Lomo and other Daylight Loading Tanks – how do they compare to a Paterson Tank?

At-home film processing – and at-home black and white film processing in particular, is not that hard. Once the film has been loaded in the developing tank, it’s very simple, and it can be done in full daylight.

The perceived difficulty, the step that scares the beginners, is loading the developing tank.

An overwhelming majority of amateur photographers develop their films in Paterson, Jobo, Arista (or similar) tanks, that can be operated in broad daylight, but must be loaded in the dark. In a dark room, or in a changing bag. Dark room film loading, daylight processing.

*Paterson tank, cartridge opener and charging bag*

Not everybody is comfortable with opening a film cassette and loading the film on the spiral of a reel without seeing anything – it takes a few dry runs and some practice before it becomes second nature.

The idea of daylight film loading, without a dark room or a charging bag, is extremely attractive to beginners, and to old farts like me going back to at-home film processing after a very long interruption. A daylight loading tank system is what is needed.

A few systems are available new (starting with the Lomo Daylight tested in those pages a few months ago), and more defunct products can be found on eBay.

The promise is always the same: you will drop the film cassette in the daylight loading tank, turn a crank to load the film on a reel hidden at the core of the system, and remove the (now empty) film cassette from the tank. At this point, you’ll be ready to go, and the development process will not be different from the routine followed with a conventional Paterson tank.

*The Lomo Daylight : place the film cartridge in the loader and drop the loader in the development tank. Turn the crank to load the film on the spool inside the tank.*

Of course it’s not exactly that simple. For the magic to take place, you need to prepare your film in a very specific way, and after you’re done with processing the film, you need to be able to clean all the parts and reassemble them correctly.

l recently bought a Lomo Daylight Developing tank, and found out even more recently that an Italian company named Ars-Imago had launched its own daylight loading tank a few years before. Ars-Imago’s “Lab-Box” is not a 100% original design- it’s a modern re-interpretation of the Rondinax, a model launched by Agfa in the late nineteen thirties (an Agfa Rondinax was tested by the Casual Photophile five years ago).

As far as I know, the Lomo Daylight and the Lab-Box are the only two daylight-loading/daylight development systems currently manufactured and distributed.

On auction sites, you can sometimes find, and not necessarily for cheap, different versions of the original Agfa Rondinax, as well as many rebrands (the Rondinax was also sold by Leitz, of Leica fame) and a few shameless copies of Soviet origin.

Kodak’s Day-Load Tank was launched approximately at the same time as the Agfa Rondinax. Both the Day-Load and the Rondinax are now very old pieces of equipment (eighty to seventy years old), made of materials that have not necessarily aged well, and with multiple small parts that may have been damaged or lost over the years. Assuming you can find one at a reasonable price (by that, I mean cheaper than the $89.00 of a new Lomo Daylight Tank), I’m not sure I would trust them with my film.

Over the years, Jobo, a direct competitor of Paterson, have tried their luck at making daylight loading tanks multiple times, with models like the Automat 35, and more recently with the Jobo 2400 Daylight Loading tank shown below, which is conceptually close to the Lomo Daylight.

High level, the Jobo 2400 looks like a conventional Paterson or Jobo tank, except that the reel rotates around a rather large black cylinder, which includes the film loading mechanism. It makes for a rather large tank, which will require more chemicals than a conventional tank.

*Jobo 2400 – the film is dropped in the black tube at the center of the reel, and inserted on the reel from the center. From: https://lichtgriff.de/filmentwicklung-bei-tageslicht-jobo-2400/*

Comparing the two daylight loading systems available today

Lomo’s Daylight Developing Tank and Ars-Imago’s Lab-Box were developed with the same goal, but follow a different technical approach.

*The Ars-Imago Lab-Box with its 35mm film loader. The crank and the 120 film loaders cost extra.* From: https://www.ars-imago.com/en/lab-box

The Lomo Daylight Developing Tank was reviewed in those pages recently. The film cartridge is positioned in the film loader, the film loader is dropped at the center of the tank, the operator turns a crank to push the film on the spiral reel hidden inside the tank, and when the film is fully loaded on the reel, the film is separated from the cartridge by a built-in steel cutter and the loader is removed from the tank.

The Lab-Box is clearly inspired by the Agfa Rondinax, but Ars-Imago have improved on the original design in a few ways: contrarily to the original Rondinax, the Lab-Box is modular and can accommodate either one of two film receptacles, one for a 35mm cartridge, and one for 120 roll film. Ars-Image are also selling a replacement lid for their Lab-Box, that integrates an electronic timer and thermometer, to create an all-in-one device.

In innards of the Lab-Box. The film is pulled from the cartridge by a ribbon attached to the axis of the reel. From: https://www.japancamerahunter.com/2019/06/photography-ars-imago-lab-box-monobath-review/

In the Lab-box (as in the original Rondinax), the film leader has to be clipped to a ribbon attached to the center of the reel. When the operator has closed the lid of the box, turning the knob on the side of the Lab-Box will pull the film out of the cassette and load it on the reel.

Lomo and Lab-Box: design – similarities
- They can be loaded and operated in full daylight,
- They’re relatively low-tech – no motor, no battery – they’re operated by a big knob or a small crank.
- Both need the film leader to be accessible – you have to extract it if your camera is motorized and rewinds the film completely in the cartridge.
- They can only process one roll of film at a time.
- They are more difficult to reassemble than a conventional tank after cleaning, which offers a few opportunities to goof-up.
Big differences:
- The “film pull” method of the Lab-Box seems gentler than the Lomo’s “film push” design, where the crank activates two sprockets that engage in the film perforations, and push the film (through a narrow guillotine) to the reel where the film will sit.
- I’ve experienced multiple difficulties with the Lomo’s loader sprockets (they tend to tear the perforations of the film if they meet any resistance) and with the very narrow slit that controls the entry of the film in the chamber where the reel sits:
  - When you’re finished pushing the film to the reel, it’s still attached to the cartridge, from which you need to separate it in order to start the development process.
    You have to turn a knob vigorously to cut the film, and if the action is not decisive, debris of film get stuck in the slit, and have to be removed to great pains when cleaning the tank before the tank can be reused.
- On the Lab-Box, agitation is performed by turning the crank (you don’t flip the tank regularly like you would do on a Paterson tank or the Lomo). Agitation can be continuous or intermittent. Ars-Imago recommend the continuous agitation, because it uses half the quantity of chemicals of the intermittent process, but you have to be prepared to turn the crank continuously for the whole duration of the development phase. It’s not motorized, remember.
- The Lomo only processes 35mm film, the Lab-Box is modular. A 120 roll film loader can be purchased separately.
- According to Ars-Imago, the Lab-Box is not compatible with PET based films (not that many on their list). I’ve not read about such restrictions on the Lomo.
In summary –
- The Lab-Box is twice as expensive as the Lomo Daylight. It’s also larger.
- To its advantage,
  - the Lab-Box should be gentler with film than the Lomo (the film is pulled, not pushed)
  - It only needs 300ml (10 fl oz) of products if you opt for the continuous agitation. On the other hand, if you prefer to spare your arms and opt for the intermittent agitation, you’ll need 500 ml (17 fl oz) per film. For reference, the Lomo needs 350ml of chemicals, and a Paterson tank will need 300ml for a single film, and 500 ml if loaded with two films.
  - it’s more flexible than Lomo (120 roll film and “intelligent lid” options)
- On the Lab-Box, continuous agitation implies that the photographer turns a knob or an optional crank continuously (of course) for the duration of the development phase. Imagine you’re pushing a film and use a developer at high dilution – do you feel like turning a crank continuously for 10 minutes?
- On the Lomo, you can stick to the same intermittent agitation process (Paterson calls that “inversion”) you would follow with a more conventional tank.

*The Lomo Daylight Developing Tank – the film loader – notice the sprockets pushing the film to the reel.*

How the Lomo Daylight Tank compares with a conventional Paterson (or Jobo) tank system?

Let’s answer a few questions…

How long does it take and how difficult is it?
- to extract the film leader
  - this step is only needed with the Lomo, and only if you’ve let the camera fully rewind the film in the cassette. In the end, I’ve always succeeded in extracting the film leader from a cartridge where the film had been fully rewound, but it’s always a frustrating exercise, even with a good film extractor (the Lomo’s is a pretty good one). It almost never works on the first attempt (my average number of attempts must be around four per cartridge). So, a few frustrating minutes to be expected.
- to load the film in the tank.
  - Lomo: it’s easy. Cut the film leader as directed by Lomo in their videos, place the cartridge in the loader, the loader in the tank, lock it… and here you go. Most of the time, it will work perfectly. And it takes a couple of minutes at the most.
  - Paterson – I’m using a brand new Paterson Universal System 4 tank, that came with a so called “auto-loader” reel. It’s a plastic reel, equipped with a ratchet system. Once you’ve disassembled the tank and placed it in the charging bag with the film cassette and scissors, it’s easy to find the starting point of the reel’s spiral and turn the left and right parts of the wheel in opposite directions to move the film from the cassette to the reel. All in all it does not take longer than loading the Lomo.
- to clean and re-assemble the tank?
  - Lomo: a benefit of the Lomo’s design is that the film loader is removed from the tank before the developer can be poured in the tank. So that part remains dry and does not need to be cleaned. A total of six parts are in contact with the chemistry and have to be cleaned, and reassembled once they’re dry. The photographer is guided by red arrows and grooves of different sizes that make the whole re-assembly process idiot proof. It does not take more than one or two minutes.
  - Paterson: the Paterson system is even simpler. If using one reel, it’s composed of only five parts, which are extremely easy to clean and re-assemble.

*Disassembling the Lomo Daylight – the film loader (bottom of the image) and the crank (of course) don’t need to be cleaned. Reassembly is guided by red arrows and keys.*

As a conclusion

It came as a surprise to me. I did not remember that loading a developing tank like the Paterson Universal System 4 was so easy. All right, you need a charging bag – which is one more piece of equipment to buy and store, but it does not take much space, and could be useful in other circumstances.

So…The Lomo Daylight is easy to load, and not difficult to clean and reassemble. But after a very limited practice (one or two dry runs), the Paterson tank is as easy to load as the Lomo, and even easier to clean and reassemble.

*Disassembling the Paterson tank – it could not be simpler.*

The Paterson (or a system of equivalent quality) has the additional advantages of being more flexible (the reels can be configured for one or two 35mm films or one 120 film), easier to maintain at a specific temperature in a sous vide if inserted in a color process workflow, and less finicky than the Lomo, which can be a bit temperamental in my experience.

The real difference? this pesky film leader extractor. Extracting the film leader from a fully rewound cassette of 35mm film is a royal pain. You may have to do it before you can load the film in a Lomo, but never on a Paterson tank.

*Two film leader extractors – the tool provided by Lomo (top) and my old and trusted Hama extractor. The Lomo is probably less of a pain, but still a pain.*

More on the subject

Discontinued systems:

Agfa Rondinax: https://rondinax.wordpress.com
The Rondinax and the Brooks Instant Load Developer: in https://filmphotographyproject.com/daylight-tank-really-daylight-tank/
Jobo 2400: the page is in German but there is little text and plenty of images explaining how it works: https://lichtgriff.de/filmentwicklung-bei-tageslicht-jobo-2400/

Current systems

The Ars-Imago Lab Box:

a review on the Japanese Camera Hunter
a review on the Phoblographer

Lomo Daylight – a solution in search of a problem?

*Cars and Coffee – March 2021 – Atlanta – Nikon FE2*

The Minolta AF-C – an ultra compact Point and Shoot from 1983

Minolta, once a major camera maker – second only to Canon in terms of volume – was absorbed by Konica in the late nineties (correction: I was a few years off – the merger was announced in Jan 2003).

The newly formed Konica-Minolta entity left the photography market in 2006 – with Sony inheriting some of their camera and lens designs when they entered the dSLR market.

For the anecdote, the Minolta name is now used under license by a company distributing (very) entry level digital cameras, that – based on the horrendous reviews they get on Amazon – I won’t bother testing.

Sic transit…

An attempt by Minolta to compete with the premium ultra compact category - with a unique selling proposition: it's an autofocus camera. — *The Minolta case – the AF-C was presented like a precious object.*

In 1983 though , Minolta were at their peak. In addition to their bread and butter point and shoot cameras, they had decided to go after the market of photographers looking for an ultra compact camera of quality, and proposed a Minolta alternative to the Olympus XA, the Minox 35 EL and Cosina’s CX-2.

*The “shield” is up and the camera powered off.*

Like its competitors, the AF-C was extremely compact – it integrated a rather fast wide angle lens – a 35mm opening at f/2.8, and was devoid of an electronic flash (it was sold as a separate unit, to be attached to the left of the camera) or from any motorized film advance system. The AF-C’s unique selling proposition was its autofocus – all their competitors relied on zone focus (Minox, Cosina) or on a small rangefinder (Olympus) for focusing.

The AF-C’s unique selling proposition was its autofocus

On all those ultra-compact cameras the lens and the viewfinder are protected when the camera is not in use. In the case of the AF-C, a “sliding shield” protects the lens and the viewfinder when the camera is not in use, and has to be moved down to unlock the camera. Simple, and it works.

*Minolta AF-C – the “shield” is open and the camera ready to shoot.*

Today, the AF-C is not as sought after as the XA or the CX-2 (if eBay prices are an indication). And a derivative of the Cosina CX-2, the Lomo LC-A, reaches much higher prices. Why is it so? Probably because the AF-C is a totally automatic camera, with no ability for the photographer to adjust the settings. You’ll have to trust the performance of its autofocus – there is an AF lock feature to help with off-center subjects, but that’s all. A green LED is lit when the camera has set the focus on “something”, but you will only know what it was after you examine the prints, a few days (or weeks) later.

*Minimalist top plate – exposure and focus are automatic*

Similarly you’ll have to trust the CdS meter – a program controls the combination aperture-shutter speed, with no indication of what the camera has decided to do, and no manual override. In fact, the only thing that the photographer can set is the film speed – between 25 and 400 ISO. Considering that the meter operates between IL6 to IL17 – (1/8s at f/2.8 to 1/430s at f/17)- I would probably use 200 ISO film to cover my bases without risking reaching the limits of the shutter on very bright subjects.

*Two ways to shoot 35mm film with a 35mm lens. The AF-C is remarkably compact*

Another reason the demand for the AF-C is pretty low nowadays is that it does not operate without batteries (4×1.5v silver oxide batteries). None of its competitors does – all have electronic shutters – but in the case of the AF-C, even the non-motorized film advance is inoperative in the absence of batteries (the film advance wheel is locked). Which leads people to believe that the camera is dead, when it’s just asking for fresh batteries.

Atlanta, Inman Park Festival – Minolta AF-C – Kodak UltraMax

Shooting with the AF-C

Film loading is easy, if you are used to operating a fully manual 35mm camera.

As for shooting, there’s not much to say. You point the camera towards the subject, you press the shutter release button, and you expect that the AF-C will do the rest. Because you don’t have much to do beyond that.

a young lady seating at the table next to ours asked us whether I was shooting with a disposable camera

Oh yes, film advance is not automated, and the camera is too small for a conventional film advance lever: you have to turn the film advance wheel, like you would do on an old Instamatic. It’s making the same noise – and it’s intriguing for people who are not in the know: I was taking a few casual snapshots of my wife at the terrace of a cafe, and a young lady seating at the table next to ours asked us whether I was shooting with a disposable camera.

Fresh from the lab

I had this little camera with me when walking in the streets of Atlanta for the Inman Park festival a few weeks ago. It was loaded with Kodak UltraMax 400, not my preferred stock, but I thought it would be a better fit for the camera than my usual Ektar 100.

I was impressed by the sharpness and the contrast of the pictures

When I received the scans, I was impressed by the sharpness and the contrast of the pictures – which points to a good lens. I also liked the camera’s ability to freeze movement – the program controlling the exposure parameters seems to have its priorities in order.

As long as the subject is a street scene or the portrait of a human being, the focus is tack on. But if the subject is not at the center of the frame, or moving too rapidly inside the frame, or too small, the camera can not get the focus right. You should not use the AF-C to take pictures of pets (and of children who can’t stay in place).

I was not overly impressed by the colors though. It could come from the scanner of the lab, but I suspect that the camera had under-exposed most of the pictures. I used Lightroom’s “modern” Profiles to bring the tones to my taste, and the final results are not bad at all for a 40 year old ultra-compact camera. They have the 1980s minilab look that people seem to like at the moment.

As a conclusion

The Minolta AF-C is a nice little camera, very compact, and delivering good pictures if you keep it in its zone of comfort. The copy I was using was probably under exposing, and I would need to test it more thoroughly to find by how much.

But I’m afraid I won’t do it. Because I’m not really interested in spending more time with this camera.

We all shoot film for different reasons.

For me, the end result matters, of course, but the quality of the interaction with the camera is also an important factor – and shooting with this auto-everything little camera does not cut it for me.

The AF-C does the job but its approach to photography is ultimately frustrating – you know its automatic exposure and autofocus systems are relatively primitive, but there’s no way of knowing what they’re doing, let alone overriding them. And the long travel shutter release, the click of the shutter, the ratcheted film advance wheel, all give you the feeling of shooting with a cheap entry level camera.

the feeling of shooting with a cheap entry level camera

Shooting film has become seriously expensive – in the region of $1.00 per scanned image once you’ve factored the cost of film and processing by a lab. You can reduce the cost per picture if you process and scan the film yourself, but in this case you’ll be paying with your own time.

For that amount of money or personal time, I want the process of creating pictures to be enjoyable. Even if the pictures it captures are of good quality – the 35mm f/2.8 lens lives up to Minolta’s reputation – the AF-C feels too much like an Instamatic to my taste.

Marietta, Sope Creek Ruins – Minolta AF-C – Kodak UltraMax

A photo lab in a 20 by 15 by 10in plastic bin.

Not everybody has the luxury of dedicating a room – or even a large cabinet – to use as a home photo lab.

If you still enlarge and process your prints at home, you need a dark room, and plenty of space for the enlarger and the developing trays – but if you only process film, and immediately digitize it, you simply need a few square feet on the countertop of your kitchen. Once you’ve cleaned your equipment, it will fit in a 20x15x10in plastic bin, chemicals included.

Everything can fit in a 20x15x10in plastic bin, including the chemicals

A 20x15x10in plastic bin is still rather large object to carry around (and I can’t imagine people traveling with their diluted chemicals and processing film in their hotel room), but it’s easy to find it a storage place at home, even in a small apartment.

*the 12 gallon bin with enough room for two tanks (one Lomo, one Paterson), bottles and even chemicals (the Tetenal tabs).*

I started processing film again a few months ago, and I’m still re-discovering the secrets of the trade. I still make mistakes and I’m not ready to develop color film at home yet, but it’s one of my mid-term goals. I’m trying to keep the whole process simple and low cost, and I’m sharing here what I’ve learned, so far.

*A smaller storage bin to use as a sous vide if needed*

Preparing the chemicals

Preparing and storing the chemicals is the thorniest issue, in particular if you only process one or two rolls of film per month. Products (developer, fixer) are always delivered as liquid concentrate or powder, and need to be diluted before use.

*Tetenal – the developer and the fixer come is two easy to store bottles.*

Ilford sells a beginners starter kit (the Simplicity Starter Pack) with enough product to process two cartridges of 35mm film, but it’s horrendously expensive at almost $35.00 once you have included the cost of shipping (that’s $17.00 per roll of film… ouch!).

Tetenal has run out of business, but Freestyle Photo (and a few other retailers) still have a some of their products in store – I bought a bottle of Tetenal Parvofin tabs (the developer) , and a bottle of Tetenal Superfix tabs (the fixer). The products are packaged as tablets (like an Alka Seltzer effervescent tab), don’t take much space, and can be stored for a long time (four years). Each tablet is good for one roll of film: you just dilute what you need a few hours before use (you have to let it cool down). It looks like a good solution if you don’t process huge volumes of film, and don’t want to store chemicals in liquid form. The Tetenal tablets are still expensive (approximately $5.00 per processed roll of film) but they’re convenient.

*Tetenal: the Parvofin tablets. The developer solution is obtained by placing the two tabs (Part A, Part B) in hot water.*

Processing the film

Amateurs typically process roll film (135 or 120) in developing tanks.

*Maintaining the developer and the fixer at 22 degrees c. (It’s Atlanta in July, you have to cool the B&W baths).*

Paterson, Jobo (and all sort of copycats) manufacture developing tanks that have to be loaded in the dark. I’ve never trusted a dark room to be dark enough to load film, and I’ve always used a charging bag.

You slide your hands in the two sleeves, load the film on the reel, place the reel in the tank, and close the tank. Without seeing what you’re doing – of course.

Intimidating, but not that difficult after one or two dry runs.

Lomo and Lab-Box have been promoting an easier way to process film, with tanks that can be loaded in full daylight – no charging bag needed. You simply place the film cartridge in a receptacle, turn a crank, and the film is loaded. I’ve been using the Lomo Daylight Developing Tank for a few months. Yes, it works, but I’m not totally sold on it – I may even return to a conventional Paterson tank (there was a promo recently and I bought one for cheap).

Lomo Daylight imposes a trade-off between simplicity and convenience, on the one hand, and reliability and flexibility, on the other hand

The Lomo Daylight teared the peforations of the film. If it happens, the cartridge has to be removed from the loader, and the damaged section cut off before another attempt at loading the film can be made.

I’ve never seen or tested the Lab-box, but the Lomo Daylight imposes a trade-off between simplicity and convenience, on the one hand, and reliability and flexibility, on the other hand.

Reliability because to push the film on the reel hidden inside the tank, Lomo relies on a pair of sprockets (that engage in the film perforations) – and will tear those perforations if there is any resistance. If it happens in the middle of the film loading process, you have to turn the red button to cut the film, remove the film receptacle from the tank, develop the film which is already inside the tank, clean and dry the whole thing, then return to your film cartridge, cut the section where the perforations were teared down, resume film loading, and start a new film processing cycle. Of course, you lose a few pictures in the process, and a few hours of your time. Not great.

Flexibility, because the Lomo only works with one roll of 35mm film at a time, as opposed to a conventional developing tank that will offer the flexibility of developing one or two 35mm film cartridges or a single 120 film roll in one run. Also, the Lomo tends to require more product per cycle than a conventional tank, and because of its shape, may (I’ve not tested) be more difficult to use when processing color film.

Film scanning or digitizing

I don’t own a dedicated film scanner. I simply mount a macro lens (an old 55mm Nikkor) on my current digital camera, screw the JJC Film Digitizing adapter on the front of the lens, and digitize a full roll of film in a few minutes. I have absolutely no reservation about that part of the work flow. It’s quick, easy, and it simply works.

*JJC Digitizing kit: the film strip holder*

In action – Fujifilm X-T4, Fotasy Nikon F to Fujifilm X Adapter, Nikon Micro-Nikkor 55mm, JJC kit. The lightbox is included in the JJC solution, a big advantage over a similar product offered by Nikon.

Editing and sharing your images

The rest of the process takes place on a “computer” (PC, Mac or iPad). I simply connect a SD card reader to my iPad or to my PC, and upload the images to Lightroom Mobile or Lightroom Web. Even the junior versions of Lightroom will let you invert the negative (by flipping the two ends of the Point Curve), and finalize the image by playing with the exposure, contrast and while balance sliders.

If correctly exposed, processed and digitized, black and white film will require very little work in a photo editing tool like Lightroom Mobile. Color film requires more effort – but so far, I’ve not felt the need to upgrade to Lightroom Classic and to a dedicated Negative Film Processing plug-in.

The final result: *Peñíscola* *(Spain) – a few episodes of Game of Thrones were shot in the citadel. It explains the dragon. Digitized from film, inverted and adjusted in LightRoom Web.*

As a conclusion: what’s in my plastic bin?

Developer, fixer, bottles, tank, thermometer, beakers, samigons, squeegee, weighted clips – everything fits in my 12 gallon plastic bin. Color processing would require an extra device to maintain the temperature of the baths and the tank at 38 degrees C, but I don’t need one for B&W film (in the Atlanta summers, the difficulty is to keep the temperature of the B&W baths low enough).

I included in my kit a smaller bin to use as a sous-vide, to keep the chemicals at a controlled temperature while processing the film. It also fits in the larger bin.

Digitizing adapter, macro lens and digital camera are stored separately, of course.

More about film development in CamerAgX

Instax film printer – another way to process film at home

Sloss Furnaces – Birmingham, AL
Pentax Program-A – Ilford FP4

Sports car at the Sloss Furnaces. I found the contrast between the modern white car and the dark industrial ruins interesting. All pictures of the furnaces were shot on Ilford FP4 – Developed at 22 degrees C in Tetenal PARVOFIN. Negative shot with the JJC Film Digitizing adapter and inverted in Lightroom Mobile.

Angenieux 28-70 f/2.6 – as tested in 1990 by the French magazine “Chasseur d’Images”

I’ve been an avid reader of the excellent French photography magazine “Chasseur d’Images” for a very long time, and there are still a few dozens of (very old) issues stored in my mom’s attic. The last time I explored the place I found the issue #123 of the magazine (published in June 1990, I believe), where the CI crew were testing the Angenieux 28-70 f/2.6 zoom. There is no flatbed scanner at my mom’s place, and I just took a few pictures of the article with my phone.

The front cover of the issue #123 of Chasseur d’Images. Chasseur d’Images is one of the few surviving printed photo magazines.

That zoom was the last attempt by Angenieux to maintain a presence in the consumer photography market (they’re still in business, but now develop lenses for the movie industry and for aerospace and defense systems). The specs sheet of this lens is extremely close to the Tokina 28-70 f/2.6-2.8 AT-X Pro zoom that the Japanese optics company launched in 1994 – to the point where it’s difficult to tell if Tokina bought the blue prints from Angenieux when they decided to leave the consumer photography market, or if the Angenieux zoom itself was the result of a collaboration with Tokina from the beginning.

In any case, the Angenieux was labeled “Made in France”, which implies that “the most significant part of its manufacturing” took place in France. More on this subject in: CamerAgX: the truth about the Tokina 28-70 f/2.8 lens.

*The typical “Angenieux” industrial design.*

Since this site has seen a constant interest for the original 28-70 Angenieux zoom and its Japanese cousins, I took the liberty of asking ChatGPT to transcribe and translate the original article from 1990.

Below is the English translation of the Chasseur d’Images review of the lens, as well as the original test charts – courtesy of ChatGPT.

Enjoy.

“Presented in Nikon AF mount at the 1989 Photo Show, its commercial release—announced as imminent—was delayed several times due to production difficulties. This time, it’s finally here, but the quantities delivered will be far from meeting demand! There’s very little polycarbonate on this lens—instead, it has a solid construction made of a beautiful, lightweight black satin-finish alloy. Fairly bulky and heavy due to its large aperture, it still handles quite easily.

Regarding the aperture, we found that it wasn’t entirely photometrically consistent (a variation of 0.4 EV between 28 and 70 mm). As for the Nikon F-801 and F4 bodies, they don’t recognize the f/2.6 aperture, always displaying f/2.8 in the viewfinder. This is a minor inconvenience. The zoom ring operates with smooth and progressive movement. The autofocus is precise and very fast, though rather noisy. Be careful not to accidentally hinder the very wide focus ring that turns during AF searching.

In manual focus, it performs its role properly, although the rotation is not sufficiently damped. A minimum focusing distance of 0.65 m is acceptable, but nothing more. We noted with satisfaction the presence of a depth-of-field scale for the 28 mm focal length—a very rare (and very useful) feature on a two-ring zoom! The Ø77 filter mount remains fixed during focusing. The lens hood is only available as an option.

From our testers

This lens has only two weaknesses: at 28 mm and f/2.6, the edges—and especially the corners—lack definition, and at 70 mm, still at full aperture, the overall contrast is rather low. However, as soon as the aperture is stopped down, its optical performance becomes very good and even excellent at medium apertures, showing remarkable consistency regardless of the focal length. A slight decentering does slightly affect the results on either the right or left depending on the focal length tested, but in a completely insignificant way and only at the two largest apertures. As expected, it is at 28 mm that vignetting and distortion are most noticeable. Very good color rendering with no perceptible color cast. You can leave the supplied UV filter on the lens permanently, as it has no significant impact on performance.

Summary

Zooms of this type with (practically) constant aperture can be counted on one hand. In our opinion, the Angénieux is the best currently available. Its only direct rival, the Tokina 28–70 f/2.8, is certainly less expensive but also noticeably less capable. Compared to the Nikkor AF 35–70 f/2.8, it also proves superior (at equivalent focal lengths), even if the difference is minor in this case. Only the very expensive Canon 28–80 mm f/2.8 delivers more consistent results at shorter focal lengths, thanks to its two aspherical elements. We should point out that this new Angénieux clearly outperforms the older 35–70 mm version, with better distortion correction at 35 mm and better sharpness at 70 mm.

Our very rigorous testing procedure made it narrowly miss a fourth star in performance. However, as its price is reasonable given its outstanding features and performance, we award it five stars for value for money. A zoom lens “made in France.” The first European AF lens! After all, why not say it…”

(from” Chasseur d’Images – Issue #123 ” – Transcribed and translated by ChatGPT).

As for the charts, ChatGPT could only translate the legends – it did not rebuild the charts for me.

Test of the Angenieux 28-70 zoom – at 28mm

For all charts:

Définition (Bords / Centre) = Sharpness (Edges / Center)

Sharpness rating levels:

Excellent = Excellent
Très Bon = Very Good
Bon = Good
Moyen = Average
Faible = Poor

*No need to be fluent in French…They absolutely loved that lens*

Of course, you have to place this test in the context of the time. In 1990, I don’t think it had any real competition. Nikon’s 35-70 f/2.8 AF had been available for a few years but it covered a more limited range, and Canon’s EF 28-80 f:2.8-4 L USM was larger, heavier and even more expensive. Direct competition from the 28-70 f/2.8 zooms of the “big three” would not come until 1993 for Canon and Minolta, and 1999 for Nikon. As for the independent Japanese optical companies, they didn’t have Angenieux’s prestigious reputation. For a few years, Angenieux had the market for themselves.

I was shooting with Minolta Maxxum/Dynax cameras at the time and I broke my piggy bank to buy that lens in 1991. It remained my everyday lens for a good ten years, until I switched to digital. I remember it as a very beautifully designed and very solidly built object, whose fully metallic construction made the typical Minolta autofocus back and forth between close-up and infinite rather loud. I never tested the lens “scientifically” (not my style), but when I look today at the pictures I’ve taken with it, I’m still impressed by its resistance to flare. Of course it was large and heavy, and it saw less use when I started shooting with the Minolta Vectis S-1 (one of the only two interesting APS (film) cameras), which made for a much lighter and smaller combo with its tiny 22-80mm zoom.

By the mid 2000s, Konica-Minolta was in deep trouble, and I had lost hope that they would ever design a digital SLR worthy of the Angenieux zoom, and I sold it. For a good price, but nothing to be compared to what it would fetch today.

The Angenieux 28-70 f/2.6 zoom is now a collector (nothing on eBay for less than $3,500), when its competitors of the early nineteen nineties trade for a few hundreds of dollars at best.

*Angenieux 28-70 AF zoom with the “small” lens hood.*

More about Angenieux 28-70 zoom and its Japanese cousins in CamerAgX

A few images from my “Angenieux” years.

35mm film cameras did not record EXIF information and my archival system was not very refined at that time – I kept my best pictures in photo albums but did not keep track of what camera and what lens had been used to take a specific picture.

But until I bought the Vectis S-1, a Maxxum was my main camera, and the Angenieux was the lens I shot the most often with. The pictures below are therefore “assumed” to have been shot with the Angenieux 28-70 f/2.6 zoom, even if I can’t be 100% certain of it.

*Paris – Shot from the Pont Neuf – Minolta 7xi – Angenieux zoom 28-70 F/2.6 (in 1991 or 1992)*

*Shot from Le Pont Neuf in Paris, circa 1991/1992 with a Dynax 7xi and the Angenieux zoom.*

*Lake Gjende (Norway). Scanned from print – Minolta 700 Si (Aug. 1996)*

*Joe – Skipper on Lake Powell (AZ) – Scanned from print – Minolta 700si – Angenieux 28-70mm f/2.6 zoom (May 1994)*

A Pentax K-5 today: a compact, still highly capable dSLR for $150

Digital single-lens reflex (dSLR) cameras still have unique qualities. Even though modern mirrorless cameras outperform them in many situations, using the optical viewfinder on a good digital SLR is a real pleasure. I’ve used almost exclusively SLRs in my formative years, and it probably conditioned my eyes and my brain to be more comfortable and creative when I see a scene through an optical viewfinder. That’s why I finally decided to add another dSLR to my kit in complement to my mirrorless equipment.

I was not willing to spend too much money on this nostalgia trip – I had set a limit of about $150 but I still wanted the camera to have a great viewfinder, a lot of directly accessible commands, and a sensor capable of delivering technically satisfying pictures. The colorful Pentax K-r I reviewed recently was a good introduction to Pentax’s dSLRs family, but certainly not the “advanced”, “semi-pro” APS-C dSLR I was looking for.

My $150 budget consigned me to “advanced” or “prosumer” APS-C cameras from the early 2010s, with an image sensor in the 15 to 20 megapixel range. In that category, Pentax has always had a strong offering, with compact, well built cameras benefiting from a great optical viewfinder. Between the K-7, the K-5 and the K-3, which one was going to be my pick?

*Pentax K-5 Mk II – a typical “modal” user interface – most of the settings have their own dedicated key.*

Which Pentax K camera to choose?

Over the years, Pentax have introduced three generations of their “advanced” APS-C model line (the K-7, the K-5, the K-3), and have derived Mark II variants of the K-5 and K-3. The current K-3 Mark III launched in 2021 is not as directly related to the K-7 as its predecessors. It’s a very significant upgrade over the K-3 Mark II (it could have been named K-1 if there was not already a K-1 camera in Pentax’s line-up) and part of its appeal is that it’s also available with a monochrome sensor (as the K-3 Mark III Monochrome, of course).

The family saga started in 2009 with the K-7, equipped with a 14 mpix sensor manufactured by Samsung. The camera was so good it was used as the basis of the subsequent K-5 and K-3 models proposed by Pentax, up to the K-3 Mark II. The sensor, on the other hand, could have been better. It yielded good results up to 800 ISO, but gave up at higher sensitivities, producing images with significantly more noise than the competition. Even the K-7’s little brother, the Pentax K-r, equipped with a 12 Mpix Sony sensor, delivered better results in those situations.

*Pentax K-5 Mk II – this iteration of the camera has gained an “air gapless LCD screen”*

Not surprisingly, the Samsung sensor was replaced by a very good 16 Megapixel sensor in the follow up model, the K-5, launched only one year later. This sensor belonged to a family of high performance chips developed by Sony, which were also used to great results in Fujifilm, Nikon and Sony’s own cameras.

In 2012, the K-5 was replaced by two models, the K-5 II (or K-5 Mark II) – more or less the same camera but with an improved autofocus system, and the K-5 IIs (or Mark II ‘S’) – equipped with a sensor deprived of an anti-liaising filter, and offering a higher resolution of fine details as a result.

The K-3 of 2014 adopted a new 24 MPIX sensor, and was followed by a K-3 Mk II variant equipped with a GPS chip in 2015. As mentioned above, the current Mark III came seven years later with a more modern 26 Megapixel BSI sensor, a vastly improved autofocus system, an extra control wheel, a joystick to select the focus point, and new menus. It is the most “advanced” of all Pentax APS-C cameras, and, with the now discontinued Nikon D500, one of the two most elaborate APS-C dSLRs, ever.

*The Pentax K Mount is 50 years old – note the metal bayonet and the red gasket on the 18-55 DA AL WR zoom.*

Let’s talk money

Very often the price of a camera on the second hand market is not an exact reflection of its technical capabilities: the K-7 and the first generation K-5 can be found at the same price (between $150 and $200.00), when there is a real performance gap between the two models. The K-5 IIs is often $100.00 more expensive than a K-5, because of the higher resolution of fine details promised by its 16 Megapixel sensor, deprived of an anti-liaising filter.

The K-3 is much more expensive than any variant of the K-5 on the second hand market: with a 24 or 26 Megapixel sensor and no anti-liaising filter, its image quality is on par with the best in the current crop of mid level APS-C cameras, and its price is often established in reference to the hefty sum that Pentax is charging for a new K-3 Mark III. A used first generation K-3 can not easily be found for less than $450.00, and a second-hand K-3 Mark III will cross the $1,000 barrier.

For my needs the K-5 (the non “s” model) represented the best deal in the K-7-5-3 family. I found a very nice K-5 Mark II in the price range I was targeting, and it’s the model we’re going to review today.

*Colonial Homes – Blue Symmetry – Pentax K-5 / Pentax lens 18-55 f/3.5-5.6 AL WR*

First impressions

Yes, the camera is remarkably compact for a dSLR (in general), and for a model targeting enthusiasts, in particular. It’s not really larger than entry level dSLRs such as the Pentax K-r or the Nikon D3100, and it’s smaller than film era SLRs like a Nikon F90 or a Canon EOS 620. And next to a full frame digital dSLR like a Nikon D800 or a Canon 5d, it’s a dwarf.

*Two “advanced” dSLRs – Full frame on the left, APS-C sensor on the right. The difference in size and weight is striking.*

In comparison to a K-r or a D3100, it’s almost twice as heavy, though, because it’s built out of metal instead of plastic. It’s very substantial and seems very well built – and really feels like a tool a “pro” would use.

Another reason it’s heavier than a K-r or a D3100 is its viewfinder, which provides a significantly larger and brighter image. It’s visibly not as large or luminous as what you would find on a “pro” full frame camera (film or digital), but when you start considering the size and weight of the combo formed by a full frame body and its trans-standard zoom, then the K-5 looks like a very interesting compromise for action or travel photography.

Lastly, if you’ve been used to the modal interface of autofocus SLRs and dSLRs of any brand, you’ll feel right at home. The most current settings can be changed by pressing a dedicated touch, and then adjusting the value with the control wheel – and there are two of them, as it should be. If you trust Pentax’s default settings, you’ll be ready to shoot in no time.

*Pentax K-5 – note the lock on the battery door – Pentax takes “weather proofing” very seriously.*

Not everything is perfect, though, and in some areas it shows its age.

The menus look dated (big, low res fonts, plenty of tabs) and not inviting. The large LCD display at the back is fixed, and is not touch enabled. Of course there is no joystick to select the active autofocus area, and no way to upload wirelessly the images to a smartphone or a tablet. And I will not mention “live view” or video capabilities – the K-5 can’t compete with a mirrorless camera on the former, and not even with a recent smartphone on the latter.

In the gallery above – shot from the exact same distance from the rear lens of the viewfinder and not cropped in any way- what you see from the viewfinder of a Pentax K-r, a Pentax K-5, and a very good “pro-level” film camera: the Canon T90. The K-5’s viewfinder is not as large as a the viewfinder of a “full-frame” camera, but it’s actually pretty good for an APS-C. The difference with a K-r is very visible.

Shooting with the K-5

Shooting with the K-5 is a pleasant experience The combination of small size, impressive build quality and great ergonomics with a good viewfinder makes for a pretty unique experience.

With the K-5, most commands fall naturally under the fingers while shooting, and after a few minutes you’re totally comfortable with the camera.

You would have to move up to full frame dSLRs to find a larger viewfinder, but I’m not sure the improvement is significant enough to justify the weight and heft penalty, at least when you need to be mobile or operate discreetly.

Image quality was considered among the best for an APS-C camera in 2010 – its 16 Megapixel was praised by testers and users, but obviously 15 years later, the best in class APS-C mirrorless cameras will outclass it when it comes to fine detail resolution and control of noise.

Another area where camera makers have made significant progress since the K-5 was launched is the quality of the JPEG images out of camera – they can be uploaded to a phone wirelessly and from there shared on social media without any post-processing. But since the K-5 does not offer any form of wireless connectivity and can not interact with Ricoh’s iOS and Android app (it’s only supported on cameras launched after 2014), you will need to connect an SD card reader to a computer to upload the images anyway, and you might as well shoot RAW and post-process your images quickly in Lightroom Mobile or Classic while you’re at it.

*Atlanta – Bobby Jones Golf Course – Pentax K-5 / Pentax lens 18-55 f/3.5-5.6 AL WR*

A characteristic unique to Pentax dSLRs is the brand’s “Shake Reduction” system (the SR logo has been on their cameras since 2006). The image sensor is mounted on a platina that moves to counteract camera shake, allowing photographers to capture sharp hand-held images at shutter speeds 2.5 to 4 stops slower than would otherwise be possible – you won’t be afraid of shooting at 1/20sec with a short tele anymore.

Other dSLRs have to rely on an image stabilization system implemented in their lenses (which increases the lenses’ size and their cost) – but Pentax’s SR system works with any lens mounted on the camera (old and recent) because it’s implemented in the camera’s body.

We know that Pentax has been using the same physical “K” lens mount since 1975. Of course the current “KAF4” variant of the lens mount has more electrical contacts and all the autofocus gear needed to support the features specific to today’s cameras, but the K-5 is compatible to various degrees with any Pentax lens made since the mid seventies.

*The top plate display – very few APS-C cameras still have one.*

As a conclusion

A K-5 can be had for $150, with patience and a bit of luck. It was launched fifteen years ago, and it’s futile to compare its capabilities and performance to what its younger Pentax brother the K-3 Mark III or a Nikon D500 can deliver. And I won’t even start comparing the K-5 with current top of line APS-C mirrorless cameras from Canon, Fujifilm or Nikon.

But dollar for dollar, the K-5 offers a tremendous value: as an introduction to high quality cameras (for photographers upgrading from a smartphone or a digital point and shoot camera), it’s difficult to beat and it’s definitely worth every cent.

For the nostalgics of the optical viewfinder, shooting with a K-5 is also a way to indulge without breaking the bank. Used for what it’s good at, the camera is a pleasure to use and delivers high quality results. As far I could find, it’s also reliable, without any of the issues experienced with Pentax’s more amateur oriented cameras (like the K-30/K-50).

A modern mirrorless camera will do better in more situations and I don’t expect any mirrorless user to sell all their equipment to go back to a K-5, but as a complement to a good mirrorless kit, the K-5 also makes a lot of sense. Enjoy!

*Tortoise lost on the golf course – Atlanta – Pentax K-5 / Pentax lens 18-55 f/3.5-5.6 AL WR*

Do cameras and megapixels really matter?

Concerned about working with a “small” 16 megapixel sensor?

I have posted approximately 500 pictures on Flickr since the beginning of the year. The four images with the highest all time views were shot (recently) with a seventeen year old 12 Megapixel dSLR.

Even if high end PCs and laptops can support resolutions up to 8K (that would be 33 million points), most web sites and apps recommend not to upload images larger than 1920×1080 – (roughly 2 million points), and the most popular social network will down scale your images so that they fit in a square no larger than 2048x 2048 (4 million points).

What about prints?

As long as you don’t crop at all, a 10 Megapixel sensor has enough resolution for a high quality print in A4 or Letter format (assuming 300dpi), without any form of interpolation or over-sampling.

A 12 Megapixel sensor will give you more headroom, but you’ll need at least 16 Megapixels for a 11×14 inch high quality print (20 Megapixels would be better), and 24 Megapixels for a high quality 30×45 print (that’s centimeters- roughly 11x17in).

Obviously printing at a marginally lower resolution (250 dpi, for instance) will raise the maximum print size proportionately.

More megapixels and a large sensor may be needed in some circumstances, but ultimately, the old saying “f8 and be there” still rules. Be there. With a camera you’re comfortable with. Nothing else really counts.

More about Pentax cameras in CamerAgX

*Atlanta skyline from the reservoir in the Shirley Franklin Park – Pentax K-5 / Pentax lens 18-55 f/3.5-5.6 AL WR*

*Atlanta – Colonial Homes – Pentax K-5 / Pentax lens 18-55 f/3.5-5.6 AL WR*

Selling your mirrorless kit and going back to a digital SLR?

I’ve bought a few old Pentax cameras recently, film and digital, and out of curiosity I’ve started following what’s happening in the world of Pentax aficionados.

There was a passionate discussion recently on Pentaxforums.com, started by a photographer who was disappointed by his recent mirrorless camera system, and was considering selling everything to go back to a Pentax dSLR (he was balancing between a K-1 Mark II and a K-3 Mark III).

I am not going to pronounce him right or wrong – what he likes to shoot with or how he spends his money is his business, not mine. But not that many photographers are still interested in new dSLRs.

The fact is that digital single lens reflex cameras (dSLRs) form a rapidly receding niche, and that in the battle for the dollars of photographers (enthusiast amateurs, influencers, vloggers and pros alike), mirrorless cameras have won. A few data points to illustrate it.

*Panasonic G2 and Nikon D700 – mirrorless cameras can be made small*

When were the last dSLRs launched?

Olympus stopped selling dSLRs in 2013, and Sony officially discontinued their SLR and dSLR “A” Mount in 2021 (their last dSLR was launched in 2016). Canon’s most recent dSLR is the Rebel 8 from 2020, Nikon’s latest is the d780 from 2020, and Pentax’s is the K-3 Mark III, introduced in 2021. A variant of the K-3 with a monochrome image sensor was introduced in 2023, so that would make the K-3 III Monochrome the most recent of them all.

Canon and Nikon have not shared any plan to launch a new dSLR in the future (it’s likely they won’t), but since the launch of the Rebel 8 and d780, they have launched 14 and 11 mirrorless interchangeable lens cameras, respectively.

*A very compact APS-C setup – Egypt – Abu Simbel – Fujifilm X-T1 – Fujifilm 15-45mm lens.*

Who is still manufacturing dSLRs?

It’s difficult to know for sure what is still being manufactured – what we see on the shelves of the retailers may be New Old Stock or the output of small, infrequent production batches. Some models (like the Nikon D6 or the Pentax K-3 Mark III) have been withdrawn from some markets already, and other models – while not officially discontinued – may not be manufactured “at the moment”.

I checked the Web site of B&H, and here’s what’s still available new in the United States (with the official warranty of the manufacturer).

Canon still have six dSlRs on their US catalog, ranging from the Rebel to the 1Dx (three APS-C cameras, three full frame)

Nikon are proposing four models: the APS-C d7500, and three full frame models: the d780, d850, and D6,

As for Pentax, they are still proposing three cameras with an APS-C sensor, the KF, the K-3 Mark III and the K-3 Mark III Monochrome, and a full frame camera, the K-1 Mark II.

*Shooting with a old APS-C dSLR last week – Atlanta – Bobby Jones Golf Course. Pentax K-5 Mk II – Pentax lens 18-55 f/3.5-5.6 AL WR*

Why did mirrorless win in the first place?

The Nikon D90 from 2008 was the first SLR capable of recording videos. But the architecture of a single lens reflex camera (with a flipping reflex mirror and an autofocus module located under the mirror) forced Nikon to design a camera that operated differently when shooting stills and videos.

For stills, the D90 worked like any other dSLR ( with a through the lens optical viewfinder and phase detection AF). When shooting videos, the reflex mirror was up, and the viewfinder could not be used. The operator had to compose the scene on the rear LCD of the camera. The phase detection autofocus system was also inoperant. A second system, based on contrast detection, had to be implemented, and could only be used before the videographer started filming.

The obvious next step was to replace the flipping mirror and the optical viewfinder with an electronic viewfinder fed directly by the image sensor of the camera, and to improve the contrast detection autofocus to make it as reactive as a phase detection system, and available during the video shoot. Panasonic was the first to do it with the Lumix G2 in 2010. Almost everybody else would soon follow.

The obvious advantage of a mirrorless ILC is that it can shoot indifferently photos and videos – the camera works exactly the same way. It’s a big plus for all the pros and content creators who have to deliver a full set of images (stills and videos) when they film weddings or corporate events.

Mirrorless cameras, being deprived of the mirror box and of the optical viewfinder of a SLR can be made smaller, lighter, and probably cheaper because they are simpler mechanically.

The absence of a mirror box also reduces the lens flange distance, and lenses can be made shorter. Because there is no need for aperture pre-selection and full aperture transmission mechanisms, lens mount adapters are extremely simple to design and manufacture. Practically, almost any lens designed for an SLR or a dSLR can be physically mounted on a mirrorless camera.

*Leica Summicron C (*40mm f/2) mounted on Sony NEX 3 with Metabones adapter. Mirrorless cameras are more flexible.

Early mirrorless were handicapped by relatively poor electronic viewfinders (lacking definition, reactivity and dynamic range) and a limited battery life. Over time, mirrorless ILCs have made a lot of progress in those two areas – recent prosumer and pro ILCs have really impressive electronic viewfinders.

Electronic viewfinders show the image exactly as the image sensor is “seeing” it. If the viewfinder is good enough, it’s even possible to evaluate in real time the exposure of a scene – and play with the exposure compensation dial to adjust it: what you see is really what you’re going to get.

*Pentax K-5 Mk II – very few APS-C mirrorless cameras have a top plate LCD and that many dedicated keys.*

Advantages of recent dSLRs

The most recent dSLRs were launched between 2020 and 2021, and their capabilities are at best in line with what was the state of the art four to five years ago.

Those dSLRs offer bluetooth and Wifi, and are as easy to connect to a mobile device as modern ILCs.

They keep the traditional advantages of dSLRs: an optical viewfinder, and longer battery life, but as a consequence remain larger and heavier than ILCs.

The native support of lenses designed for the brand’s SLRs and DSLRs over the past decades looks like an advantage, but older lenses may only be partially compatible, and they may lack the resolution required to take advantage of recent image sensors.

As for newer lenses – they’re increasingly difficult to find now that the industry leaders have redirected their R&D and manufacturing efforts towards ILCs.

*Bringing a Nikon D700 to a race – because the only tele lens I had was an old Tamron in F Mount. US Formula One Grand Prix – Austin TX*

Switching back to a dSLR?

I wrote earlier I would not be judgmental, but I’m still struggling to understand why somebody would take a significant financial hit to move from a very recent, top of the line mirrorless camera system to a dSLR released eight years ago.

Even though I like shooting with dSLRs and older film cameras (they can be more pleasant to use than some mirrorless ILCs) I believe that using a recent mirrorless camera will increase my odds of capturing a technically good image (the artistic value is a totally different story).

Mirrorless cameras are more flexible and will be within their performance envelope in more situations. If the shooting opportunity is unique and I need to deliver – if only for my pride as an amateur photographer – I’ll bring my mirrorless kit with me.

*The Nikon D700 remains a fantastic camera. If only it was not so heavy and so big.*

As a lover of old gear – even digital – I’d like to offer a suggestion: very nice “prosumer” 16 or 20 Megapixel APS-C reflex cameras from the early 2010s can be found for $150; a “classic” like the Nikon d700 from 2008 (12 Megapixel, full frame) is more expensive, but not by that much if you pick a camera that has been used by professional photographers and has shot hundreds of thousands of pictures.

So, if you feel the dSLR hitch from time to time, my recommendation would be to keep your mirrorless system, and simply augment it with an old dSLR for the days when the call of nostalgia is too strong to resist.

More in CamerAgx about mirrorless and reflex digital cameras

Panasonic G1, G2 and G3 – how good were early mirrorless cameras

When a recent mirrorless camera shines….

*Casa Mila – Barcelona – Fujifilm X-T4-Fujifilm 10-24mm lens*

*Hand held, 1/25sec, 3200 ISO. Modern cameras are fantastic. Casa Mila – Barcelona – Fujifilm X-T4-Fujifilm 10-24mm lens*

Pentax Program Plus – you can still get a good film camera for $20.00

With a good wide angle lens included in the set…

I’ve been lucky with ShopGoodwill.com lately — I recently won a Pentax Program Plus with a 28mm Vivitar lens, all for the princely sum of $21.

Let’s clarify one thing to begin with: like most Japanese camera companies, Pentax was selling its cameras under different models names in different geographies – the camera sold as the Super-Program in North America was sold as the Super-A in the rest of the world, and the Program-Plus was simply known as the Program-A outside of North America [*].

I had been looking for a Program Plus at a good price for a while – it’s the last of the ME family of cameras, a marginally simplified version of the Super Program, that I hoped would strike the perfect balance between too little features (the Pentax ME) and a bit too much (the Super-Program).

*Pentax Program Plus – Program Mode (shutter speed and aperture determined by the camera).*

Pentax launched the Program Plus one year after the Super Program, and did not remove much: the maximum shutter speed is limited to 1/1000 instead of 1/2000, and the camera only offers two auto exposure modes (program and aperture priority) instead of three on the Super Program.

But the right side of the top plate is a bit less cramped (it does not have a tiny LCD screen showing the selected shutter speed forced between the mode selector and the film advance lever) and the mode selector has been redesigned to be a little bit easier to set as a result.

Vivitar

I had not paid much attention to the lens that came with the camera. I had assumed it was one of those horrible third party lenses that you generally find on cameras donated to Goodwill. Not this time. It was a Vivitar lens – but not any Vivitar lens – it was the highly regarded 28mm F/2.8 Close Focus MC “RL Edition” manufactured by Komine.

You can still find Vivitar entry level digital cameras at Walmart nowadays, but today’s Vivitar is a shadow of what the brand was in the seventies. They used to be a major distributor of very good lenses and electronic flashes, a credible alternative to the leading camera companies. Some historical context, then.

*Vivitar 28mm f/2.8 Close Focus MC RL Edition*

When the Japanese camera industry started its expansion in the years following WW2, it was still for the most part a cottage industry – even the largest players were relatively small and highly specialized companies (in the early fifties, Nikon was only manufacturing lenses, and Canon only camera bodies, and some of Canon’s cameras came equipped with Nikkor lenses).

Only very few of those companies grew enough to find the financial strength to establish their own distribution networks outside of their country of origin.

*Atlanta – Centennial Park – Pentax Program-Plus – Vivitar 28mm – Ilford FP4 Plus – a pretty good lens.*

An American company named Ponder & Best saw an opportunity, and started distributing under its own “Vivitar” label the lenses and accessories that it procured from a myriad of small Japanese workshops. Most of those products were probably average, but a few were very good.

Vivitar never disclosed who their suppliers were, but the urban legend attributes the best of the Vivitar lenses to a Japanese company named Komine. Vivitar lenses benefitted from a 5 year warranty, but on the “RL Edition” models made by Komine it was extended to a total of seven years. So, this 28mm from Komine is supposed to be Vivitar’s very best.

Shooting with the Program Plus

I’ve burnt a few rolls of film with almost each representant of the Pentax ME family recently, and the Program-Plus is the one I prefer. The ME only works in Aperture Priority auto exposure mode, and the Super-Program is borderline too complicated. Even if there is not a huge difference in the organization of the commands on the right of the top plate, it’s a bit less cramped on the Program-Plus and easier to live with.

*Pentax Program Plus – Semi Auto mode -here the operator has selected a shutter speed of 1/125sec, and the metering system determines that the image will be under exposed by 2 stops.*

For an amateur interested in the technique of photography, the Program Plus is a very nice little camera. It’s among the smallest and lightest film SLRs of the eighties, but its compacity does not come at the cost of the user experience – the viewfinder remains very good – wide, bright and informative. The “programmed auto exposure mode” in particular is very well implemented – it lets the photographer know (on two LCD displays in the viewfinder) the aperture and shutter speed selected by the camera’s program. And in semi-auto mode, it displays the selected shutter speed on the left display, and the level of over or under exposure (in EVs) on the right one. Pretty unique in this class of camera in 1983.

Of course, nothing is perfect: the LCDs are back-lit through a large window cut at the front of the prism cover, and become very difficult to read in the dark. The Super Program is equipped with a little lamp that the photographer can activate at the push of a button, but I found it totally useless and I don’t miss it here (one of the things that were removed from the Program Plus).

Pentax Program Plus – three exposure determination modes (named M, A & P on a modern camera) are present and selected by playing with the Aperture ring (A or an aperture value) and the mode selector (Auto or Manual) – for instance, P is obtained by setting the aperture ring and the model selector on A/Auto.

For the rest, it’s one of the good Pentax cameras – no horror stories when it comes to reliability, and because it was designed for the “KA” version of the Pentax lens mount, it operates with a very wide range of lenses – anything from Pentax K lenses of 1976 up to some of the most recent D FA models.

While not as nicely finished as an ME or a Super Program, it’s still a well build and solid camera – nothing to be compared with the plastic-fantastic cameras of the following decade that look so cheap today.

Like all the cameras of the ME series, it simply needs two easy to find and (relatively) cheap SR44 1.5 batteries, that it does not seem to tax too rapidly.

As a conclusion

Eight years separate the Pentax ME from the Program-Plus. Being based on a similar platform, they’re not that different of course, but the Program-Plus is definitely a better camera for an amateur who is interested in photography – in addition to the Aperture priority mode of the ME, there is a very useful Program Auto Exposure mode, and a real semi auto mode to use when the exposure is too tricky to trust the automatism. The focusing screen is probably a bit finer as well, and the fragile mechanical selfie timer has been replaced by an electronic one that should be more durable.

*Pentax Program-Plus (top) and Super-Program – some cost cutting is visible on the Plus, but the commands are not as cramped.*

At $21.00 (good lens included), my copy is probably on the cheap side (I admit I was lucky on this one), but even from a reputable seller, you should not pay more than $50.00 for a nice one.

The Program-Plus sits with a few other cameras of the same vintage (the Nikon FE2, the Olympus OM-2 and the Canon AT-1) at the top of my very personal list of preferred manual focus film cameras. And it’s definitely one of my keepers.

[*] I don’t know why the Japanese camera makers were using different names for models sold in the US – “to reflect the local preferences” is often mentioned as an explanation (for instance, naming a model “Rebel” would be perceived positively in the US but would not in other parts of the world). I suspect there are other reasons as well – like protecting the US distributors from grey imports, or (maybe), helping the Japanese revenue service make the difference between cameras destined for local consumption (and subject to sales tax), and cameras destined ultimately to be taken out of the country and sold to tourists or Army personnel in the duty free shops or in the PX.

More about Pentax film cameras in CamerAgX

*Pentax Super-Program – a very compact camera.*

*Nikon EM and Pentax ME – ultra light SLRs for beginners*

*Atlanta – Centennial Park – Pentax Program-Plus – Ilford FP4 Plus*

*Atlanta – Centennial Park – Pentax Program-Plus – Ilford FP4 Plus – May, 4th, 2025 – May the Fourth be with him.*

*Atlanta – Centennial Park – Pentax Program-Plus – Ilford FP4 Plus. Centennial Park – all 4 photos developed with the Lomo Daylight Developing Tank and digitized with the JJC adapter.*

Cleaning my shelves – Contax and Panasonic must go

I have too many cameras and my recent interest for Pentax film cameras means that my small Contax collection must go – splendid cameras, superb lenses, but I don’t use them enough.

As for the Panasonic G2, it’s cute but too close in size and weight to my current Fujifilm equipment, and I know I won’t use it.

Pet store – Blue Ridge – GA (Contax ST, Vario-Sonnar 28-85 f/3.3-4.0)

*Atlanta, Piedmont Park – Panasonic G2 – Yuneec 14-42mm f/3.5-5.6 Power Zoom*

Pentax ME – a deeper look at a very likable film camera

I rediscovered the Pentax ME and its close family of derivatives recently, after having been disappointed by the Pentax P3 (also know as the P30).

I would have loved to like the Pentax P3. When it works, it’s a great camera. But I bought three copies of them (a P3, a P3n, a P3t) at different times, and they all failed me. Always an issue with the film advance. But if I could not rely on a P3, what about shooting with the Pentax cameras of the following or previous generations?

*Pentax ZX-M: the bayonet mount is in polycarbonate, like almost everything else in this camera*

I’ve burned a few rolls of film with a plastic-fantastic ZX-M (also sold as the MZ-M), a motorized entry-level autofocus camera that Pentax had deprived of its autofocus system to make it a “learner’s camera”. Launched in 1997 to replace at the same time the venerable K1000 and the P3, the ZX-M was one of the last film SLRs released by a major vendor before the amateur photographers switched to digital, and for that reason it did not sell in large quantities.

It works well, but it’s plasticky, it’s loud, the exposure metering is a bit too primitive, and its pentamirror viewfinder is dark and narrow. People shooting with film nowadays do it at least partially for the gratifying experience of interacting with a nice piece of conventional machinery – and it’s definitely something that the MZ-M can’t provide.

At the other end of the timescale, pre-dating the K1000 and the P3, the Pentax ME and all its derivatives – ME Super, MV, MG, Super Program, Program-A – were a sales success, and are still abundant on the second hand market. They are all built on the same very compact platform. So compact there was no room for a conventional shutter speed selector. That’s the series we’re going to explore today.

The ME generation

In 1975, Pentax finally abandoned the 42mm screw mount for the “K” bayonet, and launched a new line of K cameras (KM, KX, K2) which were – to a large extent – similar to their screw mount predecessors, except for the bayonet mount, of course. The K1000 was not part of the initial launch – its turn came a few years later – essentially a KM with a few minor features removed.

*A Spotmatic F from 1973. From this angle it looks almost identical to a KM. The K1000 is a slightly decontented KM.*

One year after the KM-KX-K2 cameras, Pentax launched two completely new models, the semi-auto MX, and the Aperture Priority Auto Exposure ME. Both were technically advanced, and really represented the state of the art in the heart of the market. Except for their small size, the two cameras had little in common (their winders and motor drives were physically different and not inter-compatible, for instance).

*Pentax MX and ME – from the sales brochure (1976) – Courtsey of Pacific Rim Cameras*

The Pentax MX is what an Olympus OM-1 Mark II could have been if Olympus had bothered updating the technology content of their camera. The MX is a super compact, semi auto SLR, with a huge viewfinder. It was my main camera in my younger days. Its electronics ultimately failed, otherwise I’d probably still be shooting film with it. But while it worked (a good 15 years) it was a great little camera.

The MX remained unchanged until Pentax sent it into retirement in 1985, with no direct successor. In the meantime, the buying public had shown it was more interested in cameras offering auto exposure modes, and it was the ME and its derivatives that brought the money to Pentax’s coffers.

When it was launched, the Pentax ME had a singular characteristic: contrarily to almost every single lens reflex before it, it did not have a shutter speed selector – just a rather difficult to move four position switch (off, auto, synchro flash and B). It could only operate in auto exposure mode (you set the aperture, the camera picks the shutter speed), and in totally manual mode at 1/100sec (no meter indication to guide the photographer).

*A new category of SLRs without a shutter speed selector rapidly followed the formula inaugurated by the Pentax ME (Nikon EM, Olympus OM-10, Canon AV-1, for instance).*

A simplified MV model was launched at a lower price point in 1979, followed one year later by the ME-Super, which offered the ability to select the shutter speed by pushing two small buttons on the top plate. Then came the MG (spec’d like the original ME), then the Super-Program and the Program-Plus [*], with the same tiny shutter speed push buttons already seen on the ME Super, and more automatic modes (Program mode for the Program-Plus, Program and Shutter priority modes for the Super-Program). All models were developed on the same technical platform, and could share accessories like winders and motor drives.

* [Like most Japanese camera companies, Pentax was selling its cameras under different models names in different geographies – the camera sold as the Super-Program in North America was sold as the Super-A in the rest of the world, and the Program-Plus was simply known as the Program-A outside of North America]

Shooting with the ME

Shooting with a Pentax camera such as the ME is a pleasure. The camera is small, light, reactive, and provided you control from time to time that the shutter speed (determined automatically by the camera) is still the desired range, you’ll be fine. The viewfinder is extremely large, but I was surprised by how difficult it was to set the focus though – I know I’m getting older (aren’t we all) but I found the glass plane rather dark and the micro-prism telemeter difficult to use. I was shooting with a not very luminous zoom (and not very good if I judge by the results) Pentax A 35-70 f/3.5-4.5 zoom, on a camera that was originally designed and sold for more luminous prime lenses such as the 50mm f/1.7, so it could explain some of that.

A Pentax Program-Plus I was testing in parallel fared better in that regard – in the viewfinder the ring of micro-prisms offered more contrast and focusing was significantly easier.

The absence of a depth of field preview is not a problem for me (I seldom use it when a camera offers the option), and not having a conventional shutter speed knob at my disposal was not really a hindrance. But when the lighting of the scene becomes complex, and without an exposure memorization button and no semi-auto exposure mode, you have to play with the ISO settings dial for exposure compensation, which I’ve always found very difficult (I never know if I need to set the dial to +2 or -2). If only for that reason, I would not bring a ME with me if I knew in advance that the lighting conditions would be tricky.

*Viewfinder of the Pentax ME – a shutter speed scale on the left, split image and microprism focusing aids at the center. The 0.97 magnification ratio was exceptional .*

The camera is nicely finished with a few Pentax touches (red markers on the top plate, little indicator on the back of the camera to show that the film is correctly attached to the film spool). The film spool itself follows an original Pentax design (they called it “Magic Needles”) that makes loading film easier than with most contemporary competitors.

What about the reliability?

The ME and its derivatives are 40 to 45 year old, and as with any other camera of the same vintage, there are quite a few things that can go wrong: their electronics (in general), their exposure metering and their film advance mechanism to name the most obvious.

*Pentax ME – the receiving spool is composed of white “Magic Needles” that make film loading very easy.*

By very empirical means (counting the hits on Google for a question about film advance reliability) – I came to the conclusion that the ME Super definitely had an issue with the film advance as well. I’m on the fence for the ME, the MV and the Super-Program – there seem to be far fewer Google hits about reliability issues with those cameras, but they sold in smaller numbers than the ME Super. In any case, it’s highly preferable to buy a vintage Pentax SLR from a photographer who has actually used it to shoot film, as those film advance issues are often impossible to detect without having put a roll of film in the camera.

How much?

Film cameras are getting more expensive these days – but you can still find a nice ME for $50.00 on eBay, and probably for a bit less on various auction sites if you’re patient.

Of all major camera vendors, Pentax is the one that has maintained the inter-compatibility between new and old bodies and lenses for the longest time – anything – manual focus, autofocus – sold by Pentax until they launched their first digital SLRs in 2004 will work with the ME.

*Pentax Super Program and ME – the former benefits from an electronic self timer, a depth of field preview, and a removable grip.*

Pentax has been catering to amateurs more than pros, and it will be difficult to find on the second hand market the specialty lenses (ultra-wide angle, f/2.8 constant aperture zooms) that are relatively abundant in Nikon F or Canon EOS mounts. But as long as you look for lenses typically purchased by amateurs, the offer is plentiful and the prices reasonable.

As a conclusion

The Pentax ME was launched in 1976, at the beginning of a ten year period which saw a whole new generation of amateurs come to “serious” photography and buy their first SLR. Ultra compact, reactive, nicely finished, with a good (for the time) viewfinder and a simplified set of commands, the ME was the right camera at the right time, and sold in the millions.

But this new breed of photographers was demanding more convenience, program mode auto-exposure and zoom lenses, and as result the SLRs launched towards the end of the period of manual focus SLR supremacy (1983, 1984) are simpler to use and have more luminous viewfinders.

Prices on the second hand market do not necessarily follow a perfect logic – and cameras or lenses of the same family (in this case the ME, ME Super, Super Program and the Program Plus) can be had for roughly the same price – irrespective of the performance hierarchy between the different models.

So… the ME is a nice little camera, eminently likable, but if for the same $50.00 price you can find a Super Program or a Program Plus, I would recommend you pick the “Program” over the ME.

More about Pentax Manual Focus SLRs in CamerAgX:

Spotmatic F – the last model before the K mount

The Super Program – the most elaborate camera of the ME family

Pentax ZX-M. Plastic fantastic but great results

A few shots taken during the Inman Park festival a few weeks ago. The Pentax ME behaved – it’s very nice to use as a street photography camera, but the Pentax SMC A 35-70 lens disappointed me, again.

The film was developed in a Lomography Daylight Developing tank with Ilford Simplicity chemicals, and digitized on an APS-C camera using a JJC adapter.

*Inman Park Festival – Atlanta – Shot with Pentax ME and Pentax SMC A 35-70 f/3.5-4.5 Zoom*

*Inman Park Festival – Atlanta – Shot with a Pentax ME and the Pentax SMC A 35-70 f/3.5-4.5 Zoom*

Inman Park Festival – Atlanta – A local politician and a fan. *Shot with a Pentax ME and the Pentax SMC A 35-70 f/3.5-4.5 Zoom*

Beltline – Atlanta – *Shot with a Pentax ME and the Pentax SMC A 35-70 f/3.5-4.5 Zoom*

Lomo Daylight Developing Tank – true to the promise?

I had been tempted to start processing film again for a while, but I did not want to invest in dark room equipment or a dedicated film scanner. Two products launched recently, the Lomo Daylight Developing Tank and the JCC Film Digitizer, promise to make film processing at home easier than it has ever been, and made me take the plunge.

I ordered the “Lomo Daylight Developing Tank” a few weeks ago, and since I had just shot a few rolls of Ilford Black and White film, I put it to its paces.

It’s probably best to watch the Youtube video posted by Lomo to see how it works. High level, the development tank contains a spiral reel (on the left in the picture below), and you will use the film loader (on the right) to move the film from the cassette to the spiral. In full daylight.

Where the magic happens: place the cassette of film in the loader and drop it in the development tank. Turn the crank to load the film on the spool inside the tank, remove the film loader, and process your film.

Let’s cut the chase: It works

The set (tank, spiral, loader, film extractor) is build of plastics of good quality and looks durable. It’s very cleverly designed, and it does the job:

if you follow the instructions carefully (no user manual, watch the Youtube video at the bottom of this post), it works as promised, and in full daylight: cut the leader of the film, place the cassette in the loader, place the loader in the tank, turn the crank of the loader until all the film has been loaded on the spiral reel, turn a knob to activate a cutter that will separate the film from the cassette, remove the loader from the tank – and from then on, develop, agitate, stop, fix, agitate, rinse – as you would do with a conventional Paterson or Jobo tank.
the film is not damaged in the process, and when you open the tank at the end of the development process, you see the film perfectly rolled on the spool.
There is no light leaks, and no stain on the developed negatives – the system obviously respects your film.
It seems to be fool proof – while I was struggling with a piece of debris (user error, more about this below), I may have lost a few frames, but the rest of the film was never at risk and gave me negatives I can be proud of.

*The whole kit (the film leader extractor was included in the kit I purchased).*

So, is it the greatest invention since sliced bread, or a solution in search of a problem?

Well, somewhere in between – it’s a clever system, but there are couple of drawbacks.

First, you can only develop one roll of 135 film at a time, when the “market standard”, the Paterson Universal System 4 Development tank, has room for two rolls of 135 film. And because the capacity of a Paterson tank is 600ml, most single use processing kits are designed to be diluted to produce a 600ml solution.

*The film loader (right) and the development tank (right).* *Capacity: 350ml*

Unfortunately, the capacity of the cuve of the Lomo is 350ml – so you need to dilute a bit more if you want to process two rolls of film with one dose from a standard processing kit.

Secondly, the film should not be fully rewound, and the film leader should be accessible. If you use a darkroom bag and load your conventional Paterson cuve in the bag, it does not matter that the film leader is still accessible or fully rewound in the film cassette, since you’re going to use a cassette opener to access the film. It’s different with the Lomo.

*The film leader as to be cut in a specific way before the cassette can be placed in the loader*

The Lomo Developing Tank’s loading mechanism only works if the film leader is accessible – if the film has been fully rewound in the cassette, the photographer will have to use a film extractor to pull the leader from the cassette. There is one included in the kit, and it works reasonably well for a film extractor, but it’s an extra step that the user of a darkroom bag would not have to perform.

*Extracting the film leader from the cassette – the tool provided by Lomo (top) and my old and trusted Hama extractor.* *The Lomo tool worked better.*

Thirdly, when the loader is finished loading the film on the spool, the operator has to turn the red knob to the left to cut the last section of film and separate it from the cassette – so that the loader (and the now empty cassette) can be removed from the cuve. You have to fully, and decisively, turn that knob to the left.

Because it could happen (it happened to me) that if the cut is not perfect, a little tiny bit of film is kept prisoner in the cutting mechanism and obstructs the very narrow slot where the next (undeveloped) roll of film is supposed to pass to reach the spiral reel. It makes loading the film impossible, until you have found that tiny piece of film and removed it. Lessons learned, the hard way.

Processing my second roll of film, I had to fight to load the film because of a tiny piece of film of the first roll kept prisoner on the cutting mechanism – after I found it and removed it, everything worked fine.

Lastly, when you cut the film to separate the section which is reeled on the spiral from the cassette which still sits in the loader, a short length of film remains attached to the cassette (11 perforations, approximately two inches or 5cm), which (depending on the camera and how you loaded the film) may (or may not) mean that the very last frame of each roll of film will not be processed, and will be lost forever.

As a conclusion

The main benefit of the Lomo Daylight Developing Tank is that it makes film development at home less intimidating for the beginners.

They won’t have to use a darkroom bag, and won’t need to learn how to operate a cassette opener and load the film on a spiral reel just by touch, without seeing what they’re doing.

With the Lomo Daylight Developing system, everything takes place in full daylight, and does not require any particular skill, experience or muscle memory. If the equipment is clear of any film debris and you follow the instructions, it simply works.

The system is intelligently designed, seems carefully built using components of quality, and should withstand the test of time.

At $89.00, it’s probably a bit more expensive than a good quality set composed of a universal tank, a darkroom bag and a cassette opener, but not by much. And as an easy introduction to film processing, it’s worth it.

But…

Does it save time? I doubt it.

First, unless your camera can be set not to fully rewind the film and leave the leader outside of the cassette (or you remember not to fully rewind it if you use a non motorized camera), you will have to extract the leader with a specialized tool before you can place the film cassette in the loader of the Lomo system.

Which is a step you don’t need to go through if you use a darkroom bag and a cassette opener.

Secondly, after you’ve developed your first roll of film of the day, you will have to carefully disassemble, rinse, dry and patiently reassemble the whole system, which takes definitely more time than simply rinsing the components of a Paterson tank.

And if you want to avoid the trouble I experienced with the second roll of film I processed, you will thoroughly check that there is no tiny piece of film obstructing the film insertion slot inside the cuve.

*The film is now loaded on the spool – from there on it’s absolutely similar to what you would do with a Paterson tank.*

If you are already equipped with a darkroom bag, a cassette opener and a conventional development tank , and know how to use them, I honestly don’t see any benefit in switching to the Lomo Daylight Developing Kit.

And I would not consider developing color film (whose chemistry is much more temperature sensitive) in a Lomo Daylight as well.

As for me? It’s been ages since I used a conventional development tank and a darkroom bag for the last time. I’m pretty sure I would still be able to use it, but I was not be able to locate my old kit – probably lost when moving from one place to another. I had to start afresh. So why not try something different?

The Lomo Daylight Developing Tank is not perfect. It will not be as efficient at processing large quantities of film as a conventional Paterson or Jobo development tank, but I’m not planning on processing a large volume of film (one or two rolls of black and white film per month at the most).

For my use case, the Lomo Daylight makes sense. And used in conjunction with the JJC Digitizing kit, it will give me access to my images a few hours after they have been shot, with a minimal hassle, and no darkroom.

*Details – the tank, the spiral reel and the loader. You see the spiral reel for the first time when you open the tank to remove the developed film*

More about the film processing at home in CamerAgX

More reviews

Another test of the Lomo Daylight Developing Tank on 35mmc.com: https://www.35mmc.com/21/04/2025/lomo-daylight-developing-tank-a-review/

The reward

The first roll (HP5 Plus) was not a complete success – my bad – I did not configure the timer correctly, but I’m pleased with the second roll (Ilford FP4 Plus)