L.D. METER by Chi

If you shoot classic cameras like the Zeiss Ikon Contina (pictured above) or vintage folders, you know the struggle of focusing. I’ve lost count of how many times people have asked me where I got my ROWI Rangefinder! It’s old, but there are many rangefinders on the used market for your fully manual classic!

But then, CHI, a company in China, sent me their new Laser Light Meter. Could a laser pointer on a camera actually replace my trusty ROWI rangefinder? I was eager to find out! Until now, the only photography-related lasers I knew were those bulky handheld devices used on construction sites. Lugging those around with a Sekonic Light Meter is quite a load in your pockets!

See the video Review – Or read on…

As you can see it is small, stylish and compact. Perfect to carry about or fit on one of my folding cameras. I’ll go over the features of the meter and then show you some images I took using it.

Features

This little meter packs a punch! It measures reflected light and offers both aperture priority and shutter priority modes, giving you creative control. With a 30-degree light receiving angle, it captures a good chunk of the scene. And the built-in laser rangefinder? It’s accurate from 0.1 to 50 meters! You can even switch between meters and feet. All this information—shutter speed (from a super-fast 1/8000th of a second to a full 60 seconds!), aperture (f/1 to f/64), distance, ISO (3 to 8000!), and exposure value—is displayed on a clear 0.96-inch LCD screen.

One of the things I love about this meter is its versatility. You can use it as both a light meter and a rangefinder, simply by switching the laser on or off. And with a rechargeable battery that lasts up to 90 days of standby time! and convenient USB-C charging, it’s ready to go whenever you are.

Functions

Navigating the CHI meter’s settings is incredibly intuitive. A small silver button and a jog wheel give you complete control. The jog wheel cycles through aperture, shutter speed, and ISO settings. It even lets you switch the laser distance measurement between meters and feet—a huge plus for those of us with cameras that use both! The laser itself offers impressive flexibility. Choose between a continuous blinking dot, an on-demand burst, or a permanent flashing measurement. And if you want to disable the laser entirely, a handy side switch lets you do just that.

The silver button has two functions. Press all the way down or press half way down.

To get a quick burst of laser light, simply press the button halfway down. The distance reading will remain on until you press it again. For continuous laser pulses, hold the button down for a few seconds, and the laser will emit short bursts automatically, giving you plenty of time to find your target. Switching between aperture and shutter priority is easy—just press the button fully down twice. To adjust the ISO, press down and hold the button for a few seconds. The ISO will start flashing, allowing you to use the jog wheel to select the desired value.

To activate constant mode for the light meter, press and hold the button for a few seconds until the mode switches from “S” (Single) to “C” (Constant). In this mode, the light meter will continuously read the light levels wherever you point it. The laser will also operate in continuous mode, emitting pulsating flashes. If you don’t want the laser on, simply switch it off using the side switch.

Easy to use

It is real easy to use on the field. But I did find it slowed me down a tad. Larger scenes such as tree trunks and walls I could see the red dot perfectly. It was a bit more tricky on smaller subjects such as leaves. But who minds slowing down, we shoot film! And we need accuracy in our focusing right? In my experience the sun was starting to go down so I needed to be a bit quicker. The ROWI Rangefinder would have saved time but not that much.

Going Forward

So, going forward with my photography will this device make me leave my ROWI Rangefinder at home? It’s possible! I still have only used it once in the woods. Time will tell but I can see no reason why I would take both out. Maybe I will alternate as they both do the same thing, except switching between Meters and Feet! And as it has a light meter built in it’s a no brainer to take it with me most of the time!

Tiny Light Meters

I have reviewed a few of these tiny pocket light meters on the SFLaB Channel. Something I never thought I would use as I have an awesome Sekonic Spot/Incident Meter but these tiny light meters work very well indeed! I find attaching a lanyard on them and slipping over your neck to be very convenient. I don’t take them out with me all the time though as most of my cameras have built in meters but I find myself taking them out with my SLR’s that don’t and usually when I am shooting street. Just to check the light quickly. When I am shooting my larger medium format cameras such as the Mamiya RZ67 and also Large Format I will use the Sekonic. Because thats what I am used to.

Photos

I used a Franka Solida III Folding Camera which has a very nice lens! All these photos were focused and metered using the CHI. Fomapan 100 developed in 510 PYRO.

The last photograph was an accidental double exposure!

I hope you enjoyed this little review and no doubt you will see me using this device on the channel in the coming months. You can read more on the CHI website, although it is a bit vague. https://chinotechs.com

Why Photography is Worth Pursuing

Photography is a wonderful hobby to get into, offering a unique blend of creativity, technical skill, and the joy of capturing life’s fleeting moments. Whether you’re using a smartphone, a simple point-and-shoot camera, or a professional digital camera of film, photography opens up a world of possibilities for self-expression and exploration.

Preserve Memories: Photos are more than just images; they’re time capsules, allowing us to relive special occasions, family gatherings, and travel adventures.

Develop Creativity: Photography encourages you to see the world in new ways, experimenting with composition, lighting, and different perspectives to create unique images.

Connect with Others: Sharing your work online or joining photography communities can lead to valuable connections and feedback from fellow enthusiasts.

Stress Relief: Spending time outdoors capturing nature’s beauty or focusing on a creative project can be incredibly therapeutic and relaxing.

Learn New Skills: From mastering technical aspects like aperture and shutter speed to post-processing techniques, photography is a continuous learning journey.

Practice

I can’t stress enough how important it is to practice with your camera regularly. Aim for at least once a week, even if it’s just a quick session. You might think your local area is nothing special, but I promise, there’s always something worth capturing.

Take a favorite spot, like this tree I keep returning to. I’ve probably lost count of how many times I’ve photographed it, yet each visit feels new. The tree itself remains constant, but the light, the sky, even the ground beneath it, always change. This creates endless variations in light, shadow, and cloud formations and who knows how many compositions I haven’t discovered yet! So, yeah, more visits to come for sure.

The key is to look at familiar scenes with fresh eyes. Experiment with different angles, play with light and shadow, and try new compositions. You’ll be amazed at how much beauty you can find in your own backyard.

Do I need a break!

It’s surprisingly easy to fall out of the photography habit. Before you know it, weeks can slip by, your camera bag gathers dust, and those core skills you once practiced regularly start to fade. When you finally dust off the gear, it can feel like you’ve lost your touch.

That’s why it’s crucial to keep your hand in it, to practice frequently. Yes, you’ll hear about photographers taking breaks to refresh their creativity – and that’s definitely valid. I’ve done it myself many times. But when I was starting out, learning the ropes, I made a point of shooting as much as possible.

Consistency is key, especially in those early stages. It helps solidify your skills, build confidence, and develop your unique style. Don’t get discouraged if you feel rusty after a break – it happens to all of us. The important thing is to jump back in, rediscover the joy of shooting, and let your creativity flow.

Confidence

Many photographers struggle with the confidence to photograph people. It’s understandable – not everyone feels comfortable approaching strangers or capturing candid moments. But for those who yearn to try, the lack of confidence can be a real barrier.

I get it, I’ve been there myself. It’s not a skill that comes naturally to everyone, and there are times I still step outside my comfort zone. But confidence in this area, like any skill, comes down to practice.

One fantastic way to build confidence and practice your people photography is to attend local events. I’m fortunate to live in a popular holiday area, but most places have county shows, festivals, or markets that pop up regularly.

Here’s the thing: it doesn’t even have to be an event that interests you personally. A craft fair showcasing handmade goods might not be my cup of tea, but it’s a goldmine for photography practice. You’ll likely encounter many people, and chances are, you won’t be the only photographer there. That means you won’t stick out like a sore thumb – it’s a perfectly normal environment to have a camera in hand.

These events offer a low-pressure way to practice capturing candid shots, interacting with people, and experimenting with different techniques. You’ll gradually become more comfortable approaching people and asking for permission to take their photo, a crucial step in building confidence and honing your skills.

Events where people are dressed up for the occasion are perfect for practicing people photography! Take the photo above as an example. Do you think this gentleman dresses like this every day? Probably not. He’s aware he’s going to attract attention, and that’s part of the fun. Before I took this shot, I simply complimented his outfit and asked if I could take his picture. He happily agreed. That one interaction, that small success, is a significant boost to your confidence.

When people are dressed up and in a festive mood, they’re often more open to being photographed. It’s a chance to capture not just their attire, but also their personality and the energy of the event. So, seek out those opportunities, compliment people on their style, and don’t be afraid to ask for a photo. You’ll be surprised how often people are happy to oblige, and with each positive encounter, your confidence will grow.

Another event I attended recently was a 1940s day. Again, people dressed up and a great opportunity to hone in on your people skills.

Compositions

Events are a goldmine for discovering interesting subjects you wouldn’t typically encounter in your daily life. They offer a chance to slow down, observe, and practice your composition skills in a dynamic environment.

Composition, is about how you see and frame your subject through the viewfinder. It’s about considering the focal length of your lens, the aperture you choose, and how those elements affect the final image. It can be as simple as centering your subject or as complex as creating a multi-layered scene with leading lines, depth of field, and a unique perspective.

These events give you the opportunity to experiment with all sorts of compositions. You can try capturing candid moments, isolating details, or playing with unusual angles. The variety of subjects and settings will challenge you to think creatively and refine your eye for composition.

The photo of the skateboarders is a great example of using composition creatively. By choosing a 28mm wide-angle lens, getting in close, kneeling down, and looking up, you effectively eliminated a distracting background (in this case, a beach) and focused solely on the subjects and the railing. This simple yet impactful composition highlights the dynamic nature of skateboarding and the camaraderie of the group.

It’s also a testament to the power of asking permission. A simple request can open doors to unique and compelling shots that might otherwise be missed. By engaging with your subjects and explaining your vision, you can create a collaborative atmosphere that leads to more authentic and interesting photographs.

A quick photograph I took at a fair. The person with the phone had no clue I was taking this photo. It was literally snap and move on.

Back at the 1940s event there was a Spitfire there! How fortunate and what an opportunity. Had I not attended this photograph wouldn’t be in my collection! Back to composition I chose to look up toward the underwing and propeller mindful to keep the wing and gun in the shot. This composition works well because there is a lot going on at the event in the background which you can’t see. I didn’t want any of that in the photographs I took so I had to choose angles that didn’t show the event.

Street Photography

Street photography is a whole different ballgame, requiring a certain boldness and willingness to immerse yourself in the urban environment. There are two main approaches:

Street photography with people: This is the classic form, capturing candid moments of human life on the streets.It’s about observing interactions, emotions, and the unique characters that make up a city. It often involves getting up close and personal, which can be intimidating for some photographers.Street photography without people (Urban photography): This focuses on the urban landscape itself – the architecture, the textures, the light and shadow play. It’s about finding beauty and interest in the everyday scenes that often go unnoticed. While it may seem less daunting than photographing people, it still requires a keen eye for composition and an appreciation for the urban aesthetic.

Whether you call it “street” or “urban,” both approaches offer a unique way to document the life and character of a city. They challenge photographers to think on their feet, adapt to changing situations, and capture fleeting moments that tell a story.

Over the years I have practiced a lot of street photography and I do enjoy all aspects of it, especially walking around back streets in a city. You often find the back streets and alleys are hardly untouched and still have a feeling of times gone by. Such as the print below of a cobbled street in Soho, London.

The streets offer a dynamic and ever-changing landscape for photographers to practice and refine their skills. With endless subjects and scenarios, it’s easy to feel overwhelmed. That’s why I find it helpful to go out with a specific plan in mind. Focusing on a particular theme, like buildings, alleys, or shopfronts, helps me stay focused and avoid distractions.

When it comes to photographing people on the streets, it’s essential to be mindful and respectful. Not everyone appreciates having their photo taken, especially in today’s world of social media. But a polite and courteous approach can often go a long way in getting permission and capturing great shots.

Not everyone on the street is a compelling subject for photography, especially when it comes to fashion. Earlier decades offered a much wider variety of personal styles compared to today’s trends. Think of the 60’s, 70’s and 80’s fashion. It was crazy! MODS, PUNKS, TEDDY BOYS, SPIVS leading on to the neon colours of the 1980’s, Walkmans, Ghetto Blasters, Roller Skates, New Romantics! A little bit more interesting than a Hoody and Crocs.

Unless you are in another country where everything is away from the norm back home. I found street photography in Bahrain was interesting purely because I don’t see this street life everyday.

However, when I do come across someone with an interesting look, I usually compliment them and ask if I can take their picture. If they inquire why, I simply explain that I’m documenting street life as a personal project. This honesty and transparency often put people at ease and make them more willing to participate.

Remember, street photography is not just about capturing images; it’s about connecting with people and documenting the human experience in its raw and authentic form. With a respectful approach and a keen eye for detail, you can create compelling images that tell a story and capture the spirit of the streets.

Just go for a photowalk!

When I’m feeling uninspired, I find that the simple act of packing my camera bag and heading out for a walk can work wonders. Even if I don’t have a specific destination or subject in mind, I often stumble upon something interesting to photograph along the way. There’s something about the act of wandering with a camera that opens up your senses and allows you to see the world in a new light.

Some of my most cherished photographs have come from these unplanned excursions. The beauty of this approach is that it removes the pressure of finding the “perfect” shot. Instead, it encourages you to be present in the moment, to explore and discover, and to embrace the unexpected.

So, if you’re ever feeling stuck or uninspired, don’t hesitate to grab your camera and go for a walk. You might be surprised at what you find, and the resulting photographs could be well worth the effort.

Such as this photograph of Reeves. It’s not something I would usually plan to shoot but I stumbled across this and watched as they swayed back and forth in the soft wind. So I slowed my shutter down took a deep breath and snapped away! This photograph would look nice framed and hung on a wall indoors. Just simple enjoyable photography!

So…

The key takeaway here is to embrace every opportunity to get out there with your camera and practice. Whether it’s a planned outing with a specific theme or a spontaneous walk around your neighbourhood, each experience contributes to your growth as a photographer.

Local events, regardless of the subject matter, offer a treasure trove of potential subjects and a chance to experiment with different compositions. Embrace the variety, keep an open mind, and use these events as practice sessions to refine your skills and build your confidence.

And for those who feel a bit shy about photographing people, remember that events are often filled with other photographers. You’re not alone in your passion, and seeing others doing the same can be incredibly encouraging.

Don’t be afraid to try new angles, get down low, or even lie on the floor for a unique perspective. Even if people give you strange looks, embrace it as part of the creative process. After all, as photographers, we’re constantly pushing boundaries and seeing the world through a different lens.

Ever wondered what it was like to experience the dawn of autofocus in the film era? Look no further than the Nikon F-501 (also known as the N2020 in the US), a groundbreaking SLR camera that merged classic film photography with cutting-edge autofocus technology.

You can watch my video on the SFLaB channel here.

Nikon have been an absolute beast of a brand in the camera market and have probably dominated the way for amateurs and professionals since the 1960s. And when you look online now for used Nikon SLR cameras there are many that come up showing their full masculine bodies and buttons with a hefty price tag too… And rightly so! When you think of Nikon F, F2, F3, F4, F5, F6, FE, FM, FM3A, F100, they are all fantastic cameras that have rocketed in price on the used market over recent years. And if you ask someone to recommend a Nikon Film SLR one of the above models would more than likely be mentioned. But they are not the cheapest.

I have some other more undesirable Nikon Film SLR’s that are not mentioned above and possibly wouldn’t pop up in conversation talking with someone wanting to get into the Nikon system.

And one of those is the Nikon F501. A Nikon Film SLR camera that was introduced in 1986 and continued through to the early 90s. A camera that oozed bags of control and functions to excite any enthusiast of the day and even tickle the fancy of a few professionals that wanted to have a back up SLR in their bag.

A Revolutionary Step Forward

When it was released the F-501 was a game-changer. It was Nikon’s first SLR with integrated autofocus, paving the way for the future of photography. Imagine the excitement of having a camera that could automatically lock onto your subject – a feature we now take for granted.

Features That Defined an Era

• Autofocus System: The F-501 featured two autofocus modes: Single Servo AF (S) for stationary subjects and Continuous Servo AF (C) for tracking moving subjects. It worked seamlessly with a select range of dedicated AF Nikkor lenses.
• Exposure Modes: Like a true SLR, the F-501 offered Programmed Auto (P), Aperture Priority (A), and Manual modes. However, it also introduced a unique “P Hi” mode, designed to prioritize faster shutter speeds for action photography.
• Motorized Film Advance: Say goodbye to manual film winding! The F-501 boasted a built-in motor drive with single and continuous shooting modes, capable of capturing up to 2.5 frames per second.
• Automatic Film Loading and DX Coding: Loading film was a breeze with automatic film loading and DX coding for automatic ISO detection. Simply pop in your roll of film, and the camera would take care of the rest.
• Bright Viewfinder and Informative LCD: The viewfinder displayed essential shooting information, including shutter speed, aperture, and focus confirmation. A top-mounted LCD panel provided additional details like exposure compensation and frame count. The viewfinder is 92% so you can expect a bit more on your negative than you initially framed for.

(Not exactly to scale, I made this in photoshop but gives you the idea!)

• Ergonomic Design and Solid Build: The F-501 felt great in your hands, with well-placed controls and a sturdy build quality that Nikon is known for.
• Internal through the lens metering: The camera has a metering system that is partial metering and works very well indeed.
• Audio warning! Nowadays you have to go into the menu system to turn this function on and off but the F-501 has a switch on top of the camera. It bleeps a sound when the camera is out of exposure threshold.

The F90X taken with the F-501 with Fuji Acros II Film developed in D23. 55mm Nikkor Micro Lens.

Appuldurcombe House, Isle of Wight, with Fuji Acros II Film developed in D23. 50mm Zeiss Milvus Lens.

A bit too confident in my hand held abilities at 1/30th!

Why You Should Give the F-501 a Try

• Affordable Entry into Film Photography: The F-501 is often available at very reasonable prices, making it an accessible option for beginners.
• Unique Features: Experiment with the “P Hi” mode and dedicated AF lenses for a unique shooting experience.
• Nikon Quality: Enjoy the reliability and craftsmanship of a classic Nikon camera.

Conclusion

The Nikon F-501 may not be the newest kid on the block, but it represents a pivotal moment in photography. It’s a testament to innovation and a reminder that even older technology can be incredibly fun and rewarding to use. If you’re a curious photographer seeking a taste of the past, or simply looking for an affordable way to get into film, give the F-501 a shot – you won’t be disappointed.

And if you are looking to get into the Nikon system they are very affordable compared to other Nikon cameras leaving you with some cash for a couple of decent F mount lenses. Or a roll of film! Obviously price reflects the cosmetic condition! As you can see my one looks a bit shabby but that doesn’t stop it performing well inside.

They are fully electrical which means you need batteries to operate the camera. In which case you may find yourself without a camera if you don’t take spares! Luckily enough the camera takes AAA batteries which can be purchased almost anywhere on foot.

I’ve read in some cases the auto focus motor has packed up and the electrics fail but this one is still going strong since 1986! This can happen to any fully electronic camera of the same era and if this panics you then you may want to look for a different Nikon. A mechanical one. But for the price of these it’s worth a punt.

And if you’re a hands on sort of person and fancy tinkering there are some ‘non working’ cameras online for sale very cheap indeed which you can use for spares. But if you do buy a used camera online just ask all the necessary questions and if you can try and get a 30 day money back guarantee. Some sellers find these cameras in attics and know nothing of cameras. Always do your homework. But if you get one in good working condition then it should serve you well!

I was surprised at how much wizardry this camera packs in but I was surprised NOT to see a Depth of Field preview on the camera, which is a very useful tool to have.

A few more cameras I have used and are very good are the –

• Nikon F90X
• Nikon F-601
• Nikon F-801
• Nikon F55
• Nikon F80

Is this the start of the Film Photography resurgence? I hope so!

Imagine if other major camera brands brought back film cameras! It’s a dream, but probably unrealistic. Demand would be limited, making them expensive. Yet, there’s hope! 

• Nikon F7
• Canon EOS 2V
• Olympus OM24
• SONY 17

Thankfully, some brands are taking a chance. And Pentax, with Ricoh, has been developing the new Half Frame Pentax 17 compact film camera for years, which is exciting news. There are other new film cameras on the market too with Lomography and Alfie – a huge feat considering the challenges involved! Like the Rollei 35AF that is nearly with us.

This gives us hope that film photography isn’t lost. Maybe, just maybe, we’ll see a resurgence as more people discover the unique charm of analog photography.

Pentax 17 HF Camera

I was one of the first to receive the camera by Ricoh Europe in order to make a review, not only for the channel but also for Ricoh too. And I have to admit… I love it! So let’s show you the camera up close and some of the photographs I have taken with it so far..

Un Boxing!

Skipping quick through the unboxing on the SFLaB video, I was taken aback when the Pentax 17 first emerged from its plastic bag. The camera felt surprisingly light, especially compared to the hefty vintage models I’m accustomed to.

As I examined it, running my hands over its contours and settling into a shooting grip, two impressions dominated my thoughts: It was undeniably plastic, yet remarkably comfortable to hold. What was I expecting? A Spotmatic lookalike to come out of the box? This is 2024. Look at your TV!

But naturally, a modern camera like this will incorporate some plastic elements. The back door does feel a bit hollow when tapped, but overall, the construction feels decent and well put together. What truly impressed me were the metal base plate and top cover, lending a touch of durability. The buttons and dials exude a sense of quality with their smooth operation. Additionally, the leatherette front adds a touch of charm, elevating the camera’s overall feel. It’s well made. If you drop it it’s not going to fall apart, but hopefully you won’t and go and do what it does best. Take photos!

Half Frame

It is a half frame camera. 24×17. I have never really thought of shooting HF. It never attracted me. If I take photographs on film I want to at least have the prospect of toddling off into my darkroom to make some quality prints. And with HF I’d be compromising on quality. But having had this camera in my possession for a few weeks I think I understand its value. Getting double the amount of photos from a roll of film can’t be a bad thing if all you intend to do is scan and post and share online. You don’t need the quality of 35mm so I guess it makes sense and maybe that is the Market Pentax is aiming for.

I can see it would be ideal if I want to shoot film at the local car show or a mates wedding. Or maybe making smaller 5×7 Prints in the darkroom. At least my photographs will be cheaper. Of course it won’t replace my 35mm or Medium Format cameras but the option is there for some fun snaps on film.

Functions

Pentax has packed some impressive features into this camera. I was thrilled to see a built-in front flash instead of a pop-up one, which is a welcome design choice. The inclusion of an exposure compensation dial was another pleasant surprise. While there’s no dedicated exposure lock button, the compensation dial proves invaluable in situations with tricky lighting, like scenes with vast skies. It’s a clever workaround for ensuring proper exposure.

There is an ISO selector which speeds range from 50ISO to 3200ISO and a BULB mode too for timed exposures and a cable release socket which requires a CS-205 cable (not included). Hold up! What is included then? In the box you get a string wrist strap and a battery and a manual.

On the top of the camera is your mode selector jog wheel which boasts some decent functions – Here is a screen shot from the manual. But I will go through the modes.

I had to find out the hard way as when I received the camera the instruction manual was, well, let’s just say lacking some information! I now have the full manual which you can download from the Ricoh Website

AUTO Mode

You can’t go wrong* in AUTO mode. Just select the speed of the film you are shooting (No DX Contacts) and fire away! The camera will control the aperture and shutter speed for a correct exposure by using it’s ‘Partial’ Metering system and if the scene needs a bit of extra light the camera will fire it’s flash.

The cameras shutter speeds range from 4 Seconds to 1/350th and the Lens Aperture is f/3.5. There is no indication with its smallest aperture but I suspect this to be f/22. And the Shutter and Aperture work in unison to give you the correct exposure for handheld photography.

*AUTO mode – If you’re less than a meter away from your subject. You can take the exposure but it won’t be in focus!

P Mode

If you don’t like flash then you can select “P” Mode. In this mode the camera will function the same as AUTO except the flash won’t fire. There is a Blue LED that blinks to tell you if you are over or underexposed before you take the photo. Shutter speed appears to be limited to 1/30th in this mode.

SLOW Mode

Slow mode is the white moon icon. This mode is ideal for tripod photography such as night time scenes where you don’t want the flash to fire and are looking for natural light or for wispy seascapes where you want some motion blur. Depending on the available light of your scene the most the shutter will stay open for is 4 seconds and will use its widest aperture (f/3.5). If after that the scene is still too dark the Blue LED will flash to tell you there is not enough light. You can still take the shot!

There is nothing in the manual that tells you how the Aperture and Shutter work together but I would imagine this camera is Aperture Priority (The camera chooses the smallest Aperture for the appropriate hand held shutter speed).

BOKEH Mode

It says in the manual that in this mode the aperture works at its maximum. Rightly so for BOKEH. But when I tested this by pointing the camera to the window in daylight the aperture closed down! I’m pretty stumped with this mode. Why didn’t the aperture open at f/3.5 and choose a faster shutter speed? I had the ISO selected at 50ISO. Oh well.

FLASH Modes (Yellow Area)

On the mode dial you will see two more modes in YELLOW. These two modes are ‘P’ Mode (Daylight Sync) and ‘SLOW SPEED SYNC‘ Mode (Moon). Basically one is a Program Mode where the flash will fire. And the other is ‘Slow Speed Shutter Mode‘, again, where the flash will fire regardless of the scene.

Yellow P Mode –

The flash is fired in for situations when the subject is backlit or in shadow. The shutter speed is up to 1/30s.

This could also be useful if you are photographing a party in a low lit room. The flash will fire, exposing your subject, and at 1/30th of a second to expose for the background also.

Slow Speed Sync –

When taking photos of a person against a dark background, the flash is fired at the person and the background is exposed using the slow-speed shutter. The shutter speed is up to 4 Seconds.

This mode could also be good for fancy trails after the flash has fired. Imagine taking a photograph of your friend at night in the street. Handheld. As the flash exposes your friend the shutter stays open after the exposure. Whip the camera in a circle motion and you’ll get street light trails.

BULB

When you are in Bulb Mode the Aperture will always be at its fastest, f/3.5. YOU control the camera so the metering will be disabled and so too will the exposure compensation dial and the flash too.

Indicators

On the viewfinder are two LED’s. One Red and one Blue and they tell you if –

• Under/Over Exposed
• Battery Low
• Camera Not Advanced
• Flash Charging
• Camera Too Close (Flower and Dinner Table Mode).

Shooting Struggles

I didn’t really have any struggles using the camera in various lighting conditions and it did the job well. Only one gripe here really is not knowing what my speeds were when taking photographs without the flash. Here is an example. These guys were in subdued light. I didn’t want the flash to fire so I chose ‘P’ mode and took the shot. I think it fired at 1/30th as you can see I have motion blur and possible handheld shake too. If the camera told showed me the shutter speed that would have been awesome! Yet, I don’t know how difficult that would have been to incorporate and I guess Pentax felt they didn’t need that. After all, not many point and shoots give this option!

The Lens

The lens combines elements of vintage cameras from RICOH and PENTAX. From the RICOH Auto-Half, it was possible to get an ideal/comfortable focal length the same 25mm.

From the PENTAX ESPIO mini, the optical design was used as a reference for sharp and clean images Using a triple element lens.

The lens also features HD coating, which maintains high performance of the lens, by using PENTAX multi-coating. This also enables high contrast and high definition right to the edges. It has an SP coating (Super Protect) which helps to repel water and oil from the lens. And my photographs go to show how good the lens is. Sharp from the centre to the edges and nice contrast.

I really expected the camera to roll out with a 35mm or 28mm lens.

Shooting

Never having owned a half-frame camera before, I was unsure if I’d enjoy the experience. But after shooting just two rolls of film, I found myself surprisingly delighted. The Pentax 17 is a no-nonsense camera that delivers accurate exposures with minimal fuss. Usually I am wandering with large format gear or my Mamiya RZ67 and other heavy 35mm cameras and lenses. This camera was small enough to slip into my pocket, a bit like my experience with the Rollei 35LED camera. Which is ideal for street photography.

Sure, while half-frame photography might not be ideal for printing large, high-quality images, it’s not about that. The Pentax 17, and other half-frame cameras, excel at something else entirely: pure, unadulterated fun.

Think about it – a 36-exposure roll magically transforms into 72 shots, and a 24-exposure roll gives you a whopping 48 opportunities to capture those fleeting moments. It’s the perfect tool for documenting everyday life, snapping candid photos of loved ones, or simply experimenting with a different format.

And let’s be honest, in the age of social media, most photos are viewed on screens anyway. The Pentax 17‘s half-frame format is perfectly suited for sharing your adventures online, without sacrificing any of the joy that comes with shooting film.

I went to Haven Street Steam Railway. There is plenty there to shoot! I found myself in that slow frame of mind, taking my time and being selective over my subjects and compositions and then remembered I had 48 photos to shoot! I was running out of ideas and then thought, ‘just shoot the S*** out’ of it! So I did!

Here are some of my results from shooting ILFORD HP5. The films were developed in my home made D23 Developer, rotary processed for 8 minutes.

VIEWFINDER

The cameras viewfinder is very nice indeed, bright and accurate but I did find the guidelines a bit faint when the scene was bright. But it didn’t spoil the fun. It’s not glass.

I wasn’t accurate with some as you can see from the top photograph with a bit of a wonky line. There are two guides, one for normal distance and one for close up. It’s pretty accurate though! You can also see what focus mode you’re in. As you can see at the bottom of the illustration. Mountain!

The viewfinder also seems to be very accurate for composing such as this portrait I took of my daughter in my studio. I used static model lights for this photograph. (APX 100).

And another I took using the cameras flash.

FOCUSING

The camera has the usual suspects of focusing modes, however, it also includes a distance scale too which is very handy indeed for Zone Focusing.

Here are the focusing icons and their respective distances from the manual.

In conclusion, Pentax has crafted an impressive camera with the 17. It’s sure to resonate with film photographers seeking a fun and accessible entry into the world of half-frame photography. While some may bemoan the lack of Pentax’s signature heavy metal construction, it’s important to remember that the joy of film photography lies in the experience itself.

The anticipated price of £450-£500 may raise some eyebrows no doubt, but it’s worth considering the factors at play. Engineering and design costs, wages, marketing, paperwork, investment, components, and materials all contribute to the final price. Additionally, the limited sales market, excluding mainstream retailers like Argos or Walmart, further justifies the cost.

Ricoh/Pentax are unlikely to price themselves out of the market. While the estimated cost might seem high to some, it’s important to remember that this isn’t just another point-and-shoot. We’re talking about a unique, innovative film camera with a design and feature set that caters to a specific audience. For those who value the tactile experience of shooting film, the doubled frame count, and the Pentax brand legacy, the price might be entirely justifiable. And for those who don’t fancy Half Frame you’ll just have to wait and see what Rollei have up their sleeves.

Ultimately, it boils down to personal preferences and priorities. If you’re someone who cherishes the tangible nature of film photography and seeks a fresh, exciting tool to capture memories, and don’t mind shooting Half Frame then the Pentax 17 could be a worthwhile investment.

Not too long ago, we questioned whether film would ever see innovation again, let alone new cameras, films, and chemicals. The Pentax 17 is a testament to the resilience of the film community and a promising sign of exciting developments to come. Let’s embrace this new era of film photography and celebrate the creativity it fosters.

Photographs show Ilford HP5 unless otherwise stated.

AGFA APX 100

If you read this to the end then thank you for reading. I am in no financial affiliation program with Ricoh/Pentax and so these views are my own without influence.

Cheers!

Roger.

Pentacon Six TL Curtain Shutter Burn

Having been the proud owner of a Pentacon Six TL for some time it is a camera I really enjoy shooting but it is not without it’s common problems and one recently I discovered that could be costly to repair!

I was making a Vlog for the channel. You can see the video here.

I stopped and place my camera bag down, opened it and got my Pentacon SIX TL out of the bag intending to pick it up and show on camera. I placed the Pentacon on top of my bag with the lens pointing up toward the sky, not intentionally and for no reason other than I was going to pick it up a few moments later to show the camera on video. This was before I had taken a single photograph.

The fact that I was making a vlog at the same time contributed to this error but in a similar situation anyone may possibly put the camera down like this for a number of reasons during a shoot.

As the camera was staring up at the sun the lens acted like a magnifying glass and burned a pinhole into the cloth shutter behind the Lens.

I only discovered this after the shoot when I developed the film. I noticed I had a light leak.

It took me a while to investigate how this happened and it was only after I returned to the video footage I could see the curtain was fine when I loaded the camera with film. So something happened after that and that is when I noticed I had left the camera pointing up toward the sun!

This is typical for Leica cameras and Fed cameras because there is no mirror inside the camera to protect the cloth curtain. And you may think because the Pentacon Six is an SLR camera (With a mirror) the mirror sits between the lens and the curtain and protects the curtain from this apparent disaster. But with the Pentacon Six the mirror only comes down between the lens and the curtain when it is advanced. If the camera is not advanced the mirror stays UP and if the camera is pointing toward bright sun at the right angle (and no doubt aperture also plays it’s part, I was at f8) the sun will magnify through the lens and burn a hole in the curtain.

How to fix it.

The best way really is to have the curtain replaced by a professional camera engineer. But that can be costly. Luckily I have a sheet of Silk shutter cloth so I cut a small square piece and using fabric glue just placed it over the pinhole making sure it was perfectly flat and sealed in all corners to prevent it lifting.

It looks messy I know! But I didn’t want to damage the cloth any further by trying to pick away at the excess glue. And after testing the leaks have now gone. The patch clears the shutter flow as it is advanced and fired and also doesn’t scratch the film. So I will leave the camera like this and observe the repair each time I shoot the camera.

Another way you can temporarily repair such damage is by using Liquid Rubber and dabbing it to seal the hole.

Or if you want to try my way with a patch and don’t have a sheet of curtain (Why would you!) you can always look for a damaged camera online that is cheap and has a cloth curtain and cut a patch from that curtain.

The best way to avoid all this is not to leave the camera pointing toward the sun without a lens cap on! Or get into the habit of advancing the camera after each exposure. That way the mirror will advance between the lens and curtain protecting it. (WARNING: Check your cameras manual about changing shutter speeds after advancing. The TL Manual says you can change speeds before or after advancing)

It appears to happen when the camera is staring at the sun for a longer period of time as apposed to generally walking around looking for compositions so don’t let it put you off your normal workflow. Just be mindful not to let the camera stare at the sun too long when it’s placed down out of use with the mirror up!

Advance Lever

Another issue I came across was the advance lever working itself loose! Mine actually came off the camera as I was talking into camera and fell onto the floor! Luckily I found the three parts and simply screwed the lever back onto the camera.

The only other things I can mention bout this camera is to treat it like a baby! No rough handling. For example when you advance the camera don’t let the advance lever snap back. Gently feed it back with your thumb. Rough handling here can cause the internal components of the camera to fail.

So there you go. A bit of hands on experience with the camera that I hope will help others.

Film photography enthusiasts, rejoice! Film Ferrania, the resurrected Italian film manufacturer, has added another gem to their lineup – the P33, a black and white film with a unique character.

This is what I read up about the film.

What Makes P33 Special

• Fine Grain & Detail: The P33 delivers beautifully fine grain, allowing for incredibly detailed images. This makes it perfect for capturing intricate textures and subtle nuances.
• Tonal Range: Expect gorgeous tonality, with smooth transitions and a wide dynamic range. Your photographs will have a beautiful depth and classic black and white aesthetic.
• Improved Usability: Unlike its predecessor, the P30, the P33 is designed specifically for easier development and printing, giving you more flexibility in the darkroom.
• 160 ISO Versatility: The medium speed of ISO 160 makes the P33 suitable for both sunny outdoor scenes and well-lit indoor situations, providing a great balance.

And I was lucky to get my hands on a few rolls from The Little British Camera Company

I was eager to try this film out having shot many rolls of the popular P30 Motion Picture Film that Ferrania have had out for many years now and see if P33 was similar. In that I mean if it is as contrasty as P30.

And here are tow YouTube Videos I put out recently using this film:

P33 and Nikon F3

P33 and Olympus OM-20

For my first roll I used Rodinal and I had to do some tests first as on their data sheet Ferrania recommend 1+25 for 5 minutes. I thought that was a bit short for a 160 ISO Film, and after doing some tests I was happy at 10 Minutes. Double the time they suggest. My 5 minute tests were very thin.

As expected good ole Rodinal tells no fibs and I was greeted with nice negatives, easily printable and with a pleasing grain for the photography I was shooting, Street.

I didn’t find the contrast as punchy as their P30 Film, except when I shot my second roll at the local farm I used the Rotary Processor. Ferrania recommend Hand Process only for this film. And I used a new developer that I am testing at the moment from Zone Imaging (due to be released soon).

Rotary Process:

Noting the contrast, which was more evident on the negatives I shot another roll and used the same developer with a bit more time and this time hand developed the film. I managed to get much better detailed negatives, still with contrast, but with more detail. And as for the grain, it’s very fine indeed!

And you have to excuse me for not printing these negs and others recently. The Darkroom is a tad bit damp!

But this film certainly does seem to have a unique look with the highlights appearing slightly bloomy, nice tonality and a deep contrast. But as we all know the look of any film is controlled in development. I’m thinking how this film would looked pulled! Something I may try another time. Or even in 510 Pyro! I’m not sure I will venture with Rodinal with this film again though. I felt that was a bit harsh.

But with so many films on the market I am wondering if this new P33 film would be great for my street photography or even portraits. There’s no harm in trying out and experimenting with different films to see if they could work with your regular work be it portraits, street or scapes and give a different feel.

Whether I use the film again and experiment you have to admire the dedication and, no doubt, tremendous effort Ferrania have put into this, actually very nice, film and their other films, and keeping film alive for the community to enjoy.