CamerAgX

February 9, 2017

Stopped down or full aperture metering – why it still matters for users of mirrorless cameras today

For a single lens reflex camera or a lens manufactured after 1975, full aperture vs stopped down metering is a non issue. But it was a key differentiator between 1965 and 1975. And if you’re considering mounting an old lens (manufactured before 1975) on a mirrorless camera, it may still impact you.

On a single lens reflex camera (SLR), the photographer composes the picture on a mat focusing screen, where the image formed in the lens is projected. This layout has all sorts of advantages, but the viewfinder tends to get too dark for focusing when the lens aperture exceeds F/8, and at smaller apertures (F/11, F/16), even composition becomes impossible.

Therefore, the best practice in the 50’s was to open the lens at the widest aperture, focus carefully, and then rotate the aperture ring to stop down the lens at the aperture needed to expose the picture optimally. It worked, but it was slow.  The process was easy to automate, and that’s what aperture pre-selection systems do.

Aperture pre-selection mechanism

Their goal : let the photographer compose and focus at full aperture, and then stop down at the last fraction of a second, when he/she presses the shutter release. Practically, the diaphragm stays wide open, until the shutter release mechanism  (through various cogs, springs and levers) activates a rod in the lens which closes the diaphragm to the aperture pre-selected by the user.

Two implementations

  • manual pre-selection : the lens stays stopped down after the picture has been taken. The pre-selection mechanism has to be re-armed by the photographer if he/she wants to return to full aperture; it’s a slow process (shoot, rearm the shutter, rearm the lens).

    This big lever on this Nikkorex lens has to be pushed down to re-arm the pre-selection system after each shot

    This big lever on this Nikkorex lens has to be pushed down to re-arm the pre-selection system after each shot

  • auto pre-selection: the pre-selection mechanism does not need to be re-armed after each shot. The lens returns automatically to full aperture after each shot (that’s why lenses from the 1960-1975 period are often labeled “Auto”). It’s transparent for the user, who can operate faster and with a better chance of catching the decisive moment.

    M42 Lens mount - this lens is designed for "auto" preselection. It stays at full aperture until the pin is pushed to stop down position.

    M42 Lens mount – this lens is designed for “auto” preselection. It stays at full aperture until the pin is pushed to force the lens to a stop down position.

Through the Lens (TTL) metering

Aperture preselection solved the problem of composing and focusing at slow apertures, but the introduction of CdS cell meters to evaluate the illumination of a scene Through The Lens (TTL) brought a new set of challenges: the camera needed to know how open the diaphragm was going to be when the picture is finally taken. There were two ways to do it:

  • after the photographer had set the aperture, he had to press a dedicated lever to stop down the lens, and only then would the camera evaluate the illumination of the scene. It’s stopped down metering.
    Technically, it’s the quick and dirty answer:  the metering system of the camera does not need to know the value of the aperture pre-selected on the lens. It just measures the light going through the lens when stopped down. The pre-selection lenses don’t need to be modified – they simply work. But it’s cumbersome for the user:

    • it’s a step back – aperture preselection had removed the need for the photographer to stop down the aperture before pressing the shutter release. Now it needs to be done again.
    • the viewfinder is darker during metering (the photographer loses contact with the action, he can’t adjust the focus, and it’s difficult to see needle of the meter) – you cannot compose or focus and adjust the exposure at the same time.
    • it’s a disaster from an ergonomics point of view. Even in the best implementations, the photographer has to maintain the lens stopped down by pressing or lifting a dedicated lever on the camera’s body, while trying to turn the aperture ring or the shutter speed knob to adjust the exposure. You need three hands for this type of gymnastics.

      The Canon FT/QL and the Pentaxx Spotmatic SP both offer Stopped Down Metering. To determine the exposure, the photographer has to push the big switch to the left (Canon) or to lift the switch in the red circle (Pentax) - which is not a very natural movement. You wish you had three hands.

      The Canon FT/QL and the Pentaxx Spotmatic SP both offer Stopped Down Metering. To determine the exposure, the photographer has to push the big switch to the left (Canon) or to lift the switch in the red circle (Pentax) – which is not a very natural movement. You wish you had three hands.

  • full aperture metering is transparent for the user. The diaphragm is stopped down a fraction of a second before the shutter curtains open and the picture is actually taken. The lens stays at full aperture all the time, including during the exposure determination.
    But for full aperture metering to be possible, the lens has to communicate the aperture pre-selected by the user to the metering system in the camera body, so that it can determine the right shutter speed/aperture combination.
    Most vendors chose to add a new dedicated lever inside the lens mount (this solution was chosen by Canon, Minolta, Olympus and Pentax).

    Pentax K mount: Aperture control lever (i); Aperture simulator (ii): Source:pentaxforums.com

    Pentax K mount: Aperture control lever (i);
    Aperture simulator (ii):
    Source:pentaxforums.com

    A few other vendors chose to simply modify the design of the aperture ring of the lens, and use it to transmit the aperture value to the camera’s metering system. At the beginning, Nikon used an external fork (the “rabbit ears”) screwed at the periphery of the aperture ring to communicate the pre-selected aperture to a pin connected to the metering system in the body.

    Before the adoption of Auto-Indexing, Nikon lenses used a metallic fork ("the rabbit ears") to transmit the preselected aperture to the metering system of the camera.

    Before the adoption of Auto-Indexing, Nikon lenses used a metallic fork (“the rabbit ears”) to transmit the preselected aperture to the metering system of the camera.

    Later, Nikon redesigned the aperture ring to add  a small protruding tab at its back, and this tab moved a sensor on the circumference of the body’s lens mount (Nikon Auto Indexing or “AI” lenses). Nikon’s system is similar (in its principle) to Fuji’s implementation of full aperture metering on the m42 universal mount of the ST801 (pictures below).

    Fuji's implementation of full aperture metering on m42: a tab at the periphery of the aperture ring will push a pin on a ring on the body

    Fuji’s implementation of full aperture metering on m42: a tab at the periphery of the aperture ring will push a pin on a ring on the body

Fujica ST 801: Fuji's version of the m42 lens mount has a ring at the periphery - the little pin in the red circle is pushed by the tab protruding from the aperture ring of the lens. That's how the preselected aperture is transmitted.

Fujica ST 801: Fuji’s version of the m42 lens mount has a ring at the periphery – the little pin in the red circle is pushed by the tab protruding from the aperture ring of the lens. Any change to the pre-selected aperture on the lens will set the ring at the periphery of the mount in motion.  That’s how the preselected aperture is transmitted to the camera.

Mounting an old lens on a mirrorless camera

When the photographer is using an old lens through a lens mount adapter, the cameras  needs to work with the lens stopped down (only semi-auto and  aperture priority automatic exposure modes are supported). There are none of the inconveniences associated with stopped down aperture on a reflex camera: on a mirrorless camera, the viewfinder always shows the image as it will be exposed, and if the exposure parameters (aperture, shutter speed and ISO) are correctly set, the image will be perfectly legible in the viewfinder, even if the lens is set a f/11.

But the challenge is to force an old lens to operate stopped down:

  • lenses designed for full aperture operations and stopped down metering (typically the m42 lenses with auto-pre-selection and the Canon FL) have a slider to switch off auto-preselection and operate permanently at stopped down aperture, in a manual mode. When mounted on a mirrorless camera through a lens mount adapter, they need to be switched to “manual”.
     Lenses of the 1965-1975 era often had an auto/manual switch - by default the operated at full aperture but could revert to manual if mounted on an older reflex camera.

    Lenses of the 1965-1975 era often had an auto/manual switch – by default they operated at full aperture but could revert to manual if mounted on an older reflex camera.

    The "manual" mode has to be switched on when used on a mirrorless camera.

    The “manual” mode has to be switched on when used on a mirrorless camera.

  • Nikon lenses  – the diaphragm of the Nikon lenses is opened at full aperture when the camera is mounted on a Nikon camera (the camera side of the mount has a lever which forces the lens open), but is stopped down when the lens is removed from the camera, or  mounted on an adapter deprived of the full aperture lever.  Which is perfect if you’re mounting the lens on a mirrorless camera.
  • Canon FD – when the lens is removed from a Canon camera, the diaphragm command is decoupled (the lens stays at whatever aperture it was pre-set the last time it was on a Canon FD camera). The adapter needs to be designed with a pin that will force the lens to stop down  when mounted on the adaptor.
Lens mount adapter for Canon FL/FD lens - the pin in the red circle pushes a lever on the lens and will force it to stop down.

Lens mount adapter for Canon FL/FD lens – the pin in the red circle pushes a lever on the lens and will force it to stop down.

  • Fuji’s EBC-Fujinon lenses are highly regarded, but the brand’s implementation of full aperture metering on the m42 mount presents two problems for modern mirrorless camera users:
    • most of the lens mount adapters receiving m42 lenses do not leave room for the aperture ring’s protruding tab of Fuji’s lenses. The lenses cannot be fully screwed down on the adapter and as a consequence may not focus to the infinite,
    • Fuji’s lenses don’t have a “manual” position and cannot be forced to operate stopped down on their own (that function was provided by the Fujica camera itself, not by the lens). There are work arounds to both issues, some nice, some ugly, but a lens mount adapter designed specifically for Fujica m42 lenses still has to be developed.

New-York City - Central Park - Fuji XT-1 - Canon 35-105 f/3.5 lens with Fotasy adapter

New-York City – Central Park – Fuji XT-1 – Canon 35-105 f/3.5 lens with Fotasy adapter


February 2, 2017

What camera for the film renaissance (part II): SLRs from 1975-1985: my picks

Film is back. At least if Kodak and Ilford are to be believed.

To my taste, the best single reflex cameras (shooting film) were made in the 1975-1985 decade. Cameras sold earlier were a bit too limited (metering), too big and too quirky, and cameras made later are more autofocus robots. Not that I refuse to benefit from the advances of technology – it’s just that if I want to use the most technologically advanced camera I can afford,  I shoot digital.

The list of my picks is not a catalog. I’m writing about cameras and camera systems I’ve really used – and learned to know over the years on multiple photo shoots. This list does not include any camera from Minolta, Konica, Fujica, Leica, … because I’ve never owned and used the SLRs they were selling between 1975 and 1985.

Canon :

Canon FT/QL and A-1

Canon FT/QL and A-1 – the A-1 is clearly my preferred Canon camera in the FD mount family.

  • FT/FTb: the FT/QL  was launched in the mid 1960’s and the FTb that replaced it was produced until the launch of the AE1 in 1977. Both  suffer from the limitations of a camera from the sixties (they need mercury batteries, they have CdS meters, they’re large and heavy with dim viewfinders). The FT is a stopped-down-metering camera and works with the FL lenses, while the FTb offers full aperture metering with the FD lenses.
  • AE-1/A-1/AT-1, AV-1, AE-1 Program – they were the best selling cameras of their time, they were generally reliable, and there still are tons of them around here. Which one you pick is a matter of taste, they differ primarily by the type of exposure metering system they use. They all share a  textile shutter which must have been cheap to manufacture, but is limited to 1/1000 sec with a flash sync speed of 1/60.
  • They were mass produced and designed to a price point – they don’t exude the same quality feeling as a Nikon FE2 or an Olympus OM-2. Little things like battery doors are fragile. But the metering system can be trusted and they’re pleasant to use.
  • Of all the A series cameras, the Canon A-1 has the strongest personality,. It’s the  most capable, and the one I prefer.

    Canon A-1 - the control wheel (on the top late) and the control wheel lock on the front of the body

    Canon A-1 – the control wheel (on the top late) and the control wheel lock on the front of the body

  • The Canon AV-1 is typical of a time when camera makers believed that spec’d down cameras were easier to use and had a better chance of bringing  amateurs to serious photography. It’s as cheap as it can get, but there are much better options in Canon’s lineup for aspiring photographers.
  • They benefit from a wide selection of good and very good FD lenses,  still available on the second hand market at very affordable prices.

Nikon:

Nikon FE2 and F3 - my pick in the Nikon family

Nikon FE2 and F3 – my picks in the Nikon family

  • Nikkormat FT/FTn/FT2/FT3 – Initially launched in the mid 1960’s – it was regularly updated until the FT3 was replaced by the FM in 1977. It suffers from some of the limitations of a camera from the sixties (size, weight, CdS meters), but always supported full aperture metering, and  the most recent models ( FT2 and FT3) work with silver oxide batteries.
    Nikkormat FT-N

    Nikkormat FT-N

    • All Nikkormat are built like tanks and rock solid. If you can live with the weight (750g body only) and the very unusual position of the commands (shutter speed ring, film speed selector), the FT3 is still perfectly usable as an everyday camera.
    • It’s not necessarily the case for the earlier models (FT and FTn): the process to follow in order to mount a lens on the camera was progressively simplified by Nikon. It is really kludgy on the FT/FTn bodies: you have to follow a bizarre sequence to pair the lens with the metering system of the body – that’s the “indexing”).  With the FT3 and AI lenses, indexing has become transparent.
  • Nikon FM. Brassing on the edges of the top plate cover - no plastic here.

    Nikon FM. Brassing on the edges of the top plate cover – no plastic here.

    Nikon FM – Nikon’s first compact semi-auto exposure camera. Built like a small tank, it was often used as a backup camera by pros shooting in very taxing situations. It’s a modern camera (conventional ergonomics, LEDs in the viewfinder) but the commands are a bit stiff and the viewfinder seems small in comparison to an Olympus OM or even a Canon AE-1. The metal blade shutter is solid, but limited to 1/1000 sec. If you buy now, try and find an FM2. And if did not already own the FE2, I would try and find an FM3A. That being said, if I had to pick one of the cameras I own to bring to an extreme expedition, that would be the FM.

  • Nikon FE : Aperture Priority Automatic. Feels as old as the FM (slow shutter, small viewfinder). I would surely buy the FE2 for a very little more.
  • Nikon F3 : an all time favorite: great ergonomics, incredibly vast viewfinder, smooth commands, good shutter (1/2000 sec). Launched in 1980, it was produced for 21 years in parallel with the F4 and F5 that were supposed to replace it. The flash system is specific to the F3. All in all, a very pleasant camera to use, compact, rock solid, but also really heavy.
  • Nikon FE2 – an evolution of the FE, launched in 1982. It has the same small viewfinder as the FM and the FE. But apart from that it’s a winner: great build quality, great ergonomics, smooth commands,  great shutters (1/4000, sync @1/250), modern flash system. My favorite when I’m visiting a new place or a new country, and need to take a break from digital.

    Nikon FE2 - the titanium honeycomb shutter blades of the early copies (like this one) was replaced later on with aluminum ones (for environmental concerns)

    Nikon FE2 – the titanium honeycomb shutter blades of the early copies (like this one) was replaced later on with aluminum ones (for environmental concerns)

  • Nikon FA – an evolution of the FE2 with an additional shutter priority exposure mode and matrix metering. It’s already too complex in my opinion – the matrix metering is perplexing (you never understand what it’s doing) and because the camera is supposed to know better, there is no memorization of the exposure in auto mode.
    Nikon FA with motor drive - an impressive rig.

    Nikon FA with motor drive – an impressive rig.

    • EM, FG
      – plasticky entry level cameras with limited shutter performance – abundant but not recommended. Buy an FE2 instead.
Nikon FG - More looks than substance

Nikon FG – More looks than substance

  • Nikon FM2 and FM3A – The FM2 is an evolution of the FM with a better shutter, while the FM3A is an evolution of the FE2, with a shutter working in two modes: electronic when the camera is set in aperture priority auto-exposure mode, and purely mechanic (no battery needed) in semi-auto mode. Compact, light and solid – the cameras to bring with you in the most extreme expeditions. The FM2 is somehow affordable, but the FM3A is a recent camera, produced for a short time in relatively limited volumes, and tends to be expensive.

All Nikons benefit from a huge selection and an abundant supply of good lenses, with some form of upwards and downwards compatibility (they’ve been using the same bayonet mount since 1959). Similarly, flash compatibility with current systems is also maintained for most bodies (FE2 and more recent)

Nikon F3 with an autofocus lens bought for a modern digital camera. But it cannot work with the AF-S zoom mounted on the D80.

Nikon often offers some form of compatibility between bodies and lenses from different generations. Nikon F3 works perfectly with an autofocus lens bought for a modern digital camera. But it cannot work with the AF-S zoom mounted on the D80.

The Olympus OM series

When they launched the OM-1, Olympus tried to position it as a camera for reporters, and managed to sell a few copies to leading American newspapers. But at that time, the press photographers did not buy their equipment, they received if for free from the newspaper, and had little incentive to treat their gear carefully. The little Olympus failed the tests, and the press photographers returned to  their Nikons – not as sexy but built like the proverbial tanks. Or so goes the legend.

In any case, if the Olympus cameras were not widely adopted by reporters, they found a following with scientists, researchers or ethnographers, who liked the compactness of the camera bodies and the quality of the lenses.

In the subsequent years, Olympus developed two lines of products – the “one-digit” OM cameras  OM-2, OM-3, OM-4) for the enthusiasts and the professionals, and the “two-digit” OM-10, OM-20 and so on for beginners and amateurs. Let’s focus on the single digit cameras.

Olympus OM-2s and Olympus OM-2n

Olympus OM-2s and Olympus OM-2n. I loved the OM-2s Program until I started shooting with the OM-2n. So simple. A favorite.

  • Olympus OM-1 – it must have made quite an impression in 1971. It is incredibly compact, has a giant viewfinder, a very well thought ergonomics, and feels like a precision instrument. Its shutter is a bit limited today (1/1000 sec) and it requires mercury batteries which are not  available any more.  I would buy an OM-2 instead.

    Olympus OM-1n MD - a very clean copy.

    Olympus OM-1n MD – a very clean copy.

  • OM-2 – same body and general layout as the OM1, but with aperture priority auto-exposure mode and modern silver oxide batteries. It was also the first SLR with a modern TTL flash metering system. It’s a pleasure to use: the commands are precise and smooth, the mirror and the shutter don’t vibrate (I’ve shot at 1/15 sec without a tripod). There is no exposure memorization in auto mode (but it’s easy to switch to semi-auto). Another of my favorites – when I know I’m going to shoot in low light without a tripod- in exhibits and museums for instance, that’s the one I bring with me.
  • Olympus OM2-S Program/OM-3/OM4 – close derivatives of the OM1/OM2 –  with a new body and an improved metering system. Unfortunately this generation of cameras  was plagued by battery drain issues. And because it provides more information at the periphery, and offers a dioptric corrector, the viewfinder gives the impression of being smaller.  The  OM3t/OM4t  addressed the electronics issues of their predecessors, and are sought by fanatics of the zone system because of all the possibilities of the metering system (spot and average metering, exposure for high lights, low lights). Nice tools for passionate photographers.
  • Olympus OM-2000 – the ugly duckling of the family, this semi-auto camera was designed and manufactured by Cosina. It shares the OM lens mount of the family, but has nothing of the grace of a “one-digit” OM. It’s a bit plasticky, the LEDs in the viewfinder are crude, but it offers spot and average metering like its siblings – and it simply works. The ergonomics are conventional, and the metallic vertical shutter is completely different from the  horizontal textile shutter of the other OM bodies (flash sync 1/125, 1/2000 sec).
    Olympus OM-2000 - Apart from the lens mount, not much in common with the OM series

    Olympus OM-2000 – Apart from the lens mount, not much in common with the OM series

    Olympus OM-2000 - the Spot metering selector

    Olympus OM-2000 – the Spot metering selector

    Olympus OM-2000 (top) and Olympus OM-2 - nothing in common (an OM motor drive can not be attached to the OM-2000)

    Olympus OM-2000 (top) and Olympus OM-2 – nothing in common (an OM motor drive cannot be attached to the OM-2000)

  • The Olympus “Zuiko” lenses have a great reputation, but the selection and the second hand availability tend to be narrower than with Canon or Nikon: OM cameras were bought more by amateurs and enthusiasts than by pros, and in smaller numbers.  Olympus used to offer 3 models of lenses for the same focal length, and the slowest f/3.5 lenses are by far the most common. The lenses opening at f/2.8 or f/2  are rare, and very expensive.
  • the slow textile shutter is a limitation to all OM cameras (1/60 flash sync for all models, 1/1000 sec for OM1, OM2 and OM2 SP)

Pentax

Pentax Spotmatic SP with 35mm f/2 lens

Pentax Spotmatic SP with 35mm f/2 lens

  • the original Spotmatic – launched in 1964, received a limited refresh in 1971 and was updated more significantly in 1973 (to become the Spotmatic F, with full aperture metering and a new set of lenses). The Spotmatics form a nice line of cameras (innovative when they were launched, relatively compact and well finished), and they were produced in large quantities. But they’re too old to be considered in this category. They were replaced by the first K bodies (KM, KX, K2) in 1975, when Pentax introduced the K bayonet mount. The KX and K2 had a short life (replaced by the MX and ME in 1977), but the K1000 (a simplified version of the semi-auto KM introduced in 1976) would be manufactured until 1996, and would become the camera most recommended for “learners”.
  • the Pentax MX was my first serious camera,  a long time ago. It was a very compact and modern semi-auto camera in its heyday – with a nice and robust metal casing. Its closest competitor (technically) was the Nikon FM (but at that time Nikon cameras were more expensive than anything but a Leica, and I could not afford it). I kept the MX for fifteen years,  but the camera was not that reliable now that I think about it: I had issues with the frame counter, the timer, and a faulty stabilization circuit in the metering system that could not be fixed sealed its fate. I liked the lenses, though (the 35-70 zoom was very good).
  • the ME, ME Super were even more compact than the MX, offered aperture priority exposure but were not as enthusiast friendly as the MX. There was no speed knob but touch buttons to change the shutter speed, and no depth of field preview. The Super A/Super A Program were probably the most enthusiast friendly of that generation – but I never used them and can’t comment.
  • There is a good lens selection under the Pentax brand. Prices tended to be moderate when they were new, and it’s still the case today. Pentax tried to impose their K bayonet  as the new “universal” mount. They did not completely succeed, but many second tier vendors adopted the K-mount (Cosina, Ricoh, Vivitar and the usual distributor labels) and third party good quality lenses are abundant and affordable.
  • I did not mention brands like Contax, Fujica, Leica  or Minolta. Not that I don’t like their cameras, but I’ve never really used the manual focus SLRs they were manufacturing in those years.

More information about cameras of the 1975-1985 era

There is an abundance of Web sites, blogs and forums dedicated to film cameras of the 1975-1985 era. They tend to come and go.

A very good source of information on Nikon, Olympus and Canon cameras has been around for years: Photography in Malaysia (MIR)


Piedmont Park - November 2016 - Canon A-1 - Canon FD 35-105

Atlanta – Piedmont Park – November 2016 – Canon A-1 – Canon FD 35-105

January 29, 2017

What camera should I pick for the film renaissance? (Part I)

Film photography is enjoying a renaissance.

ektachromeThe most recent sign? At CES, earlier this month,  Eastman-Kodak announced they would re-launch Ektachrome film at the end of 2017, and their head of marketing even said they were considering manufacturing Kodachrome again (I have my doubts on this one, but it’s great news if it ever happens….).

So it looks like we’re going to have film. What about cameras?

There is (almost) no new film camera produced, and the second hand market is the only option for people who are new to film.

What matters in the perspective of contemporaneous use of old film cameras?

  • the lens selection (availability, affordability, quality),
  • the reliability,
  • the quality of the shutter (consistency, fastest speed) and of the metering system,
  • the availability and the cost of batteries,
  • and most important, the pleasure to use the camera.

You don’t use film for the immediacy or because of its cost effectiveness – you would use a digital camera or a smartphone if that was what you were looking for. You don’t use film if you want to be absolutely sure you’ve shot the picture you had visualized in your mind. The real-time trial and error process of digital (shoot, check the picture on the rear display, adjust a parameter, repeat until you get what you want) does not work with film. You have to think, proceed carefully, and you won’t know if “you nailed it” until you receive your processed rolls a few days later.

You shoot with film because it’s a different, slower, more deliberate experience. And using a nice camera you love, that works in unison with your mind and your eyes, is part of the pleasure.

Interestingly, you can now afford cameras that only the wealthiest among us would have dreamt of  when they were new. The hierarchy of the prices of the cameras on the second hand market has relatively little to do with the sticker they wore in stores 40 years ago.

Nikon F3 in CF-22 case

Nikon F3 – a very expensive pro camera when new, very affordable now

Today, the market of film cameras is to a large extend a collector’s market. It’s a paradox, but surviving copies of models which sold poorly – or did not withstand the test of time gracefully – are more difficult to find, and therefore tend to be more expensive than copies of the more common and reliable models of the major league Japanese manufacturers.  That’s very good news if you buy a camera  to use it, and not primarily as a collector item.

With even the most high end cameras of the Big Four (Canon, Nikon, Minolta, Pentax) now selling in the $150 to $200 range, the spread of prices for cameras in working order is relatively narrow, and there is no good reason to buy an plasticky spec’d  down entry level model at $50 or $75 when you can get a really great camera for $50 more.

The Big Four (and particularly Canon and Nikon) also have an advantage when it comes to the lens selection. If what you find on eBay is any indication, amateurs in the seventies bought their cameras with the standard 50mm lens, and sometimes bought a 135mm tele or a 70-200 zoom to extend their reach. Trans-standard zoom lenses (35-70) were not widely used. Only a few enthusiasts bought wider angle lenses (35mm or 28mm – and generally from independent manufacturers). And only pros bought ultra wide angle lenses.

As a result, and paradoxically, 24mm or 28mm lenses from Nikon or Canon (the brands of pros at that time) are more abundant (and significantly cheaper) than equivalent models from brands which were not bought in large quantities by pros and enthusiasts (Fujica, and to a lesser extent Olympus are a good examples).  Another reason to buy a camera from the so-called Big Four.

When it comes to film SLRs, there are three generations to consider:

pre-1975 :  with or without a photo-cell, cameras of this generation tend to have a limited usability.

  • they are large, heavy and loud, and their ergonomics are sometimes bizarre.The metering system, when it exists, is using CdS photo cells and mercury batteries – CdS cells did not age well, and not all cameras accept the current silver oxide or zinc-air batteries as substitutes to mercury batteries.
  • Those cameras are 40 to 50 years old. Their textile shutters are fragile and the springs and cogs that keep everything in motion have passed their prime. Some brands may be better than others at building cameras  that resist the test of time (Nikon?), but generally speaking, cameras of this age are more curiosity items or collectors than tools for everyday use.
  • Most of them (Nikon again is the exception) use lens mounts which have been abandoned a long time ago. The lenses you will buy for those cameras will be dedicated: the ability to mount them on modern dSLRs is next to zero.

They could be bought in 1971 - Canon FT/QL, Olympus OM1, Nikkormat. The OM-1 is so small.
They could be bought in 1971 – Canon FT/QL, Olympus OM1, Nikkormat.  The OM-1 is so small and modern compared to the other two.

1975-1985: manual focus, semi auto or simple auto exposure, with average weighted metering and conventional ergonomics (aperture ring, shutter speed knobs). Still built  primarily in metal. In my opinion it’s the golden age of film SLR cameras:

Nikon FE2 - Canon A-1 - the cameras of the enthusiasts in the late seventies-early eighties

Nikon FE2 – Canon A-1 – the cameras of the enthusiasts in the late seventies-early eighties

  • They are simple, comparatively small and relatively silent
  • They provide some assistance to the photographer (semi auto or simple auto exposure, average metering) but not too much: you still  understand what the camera is doing, and why, and you can still easily over rule the automatism.
  • abundant selection of lenses, generally cheap – Some lenses are even compatible  with modern dSLRs cameras of the same brand or with mirrorless ILCs through adapters.
  • On the downside, cameras from this generation saw the introduction of more electronics, and the initial implementations were not always reliable. Cameras with faulty electronics are not repairable. Test before you buy, or buy from a seller who has tested the camera with batteries.
Canon A-1 and Nikon FE2 - Control Wheel vs conventional ergonomics

Canon A-1 and Nikon FE2 – Exposure Mode Selector and Control Wheel on the left vs conventional ergonomics on the right.

1985-2000: autofocus, auto-exposure, electronic cameras with matrix metering, with  ergonomics relying on LCD displays and control wheels.

Minolta A Mount on a 700si body (1993)

Minolta 700si body (1993) – a good autofocus camera. The photographer is in control.

  • they generally use a bayonet of the same family as the one of their current digital equivalents. They use lenses that present some form of inter-compatibility with current digital cameras (100% compatibility with Canon, whose EOS mount did not change at all, compatibility with caveats for the other major vendors).
  • Because of all the assistance mechanisms they have (autofocus, matrix metering, auto exposure programs reacting automatically to the movement of the subject to select an appropriate shutter speed), the rate of good pictures is going to be higher than with cameras of older generations.
  • Reliability of those complex electronic beasts should not be too much of a concern – it either works, or not at all.
  • On the downside, cameras from this generation tend to be fairly large and loud, they are battery hogs (and they use expensive disposable Lithium batteries), and they automate the picture taking process so much that some photographers may feel they’re not in control. And while some cameras of that generation are nice pieces of industrial design, they’re all made of plastic. Not to everybody’s taste.

To be continued: Part II – my picks for the cameras of the 1975-1985 period.


Paris, Place de l'Hotel de Ville (City Hall) - Nikon F3 - 24mm Nikkor AF

Paris, Place de l’Hotel de Ville (City Hall) – Nikon F3 – 24mm Nikkor AF

 

January 22, 2017

How much did SLR cameras cost in 1985?

1985 is an interesting year, a turning point for the market of single lens reflex cameras: Minolta launched the first technically and commercially  successful auto-focus SLR, the Maxxum 7000. In a few years, manual focus SLRs would be relegated to the status of entry level models manufactured by subcontractors such as Cosina. Brands like Olympus or Contax would fail to impose their autofocus cameras on the marketplace and would become largely irrelevant, while vendors like Fuji would not even try to launch an autofocus line of bodies and lenses, and would leave the market altogether.

Old issues of Popular Photography have been scanned and indexed by Google, editorial content and ads. I compiled the table below from Adorama’s and Cambridge Photo’s ads.

Price of Cameras - 1985

Price of Cameras – 1985

A few interesting points….

Minolta Maxxum 7000 - source Wikipedia

Minolta Maxxum 7000 – source Wikipedia

  • the models most popular with enthusiasts  (Canon AE-1P and Minolta X-700) were in the $150 price range (body only).
  • Beginners could buy “a learner’s cameras” – with semi-auto-exposure – or a spec’d down aperture priority automatic cameras for less than $100.00.
  • Very few models were competing in the $300 price bracket: serious or wealthy enthusiasts and pros could buy the Nikon FA, splurge on an OM-4, or spend even more on modular cameras with interchangeable viewfinders  (like the Nikon F3, the Canon F1 or the Pentax LX).

The Minolta Maxxum 7000, priced at $300 (when you could find it), completely changed the equilibrium of the market. Targeted at the enthusiast photographer crowd (there was a more expensive Maxxum 9000 for the aspiring pros), it moved the average price of a camera a few notches upwards.

In a few years, the major vendors had converted their product line to autofocus, and relegated what was left of their manual focus SLR lines to the status of  low margin items targeted at impecunious customers. Minolta and Pentax moved the production line of their  manual focus SLRs to China, while Canon, Nikon and Olympus  commissioned companies  like Cosina to design and manufacture entry level manual focus cameras for them (Canon T60, Nikon FM10 and Olympus OM-2000 respectively).

On a side note, the Maxxum product line was so successful that Minolta leapfrogged Canon to become the #1 vendor on the market. It took Canon a few years (and the EOS series) to take their crown back.


Charleston, SC - Shot in 2009 - Nikon FM - Kodak CN400

Charleston, SC – Shot in 2009 – Nikon FM – Kodak CN400

January 21, 2017

The AV-1: probably Canon’s cheapest entry in the Canon FD lens family

Filed under: Canon cameras, Gear — Tags: , — xtalfu @ 1:51 am

The AV-1 is a variant of the A series developed as an entry level model to compete with the myriad of spec’d down SLRs of lesser brands (Chinon, Cosina, Ricoh, Vivitar and the private label cameras sold by Sears and the like). It was primarily designed for the US market. It’s an aperture priority auto-exposure camera, which is stripped of any ability to control the exposure manually or in semi-automatic mode, or to pre-visualize the depth of field. But it will accept most of the accessories of its bigger A series brothers (winder, flash, …), and of course Canon’s FD lenses.

Canon AV-1 with a Canon 35-105 zoom.

Canon AV-1 with a Canon 35-105 zoom.

Canon AV-1 - the photographer can not select the shutter speed. (no semi-auto mode)

Canon AV-1 – the photographer can not select the shutter speed. (no semi-auto mode)

The shutter speed selected by the camera is indicated by a needle in the viewfinder, and a button on the left side of the camera can be used to adjust the exposure if the subject is backlit. A trained photographer will feel deprived of control on the camera, but in simple situations, it’s good enough.

Most AV-1s I’ve seen have a broken battery door. The one I found is not different. But it does not prevent the camera from operating, and delivering good pictures in the standard situations that an amateur would face.

Because it’s an automatic-only camera, the AV-1 is not a very sought after item, and it can be found for next to nothing – I bought mine as part of a bundle of 4 cameras, for the princely sum of $8.95.

Canon AV-1 - the button on the top plate is the battery check. The button on the side of the reflex chamber is for exposure compensation

Canon AV-1 – the button on the top plate is the battery check. The button on the side of the reflex chamber is for exposure compensation

Canon AV-1 - The battery door is broken, but it does not prevent the camera from working.

Canon AV-1 – The lock on the battery door is broken, but it does not prevent the camera from working.

Canon FD Lenses

The Canon FD lenses are abundant and, because they could not be mounted on modern Canon autofocus bodies, they remained cheap.   With the advent of full frame mirrorless system cameras (the Sony A7 family), it became easy to use an FD lens on a modern camera, and the most sought after lenses (mostly the “AL” or “L” fast prime tele objective lenses) are now selling for prices in excess of $1,000. Zoom lenses are not as highly valued, the most expensive ones selling for $500 to $700.

Canon FD Zoom 35-105 f/3.5 (3 rings)

Canon FD Zoom 35-105 f/3.5 (3 rings).

Zoom lenses (even those with a very good reputation when new like the three ring 35-105 F/3.5 I’m using for this blog post) are somehow disappointing today, even when mounted on a old film cameras: they’re large and heavy,  sensitive to flare, and three rings (zoom, focus, aperture) is a lot to play with for photographers used to working with modern autofocus bodies. That being said, this particular zoom is a very beautiful piece of glass.

It was Canon’s  first  35-105 lens. It is a true (or parfocal ) zoom which stays in focus when magnification/focal length is changed, with a constant F/3.5 aperture. The front element of the lens is rather large, and the zoom requires 72mm filters.

It was replaced a few years later by a much more compact lens,  with a sliding aperture (f/3.5-4.5), an aspherical element and a 58mm filter ring. Canon derived an autofocus version of that lens, and it’s the precursor of the consumer grade trans-standard zooms still sold with digital SLRs today.

I  bought my copy of the lens from a Japanese store on eBay. Their description of the articles is sometimes difficult to understand (poor translation in English), but in my experience, Japanese resellers tend to have very nice items at a very reasonable price.

Japanese resellers generally ship with Chronopost. This global service is extremely efficient and works seamlessly with the US Postal Service:  you typically get your purchase delivered to your door step by the USPS in 3 to 4 days.


Deer - Atlanta - Canon AV-1 - 35-105 Zoom.

Deer – Atlanta – Canon AV-1 – 35-105 Zoom.


January 15, 2017

The Canon A-1: there’s no better film camera for Canon’s FD lenses

Filed under: Canon cameras, Gear — Tags: , , , , — xtalfu @ 12:00 am

In 1976, Canon launched the AE-1, an automatic camera with  shutter speed priority automatic exposure. It was a very capable, judiciously priced camera which sold in excess of 1 million units. It was driven by a microprocessor, and Canon took advantage of the flexibility of its architecture to derive rapidly more models – the AT-1 (semi auto) in 1977, the AV-1 (aperture priority automatic in 1978), the AE-1 Program in 1981, and the AL-1 (a camera with an electronic focus assist system) in 1982. The A-1, launched in 1978, was the top of the “A” line, and was the first system camera to combine 3 types of exposure automation modes – shutter priority, aperture priority and program, in the same body.

Canon A-1. Still impressive after all these years.

Canon A-1. Still impressive after all these years.

Until the launch of the A-1 (and of Minolta’s XD-7 at about the same time), an auto-exposure camera only operated in one mode. Minolta, Nikon and Pentax were in the  “Aperture Priority” camp  (the photographer selects the aperture, the camera sets the shutter speed automatically), while Canon and Konica were defending “shutter priority” (the photographer selects the shutter speed, and the camera sets the aperture automatically). Each camera manufacturer was presenting the solution it had picked as the best, but the truth is that a photographer could have benefited from Aperture Priority one day (if he was shooting landscapes, for instance) and from Shutter Priority another day (when he was shooting sports events, for instance). With the A-1, Canon not only offered Aperture and Shutter Priority modes (which required the user to pick the most appropriate mode and set the aperture or the speed accordingly), but also a program mode, where the camera automatically selected the Aperture and Shutter speed combination, without any intervention from the photographer.

Canon A-1 - battery check, exposure memorization, depth of field preview - buttons, switches and cursors

Canon A-1 – battery check, exposure memorization, depth of field preview – buttons, switches and cursors

Today, most of the “A” series cameras of Canon are still abundant and cheap – they were manufactured in huge quantities, and they have withstood the test of time much better than most of their less reliable competitors. With the exception of the A-1 which has a stronger personality, the cameras of the “A” generation are rather unremarkable. They’re not big  (but not as small as the Olympus OM cameras), their build quality is good, but not exceptional (compared to a Nikon FM or FE of the same vintage, they feel plasticky), the view finder is large and luminous enough – but … not exceptional (you guessed it right). They need a battery to work, but the battery is an easy to find a 6v alcaline or silver oxyde battery. They’re easy to use, and in the hands of a moderately competent photographer, will produce good pictures.

The A-1 is a bit different. It was designed as Canon’s top of the line, and it was intimidating when it was launched (there had never been so many buttons and switches and cursors on a camera). But the controls were very logically implemented and the learning curve must have been short. Canon’s implementation of the controls for the three automatic exposure modes was very clever and was a decisive step towards the modern ergonomics (control wheel and LCD) of the Canon T90 and its EOS successors.

In order to operate in auto-exposure mode, first set the lens’ aperture ring  to “A”. Then move the mode switch to “Av” (Aperture priority) and select the aperture with the control wheel, or set the mode switch to “Tv” (Shutter priority), and use the control wheel to select the shutter speed (from 30 sec to 1/1000 sec.). The Program Mode is accessible from the “Tv” position – there is no dedicated position of the mode switch for the Program Mode.

Canon’s implementation of the multi-mode auto exposure is more user friendly that Nikon’s. When they launched the FA (5 years after the A-1), Nikon kept the conventional shutter speed knob next to the mode selector. In the picture above, the camera is set in Aperture Priority Mode (the photographer selects the aperture and the camera picks the shutter speed, that could be anything from a few seconds to 1/4000 second), but the shutter speed knob still shows 1/250, which can be  misleading.

Today, the A-1 is still a very good tool. It offers all sorts of controls (exposure memorization, depth of field preview, multiple exposure of the same frame) and its only limitation is its shutter. Film is now significantly faster than in 1978 (200 or 400 ISO is the new normal), and a shutter with a fastest speed of  1/1000 can be a limitation.

The “T” models that followed were ugly plastic bricks controlled by push buttons – with the exception of the T90 which is a beautiful precursor of the EOS models, but suffers from reliability issues (a condenser has to be changed every 10 years).

In my opinion, the A-1 is the last great camera using FD lenses that can still be used today. It is not a beautiful piece of classical photographic machinery like a Canon F-1, but it’s a solid and very capable tool, that a photographer trained on modern “control wheel” SLRs will learn how to use easily.

Canon A-1. The control wheel is used to change the lens aperture or the shutter speed in auto mode

Canon A-1. The control wheel is used to change the lens aperture or the shutter speed in auto mode

Canon A-1. The mode switch is in the

Canon A-1. The mode switch is in the “Av” position – the photographer can only pick the aperture and that’s what’s displayed on the mode dial.

Canon A-1 - Shutter Priority Mode and Program Mode. The photographer can not pick the aperture, so the aperture dial is hidden and only the shutter speed values are shown.

Canon A-1 – Shutter Priority Mode and Program Mode. The photographer can not pick the aperture, so the aperture dial is hidden and only the shutter speed values are shown.

Nikon FA detail of the shutter speed knob and PSAM selector

On the Nikon FA, the value displayed on the shutter speed will not necessarily be used to take the picture. The camera is set in “A” (aperture priority) mode and the shutter speed will be determined by the electronics of the camera.


What were the competitors doing when Canon was launching the AE-1 and the A-1?

The Nikon cameras of 1978 were conventional semi auto and aperture-priority auto exposure cameras.

  • Nikon was selling three models, the F2, FM and FE, with AI lenses.
  • The AI bayonet mount could not have supported Shutter Priority and Program modes. A new variant of the Nikon F mount, the AI-S,  was  launched in parallel with the FG and FA, the multi-auto cameras of 1983.

In 1978, Pentax was selling the ME/MX cameras with the K mount (not capable of supporting Shutter Priority and Program modes).

  • The bayonet mount was revised in 1983 to become the  KA for the launch of the Pentax Super A.
  • The Super-A was Pentax’s only manual focus reflex camera supporting the same 3 auto-exposure modes as the Canon A-1.

In 1978 Minolta was selling the XD-7 and its derivatives (dual auto, but no Program mode) in addition to a line of Aperture Priority cameras.

  • Minolta’s MD lenses  (launched in 1977) benefited from an updated version of the SR mount and could support cameras with Shutter Priority auto-exposure in addition to the Aperture Priority mode that the MC lenses already supported
  • The first Minolta SLR to offer also a Program Mode was the X-700 in 1981.
  • Interestingly none of those newer generation “X” models offered the 3 auto-exposure modes of the A-1: the shutter priority mode was missing.

With its 3 auto-exposure modes, the Canon A-1 was definitely unique among the system cameras of the Big 4.

Midtown Atlanta from Piedmont Park - Canon A-1 - 35-105 Zoom -

Midtown Atlanta from Piedmont Park – Canon A-1 – 35-105 Zoom – My father in law is the original owner of the camera. Nice gift. Thank you.

January 12, 2017

A more serious comparison – iPhone 7 Plus vs dSLR

Filed under: Gear, Smart Phones, Sony Cameras — Tags: , , , , , — xtalfu @ 12:23 pm

For three years now, Arstechnica has been comparing images of a same scene taken with a high-end smartphone, and with two good full frame dSLRs. By the way, one of the two cameras they tested was Sony’s A7 II, which is a full frame mirrorless camera, not a dSLR, but we’ll ignore this detail . They just published the latest iteration of their tests:

http://arstechnica.com/gadgets/2016/12/mini-shootout-can-iphone-7s-bag-of-tricks-compete-with-a-real-dslr/

Just a quote: “phones long ago left “good enough” territory; images produced by a modern smartphone like the iPhone 7 Plus or Google Pixel can be flat-out excellent when the images are constructed to play to the smartphones’ strengths.” (Lee Hutchinson)

No wonder the camera maker are now preparing Full Frame or Medium Format digital cameras with 50 MegaPixel sensors. Trying to maximize the advantages of a conventional camera for the situations when the smartphone is not good enough.


Chicago - iPhone 5S

Chicago – iPhone 5S

January 5, 2017

Fuji X-T1 vs Apple iPhone 7 Plus – should we still carry a conventional digital camera with us?

Filed under: Fujifilm Cameras, Smart Phones — Tags: , , — xtalfu @ 10:11 pm

A few weeks ago, I was visiting the Taos (NM) area with friends. One of them – a pretty good photographer – had decided to travel light and had left his full frame DSLR at home. He only had brought his smartphone, a brand new Apple 7 Plus. I had brought my Fujifilm X-T1 with the standard 18-55mm f/2.8-4 lens. Along the day, we took pictures of the same scenes (natural and urban landscape for the most part), and at the end of the day, we compared our photos. Let’s use two pictures taken from the Rio Grange Gorge Bridge, on Route 64, a few miles from Taos, NM, as an example:

Rio Grande from Taos - iPhone 7 Plus

Rio Grande from Taos – iPhone 7 Plus. Photographer: L.C.

Rio Grande from Taos Bridge - Fujifilm X-T1

Rio Grande from Taos Bridge – Fujifilm X-T1

To our surprise, the pictures were virtually indistinguishable when displayed on a smartphone, an iPad Pro or a laptop screen. We did not expect the resolution to be differentiator (at 12 Megapixel, an iPhone 7 has more than enough resolution for pictures shared on social networks). The biggest surprise was the dynamic range of the iPhone 7 Plus, which appears to be better than the Fuji’s on a very difficult subject (black rocks, snow, sun reflections on the river).

At the top of that, the iPhone can publish photos in seconds after they’ve been shot (on iCloud or on the major social networks). The Fujifilm is relatively good at this exercise – for a conventional camera. But you still need to bring up WiFi on the camera (it becomes a WiFi access point), launch the Fujifilm app on a smartphone, connect the smartphone to the camera, and upload the selected pictures to the Photo application of the smartphone. Only then you can edit and share your pictures. Definitely not as fast.

Our goal was not to conduct an exhaustive scientific comparison – we were tourists and just shot landscapes under daylight. There are areas where a dedicated digital camera probably still has a marked advantage: action or wildlife photography, low light or night shots, for instance. And a dedicated camera has a viewfinder, and gives to the photographer a much greater ability to control the technical parameters than the Photo app of a smartphone. But the iPhone, now with a second short telephoto lens and a portrait mode simulating the shallow depth of field you would get with a 55mm f/1.2 lens on a dedicated digital camera, is getting closer to what a dedicated camera can do with every new generation.

October 17, 2016

Old lenses on new gear – manual focus lenses on mirrorless cameras

One of the most remarkable changes brought by the advent of mirrorless camera systems (micro 4/3rds, Fujifilm X and to an even larger extent Sony E and FE) is the ability to mount and effectively use almost any old lens designed originally for a 35mm camera system.

With SLR and dSLR camera systems, it was pointless to try and mount lenses designed for another system, and very often, lenses from a

Two mount adapters: Canon FD to Fuji X, and Nikon F to Fuji X. Those Fotasy adapters are not fancy but they're cheap and they do the job.

Two mount adapters: Canon FD to Fuji X, and Nikon F to Fuji X. Those Fotasy adapters are not fancy but they’re cheap and they do the job.

previous generation of the same camera system:

  • SLRs and dSLRs have optical viewfinders – the photographer needs all the light he/she can get for focusing and composing the picture, and the cameras are therefore designed to work at full aperture with aperture pre-selection – which used to require rods and springs and cams, and since the Canon EOS mount opened the way, now requires electronics. There is no simple way to emulate the pre-selection mechanism of one SLR system  with a lens designed for another one.
  • There are also physical limitations:
    • The adaptor designed as the interface between a lens of System A and a camera body of System B is more or less a cylinder with the female part of the mount of System A at one end, and the male part of System B at the other end. Such an adapter would necessarily have a depth of 5 to 15mm, which adds to the flange distance. Unfortunately, all cameras derived from 35mm SLR systems have a very similar flange distance (from 42mm for the Canon FL/FD mount up to 46.5mm for the Nikon F), and there is not enough room for an adapter (the adapted lens would sit too far from the camera’s film plane, and would not focus to infinite).

Mirrorless camera systems don’t have such limitations:

Canon FD to Fuji X (left) and Nikon F to Fuji X (right).

Canon FD to Fuji X (left) and Nikon F to Fuji X (right). The Nikon mount range distance is a bit higher than the FD’s. Therefore the adapter is thicker.

  • They have electronic viewfinders – and offer a clear and bright view of the subject even stopped down at f/16. If fact, most of the mirrorless cameras operate at stopped down aperture even with their native lenses.
  • The flange distance of mirrorless systems is much shorter (17 to 20mm for the most common systems), which leaves plenty of room (almost 30mm ) for the adaptor if you want to mount a lens designed for a SLR or DSLR system.
  • Thanks to their electronic viewfinders, mirrorless systems have multiple ways to assist the operator trying to focus manually (magnifier, zebra, focus peaking).

The use of CAD and CNC is now widespread and it’s easy and cheap to manufacture mechanical mount adapters: users of each of the big mirrorless camera systems have access to adapters for :

  • Most pre-AF era mounts for 35mm systems: (39mm and 42mm, Canon FL/FD, Konica, Nikon F, Minolta MD, Olympus OM, Leica M and R, Topcon, …)
  • Stranger or more exotic mounts (C mount, Holga, medium format cameras)
Canon FD to Fuji X adapter, and Canon FL 55mm

Fuji film X-T1, Canon FD to Fuji X adapter (Fotasy), and Canon FL 55mm. The X-T1 is a pleasure to use even with old lenses.

Even if it’s physically possible, mounting recent AF/all electronics lenses is generally pointless – not only you can’t set the aperture for lack of an aperture ring, but you can’t focus the lens because modern lenses are devoid of any mechanical connection between the focusing ring and the focusing mechanism of the lens. Unless a third party vendor develops an adapter which embarks the complex software required to translate the communication protocols of a lens of Brand A into something the body of Brand B will understand.

As far as I know, it has only been attempted with some level of success between a few lenses with a Canon or Sigma mount and a few Sony bodies (the A7R II or the A6300).

Therefore, the best candidates are lenses from the manual focus era (up to 1985), and the Nikon and Pentax autofocus lenses designed before Year 2000 – they all still have aperture rings.

Even if it is possible, mounting an old manual focus lens on a mirrorless body is not necessarily the best thing to do:

  • in spite of all the focus assistance mechanisms, it’s much slower to get the focus with an adapted vintage lens than with the native autofocus lens – adapted lenses are not a good fit for mobile subjects, unless you adopt old school focusing techniques (pre-focus, wait for subject to be at right distance, and shoot)
  • Older lenses were designed for 35mm film cameras, and are unnecessarily large and heavy when mounted on M4/3rd and APS-C cameras
  • Lots of older lenses were not that good in their heyday, and become really bad if mounted on a camera with a high resolution sensor. It’s true in particular for zooms and to a lesser extent for wide angle lenses.

As a conclusion, why mount old lens on a modern mirrorless body?

  • Because you can (of course)

    Leica Summicron C (40mm f/2) mounted on Sony NEX 3 with Metabones adapter. It worked pretty well.

    Leica Summicron C (40mm f/2) mounted on a Sony NEX 3 with Metabones adapter. The Nex 3 was surprisingly easy to use with a manual lens. The Metabones adapter is really stiff, and it’s one step above the Fotasy in terms of quality. Not sure it’s worth the price, though.

  • If you already have the lens… Considering adapters sell for $20.00, it’s tempting to buy one to use your old lenses, as a stop gap until you buy a modern equivalent in the mirrorless system, or even permanently
    • All macro lenses are a very good fit because macro photography does not require to focus fast, and old macro lenses are still up to the task, when compared to their modern equivalents
  • If you want to experience really exceptional glass
    • Canon FD Aspherical or “L” lenses (50mm f/1.2, 85mm f/1.2) for instance, or some of the gems that Leica, Minolta, Nikon, Pentax and others have produced in the past…
  • If the modern equivalent does not exist…
    • a 55mm f/1.2 lens – it doesn’t exist for the Sony E/FE mount
    • a teleobjective with Defocus Control – only Nikon has them
    • a tilt and shift lens (only Canon and Nikon have them)
  • or exists but is crazy expensive
    • can an amateur afford the new Sony 85 f/1.4 FE GM?

As a result, old lenses of good reputation hold their value extremely well. Some of the  Canon and Nikon lenses I mentioned above sell for more than $700.00 on eBay.

Jules - Fujifilm X-T1 - Canon FL 55mm f/1.2

Jules – Fujifilm X-T1 – Canon FL 55mm f/1.2



 

October 5, 2016

And what about film?

Filed under: Gear — Tags: , , , , — xtalfu @ 11:11 pm

Film as a mass market phenomenon is dead. And will never come back.
Sales of film have stabilized to a level representing between 1 and 2% of the volumes reached at this peak, in the first years of the 21st century.

  • sales of color print film are very low (maybe 0.5% of what they were in Y2000)
    • color print film was a product used primarily by consumers on the mass market
    • those consumers have defected to digital cameras or smartphones and social networking apps

      Demand for photographic film - 1992 -2010

      Demand for photographic film – 1992 -2011

    • mini labs/drugstore labs are all closing. The only option for color film users who don’t dare process and scan film themselves are a few mail to order labs but the whole process is slow and it’s getting increasingly expensive.
    • the low sales have generated double death spiral – low volumes translate into higher prices and into a reduced product choice for the customers, which further reduces the sales volumes.
    • Fujifilm have said publicly that they believed that at some point the infrastructure supporting film (manufacturing plants, labs) would disappear – their estimate is that it will happen in the next 20 to 25 years.
  • B&W film sales are holding much better
    • It was not a mass market before the digital revolution – it was and still is targeting enthusiast photographers with some form of artistic ambition.
    • Minilabs/drugstores generally refused to touch true Black and White film (films like the Kodak Tri-X or the Ilford HP-5), and their disappearance has no impact on the fanatics of B&W film.
    • Compared to color film, B&W film is relatively low tech – easier to produce by small outfits, and  far less intimidating to process.
BMW Concept Car "Gina" - Dream Cars Exhibit. Atlanta (Kodak CN400)

BMW Concept Car “Gina” – Dream Cars Exhibit. Atlanta (Kodak CN400)

Interestingly, B&W film is still attracting younger users, who had never tried film before: 30% of film shooters are younger than 35, according to a survey from Ilford, and  60% of those younger users have started shooting film less than 10 years ago, when a relative or a friend gave them an old film camera. What is more, 49% of the respondents to Ilford’s survey develop and print their images in a darkroom. (source: http://www.ilfordphoto.com)

  • Instant film is experiencing a rebirth. There are many motivations to shoot with instant film cameras – (a good summary by The Wirecutter)  but you can add a few to the list: convenience (you can get your color prints without the hassle of sending a 35mm film roll at the other end of the country),  and authenticity (the picture will remain as it was when it was ejected from the camera, no crop, no HDR, no filter, no artificial bokeh – the unadulterated reality).
Sales of film cameras - 1965 to 2008

Sales of film cameras – 1965 to 2008

A new life for old gear

Nowadays, almost nobody manufactures film cameras anymore.

Leica probably still makes a few hundreds of film cameras every year, Nikon still has an inventory of new F6 cameras available (and they say they can restart the production lines if needed), and  Lomo will be happy to sell you their plastic toy-cameras at a good price – for them. But in the grand scheme of things, the quantities must be negligible because the industry official body stopped counting in 2008.

The film camera market is a used equipment market, where enthusiast photographers rule. The prices on the second hand market are determined by a combination of 3 factors:

  • Scarcity
  • Usability by enthusiast photographers
  • Repairability and expected life span

Scarcity: mass market SLR bodies from the film era were produced by the millions. For each model, there are still tens of thousands in good shape, many more than potential takers,

Usability: Enthusiast photographers tend to prefer cameras that will give them plenty of control – semi-automatic exposure and manual focus cameras rule (if they wanted auto-exposure/autofocus cameras, they would also want the convenience of digital). And semi-auto/manual focus cameras that belong technically to families of products that have successfully transitioned into the digital era have a big advantage: the ability to share lenses, flash cobras and other accessories between film and digital bodies. It makes the bag of the photographer lighter, it reduces the overall spend, and it’s the main reason I bought Nikon film cameras after I had bought into the Nikon digital line of products.

Repairability, expected life span and build integrity: cameras made of aluminum and brass, easy to repair and built to withstand the use by professional photographers will fare better than cameras equipped with fragile electronics mother boards and flimsy plastic components.

Basically, an Olympus OM-10 (mass market, orphan system, automatic with plastics construction and electronics of suspect reliability) will be worth $25.00 at best. At the other end of the scale, a Leica M6 or a few Nikon professional models (F3, FM2, FM-3A, F6) will still command prices in the hundreds if not thousands of $.

Jules-French Bouledogue-Fujifilm X-T1 - Canon FL 55mm f1/2

Jules-French Bouledogue-Fujifilm X-T1 – Canon FL 55mm f1/2


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