I used to think that the best way to get into an argument with someone was to discuss politics. I think there may be a close second: Talking about exhaustion of darkroom chemicals — at least if reading photography forums is any indication. But I’d prefer not to argue about it, and instead offer a way to track the exhaustion of a key chemical in the development process: fixer.
Continue reading…Wesley King
Review: Kodak Retina IIc (Type 020) 135 (35mm) Film Camera
While I consider myself to be primarily a “medium format guy,” I own a great many 135 cameras as well, and really enjoy their myriad forms and feature sets — from dirt simple to sophisticated, from fully manual to fully automatic. And while there are exceptions (e.g., Rolleiflex, Duaflex, etc.), I don’t often dip into mid-century gear of any kind, since it can often be problematic (and expensive) to keep it all operational. That hasn’t kept me from lusting after some of the more revered cameras of that period, however, and in fact, I was hunting for a Zeiss Ikon of some sort when I instead took home another camera that had been on my mind: a Kodak Retina.
Continue reading…Camera Repair: Specialist, or Generalist?
As my camera collection has now reached the point where the cameras can be counted in dozens instead of one at a time, there’s one aspect of old cameras I’ve come to know pretty well: getting them repaired. And recent experiences have driven home a choice we often make when having our older cars repaired too — do I take it to a generalist, or a specialist?
Continue reading…Review: Rolleiflex Automat MX Medium Format Film Camera
To say that there is a lot of passion about Rolleiflex TLR (twin-lens reflex) cameras feels like a massive understatement. To be sure, there are tons of great film cameras, and there are myriad brands (and specific models) with passionate users. But as I noted in the opening of my Hasselblad 503CW review, for me, anyway, there are just three camera brands that achieved truly legendary, truly iconic status: Rollei, Leica, and Hasselblad. I still don’t own a Leica (maybe one day?), and I’ve already reviewed the Hassy, so it’s time for the Rolleiflex to have a few words on this web site devoted to it.
Continue reading…Review: Mamiya 645 1000S Medium Format Film Camera
It seems clear at this point that my film camera fascination is spinning slightly out-of-control. It seems nearly justifiable that I might seek out cameras that fill a gap in the collection, like Mamiya RB67 (with its 6×7 image format), or the Mamiya Press Super 23 (with its 6×9 images). But there are already multiple 6×4.5 cameras in the house, and yet, an M645 1000S had been in the back of my mind for some time now, and one finally joined my growing family of film cameras.
Continue reading…Tips for View Camera Newbies
While I’ve truly only just started my large format journey, it feels like I’ve made so many fundamental mistakes that it seems the perfect time to begin documenting all of them in the form of written tips before I forgot all the stumbles I’ve made. It’s my hope that if you’re new to view cameras, you’ll benefit from the effort.
Continue reading…Review: Ilford Ortho Plus Orthochromatic Black and White Film (120)
In 2019, Ilford Photo started hinting at a new product. Late in the year, we learned what it was to be — a “new” orthochromatic film in 120 and 135 formats. The word “new” is in quotes because the emulsion isn’t new; it’s been available for years in large format sheet film, but it is new to roll film users. I was particularly excited to try Ortho Plus, and after shooting several rolls of the film, I feel I’m finally in a position to write a proper review.
Continue reading…Review: Graflex Pacemaker 45 Crown Graphic Large Format Camera
There are a great many cameras that could arguably be considered “iconic.” Ones that come to my mind right off are the Hasselblad 500 series (also known as the V-System) across its many models. The Rolleiflex TLRs. Certain Leicas. And then there’s the Graflex Graphic cameras, which have appeared often enough in movies from the 1940s and 1950s (and more modern movies and TV shows set in those decades) that it’s practically an amusing stereotype at this point.
Continue reading…My First Foray Into C-41: Success!
A few months ago, before the COVID-19 pandemic dug its claws fully into the United States, I finally decided it was time to open-up the box of CineStill C-41 chemistry that had been sitting on a shelf since December, and set about processing the pile of color negative film that had been accumulating up to now. I have to confess: I’d been dragging my feet, fearful of this moment — worried whether I’d end-up simply ruining some film and losing shots I’d worked so hard to capture. As it turns out, the worries were unnecessary.
Continue reading…Review: Mamiya Press Super 23 Medium Format Film Camera
One camera series that you just don’t hear much about, or see very often in North America is the Mamiya Press. Like the Mamiya RB67, the Mamiya Press cameras are big, funky, strange-looking, quirky, and a lot of fun to shoot. They also provide some really nice images. It all added-up to the camera being an ideal candidate for a comprehensive review.
I’ll caution readers that this is the longest camera review I’ve ever written, in large part because the back story is itself incredibly long. That story starts in late January 2020, but I didn’t have a fully working, usable camera in my hands until nearly four months later — mid May 2020.
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