So, Now That It's Over, What Did I Learn From SFTC?

For the entire year of 2013, I selected a different old camera from my collection and shot it for a month, sharing the results and my thoughts here on DMC-365. So, what did I learn? Well, I learned that I still have a lot to learn, for one thing.

 

A natural outcome of revisiting so many cameras that have been in my camera closet for a long time would be to identify a favorite, or maybe more than one. That happened in some cases. In other cases, more exploration is needed.

 

For example, while I did shoot a few different SLRs (Pentax K1000, Nikomat Ftn, Nikon F2), I have yet to identifiy a favorite. The F2 is certainly up there. But, the K1000 was the camera I learned with, and I still love the Pentax line, including an ME and Spotmatic, which I didn't even include in the SFTC series. And then there's the Nikon FM2. So, no conclusion is possible there, not yet.

 

For twin lens reflexes (TLRs), the same is true. The Minolta Autocord was a wonderful, pleasant surprise.

The Autocord Rocks

 

The Autocord is pure pleasure to look through. But, is it better than my Rolleiflex T? Probably not. I'm still on a quest for the perfect TLR. At this point, I own a few (2 Rolleiflexes, a Rolleicord, the Minolta Autocord, and two Ricohs). They're all f3.5 cameras. I'm thinking that a Rolleiflex with Zeiss Planar f2.8 lens may be the ultimate for me. In the meantime, I'm enjoying my Rolleicord with Rolleikin 35mm insert, and can have lots of fun with my existing TLRs.

 

So, did I learn anything conclusive at all? Yes. In the class of fixed lens 35mm rangefinder cameras, I now have a clear favorite. The Konica S1.6. Absolutely amazing lens. I will never hesitate to grab this camera.

 

The Konica S1.6 is sublime.

 

And, in the medium format (120) folding camera class, the Agfa Record III is the clear winner. Now this is interesting, as the Agfa wins more on features than by standing out from the others in image quality. My Zeiss folders are real optical performers, especially the one with a Tessar lens. The Record III has the gorgeous Solinar lens, which I think matches the Zeiss offerings. But, more importantly, it has a built-in (if uncoupled) rangefinder, and an accessory shoe that I can use to mount an exposure meter. This makes it really easy to use compared to most of my other folders.

 

The Agfa Record III - Most Useable Medium Format Folder

 

So, in addition to having a hell of a lot of fun shooting old cameras, I did learn a few things.

 

I hope my readers picked up an interesting point or two, as well.

 

DMC-365.blogspot.com

 

 

Final Whole Lotta Leica Results From 2013 - December's Elmar 3.5cm f3.5 LTM

I have to admit that while the WLL series was a lot of fun in 2013, I kind of lost steam toward the end of the year. Maybe that's because I achieved what I'd hoped to with the series already, and in the last few months it was more a matter of completing a personal challenge I'd assigned myself, and finishing up the full year.

 

In December, I matched the tiny little (almost comically little) Elmar 3.5cm f3.5 LTM lens and LTM-M adapter with my Leica M9.

 

(Click Here) to see and read about the lens, manufactured in 1937.

 

I really only got out with it a little over one weekend in NYC. Here are some results, first from a very early morning walk to Grand Central Station. Keep in mind I was shooting with a maximum aperture of f3.5 in very low light, handheld.

 

Grand Central at the Holidays, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 800, f4, 1/15 sec.

 

Overnighting at Grand Central, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 800, f4, 1/15 sec.

 

Waiting on the First Morning Train, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 800, f4, 1/45 sec.

Zaro's Bakery, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 800, f4, 1/45 sec.

 

Preparing the Deliveries, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 800, f4, 1/45 sec.

Harlem Departures, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 800, f5.7, 1/25 sec.

 

Pershing Square at Daylight, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 800, f4, 1/25 sec.

 

135, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 800, f4, 1/25 sec.

 

The remaining images were made on our various escapades around the city.

 

'Tis the Season, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 640, f4, 1/500 sec.

Trying on Hats, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 400, f4, 1/90 sec.

Come Here Little Pigeon!, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 640, f4, 1/500 sec.

 

Elvis With His Backpack, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 640, f4.8, 1/350 sec.

Inside the NYC Public Library, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 640, f4.8, 1/30 sec.

And here's my favorite of this set:

 

The Reading Room, by Reed A. George

Leica M9, Leica Elmar 3.5cm f3.5 LTM Lens

iso 640, f4, 1/45 sec.

 

One of my observations about using this lens, and all of my Elmars, is that because the f-stop is adjusted by a tiny little tab at the front of the lens, and the f-stop numbers are printed very small there, and in this case are not even the modern standard f-stop numbers (e.g. no f5.6, you have to kind of guess between 4.5 and 6.3), I usually don't adjust my f-stop while shooting. For me, it means putting on my glasses, guessing where to set it, and that all takes too long. So, as you can see, I took a lot of images at f4. That's not really a problem, just an observation.

 

Another observation is that this lens is so small, it feels quite strange on an M style body. I would much prefer to use it on a little Barnack body, as was intended when it was designed.

 

I mentioned above that by this point in the year-long monthly WLL series, I had kind of already met my own goals with the project. What did I mean by that? Well, I'd drawn a few conclusions about using a wide range of "normal" focal length lenses, from a wide range of dates (1937-modern) on the M9 body:

 

1. Each and every lens has a strength, somewhere.
2. No lens has it all.
3. I tend to use fast lenses on my M9, but need to keep in mind that some of the slower lenses, like this month's f3.5 Elmar, can make their own unique, nice images.
4. Uncoated lenses can make very special images
5. I have a subjective feeling that the older lenses are more pleasing to me when shooting film, and perhaps even more when shooting black and white film.

So, I didn't really end up with a list of favorites (though there were a few highlights), and I'm certainly not getting rid of any of the lenses I used in the WLL series this year. But, I am more likely to put an old Elmar on a matching Barnack body and shoot film with it than to pair it up with the digital M9.

 

In terms of highlights, the Zeiss Sonnar 50mm f1.5 definitely meets that definition. A modern lens with a classic Sonnar design, this fast lens is really amazing. Also, both of my 1970s era Summicrons (35mm and 50mm f2) did a wonderful job for me. The Canon 50mm f1.4 LTM lens is also a standout from the crowd.

 

I hope you've enjoyed seeing what each of these lovely lenses can do on the Leica M9. I had a blast exploring them.

 

DMC-365.blogspot.com

 

 

 

SFTC Results - More From December's Nikon F2

I recently posted black and white results from the Nikon F2, a camera that really reminds me what I loved about camera equipment from the very start. Here are some color images (Kodak iso400 print film) from around my home here in Northern Virginia. The weather's been interesting lately, and I hope I captured some of the feel of it.

 

You may recognize this first composition, as I shot it in both color and black and white (see previous post). I strongly prefer the result in color, which surprises me a little.

 

 

Made with the Nikkor 135mm f3.5 pre-AI Lens (one of my favorites)

 

The next two were shot with the Nikkor 200mm f4 pre-AI lens:

 

 

The Old Mill

 

Now for a few shots from Manassas National Battlefield:

 

 

 

The next two are from a quick walk around our "nature walk," a small plot of wetland that one of the local developers set aside and built a boardwalk around:

 

And finally, two shots of my favorite human subject:

 

 

 

And so, this wraps up the results from the SFTC series from 2013. It's been a blast pulling out a different old film camera each month and spending enough time to evaluate its capabilities. I certainly reminded myself of a few old favorites and rediscovered one or two hidden gems that I just hadn't paid attention to lately. You'll be seeing more from some of these cameras in the future, and I have one or two more that didn't make it in the top twelve in 2013. So, stay tuned!

 

By the way, help keep this kind of photography possible - buy film! Support your local (or distant) processors who still provide their critical service!

 

DMC-365.blogspot.com

 

 

Results from December's SFTC Camera, the Nikon F2 - in B&W

For my final Skeletons From The Closet selection for 2013, I used the awesome Nikon F2. I purchased this one from KEH for ~$120 in EX condition. It's actually unbelievably close to like new in condition, and I believe an incredible bargain.

 

Here are some of the shots I made with the F2 in December, all on Kodak TMax 400 black and white film. I've noted the lens used where I'm sure I remember it correctly.

 

First, a few from a walk in Washington, DC:

 

 

Made With Nikkor 50mm f1.4 pre-AI Lens

 

Made with the Nikkor 28mm f3.5 pre-AI Lens.

 

 

December was a busy (at work) and cold month here in Virginia, but I did get out for a couple of hikes. The remainder of the images in this post were made on two separate hikes nearby home.

 

 

The preceding four images were made with the 200mm f4 pre-AI lens. I purchased that lens from Camera West for $75 in absolutely beautiful condition.

 

 

 

And finally, a shot I made at a Buddhist temple in Warrenton, Virginia.

Incense, by Reed A. George

Nikon F2, Nikkor 50mm f1.4 pre-AI Lens

 

It is terribly fun to use the F2. I have two of them now, both with the first photomic viewer and meter, the DP-1. I've found that the meter can be a bit unpredictable (and slow to react), so I usually carry a lightmeter along, in my pocket. However, I realized a great improvement in meter performance when I switched to Duracell DL1/3NBPK Ultra Photo Lithium/Manganese Dioxide batteries (see link to purchase them at Amazon below). These batteries are designed for camera systems, and really seem to put out a more consistent voltage than alkalines, especially as they age.

 

The F2 handles like a dream to me. I love using manual focus lenses. Since the F2 is designed for pre-AI lenses, I've gotten to explore several inexpensive yet well-preserved lenses for very low cost. And the results are spectacular in my opinion.

 

I do find myself considering the purchase of the new Nikon Df, which will work with essentially all of the historic Nikon lenses, including Pre-AI. However, similar to my Monochrom(e) experiments using the Leica M4-2 film camera, I have plenty to shoot with the F2. I'll keep using this camera into 2014.

 

DMC-365.blogspot.com

 

 

Another Elmar 3.5cm User

Norwegian Rangefinder Forum poster Krnome has shared pics of his new Elmar 3.5cm f3.5 lens, the same lens I've picked for the final installment of Whole Lotta Leica.

 

Here's Krnome's new lens:

 

 

Image Source: http://www.rangefinderforum.com/forums/showthread.php?p=2272753#post2272753

 

Apparently, he knows more of his lens' history than I do. Reportedly, his was used in and after WWII in Germany.

 

(Click Here) to read Krnome's post on rangefinder forum.

 

I'm out to shoot mine on the M9 this weekend. Wish me luck.

 

DMC-365.blogspot.com

 

 

SFTC Results - December's Camera, the Nikon F2

Today I'll share some images with my new Nikon F2 Photomic, which I bought from KEH for $120. It's in amazing condition, very close to like new in my opinion. For these shots, I used one of Nikon's least-loved lenses, the 43-86mm f3.5 zoom.

 

(Click Here) to see the post introducing this month's camera.

 

I mean, people HATE this lens. Many call it Nikon's worst lens, and blame this lens specifically for the long-standing belief (fact) that prime lenses provide far superior image quality to zooms. You can find plenty of haters of this lens online with a simple google search. Mine also came from KEH, for the princely sum of $30, and also looks brand new.

 

Anyway, here are some shots, all made on Kodak 400 color print film.

 

Lounging, by Reed A. George

Nikon F2, Nikkor 43-86mm f3.5 Zoom Lens

 

Now, the shot above isn't tack sharp, but I think it works well at presenting skin tones, and is perhaps appropriate for portraits (which don't need every blemish to show up in sharp relief).

 

Here are a couple at the long end of the zoom, which are also a little soft:

 

Winter Leaves, by Reed A. George

Nikon F2, Nikkor 43-86mm f3.5 Zoom Lens

 

And here are two below that show just how sharp the 43-86mm f3.5 can be at middle(ish) focal lengths. I've applied sharpening in Lightroom to both images, but not to an extreme level (maybe a little more than I usually apply with other lenses, but not significantly more).

 

Dragon, by Reed A. George

Nikon F2, Nikkor 43-86mm f3.5 Zoom Lens

 

Bell Detail, by Reed A. George

Nikon F2, Nikkor 43-86mm f3.5 Zoom Lens

I can't find anything to complain about here. Especially when you consider that this combination of the pro-level camera and "kit zoom" of the past, which commanded very high prices in its day, is mine for $150 total. Amazing capability. When I was a kid, I lusted over a camera like this. Now, they're available for very low investment, if you're willing to deal with film. I am.

 

DMC-365.blogspot.com