The Yashicamat LM is always a favorite. It has a nice solid feel and makes fabulous images. There’s not much more to say about it.
Shot on Lomography color 400 film and developed at home.
The Colorpack II is a cool Polaroid, if a bit quirky.
The scale focusing is simple to use, and there is a mirror arrangement which makes the setting visible in the viewfinder. There are two apertures, marked 75 and 3000 for color and B&W film respectively.
When shooting 3000 ASA B&W film, the depth of field is so wide that the camera can be focused at 5 feet and forgotten. Alas, Fuji took that option away from us this spring. (BRING BACK FP3000b!)
The camera features a large plastic handle on the strap, which Polaroid advises to hold while pulling the tabs. This is necessary as the spreader bars provide more resistance than the rollers used on more expensive pack cameras.
Some users complain about the shutter release being located on the front standard and its causing camera shake. I feel this minor issue is offset by its use of regular AA batteries.
Although a cheap entry level model, the Colorpack II is still capable of beautiful images. It’s small and tough; I’m not afraid to carry it around. My only complaint is that I miss the ringing sound made by the rollers of the more expensive units.
All shot on Fuji FP100c, which is sadly the only film currently in production for these cameras.
Produced between 1985 and 1987, the OM-PC was the last consumer level model in Olympus’ OM line. It features program, aperture priority, and manual modes.
My example was an eBay bargain. It sports a 35-70 zoom lens. When it arrived the mirror was loose, but a quick dab of superglue fixed it. I’ve loaded a test roll of Kodak Hawkeye traffic surveillance film.
Many cameras leave an impression with me. I either want to use them again immediately or I really dislike them. The X-7A was neither. It feels like a perfectly adequate SLR with a few slightly odd controls. It didn’t annoy me, but I didn’t love it either. The on/off switch is odd, and I often found I’d left it in the wrong position. I liked the fact that the meter works in manual mode, unlike my XG-series cameras.
Results were mixed. It seems to have a slow shutter. Half of my images came out like this:
This week’s film was Lomochrome Purple, which I developed at home with a Unicolor kit. It’s supposed to have interesting color shifts, and it did not disappoint. At slower shutter speeds, the images were fun.
Back on the shelf with it. It will probably end up on the Repair or Sell pile. I’m very happy with the Lomochrome however.
This small viewfinder was manufactured in East Germany sometime between the mid 1970's and mid 1980's. I believe it is an early VSN model. It features a 1/125 shutter, f2.8 lens, and scale focus delineated in meters. Exposure is assisted by a series of symbols on the lens barrel in similar yet inverse fashion to the SMENA cameras. In this case shutter speed is varied according to the film speed, while aperture is varied according to lighting conditions.
Mine is a relatively recent eBay acquisition. I've loaded a short roll of Ilford FP4 for the week.
The newest addition to my collection is the Fuji Instax Mini 90 Neo Classic. This latest addition to Fuji's Instax line has a more refined look and better controls than previous Instax models, and it has the advantage of film being available in major discount stores.
It features multiple shooting modes including portrait, sport, landscape, bulb, macro, and double exposure. Flash can also be manually controlled. I've been shooting with it all week and will post as soon as I can scan some images.
They are in production and available from many sources.
Well, the N8000 wasn’t a complete failure.
By that I mean it made images, and even decent ones.
As a 3D camera, I’m not impressed. The amount of time needed to make a decent animation is more than I’m willing to spend. Perhaps better software could save it.
As a camera in general, the 3D ‘function’ compromises its usefulness. It’s large and cumbersome, with limited controls. On my example there is a problem with the film advance causing it to alternately skip exposures and then to double expose. I expected to find ripped sprocket holes when the film returned from the lab, but I didn’t.
I left the images in half-frame diptychs as they came from the scanner. If you look closely near the edges you can see how the 3D effect was achieved.
Back on the shelf with it. I can’t say I’d recommend buying one.
The Starflex was a fun little camera. I can see the attraction of Brownies. I finished the roll very quickly on a camping trip.
The shutter seems to be slow, though. Many of my images had motion blur and all were overexposed, even using 100 ASA film. Motion blur isn’t always bad; witness Cricket:
I just love that wagging tail!
We took a trip to Seashore Trolley Museum for their Dog Day.
This was my last stashed roll of Efke R100 for 127. From now on I’ll need to cut my own film. I haven’t worked with the Efke much, but I found it a pain to load on the reels and very curly to scan and store.
Summer is here with all its attendant craziness. I've still been shooting, but finding the time to develop, scan, and write has been difficult.
For this past week I chose the Yashicamat LM, a TLR from 1958-1964. I wrote a post of first impressions with it before I'd started 52 Cameras. I loaded it with a roll of Lomography 400 ASA color and took it to a family barbecue.
The Minolta X-7A has been hard for me to pin down. It’s a consumer level manual focus SLR from sometime in the 1980s. It appears to be an alternate version of the X-370, which in turn was a down rated version of the X-570. It features aperture priority automation as well as a full manual mode. Unlike most of its XG-series cousins the meter functions in manual mode, indicating both selected and metered speeds in the viewfinder.
I don’t remember where I got mine, but it was probably eBay. I’ve already run a short roll of FP4 this week and have a roll of Lomochrome Purple loaded now.