Northern California film photographer writes about old cameras, photography and life.
Pierce Point Ranch, out on the very tip of the Pt. Reyes National Seashore, is one of my favorite hiking and photo-taking destinations. Whenever I am there, I am likely to be in the company of other photographers. There's a certain sense of pleasure standing amidst a sea of DSLR and mirrorless digital photographers with my 50 year old Pentax Spotmatic.
Pierce Point Ranch, Spotmatic SP, 50 Super Tak
While I was still getting to know the FE2, I started reading up on Nikon's professional bodies. The legendary F looked interesting, but having to remove the entire back of the camera to load film and finding one with operating and accurate TTL metering steered me to the next generation: The F2. The more I read and learned about the Nikon F2, the more fascinated I became with the last purely mechanical, hand assembled Nikon pro SLR. Over the decade that the F2 was in production, there were six versions. The body remained the same, only the removable metering prisms changed. The non-metered F2 was simply called F2. The body with a DP-1 metered finder was called the F2 Photomic. As metering technology progressed and Nikkor automatic indexing lenses were introduced, the metering heads kept pace. After the F2 Photomic, there was the F2S, F2SB, F2A and finally F2AS.
The F2 Photomic was my first F2 and this is the version that I enjoy using most. Over the years, I have collected all of the metered F2s. I haven't paid much for any of these cameras, but as budget has allowed, I've sent each off to the UK and the shop of legendary F2 repairer Sover Wong. Sover doesn't just repair F2s, he restores them to almost new condition.
Here's a photo of my F2 Photomic just after I got it back from Sover's shop about five years ago.
A line of three deep at the film processing counter at my local camera shop afforded me the opportunity to wander across the store to the used department. There's a glass case there full of old SLRS, lenses and flash units. I need to stay away from this case. A visit always parts me with my money. On this day, $100 got me a mighty fine Minolta XD with 50mm lens. The asking price was $150, but when I pointed out that the viewfinder was a bit hazy in the lower left corner, the price came down and I became an owner.
Black Body XD with 50mm f/1.4 MD Rokkor-X
I figured when I got home that some lens cleaning solution on a micro-fiber cloth might clean up the haze, but it turned out that it was inside the viewfinder eyepiece. It wasn't fungus. Most likely haze that develops on glass when the seals and glue in old cameras deteriorate. The haze wasn't enough to obscure the image in the finder, but it was damn annoying. A great time, I thought, to try out a new repairer I'd heard good things about. So off the XD went to Blue Moon Camera & Machine in Portland for a CLA, with special instructions to clean the haze in that viewfinder.
After a month up in the Northwest, Blue Moon informed me that the XD didn't need much; new seals, a good cleaning and gentle adjustment of everything back to factory specs. And their tech thought the haze was probably caused by the deteriorating foam seals, glue or oil that was drying up. When I got the camera back, it looked good as new, worked just swell and the viewfinder was crystal clear. Full review on Blue Moon coming soon.
The Minolta XD's release date was right in the sweet spot for 35mm SLR design; 1977. These were the last gasp years for mostly metal, finely crafted camera bodies and hand assembly. Plastic bodies and lens mounts as well as lots of in-camera electronics were on the near horizon. Minolta was working closely with Leica at this time and some of the innards of the XD found their way into the Leica R4. I had an R4 and I can tell you that the controls on this camera feel a lot like its German counterpart.
The XD was called the XD-11 in the US, the XD-7 in Europe and just XD in Japan. The XD is a historically significant camera because it was the first SLR to offer both aperture-priority and shutter-priority auto-exposure modes. More important still, the XD had a built-in, simple but effective microprocessor. In shutter-priority mode, if the photographer selects a speed that the camera determines is outside proper exposure parameters, it will automatically select another one that will deliver a good exposure. This was the first ever "program" mode on a camera. The XD also offers a fully manual exposure mode.
I've become particularly fond of the smaller sized SLRS like the Olympus OM-2n, Pentax ME and LX and Nikon FM2n. The XD is similar in size and weight. A very comfortable camera to wear all day. Controls feel familiar and are well placed, with the exception of the shutter release. Its design, dropped down into the middle of the shutter speed dial and with a reverse concave had me firing the shutter a few times when I was simply trying to meter my shot. A soft release might help here.
The split image viewfinder in the XD is big and bright, helped I'm certain by the Acute-Matte focusing screen which Minolta also made for the Hasselblad V-Series medium format cameras. How good is an Acute-Matte screen? Google one for Hasselblad and see how much they sell for. The XD's viewfinder serves up essential exposure information along the right side of the frame with LEDs; either aperture or shutter speed depending on exposure mode.
My XD arrived from Blue Moon during a hot and sunny week and by the time I got around to shooting it, gray skies had moved in. Not a good test for a new camera but any day taking pictures is a good one, so I loaded up some Portra 400, set the ISO at 200 and off I went. Here's the coast near where I live under the overcast.
Some birds on the beach with one taking notice of the photographer.
I saw this old fishing rope wedged into some rocks and thought it would make an interesting shot.
Hardly any color on this gray day.
In the absence of color, go hunting for texture.
Heading back to the house, I grabbed some shots of neighborhood flowers. Sun really would have helped these out.
This Minolta performs superbly. I've never shot any Minolta product before, so I had no expectations. I was surprised at how much I enjoyed using the XD. The Rokkor MD lens exudes quality, with nice focus action and clicky f-stops. These late 70s SLRs and manual focus lenses really were the best of the bunch.
Minolta began moving in a different direction after the XD, releasing their last manual focus cameras; the X-370, X-570 and X-700. These cameras had additional metering and exposure features designed to appeal to new photographers, but had more plastic parts to lower cost.
In the early 1970s, Minolta purchased the patent on autofocus technology from Leica and in 1985, released the first autofocus SLR, the Maxxum. Minolta did well with the Maxxum line, but as they further developed their autofocus technology, Honeywell sued for patent infringement. The two companies settled out of court, but Minolta was financially bruised. Minolta merged with Konica to form Konica/Minolta, eventually exiting the photographic business.
For people just discovering film photography, a Minolta camera might be low on a list with names like Nikon, Canon and Pentax coming up first. After shooting this XD, I'd have to say--this is a stunning little camera and very capable performer!
Yeah, I know it's Thursday. I'm a day late. I work in retail advertising and the days leading up to July 4th are alway hectic. The week got away from me.
Street photography options are few when you live in a town of around a thousand people, so I practice my own form of it on the beach. I love shooting silhouettes of people against the setting sun. If I get noticed, most people think I am shooting the sunset, not them. I do plan on attending a street photography workshop in San Francisco later this year which will give me an opportunity to make some photographs in a more urban setting. Until now, these will have to do.
Contemplation Canon F-1n, 50mm f/1.4 Canon FD, Kodak Tmax 100 film
Sprinkled throughout my digital archives of film photography from the past seven years are hundreds of iPhone images I have taken of the cameras I have bought, used and sold. I think I have taken more photos OF my cameras than WITH my cameras. Many of these photos were for camera reviews on the old WordPress blog or for use on eBay when I decided to sell them.
I've learned so much about the process of buying old cameras online; what to look for and what to avoid. I've been stung a few times. I've built some very special and rewarding relationships with a few trusted sellers. And I've developed a good network of camera repair technicians to help me keep these fabulous old machines running.
As I look through all of my old camera photos with sometimes misty eyes, I hope you'll indulge me and allow me to share them here in mostly chronological order.
Here's a photo of the first camera I bought on eBay after my re-etnry into film photography. This is the Nikon FE2.
The FE2 is an early 1980s manual focus film SLR with aperture priority and manual exposure control. It uses modern batteries and accepts hundreds of Nikkor lenses. It was considered an advanced amateur/professional body at the time. There are lots of these for sale online and I would buy one without hesitation. I've owned several after this one and the only things these camera usually need are new seals and mirror bumper foams.
I was shooting a lot of C-41 process Kodak BW400CN film at this time because it was easy to get developed and scanned at the local mini lab. Here is a shot from this camera.
Looking back through seven plus years of images, I realize that there are some cameras that I should have spent more time with. Such was the case with the Nikon D700. I only had my D700 for a few weeks before someone offered me more money than I had paid for it and it was gone. I should have gotten to know this Nikon better.
I did wander down to the beach near where I live on a late November day in 2014 and got this shot of some folks and their dog returning from some Sunday fishing.
Nikon D700 with 50mm AF-D f/1.4
Pentax ME with SMC Pentax-M 50/1.7
I took an absolutely delightful Sunday walk with my Pentax ME. It was my first roll through this new-to-me camera. I was shooting Kodak Portra 160 and I set the ASA (ISO) to 100. These almost-Summer days on the Sonoma Coast are wonderful before the Summer fog season begins.
First, some neighborhood flowers...
The wind was really gusting. I had a difficult time getting the vegetation to stand still.
By the time I got down to the beach, the wind was really howling. You can see the sand blowing in this shot.
These birds were too busy fighting the wind to pay too much attention to me.
I will never understand how they play golf on such a windy day, but they do!
Back home, the side of my neighbor's house.
And some of my front yard vegetation in the setting sun.
The Pentax ME is a kick to shoot! So simple, so basic and so much fun! My Sunday photo walks are like a shower for my mind--mentally cleansing and meditative. With the ME doing all of the heavy lifting for me exposure-wise, it made the walk and the photography even more satisfying. I continue to be impressed by even the least expensive of the Pentax lenses. This 50mm SMC-M lens was almost free. The Pentax ME gets a big thumbs up!
Me and my ME
Looking back through seven years worth of images, I am reminded that I need to return to Fort Point in San Francisco. Built during the Civil War to protect the city, this historic structure sits directly below the Golden Gate Bridge. I arrived just a few hours before closing in late October, 2014. Once inside, I realized the abundance of photo opportunities.
Here is one shot taken with my Leica M6TTL on Kodak Tmax 100.
I really need to start setting aside my preconceived notions about certain classic cameras. I had always dismissed the Pentax ME as being a simple, entry-level and even cheaply made 1970s SLR. When I got the itch to try the M series bodies, I stepped right over the ME and bought the ME Super. The Super is a great little camera with aperture priority automation and manual modes. I chose the Super over the ME because I thought it was a better camera. Super = Superior...or so I thought.
A couple of months ago, the electronics in my Super started sputtering. The meter would only work in fits and sometimes not wake up at all. I checked the batteries and contacts. Even put a little piece of tin foil between the battery cap and battery--something I read might correct the problem I was having. One day, my little ME Super just rolled over and died. I was sad. I liked my Super. It almost always had film in it and I used it often. Repairing this camera would cost more than buying another, so I went browsing on eBay.
There, among all the chrome Supers, was a nice black body ME. You don't see many black body M series Pentax cameras. It looked nice and the "buy it now" price was very right. But I didn't want an ME. Too basic, too pedestrian. Amateur. Entry-level. I put it in my watch list and went to bed.
When you're shooting Nikon F2s and Leica rangefinders, it's easy to become a photo snob and look down your nose at consumer grade cameras like the ME, but that little black body Pentax kept popping into my head. I checked eBay the next day. It was still there. I clicked the "buy it now" button.
Pentax ME with SMC Pentax 85mm f/1.8
When the ME hit camera store shelves in 1976, it was priced at $189.95. That's around $800 in today's dollars. That's a lot for an entry-level SLR and you'd have to be pretty committed to taking good photos to plunk down that kind of cash. It's also a testament to the fact that Pentax was building really fine cameras. The ME might be basic, but it is not cheaply made.
The ME just feels really good in your hand. Like the little Olympus OM and Minolta XD it was competing with, the ME is small and balanced with thoughtfully placed controls. With one of the tiny Pentax 28 or 35mm lenses, or even the kit supplied 50/1.7, this is a camera you can wear on your shoulder all day long and almost not know it's there.
Loading film is a snap with the strange little Pentax finger things on the take-up spool. Set the button on top to AUTO and click away! Big, bright viewfinders are trademarks of the entire Pentax M series and the no-nonsense analog display tells you everything you need to know. Aperture-priority autoexposure, the only mode available on the ME, is about as close as you can get to point-and-shoot. I saw that as a deficiency when I bought the Super over the ME originally, but now I realize that this single shooting mode quickly reveals itself as the ME's allure. Mount your favorite Pentax lens to this camera, spool up some film and go out and shoot. The ME gets out of your way and lets you concentrate on making good pictures.
In the first ten days I owned this camera, it gobbled up two 36-exposure rolls of Portra 400. That means I liked shooting it a lot! I'll be dropping the film off at the lab next week and will share the results here soon. If you like aperture-priority shooting, you really can't want for more in a camera body. And with an amazing selection of readily available and very affordable Pentax K-mount lenses, you could build yourself a fine system that could handle about any photographic task you could throw at it.
I feel a bit foolish at my camera snobbery. This little ME put me in my place.
Looking through, sorting, deleting and organizing all of the images I have taken since my re-etnry into film photography. This shot from 2016, taken in a hallway at the Cypress Inn in Carmel, is one of my favorites. Reminds me of "The Shining."
Hotel Hallway/Carmel, CA Leica MP, 35/2 Summicron on Tmax 100
1976 Vintage Pentax ME
I try and carry a camera with me in my laptop bag on my commutes to and from the office each day. My drive takes me from the coast through 25 miles of rolling Sonoma County hills into town and back again each evening. From morning ground fog to gorgeous sunsets, there's always a chance there will be a photo opportunity.
Once at the office, whatever old camera I'm using spends the day on my credenza and often generates questions about its vintage or, more often, about why I still shoot film. For the last week or so, I've been putting my first roll of film through a newly acquired Pentax ME, so it has been occupying the place of honor at the office. One afternoon, the commercial photographer we use for product shots saw the ME and said "You really love those 1970s SLRs don't you?" I hadn't thought about it that way before but, yes...I guess I really do seem to bond to the cameras of the 70s.
When I think of the cameras I really love to use; Nikon F2, Olympus OM-2, Pentax SPF, Canon F-1n, Pentax LX, they are all essentially 1970s cameras, give or take a few years. These were cameras made during the last gasps of the mechanical era, honed from chunks of metal, some still assembled by hand. The world's leading camera manufacturers were pushing the technology as far as it would go with built in, through the lens metering, titanium shutters offering faster and faster speeds and, around the middle of the decade, automatic exposure modes. Olympus introduced the OM series, driving Nikon and Pentax to release smaller, lighter bodies as well. And because the Japanese cameras companies had only recently gained ground over their German competitors, quality was still job one. I am always amazed that I can pick up a 40 year old camera for fifty bucks on eBay and it still works superbly. I get such a kick out of unwrapping an old camera, inserting a battery and looking through the viewfinder, watching an analog meter or LEDs come to life.
There is, for certain, a bit of nostalgia to all of this. These were the cameras that I drooled over in the pages of Modern Photography as a teen. Cameras that, working for minimum wage after school and on Summer vacations, I could never afford when they were new. However, there's more to it than a pining for the past. These relics of the analog age are still very capable cameras today and deeply satisfying to use. Take this little ME I am shooing right now. It's a great camera. And when you consider that it's a platform for a huge selection of incredible Pentax lenses, I can't think of a more affordable way to shoot film in 2017.
So, while I listen to my Fleetwood Mac Rumors album on the turntable, here's my list (so far) of "Cameras Conceived or Built in The 1970s That You Should Try Before You Die."
NIKON F2: Hand-built, mechanical masterpiece. A heavy hunk of a camera. Gorgeous!
PENTAX SPF: 1973's evolution of the amazing Spotmatic. Open-aperture metering and stunning Takumar lenses.
OLYMPUS OM-2n: A camera that begs you to pick it up and shoot it!
CANON F-1n: Released in the Bicentennial year. You could hammer nails with this camera and the FD lenses are extraordinary.
PENTAX LX: Made its first appearance near the very end of the decade, but a 70s SLR all the way. The only Pentax 35mm with interchangeable finders.
NIKON FE/FM: Back-up bodies in the camera bags of most professional Nikon shooters. Excellent build quality and spot on metering.
There was a line at the counter of the photo store when I stopped to pick up some developed film a few weeks ago, so it gave me an excuse to browse the used gear case. Well...like I need an excuse.
Our little Mom & Pop camera store has a pretty decent selection of used SLRs and lenses. There's a community college in town that has a photography program that requires students to learn film photography first, so they do a good business selling simple film cameras. Naturally, the top seller is the Pentax K1000, so there's always a shelf full of Pentax K-Mount glass. I wasn't really looking for anything in particular when I noticed, popping up tall among the 50 primes, a decent SMC Pentax-A 135mm f/2.8. Doesn't it always seem when you see something in a display case that interests you, the price tag is always upside down? It was on this 135, so I motioned for some help. "How much for that K-Mount 135 there?" In my mind, I was thinking about a buck a millimeter, so I was surprised when the sales associate handed me the lens and I saw the price at $50. That's very affordable for a reasonably fast prime telephoto lens.
I haven't found a Pentax film era lens yet that didn't feel expensive and substantial and this lens was no exception. I asked to try it on a K1000 body. Focus action was superb and the f-stops nice and clicky. The glass on this lens looked exceptional and after a few minutes thinking about what my Portra 400 processing and scans were going to cost me that day, I decided to pick up the lens too.
The first weekend I had to try my new lens consisted of attending a college graduation and oodles of errands I had been putting off. I did get to put the 135 through some basic work outs, mounted on my LX body and shooting Kodak Portra 400.
I mostly shoot standard primes, so this is a first for me. The only lenses I have in my collection that would be considered telephotos are my 85s. And 85mm on a full frame film camera seems barely telephoto. This is a nice lens though. It's not big and balances well on the LX and on my ME Super, making it a good walk about lens. And after this first roll, I am inspired to experiment more with this focal length.
I rarely have my iPhone on me when I am out and about. It's just a nuisance to carry. And, for the most part, the only time I use its built in camera is to take photos of film cameras I am writing about and using. Those images appear here on the blog and in my Flickr feed.
On January 22, 2012 however, I did have my phone with me as I watched the San Francisco 49ers play the New York Giants in the NFC Championship game at Candlestick Park. I took the phone because my brother is a big Giants fan and I wanted to be able to text him and rib him when the 49ers beat the pants off the Giants. I could have left the phone home--the game went the other way and the Giants went on to the Super Bowl that year.
As it turns out, I am glad I snapped a couple of shots inside Candlestick as it would be my last visit there before the place was closed down and demolished. Besides the loss, it was a miserable evening at The Stick. Sheets of rain blew in cold from the Bay. I got soaked to the skin and recall eating a cold hot dog in a rain soaked bun.
Cold and Miserable at Candlestick
Even colder and more miserable at Candlestick
Lots of football history unfolded over the years at Candlestick and long time fans here really miss the place. Looking back through all my old photos for the Lightbox project, I am glad I grabbed my phone that day and got a few shots of the grand old park before it disappeared.
Candlestick Park today (Image Courtesy of Google Earth)
Pentax LX with the 50mm SMC f/1.7 lens
Back in the dark ages of mostly metal 35mm single lens reflex cameras, the big camera manufacturers created "kits" by packaging up reasonably fast standard prime lenses with their camera bodies. Nestled in the styrofoam box inserts, you'd also find an ever-ready case, camera strap and batteries. If you bought a kit, you saved some money over buying the lens as a separate item, the manufacturer hooked you for an OEM lens and kept you from shopping aftermarket. Win-win!
Most of these kit lenses were 50 or 55mm f/1.7, 1.8 or F/2. It would make sense that Canon, Nikon, Pentax, Minolta or Olympus would skimp on materials, assembly or optics to please the money guys, but I've yet to find one of these kit lenses that wasn't a stellar performer. Honestly, I like some of the kit lenses better than their faster and more expensive counterparts.
Of my two Olympus standard lenses, I prefer the f/1.8 Zuiko over the 1.4 version.
I really like my 50/1.8 Nikkor Ai-s lenses over Nikon's similar 1.4.
The only Canon FD lens I own is a 50/1.4 which is super-sharp and very impressive, so I am anxious to pick up the less expensive f/1.8 for comparison.
In Pentax manual focus, the 55mm f/2 and the 50mm f/1.7 lenses, at least for me, outperform the 1.4 (with exception of the M42 50/1.4 8-element SMC Takumar which is in a class by itself).
So don't shy away from the slower, less expensive standard primes of this era. They were all very well made and will deliver amazing results at affordable prices.
With all this nonsense about spending gazillions building a wall at the border with Mexico, I think people forget that there already is a wall there...well, sort of. More of a rusty fence with lots of holes.
During my three decades living in Arizona, I visited the US/Mexico border only a handful of times. Mostly, it was to take out of town visitors to Nogales, where you can park your car in the Safeway parking lot in Nogales, AZ and walk across the border into Nogales, Mexico. There's really not much to do in dusty Nogales other than buy colorful but itchy blankets or knock-off designer handbags. I heard you could also buy antibiotics there without a prescription, but I'm not sure I'd buy medication from some of the sketchy little drug stores I saw there. Each time I visited Nogales, I was always quite happy to pass back through the border station and into the US again.
My favorite near-border town is Bisbee in Southeastern Arizona. Bisbee was a copper mining town and at one time, the the largest city between St. Louis and San Francisco. When the mines played out, Bisbee almost dried up and blew away. Today, it's an interesting community of artists and eccentrics. There are some excellent restaurants in town and a diverse selection of interesting shops and galleries.
While editing images for my Lightbox Wednesday project, I came across these shots I took during my last visit to Bisbee in 2008. I shot these with a Nikon D70s and 24-120mm Nikkor zoom.
You can spend the night at The Copper Queen Hotel
Business District in Bisbee
Shuttered Movie Palace in Bisbee
Indian Motorcycle Shop
Dial Hemlock 2-3842
One of many vintage vehicles I saw parked in Bisbee
Old Chevy Dealership
Pool Hall
Abandoned gas station, although it appeared a hot rod business had operated here recently.
Kilnes Trading Post
There is an interesting motel in Bisbee called the Shady Dell. All of the rooms are renovated vintage travel trailers, a bus and even a boat!
Dot's Diner is adjacent to The Shady Dell. Great burgers!
The scars of open pit mining in Bisbee illustrate just how careless we have been with our environment.
Abandoned Open Pit Copper Mine near Bisbee
Another shot of the open pit copper mine
The aforementioned US/Mexican border is just a short hop south from Bisbee. The "wall" here is solid rusted metal on the bottom with vertical grating on the top. Notice how it stretches all the way to the horizon. That's Naco, Mexico on the other side.
I feel pretty confident that my skills as a photographer have improved since I visited Bisbee almost a decade ago. It would be fun to return sometime with a film camera and see how much as changed and how I'd shoot it today.
Something a bit off topic today...
Once upon a time, there was a "home" phone and a "work" phone. Your home phone was your personal phone and you used it to talk to friends and family. At work, you used the work phone to conduct whatever business that required it.
In the 1990s, people starting using cell phones. Because these phones and the cell service was terribly expensive, most cell phones were used by business people. Having a cell phone then was a symbol of status and importance. A symbol that people even made fun of. I can remember sitting in a bar in Scottsdale in the mid-1990s. There was a guy sitting at the end of the bar chatting away on his flip-phone. Between us were two women and I heard them commenting about the "uppity asshole with the mobile phone."
As cell phones and cell service became more affordable, lots of regular folk got them. They became a portable version of the personal home phone and eventually even started replacing the landline home phone altogether. There was still a healthy division though of personal and work devices. I was working for a large corporation in the early 2000s and I had my personal cell phone and a company assigned Blackberry. I was not allowed personal calls on the Blackberry. And I never gave out my personal cell number to my work associates--unless they were friends.
For a decade I ran my own successful marketing consulting firm. I worked out of my home and had a landline business phone and a business cell phone. I tried to be very accessible to my clients and worked long hours, but when the work day ended, the ringers were silenced on both devices. I kept my personal cell phone personal.
Over the past six or seven years, I've watched the line between personal and work devices dissolve almost entirely. Today, it is not uncommon for employees to use their personal smartphones to conduct all sorts of business on the job. In some workplaces I have been to, it is expected that you are always connected to work through your personal device. At the company I work for, there are over 700 employees. If you cannot get someone on their landline office phone, you try their cell phone. Many of our younger employees skip using the business line altogether and go right to the personal cell.
Instant, all the time access stretches the work day beyond the normal barriers. I know lots of people who sleep with their iPhones, responding to both work and personal text messages and emails at all hours. When I ended my consultancy and went back to work for someone else, I felt pressured by those around me to connect my personal device to work. Maybe this is just the way it is now and I must do this to be relevant, I thought. For several years, I kept my smartphone with me all the time, responding to texts and emails whenever and wherever I was. Keeping the data flowing was like digging a hole in sand, the more I dug the more sand kept filling up the hole.
One day, fate took over. I stopped to chat with an associate in the parking lot at work. I don't remember why, but I set my smartphone on the roof of my car while we were chatting and ultimately drove off with the thing still on the roof. As I accelerated onto the freeway, I heard a clunk and realized the sound was my phone sliding off the roof, skipping off the trunk lid and bouncing on to the on-ramp. I exited the freeway at the next exit, circled around and saw my iPhone crushed to bits on the ramp.
After some moments of panic, I took a deep breath and decided to try an experiment. This was an opportunity, I thought. I didn't rush out to replace the broken phone. I did without. No cell phone at all for several months. And what happened? Nothing. Work associates asked if I got their text messages. I told them that I did not. I said my phone was broken and I hadn't had time to replace it. For the first few weeks, people called my office landline and told me they'd tried me on my cell and I didn't answer. I repeated the story about leaving my phone on the roof of my car and that until I had time to go to the Apple Store, the best way to reach me was email or office line. People had compassion too..."Oh my gosh! Did you have insurance? No? So sorry...wow... a new iPhone is so expensive!"
Through my experiment, I slowly undid the cell phone leash and discovered how much more effective I was at getting things done when I was in control of the data flow. I realized that my smartphone wasn't a convenience for me it was a convenience for everyone I knew to have access to me. After a few months, I got a new phone and a new phone number. I only gave out the new number to a select few. I've successfully re-programmed my associates to reach out to me on email, which I respond to promptly within reasonable business hours. And it's amazing how everyone now calls me on my office line. And an added benefit--since my cell phone is now just a personal device again without the need for huge chunks of data and unlimited everything, I have reduced my monthly cell phone bill to around $20.
I'm not sure at what point it became acceptable for the home phone and the work phone to become one. I don't think it's healthy. I don't know how people can truly recharge and refresh when they are constantly connected. I am not a luddite. I have an iPad. I am writing this on a MacBook Pro. I use Apple TV. I spend like 10 hours a day staring at one screen or another and using all kinds of technology. However, I think that technology should serve humans. It shouldn't be the other way around.
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I'm selling off or giving away many of my old cameras. To long time followers of my old WordPress blog and this one, it may not seem so, but I am. With the exception of two cameras which are in the shop now and in the queue for a future review, I think I've shot all the classic cameras I care to. I'm whittling down the collection to just those I've really grown fond of. I want to shoot and know these cameras more with hopes of improving my photography and...making some space on my shelves. Here are those cameras...
NIKON F2
I shoot my F2 cameras in spurts, setting them aside for months at a time. I've taken to doing a lot of day hiking around Northern California and the F2 body with a decent lens is quite a bit to heft around. I tend to grab something smaller and lighter. Now and then however, I'll just get in the mood to use one of these mechanical masterpieces, spool up some Acros and wander around town remembering all over again how magnificent the Nikon F2 really is.
CANON F-1N
I never thought I'd take to a Canon anything, but after my first outing with this mostly metal professional beast, I was a convert. The F-1N with AE finder and fast Canon FD 50 lens is a great kit. I was shooting it last weekend when a fellow photographer walked up to me and said "Gosh, that's a real camera!" Yes, it is.
Pentax Spotmatic
Fellow photo blogger Jim Grey turned me on to Pentax cameras, first with the ME Super and then to the Spotmatic series. Be forewarned...buy one Spotmatic and the darn things breed. I now have about half dozen of the various evolutions of this fine camera: SP, SPII, SPF. They are cheap to buy, very reasonable to CLA and a blast to shoot! And Takumar lenses! Don't get me started. The Pentax M42 cameras and lenses are mechanical, optical marvels. Get one. Or two. Or ten.
Nikon F4
I scan YouTube quite a bit looking to see what other photographers think about the old cameras I like. Recently, I've seen a bunch of new posts on the Nikon F4. There are a few reasons for this. One: Prices are coming down on this camera. Two: You can mount most any Nikon lens ever made to the F4 and it'll meter and work just fine. Three: The F4 is just a really incredible camera to hold and use. If you enjoy analog photography you must, just once in your life, shoot a roll of film in an F4. While other Nikon F bodies were mostly evolutionary, the F4 was revolutionary. It set the stage for every SLR and DSLR to follow. The F4 is affordable photographic bliss.
Contax RX
I gotta be honest, I bought my RX because it looked cool. No other reason and not a lot of pre-purchase research either. One night, knowing I had a little balance in the PayPal account and mildly lubricated with some Pinot Noir, I clicked the BUY IT NOW button on eBay. Buyer's remorse set in by daybreak. A few days later, RX in hand on a day trip into San Francisco, I discovered that this was a truly delightful camera to use. The RX is a manual focus camera with auto-focus brains. Frame up your subject, focus and the camera will tell you when you've nailed it. It doesn't hurt that this Contax is the platform for some truly splendid Carl Zeiss CY mount lenses either. Smartly designed and well built, the Contax RX is a fine camera.
Pentax LX
I'm not sure how or when I first stumbled across what some people call the finest Pentax film camera ever made. Most likely, my growing affection for Pentax screw mount bodies led me to follow the inevitable trail to the K-mount LX--honestly a camera that I never even knew existed. Unlike the Nikon F4, which you love from the first moment you hold it, the Pentax LX is like a woman you've known for a while as a friend and then one moment you look at her and realize you're falling in love. This is a camera that, the more you spend time with it, the more you like it. Then, slowly, you just fall head over heels in love. The Pentax LX just does so many things right: fit, finish, size, weight, controls. Mount any one of the very affordable K-mount SMC Pentax lenses on the LX. Look out onto the world through a big, bright viewfinder that displays everything you need to know in one quick glance. It's easy to see how the LX was the pinnacle of everything Pentax learned through decades of making SLRs
So, these are the cameras that I'm using most these days and the ones I think I'll keep. If it's not on this list, it'll probably go. Probably. Runners up, at this point, are my Pentax 645n, Nikon FM2n, Olympus OM-2n, Canon P. I'm really on the fence with Leica. I traded my M2 for a Leica M7 and I'm putting my first roll through it now. And I'm considering selling my M9-P and buying a Pentax K-1, which will allow me to mount all of my marvelous old Takumars on a digital body. That's if I need a digital body at all.
So this is where I am in my photography hobby, course change subject to PayPal balance and amount of wine in my glass. Cheers!
Nikon F2 with 85mm f/2 Nikkor lens
For me, the 85mm focal length lens on a 35mm camera is magic. It's my favorite way of seeing the world. These are some shots taken three years ago with an 85mm Nikon f/2 manual focus lens on my Nikon F2AS. Film is Kodak Ektar 100.
Revisiting these images from 2014 reminded me how much I enjoyed using the 85. I need take it along on a hike one of these upcoming weekends.
I've been reviewing, sorting and sometimes discarding images I've taken during the past seven years. It's been a useful exercise to review my progress and reveal how much more I need to learn about photography. Every Wednesday, I toss a few of these images onto my digital lightbox.
Since moving to Northern California, I've become fascinated with the micro-climates around the Bay Area and especially of the different kinds of fog that develop. Before I moved here, fog was more a nuisance than anything else. Here however, you learn to live with it, embrace it, love it and try to photograph it. My best results so far have been on a Sunday afternoon hike out at Pierce Point Ranch on the Point Reyes National Seashore. The day started out sunny, but as I made my way back to the trail head at the Ranch, a heavy dense fog dropped down hard. I clicked off these shots with my Leica M9-P. I think they accurately captured the mood. You can almost feel the moisture dripping from these photographs.
Pentax Spotmatic SP with 50mm f/4 Super Macro Takumar
I've had so much fun with my Micro-Nikkor lens that I decided to go looking for something similar to use on my Spotmatics. I am always surprised at how very affordable most of the old Pentax M42 lenses are in comparison to the images they are capable of. I paid next to nothing for my 50mm f/4 Super Macro Takumar. Pentax made three different versions of this lens, mine was crafted somewhere between 1966-1971. Like all of the Takumar lenses of this period, focus feel is sublime. I'm really addicted to the focus action on these lenses and love how determined the f/stops click into place. Just a pleasure to shoot!
I decided to give my new lens a try on a very windy Sunday hike on the Kortrum Trail near Goat Rock Park on the Sonoma Coast. In retrospect, navigating cliff-side trails on a day when gusts were over 40 mph probably wasn't the best way to test a macro lens. I had a difficult time getting flowers to sit still for portraits. And the winds blew the ball cap off my head more than once.
I knew that focusing a slower lens like this f/4 might be a challenge with the Spotmatic, so I grabbed my SP with the split image focus screen. I shot these images on Kodak's Portra 400 film and set the Pentax to half the box speed.
Before I buy any camera or lens, I read as much as I can online. Most photographers gushed about this lens, but the negative comment I read over and over again was how disappointing the Super Macro Takumar was at infinity. I had this in mind when I shot this photo near the end of my roll of Portra. When I got the scans back from the lab, I was surprised and pleased. This lens seems fine at infinity, at least to my eye. And it has that classic Pentax color signature as well.
This lens focuses down to about 9 and a half inches. One might be able to use this as an all around normal lens with the bonus of close-focus ability if you could live with its slower speed. With a little patience, you can find one of these on eBay for under fifty bucks.
Shooting on the California coast on a day when the wind about knocks you off your feet is not advised. Next time, I'll wait for a calmer day and perhaps take my tripod.