Wednesday, April 11, 2012

I Want a Better Camera!

I sometimes get asked by non-camera hobbyists, "I'm looking for a better camera than my point and shoot, but I don't want anything big and bulky. What should I get? I don't want to spend too much either"

Well there are a bunch of new cameras that might fit that mold, with larger sensors and interchangeable lenses. They aren't DSLRs (because they don't have a mirror box), but they can produce similar image quality. I think the industry is still searching for the best name for these cameras, but you might hear the term "mirrorless". While smaller than DSLRs they typically have slower autofocus speed than a DSLR (but faster than your P&S).

Here are some options for smaller cameras with better images which cost below $1,000 including both a camera and a lens. 

Nikon
  • This is Nikon’s new small interchangeable lens system.
  • It’s very small and offers a reasonable step up from the point and shoot world in terms of image quality. Of all the cameras listed, the Nikon has the smallest sensor, which would likely produce slightly worse photos.
  • Right now there are only 3 lenses available for it.
  • The more expensive V1 offers an electronic viewfinder (useful in bright sunlight) and higher-resolution screen, while the smaller J1 features built-in flash and significantly lower price tag.
  • Of the cameras listed here, only the V1 includes a built-in electronic viewfinder, but these are potential add-on accessories for the Panasonic GX1 and Olympus EP3. You don’t need one, but its nice in bright sunlight.

Nikon J1 with 10-30mm lens. $600.
Nikon V1 with 10-30mm lens. $847.

Micro Four Thirds

• Panasonic, Olympus, Cosina, make up the four-thirds consortium, which is a lens mount size. The advantage is that there are lots of people making lenses and accessories for these cameras.
• The Olympus Pen Lite produces the same image as the E-P3 but it lacks a built-in flash and other do-dats.
• The Panasonic GX1 is significantly better than the GF3 in both image quality and useability, but the GF3 is very small.

Panasonic GX1 with 14-42mm lens- $700.

Panasonic GF3 with 14-42mm lens - $450

Olympus E-P3 Pen with 14-42mm lens $850.

Olympus E-PL3 Pen LITE with 14-42mm lens $650

 
Sony 
  • Sony really lacks in additional lenses for this system even though its been around for a few years now. It doesn’t have a built in flash.
Sony Nex-5n with 18-55mm lens $700.   

 

Canon
  • Canon has yet to release a large sensor, mirrorless camera, with interchangeable lenses, but they did release one with a fixed lens. This a fixed lens camera, that is slightly larger than a point and shoot, but it produces much higher image quality. Given the price and other options, I don’t see the value in this camera.
Canon G1X-$800

 

Recommendation  
Buying into a system is a good idea. While you may only use the a camera and normal lens today, you can add things in the future (i.e., you are going on vacation and get a wide angle lens). Normally I prefer a fixed (non-zoom) lens that has a wider aperture, but for most of these cameras, the kit with the standard zoom lens is only a wee bit more than the body alone, so it makes sense just to get the zoom lens at the start.


Of the options, I prefer the Panasonic GX1 given all the variables (image quality, price, availability of extras), but it would be best to go to a camera store and get a feel for them.


 

Friday, April 6, 2012

50mm Lens Test Round 3


So this round focuses (first round, second round) on two very different things: whether the image is pleasing, and corner sharpness.  Clinical sharpness is not always desirable in portraits. Since I don't have a subject to sit still in the same pose, I decided to use my daughter's bitty baby doll, which is reasonably life-like.

Test Setup
4.5 ft away, no crop, ISO 640. Light is provided by a window behind the camera to avoid the risk of flare.

The Results

The Summicron, whose "flare?" harms the technical quality of the image in previous tests, it actually improves the portrait. Some Leica enthusiasts have called this "Leica glow". They may be right. Based on the test setup with the image being front light, I don't see how stray lights enter the lens.

 Nokton 50/1.5 at f2

Heliar 50/2 at f2

Summicron 50/2 DR at f2

Summitar 50/2 at f2

Corner Sharpness

This is the same image as above and cropped to the writing on the side. I'm not sure if the letters are within the depth of field of the image, but you can notice that the Summitar is clearly much worse than the others.

Nokton 

Heliar 50/2 at f2

 Summicron 50/2 at f2
 Summitar f/2


50mm Lens Test - Round 2


Following up the first round of tests, I decided to look at center sharpness again, but in a room lighted by a window to the rear of the camera (to avoid flare)

Test Specifics
ISO 1000, 1/20 shutter speed, tripod mounted.

The Results 

Center sharpness is surprisingly similar between the lenses. The "flare?" on the Summicron makes the blacks look not quite as black and a little washed out. However, the lettering is still crisp.
Full frame (Nokton image)
Nokton 50/2 at f2




Heliar 50/2 at f2


 



Summicron 50/2 at f2

Summitar 50/2 at f2

50mm Lens Test - Round 1

The nice thing about a digital camera with interchangeable lenses is the ability to test lenses for free. I have several 50mm lenses in LTM or M mount. I decided to compare them. This is round 1 (round 2, and round 3)

Test Setup

The camera (a Fuji X Pro-1) was mounted on a tabletop tripod with self timer and photos were at ISO 400. I used the Kipon M adapter. The objects were about 4 feet away from the camera and light was provided by a chandelier which was above and offset from the camera.

The Lenses

Voigtlander Nokton 50mm f/1.5 Asph: Made by Cosina, this lens was introduced in 1999. With two aspherical elements, it is the most modern lens of the bunch.

Voigtlander Heliar Classic 50mm f/2: Also made by Cosina, this lens (introduced in 2006) is designed along the parameters in keeping with the spirit of Carl Harting's 1900 Heliar design, with 5 elements in three groups. It is not supposed to be the most clinically sharp lens, but is intended for portraits.

Leitz Summicron 50mm f/2 Dual Range: Introduced by Ernst Leitz  (now Leica) in 1957, this lens has 7 elements in five groups. With a special adapter, this lens can focus down to 19 inches. The brand "Summicron" is still in use by Leica today, so you have to be sure to know which model is used.

Leitz Summitar 50mm f/2: Introduced by Leitz in 1939, this lens also has 7 elements in five groups. Post war versions are coated, which help reduce flare.

The Results

The Nokton is clearly the sharpest.

The Summicron is sharp, but it suffers from what appears to be flare. The black lens board doesn't look black. The first time I took some Summicron shots, I didn't have a lens hood, so I thought it was suffering from flare, but I don't see much of a difference



Nokton 50/1.5 at f/2

50/1.5 Nokton at f/2 without lens hood


Heliar 50/2 at f/2 with hood
Heliar 50/2 at f/2 without hood

Summicron 50/2 DR at f/2 with hood

Summicron 50/2 DR at f/2 without hood

Summitar 50/2 at f/2 with hood

Summitar 50/2 at f/2 without hood

Sunday, April 1, 2012

Bluebonnets!

Once in a while, this blog can have actual photos! (instead of just gear and technical stuff)

Spring in Texas means bluebonnets, which are great photo settings for little ones:


DSCF0485

DSCF0446

DSCF0421

DSCF0470 

All taken with the Fuji X Pro 1, Fuji 35/1.4 in Velvia Simulation mode. (gotta have some technical info!) The Velvia simulation isn't as saturated as Velvia 50 film, but that at least makes it useable if photographing people.

Thursday, March 29, 2012

The Fuji X Pro 1 is here!! - First Impressions

So the camera still hasn't arrived in US stores. However, last Friday it got to Canada. On Monday I ordered mine, and today (Thursday) it arrived, much to my pleasant surprise!

Although my wife has a D-lux 4 (fancy point and shoot), this is my first real digital camera. (Real = better than a camera phone quality)

I think I'm hooked, but I must say, I'm glad I waited for this camera. I'm not sure if I would have been happy with other earlier digital releases. I haven't done a side-by-side, but I bet this camera's quality at least beats the $8,000 cameras of a few years ago (Nikon D3).

First impression after a night of shooting? This camera rocks!

Performance: The photo quality at high ISOs is amazing. At screen resolution, I can't see noise at ISO 6400.

Jpegs: Look fantastic. Can't see how I could improve with shooting Raw.

Autofocus: It's fast and snappy when there is a reasonable amount of light, at about a Light Value (LV) 8 or higher). At LV -3, it was quite slow, perhaps 1-2 seconds.

Using M lenses: I was a little slow in focusing, but I think it will improve over time. I didn't exactly focus an optical rangefinder quickly the first day I picked it up. You can use magnification to get correct focus if your subject is sitting still. Regardless, I was able to focus without any real issue.


The camera with the Fuji 35/1.4:
Fuji X Pro 1 with 35/1.4

The following with the Fuji 35/1.4

ISO400 at f/1.4:
Fuji 35 f1.4 ISO400 1

ISO640 at f/2.2
Fuji 35 f2.2 ISO640

ISO3200, at f/1.4
Fuji 35 f1.4 ISO3200 2

ISO12800, at f/1.4 and 1/7 shutter speed, hand held. This is a Light Value of -3
Fuji 35- f1.4- ISO12800- LV-3

ISO25600 - this is the level of noise seen at ISO 800 on many vintage 2007 digital cameras, and for the grain of Fuji 1600 color film (now discontinued).
Fuji 35- f1.4- ISO25600

The camera with a Kipon M mount adapter and a Leitz Summicron 50/2 DR:
Fuji with Summicron 50/2 DR

The following with Summicron 50/2 DR

ISO 3200 at f/2
Summicron 50 f2 ISO3200 3

ISO2500 at f/4
Summicron 50 f4 ISO2500 4



Film simulation:

I like the film situation modes as I have a reference to the look I want. I need to try out Velvia on a nice sunny day and see if the colors are as punchy as the film. Right now I see a small difference in color saturation, but may not as different as the film.

Astia:
Astia sim

Velvia:
Velvia sim 


Black and White:

The camera has settings for not just black and white , but "B&W plus yellow filter, "B&W plus green filter" etc. I'm still not a huge fan of digital black and white, but I think it has made some improvements

Monochrome - ISO 1250

Monday, March 12, 2012

Pulling Provia 400x

 So we were headed to the zoo, I grabbed my Rollei and a roll of Provia. Only after I finished shooting did I realize it was Provia 400. Doh! I shot the roll at ISO 100.

I sent it to the developers requesting them to pull it 2 stops. They said they only could do a one stop pull. So I said okay as I had little other choice.

The results were not that bad. There is definitely a color shift toward magenta, but the images were saved with the help of Photoshop (Elements 8)

Original Scan:

After Photoshop
26Feb12- Provia- Rollei 006

Saturday, March 10, 2012

Remaining Film Stock

Going digital, I decided to take stock of my inventory of film. I have a total of 62 rolls, plus some 2x3 sheet film

Digital will replace all of my 35mm color negative work, but I still intent to use film for B&W and some slides. I imagine I won't shoot any film for several months after I get my new camera, but then come back to it a little.

Remaining Rolls:
Film B&W Color Negative Slide
120 14 5 10
35mm 20 6 7

Thursday, March 1, 2012

The End of Ektachrome

Kodak, now in bankruptcy protection, has discontinued all slide films. I have several rolls in the freezer, but I am started to think that if I wasn't voluntarily moving to digital (based on lack of time), then I would be forced there soon anyway.

That leaves only the following slide films: Provia 100/ 400, Velvia 50/100/100F (by Fuji) and Rollei Digibase CR200 (copy of Agfachrome RSX II 200)

Within the last several years there has been several notable films discontinued:
  1. Kodachrome 64 (June 2009)
  2. Neopan 1600  (December 2010)
  3. Astia (December 2010)
  4. Ektachrome 200 (February 2011)
  5. Plus X (March 2011)
  6. Ektachrome 100 (March 2012) 


I imagine B&W film will be around for a long long time, but color film may not be. The plus side of B&W film is that you can easily develop it yourself... meaning that if they do discontinue it, you can load up a freezer full.

Saturday, February 25, 2012

Wait?!?!?

I've never pre-ordered anything, but I pre-ordered the Fuji X Pro-1 on the day it was available for pre-order, Jan 31st. Since then I've been waiting impatiently. As Tom Petty once said, "the waiting is the hardest part"

The Fuji came out in Japan on Feburary 18th (which was the announced date), and is in stock at Amazon Japan.
It seems odd that stock would languish in Japan while customers willing to buy overseas.

However, us folk in the US have to continue to wait. Till when exactly, I don't know.  Sometime in mid to late March.

  • Amazon and Adorama have no information
  • B&H has changed their date from March 20 to March 7 to March 28
  • I've heard the generic "March" at several other places

Wednesday, February 15, 2012

Crop Sensors & Depth of Field

 
Smaller sensors narrow lenses angle of view. Plenty has been written elsewhere on crop factors and sensor sizes, but what is underappreciated is the impact of DOF (depth of field).

 
As sensors get smaller, the focal length that will provide an equivalent field of view to a 50mm lens on 35mm film will shrink. Shrinking along with the focal length is the ability to seperate the subject from the background.

Portraits really stink if the background is also in focus (or close to it). At shorter focal lengths, DOF is greater. Add on top of that, many point and shoot cameras have a f/3.5-5.6 lens, meaning that you will have, at most, a maximum aperature of f/4  at a "normal" focal length. Sharpness doesn't immediately fall off beyond the DOF range either. For example, the background of the Canon at 8 ft will look distractingly in focus.

This is why the Fuji is acceptable. While they have a crop sensor, their 35/1.4 lens makes up for it.  Sony's widest angle lens for their NEX-5 is f/2.8 and that is for an equivalent 35mm lens. Otherwise, you get their slow kit zoom. While Olympus offers similarly slow lenses for the E-P3, Voigtlander has come out with a 25mm f/0.95. However that lens is $1200.


 
Camera / FormatSensor Dimensions (mm)Crop Factor1/2 ft. DOF at 6 feetDOF at 8 feet, f/4 with 50mm equiv.
6x9 Medium Format84 x 560.43x105mm, f/40.95 ft
Full Frame, 35mm36 x 241.0x50mm, f/21.86 ft
APS-H (Canon, Leica M8)27 x 181.338mm,
f/1.8
1.94 ft
APS-C (Fuji, Sony, Nikon)23.6 x 15.81.5x35mm, f/1.42.57 ft
Sigma Foveon20.7 x 13.81.74x29mm,
f/1.1
3.45 ft
Micro 4/3rds17.3 x 132.0x25mm, f/13.92 ft
Nikon VI13.2 x 8.82.8xn/a5.9 ft
Fuji X108.8 x 6.63.9xn/a...
Leica D-Lux 48.07 x 5.564.4xn/a8.5 ft
Canon Elph6.17 x 4.555.6xn/a15.7 ft
iPhone3.56 x 2.689.7n/aInfinite

 
  1. To determine crop factor, divide the diagonal of the 35mm frame by the diagonal of the sensor

Tuesday, February 7, 2012

Repairing Light Leaks in Folder Bellows

The downside of old folding medium format cameras is that their bellows may develop pinhole leaks. Some brands are worse than others: Ansco and Agfa cameras are almost guaranteed to have leaks. Check before you buy! These are impossible to see with the naked eye, so your "I don't know anything about cameras" seller on ebay may not do a sufficient job.

 In order to tell if you have light leaks, open the back and shine a powerful flashlight  in towards the lens. If you have light leaks, you should be able to see tiny spots of light. When I say powerful flashlight, I use my Fenix high power LED with 235 lumens. Your mini-mag is likely not be sufficient.

Replacing the bellows:
Option 1: If the bellows are littered with leaks, the best thing that can be done is to replace the bellows. This can be moderately expensive and time consuming. It may cost more than camera is worth. The replacement bellow on my Ansco Speedex cost $55 and the repaired cameras is probably only worth $40.  I bought the replacement bellows from Dennis Workman. He has some instructional You Tube videos, but it still takes a few hours.

Option 2: RTV black silicone can be used to patch a smaller amount of holes. I think it would be easiest to apply the silicone with your finger (with a latex glove on). Of course, you are going to have to keep your flashlight on during work so you remember where the leaks are. Leave the camera open until the silicone dries!


My Zeiss Ikonta A (circa 1930) currently has some light leaks:
Zeiss Ikonta A

Effect of light leaks on photos:

Photos may look washed out:


You also may get ghostly streaks:

If the ambient light is low and you only quickly open and close your camera, you may not see a huge effect:

Thursday, February 2, 2012

Going Digital with the Fuji X-Pro 1

After some debate and decision, I've decided to go digital with the announced Fuji X-Pro 1. Yes, it is 2012 and I don't own a digital camera (though my wife has one). With two small children, going to the developers, picking up photos, scanning was becoming too much. With one kiddo, I was done by 8:00pm. Now it's more like 10:00 pm.

Why the Fuji? Besides the hybrid viewfinder, future M mount compatibility, and style, there were three main selling points.
  1. The sensor. From samples I've seen the performance at high ISOs rivals any camera out there.
  2. The fast primes. Many other mirrorless lenses were just a kit zoom or a slower pancake lens. The 35/1.4 is my kind of lens
  3. The hybrid finder, which is both an optical viewfinder and a EVF. Focusing my M mount lenses will be different than a split coincident beam rangefinder, but it will be useable.

What about the crop factor? Crop factor widens depth of field and changes field of view
With the 35/1.4, at f/1.4, I can get the same depth of field as a 50mm at f/2. I think that is sufficiently narrow to suit my tastes. I can get Fuji's own wide angle lenses and just live with the crop factor on the long end. After perusing some photos, many could even use a little crop.

The other options just didn't do it for me:
  • M9 - $5,800 used. At first, I was thinking to go for broke and get a used M9, but the M9 isn't perfect. Even at 1600 ISO, the M9 starts to show noticeable noise. For the cost of an used M9, you could buy a new X-pro 1 and get every gadget and lens.
  • M8 - $2,200 for a vintage 2005 sensor, poor ISO 1600 performance, noisy shutter, and quirky need for IR filters. No thanks
  • Epson R-d1 - While some people rave about this camera, it is still $1,300 for a 2004 vintage sensor.
  • Sony Nex-7:  ($1,200 once released). The biggest drawback is that their lens selection is dominated by kit zooms. They have only two semi-fast lens, the Zeiss 24/1.8 ($1000) and the portrait 50/1.8 which I would have plenty of. I like the Fuji 35/1.4, of which sony has no equivalent. I held the Sony Nex-5 and found it ergonomically odd.  (Edit: deleted statement that Nex-7 didnt have a EVF)
  • Micro 4/3rds -  Smaller sensor and effect on DOF becomes more of an issue. Their lens selection is also dominated by zooms, except for the Voigtlander 25/0.95, but that is $1,200
  • Ricoh GR-A12 - Will cost $1250 for the body, M mount module, and EVF. If the Fuji wasn't on its way out, I think I would be heavily considering this setup.
Fuji X-Pro 1. Photo courtesy of Dpreview

Tuesday, January 24, 2012

My Camera Family

The rush to digital has caused film camera prices to plummet. Many very capable cameras are very inexpensive and can be obtained for under $100 or $200. Some film camera prices have remained high due to collector interest. This includes rare versions, cameras in prestine condition, and models with premium and rare lenses. Meet my camera family. They generally are all in use at some level and I've listed them in the order that they are used.

Voigtlander Bessa R3a
Primary Use: This is my go to camera, and is usually pared with my Voigtlander Classic Heliar 50mm f2.
Design: Modern 35mm rangefinder with optional aperture priority exposure.
Advantages: Hot shoe, AE mode, With kids, it is more convenient to just to have AE, instead of having to set exposure as well as focus. 1:1 finder, meaning I could shoot with both eyes open. It's lower cost and less sentimental that the M3, so I feel more comfortable taking it on vacations.
Disadvantages: Can't use my Leitz Summicron 50/2 DR due to internal obstructions. Shorter rangefinder baseline makes it somewhat more difficult to focus at wide apertures


Leica M3
Primary Use: When I shoot black & white, and it's often paired with the Leitz Summicron 50/2 DR. Also when a very quiet shutter is needed (such as a wedding);
Design:  Early 1960s mechanical 35mm rangefinder. Some say its the classic camera. It's been owned in my family since purchased new in the 1960s. It has framelines for 50mm, 90mm, and 135mm which makes shoot a 35mm lens more difficult, but makes focus at 50mm at f/1.52 more accurate. I usually use the 50mm since I am photographing the kids.
Advantages: Quiet shutter, easy to focus long focal lengths and/or wide apertures, built like a tank
Disadvantages: No hot shoe, slower film loading

Leica M3 with Summicron DR 50/2 with

Rolleiflex MV-EVS II
Primary Use: This has become my primary portrait camera. The 75mm focal length allows me to seperate the subject from the background, even stopped down, but since it is medium format, 75mm is a "normal view."
Design: A twin lens reflex (circa 1955) which shoots 12 frames on 120 film.  It has a 75mm f/3.5 Zeiss Tessar lens. The big 6x6 negative offers rich detail.
Advantages: Low cost way to get high quality medium format pictures. (Cost about $180).  Easy focus. Easy ability to mount filters and other lens accessories
Disadvantages: Too heavy and bulky for long travel. With 12 shots per roll, situations where you take a lot of pictures and need to change rolls quickly (wedding, kids birthday party, etc), increases the likelihood that you might miss a shot. Using a flash requires a flash bracket (unless you are using the flash bulb attachment as shown below). No hot or cold shoe to mount accessories, such as a light meter. No light meter.

Rolleiflex with Rolleiflash


Leica IIIa
Primary Use: Pocketable camera when I want a longer focal length. I rather recently used it at a concert
Design: Older screwmount rangefinder which was made in 1938.  I usually use a collapsible Leitz Elmar 50/3.5 or a collapsible Leitz Summitar 50/2.
Advantages: Much more pocketable than a Leica M or other cameras
Disadvantages: Viewfinder is only for a 50mm lens, so an accessory viewfinder would be needed for other focal lengths. The rangefinder is seperate from the viewfinder, so it is slower to use

Leica IIIa

Zeiss Mess Ikonta 524/2

Primary Use: Travel camera when I want negatives that could be greatly enlarged. I enlarged one from my trip to London and Denmark to 24" x 36".
Design: Folding medium format camera with a coated 105/3.5 Zeiss Tessar lens and a Synchro-Compur shutter. Produces 6x9 images on 120 film. Produced the early-mid 1950s.
Advantages: Very pocketable. Uncoupled rangefinder. Many folders did not have a way to measure distance
Disadvantages: Focusing is slow, although most shots are at infiniti anyway.

Zeiss Mess Ikonta 524/2

Zeiss Ikonta 523/16
Primary Use: Potential travel camera or for a day outing when you want just a few images but of higher quality.
Design: Folding medium format camera made by Carl Zeiss with a coated 7.5/3.5 Zeiss Tessar lens and a Synchro-Compur shutter. Produces 6x6 images on 120 film
Advantages: Pocketable medium format
Disadvantages: Scale (guess) focusing and would require an accessory viewfinder (shown below)

Zeiss Ikonta 523/16

Ansco Speedex B2
Primary Use: Experimental photography - such as double exposures or light graffiti. I've put two rolls through it to date.
Design: Folding medium format camera with a uncoated 7.5/3.5 Afga lens (which is likely a Cooke triplet type_ and 7 speed shutter. Produces 6x6 images on 120 film. Made around 1940.
Advantages: Ability to make double exposures
Disadvantages: No protection against double exposures.

Agfa Ansco Speedex B2


TDC Stereo Colorist II
Primary Use: Three dimension photos! I've taken two rolls, one per year.
Design: Two Rodenstock Trinar (Cooke Triplet style) 35mm f/3.5 lenses. Produced around 1954.
Advantages: Normal viewfinder (as opposed to the Stereo Realist), coupled rangefinder, and a hot shoe (somewhat uncommon). See full review here
Disadvantages: Mounting slides (common to any stereo camera) is long process.

TDC Stereo Colorist II

Olympus Stylus Epic II (mju II)
Primary Use: Very pocketable 35mm camera for days when small size matters the most.
Design: Tiny automatic with a sharp 35mm f/2.8 lens from about 1997.
Advantages: Auto focus, auto load, built in flash
Disadvantages: Controls are limited to flash on or off.

Bottom photo, next to an Olympus XA (which I no longer own)
Olympus XA vs. Stylus Epic

Pentax ZX-60
Primary Use: When I need a long zoom. (once a year)
Design: Automatic 35mm SLR.
Advantages: Autofocus, TTL Flash, TTL metering. Sometimes you just can't take your time.
Disadvantages: Bulky

On the left (compared to a Voigtlander Bessa R, which I no longer own):
SLR vs Rangefinder

Zeiss Ikonta A

Primary Use: An even more pocketable MF folder. Sitting on shelf looking pretty with its Art Deco styling
Design: Folding medium format that produced 6x4.5 images on 120 film. Made by Zeiss Ikon in the early 1930s and features an uncoated Zeiss Tessar and a Compur shutter
Advantages: very pocketable
Disadvantages: currently the bellows have pinhole leaks. Shutter release is only on the lens, not the body.

Zeiss Ikonta 520 A


Olympus OM-2n
Primary Use: None for me right now
Design: Manual focus SLR with AE exposure from about 1978.
Advantages: Many including price if you want to shoot film. See full review
Disadvantages:

At the bottom, below the Leica M3
Leica M3 vs Olympus OM-2n

Minitature Speed Graphic
Primary Use: I've used it a few times, but none really. Perhaps if I just want one MF shot.
Design: Press camera with uncoated 105mm f/3.5 Zeiss Tessar and makes images on 2 1/4" x 3 1/4" sheet film.
Advantages: I can take one shot and develop one shot. No waiting until the roll is finished.
Disadvantages: Too bulky and slow for practical regular photography outside the home. Only Efke makes sheet film in this size.

Miniature Speed Graphic

Ansco Memo
Primary Use: Sitting on my shelf, looking pretty. (It belonged to my grandfather)
Design: Half frame 35mm camera, produced in about 1928. It has three speed (25, 50, 100) plus T & B. The aperature range is f/6.3 to f/16.
Advantages: Takes up a little space on my shelf
Disadvantages: While it takes 35mm film, it would have to be loaded in special cassettes

Ansco Memo