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Are mechanical film cameras better than electronic?

12 Jun

The electronic Pentax ME Super can be picked up for a bargain price compared to the mechanical Pentax MX.
Image: Say_Cheddar

There are a lot of mechanical film camera snobs out there, and I’m one of them. There’s something about the way a mechanical camera feels, that sensation of meshing gears and tightening springs that you can feel right in your fingers, which is just magical. To me, a camera that goes ‘KA-CLACK!’ will always be superior to one that goes ‘bzzzt.’

But I also know that electronic film cameras have key advantages over mechanical cameras, and those advantages don’t always get proper recognition. In fact, I’d argue that for many photographers and many situations, electronics are better. Here’s why.

Mechanical vs. Electronic: What do we mean?

Before we begin, some quick definitions: For the sake of our discussion, an all-mechanical camera is one that has no electronics in the shutter, exposure or film-winding mechanisms. It may have a light meter, but mechanically speaking, it’s fully functional without a battery.

An all-mechanical camera is fully functional without a battery

When we talk about electronic cameras, we either mean cameras with an electronically-controlled shutter, which still have manual focusing and winding, or cameras with electric/electronic everything, including shutter, exposure control, winder, and (usually) autofocus. Some electronic cameras will work at one shutter speed (usually the flash sync speed) with no batteries; for others, no power means no pictures. (Note that some cameras, like the Canon EF and Pentax LX, use a hybrid shutter with mechanical timing for fast speeds and electronic for slow speeds.)

Some electronic cameras will work at one shutter speed (flash sync) with no batteries; for others, no power means no pictures

Got it? Good! Let’s dive in and talk about the advantages of electronics, then we’ll revisit a few of the arguments in favor of mechanicals.

Why electronic cameras are better

You’d be hard-pressed to spend more than $ 75 on an electronic Ricoh KR-10 with lens.
Image: Arapaoa Moffat

Electronic cameras have fewer moving parts than mechanical cameras.

This is one of the main reasons camera manufacturers moved to electronics in the first place: The complexity of the mechanism is greatly reduced. Mechanical cameras are clockwork marvels, filled with minuscule gears, levers, springs, cords and chains – moving parts that can wear out, disengage, clog up or break. Electronic cameras replace a lot of these intricate bits with non-moving solid-state electronics, which are simpler, more robust and generally more reliable. From the manufacturer’s perspective, electronics make the cameras cheaper to build. From the photographer’s perspective, electronics mean fewer things to go wrong.

From the manufacturer’s perspective, electronics make the cameras cheaper to build. From the photographer’s perspective, electronics mean fewer things to go wrong

Electronic cameras rarely go out of adjustment.

One of the problems with a mechanical shutter-timing mechanism is that it’s subject to wear, degraded lubrication, and temperature variations. After a while, your 1/250 shutter setting no longer delivers a 1/250 second exposure. (Hence the ‘A’ in the common CLA service – cleaning, lubrication and adjustment.) With an electronic shutter, the timing is done by solid-state bits that are not prone to such discrepancies.

That’s not to say electronic shutters are always perfect; they still have moving parts that can be affected by dirty electromagnets or dried-up lubricant. But they tend to stay pretty darn close to the mark. If a forty-year-old electronic camera is working, it’s probably working correctly – and will likely be shooting more accurate than an older mechanical camera that hasn’t been serviced.

Electronic cameras can deliver more precise exposures than mechanical cameras.

With a mechanical camera, you’re generally locked into pre-set full-stop shutter speeds – 1/500, 1/250, 1/125, 1/60, etc. Same with an electronic camera in manual mode. But electronic cameras with an automatic exposure setting can take advantage of one of the key benefits of an electronic shutter: Infinitely variable speed settings. If the meter decides the ideal shutter speed is, say, 1/300 of a second, that’s how long the shutter will stay open. 1/75 sec ? No problem. 1/854 sec? Sure! They can fine-tune your exposure in a way that a mechanical camera can’t, which is especially critical if you’re shooting with slide or technical film.

The electronic Nikon FE2 sells for about half the price of the mechanical FM2.
Image: Paul1513

Electronic cameras have faster top and sync speeds than mechanical cameras.

The camera with the fastest purely mechanical shutter I know of is the Nikon FM3A, which tops out at 1/4000th of a second, but that’s atypical; most mechanical cameras stop at 1/1000 sec, and some ‘pro’ models at 1/2000 sec. So did early electronic cameras, but advances in electronics and curtain materials meant faster speeds, and many electronic cameras top out at 1/4000 or (in very high-end models) 1/8000 sec. The speed champ is the Minolta Maxxum 9, which can snap off an exposure in 1/12,000 sec.

Fast shutters are usually associated with action photography, but they are handy for casual shooters as well: If you’re running 400 speed film and the sun comes out, you can still shoot at wide apertures. Electronic shutters also give you faster flash sync speeds, typically 1/125 sec to 1/250 sec versus 1/60 sec for most mechanical shutters. Again, that’s one or two more stops of flexibility, allowing you to use a wider aperture for outdoor portraits with fill flash.

Electronic shutters also give you faster flash sync speeds, typically 1/125 sec to 1/250 sec versus 1/60 sec for most mechanical shutters

Finally, my favorite:

Electronic cameras are usually less expensive.

Electronic cameras are the bargains of the used-film-camera market. Nikon’s all-mechanical FM2 typically sells for twice as much as its electronic-shutter counterpart, the FE2. Same for the mechanical Pentax MX and the electronic ME Super.

And the more electronic you go, the better the prices get. The Nikon N8008, a “prosumer” camera one notch below the vaunted F4, sold for $ 600-$ 800 when new, but today you can buy them for $ 10-$ 50. Minolta’s excellent Maxxum/Dynax autofocus cameras of the 1990s can easily be bought for $ 20-$ 50 in good operating order with a Minolta lens – not just the low-end consumer models, but fully-featured high-end cameras as well.

Why mechanical cameras are better

We’ve covered the advantages of electronic cameras. What about the arguments in favor of mechanical cameras? Let’s discuss a few.

A Nikon ad from the 80’s showing a mix of electronic, mechanical and hybrid cameras.
Image: Nester

Mechanical cameras work without batteries.

This is true, though I’ve personally never seen it as a real advantage (although I can understand how those who have found themselves on the losing end of a dying digital camera battery would). The story I’ve heard is of a professional photographer on a once-in-a-lifetime shoot atop an icy mountain. Suddenly their camera’s battery dies – but they have a mechanical camera, so they can go right on shooting! Fine – but that’s a niche use-case. Most of us aren’t going to be shooting regularly in situations where batteries degrade fast (like extreme cold) or in places where spares aren’t easily available.

The more likely explanation for the cult of the battery-less camera is that pros mistrusted electronics when they first came out, which is a natural human reaction to anything new and unfamiliar. Within a few years, once they realized that electronics were not evil, those same professionals were relying on battery-reliant cameras like the Nikon F4/F5 and Canon EOS-1.

All-mechanical cameras are fabulous beasties and a treat to use. But manual-wind, manual-focus cameras with electronic shutters give you most of that same feel.

Besides, while it’s true a mechanical camera will work without the batteries, its meter won’t, and who wants to shoot without a meter? Sure, you can use an external meter/phone app or ‘Sunny 16’, but there’s no need for a fallback when spare batteries are cheap and easy to carry. Remember that electronic cameras that use button batteries go years on one set, and autofocus cameras that use AAs or lithium ions should give you a few dozen rolls and a warning before the batteries die. So yes, this argument is valid, but I don’t think it’s very relevant.

Mechanical cameras are more repairable.

There is some truth to this. One of the reasons older electronic cameras can fail is that their flexible printed circuit boards can crack with age. When new parts aren’t available, repair shops rely on donor cameras, which may have the same age-related issues. But not all problems with electronic cameras are insoluble – some repairs require a bit of soldering, and other failures are mechanical, not electrical, and involve the same types of issues to which mechanical cameras are prone.

Even if a given camera cannot be repaired, remember those low replacement costs. I’ve had two cameras cleaned and repaired at a cost of around $ 100 each– worth it for more expensive cameras. But if it’s my Minolta 400si or Ricoh KR-10 that breaks, for that same $ 100 I could buy 3 or 4 replacement bodies in working condition.

Mechanical cameras have more ‘soul’.

You’ll get no argument from me there. All-mechanical cameras are fabulous beasties and a treat to use. But manual-wind, manual-focus cameras with electronic shutters give you most of that same feel. And while autofocus, auto-wind cameras don’t feel the same, using them is a unique experience that I have grown to appreciate.

The mechanical Pentax MX (shown with accessory grip) is a joy to shoot with.
Image: Wikipedia

Bottom line

Mechanical cameras are great, and they have their advantages, and disadvantages. Electronic cameras, meanwhile, are the unsung heroes: They are generally cheaper to buy, more likely to give you accurate exposures, and if they aren’t always easily repairable, they are usually easily (and cheaply) replaceable. There’s a reason all camera manufacturers embraced electronics. We, as film photographers, ought to embrace them as well.

Articles: Digital Photography Review (dpreview.com)

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Ilford 120 film packaging turns into a camera

06 Jun

From the dieline, a design/packaging blog I read regularly.

A student designed a package for ilford 120 rollfilm, that can be folded into a pinhole camera for said film. Supercool, although it wasn’t clear whether this was an actual product or just a design concept. Check the link for more images and info on the project.

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Film Fridays: Konica Hexar RF review

05 Jun

Photo: 35mmc.com

Years after selling off his Leica M7, 35mmc’s Hamish Gill once again began to feel the desire to shoot with an automated M-mount camera creep into his conscious. So when the opportunity to pick up a near-mint Konica Hexar RF for a reasonable price presented itself, he jumped on it. And then wrote a review of it.

By most measures, the Hexar RF is a more advanced camera than the M7, but as Hamish notes, that does not necessarily make it a better camera. Still he finds plenty to like about it and plenty of things that set it apart from its German competitor (like a film window!). And though it scratches the automation itch, hesitations about long-term reliability keep him from singing its praises too loudly.

Read: Konica Hexar RF review

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.

Articles: Digital Photography Review (dpreview.com)

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Fujifilm donates Instax cameras, film to hospitals in Europe to help staff connect with patients amid COVID-19

05 Jun

Fujifilm UK has announced it’s donated Instax instant cameras to 31 National Health Service (NHS) hospitals across the United Kingdom and 19 other hospitals across seven other countries to help hospital staff ‘share a smile’ with patients while still wearing their personal protective equipment (PPE).

With doctors, nurses and other hospital staff having to wear an extraordinary amount of PPE due to the COVID-19 pandemic, patients within the hospital are unable to have the more face-to-face interaction they’re more familiar with in less-chaotic times.

Left to right: [1-2] Healthcare workers at Florence Nightingale Group Hospitals, Turkey and [3] Azienda Socio-Sanitaria Territoriale (ASST) di Vimercate, Monza, Italy

‘Those working on the frontline in hospitals must put on gloves, gown, face mask, visor or air hoods before entering a hospital unit or caring for a patient – creating a full suit covering almost every feature,’ says Fujifilm in its press release announcing the initiative. It goes on to say:

‘This can make it difficult to reassure a patient, who cannot see a smile or a friendly face. PPE removes an important element of the personal connection that is usually so important between a clinician and patient. It can also heighten an already worrying and intimidating situation and make patients in ICU wards feel even more isolated.’

So, in its search to figure out how it can help NHS staff and patients alike throughout the COVId-19 pandemic, Fujifilm found a clever way to keep interactions a little more personal and friendly than otherwise possible while wrapped up in PPE. Through its donated Instax cameras, the staff is able to snap a photo of themselves and attach it to their gowns.

Fujifilm says roughly 120 Instax cameras and 7,500 Instax prints have been sent to hospitals in the U.K., Italy, the Netherlands, Turkey, Portugal, Spain, Russia, France and Denmark, with more expected to be shipped out to interested parties.

In addition to helping patients feel more connected with their caretakers, Fujifilm says it also has the added benefit of making inter-team communication easier and boosting morale, as it can be difficult to see who’s underneath all the PPE, especially considering hospitals have staff moving more frequently between floors and departments.

Fujifilm encourages any health teams interested in receiving a special Instax kit to contact them via email at comms_uk@fujifilm.com.

Articles: Digital Photography Review (dpreview.com)

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12 Things Not To Do When Buying Your First Film Camera

29 May

12 Things Not To Do When Buying Your First Film Camera

You’ve got your flannel and your beanie and you’re ready to buy your first film camera. So… now what? I can’t tell you exactly what to do, because then you’d risk turning into me, which means drowning in an ever-deepening lake of 35mm SLRs, but I can tell you a few things to avoid. Here are a dozen things you should try not to do when buying your first film camera.

Images by Dan Bracaglia except where noted

1. Don’t worry about buying ‘the best’ camera

Here’s a tidbit that’s a bit of a mind-bender for some digital photographers: When it comes to film photography, the camera body itself has very little bearing on image quality. In the digital world, an entry-level Nikon D40 simply cannot achieve the same image quality as a high-end Nikon D5, but with film, a low-end Nikon N55 really can make just as good a picture as a pro-level Nikon F6. It’s the lens and film choice that really impact the technical quality of your pictures.

Find a good working camera that you like, because with film, good is good enough

All a film camera does is hold the film in place and facilitate its exposure. More advanced cameras give you more options for doing this, but they don’t necessarily do the job any better, to the point that few people can tell the difference between a photograph made with a $ 5,000 Leica and one made with a $ 50 Minolta. As long as the camera has a decent lens—and most lenses made by camera manufacturers are pretty decent—the capability for an image of good technical quality is there. (Good composition is up to you.) So don’t get caught up in trying to find the best camera—just find a good working camera that you like, because with film, good is good enough.

Photo: Nikon

2. Don’t assume a more expensive camera is a better camera

Used film camera prices are subject to all sorts of forces, including nostalgia. As a result, popular ‘student’ cameras like the Pentax K1000 and Canon AE-1 often command prices out of line with their feature set. In fact, in the topsy-turvy world of used film cameras, some of the most advanced cameras are among the cheapest. The N8008, Nikon’s top-of-the-line ‘prosumer’ camera in the late 80s, was priced three times higher than the entry-level Pentax K1000 when both were new. Today it’s the K1000 that costs three (or more) times as much.

Used film camera prices are subject to all sorts of forces, including nostalgia

Brand reputation also plays a big (and sometimes outsized) role. The Nikon FE, a magnificent manual-focus SLR with an aperture-priority automatic mode, sells in the $ 75 to $ 150 range, a good deal for a Nikon of that era. But the Ricoh KR-10 offers most of the same features, and you can easily find one for $ 35 or less. I own both cameras, and while the Ricoh is less refined, it makes equally good photos. (How do you find out what a camera can do? Camera-wiki.org is a great resource for looking up specs and features.)

Photo: John Nuttall

3. Don’t be afraid of electronic cameras

There are a lot of mechanical camera snobs out there; I’m one of them. But some of the arguments for going all-mechanical aren’t relevant to all film shooters (Sure, they work if the batteries fail, but their light meters won’t). Mechanical cameras like the Nikon FM, Olympus OM-1 and Pentax MX are robust but expensive. Cameras with electronically timed shutters (which need a battery for the shutter to work) usually sell for less, and many all-electronic autofocus cameras are even cheaper.

It’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera

Electronic cameras do have some key advantages over mechanical cameras, particularly for first-timers. They have fewer moving parts and are less prone to going out of adjustment than mechanical cameras. That means that if they work, they probably work correctly, with accurate metering and shutter timing (which is why camera manufacturers switched over to electronics in the first place). Repairs can be dicey because they often rely on ‘donor’ cameras for electronic parts, which are subject to the same age-related issues. But because they are so cheap, it’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera.

Photo: John Nuttall

4. Don’t buy a camera without researching lenses

The obsession with lens optics is the film equivalent of pixel-peeping. In truth, few people can look at a photo and tell if it was shot with a Nikkor, a Rokkor or a Takumar. The differences in quality between the camera manufacturers’ lenses* is narrow, but the price differences can be massive. (It’s a different story with third-party lenses, which vary in quality.) Remember, an inexpensive camera isn’t inexpensive if it locks you into pricey lenses.

An inexpensive camera isn’t inexpensive if it locks you into pricey lenses

The general wisdom is that manual-focus cameras are best paired with prime (fixed focal length) lenses, as the optical quality of zooms from that era wasn’t great. Also, primes tend to have larger maximum apertures for low light. Zoom technology improved in the mid-to-late 80s, so they’re a safer bet for autofocus cameras. You’ll need to do some research on lens compatibility (which can get confusing—for example, Nikon has used the same lens mount for decades, but not all lenses are fully functional with all cameras). Don’t know where to start? For 35mm SLRs, a 50mm lens with a max aperture between F2 and F1.4 is a good first lens, and for autofocus cameras, a zoom in the neighborhood of 28-85mm works nicely. Or you can just buy a rangefinder, compact or bridge camera with a non-detachable lens.

* Some camera manufacturers used different brand names for their lenses. Nikkor = Nikon, Rokkor = Minolta, Takumar = Pentax, Zuiko = Olympus, and Rikenon = Ricoh.

5. Don’t get a camera that’s too automatic… or too manual

Film cameras have different levels of automation. Some only have manual exposure control, requiring the photographer to set both aperture and shutter speed. Some require you to pick one (usually aperture) and will set the other for you. Still others have ‘program’ modes that do everything. Focusing and winding can be manual or automatic as well.

A manual-focus camera with both manual and automatic exposure modes is a great way to start

I recommend avoiding automatic-exposure-only cameras as a first-time buy. While they take great pictures, it’s nice to have the option to set your exposure manually and really take control of the process. On the other hand, an all-manual camera can be frustrating if you’re used to digital-era automation. A manual focus camera with both manual and automatic exposure modes is a great way to start. You can shoot in automatic as you get the hang of focusing and winding (which takes more getting used to than you might think), then switch to manual when you’re ready. Some good examples of these cameras include the Nikon FE2, Minolta X-700 and Canon AE-1. If you buy an autofocus SLR, look for one that has a manual mode.

6. Don’t buy a camera that hasn’t been tested

If you’re buying on an auction site, check the description and see if the camera has been tested. If it doesn’t say, ask. Working, for a film camera, means that the light meter turns on, the shutter fires at all speeds, the film and battery doors latch shut, the film advance moves freely, and autofocus, auto-wind, and self-timer functions, if present, are operational. Not every seller knows this, but you do, and if the seller says the camera works and it doesn’t, you have grounds for a refund. ‘Not tested’ or ‘parts’ cameras are a crapshoot. If you’re squeamish, shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting.

Shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting

Should you buy a non-working camera? Probably not for your first one, but don’t rule it out. Most issues with mechanical cameras, and some better-made electronic cameras, can be fixed as part of a CLA (cleaning, lubrication and adjustment) service, which generally costs $ 100 and up, and this may be worthwhile for a more valuable camera or a model you really want. Once CLA’d, a camera should work for years without needing further attention. Find a good film camera repair shop and get their opinion on whether a given camera is worth fixing.

Photo: Gerry Lauzon

7. Don’t buy a camera that doesn’t focus

If you’re looking at compact point-and-shoot cameras, you should be aware of the difference between autofocus and focus-free. Autofocus is exactly what you think it is. Focus-free cameras have a small lens aperture and rely on depth-of-field to get your shot in focus. These cameras often don’t have much in the way of exposure control, either; they rely on the built-in flexibility of the color print film process to get good pictures out of close-enough exposures.

If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free

Believe it or not, there were focus-free cameras made by big-name brands like Olympus, Minolta and Kodak as well as cheap-camera purveyors like Vivitar, Argus and Keystone. Most of these will say ‘Focus Free’ on the body. If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free.

Photo: E Magnuson

8. Don’t buy a used ‘pro’ 35mm camera

When you see a legendary top-of-the-line camera like a Nikon F4 or Canon EOS-1n come up on eBay for a fraction of its original price, it can be tempting to slam that ‘BUY NOW’ button. These cameras were the best of the best in their day, listing for upwards of $ 2,000, and the idea of buying one for a couple hundred bucks is pretty darn tasty. Resist! Resist!

Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives

Here’s the problem: A lot of these cameras were purchased by working professional photographers, which means they were used often and hard. Like DSLRs, film cameras with electronic shutters have finite shutter lives, and even mechanical shutters can wear out. An avid shutterbug averaging two 35mm rolls a week will take around 3,800 pictures per year, but a busy wedding or news photographer can take that many snaps in a month. If the shutter goes south, replacing it can cost more than the camera is worth. Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives.

Photo: ShikikanZero

9. Don’t buy a medium-format camera (yet)

Medium format cameras produce big, beautiful negatives that can be enlarged to ridiculous sizes. But the bigger the image, the more money you’ll spend, both for cameras* and film. If you’re just starting out in film, 35mm offers you a lot more camera and lens choices at a lower price point. If you find you’re in love with film, you can always move up to medium format later.

If you find you’re in love with film, you can always move up to medium format later

* Okay, not always. Plastic cameras like the Holga and the Diana (sometimes called ‘toy’ cameras) are inexpensive, but they have imperfect plastic lenses and the occasional light leak, which injects a random element into one’s photography. Some people like that look (I think it’s pretty darn cool), but they aren’t a real alternative to a professional-quality cameras from Mamiya, Rolleiflex, Hasselblad or Pentax. Another exception: Older twin-lens reflex (TLR) cameras, which were popular with snap-shooters before the rise of smaller film formats. They offer limited creative control but can make beautiful photos.

Photo: Classic-Photographic

10. Don’t start out with good film

Buying a used camera always carries an element of risk, and I can imagine few things that will turn off a first-time film photographer more than spending a lot of money on film and processing and getting back a roll of unusable negatives. Save that Ektar, Portra or Cinestill film for later. The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest (not expired) print (not slide) film you can buy.

The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest film you can buy

Fire off a quick few exposures close to home. Try to include a variety of subjects of different textures and brightness, and shoot at different distances. If possible, use a variety of apertures and shutter speeds. Get the film processed and check the negatives carefully. If you don’t have experience evaluating negatives, your lab can help you find signs of light leaks or improper exposure, as can your friends on the DPReview film forum. Once you’re sure your new camera works, you can confidently load up the good stuff.

11. Don’t buy just one camera

Back in The Day, it was common to carry two cameras in your gear bag. Unlike digital, a film camera can’t change ISO on the fly or switch seamlessly between color and black-and-white, at least not without unloading and reloading. A second camera gives you options: You can shoot the same scene in color and B&W, or you can run faster film if the clouds roll in or the action moves indoors. And it’s nice to have a backup in case your primary camera craps out.

A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX

If you use an interchangeable-lens camera, owning two compatible camera bodies means less gear to carry. They needn’t even be the same model: A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX (or a Nikon EM + FM2). I wouldn’t necessarily buy two cameras right off the bat, but if you find a camera and a set of lenses you like, a second compatible camera body is a smart investment.

12. Don’t spend too much money just yet

I think film photography is wonderful, but it’s not for everyone. You might get some film experience under your belt and decide you prefer digital, and that can be a real tragedy if you’ve spent $ 500 on gear. There are plenty of good cameras available for $ 100 or less (often a lot less), so start with something more modest.

Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss

Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss—or give it to someone else who wants to try film. If you do fall in love, as so many of us have, you can always buy something more expensive, though I can all but guarantee that your first film camera will always have a special place in your heart.

Ready to start the hunt for your first film camera? Here are some of our all-time favorite analog gems, most of which are affordable and easy to find in good working order (though not all follow the advice of this article!):

Analog gems: 20 film cameras worth buying right now

Articles: Digital Photography Review (dpreview.com)

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CineStill’s new developer kits make it easier than ever to creatively control slide film development

20 May

CineStill has introduced a new 3-bath processing system for slide film users that allows photographers a choice of three color and contrast profiles for the same type of film. Users can opt for a straight development to bring out the default characteristics of the film, or choose a tungsten balanced look or one with a warm tone and lower contrast. The Cs6 Creative Slide 3-Bath processing system allows photographers to get three quite different looks from the same emulsion by using a different developing solution.

The developers are part of a new 3-bath system that comprises a first developer that determines the color and contrast profile of the end result, followed by a combined the second developer and reversal process, and then a third bath that contains the bleach and the fix. CineStill claims the chemicals are easy to use and that temperature control is not as critical as in normal E6 processes, so successful home processing is much more achievable.

The three choices for the first developer are D6 DaylightChrome, D9 DynamicChrome and T6 TungstenChrome. The DaylightChrome developer is said to produce a neutral result with slightly enhanced color saturation and a usable dynamic range of 6 stops.

DynamicChrome produces a warm tone with enhanced contrast and color saturation but at the same time preserves highlight and shadow detail to offer a useable DR of 9 stops and extended exposure latitude. The TungstenChrome developer shifts the film’s color to correct for the use of warm tungsten lights saving the bother and light-lose of using a color-correction filter over the lens.

Photo by Sandy Phimester on Kodak E100 processed with CineStill Cs6 DynamicChrome

The one-liter kits contain enough chemistry to process 16 rolls or 100ft of film and are priced from $ 39 including all three baths, while the individual developers are available from $ 12.99. The chemicals are available now from the CineStill website, and from retailers in the USA and Europe from the summer.

Press release

Introducing: Cs6 “Creative Slide” 3-Bath process for color-timing E-6 reversal film at home

Chrome unlocked!

Want to shoot slide film? Want it to be quick and easy to process? Want to still have creative control over how your images look? Introducing the CineStill Cs6 “Creative Slide” 3-Bath Process for simple creative control of your E-6 film.

The reversal process is the purest of analog processes and it’s now more creative and accessible than ever! The colors of slide film are unrivaled and now you can color-time and control dynamic range with alternative 1st developers. For the first time ever, you can change the color profile of your slides. With limited slide film options available today, CineStill is tripling the choices available for slide film, and demystifying slide processing with only 3 baths to appreciate a beautiful photograph. Your slides should be superior to color-corrected negative scans, without sacrificing creative control.

For the past several years CineStill has been developing ways to bridge the gap between mail-order photo labs and instant photography. Whether it be a Monobath for B&W film, a simplified 2-Bath process for color negatives, a Temperature Control System for mixing and heating chemicals, or various partnerships to make daylight processing accessible… There’s no longer a need for a darkroom, professional lab or high-tech equipment to create analog photographs. You can now create beautiful color transparencies at home through one simple process.

With the Cs6 “Creative Slide” 3-Bath Process comes 5 new products

1. D6 “DaylightChrome” Neutral-tone 5500K 1st Developer
Renders approximately 6+ stops of usable dynamic-range* with bright whites and moderately enhanced color saturation, just like conventional E-6 processing. Daylight-balanced for conventional slides in daylight or with electronic flash. Single-use 1+1 dilution develops 8-16 rolls or 100ft of slide Film.
Kodak E100 DaylightChrome

2. D9 “DynamicChrome” Warm-tone 1st Developer
Renders approximately 9+ stops of usable dynamic-range*, while maintaining vibrant color-contrast and rich warm tones with preserved highlight and shadow detail (optimized for scanning) for a more cinematic look. Extended exposure latitude increases the usable dynamic-range* of slide film from 6 to 9+ stops! Conventional E-6 processing renders approximately 6 stops of usable dynamic-range*. Perfect for high contrast lighting or backlit subjects in daylight, shade or with electronic flash. Single-use 1+1 dilution develops 8-16 rolls or 100ft of slide Film.

3. T6 “TungstenChrome” Cool-tone 3200K 1st Developer
Renders approximately 6+ stops of usable dynamic-range* with cleaner whites, and moderately enhanced color saturation. Shoot in artificial light without sacrificing 2 stops of exposure to color filtering! Kodak’s published technical data sheet recommends exposing E100 at EI 25 with an 80A Filter in Tungsten (3200 K) light. Now you can expose at box speed in low-light or even push to EI 200 or 400, and color-time your slides in processing. With conventional E-6 processing this would require color filtration and a 2-4 stop exposure compensation. Single-use 1+1 dilution develops 8-16 rolls or 100ft of Ektachrome®.

4. Cr6 “Color&Reversal” 2-in-1 Slide Solution
Combines the reversal step with color development. 6min minimum process time for completion with flexible temperature range of 80-104°f (27-40°C)**. Reusable solution reverses 16+ rolls of developed slide film.

5. Bf6 “Bleaches&Fixer” 3-in-1 Slide Solution
Combines the bleach and conditioner steps with the fixing step. 6min minimum process time for completion with flexible temperature range of 75 -104°f (23-40°C)**. Reusable solution clears 24+ rolls of reversal Film.

* ”Usable dynamic-range” is the amount of full stops of exposure value that renders acceptable detail and color. “Total dynamic-range” however, is the maximum range containing tonal separation rendering any detail, and is often twice the usable-dynamic range. The usable dynamic-range of conventional slide film is between 6-8 stops (total 14-16 stops). Color negative is between 9-13 stops (total 16-21 stops). Digital sensors are mostly between 7-10 stops (total 12-15 stops).

** Maintaining temperature is not essential beyond pouring in a 1st developer. When a temperature control bath is not available, simply preheat the 1st Developer +2ºF warmer, and the other baths will automatically process-to-completion as they cool down. Only the 1st developer is time and temperature critical because it controls contrast and color.

Cs6 “Creative Slide” 3-Bath Kits for Reversal and E-6 Film

CineStill Cs6 3-Bath Kits will be available from $ 39. The 1000ml/Quart Kits can process 16+ Rolls or 100ft of Slide Film and the 3-2-1 Chemical Reuse Kits processes 32+ Rolls of film.
Included In Cs6 3-Bath Kits:

D9 “DynamicChrome”, D6 “DaylightChrome”, or T6 “TungstenChrome” 1st Developer
Cr6 “Color&Reversal” 2-in-1 Slide Solution
Bf6 “Bleaches&Fixer” 3-in-1 Slide Solution

The CineStill Cs6 3-Bath Kits and separate components are available for purchase now at CineStillFilm.com, and throughout the U.S. and E.U. markets later this summer.

Articles: Digital Photography Review (dpreview.com)

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Film Fridays: Olympus mju-II – a great camera but too expensive (for what it is)

15 May

Hamish Gill / 35mmc

The Olympus mju-II, also known as the Stylus Epic, is a cult favorite film point-and-shoot that’s been increasing in both popularity and price over the past 10 years. A relic of the late 1990’s it offers a sharp 35mm F2.8 lens, excellent metering and accurate autofocus, all in a highly-pocketable, weather-sealed package. Sounds pretty appealing, eh?

Sadly, the days of purchasing one these for bargain prices are long gone. What may have set you back $ 40 in 2013 will likely cost you 5x that much today, for a plastic camera that’s now 7-years-more degraded. So are these little wonders still worth acquiring? 35mmc’s Hamish Gill has the answers…

Read: Olympus mju-II review – a great camera but too expensive for what it is

Articles: Digital Photography Review (dpreview.com)

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10 mistakes most first-time film shooters make (and how to avoid them)

08 May

Introduction

You’ve bought your first camera. You’ve bought some film. You’re ready to load up and start shooting. What could possibly go wrong? Lots of things! When you make a mistake with your digital camera, you’ll know right away, but with film, it’s not until days or weeks later, when you’re home from your once-in-a-lifetime trip that you discover you’ve screwed up the picture you can never re-create. This is what makes film so awesome.

The good news is that you are not alone – with film, mistakes are part of the process. I can’t stop you from screwing up (and I wouldn’t want to, because misery loves company), but I can give you a heads-up on common mistakes to look out for – and, in some cases, how to fix them.

Photos by: Dan Bracaglia (except where noted)

1. Loading the camera wrong

Nearly every film shooter will at some point get developed negatives back from the lab with nothing but edge writing and numbers on them. There are two possibilities: 1) Your light meter is way, way, way, way, way off, or 2) you didn’t load the film properly.

For 35mm cameras, a good indicator of the latter is that you loaded a 36-exposure roll last week and you’re on your 67th shot. Take-up reels don’t always grab the film properly, so make sure you fire-and-wind at least one shot before you close up the camera in order to verify that the film is moving, and once the back is closed, rotate the rewind lever to (gently) tension the film.

If the winder continues to rotate freely, that means the film sprockets didn’t engage (and commiserations – you just accidentally rewound an unexposed roll of film). If you loaded the camera correctly, once the slack has been taken up, the rewind knob should turn on its own as you advance the film.

For medium-format cameras, a surprisingly common misstep is loading the film backwards so that the backing paper, not the film, faces the lens. You might say, “Well, the backing paper has writing on it. How stupid must I be to get that wrong?” But in the case of cameras that use detachable film magazines, things can get very confusing indeed, because the paper markings will be facing inwards on the magazine. So a better question to ask is, “How stupid must the camera be?” Take it slow, visualize how the magazine fits into the camera and you should be fine. Better yet, read the manual.

2. Trying to load a camera that’s already loaded

Not all cameras have a nifty little film window.

This is another of the classic “oh crap” moments in film photography: You pop open the back of the camera and see there’s already film there. (Alternatively, you drop the camera and the back opens. Happens to all of us.) The very first thing to do – preferably during and not after the obligatory cursing – is to close the camera back right away. (Seems obvious, but we all get paralyzed by disbelief.)

Have you just ruined all your pictures? Probably not. You’ll definitely lose the current exposure, and the two or three previous will likely be spoiled or partially fogged. But most cameras wind the film tightly enough that the rest of the photos will be okay if you get the back closed quickly enough. Film still in the cartridge will be fine; just fire off a couple of “blank” shots to get past the film that was exposed when you opened the back.

Some 35mm auto-wind cameras, like Canon Rebel SLRs, protect against this sort of thing by winding all of the film out of the cartridge when you load them and then rewinding as you shoot. That way, any pictures you’ve already taken are safe, and it’s only possible to ruin the unexposed portion of the film. (Isn’t it nice to know a camera was designed with the assumption you’d screw up?) Chances are in this situation that the rest of the roll is still usable once you’ve shot past the frames which are definitely ruined, but if you’re shooting anything important, it’s best to play it safe – rewind the film and load up a fresh roll.

3. Forgetting if there’s film in the camera

As someone with a bad case of GAS (Gear Acquisition Syndrome), I have a lot of cameras and I can’t always remember which ones I’ve loaded with film. To be fair, I often can’t remember what I had for breakfast or where I left my keys or my children, either. Auto-wind cameras usually have an icon to tell you if they’re loaded, but what about manual-wind cameras that don’t?

Easy solution: Remember earlier how we tested that the film was loaded properly by tensioning the film with the rewind knob? That trick will also tell you if there’s film loaded. Pop out the rewind knob and turn it gently. If there’s film, it should move freely at first then start resisting as you take up the slack. (Don’t turn with too much force or you may rip the sprockets on the film.)

4. Shooting a roll of film at the wrong speed

You rewind your last roll of film, pop in a new one, go to set the ASA/ISO dial, and your heart sinks – you see the dial is set at 100, but the film you just pulled out is 400. Cue the movie guy running in slo-mo and yelling “NOOOOOOOO!!!”

Panic not, my petal, for this is a common mistake with an easy fix. If you’re shooting color print film and you’re only off by a stop (½ or 2x the right ISO) or even two, you probably don’t need to worry. Consumer-level C-41 process film has a lot of latitude; in fact, disposables and other cheapie cameras with limited exposure settings count on this built-in flexibility. (Traditional-process black and white and some “pro” print films are less forgiving, and slide film even less so.) If in doubt, just tell your lab what happened. If necessary, they should be able to compensate with processing (albeit sometimes at extra cost).

5. Changing the ISO (ASA) dial on the fly

Nope, can’t do that with film! On a digital camera, turning the ISO dial changes how the camera records images, but on a film camera all it does is calibrate the meter so that you get correct readings for the film speed you’re using. If you want consistent metering (and you usually do) the whole roll has to be shot at the same ISO. The only exception to this is for exposure compensation. If you’re shooting ISO 200 film on a bright snowy day, setting the ISO to 100, or even 64, will help compensate. Similarly, if you’re shooting a moody portrait of someone wearing dark clothing, setting the ISO dial to 400 or 800 will prevent skintones from coming out too dark.

Many more advanced film cameras offer a dial with +/-2 stops of exposure compensation to make this easier to get your head around, but it’s the exact same thing (with the advantage that it’s quicker to dial in, and you’re less likely to forget to unset the compensation later).

You also have the option of pushing or pull your film. Pushing is when you intentionally under-expose your film, then compensate by over-developing, and pulling is the opposite. The pictures won’t be perfect; they may have more grain, more or less contrast, or color shifts, but they will come out. (Some film stocks respond better to pushing and pulling than others.) Why would anyone do this? Sometimes it can lead to an interesting look, and it’s also a handy way to get more (or less) sensitivity in a pinch.

For example, when shooting indoors under low light, instead of using dedicated high-speed film, I push my 400-speed Ilford HP5 Plus film two stops by setting the meter to 1600, then alter my developing as outlined on the data sheet. There’s more grain and contrast, but I happen to like the look.

6. Letting the light meter lie to you

Modern digital cameras have sophisticated multi-zone meters that can figure out tricky lighting situations. I’m amazed at how even my phone can get pictures that would be impossible for most film camera meters to sort out. Then again, I’m amazed that my phone can make phone calls and that they can fill up soda bottles without the soda fizzing all over the factory. Seriously, how do they do that?

Anyway, multi-zone metering was in its infancy when film gave way to digital, and most film camera meters are center-weighted, meaning they take an average of the scene with more emphasis on what’s in the middle (presumably what you’re pointing the camera at) and a little less on the top part (presumably the sky, which screws things up when you rotate the camera for a vertical shot). As I mentioned earlier, bright or dark backgrounds, deep shadows, snow, nuclear fireballs and other scenes with large light or dark patches can fool the meter and throw off your exposure.

What do to? Serious photographers carry a gray card, but serious photographers tote enough gear to flatten a pack mule. In a pinch, you can take a meter reading off the grass or a patch of medium-toned fabric – just make sure the camera is pointing in the same general direction as your subject. If the readings are different, the scene is probably fooling your camera’s meter and you should adjust accordingly.

If in doubt (and assuming you don’t mind burning through film a little faster) just take a handful of shots at slightly different exposure settings to make sure. At least one of them is likely to turn out.

7. Asking on a forum which film is best

Asking a bunch of photographers which film is best is like asking them which letter of the alphabet is best. As sure as loading 800 ASA film makes the sun come out and 50 ASA makes it rain, you’ll get 85 replies and no consensus. That’s because different films have different characteristics, and “best” is a matter of personal preference (which is why there are so many choices). Everything I’ve ever read on any forum about a given film being good or bad has been wrong – not because the people don’t know what they were talking about (though a couple obviously didn’t), but because the question of film quality is so subjective.

The best way to find the right film for you is to try different kinds and see what you like. I recommend starting with well-known staples like Kodak Gold or Ilford HP5+ to get some sort of a baseline for yourself. (Best not to start with slide film, as it’s really picky about proper exposure.) Then you can ask a different kind of question on the forums: “I’ve been shooting BlastMax 200 and I was thinking about trying a roll of Elbowchrome. What can I expect?” Now that your fellow shooters know your baseline, they can give you a more meaningful answer by comparing the new film to what you know. Better yet, don’t ask – just buy a roll and decide for yourself.

8. Getting obsessed with the Zone System

For those who haven’t heard of it, the Zone System is how famed landscape photographer Ansel Adams made his amazing black-and-white landscape photos. It’s an elaborate method that involves treating exposure, developing and printing as a unified system: you make adjustments in one part of the process that are compensated by adjustments in the others. Incidentally, you can use a form of the Zone System in digital photography, and it’s quite a bit easier since your “processing” is electronic.

The Zone System has understandable appeal to digital photographers who are used to mining the data to draw details out of their exposures. If you’re developing and printing your own black-and-white film, then by all means, dive into the Zone System. But, really, you don’t need to. Bracketing, where you shoot a couple of exposures over and under your metered exposure at ½- or 1-stop increments, as descried earlier, is a better way to give yourself options, and always a good idea with slide film. Better to concentrate on things like composition, because a boring photo is a boring photo no matter how perfectly it’s exposed.

Photo: Ansel Adams / US National Archives and Records Administration

9. Starting with slide film

Someone recently wrote in DPReview’s Film Photography Talk forum, “If you want to hate film photography with a passion, start with slide film.” Truer words have never been typed. This isn’t a mistake all newbies make, but it’s one to be avoided. Here’s the deal: Slide film is exceptionally sensitive to proper exposure. If you (or your camera) is off by even a little, the picture won’t look good. Back In The Day, shooting slide film gave you bragging rights, but that’s when the film and processing didn’t cost much more than print film. You could afford to burn half a roll by bracketing (shooting pictures over and under your camera’s meter reading) to get that perfect shot.

Today, slide film and its processing is more expensive, and with so many photographers using a digital workflow (scanning and printing), many negative films are now optimized for scanning. Slides are still cool, slide film is typically sharper and finer grained than equivalent print emulsions, and slides look great when projected. If you want to shoot slides, I certainly won’t try to stop you. But I suggest waiting until you have some experience with your camera.

10. Not using UV filters

Neglecting to fit a UV filter is a mistake you might not realize you’ve made until it’s too late. Though they do filter UV light (not really a concern with modern films; older film stocks could go a bit blue without one) their real job is to protect your lens in case you drop the camera or hit it against something, which I absolutely guarantee you will do at some point. And yes, this is experience talking – I’ve done it both ways. Most recently, I had a Nikon zoom fall off a shelf and land face-down. The $ 8 filter shattered and the $ 50 lens was unscathed. I could have kissed that filter, except that putting broken glass to your lips is a bad idea.

I’ve heard people argue against protective filters by saying that a shattered filter could scratch the lens surface, but this is rare. I have, however, heard many, many, many stories about photographers bashing their cameras into rocks or walls or furniture or people and having the UV filter save the lens. UV filters cost from $ 5-$ 10 up to $ 100+ (personally I use these Amazon Basics filters) and they’re worth it, protecting you from the consequences of bad spur-of-the-moment decisions.

Photo: Magnus Akselvoll

Articles: Digital Photography Review (dpreview.com)

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Film Fridays: Nikomat FT2 review – because photography isn’t complicated enough

01 May

The Nikomat FT2 is a heavy, overly-complicated, fingernail-destroying film SLR from the 1970s. If you’re wondering why it carries the “Nikomat” name instead of “Nikon,” well, it’s because the latter was reserved for pro bodies, the former for consumer. Yet despite its “consumer” status, the FT2 is easily one of Nikon’s most difficult cameras to use, ever.

Everything from loading the film, to changing the shutter speed, to mounting a lens is needlessly complicated. Still, 35mmc.com’s Aaron Gold found reasons to love this ugly duckling.

Read: Nikomat FT2 review – because photography isn’t complicated enough

Articles: Digital Photography Review (dpreview.com)

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Watch ‘My Friends Were Mountaineers’, a film about photographer Dee Molenaar

30 Apr

Dee Molenaar, an icon in the Pacific Northwest mountaineering community passed away recently at the age of 101. Filmmaker Eric Becker, a long time collaborator of DPReview was lucky enough to spend some time with Dee around his 100th birthday. What resulted was a short film produced by Eric in collaboration with DPReview about Dee’s life, his love of the mountain climbing community and his prolific work as a visual artist.

The film takes a look into Dee’s expansive archive of paintings, hand drawn maps, 8mm film footage and a treasure trove of archival slide photographs. You can watch the final piece above, and read on for a personal account, from Eric, of the background behind the film.

Eric Becker – director

In 2018 I was finishing up my feature documentary Return to Mount Kennedy, which centers around the first ascent in 1965 of a remote mountain in the Yukon – Mount Kennedy – then newly named after assassinated president John F. Kennedy. Climber Jim Whittaker lead the expedition, which included JFK’s brother, Bobby Kennedy.

Dee Molenaar was one of the photographers in the group. I originally connected with his family to track down some of his original images, but in talking to Dee’s son Peter I learned that there was a lot more to his life and work than just that one trip, back in 1965. Peter invited me to come and go through his father’s photos, and it occurred to me that this might make for an interesting short film on its own.

When I arrived at Peter’s house to take a look through his father’s archives, I was shocked. There were just so many boxes of slides, reels of footage, and beautiful paintings that Dee had created during his life. Peter mentioned that Dee’s 100th birthday was coming up in June and that the family was planning to take him to Mt. Rainier to visit his favorite place on earth. At this point, I knew there was a story.

There was a bittersweet element to the trip which gave it an emotional thrust – the unspoken sense that this would probably be Dee’s last opportunity to see the place

Good stories need some key ingredients. First off, there needs to be visual material to work with, which we had in volumes, in the form of Dee’s photographs and paintings. Second, you need strong characters. Peter was totally comfortable being filmed, and the love and admiration he had for his father came through when he spoke. The same was true of his sister Karen, and his brother David.

The third ingredient is action. In this case it was the simple act of taking a 100 year-old man to see his beloved mountain. There was a bittersweet element to the trip which gave it an emotional thrust – the unspoken sense that this would probably be Dee’s last opportunity to see the place.

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During the making of this film we digitized about 40 reels of 8mm film footage and found some absolutely beautiful imagery of the Pacific Northwest in the 1940, 50’s and 60’s. I also read Dee’s autobiography and did as much research as I could to get some background on his life and work. We filmed interviews with the Molenaar family, and we joined Dee on the trip to Mount Rainier.

My favorite moment was when I showed Dee some of his films that we had digitized. He watched them on an iPad for about 45 minutes and was totally tuned in, even talking about some of the people and places.

This was a very archive-heavy project, and the bulk of the editing for this short film happened in early 2019 once we had collected all of the pieces. Editing is both my favorite and least favorite part of the process, but it’s where the magic happens. Whenever young filmmakers ask for advice, I tell them to learn the tools, including editing. The reality is that cameras and computers are so inexpensive and user-friendly these days that the way to distinguish yourself from the crowd is to focus on the craft of it all. And getting good at editing, as anxiety-ridden as the process can be, is one of the easiest ways to advance your craft as a storyteller.

Getting good at editing, as anxiety-ridden as the process can be, is one of the easiest ways to advance your craft as a storyteller

We made the film using the Fujifilm X-H1, some of it handheld shooting internal 4K but mostly paired with an Atomos Shogun, with Senheiser wireless lavs for sound. We have a simple rig that holds everything. Aside from the camera (which changes from shoot to shoot) this is the same basic setup we use for all of the DPReview long-form videos. Everything was shot in 24p, except for some 60p footage that we captured for slow motion. We used the Fujifilm Eterna profile, and I cut the piece in Adobe Premier Pro.

With this video and with all of the other pieces in the long-form series that we’ve shot with DPReview, I hope we’ve succeeded in inspiring people to get out and shoot. I’d like to think that Dee would approve.

Read Dee Molenaar’s obituary at mountaineers.org

Articles: Digital Photography Review (dpreview.com)

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