mm FD mount lens, but the three most common at the time were: 50mm f/1.8, 28mm f/2.8, or 70-210mm f/4. Because the A-1 was commonly sold in a kit, it was always discounted and the price ranged from $375 – $425. My A-1 came with the 28mm f/2.8 lens. It’s a good lens, but a little wide for what I wanted. So I purchased a 50mm f/1.4 on eBay. Over the past year I’ve spoken to several people who have this lens/camera combination and they all make the same comment. Canon had an issue with this particular lens at the time and you either bought a good or a bad copy, no in-between. When I heard this, I was a little hesitant, but the price was right. I must have obtained a good copy because the lens is sharp and fun to use.

The A-1 features both aperture and shutter priority modes. This was the first Canon camera to have sophisticated electronics. At the time it generated a lot of debate among traditional film photographers. The purists believed the computer did too much for the photographer as it was the first camera to have true automatic program modes. Since when have “purist photographers” not debated?

My son, Connor, is really interested in robotics. We decide to attend the 2015 First Tech Challenge at Weber State University in Ogden, Utah. The FTC robotics competition consists of teenage teams that compete with robots they designed, built and programmed. I took my Canon A-1, 50mm f/1.4, and a roll of Ilford 100 BW film to photograph some of the students with their robots. The challenge was the film speed and the gym lighting. I had to open the lens up to f/1.4 at times and over-expose by +1. I knew I was taking a chance with this combination, but the resulting images have nice detail and contrast. These are some of my favorite images.

 
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