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.
There are many excellent Eastern Europe lenses of the past with the M42 screw mount, and I have some, e.g. the Helios 44M4 58mm f/2. Built in the former Soviet Union to equip Zenit cameras. The latter, while if robust, often have limits, both operational, and reliability. To play it safe and always staying behind the Iron Curtain, should turn to production in the former GDR. Still were German! And so, I did not miss a couple of Praktica Mtl5 bodies . One normal, and the other in B version. These differ between them practically only in the power source of the TTL CdS meter. The second in fact, uses the current LR44/SR44 batteries, while the first was designed for use with the PX625 mercury.
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 …
For several months now I have started to frequently use the Ilford Delta films, and also the Ilford Ilfotech DD-X as a developer. I always got good results exposing the Delta @ box speed, but also, for example, “pushing” the 400 to 800 ISO, as you can see in this post. Given these results, I wanted to go even further and so, I loaded my Olympus OM 10 with a roll of Delta 400 and set the meter on the 1600 Iso value.
Recently, I’ve been quite busy both for purely professional reasons, both for participation in an important collective photographic project. The State of Things, this is its name, is a project of social and documentary photography, entirely self-financed and self-released, carried on by about 40 italian photographers, which aims to keep alive the attention of public opinion and institutions towards the situational city of L’Aquila (and vicinity), struck seven years ago by the disastrous earthquake that has devastated not only the urban aspect, but also the entire social and economic life. For this reason, I had to slow down both my usual shooting pace with the film, and the publication of new posts on this blog. But, I could not leave alone too long my loyal readers, and so, I had already prepared some material to be published in this period. Here is the second part of my tests carried out with the Canon 3000N, this time loaded with Kodak Trix.
Wandering through my usual analog groups on the web, some time ago I saw a post about a “modern” Canon film camera and I remembered to have it. It’s the Canon Eos 3000n, purchased in 2005, already in a digital era and used very little (just a couple of rolls with Russian fisheye, as you can see in this post). So I went to rummage through my boxes moving house and I … exhumed it. To make it work I had to buy two new (and expensive) CR123A batteries. The camera, however, quickly got to work fine, like it was just out of the store. The 3000n was an economic model, built with abundant plastic use, but with many useful features and more, thanks to Eos mount, I can use my Canon lenses I owned for professional use in digital. As the first film I chose to test again the Foma Retropan 320 after the unsuccessful first test souped in FX39. This time I planned to use the Ilford ILFOTEC DD-X and I have to say that the results were quite interesting ….
Many film photography fans are fascinated by cameras (and lenses) produced behind the so-called Iron Curtain, in countries of the former Warsaw Pact. The DDR (or GDR) between them has created brands as Ihagee, Praktica, Pentacon (which has absorbed the first), synonymous with high quality construction mechanics, along with names such as Carl Zeiss Jena, Meyer-Optik and the same Pentacon with lenses even at the highest level of quality. Speaking of cameras, robustness is one of the main qualities. The reliability of the models built in eastern Germany is also much higher than that of her contemporaries and even valid Soviet models. It is not uncommon then, to come across more than fifty years old cameras, which seem to come from the factory today and fully functional.