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A 40-minute video tour through the history of photography
Chemist, educator and photography enthusiast Andrew Szydlo recently gave an excellent video tour through the history of photography for Britain’s Royal Institution. While some of the topics may be well-worn territory for many of our readers, there should still be the opportunity to learn. Of course, if you’re a beginner, it’s a great watch for all 40-plus minutes.

With his own vintage camera collection on display, Szydlo takes us back in time to the first photographs and cameras. To understand how people tried to record their history and the world around them, we must first discuss the concept of the pinhole camera and the camera obscura effect.

Szydlo then discusses the first photographs and cameras, talks about the importance of famed photographer Henri Cartier Bresson, the advent of SLR cameras and talks about different interesting cameras in his collection. The final 10 or so minutes of the video are dedicated to Szydlo demonstrating his chemical expertise by making a photogram.

If you would like to watch Szydlo discuss a specific topic, you can click on the topics from the list below, which are timestamped links in chronological order.
- Introduction
- Pinhole cameras
- The first photograph
- The first cameras
- Henri Cartier Bresson
- SLR cameras
- Other interesting cameras
- Digital cameras
- Demonstrating the chemistry of photograms
The above video is the first part of a two-part series from Andrew Szydlo. Next week, the Royal Institution will publish a video all about the chemistry of photography.

If you’d like to try your own hand at making a photogram at home, which is simply the art of using photosensitive materials to make a photograph without a camera, you can refer to this guide from BBC.

Articles: Digital Photography Review (dpreview.com)
July 26, 2020

Nikon might just have made the best entry-level full-framer

It’s famously such a fine line between stupid and clever. And, for that matter, between a brilliant piece of product planning and a complete head-scratcher. History and sales figures may well prove me wrong, but I personally think that the Nikon Z5 makes perfect sense in a way the Z50 didn’t. And that might make it the most interesting entry-level full frame camera.

I criticized Nikon when it launched the Z50, because I didn’t recognize the Instagram-friendly camera the company claimed to have made. Instead I found a rather good enthusiast-friendly camera in a system with few obvious lens options. The Z5 looks a lot like a full-frame Z50, but the different audience that its higher price implies and the shift in sensor size makes all the difference.

A Z6/Z50 hybrid

Visually the Z5 looks like a Z6/Z50 hybrid, with the conventional mode dial from the Z50 grafted on in place of the Z6’s top-panel LCD. You could describe it as a full-frame Z50 or a slightly simplified Z6 and you’d still be right.

It uses an older, front-side illuminated CMOS sensor, which is likely to mean it doesn’t quite match its big brother in terms of image quality but the differences are likely to be small, except in very low light.

With its collapsible zoom and mode dial, the Z5 feels like a hybrid of the Z50 and Z6.

The Z5’s viewfinder is the same resolution as the Z6’s and its control layout is essentially the same. Its back panel is reinforced plastic, rather than magnesium alloy, but Nikon says the weather sealing is just as extensive and both the dimensions and weight are all-but identical.

Lenses

Whereas an APS-C sensor leaves Z50 owners with the choice of a couple of variable aperture zooms (and the promise of an 18-140mm in the works), the move to full frame and slightly more lofty ambitions of the Z5 are much better fit for the Z-mount lenses currently available.

To make a broad generalization, I suspect the kinds of photographers (and, according to Nikon, non-photographers) willing to spend $ 1400 on a Z5 will be more likely to want and buy the well-priced, though still pricey, F1.8 primes the company has introduced. And, by dint of being full-frame, the focal lengths of those primes are more likely to be useful on this camera than the Z50.

The most complete entry-level

Even with its more modest video spec the Z5 isn’t out-gunned by its entry-level peers. But you don’t need to look through its higher-res viewfinder for the Z5 to look like the most interesting entry-level full-frame mirrorless camera. You get a similar perspective if you look at the other cameras’ backstories.

The Sony a7 II was designed as a mid-range camera, but an aging mid-range camera isn’t necessarily better than a modern entry-level one. The distinction is even more dramatic if you compare the higher-end a7R II (which has dropped to the Z5’s launch price) the a7R II has a very good sensor but a very different shooting experience.

Sony has very much done its product development in the public realm: each model in the a7 series has been significantly better than its predecessor (first by adding stabilization, then by offering a larger battery, better AF and revised ergonomics). This leaves the now six-year-old a7 Mark II looking awkward: it’s a very difficult camera to use as soon as you’ve seen or experienced the improvements introduced with the Mark III, no matter how keenly-priced it is.

So it’s not the automatic bargain that getting a formerly $ 1700 for $ 1000 might appear to be. The areas in which it once excelled are at least matched by its entry-level peers and it hasn’t gained any of the ergonomic or interface improvements that have subsequently been developed. So it’s the only camera here without a touchscreen and it hasn’t got the usability improvements of the Mark III. By contrast, the Z5 includes all the AF improvements that the Z6 has gained in firmware over the past two years.

The Canon EOS RP is a really likable camera and the least-expensive full-frame digital camera yet launched, but Nikon has provided a lot of camera for a launch price just $ 100 higher.

Canon approached things from the other direction with the EOS RP: building what software developers might describe as a minimum viable product: the bare basic specs to deliver a credible camera. The result is actually rather likable: it’s not very fast at shooting, the video’s not great and it uses a sensor that’s never been considered particularly good, but the dials are in the right place, it’s easy to use and it produces attractive images. Only the battery life really detracts from the day-to-day experience.

With the Z5 Nikon has clearly started with the Z6 (originally a $ 2000 camera) and found a way to to offer it with a launch price 1/3rd lower. You even get the twin card slots that internet commenters suddenly decided were essential when Canon and Nikon didn’t include them on their mid-priced models (an argument that feels more convincing when it comes to the higher-end Z7).

So it’s not the full-frame Digital Rebel that Canon made, nor is it the tired-looking ex-middleweight champ that Sony offers. It’s not even comparable to the Z50, with its odd mixture of enthusiast-friendly experience and mass-market zooms. Instead the Z5 is a more affordable way to get most of a Z6, and it includes a great many of the improvements that Nikon has made on its Z-mount journey so far.

Now I just really hope it tests and shoots as well as it handles.

Articles: Digital Photography Review (dpreview.com)

July 25, 2020

The GF 30mm F3.5 R WR? sample gallery (DPReview TV)

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How does the Fujifilm GF 30mm F3.5 stack up to other lenses for Fujifilm’s medium format system? In this gallery from DPReview TV we feautres samples that assess sharpness, bokeh, flare and more.

Articles: Digital Photography Review (dpreview.com)

July 25, 2020
6 Portrait Lighting Patterns Every Photographer Should Know
The post 6 Portrait Lighting Patterns Every Photographer Should Know appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

In classical portraiture there are several things you need to control and think about to make a flattering portrait of your subjects, including: lighting ratio, lighting pattern, facial view, and angle of view. I suggest you get to know these basics inside out, and as with most things, then you can break the rules. But if you can nail this one thing you’ll be well on your way to great people photos. In this article we’re going to look at lighting pattern: what is it, why it’s important, and how to use it. Perhaps in another future article, if you enjoy this one, I’ll talk about the other aspects of good portraiture.

Lighting pattern I’d define as, how light and shadow play across the face to create different shapes. What shape is the shadow on the face, in simple terms. There are four common portrait lighting patterns, they are:
- Split lighting
- Loop lighting
- Rembrandt lighting
- Butterfly lighting
There are also Broad and Short lighting which are more of a style, and can be used with most of the patterns above. Let’s look at each of them individually.

1. Split Lighting

Split lighting is exactly as the name implies – it splits the face exactly into equal halves with one side being in the light, and the other in shadow. It is often used to create dramatic images for things such as a portrait of a musician or an artist. Split lighting tends to be a more masculine pattern and as such is usually more appropriate or applicable on men than it is for women. Keep in mind however, there are no hard and fast rules, so I suggest you use the information I provide here as a starting point or guideline. Until you learn this and can do it in your sleep, default to the guideline whenever you’re not sure.

To achieve split lighting simply put the light source 90 degrees to the left or right of the subject, and possibly even slightly behind their head. Where you place the light in relation to the subject will depend on the person’s face. Watch how the light falls on them and adjust accordingly. In true split lighting, the eye on the shadow side of the face does pick up light in the eye only. If by rotating their face a bit more light falls on their cheek, it’s possible their face just isn’t ideal for split lighting.

NOTE: any lighting pattern can be created on any facial view (frontal view showing both ears, or ¾ face, or even profile). Just keep in mind that your light source must follow the face to maintain the lighting pattern. If they turn their head the pattern will change. So you can use that to your advantage to easily adjust the patten just by them rotating their head a little.

What the heck is a “catchlight”?

Notice in this photo above that the baby’s eyes have a reflection of the actual light source in them. It shows up as a little white spot, but if we look closer we can actually see the shape of the light I used in this portrait.

See how the bright spot is actually hexagon with a dark centre? That’s the light I used which was a small hexagon shaped soft box on my Canon speedlight.

This is what is known as the “catchlight”. Without the eye of the subject catching this light, the eyes will appear dark, dead and lifeless. You need to ensure that at least one eye has a catchlight to give the subject life. Notice it also lightens the iris and brightens the eye overall. This also adds to the feeling of life and gives them a sparkle.

2. Loop Lighting

Loop lighting is made by creating a small shadow of the subjects noses on their cheeks. To create loop lighting, the light source must be slightly higher than eye level and about 30-45 degrees from the camera (depends on the person, you have to learn how to read people’s faces).

Look at this image to see where the shadows fall, and on their left sides you can see a small shadow of their noses. In loop lighting the shadow of the nose and that of the cheek do NOT touch. Keep the shadow small and slightly downward pointing, but be aware of having your light source too high which will create odd shadows and cause loss of the catchlights. Loop light is probably the most common or popular lighting pattern as it is easy to create and flatters most people.

In this diagram the black backdrop represents the bank of trees behind them. The sun is coming over the trees but they are completely in the shade. A white reflector is used at camera left to bounce light back into the subjects’ faces. The reflector may or may not be in the sun but you can still pick up light even if it’s not. Just play with the angles, by changing the placement of the reflector you can change the lighting pattern. For Loop lighting it will need to be somewhere around 30-45 degrees from the camera. It also needs to be slightly above their eye level so the shadow or loop of their nose angles down towards the corner of the mouth. That is one mistake I often see beginners make with reflectors is to place them down low and angle it up. That lights up the bottom of your subject’s nose and does not create a flattering pattern.

3. Rembrandt Lighting

Rembrandt lighting is so named because the Rembrandt the painter often used this pattern of light in his paintings, as you can see in his self portrait here. Rembrandt lighting is identified by the triangle of light on the cheek. Unlike loop lighting where the shadow of the nose and cheek do not touch, in Rembrandt lighting they do meet which, creates that trapped little triangle of light in the middle. To create proper Rembrandt lighting make sure the eye on the shadow side of the face has light in it and has a catch light, otherwise the eye will be “dead” and not have a nice sparkle. Rembrandt lighting is more dramatic, so like split lighting it creates more mood and a darker feel to your image. Use it appropriately.

To create Rembrandt lighting the subject must turn slightly away from the light. The light must be above the top of their head so that the shadow from their nose falls down towards the cheek. Not every person’s face is ideal for creating Rembrandt lighting. If they have high or prominent cheek bones it will probably work. If they have a small nose or flat bridge of the nose, it may be difficult to achieve. Again, keep in mind you don’t have to make exactly this pattern or another, just so long as the person is flattered, and the mood you want is created – then the lighting is working. If you are using window light and the window goes down to the floor, you may have to block off the bottom portion with a gobo or card, to achieve this type of lighting.

4. Butterfly Lighting

Butterfly lighting is aptly named for the butterfly shaped shadow that is created under the nose by placing the main light source above and directly behind the camera. The photographer is basically shooting underneath the light source for this pattern. It is most often used for glamour style shots and to create shadows under the cheeks and chin. It is also flattering for older subjects as it emphasizes wrinkles less than side lighting.

Butterfly lighting is created by having the light source directly behind the camera and slightly above eye or head level of the subject (depends on the person). It is sometimes supplemented by placing a reflector directly under their chin, with the subject themselves even holding it! This pattern flatters subjects with defined or prominent cheek bones and a slim face. Someone with a round, wide face would look better with loop or even split to slim their face. This pattern is tougher to create using windowlight or a reflector alone. Often a harder light source like the sun or a flash is needed to produce the more defined shadow under the nose.

5. Broad Lighting

Broad lighting is not so much a particular pattern, but a style of lighting. Any of the following patterns of light can be either broad or short: loop, Rembrandt, split.

Broad lighting is when the subject’s face is slightly turned away from centre, and the side of the face which is toward the camera (is broader) is in the light. This produces a larger area of light on the face, and a shadow side which appears smaller. Broad lighting is sometimes used for “high key” portraits. This type of lighting makes a person’s face look broader or wider (hence the name) and can be used on someone with a very slim face to widen it. Most people however want to look slimmer, not wider so this type of lighting would not be appropriate for someone who is heavier or round faced.

To create broad lighting the face is turned away from the light source. Notice how the side of the face that is towards the camera has the most light on it and the shadows are falling on the far side of the face, furthest from the camera. Simply put broad lighting illuminates the largest part of the face showing.

6. Short Lighting

Short lighting is the opposite of broad lighting. As you can see by the example here, short lighting puts the side turned towards the camera (that which appears larger) in more shadow. It is often used for low key, or darker portraits. It puts more of the face in shadow, is more sculpting, add 3D qualities, and is slimming and flattering for most people.

In short lighting, the face is turned towards the light source this time. Notice how the part of the face that is turned away from the camera has the most light on it and the shadows are falling on the near side of the face, closet to the camera. Simply put short lighting has shadows on the largest part of the face showing.

Putting it all together

Once you learn how to recognize and create each of the different lighting patterns you can then start to learn how and when to apply them. By studying your subject’s face you will learn which lighting pattern will be best for them, and for the type of portrait and mood desired. Someone with a very round face that wants to appear slimmer in a grad portrait, will be lit very differently than someone that wants a promo shot for their band that makes them appear mean or angry. Once you know all the patterns, how to recognize and master quality of light, direction of light and ratio (we’ll discuss that in a future article) then you will be well equipped to handle the challenge.

Of course it is much easier to change the lighting pattern if you can move the light source. However if the main light source is the sun, or a window – it’s a bit tougher to do that. So what you will need to do instead of moving the light, is to have the subject rotate in respect to the light to change the direction it falls on them. Or change your camera position. Or change their position. So basically move the things you can move in relation to the light, if you cannot move the light source itself.

Practice Exercise

Corral yourself a subject (as in a real live person, not your dog) and practice creating each of the lighting patterns we just discussed including:
- butterfly lighting
- loop lighting
- Rembrandt lighting
- split lighting
Remember to show both broad lighting and short lighting – for each of the different patterns, where applicable. Don’t worry about any other aspect (ratio, fill light, etc) for now, just concentrate getting the patterns down pat first. Use light from a window, a floor lamp with a bare bulb (take the shade off) or the sun – but try and use a light source that you can see what’s happening (I’d suggest that you do not try using flash until you’ve got more experience, it’s harder to learn with because you can’t see it until after the photo is taken) This also works best to start out with the subject facing the camera directly, no turning except to create the broad and short.

Show us your results please and share any challenges or problems you encountered. I’ll try and help you solve them so you and others can learn from it, and get better for next time.

If you’re on Pinterest – here’s a graphic to save this tutorial.

The post 6 Portrait Lighting Patterns Every Photographer Should Know appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

Digital Photography School
July 25, 2020
DPReview TV: Fujifilm GF 30mm F3.5 review
The GF 30mm F3.5 R WR is a wide angle prime lens for Fujifilm’s medium format GFX system, with a focal length equivalent to 24mm on full frame. It offers impressive sharpness, but not without a few compromises. Watch our review to learn more.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
- Intro
- Sample photos
- Size and design
- Chromatic aberration
- Minimum focus
- Flare control
- Autofocus speed
- More sample images!
- Bokeh
- Sharpness
- Who's it for?
Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)
July 25, 2020
Venus Optics is now offering six of its most popular Laowa lenses for L-mount cameras
Venus Optics has announced it’s now offering six of its most popular Laowa lenses for L-mount camera systems. The new lenses feature the same optical designs as their respective DSLR and mirrorless equivalents but are designed specifically for use with Leica CL, Leica SL, Panasonic S1 and Sigma fp cameras.

The six ‘new’ L-mount lenses are as follows:
- Laowa 10-18mm F4.5-5.6
- Laowa 12mm F2.8 Zero-D
- Laowa 15mm F2 Zero-D
- Laowa 15mm F4 Wide Angle Macro
- Laowa 65mm F2.8 2X Ultra-Macro
- Laowa 100mm F2.8 2X Ultra Macro APO
Aside from dimensions and weight, which vary only slightly, the specifications for each of the lenses are the same as the other mirrorless-mount versions of each lens. As a refresher though, Venus Optics has provided the following specification overview chart.

As noted in the above chart, each lens retails for the same price as their other mirrorless mount equivalents. You can find out more about each of the lenses by going to Venus Optics’ website.

Press release
Press Release

Venus Optics add L-mount options on 6 of their Laowa Lenses

Anhui China, Jun 24, 2020 – Venus Optics, the manufacturer specialized in making unique photo and cinema lenses, add the L-mount option on six of their existing Laowa wide angle & macro lenses. These L-mount lenses can currently be used on Panasonic S1 series , Sigma FP and Leica SL/CL cameras.

Wide Angle

Laowa 10-18mm f/4.5-5.6

Laowa 12mm f/2.8 Zero-D

Laowa 15mm f/2 Zero-D

Macro

Laowa 15mm f/4 Wide Angle Macro

Laowa 65mm f/2.8 2X Ultra-Macro

Laowa 100mm f/2.8 2X Ultra Macro APO

Laowa 10-18mm f/4.5-5.6

Laowa 10-18mm is currently the widest rectilinear zoom lens available in the market for full frame cameras. With the small form factor, the lens is extremely handy for landscape and travel photographers. A rear filter slot is designed for using ND filters.

Laowa 12mm f/2.8 Zero-D

Laowa 12mm is the flagship model of Venus Optics and is currently the widest rectilinear f/2.8 lens in the market for full frame cameras. The lens features a close- to-zero distortion as well as a ultra-fast aperture. It is extremely popular among astro and landscape photographers.
Laowa 15mm f/2 Zero-D

Laowa 15mm f/2 Zero-D lens is another flagship model of Venus Optics and it features an extremely fast f/2 aperture. Unlike other wide angle lenses with bulgy front element, the 72mm filter thread is an extremely convenient feature for landscape and astro photographers. The lens is good for both photographers and videographers. Similar to the 12mm f/2.8, this 15mm can also cover the full frame sensor as well as having a close-to-zero distortion.

Laowa 15mm f/4 Wide Angle Macro

Laowa 15mm f/4 lens is currently the widest 1:1 macro lens in the market. The combination of deep depth of field and 1:1 magnification enables photographers to take photos like nobody else. Not only can small subjects appear huge in the photos, its background information (e.g. habitat) can also be visible in the photos. This lens can cover full frame sensor and is equipped with a simple +/- 6mm shift mechanism.

Laowa 65mm f/2.8 2X Ultra-Macro

Laowa 65mm f/2.8 2X Ultra-Macro is a 2:1 macro lens that Venus Optics have designed specially for mirrorless APS-C cameras. The extended macro range is extremely welcomed by macro photographers who was having difficulty in shooting small subjects. The compact and lightweight lens body matches balance with the camera really well.

Laowa 100mm f/2.8 2X Ultra-Macro APO

The award winning 100mm macro lens is one of the flagship macro lens offered by Venus Optics. Apart from the 2:1 magnification, the lens also features an extremely good control of chromatic aberrations control. The lens is able to focus from 2:1 magnification till infinity focus and cover full frame sensor.

Pricing & Availability

The new L-mount lenses are currently available to order in Venus Optics official webstore and their authorized resellers. Pricing is the same as the other available mounts and they vary in different countries. Shipping will start from August onwards.
Articles: Digital Photography Review (dpreview.com)
July 25, 2020
Cinema5D’s real-world experience raises concerns about EOS R6 overheating

Canon has made it known that heating issues place limitations on video recording with its new EOS R5 and R6. However, as Johnnie Behiri of Cinema5D has pointed out in his new ‘First Look’ video, the practical impact is ‘completely different’ than you might expect, from seeing an estimated capture time on paper.

To test out his pre-production EOS R6 camera, Behiri shot a mini-documentary in Japan titled ‘Never Say No.’ While the mini-doc, which is sandwiched inside the ‘First Look’ video, looks fantastic, capturing it wasn’t nearly as great an experience as Behiri was hoping.

A screenshot from the video showing what the camera’s display looks like after the unit overheats.

Behiri starts the video by saying that he had hoped to report back on the in-body image stabilization (IBIS) and autofocus capabilities of the EOS R6, but that those features ended up taking a backseat to the limitations created by overheating while shooting.

‘When you see [the time limitations] on paper and experience it in the field, it’s completely different,’ says Behiri. While he shot most of the mini-doc at 4K/24p, he at times had to resort to shooting footage at 1080/24p so he could get the footage he needed after his EOS R6 unit overheated. He even went so far as having to use fans and bags of ice to cool his camera down.

A still image Behiri shares in the video showing his attempt to cool off the camera using a household fan.

Wrapping up his experience with the pre-production EOS R6, Behiri says ’It’s a tool [and] on one hand it has a lot of useful features and really nice features [but] on the other hand, [those features are] a bit meaningless because you can’t work with the camera and execute what you want.’ He effectively summarizes his experience with the camera saying that ‘instead of controlling the camera […] the camera controls you.’ He says ‘it will overheat badly and you don’t know how long it will be until you can shoot again.’

‘Instead of controlling the camera […] the camera controls you.’

Behiri shared an accompanying blog post on Cinema5D that further dives into his experience with the camera. While he was happy to report that its autofocus ‘worked like a treat’ most of the time and he appreciated the camera’s articulating screen, that’s where the positives end. He notes rolling shutter was ‘horrendous’ during his time filming and ultimately concludes that the camera is ‘not working for [him].’

Even a bag of ice (which we don’t suggest you use on your unit) failed to keep the camera shooting, even at 4K/24p.

While this was a pre-production unit, Behiri notes Canon representatives told him it was ‘almost final.’ He was also shooting pretty much the exact type of assignment you’d expect the EOS R6 to be perfect for and the weather in Japan, although warm at around 82 degrees F, was far from extreme.

Articles: Digital Photography Review (dpreview.com)

July 25, 2020
Weekly Photography Challenge – Patterns

The post Weekly Photography Challenge – Patterns appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s weekly photography challenge – PATTERNS!

Kate Ausburn

Patterns are everywhere – in nature, in everyday objects around the home and yard. They are in cities – in architecture and roadways. They can be color or black and white. They can be taken with your good camera or your smartphone (as mine are).

Play with post-processing too, if you like.

The choice is yours! I look forward to seeing what you share

Check out some of the articles below that give you tips on this week’s challenge.

Photography with food coloring and milk creates some interesting patterns. Photos by Megan Kennedy.

Pattern photographs by Rick Ohnsman

Tips for photographing PATTERNS

How to Use Pattern and Repetition in Photography Effectively

Tips for Photographing Patterns in Nature

How to Turn Your Images into Kaleidoscope Patterns

How to Use Rhythm and Pattern to Create Stronger Compositions

How to Create Kaleidoscope Patterns from Your Photos

Creative Abstract Photography with Food Coloring and Milk

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSpatterns2020 to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Patterns appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

July 25, 2020
Film Fridays: Requiem for all my broken 35mm cameras

Film Fridays: Requiem for all my broken 35mm cameras

Another one of my film cameras has died, and now my drawer of working ones is looking bare, while my junked camera drawer is crammed full. Loss seems to be an inevitable part of the experience of collecting, using and appreciating old analog gems. So what can we learn from this?

For starters, it teaches us to accept the fact that most film cameras, especially those with plastic components, will eventually break beyond repair with frequent use. And so we must avoid paying sky-high prices for something that won’t last (looking at you, Olympus mju-ii). But we can also prepare for inevitable loss: If you own a film camera you love (and the price has yet to inflate too much), snag a couple minty ones and set them aside for posterity. Even if you never use them, they will almost certainly appreciate in value. Likewise, hang on to broken models to harvest for parts.

But perhaps the most important lesson shooting with old analog relics teaches us is to enjoy our time with the cameras we love! Baby them if you must, but not to the point of leaving them at home or in your bag. With that said, what follows is a requiem of sorts for some of my favorite film cameras lost in the line of duty. Some of these served me well, while others didn’t even make it through their first roll. But all of them brought me joy and / or taught me lessons. None were babied.

Above: My sad collection of busted film cameras. The XA (lower left) died this past weekend.

Ricoh GR1

Cause of death: beer festival ‘mishap.’ Maybe still works (info LCD fried)

The year was 2012, I was in my early 20’s and had just moved to New York City and was ready to dream big. At the time I naively thought that by searching long and hard I could track down a bargain on a fully functional Ricoh GR1, the hottest little film compact camera I’d ever laid eyes upon (despite knowing that most have faulty LCDs). These cameras were already fetching too-high an asking price at the time, but I was determined.

Eventually I hunted down a sweet deal on eBay and pulled the trigger on the one you see above. The top LCD worked for the first two weeks then fried out. The seller refunded me some of the cash, and I kept on using it, that is, until one revelrous evening with some friends in Philadelphia, and we’ll leave it at that.

Sweet Ricoh GR1, you taught me to be realistic in my quest for film cameras, to avoid too-good-to-be-true deals and to be wary of overpriced, trending models, especially ones with known faults.

Yashica Electro-35

Cause of death: manual focus jammed shortly after purchasing

Shortly after the GR1 fiasco I became fascinated with rangefinder cameras after spending a little time with a Leica M Monochrome for work. I loved the ability to see subjects before they entered the frame. So I set out to find a budget Leica-like model and ultimately settled on the Yashica Electro-35.

The first two copies I picked up both ended up being duds with various issues. One had completely fried electronics despite the sellers’ insistence it was ‘fully functional.’ I should’ve taken those experiences as a sign that perhaps this wasn’t the model for me and given up, but I was stubborn.

The third Electro-35 appeared fully functional upon its unboxing. I loaded it up with film and shot maybe three frames. On the fourth frame the manual focus locked up completely, never to budge again, despite various lubrication attempts. It’s now a big, lovely looking paperweight.

Dearest Yashica Electro-35, I barely knew you but taught me the valuable lesson to trust my instincts and give up on cameras with too many quality issues.

Leica CL

Cause of death: slipped in rain, smashed to ground, film advance broken

Several years after the Yashica debacle, the urge to once again shoot with a film rangefinder became too much to bare. I spent considerable time doing my research this time around and settled on the Leica CL (Leitz Minolta CL).

I quickly found a solid deal on one that included a mint camera and a Rokkor 40mm F2 for just under $ 500 (circa 2015-ish). I can only guess that the lack of ‘Leica’ branding on the camera helped save me a few bucks. I gobbled the deal up quickly and proceeded to shoot with the combo for several years. Eventually, though, one dips one’s toes in the Leica tide and is swept out to Leica sea: And the time came for me to upgrade my CL to a Leica M6.

But one fall evening I was feeling nostalgic and decided to toss the 40mm back on the CL and take it for a spin. A little later that evening I slipped on wet leaves while walking up a steep incline (damn Seattle hills) and the camera hit the pavement hard, busting the film advance mechanism. Fortunately, the 40mm Rokkor escaped unscathed (they now go for nearly $ 500 on their own in mint condition).

Sweet Leica CL, you taught me to look for camera models listed / sold under their less-obvious names. You also lead me to my Leica M6 and Rokkor 40mm combo, thank you.

Ricoh R1

Cause of death: flash bulb died (I may yet try to fix this one)

Many years after first getting my hands on a Ricoh GR1 I once again became intrigued by Ricoh point-and-shoots while testing one of their modern GR’s for DPReview. After some heavy research I learned the GR1 lineage began with the Ricoh R1, which has a 30mm F3.5 lens and fewer features.

I was able to find one for around $ 100 and was blown away by its sleek design and outstanding results, even if the body felt like it would crack if you pressed the shutter release too hard. I love this style of camera for low light photography, but when the flash died one day, so too did my interest in shooting with it.

Beloved Ricoh R1, you were a real pleasure and maybe someday I will fix you.

Olympus mju-II (Stylus Epic)

Cause of death: Shutter stopped firing ‘out of the blue’ after a hard life

Oh Olympus mju-ii, how can I count the ways I love thee? Once my R1 died I decided it was time to find a film point-and-shoot with a better reputation for reliability. After much reading, the Olympus mju-ii (Stylus Epic) seemed to be the camera for me, with its weather-resistant body and sliding lens cover. I picked up two for a little over $ 100 a piece (haha).

This was in 2015 and the price of these cameras has skyrocketed since. The one shown above died only a few weeks prior to my most recent camera loss. But I will say, in the 5 years I had it, I easily sent 60 rolls through the camera, many of which from the pit of rowdy concerts (not the most gentle conditions). So I think I got my money’s worth with this one.

My cherished mju-ii, you are probably my favorite film point-and-shoot I’ve ever owned. I’m glad I was able to get past your hideous 1990’s-era design to find true love. And I’m even more glad I hard the foresight to tuck away a third minty one before the price got insane.

Olympus XA

Cause of death: Film no longer advances, gear slipping.

Last but not least is my dear Olympus XA, which just died a few days prior to publication while out on a kayak trip. I was photographing some crazy teenagers jumping off a bridge into Lake Washington (if your friends jumped, would you?) when the film advance suddenly locked up and then slipped. I rescued the roll, but the camera will advance film no more.

This loss is still a little too recent and I do not have words for my loved Olympus XA at this time. Please check back later.

The wrap

Losing a camera sucks and it’s easy to get caught up on a particular model, but the world is filled with a seemingly endless buffet of used film cameras, just waiting to be uncovered. And nothing beats stumbling upon one you’ve never heard of and being delighted by its quirks. So the next time one of your cameras goes to the big Yodobashi Camera Store in the sky, I implore you not to replace it with a carbon copy: Use it as an opportunity to try something new.

When my aforementioned Olympus XA died, I used it as a chance to get my hands on a half-frame camera, something I’ve long wanted to try. Now I’m shooting with a Canon demi EE17 and couldn’t be more excited (though I still purchased a minty XA to save for some time far in the future). Ultimately, life is full of fleeting moments. Good times come and go, as do good film cameras. Enjoy them while they’re here and be excited for what’s to come!

Do you have a favorite film camera that died a noble death? We’d love to hear about it, share your story in the comments below.

Above: My latest acquisition, a Canon demi EE17, procured for about $ 100.

Articles: Digital Photography Review (dpreview.com)

July 24, 2020
Nikkei report says Japanese camera manufacturers are in for a ‘shake-up’ following Olympus sale

Nikkei Asian Review Deputy Editor, Masamichi Hoshi, has written an article that outlines a grim picture for the future of the Japanese camera business in the aftermath of Olympus’ recent sale to private equity firm, Japan Industrial Partners (JIP).

The usual suspects are mentioned in Masamichi’s overview: the rise of smartphones and the ongoing COVID-19 pandemic. ‘Japan’s digital camera industry was once considered on par with the country’s auto sector in terms of international competitiveness,’ says Masamichi. ‘But smartphones have driven camera makers to the brink of extinction, and this year the novel coronavirus slammed the already hobbled industry.’

More fundamentally, Masamichi believes the camera industry itself is to blame, as ‘excessive competition’ has created a fast-moving, unsustainable market that will inevitably lead to camera manufacturers paying the ultimate price:

‘Smartphones are not the only reason Japanese camera makers, who had established an oligopoly nearly everywhere around the world, have come to this point. Japanese industry, which has a penchant for competing against its own products, can also blame itself.’

Masamichi references an unsourced quote he says was shared 11 years ago by Hiroshi Hamada, the former Chief Operating Officer of Hoya, who had acquired Pentax around the time of his tenure:

‘Digital camera companies intend to strangle their rivals through excessive competition, but in the end they’ll strangle themselves’

A Canon assembly line Meister (her badge tells us she’s been a Meister for 17 years) works on the front assembly of a telephoto prime lens inside Canon’s Utsunomiya lens factory.

Pricing and shortened product cycles, in particular, are to blame, according to Masamichi. While the near-annual 10% price drops in camera products (roughly a decade ago) and shortened product cycles due to fast-paced technological advancements were beneficial to consumers, Masamichi says it also ‘reduces manufacturers’ investment capacity.’ As a result, the ability to invest in research and development — as well as the ability to stash away savings for dire times — has decreased dramatically. Or, at the very least, started to affect the bottom-line of Japanese camera manufacturers.

Citing Camera and Imaging Products Association (CIPA) figures, Masamichi highlights that 2020 camera sales are on track to be roughly 1/10th what they were back in 2010, when digital camera sales peaked at 121 million units.’

As dire as the numbers are and outlook is, there’s no hope in only dwelling on the negatives of the inevitable. Instead, Masamichi asks ‘where do these iconic brands go from here?’

Lens testing taking place at Panasonic’s Yamagata lens factory.

There is no one-size-fits-all solution, but Masamichi quotes a senior executive at an unnamed investment bank as well as unnamed analysts, who all seem to agree that reform and restructuring is going to be necessary if the Japanese camera industry is to survive:

‘With the market shrinking at such speed, companies are at great risk of falling into a fixed-costs crisis¹. Some analysts believe the entire industry will collapse unless companies undertake major reforms, like splitting design and development from manufacturing, and consolidating production.’

The aforementioned investment banker executive specifically said ‘a camera foundry model is one option,’ suggesting the outsourcing of parts and components to third-party factories could help cut manufacturing costs. This method is currently seen in the imaging sensor side of photography, as multiple manufacturers use Sony sensors in their cameras, but further outsourcing of production could help cut overhead even more.

There is likely to be much change ahead; whether it be acquisitions of smaller manufacturers or outright departures from the market, there could be other casualties beyond Olympus. But, if the transition from film to digital taught us anything, it’s that people will keep on taking pictures, and as long as there are photographers out there still in need of a camera and lens, there will be manufacturers vying for their money.

¹ Fixed costs in this context are the expenses that companies have incurred throughout the ongoing pandemic, which – as sales have slowed around the world – have not been offset by revenue.

Articles: Digital Photography Review (dpreview.com)

July 24, 2020