As mentioned in the previous post on the Canon 55 Qd, I went back after a year, in some of the places affected by the disastrous earthquake of 2009 in L’Aquila. This time, I used the camera with the 50mm f/1.8 II lens in some locations where the light was very poor. That’s why I had to push the Kodak Trix @ 800 Iso and in spite of that, in some cases, I had to use very slow speeds handheld. The results, however, do not seem despicable at all.
Lately I published very few posts on this blog. For various reasons I didn’t use film during the first months of this year, but I’m going to get it back, so I’m starting here a series of posts where I will talk about two Canon slrs, used with different films and lenses. The Eos 3000n canon has already been known on these “pages”, while today I propose the Eos 55 Qd. Recently, I returned to L’Aquila for the official presentation of the State of Things, the great collective project of documentary and social photography to which I had the honor and the pleasure of attending (I warmly invite you to check it). I have returned to places of suffering that has been going on for nearly 8 years, renewed since last August by the new earthquake swarm that hit the central Apennines.
Ok guys, I am back again. The beginning of the new year was a bit ‘busy and for various reasons, I have not posted anything during January. This does not mean that I have not continued to take pictures, of course. 😉 Before moving on to other cameras and lenses, however, I wanted to finish the series of “experiments” with the Praktica. This time, on Mtl5B I mounted a Pentacon 29mm f / 2.8.
It has been a long and intense year, the one that is about to end. This blog has grown thanks to the many readers around the world. Many things have happened and others will shortly happen. The most important was the Darkroom I built, where finally be able to print the best shots made with film. Soon, I will also print using ancient techniques, such as Platinum/Palladium and Cyanotype, when will be ready the U.V. contact printer that I’m building. Thanks to contact printing, I’ll be able to better use large format cameras too. Already a couple (M.P.P. Mark VIII 4″x 5″ and Reality so Subtle pinhole 4″x 5″) are already waiting to be used. But it will also, print (via internegative) images from digital files. So even intangible electronic images will become real. This post by the end of the year is dedicated to another East Europe’s camera, but this time it is not only manual, but electronics controlled with aperture priority exposure: the Praktica Bc1.
It is true: we’re back in the …. Eastern Europe’s phase. The fact is that the cameras and film rolls accumulate, remain there for a while in half use and then finally, it is their moment to be finished, developed and published. So, it happens that concentrated within a period, similar types or even different versions of the same models. This time it is the turn of the small, but very pretty, Werra 1. Obviously, produced in the former GDR. Simple, spartan (no range finder or meter), but well performing (Carl Zeiss Tessar 50mm f/2.8 lens) and with some super-technologic “surprise”, at least for the time.
The Moskva 5 is a big Soviet made camera, which follows forms and performance of the most renowned folding Zeiss Super Ikonta. Snap 6×9 cm frames and 6×6 through a special removable mask. For the technical specifications of the camera back to the previous test readers: here and here. This time, taking advantage of a typical winter day, I wanted to use it in its native format, for large negatives (if any) to print.
I promised you, my dear readers: this would be the last Retina test. Actually it had been there for a bit of time and waited for his chance to be used. The Retina IIa is one of the most sought after on the market and in fact, I struggled just to find a copy in good condition at a reasonable price. The reasons are soon said: small, handy, but at the same time, equipped with a rangefinder and especially, the prestigious and fast Schneider Kreuznach lens Xenon 50mm f/2.
As I wrote last time, my first outdoor experience with the Mamiya RB 67 was tiring but satisfying. In fact, the generous dimensions of the 6×7 cm negative and the quality of the lenses are ideal for landscape photography. Immerse ourselves in nature, in a place almost out of time, it can only do good for the spirit, and if we are able to bring home some good shots …. better yet.
It’s been love at first sight: she was large and heavy but it gave me a feeling of solidity and undeniable power. She went home with her beautiful Sekor C 90mm f/3.8 lens, a Vivitar duplicator and two SDPro backs, (one for 220) but she felt a bit lonely and I proceeded immediately to add Sekor C 50mm f/4.5 and 180mm f/4.5. At that point, I was ready to fight a war. The only problem is that such equipment can fight mainly in the studio photography, because to use it outdoors things get complicated struggle. And so, the time has passed (almost two years), until a few days ago …