That One Camera - Well, Maybe Not Just One

I read a post by Graham Welland on the getdpi forum, taking on the question of what is your "desert island" camera - that one camera or system you'd keep if you got rid of all others. Graham prefers the Xpan II or Fuji GX617 (a marvelous medium format panoramic camera).

 

(Click Here) to read the post and responses.

 

At least one person answers as I would, with a list of cameras. I know this doesn't meet the goal, but I can answer this question in so many ways.

 

If I really wanted to produce the very best images that I'm capable of, I would keep my Nikon D700, lenses, and flash. Hands down. I've never used a more capable camera system.

 

 

Nikon D700

 

But, part of my enjoyment of photography comes from the equipment itself. The Nikon is like a high end Toyota - extremely capable, but not too exciting. For pure camera enjoyment, I would have to pick a Leica. Probably an M (M9 or M3, most likely), but it would be hard keeping one of these in hand while letting go of my IIIC, a wartime example that just works so very well.

 

Leica M3

 

 

In truth, I don't want to say goodbye to any of my cameras. For example, as I've said in my Skeletons From The Closet series, the Konica Auto S1.6, a relatively inexpensive 35mm rangefinder, is a unique and surprisingly fun and functional camera.

 

Konica Auto S1.6

 

Good thing today's not the day I have to decide.

 

 

DMC-365.blogspot.com

 

 

 

 

Shenandoah Riverside Festival - My Photos and Writeup at Cosmic Vibes Live!

I recently wrote another piece for my favorite live music blog, Cosmic Vibes Live.

 

(Click Here) to read it and see all of my pics at cosmicvibeslive.com.

 

I'll use my own blog here to share a little info about the photographic details.

 

First, I decided to take it easy at this show, and shoot what I felt like. That included a Leica IIIC with Summitar 5cm f2 (the lens I've picked to pair up with my M9 for the Whole Lotta Leica series this month). Here's a shot from that combination:

 

The Woodshedders, by Reed A. George

Leica IIIC, Leica Summitar 5cm f2 Lens

 

I also shot my Skeletons From The Closet Camera for June, the Konica Auto S1.6, with color film:

 

Banana Express, by Reed A. George

Konica Auto S1.6

 

When nighttime came, I switched from the fun film cameras to the workhorse - Nikon D700.

 

The Hackensaw Boys, by Reed A. George

Nikon D700, Nikkor 85mm f1.4 AF-D Lens

 

Like I mentioned above, click over to Cosmic Vibes Live to read the full story and see a lot more pics.

 

It was great fun shooting the Leica and Konica, especially wandering around backstage. The Nikon came through as always.

 

I am still really enjoying the combination of great live music and my photography hobby!

 

Happy Crowd, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

 

 

DMC-365.blogspot.com

 

 

Skeletons From The Closet Results For June - Konica Auto S1.6 35mm Rangefinder

I've had a blast shooting my Konica Auto S1.6 this month. So much so, I'm convinced that this camera could be my one and only Japanese fixed-lens rangefinder.

 

(Click Here) to read about the camera.

 

Let me show you why I'm so impressed with this camera.

 

The Kid, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

The 45mm f1.6 lens on the Auto S1.6 is awesome. Sharp as a tack, it also has excellent color representation. As I've said in the past, when looking at modern fixed lens large chip cameras like the Fuji X100S, I prefer a lens closer to 50mm than 35mm if I'm going to buy a fixed lens camera. The 45mm focal length on the Konica is just about perfect for me.

 

Shenandoah Sunset, Color, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

 

Shenandoah Sunset, Monochrome, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

This camera is a little bigger than most Japanese rangefinders of its day, but not too large by any means. It's solid, quiet, fast. A minor complaint is that while the shutter is extremely quiet, the film advance is ratcheted, so it clicks rather loudly as you wind on to the next frame.

 

Stageside, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

Bubbles, Diptych, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

Friends, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

Mind Boggler, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

Can you figure out the image above? Shot inside a restaurant bar, it's a mirrored ceiling.

 

Modern Youth, Diptych, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

Rangefinder focusing on the S1.6 is easy and accurate. This is really one capable little camera.

 

I read online that the f1.6 lens was soft compared to the f2 lens on the later Auto S2. I simply can't believe that to be the case. Even wide open, I find the f1.6 lens to be astonishingly sharp. And I'm comparing to world-class glass from Leica, Zeiss, and others.

 

As I mentioned in my original post on this camera, I did send it off to Greg Weber for service a couple of years back, tested it, and put it away in the closet. I am happy to report that the Skeletons From The Closet effort motivated me to get it back out and shoot it. This is one little camera that won't sit idle again for a while. I'm not likely to consolidate my camera collection anytime soon, but if I did, as I said above, the Konica S1.6 could be the best and sole representative of an entire class of cameras that I love.

 

DMC-365.blogspot.com

 

 

Skeletons From The Closet - June's Camera is the Konica Auto S1.6 Rangefinder

My Konica Auto S1.6 Rangefinder

 

I am waiting for some film to come back from The Darkroom so that I can share some results from May's SFTC camera, the Minolta Autocord. I've seen the low res scans, and hope to have a few nice images to share soon.

 

For this month, I've selected the Konica Auto S1.6. This model was only offered from 1968-1969, and is less common than the S2 that followed.

 

I have always been intrigued by Konica. Their optics are first rate. In fact, I see some of the Konica lenses for Leica M mount go for as much or more than their corresponding Leica counterparts. The 45mm f1.6 lens on my S1.6 is spotless. It is fast, sharp, and contrasty. I also like the way Konica lenses represent color.

 

One of the Few S1.6 Images I've Taken, by Reed A. George

 

I bought this camera in essentially new cosmetic condition. I didn't pay much for it, but it needed its 40 year checkup. So, I sent it off to the best name in the Konica repair business, Greg Weber.

 

(Click Here) to go to Greg's site. If you need service on an old Konica camera, he's the guy.

This was not an inexpensive service, but it was worth it for a camera that came in such good cosmetic condition. Greg made it once again 100% functional, including tuning the light meter to newer battery technology.

 

As I sit here with the camera in front of me, I can't honestly say why I haven't used it more. I have only had it out a few times. Maybe subconsciously I am worried about damaging it, but that's just silly. If I ran it over with a truck, that would be less financially damaging than a dent in a Leica.

 

So, that's exactly the purpose of the SFTC series - to help me get some of these old jewels out of the closet and into action. I think I'm going to have some fun with the Auto S1.6 in June!

 

DMC-365.blogspot.com