eBay has been here for 15 years now. Buyers and sellers had ample time to learn all the tricks of the trade, and if reasonably careful, they face little risk of a really bad surprise.
A significant percentage of the sellers on eBay are professionals, or experts in their field. Others have been using a product for years and can write about its history. Most know the value of the products they’re selling, and how to attract the attention of their audience. They take good pictures of the items they want to sell, and because they want to preserve their hard earned feed-back, they won’t provide blatantly misleading product descriptions.
But if the risk is somehow limited, the odds of scoring big are also getting pretty slim. With more than 200 million registered users, 2 million new auctions a day, and all sorts of search and reporting options, eBay is as transparent as a market can get. If the seller did his home work and followed the rules of the game when posting his listing, more than one buyer will notice, a small bidding war will take place, and the final price of the item will be very similar to the average of what similar items sold for during the weeks preceding the auction.
Shopgoodwill.com – the online auction site of Goodwill Industries – is a much smaller marketplace. Founded in 1999, it “provides a safe and secure venue for Goodwill® member organizations to sell donated items through an online auction“.
On Shopgoodwill, the cameras and lenses presented for auction have been donated, and the people describing the products know very little about their past. Most of them are not specialists of photographic equipment, either. They do not want to raise false expectations, and will stay extremely conservative in their assessments. In the best case, they will write that the product “appears to be in a good condition” or that it “appears to be working”, but all items are sold as is.
The item descriptions are sometimes very generic (“Nikon Camera”) or written by someone who can’t tell the difference between a filter and camera (“Hoya 49mm camera made in Japan”). The quality of the pictures of the items improved significantly lately, but they are still low res, and it’s often difficult to find out what’s really being sold.
While not as large as eBay, the number of potential buyers is far from small, and the odds are that a rare and valuable item will be discovered by more than one buyer. I’ve seen a few Leica cameras for sale on Shopgoodwill, and they all fetched good prices. But I’ve also seen nice vintage cameras stay unnoticed.
So where is the fun? Shopgoodwill is like a garage sale or a flee market. Tonight 27,000 film cameras were listed on eBay. Less than 300 were listed on Shopgoodwill. You have relatively few items to look at, and you can go rapidly through the list of cameras or lenses being auctioned. The product descriptions are not always very good, but lovers of old equipment will raise to the challenge and put their geekiness to good use, with the hope of discovering a true gem.
Buying a camera or a lens at Shopgoodwill is a bit of a gamble. The intentions of the sellers are undoubtedly good, but their expertise is somehow limited, and the buyer will know little about the true condition of the item he’s bidding for. I never had the guts to buy a really expensive camera or lens on Shopgoodwill, and I never spent more than $30 on an item.
The camera I bought (a Praktica camera sold under the “Cavalier” name in the US) was cosmetically nice, and ended up working after some TLC, in spite of its old age. I also bought a lens, on a separate occasion. Although a bit dirty, it was in good general condition, and proved to be a very nice item once cleaned. A good experience overall. Try your luck too; it’s for a good cause.
Voigtlander is an old brand of German origin, now belonging to Cosina.
Cosina is a Japanese contract manufacturer – their 35mm cameras were adopted and sold successively by Canon, Olympus, Nikon, Contax and Zeiss, and they are one of the few companies still producing 35mm film cameras today. A few years ago, they started manufacturing manual focus prime lenses, available in the Canon EF, Pentax K and Nikon F (AI-S) mounts under the Voigtlander brand.
The lenses made for Nikon cameras had one limitation, though. While perfectly compatible with manual focus SLRs, they did not have the electronic chip and the electrical contacts needed to communicate with recent autofocus bodies. Like Nikon’s own AI-S lenses, they could be mounted on mid-level dSLRs like the Nikon D80 or D90, but they were not recognized by the camera, which disabled its exposure metering circuit and forced the photographer to use a hand-held exposure meter, or to rely on the analysis of the histogram, after the picture was taken. The lens mount of higher end Nikon models such as the D300 or the D700 still has the pins, levers and springs needed to be fully AI-S compatible.
The new generation of Voigtlander SL II lenses has the right chip and the right electrical contacts, and is now compatible with any Nikon autofocus SLR or dSLR (the photographer still has to focus manually, of course).
A few days before the PMA, Cosina presented the APO-Lanthar 90mm f:3.5 SL II Close Focus lens (yes, that’s its name), a compact close focus lens. It targets a small niche of photographers who still want to buy new manual focus equipment. With a maximum aperture of F:3.5, it’s pretty slow compared to Nikon’s 85mm f:1.4 prime, and will not compete in the “portrait lens” category. With a magnification ratio of 1/3.5, it’s not a macro lens either. It’s available in Nikon and Pentax mounts, but non in Canon’s EF.
A product for a niche within a niche, obviously.
More about the Voigtlander APO-Lanthar 90mm f:3.5 SL II Close Focus
A large proportion of photographers wears prescription glasses – I know, I’m one of them – and almost everybody wears sun glasses occasionally. But surprisingly, until high eye point or high eye relief viewfinders appeared – on the Nikon F3 HP in the early eighties, photographers with glasses could not see the integrality of the scene – let alone the aperture or speed information on the LED displays surrounding the view of the scene- without having to move their eye balls up and down and left to right.
As far as viewfinders are concerned, some cameras are better than others, though. The quality of the viewfinder of a manual focus camera is influenced by three factors:
Coverage: It’s the percentage of the image captured through the lens which is going to be shown in the viewfinder. 100% coverage is desirable – but expensive to manufacture, and only top of the line cameras (the real “pro” models) show the integrality of the scene in the viewfinder. Most SLRs show between 85% and 95% of the scene. Point and shoot cameras, (more precisely the few P&S which still have an optical viewfinder) are much worse. The best of them, the Canon G11 only shows 77% of the scene that will be captured through the eye piece.
Magnification: If the magnification was equal to 1, an object seen through the viewfinder would appear to be the same size as seen with the naked eye (with a 50mm lens on a 35mm camera). The photographer could even shoot with both eyes open. If the magnification ratio is lower than 1, then the object will appear smaller in the viewfinder than seen with the naked eye.Magnification has an impact on composition and focusing. If the magnification ratio is very low (below 0.4) the image becomes so small that it’s difficult to compose the picture. Magnification is also a critical factor for picture sharpness on manual focus cameras: the accuracy of the focusing is directly related to what the photographer can see on the matte focusing screen, and the higher the magnification, the easier it’s going to be for him or her to focus accurately.On a 35mm single lens reflex camera, the magnification is measured with a 50mm lens, and varies between 75 and 95%. Full frame digital SLRs have viewfinders offering comparable magnification values. dSLRs with so-called APS-C sensors advertise very high magnification ratios, but after the crop factor of the small sensor is taken into consideration, the real magnification value lies between 0.46 and 0.62. Read Neocamera‘s article for more information about the real viewfinder magnification ratio of dSLRs.
Eye relief: “The eye relief of a telescope, a microscope, or binoculars is the distance from the last surface of an eyepiece at which the eye can be placed to match the eyepiece exit pupil to the eye’s entrance pupil.” (Wikipedia, eye relief entry).The longer the eye relief, the more comfortable the camera is going to be for a photographer wearing glasses, but the smaller the focusing screen is going to look.A photographer wearing glasses will need an eye point of approximately 20mm (depending on the dimensions of the frames and the thickness of the lenses of the glasses) to be able to see entire the viewfinder image, plus the exposure information without having to move his eye balls left to right and up and down. Camera manufacturers describe them as “High eye Point” or HP viewfinders.
A comparison between a few 35mm cameras
As is often the case with engineering, a good design is the result of a successful compromise between conflicting requirements. Most photographers desire a long eye relief, but at the same time want a magnification ratio high enough, so that they can compose their image with precision and focus accurately. With the F3, Nikon offered 2 versions of its standard viewfinder. The DE-2 of the original F3 had an eye relief of approximately 20mm, and a magnification of 80%; the DE-3 viewfinder of the F3 HP had a much longer eye relief (25mm) but a smaller magnification ratio of 75%. The market decided in favor of the longer eye relief and the DE-3 became the standard viewfinder of all subsequent versions of the F3. The advent of autofocus SLRs accelerated the trend towards longer eye relief and lower magnification ratios.
The experience confirms the figures. The Nikon F3 has by far the best viewfinder, followed by the tiny Olympus OM-1. The Nikon FM-FE-FA are far behind.
Nikon launched the F3 with a standard viewfinder (model DE-2) which offered 100% coverage and already had a relatively long eye point. The standard F3 can comfortably be used by photographers wearing glasses. A few years later, Nikon introduced another version of its flagship camera, the F3 HP, which was the first to offer a viewfinder with the very long eye point of 25mm (one inch). The long eye point came at the cost of a lower magnification (down to 75%) and an higher weight. The F3 HP was a sales success, and all subsequent F3 cameras would come from Nikon with the HP viewfinder (the DE-3).
The Olympus OM-1 has an incredible viewfinder, with a very high coverage and a very high magnification. The viewfinder does not offer any exposure information besides the match-needle arrangement at the right of the image, and even if the eye point is rather short, the photographer has the impression he’s watching all of the scene. Subsequent OM models offered a little more information at the periphery of the viewfinder and a little less magnification, and in a world where hi-point viewfinders were becoming the norm, they were far less remarkable than the OM-1.
The Nikon FM, FE and FA provide more exposure information than the Olympus cameras (the selected aperture, in particular). Compounded with the very short eye relief (14mm), it makes it impossible for a photographer wearing glasses to see the whole scene and the exposure information at the periphery without some eye movements. While similar on paper to the other compact Nikon SLRs, the viewfinder of the Nikon FG fares worse than its stablemates in real life.
Rangefinder cameras work by different rules. Their viewfinder covers far more than what will be captured on the film, and very little exposure information is displayed in the viewfinder. Even if the Leica M offers an eye relief of only 15mm, a photographer wearing glasses will not have any problem visualizing the image in the viewfinder.
With a few exceptions such as the Canon G11, Point and Shoot digital cameras don’t offer optical viewfinders anymore. The G11’s may be used as a last resort in a very bright environment, (when using the LCD is not an option), but it’s very small and very unpleasant to use. Low end digital SLRs with small sensors (Four Thirds or APS-C) are equipped with very low magnification viewfinders, and have a very pronounced tunnel effect. Manual focusing is not an option, and composing an image with precision can be challenging. Mid-level dSLRS (like the Canon 7D or Nikon’s D90 and D300) have much better viewfinders, with relatively long eye relief (22 and 19.5mm respectively) and real magnification ratios of approximately 0.625.
Foca *** with a Foca turret viewfinder / Olympus OM-1n. The Foca is a French rangefinder camera from the late forties, and its viewfinder is unusable if you wear glasses. And hardly usable even without them.
Nikon F3 HP (DE-3 finder)
The camera that introduced Hight Point viewfinders to the public.
Nikon F3 with the standard DE-2 viewfinder
Not known. Probably 20mm
The original pre-HP viewfinder. Even with glasses one can easily see all of the scene and the little LCD display.
Not known. Probably 15mm
Incredible. How can such a small camera deliver such a large image? Short eye point, but since the viewfinder does not provide any exposure information at the periphery of the frame, not much of a problem.
Nikon FM, FE, FE2, FA
Not known. Probably 14mm
Short eye point, plenty of information at the periphery of the viewfinder. Not the best recipe for photographers wearing glasses.
Manufactured in relatively small volumes by a renown French company, this lens disappeared from the shelves in the mid nineties, only to resurface – slightly modified – as an AT-X Pro after Tokina bought the design. So says the legend, at least.
More about the Tokina AT-X Pro saga can be found in a page published in November by John Cazolis in his blog Nikon Glass. John explores the different versions of Tokina’s 28-70 zoom, and tests extensively the AT-X Pro 28-70mm f:2.6-2.8, which is considered the closest to the original Angenieux design.
There are always a few Tokina AT-X Pro 28-70 lenses for sale on eBay, but the first iteration of the Pro model – the one that John Cazolis recommends – is relatively difficult to find. Expect to pay between $200 and $300 for a nice lens in good condition.
The Nikon FA is the last major manual focus SLR launched by Nikon. An evolution of the FM2 and FE2 cameras, it shares with the latter most of its body shell, a very fast shutter (up to 1/4000sec., 1/250sec. flash sync speed) and a on the film (OTF) flash metering mechanism. It finally catches up with Canon’s A1 and offers the same four automatic exposure modes (aperture and shutter priority, program and semi-auto).
Its “Automatic Multipoint Metering” (AMP) – a world premiere – is its real claim to fame. Better known under names such as “matrix”, “evaluative” or “multi-segmented” metering, it is now the default metering system of every dSLR in production.
Launched in 1983, this conservatively styled camera with very conventional ergonomics had a relatively short sales career. It was made obsolete in 1985 when Minolta took the market by storm with its first autofocus SLR, the 7000 (Maxxum 7000 in the US). Minolta’s competitors, Nikon included, spent the best part of the following three years trying to catch up. The FA stayed on Nikon’s catalog until 1988, and was not replaced. Its semi-automatic sibling, the FM2n would be sold until 2001, when the FM3a, a sort of combination of the best characteristics of the FM2 and the FE2, was launched.
The metering system
Until the FA was launched, most of the cameras only offered some form of center weighted metering: the exposure sensor evaluated the luminosity of the whole scene, and because the sky is typically in the upper third of the frame, and the main subject of the picture in the center, it was designed to give more importance to the portion of the picture located at the center of the lower part of the frame.
It worked for most of the cases. If the subject was back-lit and not centered, the photographer had to determine the exposure with the subject at the center of the frame, memorize the exposure settings, and move the camera to compose the desired picture.
Some high end cameras also had a second exposure metering system, which evaluated the luminosity of a much narrower portion of the scene, almost a spot in the middle of the viewfinder. But spot metering and exposure memorization are not always easy to use, and are far from being idiot proof. The engineers at Nikon were pretty sure that with the newly unleashed power of integrated circuits, they could develop a new approach.
It was introduced with the FA, as the Automatic Multi Pattern (AMP) exposure system. The camera was equipped with a database containing the mathematical description of thousands of real world pictures taken by Nikon technicians, with the exposure value that had given the best results in each situation. The light meter was divided in five zones (a large central zone, two zones at the bottom left and right, two zones at the top, left and right also), and the electronic circuit would correlate the exposure value of each zone with other elements such as the focal length of the lens to define the characteristics of the scene, and associate it with one of the many typical pictures described in the database of the camera.
The Nikon engineers were so sure of the superiority of their AMP that they did not even equip the FA with an exposure memorization button – which so far had been a standard feature on high end automatic cameras. They just installed a little unmarked on-off switch on the right side of the lens mount housing, that conservative photographers could use to set the camera in the conventional “average center weighted metering” of yesteryear.
The beauty of most manual SLRs resides in part in the simplicity of their commands. Each knob, switch, lever has only one function. If you turn the aperture ring on a semi-auto camera, the pre-selected aperture will change. Similarly, if you turn the shutter speed knob , the selected shutter speed will change.
The introduction of a automatic exposure did not really change the ergonomics. On a camera with aperture priority automatic exposure, you just had to select the “A” position of the shutter speed knob to let the camera determine the shutter speed automatically, and similarly on a camera with shutter speed priority, positioning the aperture ring on “A” indicated that you were willing to let the automatism manage the aperture for you.
Developing simple ergonomics became more difficult with cameras that could alternatively operate in semi-auto, aperture priority, shutter priority and program auto exposure modes. Most manufacturers added a big four way switch on the top panel, which could be set in Program, Shutter, Aperture or Manual. But when the PSAM switch was set on P or A, the shutter value did not match what was shown on the shutter speed knob, as shown in the example below.
On the Nikon implementation, the photographer also had to remember to set the aperture ring to the smallest aperture, and the indications in the viewfinder (a very small LCD display showing alternatively the speed or the aperture selected) did not really help.
The ergonomics of modern “all-electric” cameras are totally different. The aperture ring and the speed knob are gone, leaving room to an “electronic input dial” and to a large LCD. Not as intuitive and immediate as the knobs and rings or yesteryear, but far simpler than the complex combinations of knobs and switches of the Nikon FA.
Using a Nikon FA as an everyday camera
When it was launched, the FA was nicknamed the “techno-camera”. Positioned at the top of the FM-FE family of cameras, it came with an impressive specs sheet: matrix metering, multi-mode exposure automatism, very fast shutter, on-the-film (OTF) flash metering. Its detachable motor drive was reasonably fast (3.2 frames per second) and could power the camera (and save the precious LR44 batteries).
With the exception of the prism housing (in poly-carbonate), the camera is still built in metal, and is very nicely finished. If the complex electronics from the early eighties survived, the FA is still perfectly usable, and will take great pictures.
Should you buy a Nikon FA? That’s a matter of taste. More recent cameras (film or digital) provide the same technical features, but with their large LCDs and their electronic dials, they’re easier to use and less conducive to set up errors than the FA. The AMP metering of the FA is still relatively primitive – it did not reach the level of performance of today’s matrix metering, and it deprives the photographer of his control over the exposure. Switching to the center weighted mode does not really offer more control, unless the semi-auto exposure mode is used, because no exposure memorization mechanism has been provided.
The Nikon FE2 or the FM3a share some of the technical advances of the FA (the titanium shutter and the flash metering in particular), but their simpler ergonomics (match needle in the viewfinder, shutter speed knob and aperture ring always showing the actual settings) as well as their more predictable exposure metering make them a better fit for photographers who want to be in immediate control of the basic settings of the camera.
The value of the camera on the used market reflects this. In spite of its impressive list of specs, the FA sells for approximately the same price as the Nikon FE2 ($125 to $200 on eBay depending on the condition of the camera), below the FM2n (approx. $250) and far below the FM3a ($500 and above).
The hand grip (on the left) has to be removed to leave room for the MD-15 motor. As a consequence, this tiny accessory has often been lost and most surviving FAs don’t have it.
In 1972, Olympus launched the OM-1. Much smaller and lighter than any other single lens reflex (SLR), it opened the path for a new generation of more compact cameras. Nikon’s own FM (launched in 1977) was remarkably smaller than the Nikkormat cameras it was replacing, but still a tad bigger than the Olympus OM-1n. Built like a tank, it was not light, either.
It would take another model, deliberately designed for the beginners, the Nikon EM (1979), to finally beat the OM-1 at its own game (weight: 460g against 510g, width: 135mm instead of 136mm). Small and light, the EM had a plastic (polycarbonate) body over an aluminum chassis, an aperture-priority exposure control system, and very few ways to over-ride the automatism. A magic -2EV button could be used for back-lit scenes, and that was about it: there was no semi-automatic exposure mode. It could use all Nikon’s previous AI (auto-indexing) lenses, as well as a new series of cheaper lenses (the E-Series) launched for the occasion. The E-series lenses were smaller and less elaborate than the other Nikkor lenses, but some of them (like the 50mm f:1.8) gained a very good reputation over time. It has to be noted that the E-Series lenses were the first to use the AI-S version of the F mount. Geeks can learn more about the evolution of the lens mounts of SLRs in the pages published a few months ago in this blog. 50 years of lens mount evolution.
In 1982, Nikon extended their “ultra-compact SLR” range with the FG. It retained the platform, the dimensions and the shutter of the EM, but its electronics had been revised to incorporate two exposure modes, a semi-auto and fully automated program adjusting the aperture and the shutter speed. It also adopted the On the Film (OTF) flash metering system of the FE2. Not a pro camera yet, but not a beginner’s camera anymore.
To this day, the FG remains the smallest of the manual Nikon SLRs targeting the “advanced-amateur” market. A few “all-plastic” autofocus SLRs tipped the scales at 350g in the subsequent years, but Nikon’s digital reflex cameras are all bigger and heavier.
Shooting with the FG
The FG was available in two versions: “chrome” or black. Both had a small removable grip at the right of the body, and looked like smaller copies of the F3. After all these years, the FG is still a very nice little camera. Like the EM, it’s built around an aluminum chassis, and the body itself is in polycarbonate. The commands are simple and well organized. A single selector controls the shutter speed (for semi-automatic operation) and the type of exposure automatism (aperture priority or program). When the program mode is selected (after pressing a safety lock), the aperture ring of the lens has to be set at the smallest aperture. If the photographer forgets to set the aperture, the “overexposure” LED will flash in the viewfinder. The shutter is taken over from the EM and can not offer anything better than 1/1000 sec, with a flash synchro speed of 1/90. Incidentally the shutter still works at 1/90sec when the batteries are dead.
There are few other controls on the FG. A switch disables the warning beeps that the camera emits in multiple occasions, and a push button on the left side of the body can be used to open-up the exposure by 2 stops, to prevent under-exposure in back-lit scenes. There is no way to switch off the camera, and the best way to prevent battery drain is to leave the shutter speed selector on the manual 1/90sec setting when the camera is not in use.
The viewfinder is one of the places where savings were made. With 0.84x magnification and 92% coverage, its performances are similar to the FM or the FE’s, but remarkably inferior to the exceptional OM-1, which in spite of being so compact, still combines a magnification of 0.92x with 97% coverage. At the right of the viewfinder, the photographer will find a scale representing the shutter speeds, with one or many (up to three) red LEDs showing the actual shutter speed and/or the ones recommended by the metering system. Red LEDs, as usual, happen to be invisible when the camera is used in a bright environment.
Derived from the EM and largely built in plastic, the FG is obviously not in the same league as the FE2 or the F3 when it comes to build quality. The articulated winding lever is not as smooth as the F3’s (which is mounted on roller bearings) or the FE2’s, which gives the impression of being mounted on a bronze bearing. The camera has the reputation of being prone to a scary shutter lock (nothing dramatic – set the shutter dial to Manual 1/90sec , and everything goes back in order). To me, it looks more like a “bug” than anything else.
In a few words, the FG is a strange combination of relatively advanced features (multi-mode exposure automatism, on the film flash metering) with a base which is derived from an entry-level camera. In particular in its black version, it looks very competent and professional, which could lead to some disappointment. Because of its small size and its serious looks, it’s easy to believe that it’s a pro camera, comparable to its FM2 and FE2 stablemates, or to the Olympus OM-2.
Nothing could be more wrong. The Nikon FM2 and FE2 are equipped with an exceptional titanium or aluminum shutter, with flash sync speeds up to 1/250sec and a maximum speed of 1/4000 sec. The shutter of the FG is much more limited, and its top speed of 1/1000 sec is a serious limitation on a bright sunny day now than 400 ISO seems to be the universal film sensitivity, in black and white as in color.
The FM2, FE2, OM-1 or OM-2 were cameras built for demanding amateurs or professionals; a small size was one of the design objectives of their manufacturers, but it came second to build quality.
The second hand market recognizes those facts: a nice FE2 costs at least $ 125, with the FM2 and some late Olympus models crossing the $250 barrier. Well received on the market when it was launched, the FG is still abundant on the second hand market and a very nice one can be found for approx. $50.00. A nice compact SLR for casual photography.
More about the Nikon FG
Nikon’s own words about the FG
Photography in Malaysia: the “bible” for the amateurs of Nikon cameras. Check the Nikon FG pages.
When your good friends learn that you still shoot film, and write about it, they understand they have a unique opportunity to get rid of all the – let’s be polite – worthless photo equipment they don’t use anymore and you end up with Kodak Brownies or Instamatics by the bucketload. And if your brother in law is really facetious, he brings you a brand new Holga from one of his trips in China, and since it’s a Christmas present and everybody in the family is intrigued, you buy film and start using it.
That particular camera comes in a big orange box with the rest of the “Starter Kit”. Reading the user manual, you get confirmation that the camera is “extremely low tech, and will eventually wear out”. Major design flaws are presented as unique features – the dreaded manual mentions “leaks of light, unvoluntary multiple exposures, loose connection between the film and the take up spool” among the desirable characteristics of the product. Looking for some comfort, you check a little square format book at the bottom of the box. It’s a nice paperback of 192 pages, showing 300 images taken with Holga cameras. Not something Leica or Nikon would be proud of, but interesting pictures nonetheless.
The camera’s design is very basic. It accepts 120 format roll film, has a plastic wide angle lens (60mm, F:8 or F:11) with 4 possible focus settings, and a shutter which offers a unique and unspecified speed. The camera comes with 2 user interchangeable back plates, one will give you 6×6 cm negatives with some vignetting, the other one 6×4.5cm negatives, probably with less vignetting (I don’t know, I only shot with the 6×6 plate). The “CFN” Holgas also come with an electronic flash, equipped with a turret of 4 filters (Red, Blue, Yellow and transparent) for special effects.
Using the Holga
The Holga 120 CFN needs 120 film – of course – and since Holgas are supposed to be enjoyed for their shortcomings, color film should be preferred (the plastic lens is prone to chromatic aberrations which would not be visible with black and white film).
Finding color film in 120 rolls proved very difficult. If 35mm film is still easy to find (even in supermarkets or in the little stores attached to many hotels), the same can not be said for 120 roll film. Only stores dedicated to professional photographers still have a few references. I bought a few rolls of Kodak’s Portra 400 NC film. Loading the camera is a difficult task, but in all honesty I’m not used to roll film and I would also have suffered with a more high end camera.
In the street, the camera attracts lost of attention. People notice the bright red color (Holgas are also available in black, kaki and in a unique blue and yellow combination), and are intrigued by the cheap aspect of the camera. It looks like a toy, and people are surprised to see an adult using it.
The camera has very few controls and is easy to use, with a decent viewfinder and relatively smooth commands, and provides a user experience very similar the “boxes” that Kodak used to sell before the launch of the Instamatic cameras.
Having the rolls processed proved as difficult as buying the film in the first place. Costco and the proximity drugstores don’t process anything larger than 35mm film, and the rolls had be sent to a professional lab (some of them charge up to $20.00 per roll). When you receive the pictures, you discover the “Holga paradox”: you’re not attracted to the almost “normal” images, but by the most severely flawed. The pictures with the fewer technical faults are just bad (with vignetting and all sorts of aberrations), while some of the images plagued with the worst of the problems (involuntary multiple exposures, light leaks) have a surrealist quality that the most creative of the photographers would struggle to get from a digital picture processed in Photoshop.
Holga, what for?
“Normal” photographers are supposed to spend thousands of dollars in the equipment which will help them produce pictures as perfect as possible from a technical point of view – in focus, sharp, with the right exposure, no vignetting, no distortion, and no chromatic aberration.
Deviations from the norm of the technically perfect picture are supposed to be voluntary, in order to convey an emotion or a message. They’re not supposed to have been brought randomly by a poorly designed camera.
Holgas don’t follow the rule. They’re not “normal”, and they’re not what “normal” photographers would be looking for. Their results are totally unpredictable. When nothing went really wrong, the results are dull. It’s only when they are massively flawed that the pictures start being surprising and interesting.
Using a Holga reminded me of the “Exquisite Corpse” creativity method used by the Surrealist movement at the beginning of the XXth century. With a Holga you will rely on chance to create something new and different. Using the bright red Holga, I started believing that chance could be an artist on its own right. And you end up loving that little camera for that very reason.
More about Holga cameras
A few decades ago, photographers in Austria discovered the “Lomos” (copies of Cosina point and shoot cameras made in the USSR), and liked the – flawed – pictures made by those very imperfect little cameras so much that they launched the “lomography” movement. They started distributing the “Lomos” in Austria and Germany, and progressively added other cameras from Eastern Europe and China to their catalog. Lomos and Holgas are now widely distributed, and can also be purchased directly from the Lomography web site, where a red Holga 120 CFN can be found for $75. That’s a lot of money for such a low tech object. Bargain hunters can also find Holgas on eBay, for far less.
Cynics will say that the initiators of the Lomography movement found a way to get rich selling Soviet surplus to the rich photographers of the West, and philosophers that they showed that chance and chromatic aberrations could be more creative than would be artists obsessed with technical perfection.