I am a Canon user and still have my AE-1, A1 and T90 and I too was disappointed when they introduced the EOS range. I had a number of FD lenses and just couldn't afford to ditch them and start fresh. I only succumbed to the EF range when I bought my first digtal camera, a 40D. I am going through similar problems now, with the introduction of their mirrorless cameras and the RF mount for their lenses. Fortunately, this time around, an adapter is available that allows me to use my EF lenses, several of which are from the expensive L series, on my R5. As such, it's going to be a while, if ever, before I buy any RF fit lenses.
Thank you for the video, it was very informative. I was wondering, what did you on post do to recover the overexposed and underexposed photos? Thank you!
I had purchased a Leica iiia a few months ago. It recently had a CLA and no holes in the shutter fabric. I must say that once you get over the learning curve associated with the film loading process, the camera is small, beautiful, and fun to use. I am using some 30-year Soviet Svema low ISO film. I live in a hot and sunny climate, so the low ISO works in my favor. I have received some positively unexpected results.
I love your videos! Always, very insightful and thought through. Also, your photos which you so kindly share with us are so cool. I just love them. My all time camera is a love between the Minolta X-570 and you guessed it, the Nikon FE. Thank you so, much once again. God Bless you. Roger
Great shots! The 620 is an amazing camera - I sometimes forget it's 37 years old now, because it just seems so modern when shooting it. RIght now I'm shooting Ferrania P30 in it and the shots are just curling my toes.
Once the EOS-1 was released, I sold my T90 for $1 more than what I had paid for it, along with my 24 f/2.8, 50 f/1.4, 85 f/1.2, and my 200 macro. And bought the EOS 1 and their trinity of zoom lenses. To shoot with an EOS 1 is to understand why Canon became the professional’s choice for a 35mm SLR. As noted in the video, the EOS 1 could focus on horizontal and vertical lines. In contrast, Nikon’s F4 could not. If that wasn’t reason enough to make the switch to an EOS 1, the use of a rear focusing button sealed the deal. This button, activated via custom function #4, allowed the user to pre-focus on a spot, say 2nd base, and then wait for the decisive moment to take the shot. In contrast, the Nikon F4 didn’t have this capability. Therefore, the user had to: 1) press the shutter button half way and wait, or 2) put the camera into manual focus. This feature alone made the EOS 1 a favorite among sports photographers and photojournalists. Looking at press pools at sporting events like the Super Bowl, one saw a sea of white lens (Canon’s pro lenses are white while Nikon’s are black). Pros were switching from Nikon to Canon in droves. So much so that saying someone “made the switch” was taken to mean they sold their Nikon gear for Canon. Lastly was Canon’s introduction of professional quality zoom lenses like the 20-35, 28-80, and the 80-200. Meanwhile, Nikon sat on their laurels stuck in the 60s with the belief that zooms were inferior to prime lenses. But with the use of aspherical lens elements, Canon proved them wrong. Canon had the versatile 20-35 and 28-80 f2.8, while Nikon had their 35-70, which was an antiquated inferior and less versatile design. It would take the better part of a decade for Nikon catch up, but by that time Nikon had lost the vast majority of the professional and advanced-user market.
Thanks for your article about the Ektar 25 in 35mm. I happen to find a couple of rolls of Ektar 25 in my freezer - in 120! By reading through your article, I am really looking forward to using it with my Mamiya 6. Before that, however, I need to get some experience again, with old color negative film in my Rollei 35T and Rollei 35, and soon Rollei 35S. The first experience with a non-frozen Gold 100, that expired in June 2000 are quite promising. Just scanned that roll, and it turns out very good, that said, I need to use the Restore colors and Restore fading options in Vuescan with my Nikon Coolscan 8000ED.
I enjoyed watching your experimentation and making people aware of paper negatives. Paper negatives have been around since the earliest days of photography but over the past decades they have been mostly for pinhole. Large format film has become so expensive that many of us use paper negatives instead or in addition to sheet film. The results can actually be quite good but to get the best results you should pre-flash the paper to control the contrast and improve dynamic range. Just flash the paper under the enlarger with just enough light that it doesn’t actually start to fog the paper. Once that’s done load the paper in the camera and shoot it. You also need to use a proper iso if you aren’t using flash. I typically use iso 3 for Ilford Multigrade paper so shutter speeds tend to be quite slow. You can also use Ilford Direct Positive paper which will give a positive image.
the list golden limited version I have Leica R6.2 golden limited celebrating Hongkong turned over into china. Hasselblad 500CM golden limited. Mamiya RB67 SD golden limited. Mamiya c330 golden limited
If anyone is interested in home development 3D printed reels have worked for me. Some Etsy stores sell them for not too much. You can also find the files for them online pretty easily and public 3D printers are usually found in maker spaces or public libraries if you're lucky!
I've always wanted one. Back in the day I shoot weddings with Pentax 645, and loved it. When I had really big groups I would rent the 6x7. Keep up the good work.
Hi Azriel, I think I'm a little late but I just got an EOS 33 and I discovered that it can be configured to select the focus points with the speed and aperture dial, is done by moving the mode dial to C.Fn, then turning the dial of speeds until it marks C11 on the left side of the screen and finally press the *•CF.n button until the number 2 appears on the right. The only bad thing is that you cannot choose the 7 focus points just with the speed dial, for the two middle points that are above and below you will need to use the aperture dial. I discovered this thanks to the manual and I have confirmed that although I have the EOS 33 it can also be done on the 30V, definitely it is an excellent camera thanks to all its technical characteristics and the enormous variety of customization it has; I am very happy with it and the best of all is that it only cost me 10 dollars!!
I got the interlocking X version a few months back for 10$ at an estate sale and finally got around to fixing some corroded wires, the plastic is still fucked up but I'm glad to have a functioning version lol
My father buyed this camera from Japan in 1983 with the rokkor 50mm 1:1.4 and a tefnon telephoto 80-200mm with macro. I have it all till now in working condition. We have taken more that 30.000 photos. It was a great camera !!!
Wow, reading through this comments section .... or should I say Medium Format community forum. What a bunch of freaks. No 35mm photographer these days should feel insecure about the size of his negative, or feel negative about his size - it's not that small really. Pshhh.. I mean, just before the advent of digital cameras, had they not started rolling out aps-c film cameras? Not that I ever bought one. So they obviously thought film had progressed enough technically to the point where that could be done. So, when you think about it, if that analogue "march of progress" had continued uninterrupted by these funny little digital things, most holiday snappers would be out there right now in 2024 with their super-slinky aps-c film cameras, pharmacy prints would still be a thing and us 35mm dinosaurs would be calling 35mm "professional format" or something dead distinctive like that. This stupid comments section is a sad commentary on the male psyche, not photography.
To be honest after 10 years of shooting film with probably hundreds of cameras I can say I don’t care about the final photography, I care about the precious machines that allow us to make such photographies. As an industrial designer I love mechanical/complex things which are well made and last forever, and cameras are the perfect intersection of industrial design, engineering, optics, passion and care for meeting the needs of a user. Machines made with pride, using the best methods and materials for its cost, wanting them to be as durable as possible. (That’s why I don’t care about cameras and gear made after the 80’s, so much corner cutting and penny pinching produces lesser quality in the end and it’s just awful). Years ago I used to shoot a lot and I loved it, but now days I only shoot instant film and buy/sell cameras and gear, as well I service and repair a lot of photo equipment (and I design and manufacture a lot of it too). So yeah I guess I have an strange relationship with photography because I couldn’t care less about the art and the result, only about the gear, but not in a stupid “get the hype” way, nor I think that an expensive camera will make me a good photographer. I just love the cameras and lenses.
Hola acabo de adquirir la minolta xg1 pero he leido que hay que apretar eun pequeño boton metalizado para desbloquear el modo automatico pero en mi camara ese pequeño boton no funciona😢
Not sure why anyone would bother with the FE when the FE2 is like 50 bux more. Faster manual shutter speed (250th vs 90th... I feel like 90th of a second you're stuck shooting f/16 and f/22 or it's too bright out or you have 400 speed film in and you don't have a shot at all). 1/4000th shutter speed vs 1/1000th is pretty big. And faster flash sync if you shoot flash. The MUCH faster shutter speed for me is the real deal breaker. I shoot 400 speed film mostly, and I'm at 1/4000th shutter more than you would think. Especially if you like shooting those open apertures.
This comment is a bit late, but one 120 camera you seem to be overlooking is the Pentax 645. The original had 'all the auto modes' and a cool 80s red LED screen readout. Later models evolved the user controls and added AF. The last model was a digital. All years (except the D digital specific lenses) are backwards compatible. No changeable finders, but you could get a rare 70mm film back. Also, you can get lens adapters for Pentacon 6 / Kiev and Hasselblad (?!) lenses. Also, 15 shots per roll on Kodak Gold 200 makes it almost cheap. Remember, the 6x7 is basically a 60s camera (the 67ii could be argued not). The 645, straight out of the 80s. And rather affordable. Maybe MF still sucks, but less so with a 645.
Hey man - fab presentation. At one point I had 5 AE1+P bodies, two since given away. I adore these. I never use the priority modes. Recently I got a Canon EF which "love". The A-1 has always held appeal but....
@@AzrielKnight Seems that life has taken a turn. The older I get the more I realize how fast life is moving by. Man so sorry. I’m sick at the thought you are in a bad season of life.
@@AzrielKnight Wow, so bummed to hear but it sounds like you are happier now. Would you consider one last post as a good by to close out this channel. Currently it’s one hell of a cliffhanger lol
The MX is my favourite Pentax. I have K1000. ME SE. ME Super and the MX. I also have 4 Canon AE1+Ps ( my primary shooters ). The K Mount Lenses are great and a little familarisation between bodies doesn't take long to adjust to. I really enjoy the ME from time to time. The K1000 - just as wonderful as the MX.
I have a large supply of Microdol-X in packets and D-76 in cans so your video provides a great starting point for using them to develop my ILFORD 120 and 135 films. Glad you took the time for the detailed testing.
I did all my exams at my art school with Nikon Fe, I still have it together with the motor, angle viewfinder and a few other "toys". it is a really good camera, and the fact that it is so little known is due to the fact that professionals in the 1980s were afraid of electronic shutters and preferred mechanical ones. but thanks to this you can buy this equipment very cheaply
Hi Azriel, thanks a lot for your video on KODAK VISION Cine-Film-Development. Just my 50 cents on the issue: These 4 KODAK Cine Films (50D / 250D / 200T / 500T) are WORTH dealing with .... wonderful material, that ist worth the effort to cope with its special developing needs!!! First! Forget about ECN-2 development for any PHOTOGRAPHIC purposes!! A lot has been published on the differences between ECN-2 and C41processing and I very much agree on these findings: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1Avdmw-4zAY.html At the least when printing the negatives on RA4 colour-paper it turns out, that the more contrast, that C41 results in is worth doing so! I do not see any noticeable disadvantages when scanning C41-Processed VISION-3 whereas RA4 printing really goes better! ISO-Speed will increase 2/3rds of an ISO-step which can be used shooting it but does not have to. Box-speed will also be very nice! I do not see any visible difference in grain in between ECN-2 and C41 results! Use your 2-bath Powder KIT UNICOLOR (we have it as "cinestill powder kit" here in Germany), which will do NICELY and easily! Remjet REMOVAL really is no problem! I can assure you, that this chap here tells the truth on the issue! I do it exactly the same way and I am successful to the illustrated extent! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-NA8Oy4xuIOw.html What he does results in absolutely clean and nice negatives with just little more effort than ordinary C41 processing. Do not smash your film cartridges! Do it like me, open them with a proper tool and refill them with BULK-Film .... get your VISION-3 on BULK-rolls much cheaper! See you with nice pictures Klaus Rickert
